ATMOSPHERIC INTERVENTIONS
by
Rena Yang
Bachelor of Arts in Architecture
University of California, Berkeley, 2008
Submitted to the department of architecture in partial
fulfillment of the requirements for the degree of
Master of Architecture
at the
Signature of Author
Department of Architecture
January 15, 2015
Massachusetts Institute of Technology.
February 2015
© 2015 Rena Yang. All rights reserved.
The author hereby grants to MIT permission to reproduce
and to distribute publicly paper and electronic copies of
this thesis document in whole or in part in any medium now
known or hereafter created.
Certified by
Brandon Clifford
Belluschi Lecturer in Architecture
Thesis Supervisor
Accepted by
Terry Knight
Professor of Design and Computation
Chair of the Department Committee on Graduate Students
THESIS COMMITTEE
Advisor
Brandon Clifford
Belluschi Lecturer in Architecture
Readers
John Fernandez
Professor of Architecture, Building Technology,
and Engineering Systems
Head, Building Technology Program
Co-Director, International Design Center,
Singapore University of Technology and Design
Kazys Varnelis
Lecturer in Architecture
- 3
4-
ATMOSPHERIC
INTERVENTIONS
ABSTRACT
by Rena Yang
Submitted to the Department of
Architecture on January 15, 2015 in
partial fulfillment of the requirements for
the degree of Master of Architecture.
Humans have been sheltering themselves from the harsh
elements of their surroundings to maintain comfort since the
discovery of the hearth. With the rise of the Industrial Revolution
came innovations that made mitigating external conditions
convenient and easy. The standard 70 degree Fahrenheit, with
30-candle-feet of illumination, 30-50% humidity, and ventilation
became the norm and is replicated and placed regardless of
existing conditions, creating homogeneous environments.
Our conventional conception of the relationship between
architecture and the environment is based on false assumptions
that we reside comfortably in the standard air-conditioned 70
degrees, effectively producing desensitizing spaces. For a body
to understand and experience space, it is important for these
environments to have an atmospheric affect that is absorbed
through the senses. Architecture is then seen as a stimulus by
provoking and challenging the body and creating a consciousness
of body and environment. This thesis states that the sensorial
appreciation in architecture can be explored through sequenced
and curated experiences of architecture to use, amplify and
appease the senses. This creates new atmospheric conditions
conceived of relative sequencing and juxtapositions, rather than
appeasing and mediating the existing environment.
Thesis Supervisor: Brandon Clifford
Title: Belluschi Lecturer in Architecture
This idea is explored through three interventions on the Harvard
Bridge in Boston, Massachusetts that seeks to engage the hostile
environmental conditions
6-
acknowledgments
All this would not be possible without the amazing support
and friendships I’ve made over the past four years and more.
To Brandon Clifford for your seemingly bottomless amount of
patience and faith. Your wisdom and advice not only guided me
through my project but through personal growth, down to the
last moment when I resisted pushing the volume down button.
To my readers, John Fernandez and Kazys Varnelis for the
insights and encouragements. Each conversation pushed the
project a little further or grounded it a little more.
To Joel Lamere for being one of the most understanding
instructors. Thanks for the early talks and anxiety control.
To the MArch class of 2015 for the family-like environment, La
Verde runs, late night chats and post-review Asgard dinners.
To Kev Young, Moe Amaya, James Coleman, Lizzie Yarina,
Jongwan Kwon, Enas Alkhudairy and Alice Kao for the support,
near and far, during the most critical hours with renderings,
diagrams, models, milling and snacks.
Thank you to my friends who always welcomed me home despite
my absence during the semester. To Shelly for taking me in and
allowing your apt to be my second home in NYC.
To Nico Guida for all that you’ve done for me that is impossible
to list here. I sincerely appreciate every hour you put into my
models, the clutch advices from the spray paint to layout and,
most importantly, for believing in me.
Finally, to the Yang clan--Mom, Dad & Sandra--for the never
ending support, love, and humor. Love you guys.
- 7
8-
TABLE OF CONTENTS
THE SHELTER TO THE BUILT ENVIRONMENT
10
ATMOSPHERIC EXPERIENCES
18
SITE & EXPERIENCE
24
THREE INTERVENTIONS
40
Intervention #1
46
Intervention #2
74
Intervention #3
90
APPENDIX114
Additional Research
116
Mid-review & Studies
120
Thesis Defense
126
BIBLIOGRAPHY135
- 9
HEARTH
sight
warmth
cooking
VS
WEATHER
wind
10 -
rain
snow
ROOF
ENCLOSURE
MOUND
carpentry
weaving
earth work
THE SHELTER TO THE BUILT ENVIRONMENT
Architecture, according to Gottfried Semper, emerged
from the hearth. Humans congregated around the hearth as it
was a source of light when it was dark, it provided warmth when it
was cold, and a means of cooking. The architectural elements that
emerged from the need to protect the hearth and those who use
it from the hostile elements of nature were the roof, the enclosure
and the mound.
Left: Diagram illustrating the Four Elements of
Architecture
source: Semper, Gottfried, The Four Elements of
Architecture,
As early societies migrated and found themselves in
varying climatic zones, their strategy for shelter has evolved
with the environmental change. The cave, one of the commonly
perceived earliest shelter, provided a cool interior and a shelter
against the winds such as the Chauvet Cave in France. The
Pitjantjara Camp in Australia built fences on the East side of their
sleeping quarters to break the prevailing winds and protect the
small fire pits that sat between sleeping areas. The Inuit Hunters
of Alaska use compacted snow to form dome shaped structures,
relying on the thermal mass of the snow and the curved shape to
redirect winds away from the structure. In Catal Hoyuk, Turkey,
the inhabitants relied on thick mud and brick walls for warmth
during the winters. There were no streets between dwellings in
this compact settlement. Instead, the roofs were used as public
spaces. The few who lived in the Skara Brae Settlement in Orkney,
Scotland sunk their houses into the ground and formed mounds
- 11
Below: Plans and sections of shelters from early
societies
source: Jarzombek, Mark, Architecture of First
Societies: A Global Perspective
wind
CHAUVET CAVE
PITJANTJARA CAMP
INUIT HUNTER
France
Australia
Alaska
Paintings were found in the cave with
signs of settlement outside of the
opening of the cave, hinting at the
caves being used as sacred place.
Mulga branches were weaved into
fences and used as windbreakers
against the East wind for the sleeping
quarters.
Compacted snow are cut into blocks to
form this vaulted form relying on thermal
mass for warmth.
12 -
CATAL HOYUK
SKARA BRAE
IFUGAO
Turkey
Orkney, Scotland
Philippines
This compact settlement had thick walls
made of mud bricks for warmth during the
winter, while the roofs are used as public
spaces during the summer.
Stone built houses are sunk into the
ground into the mounds as insulation for
the harsh winters and stability.
Houses are made of wood and are
elevated for ventilation above the rice
terraces and security. The pitched
roof is used to deter rain and to
insulate the house from the sun.
- 13
to insulate during the harsh winters and for structural stability.
The people of Ifugao, Philippines built their houses out of wood and
raised them above the rice terraces for ventilation in the tropical
weather. These groups were all able to design specifically for their
climatic needs without mechanized heating and cooling.
The rise of the machine and the industrial revolution gave
way to equipment such as the air conditioner (1902) to allow
for control over the internal temperature and humidity for
a more comfortable environment. Shelters are now able to
mitigate external conditions while maintaining a steady internal
temperature. Reynar Benham, an advocate of machines and new
technology such as air conditioning and electricity, believed that
buildings can rely completely on machines which would allow
architects to focus on architecture. Benham elaborated on his
ideas in The Architecture of Well-Tempered Environment (1969),
and his article “A Home is Not a House” (Art in America #2,
1965). In the article, Benham attacks the internal wirings of the
house by starting his article with
When your house contains such a complex of
piping, flues, ducts, wires, lights, inlets, outlets, ovens,
sinks, refuse disposers, hi-fi reverberators, antennae,
conduits, freezers, heaters – when it contains so
many services that the hardware could stand up by
itself without any assistance from the house, why
have a house to hold it up?
Diagram illustrating Reyner Benham’s The
Environmental-Bubble’s lack of climatic consideration
original image by Reyner Benham and Francois
Dallegret from “A Home is not a House”
14 -
Instead, Benham proposes to strip the equipment down to
the necessities and have all the heavy tools be externalized,
allowing for the shape of the shelter to be independent. “The
Environmental-Bubble” is a transportable, conditioned air-
inflated transparent plastic bubble dome. It appears to be
its own entity and creates a well-tempered environment for
living, however, it still requires a source of energy, the car. The
portability of the bubble and the equipment allows this shelter to
exist anywhere despite the existing environmental and climatic
conditions. A famous example of this is the Glass House by Philip
Johnson in Connecticut.
The Glass House is infamous for it’s entirely glass façade.
However, Connecticut is known for their humid continental
climate with cold winters averaging 29 degree Fahrenheit
(-3 degree Celsius) and hot summers averaging 87 degree
Fahrenheit (31 degree Celsius). To maintain an inhabitable
temperature inside the Glass House, much of its utilities are
found in the neighboring brick house, the Guest House, and piped
underground to the Glass House. Philip Johnson resided in the
house, but eventually moved into the Guest House and used the
Glass House only for entertaining.
GLASS HOUSE + GUEST HOUSE
Connecticut, USA
Philip Johnson’s Glass House with a brick
house guest house, which also houses the
utilities for the brick house and the glass
house.
Plan of the Glass House by Philip Johnson
source: Whitney, David and Jeffrey Kipnis, Philip
Johnson: The Glass House
Architecture has found itself in a steady state of controlled
interiors. A well temperate space is defined by the ASHRAE
(American Society of Heating and Air-Conditioning Engineers)
technical committee and their scientifically researched “comfort
zone.” It is a standard that has created architecture where its
sole purpose is to stabilize the human habitat irrespective of the
local needs or preferences and in some cases, creating negative
effects. Three buildings in the United Kingdom has fallen fault
of these characteristics. In London at 20 Fenchurch Street,
the building dubbed “The Walkie-Talkie” for its resemblance
to a phone, features a curved glass façade designed by Rafael
Vinoly. Unbeknown to the designer, this curved surface focuses
- 15
a high beam of sunlight onto the neighboring buildings and the
street for two hours over two to three weeks in a year. While
under construction, the focused light has melted a parked car.
Meanwhile in Leeds, the Bridgewater Place is one of the tallest
residential tower in the area, but also sits in a very windy city. The
up-draft created by this tower has generated enough wind effect
at the base of the building to flip vehicles and trucks and cause
one death and 25 injuries. Another tall tower in Manchester
features a tall blade at the top of the tower made of thinner
blades of glass, and has been reported to create a loud humming
and whistling sounds during storms which could be heard over
100 meters away.
Our conventional conception of the relationship between
architecture and the environment is based on false assumptions
that we reside comfortably in controlled and sealed temperate
conditions. Our body and nervous systems are calibrated to
sense change and not steady states. This thesis states that the
sensorial appreciation in architecture can be explored through
sequenced and curated experiences of architecture to use,
amplify and appease the senses. This creates new atmospheric
conditions conceived of relative sequencing and juxtapositions,
rather than appeasing and mediating the existing environment.
16 -
20 FENCHURCH ST.
London, UK
For 2-3 weeks, 2 hours
per day, a high beam of
concentrated sunlight hits
its neighboring buildings
and streets. While
underconstruction, the
beam melted a car parked
in the path of the beam.
Images illustrating negative effects of not considering
climatic context
image & source: http://www.cnn.com/2013/09/03/
world/europe/uk-london-building-melts-car/ by Leon
Neal
BRIDGEWATER PLACE
BEETHAM TOWER
Leeds, UK
Manchester, UK
As the tallest residential tower
in Leeds, this building generate
enough wind effect at the base
of the building to flip trucks,
cause one death and 25
injuries.
Tall blade at the top creates
humming or whistling sounds
when the wind passes.
image & source: http://www.dailymail.co.uk/news/
article-2518770/Major-route-closed-high-windsyears-man-killed-lorry-flew-air.html by rossparry.co.uk
image & source: http://www.archdaily.
com/?p=427658 by Arian Lehner and
gomadentalclinic.blogspot.com
- 17
SENSES
CONDITION
RESPITE
threshold
CONDITION
threshold
LOUD
AMBIENCE
SILENT
SOUND
HUMID
CRISP
DRY
SMELL
BRIGHT
ILLUMINATED
DARK
SIGHT
SLIPPERY
SMOOTH
ROUGH
TOUCH
STICKY
FACILE
SLIMY
THERMOCEPTION
HOT
COOL
COLD
PROPRIOCEPTION
STILL
BREEZE
WIND
VESTIBULAR
EXPOSED
OPEN
ENCLOSE
HIGH
GROUNDED
LOW
WEIGHTED
BALANCED
UNSTABLE
...
18 -
!!
:)
!!
ATMOSPHERIC EXPERIENCES
“Aside from keeping the rain out and producing some usable
space, architecture is nothing but a special effects machine that
delights and disturbs the senses.”
–Liz Diller, TedTalk, December 2007
Left: Diagram of senses and trigger conditions,
showing the range and sequence of extremes
To challenge current assumptions of the well temperate,
enclosed environments, this project must use architecture that
exposes, explores and challenges the existing “hostile” elements
of nature and take these characteristics to create an atmospheric
experience. The Blur Building by Diller Scofidio, in which Liz is
referring to in her quote during her TedTalk, uses the fog and the
mechanics of it to confuse and envelop, engaging the visitor’s visual,
audio, oratory and tactile senses . Unlike the Blur building, this
thesis does not create an artificial atmosphere with machines, but
take advantage of what is existing and amplify or mute to engage
the inhabitant’s senses. To further develop the experience, there
is an untapped potential of the moments between atmospheric
conditions and the act of passing through them. According to the
Zeroth Law of Thermodynamics, our bodies and objects seek
thermal equilibrium, therefore we can easily and quickly adjust
to the standard “comfort zone.” We can all relate to the feeling of
extreme relief through our cheeks and nose tingling when stepping
into a slightly warmed room and out of the below zero wind chilled
winters. Or the feeling of passing a large piece of wall that has
- 19
been warmed by the afternoon sun. Normally, if it was a nice
spring day, you wouldn’t even think twice about this wall, but
when you’ve been hit by the fall wind, the sudden radiant heating
from the thermal mass is well welcomed. Depending on the
amount of heat (energy) transfer required, one may or may
not reach an equilibrium, since we all have different sensitivities
to temperature and comfort levels. Through the sequencing
and juxtapositions of moderate and extreme conditions, the
transitions between these conditions, architecture can create a
sensorial experience.
For architecture to use and exploit these effects,
material and climate becomes an important aspect of this
project. Like the early societies and their use of shape, mass
and position, these strategies can be used to encourage a type
of atmosphere—temperature, auditory, visual--but ultimately,
it is in the control of the season and time of day. As Mark Wigley
writes in his article “Architecture of Atmosphere,”
Atmosphere seems to start precisely where the
construction stops. It surrounds a building, clinging to
the material object. Indeed it seems to emanate from
the object. The word “atmosphere” was first used to
describe the gas that surrounds celestial bodies and
was originally thought to come out of the planet, to
be a part of it. Likewise the atmosphere of a building
seems to be produced by the physical form. It is some
kind of sensuous emission of sound, light, heat, smell,
and moisture; a swirling climate of intangible effects
generated by a stationary object.
Thus the object in relation with material with climate will guide
20 -
unmediated exterior
environment
intermedediary buffer
zone
climate- controlled
interior environment
THERMAL EXPERIENCE
ACTUAL TEMPERATURE
thermal gradient
unmediated exterior
environment
THERMAL EXPERIENCE
ACTUAL TEMPERATURE
thermal jump
Thermal Gradient vs Thermal Jump and the percieved
experience vs the actual temperature
climate- controlled
interior environment
and change the experience of these spaces. It may be that
one person never experiences the same atmospheric effect
as another due to varying temperature tolerances, or the
same effects doesn’t occur due to a change in wind direction
with a change in temperate at a specific moment. There is
much unpredictability to account for but to use what we, as
architects, understand with material, shape, positioning, and
climatic changes, we can design architecture that can create
individualized experiences.
WINDY
STEAMY
HOT
COLD
MISTY
HUMID
t
comfort
t
discomfort
t
comfort
t
discomfort
t
comfort
t
discomfort
high
intensity
low
intensity
still
Actual body temperature vs thermal comfort for
various bodies in space
- 21
Below: Material thermal characteristics and how it
affect space
COOL : NIGHT
WARM : DAY
MASONRY
22 -
STEEL
WOOD
GLASS
- 23
24 -
SITE AND EXPERIENCE
Left: Taken on the Harvard Bridge, facing South
towards Boston
Below: Map of the Charles River, highlighting the site
BRIDGES (L-R):
Beacon Street Bridge
Arsenal Street Bridge
Eliot Bridge
Anderson Memorial Bridge
John W. Weeks Bridge
Western Avenue Bridge
Cambridge Street Bridge
Boston University Bridge
Harvard Bridge
Longfellow Bridge
Monsignor O’brien Highway
Leverett Circle Connector Bridge
Leonard P. Zakim Bunker Hill Bridge
N Washington Street Bridge
The site for the atmospheric interventions will require a
spectrum of climatic changes. The Harvard Bridge in Boston,
Massachusetts will be the site of this thesis. Boston is known
for their wide range of climatic variations, from snowy winters
to humid summers. The Harvard Bridge is ideal for this project
as there are no obstructions on or around the bridge to allow for
an expansive view but also exposure to the extreme elements. It
sits on the Charles River and is one of five bridges in the area. The
bridge serves as a major artery between Cambridge and Boston,
known as Massachusetts Avenue and attract high foot and vehicle
traffic. The bridge is also used recreationally by runners and bikers
as it is connected to the estuary, forming a green belt around the
river. The site is anchored by MIT on the Cambridge side and Back
Bay on the Boston side.
N
- 25
CENTRAL SQ.
KENDALL SQ.
BU BRIDGE
LONG FELLOW BRIDGE
MIT
NEWBURY ST.
BOSTON COMMONS
Urban Context
legend
26 -
main artery
secondary artery
green belt
Harvard Bridge is less than half a mile long, or 2,164.8 feet
(650 meters), or more infamously known, 364.4 smoots. For its
span, it takes less than one minute to drive across, three minutes
to run, and seven minutes to walk. However, when asked, the
perception of the time it takes to cross the bridge is often longer.
A reason is the expansive view—the ability to see the end point
at all times--makes progress seem slower than it is. Coupled
with the exposure to a combination of the sun, wind, snow and
traffic noise can often create an unpleasant and uncomfortable
experience thus extending the journey. Despite the wide
sidewalk, there is barely enough room to stop and enjoy the view
without joggers, bikes and pedestrians weaving around you.
Far Left: Diagram of the urban context around the site,
including major arteries and notable sites
Middle Right: Activities around the site
Bottom Right: Section of the Harvard Bridge noting
length and average time it takes to traverse the site
The following pages are studies done to understand the site
conditions, from the average year round temperatures, sun
paths, visual anchors and imagery of the site.
Activities
Section of Harvard Bridge
DISTANCE
DRIVING
RUNNING
WALKING
.4 MILES/ 2,164.8 FEET / 650 METERS/ 364.4 SMOOTS +/- ONE EAR
>1 MINUTE WITHOUT TRAFFIC
3 MINUTES
7 MINUTES
- 27
Climatic Averages
100
90
80
70
60
50
40
30
20
10
JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
Right: Sun path diagram and dry bulb temperature at
different times of the day
source: http://apps1.eere.energy.gov/
28 -
legend
Left: Climatic Averages in Boston and on the site
source: http://en.wikipedia.org/wiki/Boston and
weatherspark.com
NOV
DEC
average high (°F)
average low (°F)
humidity (%)
wind speed (mph)
precipitation (in)
snow fall (in)
wind direction
NORTH
C
26
24.4
22.8
21.2
19.6
18
16.4
legend
14.8
13.2
11.6
10
- 29
Panoramic view from the middle of the Harvard Bridge,
facing downriver towards the East
MIT
Kendall Sq.
Bunker Hill
Bridge
Longfellow
Bridge
30 -
Beacon Hill
Estuary
John Hancock
Tower
Back Bay
The Prudential
- 31
Panoramic view from the middle of the Harvard Bridge,
facing upriver towards the West
Back Bay
32 -
Fenway/Kenmore
Allston
Boston University
Bridge
Cambridge
Port
MIT
- 33
34 -
Left: Images on the bridge during different weather
conditions and various occupants
Right: View of the bridge from the Northwest
- 35
interest: nice walk to destination
commuter
fastest way from point A to B
body temperature is normal but warms up quickly from pace
interest: quick walk
clothing/perspiration
interest
traffic
body temperature
comfort
path
To understand the experience and perceptions on the bridge,
it is important to analyze the type of element/condition, duration
of exposure to elements/conditions, and the user’s body
temperature. These characteristics will allow for us to predict the
type of experience we would want the user to encounter. Four
types of users are chosen, the Runner, the Stroller, the ErrandRunner, and the Commuter. The activity of each group implies
an objective, a body temperature and a type of movement. For
example, the Runner will move through the site at a faster speed,
at a higher body temperature, and will be wearing exercise
clothing. On the other hand, the Strollers will likely move at a
slower pace and stop occasionally for the views and because
they are moving at a slower pace, their body temperatures are
normal, but are not generating much heat. The Errand-runner
USERS
36 -
runner
errand-runner
scenery passes faster
body temperature is higher
interest: cooler environment,
continous run, some scenery
obligated to achieve task but as
time
body temperature is normal but
warms up quickly from pace
interest: nice walk to destination
commuter
fastest way from point A to B
body temperature is normal but
warms up quickly from pace
interest: quick walk
legend
strollers
enjoying the scenery
body temperature is normal
interest: scenic walks, view
points
strollers
enjoying the scenery
body temperature is normal
interest: scenic walks, view points
and the Commuter both have an objective and will walk at a
faster pace, generate some body heat.
With the user groups defined and a prescribed path for each
user, each group is charted in allerrand-runner
four seasons for their comfort
levels in relation to their body temperatures
and
itstimefluctuations
obligated to achieve task
but has
body temperature is normal but warms up quickly from pace
interest: nice walk
to destination
with the elements such as temperature
and
wind, and sound.
Several characteristics emerged through this analysis. The wind
is a common occurrence on the bridge and happens in bursts.
For a runner in the summer, these bursts are welcomed. For a
runner in winter, depending on their outfit and how long they’ve
been running, it may not be as welcomed
and makes the run
commuter
across the bridge seem longer than it is as the wind is driving
their body temperature down below comfortable. There are
also moments when the sound of the wind hitting your ear drum
in conjunction to the traffic noise on the bridge can drive down
comfort levels. For a few, the view at the middle of the bridge
can alleviate some discomfort—a beautiful view in exchange for
some discomfort.
The bridge is an ideal location for these interventions because
of its existing fluxes for various users. The potential to tap into
the existing conditions of the site and provide an alternative
experience to crossing the Charles River.
fastest way from point A to B
body temperature is normal but warms up quickly from pace
interest: quick walk
Left: User experience during different seasons and a
description of characteristics for each user
Next Page: Seasonal break down for each user
interest
legend
Right: Overlay of all users and average experience
clothing/perspiration
traffic
body temperature
comfort
path
clothing/perspiration
interest
traffic
body temperature
comfort
path
- 37
FALL_chilly&windy
FALL_chilly&windy
temperature: 62F high; 39F low
humidity: 100% high; 35% low
wind gusts: 49mph high; 18mph low
rain: .5”
snow: ø
10/22/2014
temperature: 62F high; 39F low
humidity: 100% high; 35% low
wind gusts: 49mph high; 18mph low
rain: .5”
snow: none
10/22/2014
38 -
WINTER_cold&frigid
WINTER_cold&frigid
temperature: 35F high; 20F low
humidity: 92% high; 54% low
wind gusts: 43mph high; 5mph low
rain: .1”
snow: 10”
2/14/2014
temperature: 35F high; 20F low
humidity: 92% high; 54% low
wind gusts: 43mph high; 5mph low
rain: .1”
snow: 10”
2/14/2014
SPRING_warm&breezy
SPRING_warm&breezy
temperature: 71F high; 42F low
humidity: 85% high; 25% low
wind gusts: 50mph high; 3mph low
rain: .05”
snow: ø
temperature: 71F high; 42F low
humidity: 85% high; 25% low
wind gusts: 50mph high; 3mph low
rain: .05”
snow: none
4/14/2014
SUMMER_hot&humid
SUMMER_hot&humid
temperature: 93F high; 75F low
humidity: 90% high; 50% low
wind gusts: 22mph high; 5mph low
rain: ø
snow: ø
8/17/2014
temperature: 93F high; 75F low
humidity: 90% high; 50% low
wind gusts: 22mph high; 5mph low
rain: none
snow: none
8/17/2014
- 39
40 -
THREE INTERVENTIONS
Three locations on the bridge were chosen to be the moments
of intervention. Each location is focused towards a different
season—Spring, Summer and Winter—and are each subjected
to the external elements and the diurnal changes. Depending on
the time of day, parts of one design may be more desirable than
another part. In an annual time span, one intervention may be
more ideal than another and one may not be inhabitable at all.
Without the use of mechanical devices, the atmosphere of the
space is completely reliant on the season. Other considerations
include lighting, exposure and duration of exposure to elements,
amplifying conditions, counteracting conditions, and directing
views. Conditions of the interventions rely on materials to
emanate its properties to create an auditory, visual and temperate
experience for the passerby.
Although these projects are not programmed, they are seen
as transitional spaces with the potential to occupy for a short
period of time and as a secondary means of experiencing the
bridge. They do not alter the bridge beside the openings in the
railings to allow for pedestrians to pass on and off the bridge, and
seek to occupy the other spaces of the bridge.
View of interventions from the South facing Cambridge
The interventions will be focused on individually, leaving
space for the imagination to experience them all sequentially or
separately. Each project is accompanied with a narrative and
respective representation.
- 41
Site Plan
in
1m
cs
10 se
in
1m
c
1 se
cs
10 se
c
1 se
42 -
N
Through the rest of the book, color will be of importance in
the representation of the atmosphere. The material qualities
within the space emanate a temperature that is represented
through color creating a different type of visual for the space.
Instead of the conventional renderings of the material color,
its thermal properties creates the space’s climatic condition
is represented through warm and cool colors. Wind, light and
darkness are also represented to provoke sensorial feelings
drawing from personal experiences.
02
12
11
03
10
04
09
05
06
08
07
Each intervention will be accompanied with a plan, section,
two unrolled sections--one material and one with an atmospheric
overlay--and renderings. The renderings have a plan and section
key to orient where in space you are and a narrative. Although the
perspectives are a prescribed sequence and experience, these
designs are plastic and change to the seasons thus altering the
experience.
01
intervention #3
intervention #2
intervention #1
Occupancy Diagram showing average inhabitable
spaces over the course of the year
- 43
Site Models
photographs by: Andy Ryan
44 -
- 45
A
PLAN
46 -
A’
N
INTERVENTION #1 - SPRING
The larger of the interventions was made to elongate the experience
of the bridge while also moving the user in, out, around and next to the
bridge. A large switchback corridor directs the user towards the West
side of the river, capturing a view of the Fenway Neighborhood. While
under the bridge, openings in the floor focuses the attention to the
Charles while reflecting the motion and waves of the water inside the
space. Stones are used in this space as seating but also penetrate the
walls to capture the sun’s warmth during the day. Finally a large set of
stairs are used to move the user up and down to give a sense of how
high the user has descended below the sidewalk.
Left: Plan
- 47
Section A
48 -
- 49
Top: Unrolled section with material mapping
Bottom: Unrolled section with atmospheric overlays,
environmental conditions and comfort level
50 -
- 51
It’s a warm Spring day with the occasional wind
while you’re on the bridge. Your ears are ringing
from the wind and the fast cars passing, the bus
and trucks that seem to just be driving back and
forth on the bridge. Ah, a place to step off this
bridge.
Left: Plan and unrolled section key
Right: View from South to North, towards Cambridge
N
52 -
- 53
You step onto wood and feel the soft comfort
against your shoes rather than the cold concrete
on the bridge. You descend while looking at the
views around you and feel yourself leaving the
bustling bridge behind.
Left: Plan and unrolled section key
Right: View from the walkway towards Cambridge
N
54 -
- 55
You feel the edge of the walk way get narrow and
suddenly find yourself in a dark space, but see
the water in the distance. The walls are warm
and you lean in closer to feel it radiating heat
from the morning sun. The walls are close and
you feel like you’re being hugged by warmth.
Left: Plan and unrolled section key
Right: View within the enclosed walkway towards
Fenway
N
56 -
- 57
You reach the platform and take a breath and
feel the wind whiz past you while still feeling the
comforting warmth of the walls behind you.
Left: Plan and unrolled section key
Right: View at the end of the enclosed walkway with a
view of the Charles River, upstream
N
58 -
- 59
Another whiff of air, and it’s too cold again. Time
to duck back into the walls.
Left: Plan and unrolled section key
Right: View from the balcony towards the bridge
N
60 -
- 61
Once again, descending into a much darker, but
still warm space, guided by a small window at
the end. You turn the corner and catch another
glimpse of the bridge before realizing you’re
feeling a chill.
Left: Plan and unrolled section key
Right: Interior view of the enclosed corridor
N
62 -
- 63
You wind into a larger space that is dark and
your footsteps are not longer light and soft but
sharp and loud. It has gotten cooler, the air is a
little more crisp. Reflections of the river is the
only light source in here, and you realize you’re
close to the water below you, but have no visual
reference except for the slits in the floor. You
take a seat on the blocks along the wall and
noticed they’re a little warm.
Left: Plan and unrolled section key
Right: Perspective from one corner of the space under
the bridge
N
64 -
- 65
The chill is penetrating your skin and you’re
feeling a little cold and decide it is time to leave.
Continuing forward, you enter a tall corridor of
brick walls. The sun is shinning through one side
of the wall and you shake off your chills
Left: Plan and unrolled section key
Right: View of stairs from the larger space
N
66 -
- 67
Half way up the stairs, you’ve built enough
energy and warmth to start sweating.
Fortunately the occasional wind from the
windows kept you from dripping sweat. At the
top of the steps, the brick walls give you one last
hot uncomfortable squeeze before you are back
on the bridge.
Left: Plan and unrolled section key
Right: View out of the stairs and back towards the
bridge, towards the West.
N
68 -
- 69
70 -
Left: Model with bridge
Right: Model without bridge
- 71
72 -
Left: Model
Right: Model without bridge
- 73
B
B’
in
1m
74 -
N
INTERVENTION #2 - SUMMER
This design features a tall tower, with an opening towards the summer
wind directions to act as an wind tower. In addition, Two openings are
made in the ceiling to allow for directed light to move along the interior
walls. Several moves to raise and lower the surface above were made
to give the inhabitant a vertical compression and contraction. Other
openings were made to play with light and winds. The large platform has
a low ceiling to trap heat, but also features a section that drops below the
water for engagement with the river.
Left: Plan
Right: Section B
- 75
76 -
Top: Unrolled section with material mapping
Bottom: Unrolled section with atmospheric overlays,
environmental conditions and comfort level
- 77
It’s hot and the breeze on the bridge is barely
cooling your skin off. The cars zooming by seem
to rub their hot energy right onto your skin.
As you pass a dark opening, you’re hesitant to
enter, but the cold temperature it’s radiating is
alluring.
Left: Plan and unrolled section key
Right: Approaching from the North, facing towards the
South, Boston.
78 -
N
- 79
It’s very cool, dark and airy, thus quiet with the
occasional rocking from the buses and trucks. A
light streak of light breaks through the ceiling is
comforting. You lean back against the wall for a
break, but to be startled by the coolness.
Left: Plan and unrolled section key
Right: View of the interior
80 -
N
- 81
You notice the seating along the wall. The cold
metal briefly ice your thighs, but is a welcome
relief from the hot and humid summer. Curious
about where this leads to next, you look down
the next opening and see that it is bright at the
end of the space. Coming down, and the slow
exposure of the sun on your skin begins to warm
you up again.
Left: Plan and unrolled section key
Right: Interior space with seating and a view down the
corridor
82 -
N
- 83
When you reach the end and turn into the next
opening, your eyes are blinded by the brightness
of the bouncing reflections everywhere. There’s
an amazing view, but the space is hot, stuffy
and humid. No one is in here--you hesitate to
even enter. Your body aches for the cool contact
with the stone and metal. You turn around and
decide to return in the fall.
Left: Plan and unrolled section key
Right: View out into the enclosed platform, towards
Boston
84 -
N
- 85
86 -
Left: Model of intervention #2
Right: Model without South wall
- 87
88 -
Left: Model from the East
Right: Model from the bridge
- 89
s
ec
10 s
C’
C
c
1 se
90 -
N
INTERVENTION #3 - WINTER
This design is heavy in thermal mass to counter the winter cold, but
also harness and amplify the unpleasant for an extreme experience
of winter. The first point of entry features a curved wall to capture and
bounce ambient noise, such as the traffic and pedestrians. Fipples are
directed towards the winter winds and are used to break the high speed
to create resonance and sounds. Curved walls in the space are used
to amplify the effect. A break between the sound space and the stairs
allow the user to reset to the bridge experience. A walkway under the
bridge leads to the heavy stone clad seating and resting area relies on
thermal mass for occupancy during specific hours.
Left: Plan
Right: Section C
- 91
Top: Unrolled section with material mapping
Bottom: Unrolled section with atmospheric overlays,
environmental conditions and comfort level
92 -
- 93
You’re in long pants, a sweatshirt with gloves
and earmuffs and you’re running along the
estuary. Two miles in, you’ve ran long enough
for your body to adjust to the cold and started
to generate some warmth. Your face is still
freezing from the mix of wind and sweat. The
bridge is especially torturous as the wind speeds
gather. However, you suddenly feel a quick
break of the wind and a light warming on one
side of your body, your running slows.
Left: Plan and unrolled section key
Right: Approaching the entrance from the South
94 -
N
- 95
Needing a break from the wind, you walk up
to opening and hear slight echoes of the cars
coming by. You slide into a slit and feel the
walls very close to you. Enticed by the view of
Cambridge and the warmth, you continue.
Left: Plan and unrolled section key
Right: Interior view of the first corridor with a window
towards Cambridge.
96 -
N
- 97
Another breeze hits you and draws your
attention to another opening. It’s lit by an
opening above, but there’s a faint echo of
humming and some breeze. Curious, you
approach.
Left: Plan and unrolled section key
Right: Interior view of the second corridor.
98 -
N
- 99
The humming is louder and comes with the
occasional whistle. It is windy and chilly . One
side of the space opens up to the view of Fenway
but the wind and sound makes it difficult to stay
long.
Left: Plan and unrolled section key
Right: Interior view of the first large space with a view of
Fenway across the river
100 -
N
- 101
Escaping the sounds, you’re squeezed back
outside, but you’re parallel to the bridge now.
More wind and cold and you decide to run into
the next opening, despite the darkness.
Left: Plan and unrolled section key
Right: Interior view of the first large space with a view of
Fenway across the river
102 -
N
- 103
Sheltered from the wind once again, you wind
your way down the stairs in the dark and find
another shaded and open walk way under the
bridge.
Left: Plan and unrolled section key
Right: From from the stairs to outside, under the
bridge.
104 -
N
- 105
The walkway is shaded and chilly, but the
experience of walking under the bridge and
being close to the river is fascinating to you.
You come off the walkway to a soft but also
warm despite it open to the air. You lay down to
absorb the warmth of the stone below you.
Left: Plan and unrolled section key
Right: View from the walkway to an open seating area
106 -
N
- 107
Your blood is flowing again, you hop off your
seat and begin your jog again. Running up the
stairs, you rebuild your heat and you’re ready to
finish running the cold bridge.
Left: Plan and unrolled section key
Right: View of steps to the bridge, facing West
108 -
N
- 109
110 -
Left: Model with bridge
Right: Model without bridge
- 111
112 -
Left: Overhead view of model
Right: View of walkway below the bridge
- 113
114 -
APPENDIX
Additional Research
116
Mid-review & Studies
120
Thesis Defense
126
- 115
116 -
1 - ADDITIONAL RESEARCH
Left: Climate research for Boston
source: http://apps1.eere.energy.gov/
- 117
surface finish
shape
obstructions
material
Sound behavior study
source: http://www.physicsclassroom.com/
118 -
How a fipple interacts with an air stream to make
sounds
source: http://course1.winona.edu/
condition
A
condition
condition
A
-A
LOUD
SILENT
HUMID
HUMID
BRIGHT
condition
A
-A
DARK
ROUGH
SLIPPERY
HOT
condition
condition
A
-A
A
-A
SLIPPERY
HOT
COLD
WINDY
STILL
HIGH
LOW
STABLE
UNSTABLE
Experience gradient with proximity.
DARK
ROUGH
WINDY
ENCLOSED
condition
DRY
BRIGHT
COLD
EXPOSED
condition
LOUD
SILENT
DRY
condition
condition
-A
STILL
EXPOSED
ENCLOSED
HIGH
LOW
STABLE
UNSTABLE
Possible combinations of extremes
- 119
panel 1
120 -
panel 2
panel 3
2 - MID-REVIEW & STUDY MODELS
October 23, 2015, 9am
Architecture Department, Building 7, 4th Floor
Massachusetts Institute of Technology
Guest Critics:
Timothy Hyde
Lecturer, MIT
Kian Goh
PhD Candidate in Urban Studies and Planning, MIT
Brandon Clifford, Thesis Advisor
John Fernandez, Thesis Reader
Left: Midreview Panels
- 121
The project at midterm was still trying to find its program and purpose.
At this point, the program was a spa to inform climatic needs. Programs
were situated next to each other for most apparent effect or through a
smooth transition. Certain programs were also elongated to recalibrate
the body to feel the affects of the neighboring climates. After the
discussion, the project was refocused away from the spa and on the
sequencing and juxtapositions of various climatic characteristics.
122 -
t
discomfort
Left: Comfort levels in relation to program and space
Right: Section and plan of design
TEMPERATURE, COMFORT & ACTIVITY
percieved temperature and comfort level with activities
SECTION
scale: NTS
3
1
4
5
6
2
PLAN
scale: NTS
- 123
124 -
The sound and wind chamber model was a study of how create the
effects of the wind turbine while creating an inhabitable space. Here,
openings are made to capture the wind, but also serve as entrances.
Slits are opened at an angle to allow for the pressure inside to exit,
creating a whistle. A dome is also placed to further move the wind
around the space.
Top Left: Sequential renderings passing through the
different rooms
Bottom Left: Mid-review model
Right: Model of a sound and wind chamber
- 125
126 -
3 - THESIS DEFENSE
December 15, 2015, 9am
Media Lab, Building E-14, 6th Floor
Massachusetts Institute of Technology
Guest Critics:
Pierre Belanger
Associate Professor of Landscape Architecture, Harvard University
Ed Eigen
Associate Professor of Architecture and Landscape Architecture,
Harvard University
Igor Marjanovic
Associate Professor, Washington University in St. Louis
El Hadi Jazairy
Assistant Professor of Architecture, University of Michigan
Nader Tehrani
Professor of Architecture, MIT
Simon Frommenwiler
Lecturer, MIT
Brandon Clifford, Thesis Advisor
John Fernandez, Thesis Reader
Left: Panels and digital presentation
credit: Barry Beagen
- 127
Final Review Panels
panel 1
128 -
panel 2
panel 3
panel 4
panel 5
panel 6
panel 7
panel 8
panel 9
panel 10
- 129
Final Review Presentation Slides
130 -
- 131
Left: Final site model
credit: Juney Lee
Right: Presentation time
credit: Alice Kao
132 -
- 133
134 -
BIBLIOGRAPHY
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Environment. Chicago, Illinois : University of Chicago Press,
1984.
Benham, Reyner. “A Home is Not a House,” Art in America.
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Bohme, Gernot. “The Art Of The Stage Set As Paradigm For An
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Understanding_Atmospheres/abstracts.pdf>
Heschong, Lisa. Thermal Delight in Architecture. Cambridge,
MA: MIT Press, 1979.
Moe, Kiel. Insulating Modernism: Isolated and Non-Isolated
Thermodynamics in Architecture. Basel: Birkhauser, 2014.
Taylor-Foster, James. “Seven Architectural Sins Committed
Around the World” 13 Sep 2013. ArchDaily. Accessed 13
September 2014. <http://www.archdaily.com/?p=427658>
Whitney, David and Jeffrey Kipnis. Philip Johnson: the Glass
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Wigley, Mark. “The Architecture of Atmosphere,” Daidalos. 1998,
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Zumthor, Peter. Atmospheres. Basel: Birkhauser, 2006.
Jarzombek, Mark. Architecture Of First Societies: A Global
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Latour, Bruno. “Air.” Sensorium: Embodied Experience,
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