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MAMMOTH BATHSR Y A N M C C A R T H Y

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Human Experience ex-ists to enrich memory of people, place, and time. Motivated by the shared, overlooked beauty we all neglect, the design is a series of landscape re assess-ments.

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CHARRETTE|SITING|PLANNING|PRECIDENTS|PRODUCTION ART|MIDTERM MODEL|PERSPECTIVE SECTION|FINAL\

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PEOPLE ARE FACES, PEOPLE ARE THINGS PLACES ARE PLACES BUILDINGS ARE THINGS

pollution station

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Guide them in and out of their shared memowhich serves as a thought replacement for th

trums overlaid upon the existibeauty

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ry, a moving experiential exposition of space he complex landscape, information spec-

ing harmony and natural

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as the last strip of for-ested land overlooking a factory ridden land-scape, the temporary house for the universal-ists stands as a home for those wishing to ap-preciate the remaining beauty.

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13for the charrette, land masses, spatial potentials and landscape enrichment was addressed. The end result is a plat-form and water feature for the univer-salists to stand in nature.

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15��������������� ����� ������ �����memorium to the place, piping re-routes ���������������������������������-bankment to replicate sewage waste. In a sense the landscape has been edited to be more than it is, more interactive.

17when faced with siting options my initial inclination was to,

bring it home. Build somethign in a struggling

american torrist spot in need of an object building.

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“geysers” is a collage of the place, of the sur-rounding context. It ����������������� �-guage in my memory as well as determine the value of its beauty.

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steam powered context mixed with pre-space expanses and preci-dents of points. In an architecture of land-scape mans interaction must have meaning or mirror taht of nature in a thoughtful way.

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source images ranged in history and cultural context to the scale and scope of each preci-dent. a random assortment of spas and hu-����� ��������� ���������� ����������and helped facilitate the design process. sev-eral items had recurring themes in the work

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the cliff side study model was ����������� -opment of the quarry concept reintroduction, Piercing to reveal unseen truths.

28POINT CIRCLE NOT THE SHAPE?FINE THEN EDIT THATMULTIPLYPULL IT TWIST, BURROWMAKE A NEW SHAPE MULTIPLY...........SPACE OUT......... FEELS RIGHTNOW COLOR ONEMULTIPLY THAT CUT WITH SCISSORS SAND THE EDGES.........USE YOUR HANDS TO SMOOTH ITDIVIDE AND ADD A GRIDDEFY THE GRIDCOLOR SHAPES COMPOSE PACKAGE DELIVERYOUR AN ARTIST

A TIP FOR THE NON-ARTIST

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when work began to-wards the midterm, the concepts began to fer-ment. spaces were es-tablished and oppurtuni-ties were gained to be lost as the building was shaken from its upbring-ing.

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cat walks were planned to hover above the alien terran, creating places where learned could take place. The cat walks would be covered in double en-velope mesh skin sys-tem.

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The designs double banded concept began to evolve as the voidedmovements in the roof became more articu-lated.

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37the rough board layout was done by midterm, the strong horizontal panorama was explored and later ������������������ ������������� ����������a reset point on the boards. the perspective sections exhibit the latyering of content which leads to a depth of understanding not present in simple drawings.

38when it came time to re-learn the building after midterm to re-asses and re-align, i turned to paper.; Al-ways returning to pen and paper has given me a powerful tool of truth one which cannot lose any of the design.When the work ma-tures and becomes smarter, much is lost,little is gained ex-cept approval of the smarter. Who you have �� �����������-ways.

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i was fortuante enough �����������������-cess in my sections, life was given to the design and i learned a great deal about my own process and po-tentials.

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The below ground level of Mammoth baths consists of the entry spine elevating visi-������������� ��� ����� ��those re-submerging will en-ter the main bath and sauna areas as well as the research-platform.

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�������� ��� �����������������-orienting green space to the main bath and bar. Changing rooms have been placed along the wrap-ping datum of the plan. The points to plunge into the lower levels are at the north and south in the cen-ter of the plan.

Visual cues form the second level �� ������ ����������� ��� �������entering the grand space you will be eluding to the openness with-out a view, that is what the sec-���� ��� ���������������� ���������viewshed providing these lost per-spectives.

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