Sunday, February 13, 2011

Precedent Analysis - Olympic Park Seattle

I have chosen Olympic Sculpture Park and the Paccar Pavilion as a case study to analyze and apply some of my thesis ideas.  I chose this space because I feel there are many elements within the landscape, building and existing infrastructure that exemplify the idea of sequence and leyering.   These images are posted to VT, but I wanted to get a few of them on the blog for record.  Part one looked at documenting the space.  In response to Mike and Denise's comments on VT, I will be looking not only at the site, but also the connection to the city and buildings surrounding the site as well as the bay to the west.  I hope to analyze the site using sections and 3d compositions and vignettes to show how sequence and layering within the city context create a memorable space that people form a strong connection to.  More detailed sections through the pedestrian paths and buildings will illustrate some of the relationships, as will 3d vignettes to show how the viewer experiences each space.  If I have time, a study model would be very helpful in understanding the forms and relationships and how the unique sub-spaces are created within the overall site.

Part 2: Analysis will be posted to VT and I'll get some images up on the blog aswell.




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2 comments:

  1. AngieFebruary 14, 2011 at 7:17 PM

    David,
    Who was the original designer and is their method of design recorded any where? The designers perspective may help with your frame work as well as give you valuable information as to the intent of the park and pavilion. Also, there are layers and sequencing that corresponds to the construction of a thing. Looking at the project through a contractor's eyes may also give you a different view of the project and its sequencing. I realize what your intent is but sometimes I find insight through a totally different perspective!

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  2. Mary ShafferFebruary 17, 2011 at 5:47 PM

    look at some of the work of 3XN - surprisingly similar with layers and bridges.

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