keegan thompson
DESCRIPTION
ÂTRANSCRIPT
Spiderlace
SpiderLace was created for the Love Lace competition put on by the Powerhouse Museum in Sydney, Australia. The International Lace Award seeks to encourage contemporary design and challenge conventional notions of lace and its application in the areas of fashion, built environment, and digital media. The worldwide competition was open to all fields of practice. The competition defines lace as an openwork structure whose negative space is as important as the structure of the lace itself.
The project was originally concieved by Natahn Howe, professor at Kansas State University. Professor Howe recruited a five person design team to assist him through the design development phase and realization of the project. Each member of the team worked on the design, using the voronoi design to create the overall lace pattern.
Spiderlace was inspired by an experience in Professor Howe’s early childhood. He recalls seeing a spider web early one morning, covered with dew.
seeing a spider web early one morning, covered with dew.
This experience has influenced his design thorughout his career. The conceptual de-sign emerged from this memory. From this point the team worked with Professor Howe to develop the design.
When it came to selecting materials to cut the pattern into, metal was the first material. As the design process progressed a decision was made to use a material that was both lightweight and had the ability to hold itself, as well as both sides of the model. A lightweight card stock was selected, using acrylic for the connections. The project was completed in late December 2010 and shipped to Australia. Spiderlace will be on display at the Sydney Powerhouse Museum until August 2011.
The early iterations helped to develop the vornoi pattern as well as develop the shadows cast by the differing patterns on each side and the interior acrylic pattern. At this point it was discovered that having the acrylic in between the two sides was more of a hindrance than an asset, as it interfered with the top and bottom as well as the connection in the middle.
The curve was developed to allow Spiderlace to be freestanding and displayed without exterior supports that would interfere with the viewing experience.
As the development progressed, the scale of the model was increased to investigate the ability of the paper to hold up and act as the main structure of the entire project. It was discovered that the card stock would hold up, but deflected enough that another structure would have to be developed to increase the stability of the project.
Competition
In the final build of Spiderlace one more problem was discovered. After it was built the project stood for about twelve hours before collapsing due to the paper strength. In the redesign frames were built along the seams of the panels to increase their strength. This adaptation worked and the model was constructed again: this time the project stayed upright for a full week. Spiderlace was dismantled and packaged for shipping, to be constructed in Australia by a colleague of Professor Howe’s. The project was assembled and on display at the Powerhouse Museum in Sydney, Australia for the duration of the show.•
Top: Illustrates how the colors on each interior side when hit with light will reflect the color and cancel out the color on the other side. Shown here is the blue being cancelled and faded out by the reflection of the yellow.
Bottom: Illustrating the acrylic connections between the two sides and between the top and bottom of the project.
Competition
The Historic Langgatta District is located in the heart of Sandnes, Norway, at the southern most end of the fjord. Within this area is the most important street in Sandnes, Langgatta. Located along this street are the oldest buildings in Sandnes, making it a very special place for the older generation in Sandnes. In this area new construction is looked down upon and is rarely allowed to come to fruition. By using a set of guidelines developed throughout the year new ideas have been implemented into this district to update it, while holding true to the style and character that is already established.
Langgatta
Existing Historic Buildings Proposed New Construction Existing and New Construction
S
S
S
BB
B
R
R
B
Main Thoroughfares Marketplace and Main Node Public Transit and Highway
StitchThe stitches in this district are all along the rail line and provide a pedestrian route to many different levels. The stitches also help to create the in-between, giving a physical and visual separation between the stitch and the urban floor or buildings.
Legend (1:1000)
Bike and Pedestrian PathGreen Space
The Historic Langgata District is currently, very auto oriented. By increasing public transportation routes and stops, the need for vehicular movement can be decreased and parking spaces can be reclaimed and used for other purposes. Much of thereclaimed parking area is on the eastern side of the rail and will be used for a large marketplace that can be used for manydifferent things. In order to incorporate the marketplace and PHIDA into this area, some buildings will need to be torn down or altered. But most of the existing context will be retained, with some alterations to update them to work with the new ideasthat are being brought into area. Some of the existing buildings that would be torn down would have their plots then used to create a network of public green space along the western edge that would connect the neighborhoods to the north and south. This public green space would also be connected by a wide east/west pedestrian
pathway. There are also other major walkways for the use of pedestrians, another which also runs east/west. The last being the existing Langgata street that runs north and south, creating another pathway to connect the east/west pedestrian walkways as well as the neighborhoods to the north and south.
A majority of the changes to this district revolve around the addition of the market place. The market place is an area for commerce, entertainment, and living. This area is designed to be a hub for commerce and transportation withinSandnes.
Legend (1:1000)
Rail line
Light Rail
Highway
Avenue
Boulevard
Bus stops
Golden Road
Light Rail stops
Residential
Commercial
Civic
Industrial
Vertical CirculationGreen Space (generic)
Park Space
Urban Floor
Utility buildings
Transportation
Interior Ground Level View to west from end of Marketplace
Urban FloorThe Urban Floor helps to facilitate movement within the district from one side of the rail line to the other. Along, with facilitating movement across the railline it also connects the district to the surrounding neighborhoods on multiple levels. Finally, the Urban Floor creates a place fore pedes-trians to walk and interact with the various aspects of the HistoricLanggata District.
View to east along public transit Interior Upper Level
At the market place there is an entire world of things for you to do; from eating to listening to open air concerts. Whatever you might want to do can be found here. The market place is integral to the life of any city, with the changes proposed here even more so than in any other. Underneath the market place is where several levels of parking is located.
The addition of the underground parking gives better access to the highway; while simultaneously giving people more of an opportunity to commute to the center of the city and leave their vehicle and then utilize the public transportation located in and around the market place. Public transportation around the market place is a multi-use building with programming from office space to restaurants and housing units. With each floor be utilized by a different need of the city, helping to organize the building and give each kind of activity a different perspective of Sandnes.•
The design for Saint Ann’s Warehouse was to create a theater space that begins the show for the viewer before ever entering the theater. The materials of the existing building were to be used in a way to show the versatility of brick. This design begins with the traditional load bearing use of brick in the building’s underground portion and eventually using brick above ground to show how the brick has been dissolving since its first use.•
Saint Ann’s Warehuose
Construction Detail of East Wall
Bar Level
Auditorium Level
Cabana Level
Section through Fly Tower
Section through Theater and Side Stage Section through Theater and Offices
Commercial
Commercial
Mass Transit
The design for the Manhattan Intermodal Transit Center was based on many different aspects. The first of was to create a glass cone over the main Transit Hall to give it a link to the history of transit centers, which have traditionally had a glass dome ceiling. Secondly, the building wanted to be iconic and highly recognizable to anyone that came to or lives in Manhattan. By constructing the dome as the tallest thing in Manhattan and the site’s close proximity to the main road entering Manhattan, it is highly visible to everyone. Last, the building called for the site to have a sense of movement through the use of light and shadow, while putting emphasis on the sites primary areas. To achieve this the main Transit Hall and the main seating area of the plaza are bathed in light while the rest of the site is under a roof to create darkness. The main seating area that is exposed to light, fades off as the building is approached.•
Mass Transit
Ground Floor
East-West Section
North-South Section
Reflecting Pool
Thermal Cone
West Courtyard
Water Cabin
The program for the Water Cabin called for a separation of the public and the private spaces. This was accomplished by putting the bedrooms and bathrooms on the second floor of the house while leaving the kitchen, living room and exterior living spaces on the first floor. The overall building is based on a crossing of two axis with blocks on the ends to direct the view to the north and south. The house needed to create a feel that was not constructed, but the interior was merely an extension of the exterior, bringing the exterior to the interior. The last thing that was needed was to knit the three zones of the site; the lake, the swamp, and the cypress trees into one. By pushing the house as close to the trees as possible and having a long stepped dock that would connect the pieces of the site to the house. Additionally, by having a series of vertical elements at the end of the dock, to mimic the trees, the connection of the site was accomplished.•
UP
DN
FD
FD
WH
A102
5
4
A102
Living Area Kitchen
Exterior LivingArea
Room Legend
Living Area
Exterior Living Area
Kitchen
Dock
Dock
3
A102
4
A102
2 3 40' - 0 5/8"
5
Bedroom
Mechanical
Bathroom
Bedroom
Bathroom
3
A102
4
A102
Room Legend
Bathroom
Bedroom
Mechanical
12" = 1'-0"1
Rendered Perspective 3D View
1/16" = 1'-0"3
East-West Section 1/16" = 1'-0"
4North-South Section
3/16" = 1'-0"5
Callout of North-South Section
Door Schedule
AssemblyCode Count Family
C1020 1 Single-Flush
C1020 1 Single-Flush
C1020 1 Single-Flush
C1020 1 Single-Flush
C1020 1 Double-Glass 1
C1020 1 Double-Glass 1
3/16" = 1'-0"2
South
3/16" = 1'-0"6
First Floor
Keegan T
hom
pson
AR
CH
472 F
all
2008
3/16" = 1'-0"7
Second Floor
Second Floor
First Floor
Interior to Exterior Living Area
Dock View
House In Bunkyo
The House in Bunkyo was designed by Waro Kishi. The house itself was laid out on a grid based on the size of a Ken mat. The program is broken down into two houses. A house for the client and his family and another house connected by a courtyard for the mother-in-law. Each side of the site acts independently as a complete house. The walkway in between the houses can become a common room, as the facing sides of the two houses open. The space a lotted for this site is much more generous than what is typical in Japan, since the site has been owned by the family for generations. With the client being so connected to the site he wanted some of it to be left the way it was. To compensate for the need of the client to keep some of the site in its original condition the courtyard was created with a small garden in the back that kept several of the trees that the client climbed around on as a child. •
Northern Axonemetric
Northern Axonometric
Interior Courtyard
The Skate Shop is a place for developing new skating and bik-ing tech while developing your tricktionary. The design is based on what was found to be the most important principle for hav-ing a good run in a skatepark, Flow. By having different parts of the building flow together into other parts to accomplish the same thing that riders do when they make their tricks flow to-gether to receive a higher score on a run. Use of the same ma-terials for the building as would be used for an indoor or outdoor park on the building. By using the same materials as used in a skatepark, it has made the build-ing and skatepark flow together into one form that can be used for more than one purpose. Also, by having the building become the skatepark it gives more room for the actual skatepark , on the limited site, and opens more opportunities for the skaters to come up with new and exciting tricks.
Skate Shack
North-South Section
East-West Section
South Elevation
First Floor Second Floor
