Portfolio Audrey Mariel Haliman
2
A House with a Green House (3-5)
(2019 Mextropoli Competition Entry)(6-7)
(City of Dreams 2020 Competition Entry)(8)
A Tower (9-10)
A Digital Representation Workshop (11)
A Pair of Tree Houses (12-14)
A Bath House (15-16)
A Museum of World Writing (18-20)
An Exhibition at The Shed (21-22)
An Family of Cabins (23-26)
9/2016 - 12/2016 Academic / Advisor : David Ruy Step 1: Diagram of 4 Surfaces as “Architectural” Components
House VI : Precedent Re-build
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A House with a Greenhouse
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4 A House with a Green House
This house revolves around the translation of drawing conventions and their application in shaping decisions as a way of forming its physical output. The idea that architectural representation and its output has its diconnects; hyper realistic renderings and visualizations are sometimes misleading, as the many layers that make up these images are manipulations of (digital) space to create a 2-dimensional version of it. To translate this idea into ways of reading and misreading annotations, isometric projections and their effects on forming this house in Palm Springs. The resulting house is a house with a greenhouse. The inhabitant seems to be a plant enthusiast: the green house takes over most of its built area, (and seems to be migrating into some of the living quarters. To draw from drawings; studying and re-building Peter Eisenman’s House VI from its diagrams, and four wall-like surfaces. In the re-creation of these diagrams, a few added steps were added (and/or lost) in translation. This process was merely the product of trying to match up the diagrams to final plan and sections. Their translation into a new kind of diagram for this house included breaking down these four surfaces into different components of a house: two walls and two floorplates.
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Step 2: Diagram Combinations + Isometric Projection
Step 3: Diagram Transformation “RevCloud” in Isometric Projection
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irection of “Array”
9/2016 - 12/2016 Academic / Advisor : David Ruy Step 4: Position of Diagram on Page Isometric Projection vs Site Boundaries
Step 5: Ground Plane and Landscape Through Isometric Projection
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6 A House with a Green House
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Step 6: Connection between Two Ho RevCloud as a Formal Opera
ouses ation
House
Green House
9/2016 - 12/2016 Academic / Advisor : David Ruy “Lawn”
It is the norm to find solar panels in this an angled/tilted position in order to maximize its sunlight exposure. The “lawn” of this house in palm springs takes form of a large scale terrarium, whereby solar panels are arrayed in two rows in its conventional position. Below these panels grow moss. While walking towards the house from the street, the spectator may only see the arrayed solar panels, but when walking away from the house mos and rocks are revealed. Maybe the idea of these solar panels are not so that they provide for the whole house, but rather that their idea is to re-apply this found object towards a different effect.
The enclosure then is applied further into the new diagram, as it adapts to the transition between the house, and the green house.
The bounding box is another drawing convention that was utilized to indicate a physical component of the house: an outline of its enclouse.
Circulation *Indication this house takes on the two staircases to determine the circulation throughout the 8 quadrants of the house. The staircases also determine the system of an entrance. Although two staircases for two floors might seem redundant, the idea that they can enclose a very skinny room, like that of a washer and dryer, or a WC.
House VI (Stairs) Although the new diagram of a house has been transformed, the position of the stair remains.
House VI (Step 1)
Wall
House
The new diagram of a house takes on the four surfaces as architectural components of a house. The new configuration of the four surfaces separates two floorplates into eight rooms of different sizes, whilst the diagram of House VI (the first axonometric) shows four walls enclosing two corridor-like spaces.
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Through recreating the diagrams of House VI, this project misinterprets the precedent, and extracts four surfaces not as indicators of two intersecting axis, but rather for its translation: four intersecting walls.
Floorplate
House VI 20’6”
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Setback Lines The idea of translating drawing conventions is applied onto the setbacks and boundaries of the site itself. To utilize the isometric projection as a means of positioning the project onto the site, a new 10 boundary is '-0 " created.
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Max No. of Cubes By mapping out the site as a “page” of a drawing, the 10’6” x 20’6” bounding boxes outline a maximum number of cubes that can be drawn without exceeding its setback lines defined by zoning. This “maximum” number of cubes manipulates physical space through drawing conventions!
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8 A House with a Green House
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A Balcony connects the house and the green house on the second level both in plan and in axon! The translucent portion of the walkways within the green house are proposed to be made out of metal mesh.
RevCloud (Arc) Through idealizing an architectural drawing convention, the RevCloud is translated from drawings into form as a literal connection between two diagrams.
Below
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RevCloud (Fillet)
View From House
This house idealizes further the rev cloud, by re-interpreting the arcs into fillets of a skin-tight boundary.
Mass vs. Ground Plane Through isometric projection, the position of the objects on the page of the drawing may vary but appear the same, so long as its transformation is equal in all x, y and z axis. This principle is utilized throughout the project.
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The program of this house revolves around the two parts of the house: whereby one serves as the conventional leisurely second home in Palm Springs. It contains the bedroom, livingroom and bathroom, whilst its other, more unconventional program as intertwining greenhouses is connected through the humid quadrant of the house - the bathroom .
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Green House
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Curves in Z-axis Changes in floor to ceiling heights change are disguised seamlessly through curved rooflines. This move helps reveal the rooms within rooms of which the floor plan suggets through the facade, and further emphasizes a notion of wrapping.
Vegetation The various curved walls of the greenhouse created filleted walls that turn multiple corners, and indicate some idea of separation between different zones. This could then translate into the greenhouse’ vegetation organization, as certain plants of certain needs can be catered for.
View Towards House
A pair of stair cases house a few appliances within the house. Whilst one is open to the “porch”, the other is accessible from the inside.
12/2018 - 1/2019 Personal / In collaboration with: Wan-Hsuan Kung
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Tarp Vacuum-Sealed Textiles to be Distributed
Collected Linens “Hung Dry”
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A+B PAVILION EXHIBIT
RE-DONATE
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OLD CLOTHES & MISC TEXTILES FROM HOUSEHOLDS
DISCARDED LINENS FROM HOSPITALITY ESTABLISH-
10 Take it Outside! : A Line (Mextropoli 2019 Competition Entry)
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To some, this structure may be a nostalgic image: the image of daily household laundry before the washer and dryer. Major cities around the world are known to heavily discourage households from drying linens or clothing on balconies as an attempt to preserve the city’s facade. Using simple string, the process of line drying has been overlooked as a way to reduce energy consumption. Here, string is key structural element; tension ties together a wooden frame upright. Although it’s connotations with domesticity might be judged as unsightly, this pavilion pushes an idea that a structure of the same function in a different scale might be able to abstract and denormalize this stereotype into something new. The main source of textile utilized here is discarded linens via the hospitality industry. Flat sheets, and other bed linens are hung dry in layers that encloses a center for public donations. Venturing into its layers may one find the product of textile waste. As if a petrified piece of the landfills are introduced within the structure; it is frozen in this state as an artificial landscape. Although the act of drying is not executed within the pavilion, we hope that through this type of architecture may we re-introduce old techniques such as line-drying not as an aesthetic disturbance to the city.
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A Line
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Hotel Linens, Dimensions Typ
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12/2018 - 1/2019 Personal / In collaboration with: Wan-Hsuan Kung
3 Platform Connection, Detail Typ 12 Take it Outside! : A Line (Mextropoli 2019 Competition Entry)
Elevation (Structure)
Plan
Section
Elevation
2 “Arm” Connection, Detail Typ
1 String Tie Connection, Detail Typ
9/2019 Personal / In collaboration with: Wan-Hsuan Kung
Axon (Structure)
Craggily Spaces, Delaminated Sheets The proposed structure is a momentary pit stop in the life cycle of exhausted linens and textiles. It is the main component that remains un-tampered with, merely clipped into place, and hung dry. Occupiable within its layers, although these blank vertical surfaces suggest a particular path, it is comprised of a set of walls that are constantly changing. Undulating surfaces create gaps between each sheet – sheets that turn sheer against the sun. This is what loosely defines a series of craggily spaces: a continuous corridor, a set of surfaces that make up a maze or a volumetric backdrop.
Axon
Elevation (Structure)
Elevation
Within each quadrant of this structure one oscillates between a set of straight lines (shading “partitions”), and a set of curved lines (extroverted arena) that reveals. It reveals like that of a topographic model turned on its side, with each layer delaminated. It is a slanted landscape that buries its spectators as they dig deeper to explore its layers. The proposed structure will be disassembled and assembled into smaller line-drying structures, in hopes to reduce the use of dryers that shorten the life span of linens and textiles. 14 Craggily Spaces, Delaminated Sheets (City of Dreams 2020 Competition Entry)
Plan
“Volumetric Backdrop”
“Extroverted Arena”
“Shading Partitions”
9/2015 - 12/2015 Academic / Advisor : Margaret Griffin
A Tower This tower is a result of indentifying new shapes and figures within a group of curves arranged within a totem-like bounding box. The site is at a radial turning point of the highline as it shifts onto hudson yards. Pedestrians will first encounter this tower at its corner instead of a single facade. A single fin-like gesture is a result of the extension of its floorplates that sometimes reads as an overlap of one facade onto the other, a mere “buldge� that goes beyond a generic squared-off mass, and a compositional element depending on where it is being viewed. The idea of the fin is also translated into a cladding system like that of a stationary shutter. Although static, these fins constantly change the transparancy of the facade. (The origins of these curves are a plan drawing of some sort, usually presented vertically for those who need it.)
Known Curves : Parts 16 A Tower
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Composition of Curves: 2D Totem
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Powder Prints: Massing Models
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(Fin Rotation vs. Opacity)
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(Arrayed Rotation vs. Opacity)
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Composition of Curves: Relationship to Occupants
9/2015 - 12/2015 Academic / Advisor : Margaret Griffin
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2/2018 - 1/2019 Professional / Sarah Lawrence College 2”
Digital Representation I S19 Audrey Haliman - audrey.haliman@gmail.com
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Voiture Minimum - Le Corbusier + Pierre Jeanneret (1938)
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What are we making? A 2D composition of parts drawn from Le Corbusier and Pierre Jeanneret’s Voiture Minimum. We are drawing these parts as if purely geometric, taking silhouettes and figures within this group of parts in order to transform them into a composition that is our own. Our extraction of these figures are not without something lost - or invented in translation! How we emulate these parts, whether it is changing them formally, or to merely see them juxtaposed to other parts will always result in creating new parts, and not a perfect mirroring of the original.
What is it made of?
The parts we will be working with are geometries made entirely of radii and lines. There are instances where the author seems to prioritize rationalizing geometry over the function of its parts (as fragments of an automobile), and so similarly to this we will extract them as abstract geometries. The new parts drawn are without function or scale.
Step 1: Drawing Parts
Step 2: Composition
Two types of composi
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20 A Workshop on Digital Representation
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A Workshop on Digital Representation
n of Parts
itions to be created from these parts.
mposition that prioritizes outline.
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A composition that depends on creating figures within figures. The relationship between figures should produce something new whether it be through their intersection or subtraction.
This Digital Representation workshop acts to aid an architecture studio at Sarah Lawrence College. This first exercise aims to cover how to both read and draw precise computer aided drawings, whilst introducing a number of programs that the students will utilize throughout the semester. Students taking the class range from freshmen to seniors, all ranging in familiarities with architecture and architectural studios. To draw from Le Corbusier and Pierre Jeanneret’s Voiture Minimum as a way to extract and identify a group of shapes and figures to construct two drawings: a composition of these parts that creates a part-to-whole relationship, and a composition that introduces the logic of a venn diagram as a way to work with intersections and unions of these separate parts. Working with grids, dimensions, and tangents of curves, this first exercise of the semester pushes the idea of geometric rationalization as an abstraction to the ways in plans, sections, and elevations could be read and drawn.
6/2018 - On-going Personal / In collaboration with: Wan-Hsuan Kung
22 A Pair of Treehouses
This competition entry for a pair of treehouses for Taichung City, Taiwan is an on-going project as the winning scheme The two tree houses house artists with temporary residency, in which they would occasionally transform into an exhibition space aside from their main use as an artists studio. The idea to create a bridge that floats above a work surface is utilized here, in which the bridge could be opened or closed off decpending on whether or not the artist would welcome visitors at a particular moment. Although these tree houses do not intersect a tree in a traditional sense of a tree house, this project utilizes a single wide flange, erected amidst trees. The brief given asked specifically for a design that would create an “integration with nature�. If a tree house merely utilizes a tree in order to create the superficial illusion of an integration with nature, can an object made by man with mirroring qualities take its place?
Working
A Pair of Tree Houses
Exhibit Public
6/2018 - On-going Personal / In collaboration with: Wan-Hsuan Kung
Corrugated Steel Panel 1
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Wooden Frame Mirror Finish Aluminum Sheet ETFE Rolled Rain Curtain 2
Wide Flange [ Primary Gravitational Structure ]
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Mosquito Net Wooden U Channel
Bridge [ Primary Gravitational Structure ]
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Corrugated Wooden Panel [ Floor Structure ] 4
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Recycled Scaffolding [ Secondary Structure ]
Exploded Axon
Exploded Axon
Bathroom Located Underneath Stair
Axonometric - Site B
Axonometric - Site A
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24 A Pair of Treehouses
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6/2018 - On-going Personal / In collaboration with: Wan-Hsuan Kung
Animation Stills : Narrative
“Integrating nature” as a design strategy is an idea that has developed some superficial qualities. If a tree house utilizes a tree such that we perceive it merely as a column; a supportive structure that elevates floorplates off the ground, the tree is thus merely a tool to produce an image of our integration with nature. What if a single column; an architectural part made for man, from man is placed amidst nature? Will we read the forest for its trees?
26 A Pair of Treehouses
“A bridge is elevated by a volume (a stair), and a line (a wide flange). Mesh walls fill the gaps between the columns. They define a loose set of spaces.”
“Coated ETFE make up the curtains that drop down around the perimeter as water-proofing through rain”
“Although trees do not intersect the space in physical form, its many traits are projected onto it, revealing our different attemps to create a space that intertwines with nature.”
6/2018 - On-going Personal / In collaboration with: Wan-Hsuan Kung
M24 Oxidized Grade 8.8 Steel Structural Torque Control Bolt Powder Coated Stainless Steel Disk
Nut
60x60mm Western Hemlock
Stainless Steel Tube Max Pressure 3227 ps @ 22 Celsius
3mm Extruded Aluminium T Bar 20x25mm Steel Square Tube
Stainless Steel Aircraft Wire Rope 7x7 200Feet T316 Marin Grade ECS-Ledger Top Cup Ledge Blade Bottom Cup Stub End Stainless Steel Turnbuckle
25mm Interlocking White Birch Planks Electric Floor Box Pop-Up Cover w/ Stainless Steel Receptable Cover
“At night, the volume reveals itself a hollow shell.”
“...and the artist appears as shadows behind translucent screens, hidden amidst layers of their work.” 45° Mitered Birch Planks Cap Lock Scaffolding System
28 A Pair of Treehouses
60x60mm Western Hemlock 5mm Aluminium Rods
Screw-Tip Fastenings
7mm Galvanized Steel Hook and Plate
0.25mm Coated ETFE (Ethelyne Tetraflourothylene)
Galvanized Steel 7mm Pipe Hanger Strap
10/2017 - 12/2017 Academic / Advisor : Coy Howard
Site
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A Bath House This Bath House revolves around the misuse of associated materials and objects that one would find at W Spa (and everything else that surrounds it), in the adjacent neighborhood, K-Town in Los Angeles. As hot wax, sand, stone and glass are encountered amongst bodies of water throughout the site, these moments are the product of an application of unrelated systems, superimposed. This new configuration of extracted materials and systems are like that of a penguin egg: it is laid and immediately left behind, but has a place to keep warm for the winter with someone else. 30 A Bath House
Plan C
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Plan C
10/2017 - 12/2017 Academic / Advisor : Coy Howard
32 A Bath House
01/2018 - 04/2018 Academic / Advisor : Peter Testa
A Museum of World Writing
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This Museum of World Writing is based on the idea that the identification of letters and words is acccomplished the same way we identify objects; through memory and the identification of familiar shapes and marks. These objects starts from the identification of existing architectural parts, “objects” from John Hejduk’s Chapel. Their identification, its reading and misreading is a result of a reader’s etration of image: figures that spark new geometric relationships between a collection of abstract silhouettes. Encountering repetition of silhouettes and figures emphasizes familiarity, and how one is explicitly exposed to a particular set of shapes and form. A mid-rise, wall-like volume sits upright against the street alongside the high-rise residential buildings that surround the park. It sits upon a small collection of objects, floating above the ground, giving way to a series of passages that lead visitors onto the other side of the “wall”, onto a seemingly separate volume that is sunken into the ground. These two paired together are a response to the two seemingly drastic conditions of the site, as the wall-like volume facing the street is as if a mirroring of its surroundings: a repetition of mullions and floorslabs, whilst on its other side acts as a framed backdrop for a collection of objects that are part of the museum’s permanent exhibit. The Special Exhibit is separated but connected through a pathway. In contrast to the rest of the project, it features “real” information: it is a separate island with a facade made up by billboard-like structures. Its facade just like a billboard will be ever changing in its content, with banners and posters that exhibit information and data. How disconnected or connected is the jargon of architecture towards those who don’t necessarily speak it? How can these non-culturally tied objects speak “World Writing”?
34 A Museum of World Writing
01/2018 - 04/2018 Academic / Advisor : Peter Testa
36 A Museum of World Writing
01/2018 - 04/2018 Academic / Advisor : Peter Testa
38 A Museum of World Writing
12/2018 - 10/2019 Professional / Re: New Affiliates
V11, Axonometric 11
V14, Axonometric
V13, Axonometric
V10, Axonometric
V7, Axonometric
V8, Axonometric
V2, Axonometric
V3, Axonometric
V4, Axonometric
An Exhibi
nes Dene is made u strong po stable) g struction p this projec visitors wi shape, an walls gua occupy th the 4th le a dark-ro sculptures
40 An Exhibition at The Shed
CONNECT TO CEILING POINTS
19'-0" AFF VIF 18'-10" AFF
A-28 14'-0" AFF
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19'-0" AFF VIF
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ition at The Shed
This exhibition design for Ages’ Retrospective at The Shed up of a field of walls fixed onto oints embedded within a (not so grid. Through the design and conphases, my understanding of ct revolves around the idea that ill encounter the same walls (in nd size) in multiple ways. Whilst a field of soldier-like arding the Crystal Pyramid he 2nd level gallery, a wall on evel gallery leans in to enclose oom exhibiting neon prints and s.
A-21
19'-0" AFF VIF
19'-0" AFF VIF
18'-10" AFF
18'-10" AFF
14'-0" AFF
14'-0" AFF
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CL
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B-26
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Interior Elevations (East)
A-12 A-21
A-11
A-08 A-27
A-14 A-01
A-05 A-02
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A-25 A-04 B-26
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A-30 A-09
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Plan (2nd Level)
12/2018 - 10/2019 Professional / Re: New Affiliates
D-03
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D-13
F-13
F-XX
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D-11 D-06, D-08, D-09 A-24, G-02 to G-29 D-14
V15 F-14
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V13 F-10
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F-XX
F-03 B-05
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E-05 WALL TEXT
E-12 F-01 B-01
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E-10 E-02
B-11
V7 B-06
B-32 to B-35
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E-09
B-17
B-32
B-09 V6
B-04
F-XX
B-08 B-16
F-02
E-08
E-30
B-36
V12
B-29
F-11 B-16
E-03
E-33
B-16
B-02
F-08 C-08
B-24
C-02 B-23
V4
C-01
C-05 B-13 C-04
B-14
C-09 B-22
V4
B-28
B-21
B-14
B-20
V3
B-13
B-15 B-16
B-25
B-30
B-31
3'-0" 2"
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WALL TEXT
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Plan (4th Level)
1'-8"
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V7, Plan (base)
3'-0"
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A-00
D-13 G-23
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F-XX
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10'-0"
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EDGE OF RETURN WALL
2'-4"
2"2"2"
V7, Top
EDGE OF RETURN WALL 1'-10"
CONNECT TO CEILING POINTS
6'-2"
1'-10"
V7, Elevation
19'-0" AFF VIF 18'-10" AFF F-03
E-31
E-11
E-19
E-07
E-04
14'-0" AFF
B-35
B-33
B-32
60 AFF"
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B-34
4'-2 1/2"
B-32
3'-10 1/2"
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E-01
2"
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V10, Plan (base)
CONNECT TO CEILING POINTS
19'-0" AFF VIF
CONNECT TO CEILING POINTS
18'-10" AFF
4'-2 3/4"
V7
19'-0" AFF VIF 18'-10" AFF
8'-6"
14'-0" AFF
14'-0" AFF
V10, Top
V10,
V4
F-08 60 AFF"
2'-4"
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CL
60 AFF"
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B-32
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Interior Elevations (North)
42 An Exhibition at The Shed
4'-2"
V10, Section
V10
V7, Section
3'-5" 2"
3'-9"
2"
V7, Elevation
2"
4'-4 3/4"
2"
4'-4 3/4"
2"
4'-4 3/4"
2"
4'-4 3/4"
2"
3'-10"
V3, Plan (base)
18'-5"
V3, Top
Elevation
3/4"
4'-6 3/4"
V3, Elevation
V3, Elevation
2'-8"
3'-8 1/2"
2'-4"
4'-6 3/4"
°
4'-6 3/4"
0Â
4'-6 3/4"
5.0
3'-8 1/2"
2"2"
3'-11
10
0, Section
V3, Section
9/2019 - 11/2019 Professional / Re: New Affiliates
90° Triangles : Modular Frame System
Site Axon : Extended Site
A Family of Cabins This schematic design for a family of cabins oscillates between highlighting the silhouette of a standard gabled roof structure and the right-angled triangle as a more graphic reduction of parts that generates this familiar form. The various combinations of “slices’ of program produce cabins that would accomodate different number of occupants. These slices carry through visually in the interior as a material change to highlight each of those spaces. Although members of this family of cabins look quite simiilar to one another (a collection of pixelated diamonds, stacked and braced-building blocks), they can produce dissimilar interior spaces. Whilst working on visualizations for the first portion of this project (images, left of page) a few unanswered design questions were brought up. To address a scheme for its appertures and openings, these triangular windows reinforced the idea of the gabled roof to appear as if disconnected from its extruded retaining walls.
Site Conditions : Other 44 A Family of Cabins
The idea that these cabins could also take on this “other” silhouette was quite interesting. Departing from this highly romanticized ideal; the repetitive framing system was desirable in terms of budget.
Collection of Cabins (1-5)
A
A
B
B
Elevation
Section A-A
Section B-B
1
Elevation
Section A-A
Section B-B
2
Elevation
Section A-A
Section B-B
3
Elevation
Section A-A
Section B-B
Elevation
Section A-A
Section B-B
B
A
A
B E
B
A
A
B E
B
A
A
4
B E
B
A
A
B E
5
9/2019 - 11/2019 Professional / Re: New Affiliates
Slices : Parts
1
2
3
4
5
6
7
8
9
Collection of Cabins 46 A Family of Cabins
Site Plan : Collection of Cabins
Combinations : Cabin
9/2019 - 11/2019 Professional / Re: New Affiliates
Collection of Cabins (6-9)
6
Elevation
Section A-A
A
A
B
B
Enclosed Area = 390 SF (Ground) + 65 SF (Loft) Shaded Area = 72 SF Sleeps = 4 Persons
Section B-B E
48 A Family of Cabins
7
Elevation
Section A-A
A
A
B
B
Section B-B
Enclosed Area = 225 SF Shaded Area = 80 SF Sleeps = 2 Persons E
9/2019 - 11/2019 Professional / Re: New Affiliates
8
Elevation
Section A-A
B
A
A
B
Section B-B
Enclosed Area = 255 SF (Ground) Shaded Area = 48 SF Sleeps = 2 Persons E
50 A Family of Cabins
9
Elevation
Section A-A
B
B
A
A
Section B-B
Enclosed Area = 180 SF (Ground) Shaded Area = 72 SF Sleeps = 2 Persons E
52