Integrated Design Studio II

Interior space as an urban relationship

ARC 2124, Integrated Design Studio II, studies light, color, texture, volume, and human scale through the relationship between architecture and interior space. It carries the site sensitivity developed in Integrated Design Studio I into the interior and prepares students for the tectonic integration of Integrated Design Studio III. Drawing, digital studies, and physical making support an iterative design process.

Artists’ Collective, Cleveland

The main project transforms and expands an existing building beside West Side Market into a rotating-residency artists’ collective. Living, making, exhibition, and performance must coexist with market crowds, transit arrivals, and service access. The shared course brief calls for sectional thinking, circulation as social infrastructure, and carefully layered public/private thresholds.

In my studio section, Loop First, Void Second turns this agenda into a sequence of design decisions. Students begin with the city’s flows and the behavior of different users, establish a credible route through the building, and then develop its rooms, shared voids, and enclosure. Two initial prototypes guide testing: a market-to-roof promenade, and a through-block passage connected to a vertical loop. Both require a legible arrival, places to pause, selective views into making, and a return to the city.

Plans and sections must make the route spatially convincing. Diagrams explain how it is organized; renderings and models examine what it feels like to move, gather, work, and look across levels. The selected work below brings these forms of evidence together for each project.

Method

Loop First, Void Second establishes an order of design decisions. Map the city’s forces and the needs of different users; construct a continuous route in plan and section; then position gathering spaces, voids, program, and enclosure around that route. My lectures use OMA’s circulation and program strategies to make this process legible and testable.

01
Read the city and its users
Map market, transit, parking, service, and adjacent-building edges. Write separate movement scenarios for artists, everyday visitors, ticketed audiences, and staff, including busy and quiet periods.
02
Establish a sectional loop
Locate a clear street entrance and a return to the city. Connect display, gathering, making overlooks, and roof or terrace destinations. Test level changes and public/private thresholds in plan and section together.
03
Turn movement into encounter
Alternate passage with pause. Widen landings into rooms, place seating beside the flow, and connect the route to shared voids at selected levels. Give the public views into creative work while protecting artists’ access and retreat.
04
Resolve and communicate the building
Develop program, structure, daylight, and enclosure around the spatial sequence. Use diagrams to explain decisions, plans and sections to verify their relationships, and renderings and models to examine occupation and atmosphere.

Teng Teng — teaching diagram mapping transit arrivals, the market, parking, and the project site

Teng Teng — teaching diagram distinguishing market, transit, service, and adjacent-building edges

From the studio lecture by Teng Teng: urban flows and edge conditions establish the starting constraints for a sectional loop.

Four architectural responses

The projects develop different relationships between circulation and shared space: a cultural route beside historic fabric, a public ground beneath an elevated canopy, interwoven ramps, and a sequence of terraces and interior voids. Each is presented through its analysis, architectural drawings, and spatial experience.

West Path Arts Center · Juan Pineros · Canopy Commons · Dylan Simmons · Visible Works Studio · Asadour Salatyan · Unit SP-2645 · Mateusz Zygadlo

West Path Arts Center — Juan Pineros

A new cultural route links the market district with exhibition, performance, and creative work. The retained street facade anchors the intervention, while the addition opens toward a public forecourt and develops a vertical sequence of shared spaces.

The project’s strength is the connection between its urban reading and its architectural representation: edge studies become arrival and access decisions, and the plans, sectional perspectives, and occupied views show how those decisions produce a public interior.

Juan Pineros — exterior visualization of West Path Arts Center beside the retained facade — Juan Pineros — the new addition and retained street facade establish a shared civic frontage.

Urban analysis and spatial organization

Pedestrian movement and the contrasting market, street, and service edges guide the proposal. The circulation and program diagrams place public destinations along a vertical route, with more controlled spaces deeper in the building.

Juan Pineros — pedestrian circulation analysis around West Side Market

Juan Pineros — synthesis of market, street, parking, and adjacent-building edges

Juan Pineros — movement mapping and the urban edges that inform entry and public access.

Juan Pineros — form development paired with urban density and pedestrian movement studies — Juan Pineros — early massing studies translate site analysis into openings and connections.

Juan Pineros — exploded circulation diagram linking building levels

Juan Pineros — program distribution for gallery, performance, studios, and public arrival

Juan Pineros — circulation and program read together: the route connects distinct uses across levels.

Architectural drawings

The site plan locates the public ground within the block. Floor plans and sectional perspectives then make the relationship between the route, performance spaces, and retained fabric available for inspection.

Juan Pineros — site plan of West Path Arts Center and its surrounding block

Juan Pineros — structural axonometric of the proposed addition

Juan Pineros — the urban footprint and the structural system supporting the new spaces.

Juan Pineros — lower-level floor plans of West Path Arts Center — Juan Pineros — lower-level plans: entry, shared circulation, and relationships to the existing building.

Juan Pineros — upper-level floor plans of West Path Arts Center — Juan Pineros — upper-level plans: the vertical route connects changing program and floor geometry.

Juan Pineros — urban section through the project and West Side Market — Juan Pineros — the site section situates the addition within the market district’s scale and skyline.

Juan Pineros — longitudinal sectional perspective through circulation and program

Juan Pineros — cross-sectional perspective through the addition and performance spaces

Juan Pineros — complementary sectional perspectives reveal overlapping levels and the spaces around the route.

Public life and interior experience

The renderings follow the project from arrival through stairs, galleries, and performance. They make material continuity, visual connections, and the changing scale of the public route visible at the level of occupation.

Juan Pineros — interior rendering of the stair beside retained material surfaces

Juan Pineros — rendering of an occupied shared lounge beside retained masonry

Juan Pineros — movement beside the retained fabric and arrival within a shared lounge.

Juan Pineros — interior rendering of a public route along glazing

Juan Pineros — performance-space rendering with audience seating around the stage

Juan Pineros — the public sequence extends from daylit circulation to the collective experience of performance.

Canopy Commons — Dylan Simmons

An elevated private program shelters a public ground connected to the market. The canopy establishes a large civic room, while stairs, terraces, and framed views extend the route through the building.

Dylan’s strongest work is sectional: the broad stair, spanning structure, and suspended volume give the circulation diagram an architectural scale. His separate access and public/private diagrams clarify how artists can share visibility with visitors while retaining routes of their own.

From market movement to a public ground

The initial studies identify a need for both continuity and places to stop. The massing sequence lifts the private spaces and opens the ground, turning the route into the organizing space beneath the canopy.

Dylan Simmons — circulation mapping around the project and market

Dylan Simmons — concept studies opening a route to the market and introducing public stopping points

Dylan Simmons — urban movement is translated into a passage with places for rest and gathering.

Dylan Simmons — five-stage massing sequence separating uses, lifting private space, carving circulation, and adding support and program — Dylan Simmons — the canopy develops through a sequence of program, circulation, and structural decisions.

Dylan Simmons — loop diagram marking stopping points across the project

Dylan Simmons — axonometric distribution of program around the shared ground and canopy

Dylan Simmons — the loop’s stopping points and the program arranged around them.

Dylan Simmons — exploded access diagram distinguishing public, artist, mechanical, and staff routes

Dylan Simmons — exploded diagram of public and private spaces

Dylan Simmons — framed views from different levels along the circulation sequence

Dylan Simmons — differentiated access, public/private occupation, and framed views. These drawings test selective encounter along the loop.

Plans, section, and structural resolution

The plans show the route within each floor; the two sections expose its continuity between floors. The structural axonometric makes the lifted volume and open public ground legible as a building system.

Dylan Simmons — site plan relating Canopy Commons to West Side Market

Dylan Simmons — structural axonometric of the canopy and supporting frames

Dylan Simmons — the site connection and the structure that frees the public ground.

Dylan Simmons — coordinated floor plans of Canopy Commons — Dylan Simmons — floor plans organize rooms and thresholds around the circulation sequence.

Dylan Simmons — longitudinal section through the public stair and elevated canopy — Dylan Simmons — longitudinal section: the stair becomes a shared room within the depth of the canopy.

Dylan Simmons — sectional perspective through the canopy, terraces, structure, and shared interior — Dylan Simmons — sectional perspective coordinates level changes, gathering space, and the spanning structure.

Atmosphere and model verification

The submitted visualizations explore the civic presence of the canopy; close model views test the stair, overhead structure, and cross-level relationships.

Dylan Simmons — street visualization; generated with ChatGPT/OpenAI from the student’s original design, as disclosed in the submission

Dylan Simmons — under-canopy visualization; generated with ChatGPT/OpenAI from the student’s original design, as disclosed in the submission

Dylan Simmons — street and under-canopy visualizations. The student credits ChatGPT/OpenAI image generation based on his original design.

Dylan Simmons — physical model view of the broad public stair and elevated rooms

Dylan Simmons — physical model view beneath the canopy toward the shared interior

Dylan Simmons — physical model photographs check the scale of the stair and the spatial continuity beneath the canopy.

Visible Works Studio — Asadour Salatyan

Two ramp systems organize the relationship between artists and visitors. They extend outward to form the entrance, pass exhibition and viewing areas, and maintain visual contact while separating public movement from studio and backstage access.

The project makes the teaching method especially explicit: a circulation line generates the entrance and building volume, then becomes a sequence of rooms in plan and section. Glazing and the roof develop the further question of how making, gathering, and performance become visible and daylit.

Asadour Salatyan — exterior rendering of the entrance ramps and glazed public frontage

Asadour Salatyan — exterior rendering showing the layered enclosure and side elevation

Asadour Salatyan — the outward-reaching ramps announce the public route at the street.

A dual route and a visible entrance

Street and parking studies establish the arrival conditions. Ramp iterations then separate users while creating points of connection; the entrance is developed as the beginning of this spatial sequence.

Asadour Salatyan — site analysis of the main urban circulation routes

Asadour Salatyan — site analysis of surrounding parking areas

Asadour Salatyan — street movement and parking conditions frame the need for a clear, inviting pedestrian entrance.

Asadour Salatyan — iterations of the interwoven ramp system

Asadour Salatyan — development of the entrance ramps

Asadour Salatyan — the loop develops into an entrance rather than ending at the building boundary.

Asadour Salatyan — red and green circulation paths distinguishing public and private routes

Asadour Salatyan — exploded program organization around the ramps

Asadour Salatyan — differentiated paths and program: exhibition follows the visitor route while artists retain controlled access.

Asadour Salatyan — building-form development from the ramp line and black-box program — Asadour Salatyan — the circulation line is translated into the geometry of the building volume.

The loop in plan and section

The complete floor-plan sequence and paired sectional perspectives allow the ramp diagram to be compared with occupied rooms. The site drawings relate the resulting building to its block and the market skyline.

Asadour Salatyan — site plan with the proposed roof and urban context

Asadour Salatyan — site section relating the proposal to West Side Market

Asadour Salatyan — site plan and urban section.

Asadour Salatyan — first-floor plan with entry and ramp geometry

Asadour Salatyan — second-floor plan with studios, shared space, and circulation

Asadour Salatyan — first- and second-floor plans.

Asadour Salatyan — plan labelled floors four and five, including performance spaces

Asadour Salatyan — third-floor plan and the drawing labelled floors four and five continue the route through exhibition and performance programs.

Asadour Salatyan — sectional perspective through the ramp and upper volume

Asadour Salatyan — sectional perspective through the public stair and stacked rooms

Asadour Salatyan — two sectional perspectives show the ramp system, shared voids, and changes of level.

Daylight, visibility, and enclosure

The interior views examine how the public route is inhabited: the roof brings light into gathering space, while glazing exposes activity along circulation. Structural and physical studies connect this spatial intention to the building’s assembly.

Asadour Salatyan — interior rendering of daylight through the folded roof

Asadour Salatyan — interior rendering of the glazed public circulation space

Asadour Salatyan — daylight and visual contact give the circulation sequence spatial character.

Asadour Salatyan — exploded structural diagram of walls, metal trusses, and beams

Asadour Salatyan — physical circulation study model

Asadour Salatyan — structure and a physical study isolate the systems supporting and organizing movement.

Unit SP-2645 — Mateusz Zygadlo

A continuous route connects exposed studios, exhibition spaces, terraces, and performance. The project statement pairs the visibility of artistic production with places to sit and look toward the market, giving the collective a public role beyond its programmed rooms.

The strongest sequence is the progression from circulation to inhabited form. The diagrams test exterior pauses, solar trimming, structural support, and exposed movement; the plans and sectional perspectives show how these operations produce irregular shared spaces and cross-level connections.

Mateusz Zygadlo — exterior visualization of Unit SP-2645 alongside the retained street facade — Mateusz Zygadlo — the addition exposes its layered interior beside the retained facade.

Activity, views, and the development of form

The urban studies identify concentrations of activity and possible visual relationships. The loop and program diagrams establish the organization that the subsequent volume studies develop.

Mateusz Zygadlo — diagram of human activity intensity around the site

Mateusz Zygadlo — diagram of views and sights from the site

Mateusz Zygadlo — concentrations of activity and views toward the surrounding district.

Mateusz Zygadlo — continuous circulation diagram

Mateusz Zygadlo — program diagram combining studios, exhibition, performance, and shared uses

Mateusz Zygadlo — the movement system and its associated program.

Mateusz Zygadlo — massing iteration introducing exterior pauses

Mateusz Zygadlo — massing iteration responding to solar exposure

Mateusz Zygadlo — the volume is opened for outdoor pauses and adjusted for sun.

Mateusz Zygadlo — massing development introducing structural support

Mateusz Zygadlo — development exposing circulation within the envelope

Mateusz Zygadlo — structural support and visible circulation further articulate the form.

Plans and sectional space

Drawings extracted from the original presentation boards show the route within the architectural proposal. Their changing geometry allows the circulation diagram to be read against rooms, voids, terraces, and the retained building.

Mateusz Zygadlo — second-floor plan of Unit SP-2645

Mateusz Zygadlo — third-floor plan of Unit SP-2645

Mateusz Zygadlo — second- and third-floor plans, extracted at readable scale from the original board.

Mateusz Zygadlo — fourth-floor plan of Unit SP-2645

Mateusz Zygadlo — fifth-floor plan of Unit SP-2645

Mateusz Zygadlo — fourth- and fifth-floor plans show changing program and shared spatial boundaries.

Mateusz Zygadlo — first sectional perspective through the circulation and interior voids — Mateusz Zygadlo — sectional perspective through the vertical sequence of shared spaces.

Mateusz Zygadlo — complementary sectional perspective through stairs and overlapping levels — Mateusz Zygadlo — the second section reveals connections between stairs, openings, and adjacent rooms.

Mateusz Zygadlo — animated plan and section cuts embedded in the original submission. Moving through the model reveals how the route and voids change across the building.

Movement at the scale of the interior

Close spatial studies examine the pauses and changes in scale within the route: approaching a landing, ascending a stair, moving through a gallery, and looking across a vertical void.

Mateusz Zygadlo — interior view across a landing toward the stair

Mateusz Zygadlo — interior view ascending through the stair enclosure

Mateusz Zygadlo — a landing and stair test the transition between movement and shared interior space.

Mateusz Zygadlo — interior view of the gallery and exposed circulation edges

Mateusz Zygadlo — view through a vertical void connecting multiple levels

Mateusz Zygadlo — gallery and void studies explore cross-level visibility and changing spatial scale.

Earlier spatial study — Juan Pineros

Assignment 1 explores a smaller domestic interior through sectional drawings, material surfaces, light, and changes of level. Shown separately from the Artists’ Collective, it establishes the course’s attention to inhabitation before the later project expands that inquiry to the city.