Living Hybrids

Living Hybrid tests the relationship between the public and private through a new investigation into a part to whole relationship centered around light and shadows. The relationship works throughout the building creating a slow transition from the private units to the public art galleries and studios. Each unit grows from the window which is the start of the relationship between light and shadow to part and whole. From the window frame, a single unit grows out towards the interior of the building, creating the walls and furniture. The walls twist and fold to create shadows in private areas, as well as incorporate light wells and artificial light areas within their structure. Through the use of interrelationships, new window formations are created allowing for windows which peel off from the facade to allow for a multitude of possible unit types. The windows go through a series of combinations (joining, derivating, morphing, passing, compounding, and absorbing), to merge together into a single formation. As the windows interrelate, the amount of light and the direction of the light changes and combine as well. Starting from the bottom of the building, the units grow allowing for more light to penetrate into the building, reducing the shadows and allowing for larger spaces to be created. The scale of the units also grow from the edge of the building to the corner. When the units arrive at the corner they have morphed and compounded to start passing each other which create the pulled out windows on the east facade. When the units reach the top they have ‘deviated’ and ‘absorbed’ as to fold over the top and create skylights which allow for light penetration throughout the unit with no set shadows.

In order to determine the part to whole relationship of light, research was done on the Barchan Sand Dune. The research revealed the relationship between curvature, light and shadow, in creating a new formation in which the part is no longer identifiable within the formation. The part diagram showed the relationship between curvature to light and shadow. As a single dune is created from the wind blowing the sand, the curvature of the dune casts a strong highlight on the windward surface and a deep shadow on the leeward side. The strength of the highlight and shadow change based on the stage of development of the dune as well as the angle of the sun. As the dunes interact together, they merge into one creating a new form. The new form is differentiated by the way in which the dunes had combined. Six types of combination were identified. These single combinations then combine again to create a full formation, where the individual dune can no longer be identified. Research done in Collaboration with Emilija Landsbergis

The changes in the facade can be seen through the plans with the varying amounts of natural light allowed into the building. As visible in the two different unit renderings, the hotel units on the lower floors allow for a tighter space with a large opening that controls the light to shine away from the bed. While the artist residency unit is much larger allowing for greater use of the space where the light is free to flow into the room and kept away from the head of the bed through the peeling of the ramp.

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The use of light and shadows is controlled throughout the formation to allow for transition from the bottom of the building to the top as the unit and programs change. As the building grows, units curve up so that the windows take over the roof, allowing for infiltration of light from multiple angles. With the light being allowed in through multiple angles, nearly no shadows are cast within the unit. This allows for larger units with a different program than the private units at the base of the building.

Light and shadows are used in the interior of the building to visually separate zones throughout the public areas. As the three gallery rendering express, the light in the public areas of the building is controlled in a way to guide the viewers up the ramp through the gallery. Starting from the lobby, light shines down the ramp from the floor above. Once the viewer reaches the top of the ramp, light fills the room. Here the light is controlled as to increase the feel of the space and highlight the art and facade which has been pulled into the space. The ramp continues up to the next floor, curving in so that the art remains in sight.