Architecture Portfolio

ч е с т в о . a r c h i t e c t u r e . α ρ χ ι τ ε κ τ ο ν ι κ ή . 建 筑 学 . ‫ ﻑﻥﻡﻉﻡﺍﺭﻱ‬. ‫ ﺃﺱﻝﺍﻭﺏ ﺏﻥء‬. a r q u i t e c t u r a . а р х и т е к т у р а . с т р у t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 건 축 술 . a r k i t e k t u r . a r c h i t e k t o n . a r c h i t e c t u r a . a r c h i t e c t u s . a r k h i kturo.arkitekturo.architektur.architectura.arkitektura.stavebnictví.arsitektur. 建筑学. 體 ra.architectuur.mimarlık.thu ật kiến trúc.architettura.arhitectur ă.arquitectura.architekt m ű v é s z e t . é p í t é s z e t . g r a đ e v i n a . アーキテクチャ . g r a d j e v i n a r s t v o . a r k i t e k t u r ë . у р а н б а р и л г а . б а р ur.architectura.arkitektura.stavebnictví.arsitektur. 建筑学.adeiladaeth.galofyddiaeth.s ectura.arkitektura.architectuur.arquitetura.mimarlık.yapı.inşaat.architettura.architec s t a v i t e l s t v í . ‫ ءانبلا دييشت ةرامعلا نف‬. а р х и т е к т у р а . з о д ч е ст в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t u u r . m i m z e t . a r h i t e k t u u r . a r k k i t e h t u u r i . a r c h i t e k t o n i k . a r c h i t e c t u r e . a r c h i t e k t o n i s c h . ‫ביכרמו בשחמה לש הנבמה‬ a . けんちくがく . a r k i t e k t u r . 건축 . a r c h i t e k t u r a . 건축물 . a r q u i t e c t u r a . 건축술 . a r h i t e c t u r ă . a r q u i t e t u r a g t r ì n h k i ế n t r ú c . k i ế n t r ú c m á y t í n h . 建 筑 学 . 建築學 . a r k h i t e k t o n . a d e i l a d a e t h . g a l o f y d d i a e t h . s e c t u r a . a r k i t e k t u r a . s t a v e b n i c t v í . a r s i t e k t u r . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫ ءانبلا دييشت ةر امعلا نف‬. а р х и т ra.arhitectur ă.arquitectura.architekt ura.architecture. архитектура.izgradnja arhitektur narstvo.arkitekturë. уран барилга.архтектура.стру ктура.architectuur.arquitetura.mimar itektur.architekton.architectura.architectus.arkhitekton.adeiladaeth.galofyddiaeth.sa c t u r a . a r k i t e k t u r a . s t a v e b n i c t v í . a r s i t e k t u r . 建 筑 学 . 體 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫ةرامعلا نف‬ rúc.architettura.saerniaeth.te'koshif.αρχιτεκτονική.arhxitekturo.arkitekturo.architekt a r c h i t e c t u r e . a r c h i t e k t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 體 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . a r q u i uur.mimarlık.architettura.architecture.arhitektura.architektura.arkitektur.architectuur ‫ וי ביכרמו בשחמה‬. a r q u i t e c t u r a . s t a v i t e l s t v í . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫ ءانبلا دييشت ةرامعلا نف‬. а р х и т е к т у р а . з . 建 筑 学 . ‫ ﻑﻥﻡﻉﻡﺍﺭﻱ‬. ‫ ﺃﺱﻝﺍﻭﺏ ﺏﻥء‬. a r q u i t e c t u r a . а р х и т е к т у р а . с т р у к т у р а . a r c h i t e c t u u r . a r q u i t e t u r a . m i m kitektur.architekton.architectura.architectus.arkhitekton.arkitektura.stavebnictví.ars rkitektura.architectuur.mimarlık.thu ật kiến trúc.architettura.saerniaeth.te'koshif. α ρ χ ι τ t e t t u r a . けっこう . a r h i t e k t ū r a . けんちく . a r c h i t e k t ū r . けんちくがく . a r k i t e k t u r . 건축 . a r c h i t e k t u r a . 건축물 ektura.arquitectura.arkitektur.mimarlık.công trình ki ến trúc.ki ến trúc máy tính. 建筑学.建 u r . a r c h i t e c t u r a . a r k i t e k t u r a . s t a v e b n i c t v í . a r s i t e k t u r . 體 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫نف‬ ến trúc.architettura.saerniaeth.te'koshif. α ρ χ ι τ ε κ τ ο ν ι κ ή .arhxitekturo.arkitekturo.archit u r a . a r c h i t e c t u r e . a r c h i t e k t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 體 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . g ‫ ترام‬. c ô n g t r ì n h k i ế n t r ú c . a r k i t e k t u r o . a r c h i t e k t u r . a r c h i t e c t u r a . a r k i t e k t u r a . s t a v e b n i c t v í . a r u r a . 건축술 . a r h i t e c t u r ă . a r q u i t e t u r a . a r h i t e k t u r a . а р х и т е к т у р а . a r c h i t e k t ú r a . a r h i t e k t u r a . a r q u on.adeiladaeth.galofyddiaeth.saeriant.saerniaeth.te'koshif. αρχιτεκτονική.arhxitektur .saeriant.saerniaeth.te'koshif.αρχιτεκτονική.arhxitekturo.arkitekturo.architektur.arch

I L A N A A B

A

re

ctu

ite

ch

ar

o

oli

rtf

po

ABAAN ALI

GEORGIA INSTITUTE OF TECHNOLOGY 11’

COLLEGE OF ARCHITECTURE | B.S.ARCH HONOR 4698 BRASELTON HWY. HOSCHTON, GA 30548 (770) 539 1244 Abaan.M.Ali@gmail.com

[ARC]HITECTURE

1.1 | COLOR FILTRATION reMIX | C.O.A CENTENNIAL STAIRWELL

1.2 | DIVERSITY RESEARCH CENTER | ATLANTA DIVERSITY RESEARCH INSTITUTE

1.3 | BRAZILIAN UN-CONDITIONED HALL | SERTﾃグ COMMUNITY SUSTAINABILITY CENTER

1.4 | CAMP IN THE CITY | Lumino|CITY|

1.5 | UNDERGRADUATE LEARNING COMMONS | Translu|SCIENCE| UNDERGRADUATE BUILDING

1.6 | GERMAN FAST FOOD RESTAURANT | DAS REINHEITSGABOT

[INS]TALLATIONS

2.1 | WIND TURBINE INTEGRATION | URBAN METAMORPHOSE : KINETIC TURBINES

2.2 | TOWER OF BABYLON : JUNK TOWER | PLASTIC PALACE

2.3 | WILLIAM MORRIS CARPET | TANGLE JUNGLE

2.4 | PARAMETRIC MODULAR MASONRY | PARAMETRIC TORSION : REVEALING THE UNSEEN

[GRA]PHIC DESIGN

3.1 | ADVERTISING + PROPAGANDA | HTC FUZE SMARTPHONE l PROMOTIONAL AD CAMPAIGN

3.2 | DIGITAL WORKS | PARAMETRIC DESIGN COMPUTATION

[IND] EPENDENT STUDIES

4.1 | DIAGRAMS & CONCEPTUAL THINKING | NELSON ATKINS MUSEUM : BLOCH BUILDING REDUX

4.1 | MODULAR HOMELESS SHELTER | ORI|DOME|I : DEPLOYABLE MODULAR SHELTER

3 27 43 53 63 81

95 101 115 137 145 149 157 169

[ARC] 1.1 | COLOR FILTRATION reMIX | [CARINA ANTUNEZ, SPRING 2008]

C.O.A CENTENNIAL STAIRWELL [TYPOLOGY] ARCHITECTURE + EDUCATIONAL & CAMPUS WORKS

[ARC]

This emergency stairwell project explored the applications of interactivity and the relationship between individuals and their environment through the creative use of highly imaginative and innovative technologies, in this case light, color, and viewports. Based on the location, the proximity to the to the outdoor courtyard and central vicinity to the adjacent architecture building, my main intentions throughout the design stage was to utilize surrounding vantage points to emphasize the stairwell as an architectural beacon for life, light, and aspirations.

The “reMIX” component of the project is a direct descendent of combining the existing ideology of a stairwell along with the restoration aspects to make one cohesive experience. The stairwell has become a portal for students on a journey for learning and development. With each additional stair, the learner arrives at another door, outlet, or destination which exponentially opens new experiences. A stairwell is the forum for those types of cyclical opportunities.

3

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

[ARC]

THE FOLLOWING SCHEMATIC DESIGNS ARE HAND DRAFTED REPRESENTATIONS OF THE EXISTING STAIRWELL FOR THE COLLEGE OF ARCHITECTURE. THE EXISITING DESIGN OF THE STAIRWELL IS REMINISCENT OF THE ADJACENT 1950’S POST MODERNISM BUILDINGS THAT IT SURROUND. THE “REMIXING” PROCESS WILL HELP STUDENTS IDENTIFY THE PURPOSE OF THE BUILDING WHILE NOT OBSTRUCTING THE ARCHITECTURAL INTEGRITY THE BUILDING POSSESS

5

ORIGINAL STAIRWELL

PLAN BASEMENT FLOOR

PLAN FIRST FLOOR

PLAN SECOND FLOOR

PLAN THIRD FLOOR

ELEVATION NORTH FACADE

BB

BB

AA

AA

SECTION CUT

AA’

BB’

[ARC] 7

SECTION DETAIL

AXONOMETRIC

[ARC]

C.O.A CENTENNIAL STAIRCASE

9

PLAN BASEMENT FLOOR

PLAN FIRST FLOOR

PLAN SECOND FLOOR

PLAN THIRD FLOOR

GEORGIA INSTITUTE OF TECHNOLOGY

[ARC]

COLLEGE OF ARCHITECTURE MCMVIII - MMVIII

11

ELEVATION NORTH FACADE

ELEVATION WEST FACADE

BB

AA

AA

[ARC]

BB

13

AA’

SECTION CUT

BB’

THE CENTENNIAL INSTALLATION COMMEMORATES THE 100 YEARS ANNIVERSARY OF THE COLLEGE OF ARCHITECTURE AT THE GEORGIA INSTITUTE OF TECHNOLOGY. SINCE THE PROJECT DATES CORRESPONDED WITH THE CENTENNIAL CELEBRATION THIS BUILDING WOULD SYMBOLIZE THAT ACCOMPLISHMENT. THE 20 x 5 ASSEMBLY OF GEOMETRICIZED POLYGONS DENOTES 1 YEAR SINCE THE CONCEPTION OF THE COLLEGE OF ARCHITECTURE. THE DESIGN REFERENCES THE MATHEMATICS OF ARCHITECTURE AND SYMBOLIZES THE SCHOOL’S INCREASING IMPACT OVER THE PAST 100 YEARS. THE DUALITY OF THE INSTALLATINO IS SEEN DURING DAY / NIGHT CONDITIONS. DURING THE DAYTIME THE INSTALLATION IS SEEN AS POSITIVE SPACE FROM THE EXTERIOR AND NEGATIVE SPACE FROM THE INTERIOR AND VICE VERSA AT NIGHT. THESE RELATIONSHIP ALLOWS LIGHT TO CIRCULATE WITHIN THE INTERIOR DURING THE DAYTIME AND BECOMES A ARCHITECTURAL “LIGHTHOUSE” TO THE EXTERIOR DURING THE NIGHTTIME.

CENTENNIAL INSTALLATION

CONNECTION DETAIL

CHANNEL GLASS FACADE TO MULLION CONDITION

[ARC]

CHANNEL GLASS FACADE TO CONCERETE WALL CONDITION

15

CHANNEL GLASS FACADE DETAIL

[ARC] 17

INTERIOR RENDERING

19

[ARC]

21

[ARC]

23

[ARC]

25

[ARC]

[ARC] 1.2 | DIVERSITY RESEARCH CENTER | [KEITH JUNDANIAN, SPRING 2009]

ATLANTA DIVERSITY RESEARCH INSTITUTE [TYPOLOGY] ARCHITECTURE + CIVIC & PUBLIC WORKS

[ARC]

This project is an integration of the semester’s research and analysis of material systems, form discovery, and scheme development.

To generate the form of the building, a generalized rule set established the exact sunlight intensity at various positions on the site.

Once those relationships were made the material system dictated the formal environmental interactions within the site. The intensity of sunlight within the space creates a direct correlation with the pushing and pulling effect of the facades. The building was then embedded into the site and the programmatic arrangements became contingent with the sunlight distribution into the building. The material system adds multidimensionality to the building’s perception as Atlanta’s apex in sociological advancement and understanding. The building becomes am architectural metaphor for the concealment, exposure, and impact of racial, ethnic and religious diversity on our society and its institutions.

27

[LOCATION] EDGEWOOD AVENUE, ATLANTA, GEORGIA : 33.75500 ° N , 84.36132 ° W

SITE ANALYSIS TRAFFIC / PEDESTRIAN FREQUENCY + OCCUPANCY

EPHEMERAL RELATIONSHIP DIAGRAM

PARKING CONSTRAINTS

[ARC]

GREENSPACE

29

THE DIAGRAMS ALLOW THE USER TO BECOME AN INTERFACE WITHIN THE SYSTEM OF THE SITE. BY ANALYZING THE SURROUNDING ADJACENCIES A GENERALIZATION CAN BE CONSTRUCTED. THE EPHEMERAL RELATIONSHIP DIAGRAM TAKES INTO ACCOUNT ALL OF THE SITE ANALYSIS AS WELL AS ADJACENT BUILDING SHAPES, HEIGHT, SUNLIGHT, SHADOWS, ARTIFICIAL LIGHTING, AND TO ESTABLISH AREAS OF INTEREST. THE SITE WILL ADDRESS THE DATA IN REGARDS TO FORM AND FUNCTION

[ARC] OPERATING STREET ACCESS FOR PEDESTRIANS

31 ADJUSTING VOLUMES TO ADJACENT BUILDING

FORM SYSTEMIZATION

ADJUST VOLUMES TO EXPAND VISUAL EXPOSURE

STARTING REFERENCE POINT : TOP ENDING REFERENCE POINT : MIDDLE

STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP-BOTTOM

STARTING REFERENCE POINT : MIDDLE-TOP ENDING REFERENCE POINT : MIDDLE-BOTTOM

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : BOTTOM

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP

STARTING REFERENCE POINT : TOP ENDING REFERENCE POINT : BOTTOM

STARTING REFERENCE POINT : BOTTOM ENDING REFERENCE POINT : TOP

MATERIAL EXPLORATION MATRIX CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION

CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION

SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION

CENTRAL ATRIUM GREENSPACE ADDITION HEIGHT EXTRUSION EXTRUDED VOLUME ROTATION TO INCREASE SCENIC VANTAGE

CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION

CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION

SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE (CCW) & (CW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE (CW) & (CCW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP (CW) & BOTTOM (CCW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP & BOTTOM

STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP (CW) & BOTTOM (CCW) STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP (CW) & BOTTOM (CCW)

STARTING REFERENCE POINT : BOTTOM ENDING REFERENCE POINT : MIDDLE

CW ROTATION

|DIVERSIFY| INSTALLATION THIS INSTALLATION BECOMES A THRESHOLD BETWEEN THE ATRIUM AND ART GALLERY. AT A DISTANCE, EACH INDIVIDUAL PANEL LOOK EXACTLY LIKE ONE ANOTHER; HOWEVER, AT CLOSER INSPECTION, THEY ARE INDIVIDUALLY UNIQUE. EACH PANEL SLAB IS CUSTOM FABRICATED TO THE CREATE THE INSTALLATION’S UNIQUE SHAPE. THE SHAPE IS A TRIBUTE TO THE DIVERSE ETHNIC AND CULTURAL MAKEUP OF ATLANTA AND WHEN EACH OF THE PIECES COME TOGETHER THEY FORM A COHESIVE ENTITY. THE GAPS WITHIN THE INSTALLATION SYMBOLIZE THE INJUSTICES AND OPPOSITIONS THAT THIS CITY HAS EXPERIENCED. THERE IS NO PLEASURE WITHOUT PAIN, NO JOY WITHOUT SORROW. YOU MUST ALWAYS PUSH THE LIMITS, BECAUSE IF YOU NEVER FAIL, YOU WILL NEVER SUCCEED.

PLAN

ELEVATION

INITIAL SHAPE CONTOUR

0

+1

[ARC]

MIRROR RIB STRUCTURE

33

+2

+3

PANEL PROPAGATION

+4

+5 SHAPE EXPLOSION

+6

+7

+8 PANEL SYSTEMIZATION

+9

+10 PANEL INTERLACE

+11

+12 CIRCULATION CREATION

+13

+14

+15

FINAL GENERATION

5

1

4

[ARC]

3

35

1 ENTRANCE 2 INFORMATION ANNEX 3 ATRIUM 4 ART GALLERY 5 ELEVATOR

2

PLAN FIRST FLOOR

5

1 4 2 3

1 OFFICE ANNEX 2 ATRIUM 3 LIVING ANNEX 4 LIBRARY STUDY 5 GREENSPACE

PLAN SECOND FLOOR

1

[ARC]

3

37

1 GREENSPACE 2 ATRIUM 3 LECTURE HALL

2

1

PLAN THIRD FLOOR

CHAMBERLAIN ST.

ELEVATION SOUTH FACADE

EDGEWOOD AVE.

ELEVATION NORTH FACADE

A

A

B

B

1 2

3

5

4

6

7

8

SECTION A

1

2

[ARC]

4

39

1 LECTURE HALL 2 GREENSPACE 3 LIBRARY STUDY 4 OFFICE ANNEX 5 ELEVATOR 6 ART GALLERY 7 ATRIUM 8 INFORMATION ANNEX

8

3

7

6

SECTION B

C

D

1 C

2

D

4

3 2

5

SECTION C

1

2

2

1 LECTURE HALL 2 GREENSPACE 3 LIBRARY STUDY 4 LIVING ANNEX 5 ART GALLERY

3

4

5

SECTION D

41

[ARC]

[ARC] 1.3 | BRAZILIAN UN-CONDITIONED HALL | [JUDY GORDON, FALL 2009]

SERTÃO COMMUNITY SUSTAINABILITY CENTER [TYPOLOGY] ARCHITECTURE + CIVIC & PUBLIC WORKS

[ARC]

The notion of a conditioned space has progressed the movement of vernacular housing in modern architectural habitats. Even in the most advanced societies you have civilizations that have remained untouched by modern conveniences and you see a reverence to these modes of construction and architecture solely based out of necessity from the harsh climates, societal seclusion, and limited resources. This project looks at architecture surrounding the Brazilian Highlands, known as Sertão, as a vernacular precedents. My proposal was to create a community hall that retains the essence of the Sertão in terms of material comprehension, capability, and conventionality but also promotes environmental sustainability and water conservation. This design issue allows the community hall to become platform and a user-interface to educate the community about conservation and sustainability. By creating a communal watering hole at the un-conditioned hall location it will be positioned as the central hearth of the community. Permanence and stability is only created by the motivation and impact on society.

43

[LOCATION] SERTÃO REGION, BAHAI, BRAZIL : 14.43295 ° S , 39.64380 ° W

THE SERTÃO CONSISTS MAINLY OF LOW UPLANDS THAT FORM PART OF THE BRAZILIAN HIGHLANDS. MOST PARTS OF THE SERTÃO ARE BETWEEN 200 AND 500 METERS ABOVE SEA LEVEL, WITH HIGHER ELEVATIONS FOUND ON THE EASTERN EDGE IN THE PLANALTO DA BORBOREMA, WHERE IT MERGES INTO A SUB HUMID REGION KNOWN AS AGRESTE, IN THE SERRA DA IBIAPABA IN WESTERN CEARÀ AND IN THE SERRO DO PERIQUITO OF CENTRAL PERNAMBUCO. IN THE NORTH, THE SERTÃO EXTENDS TO THE NORTHERM COASTAL PLAINS OF RIO GRANDE DO NORTE STATE, WHILE IN THE SOUTH IT FADES OUT IN THE NORTHERN FRINGE OF MINAS GERAIS.

SITE CONTEXT

SITE GEOGRAPHY BRAZILIAN HIGHLANDS

SERRO DO PERIQUITO

PLANALTO DA BORBOREMA

RIO JAGUARIBE

SERRA DA IBIAPABA

RIO PIRANHAS

[ARC]

MATERIAL CONSTRUCTION ELEMENTS

45

[ARC] 47

ELEVATION FRONT FACADE

ELEVATION SIDE FACADE

SECTION

SIDE SECTION

SECTION

FRONT SECTION

SERTﾃグ COMMUNITY SUSTAINABILITY CENTER

ELEVATION

[ARC]

FRONT FACADE

49

PLAN

ELEVATION BACK FACADE

ELEVATION SIDE FACADE

SECTION

LONGITUDINAL 1

SECTION

LONGITUDINAL 2

51

[ARC]

[ARC] 1.4 | CAMP IN THE CITY | [JUDY GORDON, FALL 2009]

Lumino|CITY| [TYPOLOGY] ARCHITECTURE +CIVIC & PUBLIC WORKS

[ARC]

This project consisted of designing a camp for the youth of Atlanta. The camp incorporated sustainable technologies in order to become a selfsustaining institute. The process of city planning, site evaluation and research, and also design integration were fundamental in the complexity of the camp. Luminance became a dynamic representation for the camp. At a micro scale, luminance describes the ephemeral qualities of camp nostalgia. The transitory moments of campfires, fireflies, light poles are omnipresent yet overlooked. At a macro scale, luminance describes the camp itself illuminating the area surrounded by hundreds of trees. Coincidentally, the growing network of skyscrapers and buildings become the luminance to the surrounding suburbs. Combining relationship between greenspace and concrete within the constraints of an urban setting is an reactive component in my design. My intention was to create a frame of reference to an object that will alter viewer’s subject and Lumino|CITY| was a perfect medium.

53

[LOCATION] NORTHSIDE DRIVE, ATLANTA, GEORGIA : 33.78959 ° N , 84.42189 ° W

SITE ANALYSIS TRUE CARDINAL DIRECTION

SITE DIRECTION

TRUE NORTH (TN)

SITE NORTH (SN)

SITE EAST (SE) TRUE WEST (TW)

TRUE EAST (TE) SITE WEST (SW)

TRUE SOUTH (TS)

SITE SOUTH (SS)

LAYERING OF GRID SN

ELEVATION GRID TN

SE TW

TE

SW

TS

[ARC]

TREE CANOPY GRID

55

SS

PROGRAMMATIC DIAGRAM LOW NOISE LEVEL

HIGH vs. MEDIUM vs. LOW NOISE LEVEL RELATIONSHIP

MEDIUM NOISE LEVEL

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP

1B) PROGRAM SEPERATED FURTHUR BASED ON NOISE LEVEL

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP

MEDICAL FACILITIES

- MEETING HALL - DINING HALL

CAMP SPECIFIC FACILITIES

- KITCHEN - LOADING AREA FOR KITCHEN - MANAGER’S ROOM

PUBLIC FACILITIES

PRIVATE AREA -

PROGRAMMATIC AREAS THAT HAVE LOW NOISE LEVELS

MEDICAL FACILITIES

CAMP SPECIFIC FACILITIES

PUBLIC FACILITIES

- CHECK IN / REGISTRATION AREA

PROGRAMMATIC AREAS THAT HAVE MEDIUM NOISE LEVELS

PUBLIC AREA -

PROGRAMMATIC AREAS THAT HAVE HIGH NOISE LEVELS

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB

CRAFT BUILDING CAMPER’S QUARTERS OUTDOOR CLASSROOM POOL

- DINING HALL

MEETING HALL DINING HALL

- KITCHEN

- MANAGER’S ROOM RECEPTION / WAITING AREA CONFERENCE ROOM

CIRCULATION / COMMON SPACE

MANAGER’S ROOM LOADING AREA FOR KITCHEN

- OUTDOOR CLASSROOM

1C) PROGRAMS THAT OVERLAP NOISE LEVELS ARE LINKED TOGETHER

1D) THE INTERIOR OF THE SITE IS PROGRAMMATICALLY CONDITIONED BASED ON THE CORRELATING NOISE LEVELS FROM THE SURROUNDING STREETS

- CRAFT BUILDING - RECEPTION / WAITING AREA

MEDICAL FACILITIES

CAMP SPECIFIC FACILITIES

PUBLIC FACILITIES

PUBLIC FUNCTION & PRIVATE USE

RECEPTION

CRAFT BUILDING CAMPER’S QUARTERS OUTDOOR CLASSROOM POOL COMMON SPACE

CONFERENCE ROOM

MEETING HALL DINING HALL

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIPS

- MANAGER’S ROOM

1B) PROGRAM SEPERATED FURTHUR BASED ON PUBLIC & PRIVATE FUNCTION & USE CAMP SPECIFIC FACILITIES

CAMP SPECIFIC FACILITIES

CHECK IN MEETING HALL DINING HALL

MEDICAL FACILITIES

KITCHEN LOADING AREA MANAGER’S ROOM

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

MEDICAL FACILITIES

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

- CAMPER’S QUARTERS

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP

CLOSED SPACES - CHECK IN / REGISTRATION AREA

- KITCHEN

- MANAGER’S ROOM - CAMPER’S QUARTERS

- OUTDOOR CLASSROOM

- OUTDOOR CLASSROOM 1D) THE PUBLIC FACILITIES AND CAMP-SPECIFIC FACILITIES GROUPING ARE

DEPENDENT ON THE MEDICAL FACILITIES; HOWEVER, NOT VICE VERSA

- CRAFT BUILDING

- POOL - CRAFT BUILDING - RECEPTION / WAITING AREA

- RECEPTION / WAITING AREA PUBLIC FACILITIES

- RESTROOMS CHECK IN MEETING HALL DINING HALL KITCHEN LOADING AREA MANAGER’S ROOM

CAMP SPECIFIC FACILITIES

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

MEDICAL FACILITIES

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

PUBLIC FACILITIES

CAMP SPECIFIC FACILITIES

MEDICAL FACILITIES

- RECORDS / NURSES STATION - RESTROOMS - EXAM ROOMS

CHECK IN MEETING HALL DINING HALL KITCHEN LOADING AREA MANAGER’S ROOM

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

RECORDS RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

DUAL FUNCTION SPACES

- LOADING AREA FOR KITCHEN

- CIRCULATION / COMMON SPACE

1C) PROGRAMS THAT OVERLAP ARE LINKED TOGETHER

OPEN SPACES

- DINING HALL

- CIRCULATION / COMMON SPACE

- CONFERENCE ROOM

1D) THIS AREA IS PRIME LOCATION FOR EXPOSURE TO THE PUBLIC DUE TO THE PROXIMITY TO THE ROAD AND THE OPEN FIELDS

OPEN vs. CLOSED SPACES RELATIONSHIP

OPEN SPACES

- MEETING HALL

- LOADING AREA FOR KITCHEN

- X-RAY / LAB

1C) THIS AREA IS PRIME LOCATION FOR SECLUSION DUE TO THE TREE CANOPY

- X-RAY / LAB

PUBLIC FACILITIES

PUBLIC FACILITIES

- KITCHEN

- SUPPLIES

PROGRAMMATIC AREAS THAT ARE SECLUDED FROM THE CAMP

- SUPPLIES

MANAGER’S ROOM LOADING AREA

PUBLIC / PRIVATE FUNCTION vs. PUBLIC / PRIVATE USE RELATIONSHIP

- DINING HALL

- DOCTOR’S OFFICES

PRIVATE AREA MEDICAL FACILITIES

LOADING AREA MANAGER’S ROOM POOL RECORDS RESTROOMS EXAM ROOMS DOCTOR’S OFFICE SUPPLIES X-RAY / LAB CONFERENCE

- DOCTOR’S OFFICES

- MEETING HALL

- EXAM ROOMS

CAMPER’S QUARTERS OUTDOOR CLASSROOM CIRCULATION CRAFT BUILDING RECEPTION

- CONFERENCE ROOM

- CHECK IN / REGISTRATION AREA

- RECORDS / NURSES STATION

CHECK IN MEETING HALL DINING HALL KITCHEN

MEDICAL FACILITIES

- EXAM ROOMS

CHECK IN KITCHEN

PRIVATE FUNCTION & PRIVATE USE

- POOL

CAMP SPECIFIC FACILITIES

- RESTROOMS NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB

- CONFERENCE ROOM

PUBLIC FUNCTION & PUBLIC USE

PROGRAMMATIC AREAS THAT HAVE PUBLIC FUNCTIONS TO CAMPERS BUT MAY BE SECLUDED TO THE PUBLIC

PUBLIC FACILITIES

- RECORDS / NURSES STATION

- RESTROOMS

- X-RAY / LAB

PUBLIC & PRIVATE AREA -

- POOL

- CRAFT BUILDING

- SUPPLIES

PROGRAMMATIC AREAS RECIEVE THE MOST EXPOSURE TO THE PUBLIC

- CIRCULATION / COMMON SPACE

- RECEPTION / WAITING AREA

- DOCTOR’S OFFICES

PUBLIC AREA -

- CAMPER’S QUARTERS

- CIRCULATION / COMMON SPACE

- EXAM ROOMS

CAMP SPECIFIC FACILITIES

- LOADING AREA FOR KITCHEN

CHECK IN / REGISTRATION AREA KITCHEN

- OUTDOOR CLASSROOM

- RECORDS / NURSES STATION

PUBLIC FACILITIES

- MEETING HALL

PUBLIC & PRIVATE AREA -

- CAMPER’S QUARTERS

- POOL

1B) PROGRAM SEPERATED FURTHUR BASED ON NOISE LEVEL

SECLUSION

HIGH NOISE LEVEL - CHECK IN / REGISTRATION AREA

SECLUSION vs. EXPOSURE RELATIONSHIP

EXPOSURE

- DOCTOR’S OFFICES - SUPPLIES - X-RAY / LAB - CONFERENCE ROOM

CLOSED SPACES

PUBLIC AREA -

PROGRAMMATIC AREAS THAT HAVE AN OPPORTUNITY OF OPEN AIR CIRCULA TION, I.E. CAMP SPECIFIC FACILITIES

PUBLIC & PRIVATE AREA PROGRAMMATIC AREAS THAT HAVE A DUALITY OF BOTH OPEN SPACES AND CLOSED SPACES, I.E. PUBLIC FACILITIES

PRIVATE AREA -

PROGRAMMATIC AREAS THAT HAVE NO OPEN AIR CIRCULATION, I.E. CLOSED AND SECURE MEDICAL FACILITIES

1C) THE TREE CANOPY CAN STILL SECLUDE THE OPEN SPACES

1B) PROGRAM SEPERATED FURTHUR BASED ON WHETHER THEY ARE OPEN SPACES, CLOSED SPACES, OR BOTH OPEN SPACES

DUAL FUNCTION SPACES

CLOSED SPACES

CRAFT BUILDING OUTDOOR CLASSROOM POOL

MEETING HALL DINING HALL CAMPER’S QUARTERS

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB REGISTRATION AREA KITCHEN LOADING AREA MANAGER’S ROOM CIRCULATION RECEPTION

1D) THE CLOSED SPACES WILL PROVIDE SECLUSION IN OPEN AREAS OF LAND

BB

EL.+ 8‘ SPOT

EL.+ 8‘ SPOT

EL. - 2’ SPOT

1

AA

AA EL. 0’ SPOT

EL. - 10’ SPOT

6

EL. - 2’ SPOT

5

EL. - 2’ SPOT

EL. - 2’ SPOT

EL. - 4’ SPOT

EL. - 10’ SPOT

EL. 0’ SPOT

4

BB

ROOF PLAN CC

CC

EL. - 2’ SPOT

2

3

1

HOUSING PLAN

EL. - 2’ SPOT

[ARC]

EL. - 4’ SPOT

57

SITE PLAN

1 PARKING 2 MEDICAL ANNEX 3 HOUSING 4 AQUATIC CENTER 5 PUBLIC FACILITIES 6 OUTDOOR RECREATION

SITE SECTION AA’

SITE SECTION BB’

HOUSING SECTION CC’

THE NIKE TECHLAB PRESENTS A NEWLY CONSTRUCTED OUTDOOR CLASSROOM AREA WHICH PROMOTES SUSTAINABILITY THROUGH THE INNOVATIVE USE OF A VERSATILE WALL SYSTEM KNOWN AS NANA WALLS. NANA WALLS PROVIDE A OPERABLE WALL SYSTEM WHICH CAN CREATE AN INDOOR / OUTDOOR CONDITION. THE ROOF TO THESE CLASSROOMS ALSO INCORPORATE A LOUVRE SYSTEM WHICH ALLOWS FOR OPENNESSAND STUDENTS WILL BE INDULGE IN OUTDOOR EXPERIENCES WHICH CAMP CULTURE IS NOSTALGIC FOR.

AA

AA

NO[CO ] 2

[ARC]

RAINWATER COURT

59

NIKE [5ON5] PRESENTS THE NO[CO2] RAINWATER COURT WHICH REPRESENTS A COMPLETELY SELF SUFFICIENT AND SUSTAINABLE GREEN COURT DESIGN THAT HAS ZERO CARBON FOOTPRINT. THE COURT ALSO INCORPORTATES SOLAR PANELS ON THE METAL ROOF OF THE COURT THAT WILL POWER LIGHTS FOR THE ENTIRE COMPLEX WHILE GUTTERS COLLECT ENOUGH RAINWATER TO MEET THE CAMPS NEED. THE FOUNDATION IS ALSO ENGINEERED WITH POUROUS CONCRETE TO COLLECT WATER FOR ADDITIONAL STORAGE

BB

RECREATIONAL CENTER PLAN

RECREATIONAL CENTER SECTION AA’

1

2

3

4

6 7

5

8

1 STEEL ROOF 2 SOLAR PANEL 3 TRUSS SYSTEM 4 COLUMN 5 REGRIND COURT SURFACE 6 NANA WALLS 7 LOUVRES 8 PERVIOUS FOUNDATION

RECREATIONAL CENTER EXPLODED AXONOMETRIC BB’

A

B

[ARC]

C

61

DETAILED AXONOMETRIC

SECTION DETAIL A

SECTION DETAIL B

SECTION DETAIL C

NANAWALL MECHANISM

[ARC] 1.5 | UNDERGRADUATE LEARNING COMMONS | [JUDY GORDON, SPRING 2010] [COLLABORATOR] ELISABETH ROBERTSON

Translu|SCIENCE| UNDERGRADUATE BUILDING [TYPOLOGY] ARCHITECTURE + EDUCATIONAL & CAMPUS WORKS

[ARC]

Translucency and Transparency were the driving force behind this project which called for a undergraduate building for prospective freshman students on the campus of the Georgia Institute of Technology. I wanted the building to celebrate the notion of light and the site context of the campus with strategically placed viewports that allowed students a collaborative and stimulating working environment. The facility identifies a tangible datum point on campus that establishes a connection to multidisciplinary education. A dichotomy of dark transparency and light opacity manifest itself through the concealment and revelation of spaces. The lantern motif facilitates the notion of a building acting as a source and filter of knowledge and an ambience of inspiration.

63

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, ARMY ROTC BUILDING, ATLANTA, GEORGIA : 33.77595 째 N , 84.39380 째 W

THE ISSUE OF LIGHT AS IT PERTAINS TO THE SITE AND TO THE IDEA OF

SITE ANALYSIS

IDEATION MODEL

DAY

SOLID vs. TRANSPARENCY

NIGHT

LIGHT SOURCE

LEARNING WAS THE DRIVING FORCE BEHIND OUR PROJECT. “LEARNING” IS GAINING ILLUMINATION TO A NEW IDEA. OUR BUILDING IS DESIGNED AROUND BRINGING

THIS IDEATION MODEL REPRESENTS THE TRANSITION BETWEEN SOLID AND TRANSPARENT GLASS WITHIN OUR BUILDING THROUGH THE USE OF A SECONDARY TRANSLUCENT LAYER.

NATURAL LIGHT INTO ALL SPACES OF OUR BUILDING TO FACILITATE LEARNING AS WELL AS TO GIVE OFF LIGHT AT NIGHT TO ENCOURAGE STUDENTS TO

EXPLORE THE

BUILDING--TO LEARN. OUR LIGHT WELL WAS PLACED AND MORPHED ACCORDING TO EXISTING NEEDS OF ILLUMINATION. IT EXISTS BOTH TO BRING AND GIVE OFF LIGHT. APART FROM AESTHETICS, IT SHARES CRYSTALINE QUALITIES IN A METAPHORICAL SENSE. IT BECOMES A ECHO OF GUIDANCE AND CENTRALIZED SOURCE COMPONENT OF STUDENT LIFE IN THE CONFINES OF CAMPUS. THERE ARE VARIOUS LEVELS OF TRANSPARENCY WITHIN THE BUILDING. TRANSPARENCY EMPLOYED TO GAIN AS MUCH NATURAL LIGHT AS POSSIBLE ON A SITE CONTINUOUSLY IN THE SHADE THROUGHOUT THE

[ARC]

YEAR WHICH RELATE TO THE

65

PRIVACY

LEVELS

DESIRED

WITHIN/OUT OF THE BUILDING.

THIS IDEATION MODEL SHOWS OUR BUILDING GIVING OFF LIGHT THROUGH THE USE OF LIGHT DIFFUSION FILTER.

SITE PLAN 1/64” - 1’0”

FORM GENERATION

SITE SHADOW ANALYSIS JANUARY 21 9 AM - 6 PM

FIRST MODEL

MARCH 21

JULY 21

SEPTEMBER 21

MARCH 21

JULY 21

SEPTEMBER 21

9 AM - 6 PM

9 AM - 6 PM

9 AM - 6 PM

BUILDING SHADOW ANALYSIS JANUARY 21 9 AM - 6 PM

9 AM - 6 PM

9 AM - 6 PM

9 AM - 6 PM

SECOND MODEL

PERSPECTIVE SHADOW RENDERINGS

THIRD MODEL

[ARC]

PARTI DIAGRAM

67

PUBLIC / COMMUNITY

PRIVATE / INDIVIDUAL

PUBLIC / GROUP

PHYSICAL MODEL

PROCESS DIAGRAM TRANSPARENCY vs. PRIVACY

STRUCTURAL COLUMN AND TRUSS GRID

SPIDER CONNECTION COLUMNS

LOAD BEARING WALLS

CONSTRUCTION AXONOMETRIC DETAIL

A

SPIDER CONNECTION DETAIL A

SPIDER CONNECTION DETAIL B

B

SIDE VIEW

ELEVATION

[ARC]

ELEVATION

TOP VIEW

69

TOP VIEW

SIDE VIEW

LIGHTWELL FORMATION LIGHT ANALYSIS 4TH FLOOR

3RD FLOOR

2ND FLOOR

1ST FLOOR

BASEMENT

LIGHT DISTRIBUTION

FORM MORPHOLOGY

GEOMETRICIZATION

PHYSICAL MODEL

[ARC]

PUBLIC/GROUP

71

SITE ELEVATION EAST FACADE

up

FLOOR PLAN GROUND FLOOR

up

[ARC]

up

73

up

up

FLOOR PLAN 1ST FLOOR

up

up

FLOOR PLAN 2ND FLOOR

up

up

FLOOR PLAN 3RD FLOOR

up

FLOOR PLAN 4TH FLOOR

[ARC] 75

SECTION NORTH-SOUTH

SECTION EAST - WEST

TRANSPARENCY

REFLECTANCE

ELEVATION NORTH FACADE

[ARC]

TRANSPARENCY

77

REFLECTANCE

ELEVATION SOUTH FACADE

TRANSPARENCY

REFLECTANCE

ELEVATION EAST FACADE

TRANSPARENCY

REFLECTANCE

ELEVATION WEST FACADE

79

[ARC]

[ARC] 1.6 | GERMAN FAST FOOD RESTAURANT | [DANIEL BAERLICKEN, SPRING 2011] [COLLABORATOR] AMYN SOLDIER + BRAD KING

DAS REINHEITSGEBOT : BAVARIAN GASTROPUB [TYPOLOGY] ARCHITECTURE + OFFICES & MIXED USE

[ARC]

This national competition project resulted in the client’s ambition of designing a Bavarian inspired fast-food restaurant through the lens of Oktoberfest.

In order to fulfill the client’s desire, Das Reinheitsgabot celebrates the nature of authentic Bavarian brewery and the design follows in the same respects.

The restaurant design uses Bavarian restaurant precedents in a contemporary manner. The perception of foreign gastronomy being incorporated in the fast food chain culture of the United States is a factor that needs detailing. The conceptual nature of this project defined the building and food identity in terms of the technical and sociological constraints to societies familial association to fast food organizations. The marketability of the restaurant provides an engine to capture those reminiscent qualities yet not feel a compulsion to impede on the originality of Bavarian culture.

81

[LOCATION] NEW YORK CITY, NEW YORK : 40.71424° N, 74.00647° W

D A S RE I N H E IT S G E B OT

DESIGN INFLUENCE

|BAVARIAN GASTROPUB + BRAUHAUS|

BREWERY

VAULTED CEILING

"We desire that, henceforth, in our towns and markets as well as in the countryside, no ingredients other than barley, hops, and water may be processed and used in the making of beer.“ Passage of the Bayerische Reinheitsgebot, or Bavarian Beer Purity Law, Proclaimed Wilhelm IV and Ludwig X, Dukes Of Bavaria, 1516 DAS REINHEITSGEBOTS LITERALLY MEANS “PURITY ORDER.” SOMETIMES CALLED THE “GERMAN BEER PURITY LAW” OR “BAVARIAN PURITY LAW” IN ENGLISH. STRICT REGULATIONS CONCERNING THE PRODUCTION OF BEER WERE IMPLEMENTED IN GERMANY IN ORDER TO PROTECT THE SANCTITY OF WHAT IS PURE. IN THE ORIGINAL TEXT, THE ONLY INGREDIENTS THAT COULD BE USED IN THE PRODUCTION OF BEER WERE WATER, BARLEY, AND HOPS. THE LAW HAS SINCE BEEN REPEALED BUT MANY GERMAN AND AMERICAN BEERS CONTINUE TO DECLARE THEIR AMENDMENT TO THE RULE, IN AN ATTEMPT TO CONVINCE CUSTOMERS, THAT ONLY THE THREE PERMISSIBLE INGREDIENTS ARE USED. BEER HAS BECOME NOT ONLY AN INDULGENCE BUT A CULTURAL IDENTITY IN A SOCIETY THAT PLACES THE IMPORTANCE IN WHAT IS PURE. DAS REINHEITSGEBOT WANTS TO GLORIFY THAT SAME MECHANICAL PRODUCTION YET MAINTAIN A TRUE ESSENCE OF BAVARIANNESS. BEER AND FOOD ARE AN INTEGRAL COMPONENT OF THAT PROCESS

[ARC]

EXTERIOR TYPOLOGY

83

INTERIOR TYPOLOGY

FOOD + BEER TYPOLOGY

BEER HALL

OKTOBERFEST TRANSFORMATION

STRUCTURAL SYSTEM

WOODEN RIB SYSTEM

STRUCTURE MODEL

ROOF STRUCTURE

X - AXIS

ROOF STRUCTURE

I - BEAM STRUCTURE

Y - AXIS

I - BEAM BREWERY UNIT INTEGRATION

WOMEN’S LAVATORY

DRY FOOD STORAGE

ALCOHOL STORAGE

REFRIDGERATION ROOM

CLEANING AREA

KITCHEN

MEN’S LAVATORY

STOVE

PREPARATION TABLE

MEAT PREPARTION

BREAD PREPARTION

STAFF ROOM FOOD PICKUP STATION AUTOMAT

WOMEN’S CHANGE ROOM

SEATING AREA

OFFICE

PARKING LOT

MEN’S CHANGE ROOM BAR

BAR

WOMEN’S RESTROOM

OFFICE

SEATING AREA

[ARC]

MEN’S RESTROOM

85

FLOOR PLAN 1/8” - 1’0”

EAST ELEVATION 1/8” - 1’0”

[ARC] 87

SECTION 1 | DINING AREA INTO KITCHEN 1/8” - 1’0”

SECTION 2 | ENTRANCE INTO DINING 1/8” - 1’0”

THE EMPHASIS OF THE BREWING PROCESS WAS FEATURED AS THE CENTRAL COMPONENT OF THE RESTAURANT. THE BREWING PROCESS CONFORMED AROUND THE CONCEPTION AND CONSUMPTION ASPECT OF THE RESTAURANT WHICH INCLUDES FOOD PREPARATION, FOOD PRODUCTION, AND EVENTUALLY FOOD CONSUMPTION. AS THE CONSUMER WALKS AND INTERACTS WITH THE DIFFERENT STAGES OF ORDERING THEIR FOOD IT WILL COUNTERACT WITH THE PRODUCTION OF BEER FROM PRODUCTION, AT THE TIME YOU ENTER THE STORE, TO CONSUMPTION, WHEN YOU SIT DOWN IN THE DINING HALL. EACH STAGE MIMICS THE USERS ACTION WITHIN THE RESTAURANT SETTING.

BREWING PROCESS 6 7

5

4

8 9 8 3 2 1 SILOS - STORAGE FOR THE GRAIN 2 MILL - GRINDS THE GRAIN TO BE PROCESSED 3 MASH TIN - BARLEY IS MIXED WITH HOT WATER

1

4 LAUTERING TIN - SEPARATES THE SORT FROM THE GRAIN 5 BOILING TANK - LIQUID IS BOILED AND THE HOPS ARE ADDED 6 WHIRLPOOL - LIQUID SEPARATED FROM REMAINING SEDIMENTS

[ARC]

1

89

7 COOLING TANK - LIQUID COOLED AND PLACED IN FERMENTATION TANK 8 FERMENTATION TANK - YEAST IS ADDED 9 BRIGHT BEER - BEER TRANSFEERED INTO QUALITY CONTROLLED TANK

USER PROCESSION

DINE-IN INCLUDING AUTOMAT

DINE-IN AUTOMAT ONLY

AUTOMAT AND BAR ONLY

THE CUSTOMER APPROACHES THE FRONT DESK WHERE THEY ORDER THEIR MEAL AND GET A ELECTRONIC BUZZER THAT ALERTS THEM WHEN THE FOOD IS READY. THE PERSON THEN MAY GO THROUGH THE AUTOMAT AND PICK UP A SNACK WHILE THEY WAIT OR APPROACH THE BAR TO ORDER A DRINK. THEN THE PERSON SITS DOWN AND WAITS WHILE THEIR FOOD IS PREPARED. WHEN THE NOTIFICATION SOUNDS, THE CUSTOMER GOES BACK UP TO THE SERVICE LINE ON THE LEFT SIDE OF THE RESTAURANT TO RETRIEVE THEIR MEAL BEFORE RETURNING TO THEIR SEAT.

THE CUSTOMER SKIPS THE FRONT DESK, GOES THROUGH THE AUTOMAT, AND IS THEN SEATED IN THE GENERAL SEATING AREA AROUND THE GIANT FERMENTATION TANK.

THE CUSTOMER SKIPS THE FRONT DESK, GOES THROUGH THE AUTOMAT AND THEN SITS AT THE BAR TO DINE AND HAVE A DRINK.

AUTOMAT SYSTEM

[ARC]

AUTOMAT AESTHETIC

91

AUTOMAT UNIT

FRONT FACADE PERSPECTIVE

BACK FACADE SECTIONED PERSPECTIVE

USER INTERFACE

MENU

AUTOMAT BAVARIANESS

PRETZEL

BREAD

MEAT

DESSERT

SPATZLE

PORK ROAST

PORK KNUCKLE

WIENER SCHNITZEL

CHOOSE YOUR AUTOMAT BAVARIANESS

PULL DOOR DOWN & HELP YOURSELF

ENJOY

CASH OR CREDIT

BRAUHAUS BAVARIANESS CHOOSE YOUR BRAUHAUS BAVARIANESS

RECIEVE AUTOMATED DEVICE TO TELL WHEN MEAL IS READY

ENJOY

SAUERKRAUT PORK KNUCKLE WEISSWURST

93

[ARC]

[INS] 2.1 | WIND TURBINE INTEGRATION | [DR. MARK COSTELLO, SPRING 2010] [COLLABORATOR] AMYN SOLDIER + KEN MAI

URBAN METAMORPHOSE : KINETIC TURBINES [TYPOLOGY] INSTALLATION

[INS]

As a multi-disciplinary senior design project, aerospace engineers at Georgia Institute of Technology had to design sustainable uses for wind turbines in an urban setting. A proposed site between two adjacent skyscrapers in Dallas, Texas was determined using calculation and design specifications. As a consultant, I designed the resulting aesthetic form and connection details to the skycrapers. Producing the wind turbine in a urban environment is a testament to the impact of sustainability at a macro level. By linking the two buildings, Wind energy integration also begins to generate a sentiment of architecture as a living organism through a commensalistic relationship. The transformative properties of the turbines allows it to assimilate within an environment and generates new offspring at acceptable locations. The aesthetics attest to those correlations.

95

[LOCATION] DALLAS, TEXAS : 32.78282 째 N, 96.80393 째 W

THE EMPHASIS OF THIS PROJECT WAS TO DESIGN AND INTEGRATE A WIND ENERGY SYSTEM INTO AN EXISTING URBAN HIGH RISE BUILDING THAT WILL SUPPLY A SUBSTANTIAL AMOUNT OF THE BUILDING’S ENERGY NEEDS. OUR TEAM ASSISTED IN THE DESIGN, INTEGRATION, AND STRUCTURAL INTEGRITY OF THE WIND TURBINE SYSTEM. WE COORDINATED WITH THE AEROSPACE ENGINEERS TO DEVELOP LOAD CAPACITY, CALIBRATE ENVIROMENTAL FACTORS, AND DETERMINE AERODYNAMIC CALCULATIONS.

ONE SHORELINE PLAZA 3 HAWT, 20.6M MODIFIED NORDTANK 99 AIRFOIL LS-413 MAX INSTANT. OUTPUT: 104 kW INDIVIDUALLY 312 kW TOTAL ALL 3 INTEGRATION STRUCTURE: ASTM A50 STEEL BEAMS 20” X 12” X 0.625” SAFETY FACTOR: 25.7

GROUND WIND SPEED: 5.81 m/s ACCELERATION FACTOR: 1.17 - 1.35 (IN BETWEEN TOWER) PROJECT COST: $521,700

SYSTEM COST OF ENERGY: $0.083 per kWh

[INS]

COMMERCIAL ENERGY COST: $0.098 per kWh

97

BREAK EVEN POINT: 7-8 YEARS

CONNECTION DETAIL

CONCEPTUAL DESIGN

AXONOMETRIC PROJECTION

D

F

B

A

A - CONCRETE REBAR CONSTRUCTION

B - BASE PLATE

C - A325-SC 1” STRUCTURAL BOLTS

D - TOP L - CLIP ANGLE

E - BOTTOM L - CLIP ANGLE

C

E

F - ASTM A50 STEEL BEAM

99

[INS]

[INS] 2.2 | TOWER OF BABYLON : JUNK TOWER | [DANIEL BAERLICKEN, SPRING 2012] [COLLABORATOR] AMYN SOLDIER + BRITTANY UTTING + ERIC MORRIS + CALEB MEISTER + CHRIS MARTIN CHRISTINA DERISO + COLLEEN CREIGHTON + DAVID DUNCAN + ZACHARY BROWN

PLASTIC PALACE [TYPOLOGY] INSTALLATION + EXHIBITION

[INS]

With such an apocalyptical and prevailing topic, the title of this competition and semester-long design studio automatically brought forth thoughts, moreover concerns about the limits of our worldly riches and global society. Located in the growing metropolis of Atlanta and the southeast United States’ largest city, we are confronted with underperforming suburbs, dying malls, dead "big box" stores and with a high dependency on cars. But we also see concepts emerging that make the troubled city, Atlanta, and its suburbs livable and sustainable again. The Tower of Babel stands as a metaphor for the dark sites of civilization. It becomes a metaphor for today’s habits and customs of building in excess, extravagancy in design and dominance of the technosphere. A Cradle To Cradle approach represents a new paradigm for design. With Cradle To Cradle, as in nature, there is no such thing as waste.”We believe that sustainability is not a burden: Upcycling provides us with a strategy to deal with old materials and heirloom design with a strategy for designing things in such way that you want to keep them as long as possible because of beauty and functionality.

101

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

THE TOWER OF BABEL PROJECT IS BUILT ON A NARRATIVE OF SUSTAINABILITY THAT CALLS FOR INCREASED ENVIROMENTAL AWARENESS AS WELL AS SHIFTING BEHAVIORAL PARADIGMS. LIKE THE BABEL MYTH, THE CURRENT TRENDS OF DISPOSABLE CONSUMERISM REPRESENTS THE GREAT TRAGEDY AND FAILURE OF MODERN-DAY CONSUMPTION. COLLABORATIVELY WE STRIVE TO TRANSCEND THIS EARTHLY PLANE TO LIVE BEYONGS OUR MATERIAL MEANS. THE INEVITABLE RESULT HOWEVER IS A LEECHING OF THIS PLANET’S BOUNTY. THE INSTALLATION WILL FUNCTION AS A CONDUIT FOR AWARENESS OF OUR SELF-DESTRUCTIVE PATTERNS OF CONSUMPTION. THE METAPHOR OF THE TOWER AS A TYPOLOGY OF SUPREMACY WILL REVEAL THE CONSEQUENCES OF OUR UNSUSTAINABLE CUSTOMS. WITHIN THIS INTENTION FOR AWARENESS, WE ARE SPECIFICALLY CHALLENGING CONSUMERS TO UNDERSTAND NOT ONLY THE MAGNITUDE OF WASTE FROM SPECIFIC BEHAVIORS BUT ALSO TO SHED LIGHT ON ACTIVITIES THAT CAUSE INVISIBLE AND UNEXPECTED BYPRODUCTS.

DIAGRAMMATIC CONFIGURATION TRANSLATION: ADJACENT ARM TO ARM

[INS]

HEAD BODY

FLANGE ARM TO BODY

ARM TO FLANGE

ARM TO HEAD

103

FIGURE ARM

TRANSLATION: OPPOSITE

FOR THE INSTALLATION, WE HAVE CHOSEN TWO TYPES OF RECYCLABLE PRODUCTS FOR CONSTRUCTION: CLOTHING HANGERS AND PLASTIC BEVERAGE BOTTLES. THESE TWO PRODUCTS, ALTHOUGH COMPPOSED OF THE SAME PET PLASTIC ARE DIAMETRICALLY OPPOSED IN BOTH THEIR MANNER OF CONSUMPTION AND USE AS WELL AS THEIR STRUCTURAL LOGIC. BOTTLES ARE OBVIOUSLY CONSUMED WHILE HANGERS ARE A HIDDEN AND OFTEN DISCARDED BY-PRODUCT; BOTTLES ARE A FINAL PRODUCT OF AN INDUSTRY WHILE HANGERS ARE MERELY TOOLS OF ONE; BOTTLES CAN BE USED AS A STEREOTOMIC BRICKWORK WHILE HANGERS ARE BY THEIR NATURE MOST EFFICIENT IN TENSION. AS SUCH, WE WILL EMPLOY THESE TWO MATERIALS IN SUCH A JUXTAPOSITION - HIGHLIGHTING THEIR DIFFERENCES WHILE AT THE SAME TIME EMPLOYING THEIR INHERENT SIMILARITIES. BOTH RECYCLING MATERIALS ARE WASTED BECAUSE THEY ARE NOT PROPERLY REINTRODUCED INTO THE CYCLE. THE QUESTION REMAINS WHY THESE OMNIPRESENT AND RESPONSIBILITY TO RECYCLE NOT ONLY THE PRODUCTS OF THIS CONSUMPTION BUT ALSO THE BYPRODUCTS OF A COMMERCIAL CONSUMPTION?

VARIATIONS OF COMBINATIONS

ARM TO ARM

ARM TO BODY

ARM TO FLANGE

MODULES OF ASSEMBLY

SQUARE

FUNDAMENTAL BUILDING MODULE CONFIGURATION

H

TRIANGLE

MIRRORED TRIANGLES

PLASTIC BEVERAGE BOTTLES HAVE BECOME SYMBOLS OF RECYCLING. THROUGH EXCESSIVE ADVERTISEMENT ADVOCATING RECYCLING, THE VISUAL PROLIFERATION OF SPECIFICALLY DESIGNATED RECYCLING BINS, AS WELL AS THEIR UBIQUITY OF USE, THE PLASTIC BOTTLE HAS BECOME A REPRESENTATINO OF THE INDIVIDUAL’S PROVER IN LIVING SUSTAINABLY. THERE IS AN EASE AND FACILITY IN THEIR RECYCLING AND REUSE - AN EXPECTATION IN THE PROJECTION OF THEIR “GREEN” AFTER-LIFE. IT HAS BECOME FASHIONABLE TO RECYCLE THESE BOTTLES - SOMETHING OBVIOUS AND IN VOGUE.

[INS]

HANGERS ON THE OTHER HAND ARE THE BYPRODUCTS OF THE FASHION INDUSTRY - MERELY USED RATHER THAN SEEN. THEY ARE A HIDDEN RESIDUE OF AN INDUSTRY THAT CELEBRATES CONSPICUOUS CONSUMPTION AND DISPOSABLE PRODUCTS. AS RETAIL STORES IMPORT CLOTHING, EACH ARTICLE COMES WITH A HANGER. AS SOON AS EACH ARTICLE IS SOLD, THE HANGER BECOMES A USELESS REMAINDER, A CAST-OFF AND UNUSUABLE COMPONENT OF THE FASHION INDUSTRY. BECAUSE THE LIFE OF A HANGER IS GREATER THAN THE TIME IT TAKES TO SELL A PIECE OF CLOTHING, STORES ACCUMULATES A SURPLUS IN HANGERS THAT IS THEN REUSED AND RECYCLED. WHILE THE PUBLIC IS HYPER AWARE OF THE CYCLING POTENTIAL OF PLASTIC BOTTLES, THE AFTER-LIFE OF THESE HANGERS RESTS IN OBSCURITY.

105

TOWER ASSEMBLY

AGGREGATION THROUGH STACKING

TOWER INFILL

SYSTEM + RANDOMIZATION

PLASTIC BOTTLE CONSTRUCTION TIMELINE 5P MODULES

COLLECT BOTTLES

CLEANING

GROUP BY TYPE / SIZE

ARRANGE 5P MODULES

CONNECT RBANDS FRONT + BACK

ADDITIONAL TENSION FOR CURVATURE

IDEAL CONNECTION POINTS TWIST --> TENSION F(x)1

1

2

[INS]

RUBBERBAND CONNECTION PROCESS

107

ORTHOGRAPHIC REPRESENTATION

REINFORCE WITH HOTGLUE

a

FASTEN RBANDS BETWEEN EACH

MODULE TO MODULE COURSING

REINFORCE W/ GLUE CONNECTIONS

RUBBERBAND CONNECTION MATRIX n = NUMBER OF CONNECTIONS FROM 1 BOTTLE

n=3

n=4

n=4 n=4 n=3

n=4

n=6 n=6

n=4

n=4 n=6

n=4

n=4 n=4

n=3

TENSION VARIATIONS FORCES CONTROLLING COURSING CURVATURE HOTGLUE [1x]

HOTGLUE [2X] TENSION [2X] TENSION [1X]

COURSING BECOMES FLOORPLAN

STACK MODULES TO FORM WALL

REPEAT {a}

PANEL PROPAGATION BOTTLE TOWER COMBINE

LAYER [000, 025]

LAYER [026, 050]

LAYER [051, 075]

[INS]

LAYER [076, 100]

109

LAYER [101, 123]

PLASTIC RING LAYERING

SPLINE CONSTRUCTION

MORPHOGENESIS BOTTLE TOWERS POSITIVE SPACE

RENDERING

VOID

HANGER CLOUD NEGATIVE SPACE

[INS]

THE PURPOSE OF THIS INSTALLATINO IS TO COMMUNICATE THE FAILURES OF DIFFERENT LEVELS OF CONSUMPTION RISING FROM THE STACKING COMPRESSION RINGS COMPOSED OF BOTTLES HORIZONTALLY ATTACHED TOGETHER. THE BOTTLES WILL BE EMPLOYED STEROMETRICALLY, SERVING AS BUILDING MODULES THAT CAN BE COMPACTED VERTICALLY TO ASCEND SEVERAL STORIES. THE NUMBER OF BOTTLES USED IN EACH TOWER WILL REPRESENT THE TOTAL NUMBER OF PLASTIC BOTTLES THROWN AWAY RATHER THAN RECYCLED ON GEORGIA TECH CAMPUS IN A SINGLE DAY. THESE CONSTRUCTIONS WILL HAVE A PHYSICALLY SUBLIME AND OVERWHELMING PRESCENCE, ACCUMULATING INTO A VISUAL METRIC OF WASTE. HANGING FROM ABOVE THESE TOWERS WILL BE A CLOUD OF HANGERS, REPRESENTING A MAJOR RETAIL STORE’S YEARLY USAGE. THEY WILL BE ARRANGED IN 12-PART CUBOID MODULES THAT PLACE EACH COMPONENT IN TENSION AND WILL HANG FROM CORDS FROM THE CEILING OF THE INSTALLATION SITE. THEY WILL SERVE AS TECTONIC COUNTERPOINTS TO THE STACKED BOTTLES, AN EPHEMERAL AND FLOATING INVERSION OF THE TOWER BELOW. AS MUCH AS THE BOTTLES REPRESENT AN OBVIOUS PRODUCT PF THE RECYCLING PROCESS, THE HANGERS WILL SYMBOLIZE THE MAGNITUDE OF PARALLEL YET HIDDEN CONSUMPTION PATTERNS. BOTH STRUCTURES, TOWERING ABOVE WITH A JUXTAPOSED HEAVINESS AND LIGHTNESS WILL REPRESENT THE PHYSICAL INDEX OF OUR MATERIAL EXISTENCE.

111

PLAN 1/32” - 1’0”

SECTION 1/32” - 1’0”

113

[INS]

115

[INS]

CARPET ANALYSIS CARPET LAYER CONFIGURATIONS BULLERSWOOD - ENTANGLED

[INS]

REDCAR - NESTED + ENTANGLED

117

COMBINED LAYERS

COMBINED LAYERS

QUADRANT SECTION

LAYER ONE

QUADRANT SECTION

LAYER TWO

LAYER ONE

LAYER THREE

LAYER TWO

LAYER FOUR

LAYER THREE

MCCULOCH - NESTED + ENTANGLED

CARBROOK - NESTED + ADDED UP

COMBINED LAYERS

COMBINED LAYERS

QUADRANT SECTION

QUADRANT SECTION

LAYER ONE

LAYER ONE

LAYER TWO

LAYER TWO

LAYER THREE

LAYER THREE

CARPET ANALYSIS CARPET ELEMENTS IDENTIFICATION CARPET ELEMENTS | FIGURE | C-CURVE

CARPET ELEMENTS | FIGURE | J-CURVE

CARPET ELEMENTS | FIGURE | S-CURVE

C1

C2

C3

C4

C5

C6

C7

J1

J2

J3

J4

J5

J6

S1

S2

S3

S4

S5

S6

S7

C8

C9

C10

C11

C12

C13

C14

J7

J8

J9

J10

J11

J12

S8

S9

S10

S11

S12

S13

S14

C15

C16

C17

C18

C19

C20

C21

J13

J14

J15

J16

J17

J18

S15

S16

S17

S18

S19

S20

S21

C22

C23

C24

C25

C26

C27

C28

J19

J20

J21

J22

J23

J24

S22

S23

S24

S25

S26

S27

S28

CARPET ANALYSIS CARBROOK ELEMENT CONFIGURATION ELEMENT 1

START

ELEMENT 2

OVERLAP

UNDERLAP C5

C1

BIFURCATE

ELEMENT 3

T3

S1

C11

C1

T1

C2

ELEMENT 4 C1

T2

C5

S1 C3

C2 C10

J1

C9 C6

C6 C2

T1

C8

T2

T1

T1 S-0 C-2 J-0 B-2 T-3

S-1 C - 11 J-0 B-9 T-3

T3

C7

ELEMENT 9

T1

T2

C2

C3

C4

C7

ELEMENT 10

S1

S-2 C-6 J-1 B-4 T-1

S2

C3

C4

ELEMENT 11

S-1 C-3 J-0 B-4 T-2

C1

ELEMENT 12 C1

S1 C1 J1 C6

C1 C2

C1 S1 C2

C2 C3

C8

T2

T1

S1

C3 J1

[INS]

J2

119

C7

C4

C5 S-1 C-7 J-1 B-8 T-0

S1 C3 C4

S-1 C-4 J-0 B-2 T-0

C3 C4

S-2 C-4 J-1 B-3 T-1

S2

T1

C6 S-1 C-8 J-0 B-8 T-3

C5

T3 C3 C4

CARPET ELEMENTS | FIGURE | BIFURCATIONS

CARPET ELEMENTS | FIGURE | BIFURCATIONS

B29

B30

B31

B32

B33

B34

B35

B36

B37

B38

B39

B40

B41

B42

B43

B44

B45

B46

B47

B48

B49

B50

B51

B52

B53

B54

B55

B56

ELEMENT 5

CARPET ELEMENTS | FIGURE | BIFURCATIONS

B57

B58

B59

B60

B61

B62

B63

B64

B65

B66

B67

B68

B69

B70

B71

B72

B73

B74

B75

B76

B77

B78

B79

B80

B81

B82

B83

B84

ELEMENT 6

B1

B2

B3

B4

B5

B6

B7

B8

B9

B10

B11

B12

B13

B14

B15

B16

B17

B18

B19

B20

B21

B22

B23

B24

B25

B26

B27

B28

ELEMENT 7

ELEMENT 8 C1

J1 J1

T2

T1

T2

T1

J2

J1 C1

S1 S-0 C-2 J-1 B-6 T-5

S-0 C-0 J-1 B-2 T-2

T1

T5

T4

C2

S-1 C-1 J-2 B-3 T-0

T3

J1

C1

S-0 C-2 J-1 B-3 T-2 C2

ELEMENT 13

J1

C4 C5

C6

S1

ELEMENT 14

ELEMENT 15

ELEMENT 16

T1 C3

J1 C3

T2

C1

J1

C9 S1 C7 T2

C2

T2

T6

T2

T3

C1

T1 S-2 C - 10 J-1 B - 13 T-3

S-1 C-3 J-0 B-4 T-2 C3 C2 C1 S2

C1

C8

T3

C10

T1

S-0 C-1 J-1 B-2 T-1

S-0 C-4 J-1 B-9 T-5

C1

T1

T4 C2

T5 C4

[INS]

CARBROOK CARPET ANALYSIS

121

GENERATION DEVELOPMENT

START - 5 PULL - 9

START - 5 PULL - 9

START - 5 PULL - 5

START - 5 PULL - 9

START - 1 PULL - 9

START - 5 PULL - 5

THE TENDRIL IS COMPRISED OF 3 MAIN ELEMENTS : A START POINT, AN END POINT, AND A TANGENT. THE TENDRILING VINE IN BULLERSWOOD IS A SYSTEM IN WHICH THE VINE CONTINUES TO BIFURCATE INTO MORE AND MORE TENDRILS. WITH EACH SPLIT THE VINE UNDERGOES SEVERAL CHANGES : THE THICKNESS OF THE VINE DECREASES, THE SYSTEM CREATES SMALLER AND SMALLER OFFSPRING, AND THE AMOUNT OF CURL WITHIN EACH TENDRIL ALSO DECREASES FROM “C” TO “J” CURVES.

BULLERSWOOD CARPET ANALYSIS

TENDRIL ANALYSIS

STARTING POINT ON BORDER 3 START POINTS (24 END POINTS)

5 START POINTS (30 END POINTS)

7 START POINTS (30 END POINTS)

THROUGH THIS INVESTIGATION WE HAVE BEGUN TO DEVELOP MANY POSSIBLE VARIATIONS THIS SYSTEM CAN CREATE ON ITS OWN. THIS VARIATION IS MOST APPARENT WHEN YOU START TO MANIPULATE THE NUMBER AND POSITION OF STARTING POINTS. WE HAVE INVESTIGATED THREE SYSTEMS : ONE WITH STARTING POINTS ON THE BORDERS, ONE WITH STARTING POINTS WITHIN THE INTERIOR, AND ONE WITH STARTING POINTS ON BOTH THE INTERIOR AND THE BORDERS. FOR EACH SYSTEM, WE HAVE ALSO VARIED THE NUMBER OF STARTING POINTS (3,5, 7).

BY UNDERSTANDING THIS SYSTEM MANUALLY WE SHOULD THEN BE ABLE TO COME UP WITH A SET OF RULES FROM WHICH WE CAN START TO DEVELOP A WORKING SCRIPT IN GRASSHOPPER.

BULLERSWOOD CARPET ANALYSIS

TENDRIL DIAGRAM

BOUNCING & INTERSECTING

RULE SET

BOUNCING:

DETERMINED BY MIRRORED DIRECTIONALITY. BOUNCING OCCURS AT THE FIRST GENERATION CURVE SYSTEM. THE POINT AT WHICH THE CURVES MEET INDICATES WHERE THEY WOULD BOUNCE OFF EACH OTHER.

INTERSECTING:

DETERMINED BY MIRRORED OPPOSING DIRECTIONALITY. INTERSECTION OCCURS AT THE FIRST GENERATION CURVE SYSTEM. THE POINT AT WHICH THE CURVES MEET INDICATES WHERE THEY WOULD INTERSECT EACH OTHER.

VERTICAL ALTERNATIVE #1

VERTICAL ALTERNATIVE #2

VERTICAL ALTERNATIVE #3

VERTICAL ALTERNATIVE #4

HORIZONTAL ALTERNATIVE #1

HORIZONTAL ALTERNATIVE #2

HORIZONTAL ALTERNATIVE #3

HORIZONTAL ALTERNATIVE #4

BULLERSWOOD CARPET ANALYSIS BULLERSWOOD CARPET

ITERATION 1 RULESET

TENDRIL DIRECTIONALITY

WITHIN EACH QUADRANT THE VINE DIRECTIONALITY GOES FROM TOP LEFT TO BOTTOM RIGHT

INFILL VARIATION

STARTING POINT T1

(T)OP

(B)OTTOM

B1

T2

(T)OP

(B)OTTOM

B2

T3

(T)OP

(B)OTTOM

B3

T4

(T)OP

(B)OTTOM

B4

T5

(T)OP

(B)OTTOM

B5

T6

(T)OP

(B)OTTOM

B6

T7

(T)OP

(B)OTTOM

B7

T8

(T)OP

(B)OTTOM

B8

T9

(T)OP

(B)OTTOM

B9

THE STARTING POINT FROM THE PRIMARY CURVE VARIES ACCORDING TO THE VARIOUS POSITIONS OF THE SIDE OF THE CARPET

STARTING POINT / PRIMARY CURVE

TANGENT POINT CONNECTION

TENDRIL DIRECTIONALITY

THE PRIMARY CURVE STARTS AT ONE OF THE DESCRIBED POSITIONS ON THE SIDE OF THE CARPET

EACH CONSECUTIVE GENERATION CREATED IS THEN PRODUCED BY THE TANGENT POINTS

THE TENDRIL DIRECTIONALITY PRODUCED WOULD BECOME DICTATED

BY THE BIFORCATIONS

MIRROR INTERSECTION

[INS]

ASKEW INTERSECTION

123

BULLERSWOOD CARPET ANALYSIS BULLERSWOOD CARPET

ITERATION 2 RULESET

TENDRIL DIRECTIONALITY

STARTING POINT (S)TARTING

STARTING POINT / PRIMARY CURVE

TANGENT POINT CONNECTION

TENDRIL DIRECTIONALITY

A THREE POINT ARC IS MADE CREATING A START POINT, END POINT AND POINT ON THE BORDER. FROM THERE, VECTORES ARE CONNECTED TO IDENTIFY QUALIFIED TANGENT LOCATIONS

EACH CONSECUTIVE GENERATION CREATED IS THEN PRODUCED BY THE TANGENT POINTS

THE TENDRIL DIRECTIONALITY PRODUCED WOULD BECOME DICTATED

BY THE BIFORCATIONS

(E)NDING

S1

E1

S2

E2

S3

E3

S4

E4

S5

E5

S6

WITHIN EACH QUADRANT THE VINE DIRECTIONALITY GOES FROM TOP LEFT TO BOTTOM RIGHT

INFILL VARIATION

THE SEQUENTIAL POINT FROM THE PRIMARY CURVE VARIES ACCORDING TO THE VARIOUS POSITIONS OF THE SIDE OF THE CARPET

MIRROR INTERSECTION

ASKEW INTERSECTION

[INS]

125

INITIAL STUDIES

QUADRANT RULESET APPLICATION

3D TRANSFORMATION BY ROTATION

ROTATION AND MIRRORED TRANSFORMATION

TRANSFORMATIVE ROTATION

+

QUADRANT - Z

ROTATIONAL DIAGRAM

0 DEG ROTATION

-10 DEG ROTATION

-20 DEG ROTATION

+10 DEG ROTATION

+20 DEG ROTATION

-10 DEG ROTATION

PRIMARY STRUCTURAL JOINT

QUADRANT GROWTH BY MIRRORING

RENDERING QUADRANT 1

QUADRANT - K

INITIAL STUDIES 2D

RENDERING

> 3D VARIATIONS +3y

+3y

+3y

+3y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

+3y

+3y +3y

+3y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

QUADRANT 2

FINAL DESIGN DEVELOPMENT

STRUCTURAL COMPONENT

QUADRANT TENDRILING

EXPLODED ASSEMBLY

QUADRANT ARRANGEMENT

GROUP VARIATION

FIRST GENERATION

GROUP 2 QUADRANT

GROUP 2

GROUP 1

SECOND GENERATION GROUP 2

GROUP 1

GROUP 2 GROUP 2 THIRD GENERATION

GROUP 1

STRUCTURAL COMPONENT FINAL STRUCTURE STRUCTURAL ASSEMBLY

[INS]

COMPLETE DESIGN

127

GROUP 1 QUADRANT

FINAL DESIGN

[INS]

FABRICATION + ASSEMBLY

129

131

[INS]

133

[INS]

135

[INS]

[INS] 2.4 | PARAMETRIC MODULAR MASONRY | [WILLIAM GENTRY + TRISTAN AL-HADDAD, SPRING & SUMMER 2011] [COLLABORATOR] AMYN SOLDIER + KATIE JOHNSON

PARAMETRIC TORSION : REVEALING THE UNSEEN [TYPOLOGY] INSTALLATION

[INS]

Parametric modeling is a powerful tool to create variations of a design following specified criteria. Ambitious architectural design often relies on computational technologies these days. Parametric design and freeform surface modeling tools allow the creation of complex geometries that challenge construction methods.

The logistics of these kinds of projects can become very sophisticated. The work effort and the process of translating geometry into shop drawings, producing construction elements and assembling them on site is multiplied by the number of different pieces and the variation of elements. This type of complexity became visible during the construction and assemblage component of this project. The proposal’s parameter constraints were mutually influenced by the materialistic limitation as well as the complex design elements.

137

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

[INS]

THIS PROJECT CULMINATED IN THE CONSTRUCTION OF A ROTATIONAL MASONRY WALL. THE DESIGN AND DETAILS WERE ENTIRELY CONCEIVED BY MY COLLABORATORS AND MY CONTRIBUTION WAS SOLELY WITHIN THE FABRICATION, CONSTRUCTION, AND SCHEMATIC PHASE. THE ROTATIONAL TORSION QUALITY TO THE WALL CREATES A CONTROLLED ENVIRONMENT OF NATURAL AND AMBIENT LIGHT. ALSO THE TORSION CREATES THE ILLUSION FOR A SENSE OF PRIVACY. THE AESTHETICS OF THE WALL, THEREFORE, SERVES A MUCH MORE PRACTICAL USE.

139

01

12 / 00

02

11 / 01

03

11 / 01

04

10 / 02

05

09 / 03

06

08 / 04

07

07 / 05

08

07 / 05

09

07 / 05

10

07 / 05

11

07 / 05

12

07 / 05

13

07 / 05

14

07 / 05

15

07 / 05

16

07 / 05

17

07 / 05

18

07 / 05

19

08 / 04

20

08 / 04

21

09 / 03

22

10 / 02

23

11 / 01

24

12 / 00

PLAN

SCALE: 1/4” = 1’-0”

ELEVATION A

ELEVATION B

ELEVATION C

ELEVATION D

SCALE: 1/2” = 1’-0”

SCALE: 1/2” = 1’-0”

SCALE: 1/2” = 1’-0”

SCALE: 1/2” = 1’-0”

THIS DIAGRAM GIVES AN IN-DEPTH AND INTRICATE ILLUSTRATION INTO THE COURSE DESIGN AND THE SUBSEQUENT ROTATIONAL GEOMETRY OF EACH BRICK. IN ORDER TO CREATE THE ROTATIONAL TORSION AESTHETIC TO THE BRICK FACADE EACH BRICK HAS A SPECIFIC ROTATIONAL VALUE WHICH IS PROPORTIONAL TO THE ROTATIONAL VALUE OF THE COURSE UNDERNEATH.

(203) 4 x 4 x 16

11

10

09

08

07

06

05

04

03

SOLID STRETCHER

02

141

(85) 4 x 4 x 16

01

[INS]

HALLOW STRETCHER

24

23

22

21

20

19

18

17

16

15

14

13

12

143

[INS]

[GRA] 3.1 | ADVERTISEMENT / PROPAGANDA | [TIM PURDY, FALL 2010]

HTC TOUCH DIAMOND SMARTPHONE : PROMOTIONAL AD CAMPAIGN [TYPOLOGY] GRAPHIC DESIGN

[GRA]

Industrial design computing has explored the different aspects of design integration and the relationship between computed technology innovation and the design process. This exercise offer a new perspective in modeling allowing for a detailed and precise scale for even the most ambitious concepts. The images depicted illustrated the design process achieved through the filters of computer technology and integrated marketing communications. Within architecture, success hinges of the chemistry between the architect and the client; for that reason, marketability has become a central focus for firms in terms of garnering active stimuli. The component of diagrams and graphic design presented by this project allowed me to understand the elements in product enhancement, placement, and descriptiveness. By integrating those concepts within the realm of architecture, advertisements will aesthetically perpetuate an architect’s design.

145

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

[GRA]

HTC TOUCH DIAMOND

147

“P H O T O G R A P H I C.”

SPECIFICATION

A BUILT-IN 3.2 MEGAPIXEL CAMERA WITH AUTO FOCUS

POWER ON / OFF RECHARGEABLE LITHIUM-ION BATTERY STANDBY TIME: UP TO 396 HOURS FOR WCDMA UP TO 295 FOR GSM

CAMERA A BUILT-IN 3.2 MEGAPIXEL CAMERA WITH AUTO FOCUS CAPABILITY ALLOWS QUALITY PICTURE PRODUCTION

“D Y N A M I C.”

SOUND SYSTEM

A DIAMOND-CUT SOLID METAL, MATTE-FINISH FRAME

A BUILT-IN MICROPHONE, SPEAKER, AND FM RADIO WITH RDS POWERED

BY DOLBY DIGITAL SOUND SYSTEM

EXOSKELETON A SOLID METAL, MATTE-FINISH FRAME PROTECTS THE INNER CORE WHILE THE DIAMOND CUT DESIGN GIVES AN ELEGANT AND SEXY DESIGN

USB TECHNOLOGY HTC ExtUSB™ (11-PIN MINI-USB 2.0)

“C O M P A C T.”

102 MM (LENGTH) X 51 MM (WIDTH) X 11 MM (THICKNESS)

AUDIO OUTPUT

VISUALIZATION

AUDIO JACK OUTLET

A SHARP 2.8- INCH TouchFLO™ 3D TOUCH SCREEN WITH A VIBRANT 640 X 480 PIXEL DISPLAY ALLOWS A NEW PERSPECTIVE

IMAGINATION INNOVATION

[GRA] 3.2 | DIGITAL WORKS | [ATHANOS ECONOMOU + MARCEL BERNAL, FALL 2010]

PARAMETRIC DESIGN COMPUTATION [TYPOLOGY] GRAPHIC DESIGN

[GRA]

This semester I divulged in parametric digital fabrication, a new genre of scripted, iterative, and indexical architecture that produces a proliferation of formal outcomes. This leaves the designer in the role of selector and increases the possibilities in architectural design. Parametric modeling can be considered as a methodical field for the production of a model. These models become adaptable to the different types of limitations lamented to the network. It is comprised of a flexible framework that allows for both design development and production to be implemented simultaneously. Design concepts can be structurally realized early on in the process, and the model itself is embedded with a unique set of numeral and logical parameters.

Thus, the infrastructure of the model consists of a web of resulting geometries adhering to logical or numerical functions based off of preexisting geometries. The future of architectural visualization implements the types of discoveries made in this course.

149

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 째 N , 84.39380 째 W

BMW WELT DELIVERY CENTER

PROTOTYPING

PRIMARY & SECONDARY SURFACES

PROTOTYPE DESIGN

EX 1

EX 2

GENERATION CURVE

EXTENDING ROOF PLANE ABOVE THE GROUND LEVEL & ROTATING ROOF POSITION

EX 3 OFFSETTING ROOF CURVE

EX 4 CREATING PLANAR SURFACES FOR ROOF PLANES & ELLIPSE EXTENSION

1| BASIC FORMATION

2| PRIMARY FORM

1A

1B

AUXILLARY GEOMETRY

2A

GENERTATION CURVES

GENERATING DOUBLE CURVATURE SURFACE: SWEEP 1 RAIL

3| GEOMETRIC MOLD

EX 6

LOFTING PLANAR SURFACES ON ROOF PLANES

EXTRUDING SMALLER WALL PLANE TO ABOVE ROOF CONSTRUCTION

EX 7 EXTENDING LARGER WALL PLANE TO TOP OF SMALLER WALL PLANE AND LOFTING RESULTS TO PRODUCE TILTED FRONT FACADE

EX 8 INTERSECTING WALL / ROOF PLANE AND TRIMMING EXCESS

[GRA] 151

4A

3B

CREATE PROFILE CONTOUR GEOMETRY (AUXILLARY GEOMETRY)

IDENTIFY SAG PERCENTAGE ( APPROXIMATELY 15 % )

EX 9

EX 10

ADDING CURVATURE TO THE ENDS OF WALL/ROOF CONNECTION AND LOFTING THEM TO CONSTRUCT LOFTED ROOF

LOFT ELLIPSE PLANES AT OTHER END AND CREATE A 3D ELLIPSE TO CAP OFF END. TRIM HALF OF ELLIPSE USING TRIM TOOL AND INTERSECTING PLAN TOOL

4B

TRIM EXCESS DOUBLE CURVATURE SURFACE FROM PROFILE CONTOUR GEOMETRY

PANEL MAPPING

5| PANEL ASSEMBLAGE 5A

MIRROR DOUBLE CURVATURE SURFACE

4| GENERATIVE FORM

3A EX 5

2B

SPLIT DOUBLE CURVATURE SURFACE INTO INDIVIDUAL PANELS

S

5B A

B C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

A

B C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

PANEL OPTIMIZATION S

A I

UNROLL / SMASH PANELS

CREATE ONE DIMENSIONAL PANEL CONTOURS / OFFSET FOR OVERLAPPING

L

B B

F

E

D

C

D

E

G

K M

C F

A J

H

G

R

S

H

I

J

K

L

M

N N

Q

O

P

O

P

Q

MAISON FOLIE SURFACE MODELING

A1 INDEPENDENT VARIABLE

B2 - B5 FACADE GEOMETRY

B1 GENERATION CURVE

C1 - C3 VERTICAL BRACING

A1.

Building | BUILDING MASSING MODEL – Create Box

B1.

B2.

B3.

B4.

B5.

Facade | CREATING GENERATION CURVE – Make 11 curves to create the façade frame LOFTING – Select all previously created curves and loft to creat surface TRIMMING - Trim intersection between façade and building mass model OFFSETTING SURFACE – Make an offset of the façade to give it a widtrh DIVIDING PANELS– Select both facades and divide into 21 panels

C1.

C2.

C3.

C4.

C5.

C6.

Vertical Bracing | CONNECTING LINES – Connect each open ends of the curves LOFTING LINES – Vertical brace is now a surface EXTRUDING SURFACE – To give width CREATING VERTICAL RECTANGULAR PLANE – Perpindicular to facade ARRAYING – Make 21 copies SPLITTING – Splits facade into 21 panels for contour

D1.

D2.

D3.

D4.

D5.

Horizontal Bracing | CREATING HORIZONTAL RECTANGULAR PLANE – Perpindular to vertical plane INTERSECTING – Create a intersection between lines of the facade and planes LINING / TRIMMING – Close off ends to create surface and trim off excess LOFTING LINES – Horizontal brace is now a surface EXTRUDING SURFACE – To give width

E1.

E2.

Panels | SMASHING 21 PANELS – Flatten each facade panel indivdually 2D OUTLINE - Create a 2D outline for smashed facade panel

E1 - E2 PANEL ANALYSIS: VERTICAL / HORIZONTAL BRACING 1

2

3

4

5

6

7

8

9

10

11 13

14

15

16 17 18

19

22 23

24

16 17 18

19

22 23

24

12

C4 - D2 VERTICAL / HORIZONTAL PLANES

21

20

21

D3 - D5 HORIZONTAL BRACING UNROLLED FACADE

1

2

3

4

5

6

7

8

9

10

11 13

14

15

12

1

2

3

4

5

6

7

8

9 10

11

13

14

15

16

17 18 19

20

SMASHED FACADE PANELS

FINISHED BRACING

20

FINISHED FACADE

12

22

23

24

21

NUNOTANI HEADQUARTERS SOLID MODELING DIFFERENCE U

UNION ROTATE / TRANSLATE

S24 U S25 U S26 U S27 U S28 X

MULTIPLY

-

SUBTRACT

S29 S24 (S24

S25

)

(S25

)

S22 (S22 x 4)

(S23 x 3)

S17

S11

[GRA]

(S2 - S1)

S12

S3

(S27

)

S5

(S28

)

S21

(S16 x 3)

S16

S15

(S5 - S6)

S4

)

(S15 x 3)

S14

S13

S28

S20

(S14 x 3)

(S3 - S4)

S2

S27

S19

(S12 - S13)

S10

153

(S26

S18

(S10 - S11)

S1

S26

S23

(S5 - S7)

S6

S5

(S8

S7

S8

S9)

S9

NUNOTANI HEADQUARTERS VISUALIZATION UN STUDIO

RESIER + UMEMOTO

SPOTLIGHTS TO CREATE SECONDARY SURFACES

ENVIROMENT |

ENVIROMENT |

Background Color: White

Background Color: Black

Background Color: Black

LIGHT |

LIGHT |

LIGHT |

Standard Orientation: Target Spot Lighting Color: White Multiplier: 2.87 Shadow Density: 1.72

Standard Orientation: Target Spot Lighting Color: White Multiplier: 0.52

Standard Orientation: Target Spot Lighting Color: Blue Multiplier: 0.883 Shadow Density: 4.44

MATERIALS |

MATERIALS |

GROUND PLANE Standard Color: White Self Illumination: 45

GROUND PLANE Standard Color: Dark Grey Specular Level: 26 Glossiness: 47 Reflection Map: 100 Flat Mirror: Blur: 3.4

FACADE Color: White

FACADE Color: Grey Specular Level: 64 Glossiness: 15 Opacity: 74

ENVIROMENT |

Standard Orientation: Target Spot Lighting Color: Green Multiplier: 0.66 Shadow Density: 1.73 Standard Orientation: Omni Lighting Color: Blue Multiplier: 0.883

MATERIALS | GROUND PLANE Standard Color: Dark Grey Specular Color: 40 Glossiness: 41 Reflection Map: 13 Flat Mirror: Blur: 3.4 Self Illumination: 10 FACADE Color: Grey Specular Level: 64 Glossiness: 15 Opacity: 74

INFINITY TOWER PARAMETRIC MODELING

SLIDER (NUMBER) x-axis : tilt V=0

SLIDER (NUMBER) y-axis : tilt V = .1125

SLIDER (NUMBER)

PT (POINT XYZ) origin point

2

3

LN (LINE) core line

5

PT (POINT)

HFRAMES (HORIZONTAL FRAMES)

division between spaced floors

point created for each floor

6

MOVE (MOVE)

translate geometry in terms of core line

ROTATE (ROTATE)

PLANAR (PLANAR SRF)

7

rotate series scaled and translated planes

create surface on floor plate

8

PT (POINT XYZ)

LOFT (LOFT)

lofting floor creating 2D form of building

center point of geometry

MULT (MULTIPLICATION)

MIRROR (MIRROR)

reflecting the 1st spiral core floor height V=8

building height V = 304

SLIDER (NUMBER)

PLN (PLANE) invisible mirroring plane

number of floors V = 38

SLIDER (NUMBER) rotational V = -3.15

[GRA]

PI (PI)

155

constant number V = pi

1

2

3

MULT (MULTIPLICATION)

DIV (DIVISION)

SERIES (SERIES)

multiply pi and degrees

divide multiplier by 180

number of floors and scaling factor

SLIDER (NUMBER) constant number V = 180

SLIDER (NUMBER) base scale V=1

5

4

1

GEO (GEOMETRY) base geometric input

SLIDER (NUMBER) scaling factor V = -0.0125

6

4

7

SCALE (SCALE) floor ascending geometry

SERIES (SERIES) floor rotation and propagation

9

8

9

MIRROR (MIRROR)

reflecting the 3rd spiral core

PLN (PLANE) invisible mirroring plane

MIRROR (MIRROR)

reflecting the 2nd spiral core

PLN (PLANE) invisible mirroring plane

INFINITY TOWER SCRIPTING

IntermediaryMidpoint ()

ObjectCreation ()

INFINITY TOWER number of iterations to apply transformation: 84 create copies: Yes

establishing the center of the object: Rhino.CurveAreaCentroid ()

creating hexagon with polyline: Rhino.AddPolyline ()

parameters for translation: Rotation: On Translation: On Scale: On incremental rotation angle: 1.7 rotation axis: Z translation direction: Z incremental translation step: 13 incremental scaling factor: 0.999

ObjectTranslation ()

ObjectTransformation ()

setting translational direction: Rhino.MoveObject ()

setting rotational axis: Rhino.CopyObject () SCRIPTING Sub Main STEP 1 | object creation Call makeObject (myObject) Dim myObject ()

ObjectRotation () rotating a single copy: Rhino.RotateObject ()

ObjectScale ()

setting scaling directions: Rhino.ScaleObject ()

LoftSkin () lofting floor: Rhino.AddLoftSrf ()

makePlane () adding planar surface: Rhino.AddPlanarSrf ()

STEP 2 | number of interations Dim Iteration_Num: Iteration_Num = Rhino.GetInteger ”_” Dim arrMyObjects () STEP 3 | declaring variables for usage Dim copy_Res (): copy_Res = Rhino.GetString ”_” Dim strMessage: strMessage = “_” Dim arrItems: arrItems = array (”_”) Dim arrDefaults: arrDefaults = array () Dim arrResults: arrResults = Rhino.GetBoolean ()

STEP 4 | setting user inputs Dim Rot Angle, Trans_Step, Scale_Factor Dim axis, dir, scaleDir If ____ = True Then ____ = Rhino.GetReal (”_”) ____ = Rhino.getstring (”_”) ____ = Ucase () Else End If STEP 5 | calling functions Call ObjectTransformation (Iteration_Num, myObject, Rot_Angle, Trans_Step, Sacle_Factor, copy_Res, axis, dir, scaleDir, arrMyObjects) Call LoftSkin (arrMyObjects) Call makePlane (arrMyObjects) Rhino.print “_” End Sub

[IND] 4.1 | DIAGRAMS & CONCEPTUAL THINKING | [SONIT BAFNA, SPRING 2011]

NELSON-ATKINS MUSEUM : BLOCH BUILDING REDUX [TYPOLOGY] INDEPENDENT STUDIES

[IND]

Design refers to the will to interpret the meaning of human life and existence through the process of making things. Society is becoming more complex.

There is an increase in information and desires of the city and with broad issues including material, environment, ecology, and behavior, clear diagram becomes more important within today. Diagrams have become a visual means of communication, spanning linguistic and cultural boundaries. Used now more than ever before, the tool becomes an aid, precisely explaining and delivering the design concept. Being varied in quality, detail and approach, the renderings and sketches capture a style that is as individualistic as the final design product. This project devised a process for the conceptualization of an idea and determining a medium for representation. The most logical diagrams rely on a clear intentions. Once recorded they will never die, but long after we are gone will become a living thing, asserting itself with ever-growing insistency.

157

[LOCATION] KANSAS CITY, MISSOURI : 39.0997째 N, 94.5783째 W

NELSON-ATKINS MUSEUM OF ART BLOCH BUILDING LIGHT INVESTIGATION

[IND]

THE NEW ADDITION, NAMED THE BLOCH BUILDING, ENGAGES THE EXISTING SCULPTURE GARDEN, TRANSFORMING THE ENTIRE MUSEUM SITE INTO THE PRECINCT OF THE VISITOR’S EXPERIENCE. THE NEW ADDITION EXTENDS ALONG THE EASTERN EDGE OF THE CAMPUS, AND IS DISTINGUISHED BY FIVE GLASS LENSES, TRANSVERSING FROM THE EXISTING BUILDING THROUGH THE SCULPTURE PARK TO FORM NEW SPACES AND ANGLES OF VISION. AS VISITORS MOVE THROUGH THE NEW ADDITION, THEY WILL EXPERIENCE A FLOW BETWEEN LIGHT, ART, ARCHITECTURE, AND LANDSCAPE WITH VIEWS FROM ONE LEVEL TO ANOTHER, FROM INSIDE TO OUTSIDE. DESIGNED TO CREATE CONTRAST, THE PROJECT WAS ENVISIONED AS A “FEATHER TO THE STONE” OF THE ORIGINAL MUSUEM. LIGHT, AIRY, OPEN AND OUTWARDLY DIRECTED, THE EXTENSION CONSISTS OF SERIES OF FIVE “LIGHT LENSES” THAT FEATURE OPEN FLOOR PLANS AND LIGHT-FILLED SPACES. GLASS LENSES BRING DIFFERENT QUALITIES OF TO THE GALLERIES WHILE THE SCULPTURE WHILE THE SCULPTURE GARDEN’S PATHWAYS WIND THROUGH THEM

159

ORGANIZATION HIERARCHY LENS 1 LENS 2 LENS 3 LENS 4 LENS 5 EVENT ROOM

LIBRARY LEVEL

PLAZA ENTRY

MUSEUM STORE GARAGE ENTRY CONNECTION TO ORIGINAL BUILDING EXHIBITIONS CONTEMPORARY ART EXHIBITION PHOTOGRAPHY AND AFRICAN ART EXHIBITION NOGUCHI COURT

THE INVESTIGATION WILL EMPHASIZE THE PERCEPTUAL EXPERIENCE OF THE BUILDINGS ARCHITECTURE AND THE TRANSCENDENTAL ROL PLAYED BY LIGHT IN THIS EXPERIENCE THROUGH THE USE OF FORM, SOFT LIGHT, AND SHARP SHADOWS. DO THE EXACT DIMENSIONS OF THE INTERIOR SPACES REACT WITH THE USER OF WOULD MODIFYING THE INTERIOR CHANGE THE VISITOR’S EXPERIENCE? IN ORDER TO GENERATE A JUSTIFICATION WE WILL BE ALTERING THE INTERIOR DIMENSIONS TO QUANTIFY THE FINDINGS.

LENS ORIENTATION LENS 1 LENS 2

LIGHT DISTRIBUTION

LENS 3

LENS 4

LENS 5

BLOCH BUILDING TRANSFORMATION ORIGINAL DIMENSION SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

ROOM 1 ROOM 2

WALL C WALL B WALL A

WALL C WALL B WALL A

WALL C WALL B WALL A

ROOM 1 ROOM 2

WALL B

ROOM 1 ROOM 2

ROOM 1 ROOM 2

BLOCH BUILDING TRANSFORMATION WIDTH EXTENSION +10 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

WALL C WALL B WALL A

WALL B

WALL C WALL B WALL A

[IND]

WALL C WALL B WALL A

ROOM 1 ROOM 2

161

ROOM 1 ROOM 2

ROOM 1 ROOM 2

ROOM 1 ROOM 2

BLOCH BUILDING TRANSFORMATION WIDTH EXTENSION +20 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

ROOM 1

ROOM 2

WALL C WALL B WALL A

WALL C WALL B WALL A

ROOM 1

ROOM 2

WALL B

ROOM 1

ROOM 2

WALL C WALL B WALL A

ROOM 1

ROOM 2

BLOCH BUILDING TRANSFORMATION HEIGHT EXTENSION +10 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

WALL B

WALL C WALL B WALL A

WALL C WALL B WALL A

[IND]

WALL C WALL B WALL A

ROOM 1 ROOM 2

163

ROOM 1 ROOM 2

ROOM 1 ROOM 2

ROOM 1 ROOM 2

BLOCH BUILDING TRANSFORMATION HEIGHT EXTENSION +20 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

ROOM 1 ROOM 2

WALL C WALL B WALL A

ROOM 1 ROOM 2

WALL B

WALL C WALL B WALL A

ROOM 1 ROOM 2

WALL C WALL B WALL A

ROOM 1 ROOM 2

BLOCH BUILDING TRANSFORMATION WIDTH HEIGHT EXTENSION +10 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

9 AM - 12 PM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

WALL C WALL B WALL A

WALL C WALL B WALL A

WALL B

WALL C WALL B WALL A

[IND]

WALL C WALL B WALL A

ROOM 1

165

ROOM 2

ROOM 1

ROOM 2

ROOM 1

ROOM 2

ROOM 1

ROOM 2

BLOCH BUILDING TRANSFORMATION HEIGHT EXTENSION +20 FEET SHADOW ANALYSIS 9 AM

12 PM

3PM

6 PM

9 AM - 12 PM

12 PM - 3 PM

3 PM - 6 PM

SHADOW PROPAGATION (30 MIN. TIMESPAN INTERVAL) 6 AM - 9 AM

EXPLODED DISTRIBUTION OF SHADOWS ON WALLS WALL A

WALL B

WALL A

WALL B

WALL A

WALL B

WALL A

ROOM 1

ROOM 1

ROOM 1

ROOM 1

ROOM 2

ROOM 2

ROOM 2

ROOM 2

WALL C

WALL C

WALL C

WALL C

ROOM 1

ROOM 2

WALL C WALL B WALL A

WALL C WALL B WALL A

WALL C WALL B WALL A

ROOM 1

ROOM 2

WALL B

ROOM 1

ROOM 2

WALL C WALL B WALL A

ROOM 1

ROOM 2

167 BLOCH BUILDING TRANSFORMATION HEIGHT EXTENSION | + 10 FEET

BLOCH BUILDING TRANSFORMATION WIDTH EXTENSION | + 20 FEET

BLOCH BUILDING TRANSFORMATION WIDTH EXTENSION | + 10 FEET

BLOCH BUILDING TRANSFORMATION ORIGINAL DIMENSION

POSITION IN BUILDING BODY PLACEMENT

AMOUNT OF LIGHTING AVERAGED FROM MODEL

OPEN VS. ENCLOSED

ENCLOSURE QUALI TY

THE DIAGRAM MATRIX EXPLAIN THE FEELING WITHIN THREE RESPECTIVE PARTS OF THE BUILDING. EACH OF THE DIAGRAMS ARE IN CONTEXT OF PRIOR LIGHT STUDIES TAKEN AND ALSO THE AMOUNT OF OPENESS EXPERIENCED WITHIN THE SPACE. PARAMETERS ARE SET DEPENDING ON THE AMOUNT OF SHADOWS A SPACE EXPERIENCES, AMOUNT OF WINDOWS, AND THE ENCLOSURE.

EPHEMERAL QUALITY WITHIN A SPACE

[IND]

-

BLOCH BUILDING TRANSFORMATION WIDTH & HEIGHT EXTENSION | + 20 FEET

BLOCH BUILDING TRANSFORMATION WIDTH & HEIGHT EXTENSION | + 10 FEET

BLOCH BUILDING TRANSFORMATION HEIGHT EXTENSION | + 20 FEET

[IND] 4.2 | MODULAR HOMELESS SHELTER | [TRISTAN AL-HADDAD, SPRING 2011] [COLLABORATOR] AMYN SOLDIER + CHANDNI JINDAL + JASMIN GONZALEZ

ORI|DOME|I : DEPLOYABLE MODULAR SHELTER [TYPOLOGY] INDEPENDENT STUDIES

[IND]

This project has served as a laboratory in which to explore how small-scale design and minimal spatial choreography can address these large-scale social and spatial issues. The issues facing small-scale homeless service providers reflect a much larger dialogue on openness in institutional settings and privacy in public space. Building openness and privacy simultaneously is one of the main design challenges of the project. Additional challenges include creating a sense of permanence and solidity for users who are cycling through a variety of unstable conditions; providing clarity and legibility in a complex system of unfamiliar interactions; and employing the politics of shape, scale, material and color to transform a dismal, leftover space into a comfortable and inviting environment for users and staff alike.

169

[LOCATION] RENASSIANCE PARK, DOWNTOWN ATLANTA, GEORGIA : 33.78959 째 N , 84.42189 째 W

IN ORDER TO UNDERSTAND THE USERS OF THESE HOMELESS HOUSING UNITS IT WAS IMPORTANT TO FIND OUT THE CULTURE AND SOCIETY OF THE HOMELESS. THE LOCATION ALSO WAS CONSIDERABLY SIGNIFICANT BECAUSE WE WANTED TO ENTER AN AREA WHERE THERE WAS ALREADY A LARGE HOMELESS COMMUNITY ESTABLISHED. RENAISSANCE PARK IN DOWNTOWN ATLANTA BECAME THE LOCATION. SITE CONTEXT, SITE USAGE, AND TRAFFIC WERE TAKEN FOR ADDITIONAL ANALYSIS FOR HOUSING OPPORTUNITIES.

SITE CONTEXT 1. RESIDENTIAL AREA A. APARTMENT HOUSES

B. WATERFORD APARTMENTS

C. KAPLAN APARTMENTS

2. COMMERCIAL AREAS A. O’ TERRILLS PUB

B. ALOHA ASIAN

C. MIDTOWN TAVERN

D. SAVANNAH SUITES

3. ABANDONED AREAS 2c 2b

A. CONDEMENED #1

1a

1a

1b B. CONDEMENED #2

4c

3b

2a

2d

1a 4. BUSINESS AREAS

3a

A. CALVIN GARNER SANFORD JR.

4b

1c

4a

1a B. SOUTHFACE

[IND]

C. COMMUNITY FRIENDSHIP INC.

171

SITE USAGE

TRAFFIC ANALYSIS

HOMELESSNESS

LITTERING USERS WALKING DOG

PEDESTRIAN SIDEWALK USAGE

DOMINANT ROUTE

DOMINANT ROUTE

RECESSIVE ROUTE

RECESSIVE ROUTE

ILLEGAL ACTIVITY

LOITERING

DRUG DEALING

USERS WALKING THROUGH PARK

HOMELESS USAGE

DOMINANT ROUTE

DOMINANT ROUTE

RECESSIVE ROUTE

RECESSIVE ROUTE

[IND]

DESIGN PRECEDENT

173

USING THE DESIGN PRECEDENT STUDY AS A FACILITATOR FOR OUR PARAMETRIC DESIGN ESPECIALLY THE COLLAPASABILITY COMPONENT TO THE DESIGN WE BEGAN FORMULATING THE CONCEPTUAL FORMS TO THE SHELTER WHICH LEAD TO OUR IMPLEMENTATION OF SOLAR ENERGY AS A POWER SOURCE AND A LIGHTWEIGHT SPACEFRAME TO EASILY TRANSPORT THE UNIT.

DIAGRAMMATIC PRIMARY FORMATION

SYSTEMIC HIERARCHY

STRUCTURAL SYSTEM

SCHEMATIC DESIGN

9’6”

E

PV FILM REFLECTIVE FILM VERTICAL STRUCTURAL SPLINES

D

ETFE FABRIC AIR SUPPORTED STRUT

C B

STRUCTURAL TENSION WIRE

A

HORIZONTAL STRUCTURAL SPLINES

8’6” INTERIOR STRUCTURAL SPLINES

A INTERIOR STRUCTURAL TENSION WIRE SECTION SWATH

HORIZONTAL & VERTICAL SPLINES ASSEMBLY

COMPLETE STRUCTURAL SPLINES

B FABRIC TUBING & AIR SUPPORTED STRUT

ROOF PLAN

1/4” - 1’

9’6”

FABRIC TUBING & AIR SUPPORTED STRUT

INTERIOR STRUCTURAL TENSION WIRE

C ETFE FABRIC SECTION SWATH

7’6”

ETFE FABRIC D REFLECTIVE SURFACE

STRUCTURE & ETFE FABRIC

SECTIONAL CUT OF COMPLETE STRUCTURE

E PV FILM

ELEVATION

SECTION SWATH

1/4” - 1’

175

[IND]

“Design what changes.”

177

ктура.architectuur.arquitetura.mimarlık.yapı.inşaat.architettura.architecture.architek tekton.adeiladaeth.galofyddiaeth.saeriant.saerniaeth.te'koshif.αρχιτεκτονική.arhxite 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫ ءانبلا دييشت ةرامعلا نف‬. а р х и т е к т у р а . з о д ч е с т в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u u r a . a r c h i t e c t u r e . а р х и т е к т у р а . i z g r a d n j a a r h i t e k t u r a . g r a d i t e l j s t v o . a r c h i t e k t u r . ‫ يرامعم‬. é p í t ő и л г ы н у р л а г . ‫ طبترم تاملک‬. a r k i t e k t u r . 建 筑 学 . ‫ يرامعم‬. ‫ ترامع نف‬. c ô n g t r ì n h k i ế n t r ú c . a r k i t e k t u r o . a r c h i t e k t aeriant.saerniaeth.te'koshif.αρχιτεκτονική.arhxitekturo.arkitekturo.architektur.archit t u r e . a r c h i t e k t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 體 系 結 構 . a r q u i t e c t u r a . s t a v i t e l s t v í . a r q u i t e c t u r a . arlık.architettura.architecture.arhitektura.architektura.arkitektur.architectuur.építés ‫ וי‬. a r k i t e k t ú r . b y g g i n g a r l i s t . a r s i t e k t u r . a r c h i t e t t u r a . けっこう . a r h i t e k t ū r a . けんちく . a r c h i t e k t ū r .arhitektura.архитектура.architektúra.arhitektura.arquitectura.arkitektur.mimarlık.côn aeriant.saerniaeth.te'koshif.αρχιτεκτονική.arhxitekturo.arkitekturo.architektur.archit е к т у р а . з о д ч е с т в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t u u r . m i m a r l ı k . t h u ậ t k i ế n t r ú c . a r c h i t e t t u a . g r a d i t e l j s t v o . a r c h i t e k t u r . ‫ يرامعم‬. é p í t ő m ű v é s z e t . é p í t é s z e t . g r a đ e v i n a . アーキテクチャ . g r a d j e v i l ı k . y a p ı . i n ş a a t . a r c h i t e t t u r a . a r c h i t e c t u r e . a r c h i t e k t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 건 축 술 . a r k eriant.saerniaeth.te'koshif.αρχιτεκτονική.arhxitekturo.arkitekturo.architektur.archite ‫ ءانبلا دييشت‬. а р х и т е к т у р а . з о д ч е с т в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t u u r . m i m a r l ı k . t h u ậ t k i ế n t ur.architectura.arkitektura.architectuur.arquitetura.mimarlık.yapı.inşaat.architettura. t e c t u r a . s t a v i t e l s t v í . ‫ ءانبلا دييشت ةرامعلا نف‬. а р х и т е к т у р а . з о д ч е ст в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t . é p í t é s z e t . a r h i t e k t u u r . a r k k i t e h t u u r i . a r c h i t e k t o n i k . a r c h i t e c t u r e . a r c h i t e k t o n i s c h . ‫לש הנבמה‬ о д ч е ст в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t u u r . 建 筑 学 . 體 系 結 構 . a r c h i t e c t u r e . α ρ χ ι τ ε κ τ ο ν ι κ ή a r l ı k . y a p ı . i n ş a a t . a r c h i t e t t u r a . a r c h i t e c t u r e . a r c h i t e k t u r . 用 語 辞 典 . ‫ ויביכרמו בשחמה לש הנבמה‬. 건 축 술 . a i t e k t u r . 建 筑 学 . a r q u i t e c t u r a . s t a v i t e l s t v í . ‫ ءانبلا دييشت ةرامعلا نف‬. а р х и т е к т у р а . з о д ч е с т в о . ‫ بولسا نابم ىنبم ءانب‬. a εκτονική.arhxitekturo.arkitekturo.architektur.arkitektúr.byggingarlist.arsitektur.archi . a r q u i t e c t u r a . 건축술 . a r h i t e c t u r ă . a r q u i t e t u r a . a r h i t e k t u r a . а р х и т е к т у р а . a r c h i t e k t ú r a . a r h i t 築學 . a r k h i t e k t o n . a d e i l a d a e t h . g a l o f y d d i a e t h . s a e r i a n t . a r h x i t e k t u r o . a r k i t e k t u r o . a r c h i t e k t ‫ ءانبلا دييشت ةرامعلا‬. а р х и т е к т у р а . з о д ч е с т в о . ‫ بولسا نابم ىنبم ءانب‬. a r k i t e k t u r a . a r c h i t e c t u u r . m i m a r l ı k . t h u ậ t k i ektur.architectura.arkitektura.architectuur.arquitetura.mimarlık.yapı.inşaat.architett r a d j e v i n a r s t v o . a r k i t e k t u r ë . у р а н б а р и л г а . б а р и л г ы н у р л а г . ‫ طبترم تاملک‬. a r k i t e k t u r . 建 筑 学 . ‫ يرامعم‬. ‫ع نف‬ s i t e k t u r . 建 筑 学 . けんちく . a r c h i t e k t ū ra . けんちくがく . a r k i t e k t u r . 건축 . a r c h i t e k t u r a . 건축물 . a r q u i t e c t i t e c t u r a . a r k i t e k t u r . m i m a r l ı k . c ô n g t r ì n h k i ế n t r ú c . k i ế n t r ú c m á y t í n h . 建 筑 学 . 建築學 . a r k h i t e k t o.arkitekturo.architektur.architectura.arkitektura.stavebnictví.arsitektur.arquitectura itectura.arkitektura.stavebnictví.arsitektur.建筑学. 體系結構.arquitectura.stavitelství.зод