BA thesis
“The Power of Man... The Power of Water” juxtaposes forces that have shaped the Champlain Valley between the states of Vermont and New York, USA. It is a comprehensive design proposal that does not favor either of the powers. It juxtaposes both of them in order to express their contrasting and harmonious relationships possible. The project relates to the surrounding environment by carefully considering historic and contemporary influences with existing infrastructure.
The conceptual design acknowledges the presence of its neighbors, which are both human and natural. By providing an interpretive center with facilities for both visitors and commuters, the existing site is enriched. By abstracting the nearby old fort and Lake Champlain, the design is simple in nature yet complex with its multiple layers. As opposed to building ‘ON’ the site, “The Power of Man... The Power of Water” is built ‘FOR and INTO’ the site.
In addition to a permanent interpretive center and much-needed year-round cabins, the built space is a metamorphic center for social assembly. An ever-changing central square of roughly 100 by 100 feet can be used year-round for seasonal activities such as ice skating or swimming. In front of a rotated sloping shore-line, major water surface cools down the interpretive center. It also transmits sounds from the ‘stage’ that can host small open-air concerts or theater plays. The project engages the shoreline and encourages active thinking about our environment and the human influences on it.
There is no focal datum since the floor level is in between the highest and the lowest annual water fluctuations. In order to enter, visitors first undergo an educational tunnel that abstracts the flow of underground water. Then, they slowly descend along an interpretive path that invites for cerebral appreciation and tactile participation.
Inspired by rectilinear powers of man and water, the design features axial, three-dimensional approach at all scales, be it the entire building envelope or a simple door handle. The ‘in-shore’ design proves that the power of man can be stronger than the power of water. At the same time, the power of water can overwhelm the power of man too. Due to the water’s corrosive and expansive properties, certain concrete elements disintegrate and other alloy elements such as exposed steel rebars and steel columns weather.
The parapet railing, which is cast in a finer and less structurally intact concrete aggregate, echoes the spacing of reinforcing bars that are in the core of cast-in-place exterior concrete walls. The railing is designed to channel the water flow on the facade and thus expose the power of water over time—the railing structure is separate from the one of the wall, and therefore its intentional, eventual collapse is accounted for. Ultimately, the railing will be constructed again, being a metaphor of the critical power of water. It will also allow contemporary local craftsman to express themselves by constructing individually characteristic sculptural rebar joints.
Therefore, “The Power of Man... The Power of Water” opens up the critical discussion about how we occupy land and how, unfortunately, we often look at new structures with preconceived ideas. That begs the question: “What is less harmful to and respects our land more: Sourcing materials from great distances and blending them seamlessly into the design, or simply working with local conditions to emphasize that moving great masses only a few feet requires far less effort?”
The conceptual design acknowledges the presence of its neighbors, which are both human and natural. By providing an interpretive center with facilities for both visitors and commuters, the existing site is enriched. By abstracting the nearby old fort and Lake Champlain, the design is simple in nature yet complex with its multiple layers. As opposed to building ‘ON’ the site, “The Power of Man... The Power of Water” is built ‘FOR and INTO’ the site.
In addition to a permanent interpretive center and much-needed year-round cabins, the built space is a metamorphic center for social assembly. An ever-changing central square of roughly 100 by 100 feet can be used year-round for seasonal activities such as ice skating or swimming. In front of a rotated sloping shore-line, major water surface cools down the interpretive center. It also transmits sounds from the ‘stage’ that can host small open-air concerts or theater plays. The project engages the shoreline and encourages active thinking about our environment and the human influences on it.
There is no focal datum since the floor level is in between the highest and the lowest annual water fluctuations. In order to enter, visitors first undergo an educational tunnel that abstracts the flow of underground water. Then, they slowly descend along an interpretive path that invites for cerebral appreciation and tactile participation.
- Visitors first align with contours and then they experience ‘CUT’ that abstracts both powers.
- ‘ROTATION’ obtained from a trench-like construction process offers an opportunity to understand water level changes from the water’s point of view.
- ‘TRANSLATION’ is included in order to accommodate present topography and to make construction feasible.
Inspired by rectilinear powers of man and water, the design features axial, three-dimensional approach at all scales, be it the entire building envelope or a simple door handle. The ‘in-shore’ design proves that the power of man can be stronger than the power of water. At the same time, the power of water can overwhelm the power of man too. Due to the water’s corrosive and expansive properties, certain concrete elements disintegrate and other alloy elements such as exposed steel rebars and steel columns weather.
The parapet railing, which is cast in a finer and less structurally intact concrete aggregate, echoes the spacing of reinforcing bars that are in the core of cast-in-place exterior concrete walls. The railing is designed to channel the water flow on the facade and thus expose the power of water over time—the railing structure is separate from the one of the wall, and therefore its intentional, eventual collapse is accounted for. Ultimately, the railing will be constructed again, being a metaphor of the critical power of water. It will also allow contemporary local craftsman to express themselves by constructing individually characteristic sculptural rebar joints.
Therefore, “The Power of Man... The Power of Water” opens up the critical discussion about how we occupy land and how, unfortunately, we often look at new structures with preconceived ideas. That begs the question: “What is less harmful to and respects our land more: Sourcing materials from great distances and blending them seamlessly into the design, or simply working with local conditions to emphasize that moving great masses only a few feet requires far less effort?”
