ARE 2600 DP1 Spring 2021

The overall form is a manipulated box envelope adopted to address environmental and contextual concerns in order that it is as low tech and low cost as possible. In their first manipulations of their plan, JDS architects have made it so that the site’s existing car park joins to the R&D center, along with being accessible to the park loop. This arrange- ment allows the public to walk directly over the building, so that it also functions as an outdoor pathway, offering one the opportunity to experience an overview of the green space from an alternative height before descending again. The facility’s features are based on providing a sustainable piece of architecture. Its undulating rooftop offers varied heights to the center which in winter block the north beijing wind, while in summer promote a cool southeast ventila- tion, creating a shadow to the south and moveable sun shading / solar cells to the east and west. Its assembly from a series of pragmatic scientific operations make the green visitor center help promote the notion of low tech sustaina- bility PROJECT Visitor Center BUDGET Confidential TYPE Commission SIZE 5.000 m2 CLIENT Ongoing 2012 LOCATION Beijing, China TEAM Vanke STATUS CREATIVE AUTHORSHIP Julien De Smedt PROJECT LEADER JDS, Transsolar, MUDI Charlotte Lieske, Henning Stu- ben

Dillon Cole Stonehenge Exhibition and Visitor Centre Denton Corker Marshall Analysis The Stonehenge Exhibition and Visitor Centre, designed by Denton Corker Marshall, is primarily known for its vast amount of columns spanning throughout the design. This is a parallel to the columns of the actual Stonehenge. The main point of the center is not to show off its own beauty, but to add to the experience of visiting Stonehenge itself. It’s purpose is to sell tickets to visit Stonehenge, as well as educate about it, and serve as a rest area for those who need it. When walking in, there are two different area with an open area in the middle. This open area is meant to serve as a parallel to the open, outdoorsy fell of Stonehenge. This is also where you buy tickets to see the Stonehenge exhibit. The two other areas are a glass block, and a timber block. One has a retail store, an education center, and even a kitchen hidden away in the middle. This is the timber block. The Grass block has an interpretation center, as well as restrooms and a communication room. The exposed columns outside really add a feeling of wonder, while not having the interior structure exposed makes it feel like you are stepping into a wonderland when you go back outside. The structure is made of combination of timber and steel. The overall feel of the Stone- henge Exhibition and Visitor Centre fits perfectly within the experience of visiting Stone- henge, just as it was designed to do. It is free-flowing, serves its purpose as an education, and money making center, and does all of this while keeping Stonehenge the main focus of the experience.



ARE 2600 DP1 Matthew Frick 3/8/2021 Red Rock Canyon Visitor Center By: Line and Space, LLC

ANNE OF GREEN GABLES VISITORS CENTRE The Anne of Green Gables Visitors Centre was developed in Canada, inspired by themes from the L.M. Montgomery Root Architecture novel, Anne of Green Gables. The structure is designed with traditional timber framing, concrete, and steel joints. DP1– Tatum Hayes The tree like structure in the middle of the lobby is to repli- cate a tree because Montgomery loved climbing trees as a child and so the tree structure adds some focus to the lobby and whimsy which fits with the character of Anne.

Niobrara River Valley Preserve The Niobrara River Valley Preserve Visitors Center acts as a gathering and educational hub for the 56,000-acre conservation area Visitors Center, BVH located in Nebraska. The buildings centrally overlook the Niobrara River, a popular destination for river rafting and kayaking. Architects and Structural Engineers: BVH Architec- Focused on a rectangular plan the center contains meeting rooms, offices, restrooms and a survey all consisting of 3,250 square ture (team: Mark Bacon, Paul Jeffrey, Zach Soflin) feet. The floor plan is fairly divided while still maintaining an open area devoted to educating visitors. Hand Drawing The Center’s exterior consists of locally sourced cedar that has been charred to prevent insect infiltration. Cor -ten steel was incor- porated to the exterior and will oxidize to create an ever-changing façade. Steel shutters occupy the southern elevation to mitigate solar heat. The building’s envelope was designed to withstand harsh weather conditions ranging from icy winters to hot summers when wildfires pose a threat while also adhering to Architecture 2030 guidelines to reduce energy consumption and greenhouse The geometry of the grids is apparent in a vertical manner. Although there are a few acceptations when an additional column was placed, a majority of the columns mirror one another and follow a standard pattern. The horizontal grids do not seem to be as ap- parent when observing the floor plan. Aside from the tower, the structure was designed to blend into the surrounding environment to echo the values of the conserva- tory rather than exposing it. North Section Interior Views West Section South Section The tower on the north façade was designed to act as a visual marker for river rafters and kayakers below. At night, the indoor lighting in the tower illuminates its surroundings, similar to a glowing lantern. N East Section Exterior Views Structural Floor Plan Hannah Hladik

Brooklyn Botanic Garden Visitor Center Olivia Lamb DP1 The Brooklyn Botanic Garden Visitor Center is where garden meets city. Designed to demonstrate the institution’s environmental stewardship commitment. With a roof that used over 40,000 plants to build, the green roof reduces the heat island affect to keep the building cool. The land- scape collectively retains storm water with natural filtra- tion. The curved shape build- ing and curtain of windows al- low for clear, beautiful views of the landscape from inside the building. The base of the structure is made up of con- crete designed by Architect Weiss/ Manfredi who partnered with structural engineers at Weidlinger Associ- ates. The buildings de- sign and landscape show visitors the value of plant life and there eco- logical role in the func- tioning of the building.

DP1 by Benito Madrid-Malloy Cummins Falls Visitor Center architecture done by Cogent Studio This plan opens up very nicely for the staff and the visitors which is what drew me to the concept. It allows an area that makes it easy for the staff to be where they need to be. The open walkway concept in the middle was another area this plan got my attention since it opens the center into two sections. The form regarding a northern and southern section of this center are identical in materials and design concept for the most part. This makes the design looks almost like the sections are rotated 180 degrees upon each other. Since you can see the column locations for the most part in the design, the grids, while not openly apparent, can be imagined to align to the col- umns in regards to primary and secondary members. The structure has a mix of lime- stone, metal, wood, steel, insulation and ICF. The only load bearing would be for the roof since this is a single floor center. In the interior view, you get a good idea of how the load bearing will work in this design. The structure is exposed and celebrated due to the elongation of the wood bearing the roof shown on both the inside and outside of the building. Of course the columns are predominately shown in the interior view as well. I believe that another idea that made this concept what is was is the fact that the building sits atop the landscape and provides an overlook view of sorts. That’s why the outdoor seating are is where it is and why the architect decided to open up the area on the west end. The angles aspect allows this to really open up and take in the view of the area. The double section also allows the traffic to flow smoothly in- stead of having everything grouped together in one building. Interior View Exterior View Basic circulation for the center

Samantha Olsen The building speaks for itself with being build with large steel beams and wooden Project name: Brelsford WSU Visitor Center secondary beams. The large beams are exposed inside the building which make Architect: Olson Kundig Architects them a focal point on the outside as well. The interior of the building has wooden Seattle, WA beams that are visible as well which keeps the space feeling open. The big windows Design lead: Alan Maskin allow a lot of light to come into the space along with windows along the roof line. Structural engineers: KPFF The geometry of the building is straight lines with one circular steel tower. This visi- tor center is very well organized with certain spaces for each element.

Design Project 1 Battle of Bannockburn Visitor Centre, Reiach And Hall Architects Dakota Poteet In 2010, Reiach and Hall Architects won a de- sign competition and were appointed by Histori- cal Scotland and the National Trust for Scotland to design a new visitor center at the historic site of the Battle of Bannockburn. From the shape of the visitor center, we see its resemblance of a nonsymmetrical trapezoid and is composed of brick following a chainmail pattern. There are a several tall windows on the south face of the structure and few along the sides for more natural lighting. This structure boasts polished concrete floors and exposed steel beams inside. Throughout we see a diverse use of materials from brick and concrete to wood and steel. In 1314, this was the site of the battle between King Edward and King Robert freeing the Scots from English rule. To commemorate this battle, the visitor center includes a courtyard with a monument and artifacts from the battle.

The Center will hold restrooms, a large The building is designed around an axis in the public gathering space that can be rented middle. Each side of the axis is unique but fol- for group activities such as weddings and lows some level of pattern and repetition. family reunions, and it will serve as a warm- The building is designed to be very simple but ing room for winter park users. elegant. The interior incorporates many of the runes to unify the Visitor Center with the rest of Many visitors come to learn about the Kensing- the park. ton Rune Stone discovery site and about the Ohman family’s farming life. A room near the Passive Solar Design Model entrance of the visitor center will house displays and interpretive elements explaining the stories. Cassidee Raffa The Rune Stone interpretation room will relate Kensington Rune Stone Center to other exhibits located in the park, both the Ohman Farm and the Discovery Site, allowing JLG Architects visitors to continue learning as they explore oth- er areas of the park. Materials with a close relationship to the Earth, both in their manufacturing and tactile qualities, were used for the construction of the Kensing- ton Rune Stone Visitors Center. The Kensington Rune Stone itself is made of Metagraywacke Rock, which is the same type of rock used to construct the building fire- place. The expansive south facing windows al- low the building to use passive solar heating in the winter. The building of steel framing, con- crete and heavy timber is simple and elegant with the east room dedicated to the story of the stone and the runes.

The Fishing Bridge visitor center Designed by- Herbert Maier Josh Rieck  Located in Yellowstone NP by Yellow- stone Lake  Designed to embrace a rustic look to combine civilization and nature  Built to resemble local rocks and logs from the surrounding area  Many similar visitor centers have been inspired by The Fishing Bridge visitor center  Design to blend in and look natural with surroundings  This architecture is referred to as “parkitecture”  Declared a National Historic Landmark in 1987

Lower Level Upper Level Analysis: • Materials: Wood structural framing, stainless steel and copper exterior • Organization: Central ramps leading to each floor, space is rapped around the ramps • Geometry: grids are apparent, structure is sup- ported by a series of trusses • Structure exposed (interior trusses, exterior metal framing) • Other Factors of influence: simple building mate- rials, placement of windows (natural lighting)

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Jonathon Scott Solomon R. Guggenheim Museum Architect: Frank Lloyd Wright Structural Engineer: William Wesley Peters In the floor plan is very well organized and clear, It has a grid Since this is a modern archi- within the plan that lines up with the columns of the structure. tectural building themed It shows all the floors and the elevation of the building in the after Bauhaus it is mostly center. made out of concrete lacking ornaments and left white. In the section view it is very well illustrated as it shows all the floors and is shaded correctly to show structural The structure is not exposed walls and base. It also shows the columns and how the and is very complex having structure stacks on top of each other going out. different shapes around the dome structure. The dome In my sketch the most important parts of the structure are the structure is not common as complex positions of the very large concrete columns around it is expanding as it goes up and also has an intruding bulge going in on the the dome. interior side of the dome. The structure gets its influence from a mix of the Bauhaus/concrete theme and Wright's ideas. Wright wasn’t really a fan of modern Bauhaus type ar- chitecture because he thought it was less humanistic and more materialistic so his ideas are more about a presentation of contemporary art, abstract creativeness and influences of its spiral ramp riding to a domed skylight.

Hoi Ha Visitor Centre It’s the extensive use of Hong Kong wood, paired with the ArchSD open concept of the build- ings and how they all re- Architect: Thomas Wan late to one another that By: Travis Wicks allowed the architect to achieve his goal of creat- The Hoi Ha Visitor Centre comprises a multi- ing the atmosphere of a purpose room, a caretakers’ office, reception area, modernized traditional village. lavatories for visitors, and facilities. The use of steel The main goal of the archi- The Concrete walls are columns and tect was to recreate the at- used to produce a beams allows for a mosphere of an old, tradi- “Fresh, Natural look,” well supported tional village out of this ru- and they also serve as a building, and also ral gathering place. He does barrier between the dif- highlights the this by using individual ferent buildings, adding structure of the buildings that are related to to the overall experience building within the the surrounding landscape. of walking through the architectural con- The idea is to use the area visitor center. cept that’s being to merge buildings and na- expressed. ture into a place of outdoor These walls are also used as shelter from wind, sunlight, or gathering. other various weather occurrences. Hoi Ha Wan Visitor Centre is conven- The facility uses solar panels and iently located within bollard lights to help aid its elec- the surrounding en- tricity needs. There is also a rain- vironment, connect- water collection system implement- ing to the marine ed to recycle rain water for flushing park via a luscious and irrigation use. trail along the Man- grove trees. The architect chose to use slid- ing glass doors and large glass panels to both allow ventila- tion when weather permits, and to illuminate the inside with natural light. They also serve as a continua- tion between the inside of the building, and the surrounding environment, allowing visitors to enjoy the outdoor scenery while exploring the facilities.



Mottisfont Visitor Centre Design and Structure: In this multi-building structure, each building was indi- Burd Haward Architects - Bree Zipperian vidually developed so that each would have it’s own character. Although each building is unique, architects utilized complimentary materials so that there Annotated Floor Plan - As I annotated this floorplan, it became would be unity within the entire structure. Both the frame and the cladding evident that the architects wanted to incorporate the outdoors into were created out of timber. The frame (columns, beams, etc.) was created using their design. There are a lot of opportunities for guests to step out- reliable woods such as prefabricated spruce and larch. The cladding of the side the of building. structure was created using multiple types of cedar. One of the buildings also utilizes weathering steel as an accent. The architects exposed many of the build- ing materials, in order to celebrate the design completely. My favorite design aspect is that as the exterior weathers, the untreated cedar contrasts the rusting steel quite nicely. Sustainability: The architects were very environ- mentally cautious as they created this structure. Many of design and structural components were af- fected because of this. The buildings are all raised above the ground, as to have minimal site impact. Timber was the material of choice because of it’s ability to be recycled from project to project. The structure also uses passive energy measures such as the building orientation, natural ventilation, and large amounts of insulation. Many of these design and structural decisions were made so that once the buildings life was up (hopefully 300+ years), the site could be renewed to it’s original condition. Section Views

Zion National Park Visitor Center (Cecil Doty & Cannon and Mullen, 1960) Connor Zydek In plan and section, the space is organized in three distinct sections. There is a steel and glass lobby, a rectangular museum and auditorium, and a low office wing. The lobby is organized with a radial grid to create an hexagonal space. The other areas of the visitor center are arranged with orthogonal grids, creating rectangular spaces. The location of the visitor center was quite controversial. There was a lot of argument about whether it should be located in the crowded canyon like the original museum or outside the canyon. Ultimately, Mission 66 planning influenced the choice of a location outside the main canyon. This location had its own natural beauty, but the building would not detract from the signature scenic features of the park. The location of the visitor center was a significant factor that influenced the structure’s form. The lobby was designed to frame views of the canyon to the north and the Towers of the Virgin to the east. Doty included black arrows on his original drawings that indicated how visitors should move through the lobby to arrive at the view of the Towers of the Virgin. At this point, visitors would be encouraged to head out onto the exterior viewing terrace that wrapped around and followed the shape of the lobby. The lobby, made of steel and glass, is meant to feel like an open space, almost as an extension of the outdoors. This effect was created by moving the structure out so that the lobby space would be uninterrupted by columns. Instead, there are tapered spider-leg columns supporting the overhanging roof, much like Richard Neutra’s spider-leg columns. This is a way that the structure is celebrated. The full glass walls and central skylight allow the space to be filled with light, which enhances the effect of the lobby being a continuation of the outdoors. The auditorium serves as a transitionary space between the modern lobby and the conservative office wing. The auditorium is a double-height space made of concrete blocks. The office wing is designed to be hidden in a way. It is not designed to draw any attention. The employee parking and entrance is located at the rear of the building. In Doty’s original drawings, the façade of the office wing was to be hidden by trees and shrubs. After one year, Cecil Doty’s design was taken over by the architectural firm out of Salt Lake City, Cannon and Muller. Cannon and Muller did not make many changes. Primarily, they just found a way to actually build the structure and also moved the restrooms from inside the lobby to the exterior. This change was likely advised by the Park Service, but also opens up the segment of glass in the lobby that was previously taken up by the restrooms.