Da Yaune MmCONTEXT , “The de Young Museum is located at $0 Hagiwara Tea Garden Drive in Golden Gate Park, San Francisco, California, USA. Herzog & de Meuron are the Architects ofthis projeet ® ‘fer the earthquake in 1989, the old Museum concluded. The museum's Board of “Trustees agreed to Feblld the museum. The New De Young museum opened to the public 2005, The new de Young Museum Is devold of ay Kind of Ristori or contemporary sve . “The outdoor environment of the new de Young is permeable, open, and inviting to the public. It features a public sculpture garden and terrace under a cantilevered oof, a children's garden; and landscaping that builds an organie connection between the building and the surroundings on clrcumambience,* * 5 The red lines highlight three main circulation foutes that connect one side of the park to another, Those three paths are the axes ofthe Tandscape and briage the de Young museum swith the landscape, FORM STRATEGY: PLAN In the article “Metabolism and Morphology’, the author, Michael Weinstock writes, “The emerging archi Sand cultural par The plan patter tre that relates pattern and process, form and behavior, with spatial ters, has a symbiotic relationship withthe natural world" (Pq.33) ‘ofthe building are interrelated with spatial and environmental patameters to ull a symbiovereltonship withthe nature “The order of the museum plan and the order ofthe Golden Gate Park are connected by toisting the 14 feet tomer, The red lines matched with the overall ety grid af San Franelsco, and the blue lines correspond to ‘the regulating lines of the park “The chasms are highlighted in red and used to Indicate the entrances and atriums of the ‘museum where the nature are flowing Into the museum. The building mass is naturally divided Into a tripartite arrangement and the outline of the building appears harmonious ‘The multiple complex elaionships onthe ste contol he positon ofthe twisted tomer that Fesponses the or af the ey. The park plac i emphases onthe porpontscular ale wih the ee creularcourtyar. Tha contr of towers ‘angulated by replacing ane paral othe grid ofthe iy and the park on the two secondary ‘reular courtyards, The nirsoctons of hose two lines ar the corivold of he toner, Tose ines ‘paral also bocomo the main xi f the museum. ‘Another equating line aso coils the placement ‘tthe museum, The northeast ade of the museum Is along the sidewalk tal fanks to stoFORM STRATEGY: STREAM LINE! ‘The roof is highly Visible from the Museum's tower. The stream lines (highlighted in red ofthe roof create a pattern that correspond the structure ofthe building. At the same time, those streamlines organize as the feat netve that carries withthe water and transports the energy. The roof pattern gives the seemly space to the building mechanical and electrical equipment. The ribbon windows (highlighted in red) encircle the exterior Walls that reflect the landseape and provide park visitors to catch sight ofthe art within the museum, while ‘imultaneausly offering museum vitors panoramic views of the park: Those windows shape other dynamic streamlines on the elevations at both outdoor and indoor space. The relationship of form to function are Dresenting in those scene, Those pattern and simulation remind me ofthe articles» "Metabolism and Morphology” and “The Biological Analogy” by Peter Collins, Weinstock writes, "New concepts and geometries of building surface artays, of metabolle networks for IndWidual, can be explored through the development of ‘process! models and simulations, in design explorations that begin with the relationships of metabolism and morphology” (Pg 33). Peter Collins writes, "The relationship of organisms to thelr environment, the correlation between organs, the relationship of form ta funetion, andthe principle of walty ize (9,133).FORM STRATEGY: POROSITY ‘The copper facade is perforated and textured and reproduces the impression made by the effect of light flickering through trees canopy. ‘The porous wall panels are abstracted from the photographs of tree canopies and appended ‘onto each elevation ofthe building, Circular perforations in the wall panels ae various in diameters and densely spaced to allow more natural light to come into The inspiration of the accidented surface of wall panel is from the dewy stone. A surface of wal panel includes a bunch of positive and negative dot spaces that simulate the epidermis of the plants. The copper skin is changeable quality ‘through oxidation and will presenta rich green patina over time, The texture and color of the building skin will blend gracefully wth the surrounding environment. FORM RECAPITULATION ‘he form of de Young Museum is simple, legible and morphologic. The form has responded to the Surroundings and the culture. Herzog & de Meuron ably used the basie geomettes and simple concept to construct a pleasant spaceBODY OVERVIEW De Young Museum occuples an area of 293,000 square feet The main bulling isa baseisolated, three-story structure made up of three interconnected and roughly parallel branches and each of branches has a similar shape about 420 feet long and 75 feet wide and separated by courtyards. The northeast comer ofthe building features a 144 feet tower that gently spirals from the ground floor. poorBODY IN NATURAL ENVIRONMENT ‘The De Young Museum locates at California that i in CircumPacifie Seismic Bel. The old building was badly damaged in the earthquake of 1906 and they began to fall and had become a hazard in 1943. The building was severely damaged by the 1989 Loma Prieta earthquake. It in turn was demolished, and replaced by a new museum in 2005. “The new museum has several selsmie Features, One of them is that few bodies of bullding incorporate such a dversty of earthquake-tesisting strategies “Therefore, the three roughly parallel “branches" and separated courtyards became the result of earthquake-resisting design. The pattern of roof and landscape in courtyard alzo remind the power of earthquake.BUILDING A! ABODY In the article "The Building in Pain’, the author, Anthony Vidler writes, The body ‘contains’ cavities, entrances and deep spaces which lead tots proper functioning,” and in the same way the building has orifices in the form of doors and windows." Pg. 4) ‘The buliding’s copper Facade is perforated and textured to replicate. The copper skin is functional as the skin of body It is penetrable that connects the indoor space and outdoor space as the skin breathing, And the diferent density of holes on the facade’s panel also can adjust the temperature of, building to.avoid overheat at Indoor space az the skin of body showed inthe Infrared Thermograph, At same time, the facade pretties the building as the lady's fine skin enhancing aesthetic feeling, eoovDY IN SPACE In the article "The Synthesis of One's Own Body" by Merleau-Ponty, “Our body is not primarily space: itis of i" (Pg.148). The author leads us to ‘transfer our body within objective space into perceptual experience space, The traditional view of the body in space thought that our body Just existing in Cartesian coordinates, However, Merleau-Ponty claims the body is nota series of individual sections in space, but becomes an extension of ourselves Merleau-Ponty’s theory explains the interaction of our tactile bodies in space with our perceptual habl. ‘The west of the bullding features a huge cantilever space that creates a very interesting public space for various activities, People will not feel any pressure and oppression under the cantilever. At the same time, this grandliloquent scale of this space is challenging people's experience and intrigues them. ataion eoovGENDER, BODY AND BUILDING ‘The De Young Museum perforated facade looks like a veil cove the whole building, which presents an implicative aesthetics, however, only the females peculiarly have this kind of aesthetics. The planted courtyards connect the natural environment withthe artificial indoor space and simulate the womb to hold the ife space. Both of them remind me the article “Architecture from Without: Body, Logi, and Sex" by Diana |. Agrest, she mentioned "The logic in the system of, architecture represses sex in two different ways: sex is thought of in both positive and negative terms; where woman is assigned the negative term, and sex is neutralized or erased through the medium ofthe artist” (Pg.174). We ean look back the building's copper facade that is chosen for its ‘changeable quality by oxidation and will imagine e a rich patina overtime that wll blend gracefully withthe natural surroundings, The repressed feeling presents around the building asthe author said "Woman is thus suppressed, repressed, and replaced” (Pg 188) “The building has some kinds of features of gender as body. From some views, we can presume the building trend ta feminization. However, those features of gender willbe changeable from different view and time. BODY