museum of bees

Bee interactive.

Mike Daley

Architectural Fundamentals IIDSGN 224Winter 2012Professor Woods

Museum of Bees

001 | Design Concept

002 | Field Trip: Factors Walk - Sketching

003 | Analyzing the Landscape

004 | Site Analysis: Explor ing a place through visual f ie ld notes

005 | Architect’s Profi le

006 | Project Centering

007 | “no saint stands alone”

008 | the Museum of Bees

”I believe that the language of architecture is not a question of a specific style. Every building is built for a

specific use in a specific place and for a specific society.” Thinking Architecture by Peter Zumthor

000| Introduction

MoB | Opening Statement

This portfolio is designed to give an efficient transition through the process I went through in my Architectural Fundamentals II during Winter 2012 quarter.

The 000 numbering format is to give a time line idea. Therefore 000 represents my introduction and 001 would denote the start of my design.

001| Design Concept & Philosophy

The Museum of Bees allows the visitor to be intimately involved with all the aspects of bee society. Creating dialectic between bee scale and human scale is primary to this project. As the visitor moves through the museum this blurring of bee and human scale is encouraged by juxtaposing interior/exterior spaces within a natural/man-made environment toward the enhancement of emotions and feelings through the use of texture and light. This design like all hives is responsive to its context and it creates a dialectic between old and new architecture.

001 | Design Concept

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Design Concept & Philosophy

002| Field Trip: Factors Walk - Sketching

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Field Trip: Factors Walk - Sketching

As a way of collecting field notes about the Factors Walk site, I created various vision sketches including: views, enframements, textures, focal points, details and transitions. I selected different views that I found to be beneficial to my design process. With those views I developed a series of freehand perspective sketches at appropriate intervals as I analyze the site.

This exercise gave me the opportunity to gain a greater understanding of the spatial flow. The sketches also worked well in terms of allowing me to look at various designs.

002 | Field Trip: Factors Walk - Sketching

1st design

2nd design 3rd design 4th design

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Field Trip: Factors Walk - Sketching

5th design 6th design

003| Analyzing the Landscape

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Analyzing the Landscape

003 | Analyzing the Landscape

The idea of this exercise was to improve our thinking and drawing skills through the visual field notes of the site. This process increased my appreciation and ability to discuss architecture critically and to develop a working sketchbook.

I made simple and clear freehand diagrams of significant characteristics about the site. This excercise empowered with the ability to “see” the essential principles, strategies and characteristics that make the site a significant “place.”

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004| Site Analysis: Explor ing a place through visual f ie ld notes

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Site Analysis: Exploring a place through visual field notes

005| Architect’s Profi le

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Architect’s Profile

005 | Architect’s Profile

After analyzing the site and understanding the surroundings the next task was to pick an architect that best suits our interest and is greatly influential to our design. I investigated the design and practice philosophy of that architect. The investigation entailed us to develop an understanding of the theorectical and practical knowledge about the architect’s design motivations, influences and built conclusions.

I chose Peter Zumthor to be my mentor and design guide for my building because always emphasises the sensory aspects of the architectural experience. He believed that the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory.

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | 009 | 010 | Architect’s Profile

006| Project Centering

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | Project Centering

I wanted to give a sense of dialogue between old & new architecture. The concept relates to a context (stage) about which sublime experience is encouraged by engaging a series of contrast, such as interior/exterior & nature/man-made. The goal is to engage emotions and feelings through the use of texture and light.

• What is the central concept or idea that drives your project and conseuqentially helps you make important design decisions?

By juxtaposing spaces within a natural and man-made environment toward the enhancement of emotions and feelings, a unique way is developed that helps the building speaks to people. The design intention is to make man-made and the environment come together as one.

006 | Project Centering

The following questions were posed to help us focus our design efforts. In the design process, it is easy to stray from the original idea that the project was predicated on due to the excessive issues that must be considered. These questions will also help us to strengthen our design through a hierarchical synthesis of form, space, order, structure, parti, grids, figure ground, themes, concepts, program, site, light, material, circulation, detail, view, perception, codes, philosophical position, experience, order, and desire.

• How have you gathered and applied information about human needs, behavior, and aspirations to inform the design process?

• What influence has the previous analysis stage played in your design scheme and what logical design process have followed through out this project?

• What ecological impact does your project have on this project?

• How does your project address the organizational and spatial issue?

The design uses vegetation to pull people in the certain spaces. Along with the significant height of the building, the trees at the entrance draws people attention. Along the paths the trees act as a relaxing containment.

• How does your design utilize vegetation (existing or proposed) as space making and character giving elements?

My previous analysis was to create a structure that represents part of a bee’s life. The earlier design concept was to create a structure with honeycomb shapes (hexagonal) laid out on the site, as shown in the first and second design in Section 002. The idea I wanted to implement was in a “branching-out” format. The biggest space would be the lobby and from there, you go through the different spaces. Within those spaces you can move back and forth through them.

I followed through with keeping the basic honeycomb idea but enhanced the abstract element so that it appears more implied than obvious.

By way of the Architect Research project, I’ve gotten an understanding of human needs and behavior. The architect that I researched was Peter Zumthor and his philosophy is to design buildings that speak to our feelings and understanding. So I took that philosophy and try to design a museum that is interactive, which will alllow visitors to feel as one with the building. The building is juxtaposed to its context so that it stands out and it will speak to people in such a way that they are motivated to come to the museum.

To address the organizational and spatial issues the circulation plays a major role. The circulation follows the flow of the spaces so movement is relaxing and free-flowing.

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | 009 | 010 | Project Centering

To accomodate the handicap the building is designed with ramps and since it is just one floor there isn’t much to address. I figured that it would look more united as a design if the ramps are placed throughout the building. The design alters Factors Walk and is now underground and in addition has a ramp that slopes down and up.

I didn’t include any parking so there is no vechicular interac-tion with my design. Vehicular interaction would have been a distraction to my design intent. The context of my design is for man to interact with nature and feel deep emotions within the building and the site. Since Factors Walk goes underground, there is a bridge that allows visitor to cross over.

Honeycombs! That’s all it is! But instead of simply putting the “honeycombs” on the site to make spaces, I decided to transform the shape of it, narrowing the top and make it more curvature.

• How are handicapped codes and site restrictions manifested in your design thinking and building/site making?

• How are you dealing with the interface between vehicular (patron and emer-gency) and pedestrian circulation in your project? How are you addressing parking?

• What conceptual ideas have helped you determine your design?

The building is designed with Super Adobe (Earth bags) and I wanted it to be strictly natural materials that are used. I wanted the earth bags to be protected and at the same time look pleasing to eye as well as have that natural feel. Therefore the interior and exterior is plastered with earth and cement.

• What aesthetic/theoretical issues have helped you determine your design? Project Centering

• What makes a good archeological museum?

Depending on what the archeological museum is intented to be, it should feature adequate information for its intention. For the Museum of Bees, I felt it would be a great idea to have the various types of bees on display, a section where visitors can taste the honey straight from the honeycomb, and a theater for an animated show.

The greatest challenge was to have a design that will work with the site and is still able to cater

• What has been the greatest site design challenge in this project?

007| “no saint stands alone”

W

007 | “no saint stands alone”

This exercise is to allow us to get an understanding of communicating as a real life architect with a client. Throughout the design the architect and the client will correspond about theoretical and design issues in order to develop the design.

A conversation by way of letters were prepared to discuss a design program and conceptual framework. Each letter will address WHO, WHAT, WHEN, WHERE, WHY, and HOW of the project as a means to clarify concept, design drivers, program and theoretical frameworks.

Conceptual designs

Dale Richardson Managing Director

Georgia Beekeepers Associations 304 Woodmont Court

Macon, GA 31216

(T) 478-396-0712 (F) 478-344-7689

[email protected] January 24, 2012

Mike Daley Junior Architect Atelier Peter Zumthor & Partner Postbus 37 NL – 2200 AA Noordwijk T +31 71 361 07 14 [email protected] Dear Mr. Daley

My name is Dale Richardson and I am the managing director at Georgia Beekeepers Association. Our goal is to promote the common interests and welfare of Georgia beekeepers and the beekeeping industry. We pride ourselves on the caring and safety of bees, especially in Georgia. We are happy to see that there are various companies in Savannah that has bee products. But these companies mainly deals with honey and the varieties of flavors that they make honey with. Our company had a meeting recently to discuss the proposal of having a museum for bees constructed.

We want to offer a museum that will concentrate on bees on a whole. Our goal is to build a museum for the general public, which can be interesting and at the same time, resourceful. The museum will have on display various types of bees. We would like to offer in depth information about the production of honey and have a detail view of “a day in the life of a bee.” It will be great to also show honeycombs and to allow visitors to taste the honey right from the honeycomb. The building will be open both day and night. The daytime experience should differ from that of night. We have resources to utilize for the museum. We have a collection of professional pictures of bees as well as, of course bees that are in our care. What we don’t have we will be able to get from other source/s.

The site for the proposed museum is located between Williamson Street and W. River Street in front of both the inactive factory and Montgomery Street in Downtown Savannah, Georgia. Currently there is a building on each side of the site, with a main entry from the south side. We are planning to open the museum in May 2013. We are hoping that you will find this possible to undergo in this span of time. Kind regards,

Dale Richardson.

Mike Daley Junior Architect

Atelier Peter Zumthor & Partner Postbus 37

NL – 2200 AA Noordwijk T +31 71 361 07 14

[email protected] January 27, 2012 Dale Richardson Managing Director Georgia Beekeepers Associations 304 Woodmont Court Macon, GA 31216 Mr. Richardson,

I have received your letter and Atelier Peter Zumthor & Partner are honored that you have chosen our firm to work on this museum with you and your company. It will be possible to have the project completed by May 2013. But we have to take into account that the date could be shifted to couples days or even months due any impediments that may occur. Regarding the layout and ideas that are featured in the museum, I feel that the World of Coca Cola museum will be a good inspiration to use. The museum will accommodate people of all ages. Therefore I propose that within the museum there are some interactive and animated features. Understanding that you want a museum that concentrates just on bees, we can do a design for the interior that highlights the shapes of honeycombs. Since the museum is strictly about the life of bees then I propose that near the entry should be a space to display the different types of bees there are and you mentioned you have professional photos, we should put them on display in that room as well. The next room will show the aspect of “a day in the life of a bee,” which will show the production process that a bee going through every day. This will go right into the next phase that will have the honeycomb experience. We will work significantly on the day and nighttime experience. To end the tour at the museum will be an animated show about bees, which will be the highest point at the museum and will be an overhang above W. River Street on the North side. As for the museum design it will be a in and out style. By this I mean you have the longitudinal main area, which is the walkway/lobby and the other spaces projected out of it in a random but united order. This building will be concrete, wood with green features. I look forward to you response and working further on this with you. Sincerely, Mike Daley.

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | 009 | 010 | “no saints stands alone”

008| the Museum of Bees

001 | 002 | 003 | 004 | 005 | 006 | 007 | 008 | the Museum of Bees

After analyzing the site, its context and studying the human needs and behavior, I was ready to prepare my final drawings, model and presenta-tion. These drawings, the model and presentation will highlight my ideas and design concept. Here you will further understand and feel the stark contrast the building has to its context. The pictures should enhance your emotions and feelings through the use of texture and light.

008 | the Museum of Bees


Program

QUALITATIVE1st phase: The Lobby/Ticket counter2nd phase: (Bees on display) Honeycomb tasting3rd phase: Show/Theater4th phase: Gift Shop5th phase: Factors Walk View

QUANTITATIVE 252 sq.ft

884 sq.ft

759 sq.ft 378 sq.ft 308 sq.ft

TOTAL: 2581 sq.ft

Sun/Shadow diagrams

Toronto


Savannah


Wind diagram

Interior views



Elevations


Sections and Details

FF


The Model

View from the East side of Factors Walk

View from River Street

View from Williamson Street on left side


Aerial view from Williamson on the west


Aerial view from River Street on the east

museum of bees

Documents

design process

design concept002 field

sketching5th design

design concept001

visual field notes001

specific place

landscape004 site analysis

significant place