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The Lucidity of Place
Zinat Yusufzai
Thesis submitted to the Faculty and Staff of theVirginia Polytechnic Institute and State University inpartial fulfillment of the requirements for the degreeof Master of Architecture
Pia Sarpaneva, Chairperson
William Brown
William Galloway
November 2001
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Abstract
This project is a building in a town, for a town.Public, semi-public, and private spaces are de-signed on a narrow site. A simple, repeated formmakes the building a container for filtered sunlight.A secondary form is inserted into this structure, aclosed block in the open container. Three materi-als, concrete, stone, and wood, bring a greaterclarity to these parts, defining places and engag-ing the senses.
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We have fallen into the placewhere everything is music.
Jelaluddin Rumi
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Intention
A place. . .
of permanence and impermanence
for the community and the individual
of distinct parts
of light
A place to walk through, from one partof town to another
A place to hear music
A place to study music
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Downtown Blacksburg, Virginia, originally formedon a sixteen square grid, is a town of intentionalstreets and accidental passages. The site chosenfor this project is part of a spontaneous network ofalleys and parking lots people use to walk throughthe town. The project provides a pedestrian pas-sage and a music school for a group of teacherswho currently teach in their homes.
Blacksburg alleys
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photograph of site, currently a bank drive-thru; siteplan showing alleys and site
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Main Street Elevation
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Progress Street music school Main Street
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Draper Roada pedestrian route connecting a residential neighborhood andthe university, through downtown
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classroom block recital hall
passage
Main Streetparking lot
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Three spaces are differentiated on the site. A divi-sion perpendicular to Main Street creates a musicschool and a public pedestrian passage connect-ing Main Street with a town parking lot. The musicschool is divided transversely, providing a small re-cital hall on Main Street and a classroom block onthe parking lot side.
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The site is a container for a series of walls standingparallel to Main Street and repeated at a regularinterval through the building. Openings exist in thewalls. The walls become frames, holding placeswithin them. Within the container is a small, mas-sive block.
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studies of form and structure, in which the passageis an extension of the building. In the final form, thepassage is an integral part of the building.
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recital hall, from the passage
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Plan - Street Level
Main Streetparking lot
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Plan - Second Level
Main Streetparking lot
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The contrasting qualities of three materials maketangible the different places in the building. Thematerials give distinct character to spaces and de-fine places.
Primary materials
concrete: solid, coarse, neutral
stone: suspended, smooth, cool
wood: impermanent, yielding, warm
Secondary material
glass: invisible, indefinite
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Passage
Sunlight plays with the repetition of a simple form,creating a constantly shifting pattern of light andshadow.
The structure is a container for filtering, moderat-ing, combing, and reflecting light, and for makingtime and weather known.
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The frames are formed of pre-cast concrete pieceslifted into place and locked together.
Traces of formwork joints create a pattern, or�grain�, that continues across the surface of theframe.
Main Street facade of concrete and stone, with glass canopy
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The structure of the passage extends through therecital hall.
A transparent boundary allows views of musiciansin the hall.
A translucent boundary reveals movement and lightin the classrooms.
At three moments, the boundary is physically per-meable, allowing one to pass into the foyer of therecital hall, into the classroom block, or out of thefire stair.
classrooms, seen from the passage
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study of frame spacing and fields of view for recital hall and passage, section and plan.The view is controlled to allow interrupted glances of performances in the hall.
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A
B C A
control room
basement/mechanical
elevator file room solo practice rooms recital hall
foyer
stair
bathrooms
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B
passage classroom hallway elevator
C
passage recital hall
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At night, the play of light and structure changes.The source of light is the building, and the luminosityof the hall spills into the passage. The front wall isdark but for light escaping from the foyer into thecovered entry, and a faint light slipping through acrack in the stone wall. From the classroom block,the rooms glow an even, honey light as the wallsand lights warm the small spaces behind the frostyglass.
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Section of classroom block hallway
Classroom Block
A block is inserted into the structure. It is con-structed of concrete, poured in two foot layers.
Voids in the concrete mass contain boxes.
Wood boxes are rooms.
Stone boxes are transition spaces.
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Rooms are constructed of four inch wood slats ona frame, and translucent glass.
Transition spaces are clad in thin, polished, fourfeet square panels of stone, hung on a substruc-ture.
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But the eye also touches.
Juhani Pallasmaa
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wood classroom held within the concrete structure,
Classroom
In the classroom, the intimacy of a music lessonborders the publicness of downtown. One leavesthe concrete mass behind, and steps into a deli-cate, wood box, an instrument-like room.
The room is structurally separate from the con-
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crete building, and is isolated from external noise.Louvered walls can absorb sound, or reflect sound,resonating like an instrument.
sound reflection when louvers are open, closed
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Entrance
From Main Street, one walks under a glass canopy,through which light filters from above and falls atthe door.
One enters a tight, dark foyer of concrete, stone,and wood, a place to take off one�s coat and pickup a program.
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Recital Hall
Heavy doors open to the large, bright recital hall.
Here, where the town encounters the students,the materials meet in fluid concert.
Concrete frames
Wood infilled floor
Stone front wall
Light reflected off the concrete surfaces aboveilluminates the hall.
The music begins.
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Credits
�We have fallen into the place where everything ismusic,� Rumi, Jelaluddin, The Essential Rumi,Trans. Coleman Barks, (Edison: Castle Books, 1997),p. 34.
�But the eye also touches,� Pallasmaa, Juhani,�An Architecture of the Seven Senses,� Questionsof Perception, (Tokyo: a+u Publishing Co., 1994),p. 34.
All photographs taken by the author.
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Bibliography
Dunay, Donna. Town Architecture. Blacksburg,Va: Town of Blacksburg, 1986.
Egan, M. David. Architectural Acoustics. New York:McGraw-Hill, 1988.
Holl, Steven, Juhani Pallasma, and Alberto Perez-Gomez. Questions of Perception. Tokyo: a+uPublishing Co., 1994.
Levene, Richard C., and Fernando MarquezCecilia, eds. �Steven Holl, 1986-1996.� El Croquis78. Madrid : El Croquis Editorial, 1996.
Norberg-Schulz, Christian, and GennaroPostiglione. Sverre Fehn: Opera Completa. Milan:Electa, 1997.
Steele, James. Salk Institute: Louis I. Kahn. Lon-don: Phaidon Press, 1993.
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To my committee (and Mike O�Brien), my studio-mates, my dearest friends, and especially my family,thank you.
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Zinat Yusufzai
Master of Architecture, 2001Virginia Polytechnic Institute and State University
Bachelor of Arts, Religion, 1994Oberlin College
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