The Children's Garden: A Montessori School

By Dana K Elder

A Thesis in Architecture Submitted to the Architecture Faculty of the

College of Architecture of Texas Tech University in Partial Fulfillment for the Degree of

MASTER OF ARCHITECTURE

Dr. Hendrika Buelinckx

Chairman of the Committee

W. Mark Gunderson

Research Schematics Instructor

David A. Driskill

Faculty Advisor

ACCEPTED

Dean Andrew Vemoo_y,College of Architecture

Mav 2008

Acknowledgements

To my family (Olives)

For her unconditional love and support, my Mother

For his constant encouragement and ability to reason, my Manjit

For her undeniable humor and friendship, Tess (faye)

For her affection and devotion, Anjali Qubi)

Thank you all for inspiring me.

To Sunny, Stellaluna, Neo Skywalker, and Phin, you make life better.

And to everyone who so kindly offered their help. I am so appreciative.

The Children's Garden A Montessori School

Dana K. Elder Professor: Hendrika Buelinckx, PhD

Advisor: David A. Driskill, AIA

The most effective kind of education is that a child should play amongst lovely things.

Plato

Table of Contents

Introduction

Part I Thesis Identification

Part II Facility Characteristics

Part III Contextual Issues

Part IV Process Schematic Design Building Systems Qualifying

PartV Final Presentation

Part VI Reflection

Context Statement

The Children's Garden is situated in the newly developed Villages of Indian Lakes residential community in the city of College Station, Texas.

Project Scope

The Montessori school is designed for children, ages three to six, in the Preoperational Stage, as defined by Jean Piaget. Each of the three individual pavilion-classrooms accommodates 20-25 students.

Introduction

Presented in this program are the guidelines for the design of an educational facility to be located in a residential community focused on outdoor living in Brazos County, Texas. The primary function of this educational facility is to enhance children's sensory experiences in an atmosphere conducive for enriching their young minds.

The goals of this project include:

Designing to enhance children's sensory experiences

Designing to create an imaginative educational atmosphere

Designing to produce a functional and progressive learning environment

Designing to promote the coexistence between nature and the built form

Part I Thesis Identification

Thesis Identification

''Let's strive . . for a future where one can open the door and walk direct/y into a garden . .. "

1

Thoughts on Architecture and Nature

Exploring Architectural Theories

The following are excerpts from interviews and writings; these include eight architects' views about the relationship between the natural environment and the built form.

2

Emilio Ambasaz

THE "GREEN" OVER THE "GRAY" Architecture and Nature: Towards a Pact ofRtconciliation

The Greeks' conception of Man's creations as contrastingly distinct and separate entities from nature has

exhausted its intellectual and ethical capital. We must create a philosophical framework wherein

architecture is conceived as an integral component of that Man-made Nature we are willingly, as well as

unwittingly, creating. The task in front of us is to reconcile our constantly changing man-made Nature

with that organic one we have been given.

The Modem Movement in architecture of the 20's and 30's advanced the ideal of urban redemption by

proposing "the Building IN the Garden," i.e. the building surrounded by the garden; for example: 60% for

one and 40% for the other. However, in such an idea each one remains distinct and separate from the

other. The concomitant notion that "the cities are for the buildings and the outskirts are for the parks;" is

a mistaken and narrow-minded idea.

We must establish a "pact of reconciliation" whereby we have both, "the Building AND the Garden," i.e.

100% of one and 100% of the other, organically integrated, for in such contract the house "gives back,"

in the form of communally accessible greenery, all the land it covers. The buildings embodying such pact

should be accessible to the whole community, used by the members of the community at large as well as

by the corporation members who paid for it.

3

My work of the last three decades has striven to demonstrate that putting the "green over the gray," or.the

"soft over the hard," is a very simple, but powerful, way of creating new cities which do not alienate the

citizens from the vegetable kingdom, but rather, create an architecture which is inextricably woven into

the greenery.

Let us strive for an urban future where one can open the door and walk out directly onto a garden,

regardless of how high our office or apartment may be. There is now an ever growing body of buildings

exemplifying pragmatically how we can, within a high density city, reconcile our need for building shelters

with our emotional requirement for green spaces.

4

Ken Yeang

Ken Yeang is an architect and ecologist. In the following interview, CNN inquires into his strides to combine high rise architecture and environmental awareness.

CNN: How does being an ecologist relate to being an architect?

Ken Yeang: The ecologist has a much more comprehensive and holistic view of the world. We're looking at the natural environment as well as the hwnan built environment and the connectivity between the two -- how do the natural environment and the human-built environment interact and interface with each other. That means when we design a building we're not looking at it as an art object by itself. We're looking at its relationship with the natural environment and how the two interface.

CNN: What's your inspiration behind bringing ecology and architecture together?

KY: Biology I suppose. In my heart I believe that biology is the beginning and the end of everything. It's the biggest source of ideas, the biggest source of invention. Nobody can invent better than nature and so if you like nature is my biggest source of inspiration.

CNN: What exactly is eco-design? How are the building designed with these principles different from regular buildings?

KY: Eco-design is designing in such a way that the human built environment or our design system integrates benignly and seamlessly with the natural environment We have to look at it not just as designing a building as an independent object in the city or in the site where it's located. We have to look at it in the context of the characteristics of the site in which it's located, the ecological features and we have to integrate with it physically, systemically and temporally.

Physical integration means integrating with the physical characteristics of the place: Its topography, its ground water, its hydrology, its vegetation and the different species on the particular site. Systemic integration is integrating with the processes that take place in nature with our human built environment: The use of water, the use of energy, the use of waste and sewers and so forth. Both the human and the natural must blend together, so there will be no pollution and no waste. Temporal integration, means integrating the rate of our use of the resources in the earth and its material, and the rate of replenishment.

CNN: What are the advantages and approaches of the more holistic approach to building?

5

KY: I thlnk buildings should imitate ecological systems. Ecological systems in nature before we had human beings you know interfere with them exist in a state of stasis -- they are self-supporting, self-sustaining.

There are many characteristics in the ecosystem that we could imitate. For instance in most ecological systems you have a composite, biotic components as well as abiotic components acting together to form a whole, whereas in a human built environment most of the components are abiotic or they are inorganic. One of the first things we need to do is to complement the inorganic components with more organic components, and to make them interact to form a whole.

If you look into the way that materials are used in an ecological system you'll notice that you'll find that there is no waste. The waste of one organism becomes food for another and everything's recycled in an ecological system whereas in our human built environment there's a throughput system. We use something then we throw it away. But natural factors don't go away, they have to go somewhere so most times it either ends up in the ground or has to go to a landfill somewhere. We have to imitate nature and tty to re-use everything we make as human beings or recycle them -- when we cannot re-use or recycle them we should tty to reintegrate them back into the natural environment.

Another process that we should imitate is that in nature the only source of energy is from the sun. So in ecological systems everything comes from the sun through the process of photosynthesis whereas now in human built environment our source of energy is from fossil fuels, renewable, wood energy or hydro-energy but it is not from the sun. So until we are able to operate and run a human built environment by imitating photosynthesis it will be a long while before we can have a true eco-system.

CNN: Can the work you do be used to improve the ecology of current buildings?

KY: Yes. We shouldn't just look at new buildings but at existing stock building because that's an even greater problem than the new buildings being built. The renovation of existing buildings and making them green is just as important as designing new green buildings.

CNN: What would you do to an existing building to make it greener?

KY: I thlnk some of the ways we could make these buildings environmentally friendly, is just common sense. Better use of space, improving the insulation, getting more daylight into the buildings, reducing the energy consumption of the air conditioning and heating systems, making sure that the internal air quality is good, that we have increased natural ventilation opportunities in the mid seasons. You know these are some of the things we can do.

CNN: Can you tell us a little bit about the EDITI tower in Singapore?

6

KY: EDIIT Tower is a project where we wanted to exemplify all our ideas in one single building. I should add it is a tower and towers are the most unecological of all building types. Generally a tower uses 30% more energy and materials to build and to operate than anther structure, but towers, as a built form, will be with us for a while, until we find an economically viable alternative. My contention is that if we have to build these towers then we should make them as humane and as ecological as possible. It's a dirty job but somebody has to do it.

In the EDIIT tower we tried to balance the inorganic mass of the tower with more organic mass, which means bringing vegetation and landscaping into the building. But we didn't want to put all the landscaping in one location. We wanted to spread that over the building, integrate it with the inorganic mass and that we wanted to have it ecologically connected. So we've put the vegetation from the ground all the way up the building and that whenever the building.

Then we wanted it to be low energy, so we had photo voltaics in its fas:ade particularly facing the east and west side and on its roof so it would have its own energy source. We also wanted to collect water so that we could be independent from the water supply. We put water collection on the roof, but because the tower has a very small roof area we had sunshades which were scallop shaped so we could collect rainwater through them as well. So in many ways it feels like a human made ecosystem in a tower form.

CNN: Do you think cities around the world are ready for this new kind of building? Are we seeing a move towards better sustainable buildings?

KY: I think planners are aware of this. They've been aware for years but they have not been able to implement it because their bosses don't let them implement it. So for instance sustainable urban drainage system is extremely important but a lot of communities they don't practice it. Low energy design is extremely important and that low transportation, you know reduced use of cars and better use of public transportation affects the planning of cities. And so planners all over the world are aware of it, but some are in a better position to implement it that others.

CNN: How important is it for the future that we introduce and implement new kind of architecture?

KY: Absolutely important. 100% important, that's something that all designers in the world have to address today otherwise this millennium will be our last.

CNN: Are you optimistic about the future? What are your hopes and dreams?

KY: Well I'm eternally optimistic about the future. I believe that you know if we are committed towards it and if we continue to educate people and get the whole world community to implement green features and aspects in not just the built environment not just in their lifestyles but in their businesses in their industries then we're heading towards a green future. So it is a green dream for the future, and as Kermit the frog says it's not easy being green, but we should try to make it as green as possible.

7

CNN: Do you think by 2020 we are likely to see buildings of this type in our skyline?

KY: We'll see green buildings long before 2020 -- I think the movement is intensifying. Within the next 5-10 years we'll see a lot more green buildings being built Not just buildings but green cities, green environment, green master plans, green products, green lifestyles, green transportation. I'm very optimistic.

CNN: How important are these buildings to the future of the world in regards to climate change?

KY: I think green buildings are extremely important but it's only part of the equation. A lot of people think that if I put a green building everything is going to be fine, but actually it's not just the green buildings we need, but green businesses, green governments, green economics. We have to extend the greening of buildings to our business and our lifestyles -- that is the most important thing to do next.

8

Patrick Blanc Vertical Garden

The Vertical Garden was conceived after many observations in natural environments. The Vertical Garden relies on a new way to grow plants without any soil. Since its weight is very light, it is possible to set up the Vertical Garden on any wall, whatever its size.

The Vertical Garden can be implemented outdoor or indoor, in a climatic environment. The plant species selection is mainly set according to the prevailing climatic conditions. The Vertical Garden acts as a phonic and thennal isolation system. It is also an air purification device.

The Vertical Garden, From Nature to Cities -Abstracted

The Vertical Garden on concrete walls: a shelter for biodiversity and a cleaning .rystem for cities.

The Vertical Garden allows man to recreate a living system very similar to natural environments. It is a way to add nature to places where man once removed it.

Thanks to botanical knowledge, it is possible to display natural-looking plant landscapes even though they are man-made.

In any city, all over the world, a naked wall can be turned into a Vertical Garden and thus be a valuable shelter for biodiversity. It is also a way to add nature to the daily life of city inhabitants.

Because of its thermal isolation effect, the V erti.cal Garden is very efficient • and aids in lowering energy consumption both in winter and in summer.

The Vertical Garden is also an efficient way to clean up the air. In addition to leaves and their wellOknown air-improving effect, the roots and all the microorganisms related to them are acting as a wide air-cleansing surface with the highest weights to size efficiency. It is thus an efficient tool for air and water remediation whenever flat surfaces are already extensively used for human activities.

9

Jean Nouvel Interview with Jean Nouvel w#h Chantal Beret/ Alain Fleischer

Vegetation Interview

The ephemeral dimension infers a rapport

between architecture and ephemeral elements.

Vegetation is one of these and is of course very

fleeting, very sensitive and very changeable. So I

see vegetation as a complete part of

architecture. It is not a single decoration, a

simple aleatory environment or a mere obligation.

It is an intrinsic element of architectural language.

And in playing with fleeting phenomena and

revelations of the instant, one is as attentive to

the variations of the light within a single ray of

sunlight in a stormy sky, as one is to the rain, the

dew, the fog and the seasonal changes in

vegetation. All of these elements make up several

features of an architecture that continually refuse

to be unchanging. Because the old notion of

perpetuity has always been produced similarly

presented architectures. And once you introduce

time into the perception, we enter a dimension

we are now more familiar with: time in relation to

image as introduced by cinema which is very

important in architecture.

We often compose architecture from a

passage of a known length of time, from

sequences lying on a particular passage of time.

And then, the very idea of fleeting becomes an

integral part of this composition. It is the most

infinite part of this temporal dimension. How do

we grasp this? How do we awaken this sensation

from elements as fragile as a drop of water, a ray

of light, vegetation moving in the wind, the color

of a leaf or a vegetal filter? These things are

10

important because they're so vibrant and by

extension often moving, in the confrontation

between fleeting and perpetual.

All my projects are specific strategies. So,

if vegetation is an architectural material it's

used differently in different projects. It serves

the concept. It serves a particular "situational

poetic." The way of using vegetation would be

very different at the Embassy in Berlin, at the

Guggenheim in Tokyo, or in Guadalajara where

we compose geometric shade with the aleatory

shade of trees on small colored buildings on scale

within the city. Of course, all these things are

hyper-specific. And hyper-specifics is my stock­

in-trade.

The Richmond project 1s really an

infiltration project. Where the architecture sets

out to enhance the surrounding scenery. Here

we are not sure if the scenery is in the building, if

it's reflected on the building, if it's surrounds the

building or if the building is real or virtual. It's an

interplay that serves a pre-existing place. It's

possibly the most discreet project that I've ever

worked on.

11

Frank Lloyd Wright

Frank Lloyd Wright and the Principles of Organic Architecture By Kimberly Elman

Frank Lloyd Wright introduced the word 'organic' into his philosophy of architecture as early as 1908. It was an extension of the teachings of his mentor Louis Sullivan whose slogan "form follows function" became the mantra of modem architecture. Wright changed this phrase to "form and function are one," using nature as the best example of this integration.

Although the word 'organic' in common usage refers to something which has the characteristics of animals or plants, Frank Lloyd Wright's organic architecture takes on a new meaning. It is not a style of imitation, because he did not claim to be building forms which were representative of nature. Instead, organic architecture is a reinterpretation of nature's principles as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself.

Organic architecture involves a respect for the properties of the materials-you don't twist steel into a flower-and a respect for the harmonious relationship between the form/ design and the function of the building (for example, Wright rejected the idea of making a bank look like a Greek temple). Organic architecture is also an attempt to integrate the spaces into a coherent whole: a marriage between the site and the structure and a union between the context and the structure.

12

Richard Meier Retrospective

Meier's designs still evidence the ideals of the New York Five. In 1972 the five architects - Richard Meier, Peter Eisenman, John Hejduk, Michael Graves and Charles Gwathmey- published a book entitled 'Five Architects', in which they traced their modernist ideas on autonomous architecture and a return to the premises of Le Corbusier's work. Meier especially examined Le Corbusier's spatial and stylistic principles: layered composition, abstract concept of space, formal clarity and a complete absence of ornament. For instance, in his design for the City Hall and Library in The Hague, he utilizes geometrical shapes, a frequent use of footbridges and his characteristic facade of white metal panels. He has also used a lot of glass, making the building very light and the surroundings highly visible.

To this very day Meier has remained true to the New York Five's nickname, 'The Whites'. White for him is one of the ways to achieve a powerful, clear form: "It is the color which, in natural light, reflects and intensifies the perception of all of the shades of the rainbow, the colors which are constantly changing in nature, for the whiteness of white is never just white; it is almost always transformed by light and that which is changing: the sky, the clouds, the sun and the moon."

Meier's buildings are not only in a built-up city centers, but often in an open setting, allowing for the integration of the architecture with the natural surroundings. In Meier's view Man will never succeed in equaling nature, and so should not seek to imitate it. Rather the contrast between nature and architecture actually enables us to expenence nature with more intensity.

13

Lake I Flato Architects, Inc. Lake I Plato's Six Principles

Land

Our work grows from the land­enhancing, connecting to, and at times repairing the natural landscape. Our buildings create a heightened awareness of the land and a strong connection to the environment.

Light

We consistently explore how the light of a specific region enlivens a space, brushes a wall, and animates materials.

Craft

We embrace the nature of materials and find inspiration in the simplicity of industrial and agricultural buildings. We find fresh solutions for traditional problems.

14

Community

Our design process seeks contextual cues at many levels, from a neighborhood to the region. Our goal is to stitch together fragments-to mend, connect, and make more vibrant and livable communities.

Between

Our buildings blur the line between indoors and out through spaces that expand beyond their walls to form outdoor rooms. Spaces between buildings are as important as the buildings · themselves.

Sustainability

Environmental issues have always been central to our design approach. By employing sustainable strategies, we design architecture that conserves energy and natural resources, while creating high performance buildings and healthy built environments.

15

Thesis Statement

The interaction between the built environment and the natural environment generates an understanding of the world; this coexistence creates an ecologically self-supporting, sensory-enhanced educational atmosphere.

16

Thesis Case Studies

" .. . create an architecture which is inextricabfy woven into the greenery. "

17

Rosebery House Highgate Hill, Queensland, Australia 1995-1997

Andresen O 'Gorman

The house is divided into three parts~ssentially three pavilions, connected by a series of decks. These decks are neither classified as interior features nor exterior. This division is intended to allow light and the vegetation to enter the house. Oodidio, Philip) .

\•

• I

[

L

18

Byrne Residence North Scottsdale, Arizona, USA 1994-1998 Will Bruder

Will Bruder describes this residence: ''The sculptural design concept of this residence is one of creating a metaphorical series of abstract canyon walls and masonry, emerging like geological gestures from the home's natural desert site."

The home's design is in response to the clients request for an energy­efficient and organic type of architecture. The home is intended to be in harmony with the natural setting. Qodidio, Philip).

19

Lucille Halsell Botanical Conservatory

San Antonio, Texas, USA Emilio Ambasz

The garden is designed for those unable to visually experience the beauty of their surroundings. Once a visitor passes through the metal gates, an oak guardrail aids in locating a ceramic model of the layout. A series of metal plaques in large Braille type describe and identify the plants.

It features traditional formal gardens, native Texas flora and tropical vegetation. And much more: a special rare and endangered section of Lone Star State plants and perhaps the most satisfying display is the accessible, handicapped attraction the Garden for the Blind.

This imparts a processional quality to the conservatory's circulation sequence: the entrance pavilion with its symbolic tree; the long, wide arcade lined with fruit trees; the peaceful fem room with its water cascades and refreshing mists; and the special events rooms. This procession culminates in the grand palm court, where a ramp wraps around a forest of trees, connecting gracefully with the green roof that becomes another component garden. While recognizing regional vernacular in organizing the buildings around a courtyard, the project also provides a unique design solution to the problem of constructing a greenhouse in a hot, dry climate by using the earth as an insulator. (The Garden).

20

Part II Facility Characteristics

Facility Characteristics

''Amongyoung children, the line between fantasy and reality is delightfulfy fuzzy. "

1

The Montessori Method In the ideal classroom, children would have unfettered access to the outdoors .. .

History: As a continuation of her post-graduate work with the intellectual development of mentally retarded children, Dr. Maria Montessori developed, The Montessori Method. The successful practices allowed Dr. Montessori to continue her research and techniques with children of average intelligence. While running a day-care center, she "used the opportunity to observe the children's interactions with materials she developed, refining them as well as developing new materials with which the children could work. This materials-centered approach, in which the teacher primarily observes while the children select materials designed to impart specific concepts or skills, is a hallmark of Montessori education" (Montessori Method).

The Montessori Method: emphasizes self-directed activity of children & observation from teachers.

This method stresses the importance of adapting the child's learning environment to their development level and the role of physical activity in absorbing academic concepts and practical skills.

2

Jean Piaget

Jean Piaget was a biologist who moved into the study of the development of children's understanding, through observing them and talking and listening to them while they worked on exercises he set before them.

His view of how a child's mind worked and developed has been enormously influential, particularly in educational theory. His specific insight was the role of growing up and a child's increasing capacity to understand the world in which they live.

He proposed that children's thinking does not develop smoothly: instead, there are certain points at which it takes off and moves into new areas and capabilities. This has been taken to mean that before children reach a certain age they are not capable of understanding things in certain ways; this has been used as the basis for scheduling today's school curriculum. (Atherton , J S)

"Piaget's work on children's intellectual development owed much to his ear!J studies of water snails." Satterly

3

Piaget's Key Ideas

Adaptation I What it says: adapting to the world through assimilation and accommodation l I Assimilatio~ The process by which a person takes material into their mind from the environment, which may mean changing the evidence of their senses

I to make it fit.

'A<=odati~ [ Tho <iiff<«•tt m•do m •~'• mind n< =ttP'" by <ire pro=• of u•imili>tioo J I Note that assimilation and accommodation go together: you can't have one without the other.

~-Cla_s_s-ifi_c_a_n_· o-n----:1-..Th_ e_a_b_ili_·_ tyt_o_gr_ o-up objects together on the basis of com= features. I Class Inclusion The understanding, more advanced than simple classification, that some classes or sets of objects are also sub-sets of a larger class. (E.g. there

is a class of objects called dogs. There is also a class called animals. But all dogs are also animals, so the class of animals includes that of dogs)

I The realization that objects or sets of objects stay the same even when they are changed about or made to look different. J r The ability to move away from one system of classification to another one as appropriate. I

Conservation

Decentration

_E_ g_o_c_e_n_tn-"s_m ___ r:n:-belief that you are the centre of the universe and everything revolves around you: the corresponding inability to see the world as someone

j else does and adapt to it. Not moral "selfishness", just an early stage of psychological development.

D;eration ~process of working something out in your head. Young children (in the sensory-motor and pre-operational stages) have to act, and try I mmgs out in the real world, to work things out (like count on fingers): older children and adults can do more in their heads.

Schema (or r The representation in the mind of a set of perceptions, ideas, and/ or actions, which go together.

scheme)

r Stage f eriod in a child's development in which he or she is capable of understanding some things b=u=t=n=o=t=o=t=he=r=s-=-=---==========~

4

Stages of Cognitive Development

Sensory-motor (Birth-2 yrs)

Stage

Pre-operational (2-7 years)

Concrete operational (7-11 years)

Formal operational (11 years and up)

Characterized by

Differentiates self from objects

Recognizes self as agent o f action and begins to act intentionally: e.g. pulls a string to set mobile in motion or shakes a rattle to make a noise

Achieves object permanence: realizes that things continue to exist even when no longer present to the sense (pace Bishop Berkeley)

Learns to use language and to represent objects by images and words

Thinking is still egocentric: has difficulty taking the viewpoint of others

Classifies objects by a single feature: e.g. groups together all the red blocks regardless of shape or all the square blocks regardless of color

Can think logically about objects and events

Achieves conservation of number (age 6), mass (age 7), and weight (age 9)

Classifies objects according to several features and can order them in series along a single dimension such as size.

Can think logically about abstract propositions and test hypotheses systematically

Becomes concerned with the hypothetical, the future, and ideological problems

5

Facility Space Requirements to accommodate 120 children, ages 3-6

Center Support Spaces

Space Nam es No. l l sers Di1ct'fo1's Ofti1 <' - - -- - - - - -;\-,..,isr.1111 I >in·1·1111

- --S('t'l('f.11\ -- - - -

E11t1~ Sp.HT

\\ 11rl, Sp.11" - - -- - ~- - -

C1111k11·11t" -----

l11t1·11111'dt.1tl' --- -- - - -- - - - -I x.1111i11!_! Kitt'h<'n

lntl'rior l·:.11i11g - - -- - -I·:, I<'• io1 I ·:.11 in!,!

Lower Kindergarten (ages: 3-4)

Space Names No. llsers

:J.'Si: 15-20

-2! 15-20

Sq ft No. Required Total

250 250

Sq ft No. Required Total ~ • • • 1 '

~ ... ~ .._ ~ . . 300 2 600

100 2 200

6

Upper Kindergarten (ages: 4-5)

Span· Namt·s No. l 'scrs Sq ft

Skqiing 15-20 400 -- -- -- -- -Pl.1~ I I .e.1111i11g 15-20 500

S1or.1g<' C11hhi,·s tS:.20 100 - - -- - - -- - - -

Primary (ages: 5-6)

Spacl' Names No. liscrs Sq ft

Pl.1~ / LL1mi11g 15-20 500 --- ---- -- - -Stor.tgl' C11hhil's 15-20 150

l.iln .1 I'\ 15-20 300 - - - --- -- - ~---- -

Project Total Net: 11,300sqft Using an efficienfY ratio of 60/40% (13.fficienry Ratio/Net Area)

Gross Area: 16,950sqft

Restrooms Mechanical

1.5% of Gross Area: 254.25 7.5% of Gross Area: 1271.25

Storage 1.0% of Gross Area: 169.5 Walls, Partitions, Structure 8.0% of Gross Area: 1356 Circulation 22.% of Gross Area: 3729

Interior, not including Entry; Exterior Covered

On Site Parking 15 LIJading/Unloading 30 V isitor Parking

No. lfrquit'l'd

2 2

2

Total N et:

7 260sqft 7 1,300sqft 7 170sqft 71350sqft 7 3800sqft

Total

Tot.ti

7

Outdoor Courtyards/ Gardens

The greatest gift of the garden is the restoration of the five senses.

Hanna Rion

• Learning Garden a garden through which children may learn through exploration and discovery

• Growing Garden a garden through which children may learn through patience and compromise

• Rock Garden a garden through which children may learn through tactile experience

• Living Garden a garden through which children may learn through observation and understanding

8

Defining the Abstract for the intellectual development of children

Senses Any of the faculties, as sight, hearing, smell, taste, or touch, by which children perceive stimuli

originating fro.m outside or inside the body

Kinetic Motion Movement education with fitness development for children

Spatial Refinement Relating to, involving, or having the nature of space

Motor Skills The ability for children to perform complex muscle-and-nerve acts that produce movement

fine motor skills: small movements like writing and tying shoes

gross motor skills: large movements like walking and kicking

9

Play /Learning: Types of Play Adapted from Lawrence Kutner, Ph.D's article, Types of Plqy

On!J those who look with the eyes of children can lose themselves in the object of their wonder.

Eberhard Arnold

Play is the work of childhood. It is the laboratory in which children determine how the world works, who they are, who they might be, and what they can and cannot do. Not all play is the same, either in its style

or its effect.

10

Symbolic Play

To an infant or a young toddler, a block is a block. If she has more than one, she might stack them or pull them apart. But once she's about two years old, she can start using blocks for much more. In her eyes they can become a house, a car, or anything else she wants.

Toys become symbols for other objects. Your child may try to feed her doll as if it were another baby. If you look carefully, you may see that she sometimes holds her doll or teddy bear the same way her parents hold her.

1bis type of symbolic representation shows how sophisticated her brain is becoming. It also allows her to prepare for or work through potentially frightening events. For example, a savvy pediatrician who needs to check a child's ears for infection may begin by looking in the ears of the doll she brought with her to the exam. That allows the toddler to anticipate what will happen to her and helps remove her anxieties.

11

Parallel Play

Toddlers need playmates, yet they play with them quite differently from the way older children play together. Place two 18-month-olds with similar toys near each other in the same room, and you'll note that they don't seem to pay much attention to one another.

But look more closely, and you'll notice that if one picks up a truck, the other is likely to do the same. If the first child looks at that truck and says, "No", the second is likely to imitate him and yell, "Nol" as well. If the toddlers are old enough to have more advanced verbal skills, you might overhear them having what sounds like a conversation that doesn't make sense. "Puppy ride car." "That's a big truck!" "Is puppy hungry?" "My truck. Vroom, vroom!"

This is an example of parallel play. Unlike older children, who interact and communicate directly, toddlers play in parallel. While they may appear to be playing independently, kids this age are keeping an eye on each other's behavior. Parallel play is often a first step in forming strong social relationships outside of the family. Parallel playmates are your child's first friends.

12

Imaginary Play

Among young children, the line between fantasy and reality is delightfully fuzzy. An older toddler or a preschooler can fight dragons or fly to the moon, all without leaving his bedroom. If you want to build a child this age a fort, all you need are two chairs and a blanket to drape over them. Pretend play serves many purposes and pushes the boundaries of play. It allows a child to explore new ideas and experience life from a different perspective.

Starting at around age 3, pretend play often expands to include the creation of imaginary companions. These pretend friends often do things that the child cannot or dares not. A pretend buddy may be highly demanding or speak rudely to adults and older children. He may have magical powers or tremendous strength or wisdom. This is a way for a child to experience life from a different perspective and to toy with the notion of power.

While the appearance of an imaginary companion sometimes worries parents, it should not. In fact, it should be celebrated. Research by Dr. Jerome Singer at Yale University found that preschoolers who had imaginary companions also tended to have greater imaginations and bigger vocabularies than their peers who did not. In addition, they were generally happier and got along better with classmates.

13

Collaborative Play

Preschoolers progress from solitary and parallel play to collaborative play. It's at this stage that a child learns to master important new social skills, such as sharing, taking turns, obeying rules, and negotiating. These are all very difficult behaviors for a young child to learn. After all, at this age, your child believes she is the center of the universe.

14

Active Play Growing Tree Toys

Play that involves movement and physical activity. Active play is the perfect type of play to tucker any youngster out! Whether running around in the yard, or building sand castles at a local playground, active play is an essential part of a child's development.

Some examples of active play are:

• Riding Bikes • Swinging at the playground • Kickball

15

Cooperative Play Growing Tree Toys

Play for a child and a group of classmates. In any environment, children learn from watching other children play and interacting with them socially.

Some cooperative play activities are:

• Interactive pretend play • Basketball • Board games

16

Creative Play Growing Tree Toys

Play that explores a child's imagination and makes something out of nothing: A box of crayons, construction paper, pipe cleaners, scissors and glue. They are all staples in the school, but when they come together in the hands of a child, they become magical works of art. Creativity extends beyond art, entering a world of music, dance, and building.

Creative play includes such things as:

• Painting • Sculpting play dough • Building or creating crafts

17

Dramatic Play Growing Tree Toys

Play that involves pretend and make believe, or whatever the imagination dreams. What may seem commonplace opens a whole new world of possibilities to a child.

Dramatic play can include:

• Simple role playing • Using props to create a "new" environment • Creating scenes or situations with dolls and puppets

18

Manipulative Play Growing Tree Toys

Play that involves hand-eye coordination and motor skills. Children need the opportunity to work on finer skills that involve a little more control and direction. Manipulative play develops the sense of coordination, challenging their little fingers to follow the lines or use their tools properly.

Some examples of manipulative play are:

• Coloring, especially in a defined area • Paper crafts and art involving moving parts that need to be "put together" • Using a safe and simple tool kit to help with tasks around the house

19

Quiet Play Growing Tree Toys

Play that keeps children's mouths shut but their minds open. Playtime for children should have the opportunity to be quiet - the playtime for which adults are sometimes grateful! Children need quiet ti.me to intently digest the items in their learning environment, like books and puzzles. Quiet play provides children an opportunity to think and reason and can include such activities as:

• Beading a necklace • Working on puzzles • Reading or looking at pictures

20

''Spaces like the classrooms in many of our schools are not what are required. W~ do children like playing outside amongst nature, or seek out the untidy or incomplete, ruined buildings or building sites? Buildings which offer young children the chance for them to re-order, complete, or knock them down provide their brains with room to grow and mature. "

Matti Bergstrom

21

Facility Case Studies

'The intention is to awaken the intelligence of the [child] so that he or she may flower in

goodness"

22

Rishi Valley Education Center Andhra Pradesh, India

The intention is to awaken the intelligence of the student so that he or she may 'flower in goodness'. The cultivation of a global outlook, a love of nature and a concern for our fellow human beings are all part of the scheme of education. Some further goals of the educational philosophy of Rishi Valley School are:

• To educate students so that they are able to explore both the world and their inner being

• To inculcate a love for nature and respect for all forms of life

• To create an atmosphere of affection, order and freedom without either fear or license

• Not to condition the students in any particular belief, religious, political or social, so that their minds may remain free to ask fundamental questions, enquire, and learn

Based on this philosophy, teachers attempt to create an atmosphere of space, freedom, care and security in which students are helped to enlarge their horizons and grow.

The school is concerned with developing the individual talent and intelligence of each child. (Rishi Valley School).

23

Bubbletecture Maihara Kindergarten

Bubbletecture Maiharah Kindergarten, Shiga, Japan Architect firm: Shuhei Endo Architect Institution Client: Mayor of Maihara-cho

Spaces created for children must allow their imaginations to roam free!J

Bubbletecture Maihara Ki,ndergarten,

in Japan, is a two-story nursery that was built using flexible timber beams held together by hexagon-shaped metal fittings. The finished design is a continuous wave structure, worlds away from the four walls that normally divide children's

spaces.

It comprises four nursery areas and a spacious communal play area. 'Space' was considered to

be key.

Gtollfld i nd fon : floor ~uns 1 Ent'>.,rr ] ~f>J~h tO~nl

J Pf"0(1 pJr ) roor,,

.:su.1r 1C'Q1r

s t .:.:- Jt)"

6 (Ml•~(U 11 Pool

7 (C'lrtUJ\Uf\•: , lt\)O •oom 12 Co11fc-,cf'\Ct' t1X101

II S!"'•&• 1 J ( cMtullit' :i" ruo rn

9 J-f• J'IOOft\ 14' U.a!.iunm

10 ( 1.alvoom

24

Architect Shuhei Endo said, "Open space allows children to play freely. The ambiguity of it actually stimulates their imaginations. They can explore their feelings without restraint. Architects should not create inflexible spaces that children cannot change."

When describing the building, the children themselves make a connection

with nature saying it reminds them of "pleasant spaces where there are lots of trees" (Dudek).

25

Part III Contextual Issues

Contextual Issues

1

Educational Significance

College Station is home to the main campus of Texas A&M University, one of the premier universities of

Texas and the flagship institution of The Texas A&M University System. The city owes both its name and existence to the university's location along the railroad.

Texas A&M's triple designation as a Land-, Sea-, and Space-Grant institution reflects the broad scope of

the research endeavors it brings to the city, with ongoing projects funded by agencies such as NASA, the

National Institutes of Health, the National Science Foundation and the Office of Na val Research.

Due largely to the size of Texas A&M University, College Station was named by Money Maga!(j.ne in 2006 as

the most educated city in Texas, and the 11th most educated city in the United States.

Local unemployment hovers under two percent-the lowest in the nation. This is driven in large part by

the significant role the university plays in the local economy (College Station, Texas).

2

College Station Demographic Report Source: U.S. Bureau of Labor Statistics and Texas Real Estate Center

Employment

The oil bust forever scarred employment trends during the 1980s across the state. Texas emerged from a recession in the early 90s with tremendous vigor and record growth. The same is true for College Station. Although the rate of growth has varied from year to year, employment gains have steadily increased since 1990. The majority of the employment growth is correlated to the proximity to Texas A&M University as well as other resources in Houston. Professional and research and development oriented activities are driving employment in the private sector as tenants are attracted to Texas A&M's Research Park and College Station's two business centers. The largest area overall employer is TAMU with over 12,000 employees. Traditionally, the Bryan-College Station area has not been associated with industrial or manufacturing activities. Of the largest private employers, food production, medicine, software/technology, retail, banking/finance and building production are all represented.

Labor Force

The Brazos Valley, including College Station enjoys some of the lowest unemployment rates in the state. However, this does not come without a cost as College Station continues to deal with underemployment issues. Underemployment results when portions of the labor force are either working in positions or fields in which they are overqualified. Locally, unemployment rates mimic the trends of the larger regions in Texas, but continue to remain very low due in large part to the economic stability of the largest area employer, Texas A&M University. Since 1990, unemployment rates have remained consistently lower than that of the larger regions, particularly in the State and U.S. The economic decline associated with the events of September 11th, 2001 appears to have had little impact on the Bryan-College Station area, thus far. (Planning & Development)

3

·Demographic ·Insights into lggieland AccnrJiilR to rhc ttttnr 21.••• Cauus, c,.aq_..: :;,,.. nnn • ~;oldn, ind mr~ •ullU!ban t..11 ... 11 ~

11ins Ill thr dwxleri>rin of 1 c:ulltp: t• .,.'n.

•IT«riu1111d)• rcfrtTCJ to i.,· in .. / li:tftl.uJ.

PDpllatioa \~lie 8'Y"n ~ rhr ont uf Hr:uo• r:,...,,,,~._ C:ullti,..:

~..,..... forthto fcnr tinw, rttt~ .. 1hr

~I ell)' In the county a• ,.TU•• the ,,...'Ct\ C"•>Ulttf

~ rcfmnt 1n .. ,ht~ \·al~. r: • ..i~ ::rarinn ~ 'T'l'",_'m;ncl)· 4S~ • n( th<'

!'l'fl'lbli<on in Hrv.°" r:.""''l· The e<l!TmUliry··

Jl'U'41h and I"'~' C'lontinuco tn be 1icJ en 1h11 <•f

Tn11 ;\&:.!. l'.nnil!mtn1 tnnrimtt0 to hm"tr 1n11.,.J

45.0fll ttudrni.. l\liM•• lhl-..n '"'"I"" c1"'1i111JC11 '"

WN' K",.~h and rnony sna.lcnts "" C'l><nn.UtJ II

1'AMU. 1llc rnrultrion nfCnllqtc :;ution "'1

2ll 21t

~ .11 .. 11 .. er.•

1,m

.!: .• ,940 ·1eso 11190 1970 '* 2000

l'ri<tr 1u 1hc l'IYI Cnnu.. otuJn11'1 \\Tf'r CoK1n1tJ

in 1hc1r h<omrt•,,.,,s. C.ulk1,'l' :'11n1111 re 2'1.4" •

la~ in ;)101 dun ir "'2> in t?'Jll TIU. iq>tt<mt•

~ a\'l'hflC •MWI fllC 11( ll""''lh of •rrn••inuln~

.1• .. . \• • 'C<ollq(r ''"''II'. the median •!IC 1......U..

h,.,.., i"'' undc. 2l c:,""l'M>llvd~-. 1hr mcJun ~

rn TC'! .. innn,...f '""" ,IWI )'\':Ir. In l'J')U"' ~!.'

~<'•no rn ~Ul In Cullq..'< l't.iio111, lllo• •

nf tll<' porub1~10 n Ill )c:&r> 1nJ '"Tf • ..., s·r~,. 21 ~....,.. :anJ '"'" ·

""

Rai:e/Etbicity

.... .,, lft ." ." ....

... .... ,. ... ,,.,. .... ..... ..... <1•• ..... llt•ll .. ,. lt•ll

11•1<

U•11

t1 .... .... .._.

C:ul!.'lt<' ):101ion ( mtf):OJ ., • ft't1J1 oi lnm-••nl

...... 1 fot rubhc tl:T'ltt< ~·in<l thr ,,. ... ,nJ.nc< nf

th< "''"""'' '!'hr 1nt.,.,.1am u( '"'""" 1"'1 tra·

norit,... al 'lhn .\&!II .nJ ••hn focl•1" lt"uhnl

In roriJ ~nnh ot 1hc l.'nn·""iry 1n th< f')(lll ....i

~II>. T.\Ml" 11 .. l".,.u;,,....,J i1Sdi •• 1 ' "fHMch

,,,. .,.

.. lft

··~ ... .,.. ,.,. :•,. '·"' ., .. I"'

'" .... ,,.. ~ t"' 11'

lfKllllihnn, 1nncrinjt t niJmti ("""' 1111 M'Ct thc! "wlJ.

Trn1"f<'C"I o rC"•ilJrw S11rinn rnidcntt att of

I li•ranic <1hnidfr. Sintt 1'1.IO. rhc tlhftanlc p'f'Ubrinn ~• lncn-1...S .f~~:.. In the! l9IW lwlaw.

'.\1.\1'' ~'""tu .\mrric•n lndUn/ ,\ltiun N1titt..

t-

: ....

Non Hilpenie White Non Hilpenic Bleck Non Hilpenie AIAN Non Hilpenie Asian Non Hilpenie Othet Non Hilpenie 2 OI mole l8CeS

Hllpenlc WMe Hlspenie Bliek Hltpenie AIAN Hlspenie Ae11n Hllpenlc Other Hltf*l!c 2 or more l'ICel

75.n. Ii.•~ 0.2% 7.3~

0.2% 1.3~

•.K 0.1% 0.1~ 0.0% •.3~ o.~

100.0%

4

College Station Independent School District Mission: in partnership with the community, to provide a quality education that prepares our students for the challenges of life. Success each dt!J ... each life ... each hour

CSISD BOARD PRIORITIES

Priority 1: Actively communicate to the community, staff and students the District's strengths and challenges in an environment that promotes trust

Priority 2: Promote a learning environment that is safe and results in academic, social and emotional success while encouraging a healthy lifestyle for each student

Priority 3: Maximize resources in order to create highly successful students

DISTRICT IMPROVEMENT PLAN

Goal 1: All students will achieve academic success.

Goal 2: Educational opportunities will meet the unique academic, social and emotional needs of all students.

Goal 3: Educational practices will be predicated on scientifically-based research.

Goal 4: Parents and community members will be actively engaged.

Goal 5: A safe and supportive environment will be provided for all students. (Mission Statement & Goals).

5

Elementary School Attendance Zones

CSISD Elementary School

6

Non-Residential Architectural Standards

SubmltUI Requl,.mettt All attllltectutlll subm1tt11S shin provide etevatlOn drawlf19S for each f~de and a m11tenal le9end (see Sllmple 1'9end below) ror each racaoe.

City of °"'91! Station SAMPU! LEGEND

USE OF MATERIALS Ott F~DE 'A'

Total Square Footage or F~ade 'A': 10,000 s.I.

M1terlal A,.1 In 5qu1,. r:..t Pff«lnt of overall Fac.cle

Stucco 2L~_!._r. ___ ___ 2.fl'.11> enci 5 ooo i.r. SO'lb

Doots and Windows 3,000 s.f. 3.Q'!b

91cyde P1rtclnt Eech buildln9 Sllall provide a fecilitv capable or storino a minimum or four (4) bicycles. The Mell prov!~ for sud\ a facility Sllall be app<oxlmately 55 square reet In area, approximately nine feet by six feet (9' X 6' ), Di as approved by tile Administrator.

Apptoved blcycte ladlltleS shall utmie the d6ign and di..-slons Sllown below.

The Following Charts are abstracted from the Site Design Standards from the City of College Station Planning &

Development Services

7

Non- Residential Architectural Standards

TrM Wells (At Grade or Raised): for ot~ra<le t~ wens, 11 minimum 72 Inell square tree grate with a 16 Inell diameter expandable tree opening Is required.

Raised planters should be 11 mlnlmum of six feet by six feet (6' x 6') and two fffi ( 2') high. The maximum height Is three feet (3'). The bottom of the bed must be ~cpt OPC1I and planting son should be cultivated Into the 0"91nal soil to encourage roots to e$(8pc from the bed Into surrounding son.

--

8

Landscape & Streetscape Standards

Submlttal ltequlrement All landscape Ind strtttscape submlttats shall provlc!c a Je<;1e<1d JndUOJno Information suctl as species, size, quantity, polnt value of plantings, and over all point totals

Cfy .. C.,..-SAMPLE LEGEND

LANDSCAPING POINT CALCULATIONS

SYMBOL NAME POINT

SIZE & TYPE QUANTITY VALUE

r#d1""1Uoll lll4Qtlllllnrtf't

~~ -0-.... ... ...,._. ,,...._

rtor l.IWfC#."Wf ,,. 1•1'1Hl --- ~-r:-

1'1'01•,. \ 'flfl0Mflll1 . "" ... ,..,.,,.,., ......._

..,_,,,. ,...,_

ti •rt'~..,.. ~wt()lll,..~1• . ""°l..M>'A•

,,__ __ ~~ ---

.. .. ...... -- ~f..,,. lQ..'J ..... ....., .. ....... ~;- .-.. ..

-----------·--

POINT

~ JC'lliJCHC:ArtO TlelfS ro• C:OJ(SftNCtU>WITHWt«»tONN«".C P\.MTICOOfr«51JCl.C~ hEffN()AN)$(o;lll0lOSTlh. l~'S ~ fOW~EOfd~EA.AO>C>H>GAf(O MltSA~ DdfNa Cf' t'fOltlVfkY '"CAlft$tOI TRrl ~IC.IOI UJSf DI n<ttv.Cl ~ f01Hf~L(Al(tilT~1tvrfYA.9MUA$~1'l-CC~TA'JIC11Qfri1~S.S

I Tit[ I TfCN"( · ttl6SJ" l !l01 • )OCPT$ •&":)Pf$ tt>&Sr , 151• ee»IOf'Y fftlE9

IONtS Pflt""°'1(CT AMCA: '9.•L6)SOJAlll rtlf Ol 9'l( Aid.A 11."• ) J ' 000. :0 .. , JO&l:al0•1W$•1'9)1"()N'JS

TOTM. NINtt MOUIMO: tAtl

T'" PreMrvatlon To receive barrleac!ed points for existing trtts, they muSI be barrlcac!~ one loot per calll)ef' inch. A blmcac!e c!ctall muSI be prov!ded on the lanc!scoJ)e pllln. 8'1mcac!cs must be In pl1<e pnor to any actMtv on the property 1ncfudln17, but not limited to, 9radif19. If Jn any event the required barrlellc!es arc not ln 1)13ce pr10< to any Ktlvltv and maintained during construction, barncac!ed p0Jnts will be lorfcrted.

9

Landscape & Streetscape Standards

10

Landscape & Streetscape Standards

Pa.nttng&Jst This list contains ~er-al speOeS that dO w~I In the COiiege Station area. Not ~ species wut perform well In all locations, and some SP«1t's have dctrlments that nttd to be consioere<i. careful eval"-'tlOn or the Site, SOiis, available 9row1119 area, and climate nttdS to be exercised wh~ selectl"9 species.

C.nopy Tree. common Na~ Cedar Elm

UveO.k Winged Elm Water O.k

Chinese Ptstachc Chinese Elm

BYrr Oak Bald Cypress WlllowO.k

Shuman:! Red Oak caro11na Cheny Laurel

Eastern Redcedar Leyland Cypress PeQn Texas Plstaehe

54wtooth Oak

Western Soa~ry

Non•C:.nopy TNfl Common Name Tcras Red Bud

Tree Yaupon Crepe Myrtle Possumllaw Horty

eraororcs Pear Chinese Fringe trtt Eve·s Neddace tree

Japenesc 81.Kk Pinc MexlCan Ptum

Ornamental Pear Prairie Flamelear Sumac

Red Buckeye Rusty Blackhaw Viburnum

Tex.s l<ldneywoocl Tcxas Mountain Uturel

Scttntific N11mc (Ulmus crassifotla) (~ vlft}lnlll)

(Ulmus ala/11)

(Que«us n19ra) (Pistaci 11 chlnen$1$) (Utmus parvifotia ~pervtrens)

(~ mact0earp<t)

(Taxodium dlslkhum)

(~phtl/OW)

(Qucrcus Shumard/I) or (Q. lexana)

(Prunus arolinlaM) ()unlperos vlrplflianll) (CupressocyparlS leylllfldli)

(C4ry11 ifllnoifltflSfS) (Pistachla 1eufl11)

(Q llCCUliSsitnll)

(Saplndus drummond1)

Sclen//flc Name (Cf'ICIS c4n11deflS/S)

(/lex vomltorlll) (La~t~mla /fldia)

(I/ex decldu11) {Py/VS species) (ChioMnthus rcrususJ (SOphora affinls)

(Pinus lhunbcrplana)

(Prunus meJttcan.t)

(Pyrvs c.trteryano) (Rhus lanc~ta) (AesculUS pavla) (Viburnum ruf/dutum) (Eysenhardtlit ICJtllM)

(SOphor11 S«undlflOrll)

11

Landscape & Streetscape Standards

Tex.s~mmon

wax Myrtle

Non•polnt Trees

(Oiospyl0$ te1t1n11)

(Hy~ cerile")

Thrse spedes may 9row well In lfle area, bl.It due to dt01mental factors they Wiii no< be cons!~ for points.

Common Name Scientific N11me

Mzona Ash (FFll•lnus velutln11 '11rl1on<1')

Black WlllOw (S/llht nlgr11)

Chinese Tallow (S/lpium selllf«vm)

Cononwooo (Populus delto/des)

Cotl<scrcw Wiiiow Mimosa

Mulberry Pfne spedes

Siberian £Im Sllwf" Maple Weeping Wiiiow

(Sali'lt -tsud11n11 'tottus.t ')

(Albllllll jull~n)

(Hotvs 1111>1)

(Plnus species)

(Ulmus pumll1)

(Acer SMCharlnum)

(Salix tMbylOnlell)

Shrubs (pleH• be aware that dwarf spKIH are not ,,.rmlttH In required KN•nlng areas or In required buffer areas) common Nllme Scientific Name

Abella (Abella granc!lnora)

Althea (HiblscuS SyriltCUS)

Agnto (Beft>c!rls trifoltoiata)

American Beautybeny (Cil/liurpa 11merclana)

Aromatic Sumac (Rhvs 1rom.ttic)

Burford Holly (/~'It comut11 'burfordl')

Clrolln• Buejctl\Om C.st Iron plant Chinese Holly

~a Elaei19nus flamct Acanthus Fraser's Photina

Holly Fem lnd14n Hllwthom Juniper species Nandlna species Pineapple Guava Ptttosporvm Pyracantha

ser1su Spirea

(Rh/lmnus c11rollni/lna)

(Aspldlstr11 e/11t1or)

(l~1t comuta 'rotund.t')

(Temstromlll gymMnthera)

(Et1e11gnus macrophylla)

(AniS.tc11nth11S quadrifldus 'writtli'J

(PflOtlnl/11t 'ftilserf')

(Cyrtomlum fate.tum) (lll>itph/olepls lfld>u) (JunlpetllS spedes)

(Nllndlm1 sptttes) (Fel~ sellowl11n11)

(PittOSPOrum tovlra)

(Py111c11n1ha species)

(5eriSs.'I feet~)

(Spirea species)

12

Landscape & Streetscape Standards

Vlbumum Owarl Wax Myrtle

Wax1eef l l9ustrum WhltebtuSh WoodF~

Y•upon

(Viburnum odoratlsslmum) (Hyttu pusNl.J) (llgustrum }llpontcvm) (Aloysia 9rallsslma) (Oryopterls normolis)

(lleJC vomltorla 'nana'J

Grounckov•n •nd VlnH (g,._ mun b9 • 1*'9ftnl1l) Common~ Scttnttflc Name

Af9trllln Ivy (HNlcra ~"naMl>sls) Asian Jasmine (Ttachtlosptrmum aslatleum)

Boston Ivy (Part~ trlcU$p/d11111J Qrollna Jessamine

Confedef•te JHmlne Conti Honeywckle

Cross Vine En9t1Sh Ivy Creepln9 Juniper Utlope Monkey Grass

Spiderwort Texas Uln~ TrumpetV.ne Tuli<·s~p

Vinca Wisteria

Stl'fftScllpe Pl•nt List

Canopy Trees Common~~

Cedar Elm uveoak Winged Elm water oak Chinese Plstache

Post°'" Bun' Oak

Gotdenreln Trtt Bale! C'f P<l!'SS Wiiiow oak Red Oak

(Gelsemtum semper1111ens)

(TracM/oSptrmum }llsmltlOkk-s)

(Lonlcc!<11 ~pervlN!ns)

(Blgnonl<I apmitata) (Htdttll he/ilt) (JunlPtflJS hoffzontallS)

(LirlOt>t muse11rl) (OphtoPo90n J1po111Cum)

Tr~antlll SP«itSJ (Lantana horrlda) (C4mpslS rM1ic11ns) (H.71vavisCU$ artxNeus 'drvmmond1rJ (Vina major and v. minor)

(Wisltrl• slntnslsJ

Sctenllfic Name (Ulmus cr.JSSifollo) ( Quercus virgin ta I (Ulmus .ti.tlll) (Quercus n19ra) (Pist«ia c/llnenslS) (~US ste/lalll) (Quercus mll(l'OClllJ'6)

(KoelN!ut~a panleul.tto)

(Taxodium dlsllc/lum) ( Quercu$ pheltow)

( Quercus Sllumardi!)

13

Landscape & Streetscape Standards

Non-canopy Trees Red Bud (Cercls an11denS1s) Tree (Yaupon (I/ex vomttorlo) Cnlbapple (H11tus species) Tree C~ Myrtle (t11getStt0tml/l lndlU)

Shlnln9 Sumac (Rhus copalfna) Possuml\aw (flex dKKJua)

Hawthom (Cr.Jteagus t.) Bradford ~ar (Pyrus species)

Texas Mt. l.eul'(!I (Sophora s«undl!Jora) Mexlean Plum (Prvnus mexlc.sna) Rusty 61ockhaw vibumum (ViOCJmum rufldulum)

Pl•ntlnt• for required buffer •ncl SC"'41ftl"11 .,.. ... Photlnla sp. (Photlnla x fraserl) Waxleaf Ugustrum (LlgusttVm }llpon/Cum) Yaupon (llex voml/Ori.s)

Burford Holly (/lex comutil) Nellie Stevens Holly ~a Gtffn Juniper Juniper species

ln<lian Hawthom Oleander

Pampas Grass Texas 5'19e Eleagnus Plttosporum species

Vrl>umum slM!cieS

F1»ter's Hoity Primrose Jasmine Compact Nandlna, nandlna carollna Ulurel Cherry Pineapple GuDVa

Texas sage sp.) Wax myrtle (dwarf)

(I . .squ/fO/ium x I. comu/11)

(Junlperus chlncnsls) (avoid species of Junipers wllh IJilgworm susceptlblllty)

(Rh.sphlo~s lndleil sp.J (Ner/um oleander sp.•red or white are the hardiest) (C«tad~ ser11»na sp.)

(Le<Kophytlum frutescens} (Efeagnus spp.) (Pi//osporum spp. 9.-i or varlegotecl Is llt>St but still may frttrc} (Leatherle11f Viburnum Viburnum fnilCropllyllum 0< sp.) (llex x att~uat11 sp or /lex cren.stil sp.J (Jasmtnum mesnyl (). prlmullnum) (N11ndlna domestlc.s 'compacta' Dwotf

not permltlN.) (Prunus carotlnllJna 'tsnght 'n Tight)

(Feijoa ~llowlana,) (te<Kophytlum frutescens 'Greendoud' or

(Hyrlca. cerifcro vor. pumillJJ

14

Historical Context

• • •

• • • • • •

•

•

•

• •

1860: The Houston and Texas Central Railway built through the area .

1871: The site was chosen as the location for the proposed A&M College of Texas .

1876: The first public institution of higher education in Texas was opened, Texas A&M University .

• 1884: Population reaches 350

• 1900: Population reaches 391

1910: Electric Interurban service is established between Texas A&M College and Bryan, Texas

1910: Business district known as Northgate began development.

1920: The interurban was replaced by the city bus system .

1930: Community north of College Station incorporated with Bryan, Texas

1938: College Station is incorporated

1939: A zoning commission was established for the city .

• 1940: Population reaches 2,184.

1942: Ernest Langford, called by some the "Father of College Station," was elected mayor, an office he held for the

next twenty-six years.

1943: College Station moved to council-manager city government.

• 1950: Population reaches 7,898.

• 1960: Population reaches 11,396.

1965: The local IG&N line is abandoned .

• 1970: Population reaches 17 ,67 6

• 1980: Population reaches 30,449

• 1990: Population reaches 52,456.

1997: George Bush Presidential Library opens in College Station 1999: Twelve are killed and 27 injured when a huge bonfire structure under construction at the Texas A&M

University campus collapses. • 2000: Population reaches 67,890. • 2005: Population reaches 81,699. (College Station, Texas).

15

Geographical Context

The local climate is subtropical and temperate; winters are mild with periods of low temperatures usually

lasting less than two months. Snow and ice are extremely rare. Summers are warm with occasional

showers. (College Station, Texas).

• Average annual rainfall: 39 inches

• Average elevation: 367 feet above sea level

• Average Temperature: 68 °F

• Agricultural Resources: Cattle, corn, cotton, eggs, hay, sorghum

• Mineral Resources: Sand, gravel, lignite, gas, oil

16

Site Information: Masterplan

The Villages of Indian Lakes is a unique residential community with an emphasis on conservation.

17

Aerial View

18

View from Old Arrington Rd.

Clovis Pointe Park Clovis Pointe Park

19

Site, View to West Site, View to East

Clearing at Site Clearing at Site

20

Hiking Trail Recreational Preserve ~~~~~~~~------~~......_-

Lake Arapaho Lake Arapaho

21

Deed Restrictions

• Architectural Control Committee (ACC) ensures harmony of external design,

color, materials, and appearance of homes and landscaping

• Minimum home size of 2,500 sf heated living space

• 80°/o masonry or non-sheet materials

• One single-family dwelling per lot

• Exterior antennas or satellite dishes cannot be visible from access road, trail, or

common area

• Fence construction must be approved by the ACC; no wire or chain link fences

visible

• No duplexes, apartments, manufactur~d housing, or mobile homes

• Signage Restrictions (Deed Restrictions).

22

Ambasaz, Emilio. "The "Green" over the "Gray"." Green Cities. aila.org. 03 OCT 2007 <http:/ /www.aila.org.au/ nsw / greeningcities/ papers/ proc_amba.pdf>.

Atherton , J S. "Piaget's Developmental Theory." Learning & Teaching. 2005. 03 OCT 2007 <http://www.learningandteaching.info/learning/ piaget.htm>.

Bibliography

Blanc, Patrick. "Walls." Vertical Garden. APR 2008. 03 OCT 2007 <http://www.verticalgardenpatrickblanc.com/ >.

"College Station, Texas." Wikipedia the Free Encyclopedia. 2008. Wikimedia Foundation, Inc. 03 OCT 2007 <http://en.wikipedia.org/wiki/ College_Station,_Texas>.

"Deed Restrictions." The Villages of Indian Lakes. 2006. The Villages of Indian Lakes. 30 Apr 2008 <http:/ /www.villagesofindianlakes.com/ deed/>.

Dictionary.com Unabridged," Kinetic Motion." Definitions from Dictionary.com. 2008. Lexico Publishing Group, ILC. 30 Apr 2008

Dictionary.com Unabridged," Motor Skills." Definitions from Dictionary.com. 2008. Lexico Publishing Group, LLC. 30 Apr 2008

Dictionary.com Unabridged, "Senses." Definitions from Dictionary.com. 2008. Lexico Publishing Group, Ll...C. 30 Apr 2008

Dictionary.com Unabridged, " Spatial Refinement." Definitions from Dictionary.com. 2008. Lexico Publishing Group, LLC. 30

Apr 2008_

Dudek, Mark. A Design Manual Schools and Kindergartens. 1. Berlin: Birkhauser Verlag AG, 2007.

Elman, Kimberly . " Frank Lloyd Wright and the Principles of Organic Architecture . " PBS Online 03 OCT 2007

<http:/ /www.pbs.org/ flw /legacy/ essayl.html>.

Kiser, Kirsten. "Richard Meier." arcspace.com. 15 APR 2001. The Netherlands Architecture Institute. 30 Apr 2008

<http:/ /www.arcspace.com/ architects/ meier/ meier_nai/>.

Kutner, Lawrence . "Types of Play." Parenting Advice --Behavior 03 OCT 2007

<http://www.pampers.com/en_US/leaming/ page/ tpc_article_details/ topicld/207 / type/ 101/ contentld/ 12081 .do>.

Jodidio, Philip. Byrne Residence. Architecture Now. London: Taschen, 2005.p 56-61.

Jodidio, Philip. Rosebery House. Architecture Now. London: Taschen, 2005.p 34-39.

"Mission Statement & Goals." College Station Independent School District. 2008. CSISD. 03 OCT 2007 <http:/ /www.csisd.org/ pages/ mission.html>.

"Montessori Method." Wikipedia the Free Encyclopedia. 2008. Wikimedia Foundation, Inc. 03 OCT 2007 <http://en.wikipedia.org/ wiki/ Montessori>.

Nouvel, Jean . Personal interview with Chantal Beret/ Alain Fleischer. AUG 2005.

"Planning & Development." The City of College Station. 2008. The City of College Station. 30 Apr 2008

<http://www.cstx.gov/home/ index.asp?page=313>.

"Rishi Valley School." RISHI VALLEY EDUCATION CENTRE. 2006. Krishnamurti Foundation India. 30 Apr 2008

<http:/ /www.rishivalley.org/ default.htm>.

San Antonio Botanical Society, "The Garden." San Antonio Botanical Garden. 2007. City of San Antonio Parks and Recreation.

30 Apr 2008 <http://www.sabot.org/?nd=gardens>.

SMgardener, "Vertical Gardens - Living Walls." The Grow Spot. 15 NOV 2007. Garden Plants and Gardening Forum-The

Grow Spot. 30 Apr 2008 <http://www.thegrowspot.com/know/f5/vertical-gardens-living-walls-53838.html>.

Trinidad, Robert. "Overview." Vision. Lake Flato Architects. 30 Apr 2008 <http://www.lakeflato.com/>.

"Types of Play." Growing Tree Toys. 2008. Growing Tree Toys. 30 Apr 2008 <http://www.growingtreetoys.com/about.php>.

Yeang, Ken . Personal interview with CNN. 20 JUL 2007.

Part IV .Process

College Station Information

S()il Regions of the United States Southwest Prarics, Cotton . anJ Forage Region

The so ils a rc mo Jcrarcly deep; they 1-(cncra lly ha\' c a th ick. u ndr surface layer and sand~· subsoil. abuvc a somewhat poorlr draining la~cr of cla~··

--·~ .. "'

:\\·cragc Tempera ture: (>8 °F

:\veragc annual rainfall: ~)9"

\llXA'7AUNlk~C_,

~ ,..__.._._.......,.r]]] ... -· i:- ..... . .... - r'-+-.j,..--l--·1--1--<-~

~ • ~ ~ ~ • • m • • -:-\ v c r a g <.> c 1 c " n ci o n : 3 (1 7 ' a b o ,. c s c a I c v c I

l\lincr~il Resources: Sand, g r a\"cl, lignite, gas, oil

:\ g r i c u I t u ra I R c s o u r c c s : C a rt I c • c o r n , c n tr o n • c g g s , h a r

Wimer December 21

South

~ Winter Sunrise

South

Summer June 21

Winter Sunset

Em

West

',

Nonh

/

275' --- ·~ ----

Summer Sunset

Nonh

Summer Sunrise

Sun Angles

! 85.3'

=LLl--8 L!

I

Solar H eat Gain is greater in the morning if the windows face east of True South; if the window is oriented west of True South, mo re gain will occur in the afternoon. The width of the overhang increases surprisingly

with each degree of orientation away from True South. Pilkington Sim Angle Calc11lator

Circles

Pavilions and Gardens

Circles and spheres are found in every aspect of our experience. Identifying one's self with any point on the circle itself is to become tangled amongst the beginnings and endings; the centre is the place for observation. buddhamind.infoci

Pnlllo• 1 1hltu At"•tu e• , Dtll u , T••u L•h lPlu • I• C•ll •~•utl•• •II• Oalullir· Oneu. , t lHt• I Hlluu, Dt ll u , Tttu. t.•h l Pl11e Arc•IHUt

Ati,u : nt11u Atll•uH•. D tllu, Tc•u L•hll"hH I• C•ll• lli• n ll• • • h " n &lu•1· Gnc iu. •••II th&ha CH IU, ... . .. .. ... T1•n t 1h l fhH• Au•hulo

-. Garden / P atio

lj.u4u / P11lo 1 D•llu "'"'"n•, D• ll11, Tuu ' ·" ' ' ''" ' 1. c.11.11i . .. 11 .. •Ir• ua1 .... ,.o .... c.

Llour St••• 1hlh : t;1•1t M• tH, At t1l t, Tuu L1hl rl11• Arcllihuo

Lake I Flato Precedent Images

l • • t lou loo/Dl1co· ... r1 ; &1l1•u Tuclrl••u, i•• A111rt •lt, T11u Loh I Ph i• Aullil ucu

These precedent images provided visual ideas to be incorporated in the design .

Materials

· D es1g . n Board .. Schematic "(_

~

d ·gn ideas Initial project es1

II I l ll . .. , ,, ~ . ,.:;·1 :r ~

7

[" '" = I

n I

Building Sections ·

Slab on grade foundation and light-wood framing systems with stacked stone and wood boards

Arbors

Arbors: Wood columns, spaced 5' on center, and connected to 2x6 and 2x4 wood beams, 2" steel tubes, and wood deck.

T ht' C:hi1Jrcn'$ Garden ' \lt> fl t C'••of l St hno l

1\"'" , .. .,. .. '"' ta, ••••••O••• •t1•••• Ut ~. I •••It••• •• ,,4 '"' t•l•ttl ••"' ••t•• f t•lt"• ,, "'"'' " '° .II••.,,••• ••• 1., u ••••• 1 .... u .... , ................ u, ••'' .. •r "''' ........ •••••· · ' ,.,,. ,,,.,. ...... ,, ...

Pt•lut .. •npt ,.,,,.,,,I•''" r•••tt• ''' ••• •• ''' ••• ~ .. , •'-• ••• t• •• ••''""'"•••I ru.•01, 1.,,.,,. • • , .. ,.,, .. ,, ..... , .. " , ... ., •• ,, ..... ,,,_, ,.,,., ......... l••• f1 '·· · · , •• t• ••• , , •• ,11 ..... ,,,. ,, • • , ..... , ,., •••• ,

h H t•l1u1 It'''••'• •••••tt ••t1orh•o1 I• I• ,..,,,,...,,_. t1t.l11Ht l•t 101t•~t 1h 1 t•• • lf • ......

••• It •••••••••

,, ••• ,. ... ,. , ,41 ............ .. • ., ............ out •• ,

\

' .

' 1$1

' .. " . ... .-

....... , ... t t.. . . .

•• u ., ...... 1, •• • I' ••

11 ... 1 ......

'"tt ..

•

. ........... . ...... ..... .. u ••• ••• .... . ......

......... tll• , ••• . ... , ...

'•"'' I It• •I••• ti 1 •· "' I •'

J ••I I le• ••t•• I I I• .. I ••

•••• 1 ' ••••• , •• ) 14• t I e•

•••• t fl•t•I•• I I e• "' t a•

Qualify ing Board La y ou t

" '

,.,.

••O• • t •••II•• ' . - . . .

-'••·• ...... ····· ..... . :.-.::.:..~.::::::-· :::... .. .. ::.-·

. ......... ,_ ............ , ·­.. ~· "'!:.!-- - -

w I

• • . I

Qu a l ifyi n g Presen t ation fo r Mas t e r De sign S tudio

Qualifying Site ·

The Qualifying Review site plan lacks a predominant entry and an appropriate building orientation.

Part V Presentation

The: C h iltlr c: n '$ G Hel e n

••• • ._ t It• ••• 11 It ., "•••••••• tlo•••• • • .,,1.,,

' ,.,, ••· • ' "''''

1\tolo •••••••••

''· , ......... , ...... ... ···" ............... .. . t II tf l \ Oto• O• ••••t ti ett .. l t t o o• • • lllt•I ... •f ~ · o t ' ''' IOoo oooo "t•to l!ro•oo ta O· •'• 1 fll,, o•ll .. ,, ..... , ....... , ....... ,, ,, ............... , .. .. f" •••••• "·<-1r• , •••••••••••• , •• , ...... ........... h• • ••

'''''' ••i• tl .+1·••• • ' 1u1lt•1 ''"'"'"'"'-'••t11f ....... ,, ' .••••• -· ... , ... , , .. ........ .... t. •••••• ••• •• Ito, .... ,,. ,.,, ........... , .. . ....... ,, ,,1" ' "o ol o• o• 1• •1-.•t "'"' ''''''''*'I•'"' ...... , .......... lo .............. , ............... .

II

--·- -- --·····­_ ... ,_ ·····-···

~ ••

I

"

Final Presentation

'!_t .:

_I I

•• Q

·.

--==:-__ ,_..._

F i na l Prese n tation fo r M as t e r Des i gn Stud io

I -:-"" ol

01 o, ' 0

0 01 0

I

•-~1

I I i I I

'

/1 Site context diagram:

I

.-; · ~\ . ':)

\ \;\ ~ · <3- \

Aerial Site Plan

' -0 ..... / \ r \

/." \ .--· \ j\ . Mesa VCidCDf

· , /1 1 l ~ ~\ 7r ';~1 / ~V~

\:. I J, \/)) 1" / I' \ \\ I .. ;;0- / \ ,~, ~ \, \ ____ _ rC'4 (' \ \ -:;:::.----

/~ \\ \ \ \~~ I \ 1? ,, / ........_~, ~·

' \~

\ ~~~ · ~

The Children 's Garden, and The Villages or lndian Lakes

The Plan ' . '~ I

n

._ .... -' " I• r.:

....,. ...... .

I - ~ /'°"\ ------...... ;"-·v ( T

• • \. J. ....... ,./ -"'1 • ~~''' ' ""

l' ' ~ .. __... ---1"' •tf w1 . .. •! '

; ' ...• .....,..J

···::::::::~ -~~ 1 ;

,.,.,,-· \ I : ..... , ) ' .

:,,... .. \. '>.....,\:. : ::: '-( ~ \.j ~ ~_.___; ..... :

J _/ i t t ' I .. I '' 1

f I~ • • l l : ' i...!.....c..!-,,,,,,.~· ··· · . . .

t ,: II :: I ,/""_.. ;~,,..'\.

I · r r · .\,.\!..,/ ............ .

....,. :

Site and floorplans

Model ·

Fences

The lighter shade of green denotes the mult ifunctional , semi-collective spaces of the school.. The individua l learning and play spaces for each age group are represented with the

darker shade of green .

L d ~<?O

1

, 11 I 1\1 ·L- - • l 11 .1 1 1 · 111.iu II t

I ;: j __ _._j § . -" ""'"·

~ ' ~ r 1 1 1 J-~--1 E""'""' n'"'"""""""I" . ;: " - . -o: 'ZJ cg~ _..,, ..

-s - I -i- · . I §,, I I I .: L •. • 1 j ~·.!.~" "'"" "' .a ... .... ... 11 1 ' uhtu '

These brid ges create a

From he•llngmagichands.com

Gardens

Log Sliut, froin Ruggiero's Found Objecu

-While vegetation is plentiful throughout the site, there arc .also two fen ·ccd gardcn·s : A vegetable garden, and a found·objects garden, whue the children a·rc encoura·ged to bring

in objects to be recycled into . flower-planters.

Arbor

Pcrformancc

.. ... . .................... .. . . . . .. .. .. . . . . . . . . . . . . .. .. . . . .. . ... . . . . .. . . . . . . . . . .. . . . . . . . . . .. . .. .. .. ...... .. .... .. .

I

~·~ f . -.. (, - . , ...... ....

, . . '1 , .. .

Prlm:uy

,. Arbors cover walkw a ys and add aesthetic value to the site. The tallest arbors serve as

communal nodes . Over time, the arbors will be covered with regional vegetation.

- 11' Arbors - 9' Arbors 7 ' Arbors

M:odeled Arbors ·

Arbors Model

Floorplans: Lower Kindergarten ·

lai

The primary activity space a ts as a central entry node. The octagonal pavilion is a place where children and their teachers begin the day with morning circle time . The low stone, 8', pavilion houses the library. Reading boxes give children the opportunity to climb into

the wall and hover over the ground while reading books from the library.

-, I

0

. - - .. . .. . ........ -- . . ............. .

Floorplans: Primary

Vcgcuble Gatdm

..... . .. ... . . .. . . . . . . ' ......... . . . .. . . . . .. . . .. . . . . . . . :-.-:-:-:-:-:-:-:-:-:- 1 .:·:::~/!:~:=:::::::

Floorplans:

..J..----

Upper Kindergarten · v I

I I I I I

-{

The administration pavilion faces the parking on the west side of the Entry Pavilion. Parents who choose to walk their children into class may pass directly through the adminis­tration building. A conference room offers teachers, staff, parents, and students an oppor-

tunity to observe the central play space and children's everyday activities .

[ . . ,

~ r ', • l ,I ,}

Entry Pavilion

The Entry Pavilion is a transition space and a wait i ng s pace for drop-off and pickup. Through further e x ploration, the space could also be used as a multifunctional play and learning space. School programs may also take place h e re, a s well as the outdoor, inner

co u rtyard.

Entry Elevation

u ' c • Northcut Elevation

The materials used in the school include: limestone cladding, wood boards, and metal roofs.

Elevations

North Elevation

East Elevation

1,, > <

South Elevation

\Vest Elevat ion

The materials used 10 the school include: limestone cladding, wood boards, and metal roofs .

r·~ •.'• I ..

• . l ,\ ..

Site Sections

-,C • : \ (l.- - .. ' . . ' I

.:fSfr"1 r mn'Att:TM1 11]]~, , ft " , = •

Section All

\&...,J e p

Building a nd Site Sections

Part VI Reflection

Further Research Entry Pavilion & Waiting

Creating a mult i functional space within this pavilion will allow children the opportunity to utilize this space throughout the day with activities such as : outdoor arts & crafts, performing arts, cycling, etc. In designing a waiting space for children, one must take into consideration the i r energ y level. Therefore a smaller outdoor waiting space with plays capes would serve as a beneficial design s t r a t e g y

Further Research Growth

\\

r-, r

axis of the arbors may be extended to the west and south, creating radial growth potent a 1

Further Research Playscapes

Because this site is densely forested, it is possible to create playscapes that use tree trunks rather than columns .

Strong

The natural environment and built forms are separate systems that can coexist with thoughtful design . Holding to the idea of

creating separate pavilion spaces and connecting them with nature, provides the child with a sensory-enhanced experience . This design encourages children and teachers to take full advantage of nature.

Points to Ponder

To Improve Upon

While this design is func­tional for the child, there is very little imagery to repre­sent the child's perspective. It is important to remember who the design is for, and to be able to c ommunicate that successfully with the client. The individual outdoor spaces for each pavilion cur­rently do not have outdoor storage for play equipment, which is a needed and neces­sary design component.

Rishi Valley, Andhra Pradesh, India Reflection

After visiting the Rishi Valley Education Cen t er in Andhra Pradesh, India, and observing the inte r action students had with their natural surroundings, I was inspired to create a school fo.r young children to enhance their sensory skills through nature. My sisters both attended Montessori schools until first grade . The individualized focus they received, from their experience at the school, has been highly beneficial. The goal of this project was to design a habitat for children, where their imaginations and minds have the ability to take in and create as much as possible.

As the design process moved forward, I found myself becoming more attached to this project. I traveled to the site several times to experience what the children would feel and see everyday upon arrival. The notion of, throwing open a door, and walking directly into a garden, encouraged the design process. I was determined to produce a learning environment which encouraged children to be outdoors, and to experience their natural surroundings.

I believe in this project. Another year of design development would bring upon more advantageous changes to the project. However, within this semester's time, I am confident that I have made great strides towards my own design ideals and prin­ciples. This project was incredibly enjoyable . It consumed me, and quite frequently I dreamt of arbors and gardens, design ad justments, and pla y scapes .