wort 89.9

joe krentzspring 2012arch 609davison/ricardi

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wbyr

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new orleans

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contextprogrambywaterdesign

scheme

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context

context

port citynew orleans is the port city. ini-tially providing the french a place to settle, later bringing economic prowess, and lastly providing a setting for the clashing of cul-tures that created what is creole new orleans, the port has, had, and will have a profound impact. radially strung along the missis-sippi river, new olreans exists as a product of topogrophy, the rich claiming high lands near the river banks, and the poor and sprawl settling back in the bayous and swamps.

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port city. adrien persac

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fichier

fichier

colony crescent city

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amberly berlanos

fichier

hydraulic city the big easy

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waterlife begins and ends with water in new orleans. essentially a city below sea level, prone to frequent floods and hurricanes, keep-ing water out is a never- ending concern for new orleansians. the city installed a system of hy-draulic pumps to continuously re-move ground water, allowing ar-eas previoiusly uninhabitable to be developed. regardless, water and nature seek to return everything to the ground, as David Reutelage states, "it's a city that always appears to be losing, but a city that keeps fighting back.

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matthew

ericson

flooding in new orleans from katrina

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most recent memory leaves us with hurricane katrina to reflect upon new orleans. the damage and destruction that was caused was practically unimaginable, even to the residents familiar with regular storms. the city is once again asked to rebuild. a variety of projects are underway, but who returns, and to where exactly, is continually altering the urban fabric of new orleans.

nasa

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nasa

peoplethe port and river also brought people to new orleans, and all kinds. truly one of the most multi-cultural cities, new orleans is a public hotspring gifting the world with great food and music, and a truly unique lifestyle. un-heard of to some, and perhaps intentionally, the culture that is new orleans, and the celebrations that come with it, have allowed nola to earn the name, the "big easy". amidst all the despair and threat of certain danger, peo-ple there exude a playfulness, an ease, and an overall undestanding of a good time.

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google im

ages

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visiting with new orleans archi-tects informed the studio of var-ious standards for design in new orleans, one of which being the garden plan.a planning scheme for residential development. ma-jor and minor axis dictate "front" and back" conditions. lots facing major axis face street. one lot on each minor axis. all construction is done with no setback, allow-ing a communal street presence for each residence as well as a communal greenspace towards the rear. this scheme is how, con-ceptually at least, most blocks in new orleans are arranged.

vernacular

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american townhousenarrow, three-story set at ground levelfae wall with asymmetrical 3 opening arrangement, balcony on second storybrick or stuccoed-brickcentral business district, lower garden district

google im

ages

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creole townhouse2-4 story set at ground levelasymmetrical arrangement of arched openings on fae wall set at property lineiron balcony on higher levelssteeply pitched gable roofbrick or stuccoed brickfrench quarter, marginy, fauborg

google im

ages

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umbrella partithe umbrella diagram speaks to the roof down approach to con-struction. large overhangs shelter the interior walls and spaces from direct solar gain, keeping them cool, while providing exterior cov-ered spaces for gathering.

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raised center hall cottage1-11/2 story house raised 2-8 ft. on brick pierssymmetrical five opening fa-çade opening to full length gallery framed by 6 columnsside gabled roof with central dor-merwoodbywater, garden district, upton, carrlton

google im

ages

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double gallery housetwo stories raised on brick piersset back from property line2 covered galleriesasymmetrical openingwood, brick, or stuccoed bricklower garden district, garden dis-trict, uptown

google im

ages

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shotgun houseutilizing its linearity, the shotgun house responds to local materials, ease of construction, but most relevantly climatic implications. covered balcony at the front pro-vides a cultural connection to the street as well as extending com-fortable living space outside. high ceilings allow warm air to exaust out of high placed windows. lastly a narrow corridor provides a pas-sage for cooling natural ventila-tion

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creole cottage1 story residence set at ground level4 opening symmetrical front fa-cade wall set at property linesteep side pitched gable roofstuccoed brick or woodfrench quarter, bywater, marginy

google im

ages

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shotgun houseone story (with often second story “camelback“ at rear)narrow and raised on piersfront porch covered by end gable with ridge running front to backvarying number of openingswoodthroughout all

google im

ages

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program

program

mission statementprogrammatically, the new orleans center for documentary studies began with a mission statement. find a direction for your facil-ity and make informed decisions based on how to best achieve that direction. with feature ele-ments like gallery space, radio station, and performance/event space, this facility needed to take on a spirit, have a name: wbyr radio.

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WBYR is a new format radio sta-tion based in the Bywater District of New Or-leans. It conceptualizes, produces, and edits both

professional and amateur radio bits from the Bywater District, New Orleans, and the world, while simultaneously broadcasting to the Bywater District, New Orleans, and the world. WBYR seeks to not just broadcast but commu-nicate with its listeners and neighbors. Focusing on audience interaction it is a radio station that

speaks as well as listens.

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preliminary investigations were to explore a space budget. the fol-lowing data was derived from a rough space budget denoting major program requirements as well as individual research on the varying program spaces

space budget

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Space Budget

Public Spaces NSF GF GSFPublic Lobby/Gallery 1500 1.5 2250Concession 450 1.25 250Black box Theatre 1100 2.0 2200

Private SpacesRadio Station 1800 1.8 3240 Recording Spaces 1500 1.5 2250Black box support spaces 1200 1.25 1875Administrative Offices 800 1.25 1000Post-Production/ Editing Rooms 700 1.5 1050Data Storage Server 500 1.25 625Employee Lounge 200 1.25 250

Service & CirculationNASF 9750 .25 2438Total Net 9750Total Gross 17,428Building Efficiency 56%

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paired with the space budget was a preliminary cost analysis. data was derived from market stan-dards and averages particular to new orleans

cost analysis

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Cost Analysis Estimate

Construction Costs Estimate

GSF 17,428GSF Cost $118.0 (median GSF cost/ Means 2010)City Cost Factor $1.37 (New Orleans/ Means 2010)Weighted SF Cost $161.66Escalation 6% (4% per year increase)Construction Estimate $2,986,456

Item Description Estimate

A. Adjusted Building Costs $2,817,411 (GSFxSF COST)B. Fixed Equipment $281,741 (10% of A)C. Site Development $422,611.65 (15% of A)Subtotal $3,521,763.65 (A+B+C)Escalation $211,305.82 (x6%)D. Total Construction $3,733,069.47 (sub + escalation)E. Movable Equipment $373,306.95 (10% D)F. Professional Fees $223,984.17 (6% of D)G. Contingencies $373,306.95 (10% of D)H. Administrative $37,330.67 (1% of D)I. Total $4,740,998.21 (D+E+F+G+H)

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program spaces were broken down and analyzed individually, begin-ning with the radio station.service requirements dictate con-centration of facilities, specfically linear arrangements to subsidize wiring costs. high acoustic iso-lation required. as a community based station connection with bywater and greater nola es-sential, as well as relationship with event space. most "private". amateur and professional nature suggests learning and editing fa-cilities.

analysis

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integrated data plenum suggests line configuration

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kjhk

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through visiting kjhk studios in lawrence, the studio was includ-ed in day to day operations of a radio stations. wbyr's specific mission in rethinking radio en-couraged further exploration into all kinds of radio programming.

kjhk

kjhk

kjhk

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multi-use/eventderived from blackbox precedent, flexibility essential. base form functions as music venue. can shrink for intimacy. expand into lobby or plaza for greater num-bers, even open up to the street for block party events. high ceil-ings for equipment. storage es-sential. ability to broadcast live.

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rex/

oma

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the studio visited multiple black box performance spaces. the in-vestigation of the studio became how to open up or rethink the traditional black box, while still understanding and operating with the performance and acousti-cal guidelines and criteria of any performance.

chianan yen

alexis scheer

longstreet theatre

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lastly the studio was to develop usage concepts. through narra-tive, we were to follow a few in-dividuals who would align with, or perhaps look to learn from, our projects mission statement. focusing on the gallery, event space, and radio station activities, we were to begin to understand how these activities could inter-relate within a gradient of people.

users

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individual.bywater.nola.indvidual

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program director

local artist

area high school student

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day to day activities are spent in the administration and radio station spaces. could use the led screens to promote new pro-grams or developments. perhaps is involved with performances but those activies are most likely split. overall working conditions crucial. needs a strong relationship between creation spaces and production spaces for radio programs.

new works are displayed using led screens. control of the us-ers attending the exhibition allows her to see trends, or themes in her work, or not. flexible gallery space essential. could use the cafe to sell cd's, or literature. arrival to the site relevant as the exhibition takes on the capacity to bring in individuals from the street. connection to the event space could allow the exhibition to expand.

upon winning their state championship, wbyr is used to host the celebration. connection to street essential as wbyr opens into a full on block party. led's used to project images from their game to the surrounding site and greater new orleans as a whole. con-nections to other facilities spark interest. creates an individual broadcast promoting the event.

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bywater

bywater

the bywaterthe site chosen was in the bywa-ter neighborhood of new orleans, located between the french quar-ter to the west and the lower ninth ward to the east. as a new up and coming artist's commu-nity, the bywater is presently ex-perincing a rise in both inhabit-ants and economy. a bustling new neighborhood, it is thriving but still keeps to the traditional new orleans attitudes about place, community, and home.

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burning wood

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the siteat the corner of gallier st and chartres st in the south bywater is our site, a roughly 100' x100' lot located just north of the le-vee wall and river. essentially a residential neighborhood, this community center had the op-portunity to gain a food hold in a community busy developing a new identity. visiting the site allowed the studio to study, document, and photograph it in its entirety.

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photos from site visit

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analysisanalysis studies sought to further understand the site as an envi-ronment. vernacular traditions and site constraints initially formed design concepts about mass-ing and connections with exist-ing fabric. these diagrams would become a series of rules helping root wbyr in its bywater commu-nity

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acoustic barrier towards busy charters street. programmed events can spill into gallier and bywater neighborhood "block party"

corner store/ chamfered edge relates to contextual precedents while practi-cally creating a more open enviornment

interestitial spaces derived from garden plan speaks to a need for communal green spaces as well as a tendency to deviate from regulated building plans and the dynamism that creates

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location near river offers "iconic" op-portunity. both building and program need to "speak" to the river as com-munity and scale, while "listening to residents and the bywater

bywater has a very specific street section focusing on a public street prescence, covered outdoor space, and an overhanging tree canopy

the city of new orleans is seeking to reconnect its inhabitants with the riv-er by implementing a series of public spaces along its banks. collaborating with this plan is essential.

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domino

city of new

orleans

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site elevation looking north from levee wall

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design

design

massinga small site and extensive pro-gram made massing a necessary focus initially. through iteration, the major programmatic elements were arranged and composed ac-cording to site analysis, vernacu-lar traditions, program require-ments, and overall functionality.

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stacking the program spac-es behind a circulation/exhibi-tion corridor proved most suc-cessful. slipping program sections back and forth, even creating a canyon, were explored. essentially though the building became inef-ficient as gallery and circulation space began to increase.

radio

staff

event

porch

gallery

circulation diagram

inital building section

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by consolidating the radio and administration levels into a hybrid radio space, a floor plate was able to be removed. next the circulation corridor was ro-tated and split creating a much simpler, logical, code abiding, "c diagram". in order to replace the porch of the originial scheme, the bottom two floors were pulled back creating a double height lobby space

massing/circulation parti

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interactivitylooking to atelier bruckner's con-cepts on stage production, physi-cal user participation with wbyr became the next driving fac-tor. a series of operable led screen were incorporated to al-low potential users the capacity to change the building's facade with various images. respond-ing to user groups, wbyr could begin not only to broadcast and display, but listen. these screens could be incorporated in other facades throughout the commu-nity, essentially turning the by-water neighborhood into a truly communicative city

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user participation and control

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study model exploring led's78

a neighborhood that listens ...

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screenspeaking to industrial river ar-chitecture and attempting to communicate with its neighbors, wbyr's screen became the major design move. the formal, experi-ential, tecontic, and performance capabilities of a well designed rainscreen allowed the project to develop at a series of layers and scales.

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initially just a wall com-municating to the scale of the river, the screen then was frag-mented and pulled apart. the focus on user partcipation pulled the screen throughout the build-ing into inhabitable spaces. con-versely, the screen also exploded out proliferating throughout the bywater neighborhood.screen pulled through building

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screen wall forml explorations

screen pulled through bywater

formally, screen variations were also investigated. verbs like wrapping, splitting, and twisting could accompany communicat-ing. eventually however, a lack of clarity returned the screen to its near oiginal parti.

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developing the performance characteristics of the screen al-lowed it to anchor. an initial study was done to map out ma-jor areas of glazing responding to climate and views. a second iteration reduced that study into strips referring to the vernacular clapboard siding found on most shotgun houses. finally a third variation alligned break points with a curtain wall system and incorporated the led's as an op-erable sunshade further helping reduce solar gain.

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fenestration mapping

clapboard inspired variation

led's as performance aids

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colorcolor as spatial determinant. re-searching sauerbrauch and hut-ton's ideas of color not only as an emotional or pictorial element, but also a spatial one allowed the image of wbyr to finalize. color would move the screen away from imaging through led's and allow the interplay of material, light, and color within a wall system to create the experience of wbyr./

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intensity

radio stationand

corner

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the specled fenestration dia-grams naturally resmebled the old equalizers often found in radio station's providing an excellent precedent for a color scheme. just as when volume increases, the capacity for communicat-ing with wbyr is also registered on the facade as one nears the corner and production station.

the complete polychrome regis-tered as random so study models were made to explore the layer-ing of simple primary colors, and their mixture with light, to see if other variations could be gener-ated.

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wall section study

front backfront unlit

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primary color study

stripes of complimentary colors layered to create new colors

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walla shift in scale led the devel-opments guiding the screen to help shape the developments of the walls system. 1/4" wall sec-tions and assembly drawings were done to grasp issues like flashing, moisture barriers, and the overall performance of a wall system. by researching manufacturer's guide-lines and other details the project could begin to take on a sense of tactility.

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the rain screen system promoted a double skin facade, operability and controlled views and glazing would help the system respond climatically. a 3d wall section model was created to physically construct the wall from founda-tion to roof.

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foundation

roof

6'x9' concrete pile cap

6 68' piles

floor construction

1.5" finish floor1/8" epoxy1" plywoodsheets8"concrete slab1/8" moisture barrier6" gravel

roof construction

1.5" gravel1" mounting board4" rock wool insulation1/8" roof membrane1" mounting boardmetal roof deck

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roof and foundation details

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product research allowed the project to take on a sense of realness. 3 form xt resin pan-els were researched as means of achieving the colored opaque and transparent rainscreen. details obtained from the mainufacturer were used for aid in assembly

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likewise a curtainwall system was chosen. tubelite's cvw 3700 cur-tain wall system was chosen be-cause of its emphasis on oper-ability as well as capacity to hold hurricane resistant glass. glazing dimensions and flashing details were also used.

steel structure floor composition curtain wall-1 1/2" finish floor-1/8" membrane-1" plywood sheets-4" concrete slab-metal floor deck

-18" steel web joists 4' o.c.-1' steel columns-2 1/2' steel girders

-Tubelite CV 3700 curtain wall system-3'x 1 1/2" fixed IGU's-1'X 1 1/2" operable IGU's

wall assembly

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slab covering furring strips mesh grill-2 sheets 1/2" backer board- 4 1" channels 1 1/2' o.c.-1"plywood-1/8" moisture barrier-2" rock wool insulation-1" cover board-metal flashing

-2" heavy gauge steel channel

-4 4'9" steel mesh grills-2" welded steel frame-3" steel angle- 1 3/4" cable stays welded to 3" steel angle

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cables vertical channels clear 3 form panels

-5 1/2" eye bolted steel cables

-3 3" heavy gague steel channels 4'9" o.c. housing eye bolt connection

-4'9" colored trans-luscent 3 Form XT panels - 2" 3 Form Align welded steel center mounted clips

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solid 3 form panels colored sunshades hvac and drop ceiling-4'9" colored opaque 3 Form XT panels - 2" 3 Form Align welded steel center mounted clips

-3' operable colored sunshades attached to fixed IGU's

-18" round insulated duct-1/4" steel cables weled to 2 1" steel channels-4'x8' white metal mesh sheets

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a 1/4" wall section model was built to finalize ideas about construction. the color pal-atte was reduced to enclude only warm colors as the over-all gradient became muddled.the model is cut to show two sides of the main entry lobby. lights were integrated in the rear of the strucutral frame to display the interplay between panels as well as allude to the potential varia-tions in color with differing light levels.

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scheme

scheme

ground floor

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floor 2 floor 3

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1. event space2. radio station3. radio library4. production room5. radio reception6. flexible administration space7. meeting room

8. concessions9. gallery10. mechanical11. restroom12. data13. outdoor plaza14. cafe

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north east

building elevations

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south west

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service core

program assembly

event space cafe/gallery

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radio station curtain wall screen

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floor 1

structure assembly

floor 2 floor 3

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mechanical assembly

floor 1 floor 2 floor 3

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building sectionscross section a

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logitudnal section b

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south east corner

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radio station

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lobby gallery

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event space

thankyou