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B.Arch.
amin yazdi
Vol. 3 2018
CONTENTS
This portfolio holds a collection of some of my academic, and nonacademic works in architecture, art, and design. Each project had its own means of presentation, but for convenience they are all presented in this book in a similar layout, while keeping the original presentation’s spirit.
(University of Oregon) (Gensler) (Gensler) (Gensler) (University of Oregon) (Personal Projects)
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An Introduction Thriving Through Making Hooper 100 The Peak 170 State Street Block One Something from Nothing [1]
Amin Yazdi
EXPERIENCE Designer Gensler July 2016 - Current As a designer at Gensler I collaborate with my team to develope design solutions as well as coordinate the design through the construction documentation phase of a project. My roles include: + Participate in all project phases from conceptual design to construction documentation + Collaborate with design team, clients, consultants, contractors, and other vendors to meet project objective + Produce graphic presentations and construction documents + Utilize all media in design process to communicate design concepts
Graphic Designer UO Student Recreation Center June 2013 - June 2016
+ Design graphics for print and web ads + Design booklets, maps, and brochures + Conduct research on marketing strategies
EDUCATION Bachelor of Architecture (B.Arch.) University of Oregon June 2016
+ Winner of the “Envision the Future of AAA� design competition + Selected projects archived and published
Associate of Science in Engineering Western Wyoming College May 2011
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+ Honors Program graduate + Honors Program Student of the Year 2010-2011
An Introduction My passion for architecture and design lie in principles of beauty & simplicity, adaptable, intentional, and balanced. Whether it’s a glass from which we drink or a room in which we live in, if it does not function well it is not a good design. To me, aesthetics is a by-product of good design. I think Buckminster Fuller described an ideal design process really well: “When I am working on a problem, I never think about beauty, but when I have finished, if the solution is not beautiful, I know it is wrong.” A contextually driven, sustainable, functional, and adaptable architecture is what I would like to keep learning about. This portfolio contains only a fraction of what I have done at Gensler and at the University of Oregon. I have spent two years in the professional practice and have tried to do my best work in every project and work creatively with every constraint presented. And at the end of the day, after all the hard work, I learned the most from the discussions and conversations I had with my peers and colleagues; And the thought of the impact that we are going to have on the future generations of building projects has been a driving factor for me this entire time. For the hope that our built environment will be more responsive not only to human culture and economy, but also to the ecosystems and other forms of life with whom we share this planet with. I hope you enjoy going through this portfolio! - Amin Yazdi
CONTACT amin.t.yazdi@gmail.com +1 307 922 4270 www.issuu.com/aminyazdi www.linkedin.com/in/aminyazdi
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THRIVING THROUGH MAKING Project Date Professor Media
Sailboat Manufacturing Facilities 2016 academic year Nancy Cheng Physical Models, Rhino 3D, V-Ray, Adobe Creative Suite
An Introduction This project investigates models for apprenticeship, training, and education that help the underprivileged become productive contributors to society. The project seeks to understand how new hybrid buildings could function as both workplace and learning space, how on-the-job apprentice training could lead to life-long learning.
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Survey Map of 1852
History Designing buildings that enrich natural ecosystems requires examining the natural history of a place. Every location Willamette Valley Formation The Missoula Floods (around 20,000 to 13,000 years ago) refer possesses unique geological formations, indigenous material, to the catalysmic floods that swept periodically across eastern adapted species and spatial conditions that give cues to Washington and down the Columbia River Gorge at the a end of the last ice age. These floods filled Willamette Valley with water thoughtful design.
and sediment to an elevation of 300 to 400 feet above see levels. Much of Willamette Valley fertility is the cause of the Missoula Floods which moved 210 cubic kilometers of sediment and material into the valley.
Willamette Valley Formation
The Missoula Floods (around 20,000 to 13,000 years ago) refer to the catalysmic floods that swept periodically across eastern Washington and down theDevelopment Columbia River Gorge at the end Along Willamette River of the last ice age. These flWhen oods filled Willamette Valley the first settlers arrived in the Willamette Valleywith in the mid 1800s, they found a broad valley covered with clusters of water and sediment to an elevation of 300 to 400 feet above oaks, tall fir, and grassy prairies. It looked like an untouched wilderness, but it wasfertility actually a well-managed system, the see levels. Much of Willamette Valley is the cause of the result of thousands of years of planned burning by the native Missoula Floods which moved 210 cubic kilometers of sediment inhabitants. The river itself flowed in shallow braided channels and material into the valley.across a wide floodplain. It ran high in the winter, low in the summer, and full of fish all year.
But the new settlersRiver were farmers and merchants, not hunters Development Along Willamette and gatherers. They planted crops and built towns, and they
When the first settlers arrived Valley in the mid viewedin the the river asWillamette an important transportation corridor . Pulling and deepening the channel were the first ‘improvements’ 1800s, they found a broad snags valley covered with clusters of oaks, to the Willamette, and they allowed paddle-wheeled steam boats tall fir, and grassy prairies. Itto take looked untouched wilderness, wheat to like marketan and bring even more people into the valley. but it was actually a well-managed system, the result of Source: City of Portland Environmental Services || www.portlandoregon.gov thousands of years of planned burning by the native inhabitants. But the new settlers were farmers and merchants, not hunters and gatherers. They planted crops and built towns, and they viewed the river as an important transportation corridor. Pulling snags and deepening the channel were the first improvements to the Willamette, and theyImage allowed paddle-wheeled Source: Produced for the Metro Region 2040 Project bysteam Ernest R. Munch, Architecture and Urban Planners. Redrawn in this format by Ruth Cotugno and boats to take wheat to market and bring even more people into Emily Wied. the valley.
OPPOSITE CENTER: scale model of Fairly 55 sailboat at 1/4” = 1’ OPPOSITE BOTTOM: process sketches of sailboat manufacturing steps TOP: survey map of 1852 - contact me for source of image BOTTOM: site model of Portland’s south waterfront at 1” = 150’
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Process The sketch model on the left is overlaid on top of the site to help inform and address critical locations in the project. How can the building respond to all the complexities that are present on the site? A building for many uses: public fronts, educational facilities, river front, etc. “Actual movement often involves a mechanical paradigm of multiple discrete positions, whereas virtual movement allows form to occupy a multiplicity of possible positions continuously with the same form.� -Greg Lynn
public zones
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access points
north and south envelopes
assembly floor
BACKGROUND: site plan OPPOSITE: site model at 1/32” = 1’ [7]
TOP: site axonometric BOTTOM: site model at 1/32” = 1’ [8]
Key 12345678910111213-
public entry & show room cafe - public access to river sail room assembly floor secondary entry for builders and users hull room loading/unloading dock mast room final assembly and launch public plaza - access to OMSI classrooms open office lab spaces
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third floor plan
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second floor plan
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first floor plan
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Structure The massive glulaminated timber structure is essentially a three-point arch spanning about 60 feet. Each of the glulams are 5 feet deep at the deepest part. The ribs accommodate the large open floor needed for boat building programs and is, itself, inspired from wooden boat hull design and construction.
BOTTOM: section model at 1/16” = 1’ OPPOSITE TOP: section rendering of systems OPPOSITE BOTTOM: detail model at 1/4” = 1’
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Structure and Envelope The structure of the building is a hybrid of heavy timber and steel construction. The exterior envelope consists of mainly a ceramic rain screen assembly. The ceramic cladding takes advantage of the existing ceramics manufacturing factories in Oregon. It is extremely easy to make in any form and color.
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HOOPER 100 Client Start Date Current Phase Media
Adobe Systems Winter 2017 Construction Revit, Enscape, Adobe Creative Suite, Rhino 3D
An Introduction Hooper 100 is a large scale corporate interiors project in San Francisco, CA for Adobe Systems. The project includes two adjacent buildings, four stories tall each. As the design team we collaborated closely with the internal Adobe team to brainstorm key visions. We envisioned a workplace experience that celebrates the fact that Adobe’s diverse customers, employees, and products are better together. It’s about a workplace that provides balance, harmony, and an assembly of work tools for innovation.
Better than one, many paths and destinations will allow you to create a unique personal journey. [12]
Dynamic Duos. Complimentary Counterparts.
Process Process images for user experience in small human scales. What is the experience as one walks to one’s desk? How are the way finding elements presenting themselves? What are some reward moments?
IMAGES: process images and diagrams * all images are property of Gensler
Process Bird’s eye view drawings similar to this one played a big role in presenting this project since it contained very different moods and characters adjacent to one another. These drawings helped us show all the different elements in one image and how they blend with each other. [13]
Design Documentation This spread is an example of the documentation process from design to construction. Bird’s eye view of the break area is communicating some of the adjacencies and the eye-level view is showcasing the look and feel of the composition.
* image produced by third-party rendering services [14]
TOP: bird’s eye view of break area BOTTOM: perspective view of break area OPPOSITE TOP: construction plans of break area OPPOSITE BOTTOM: details of break area island * all images are property of Gensler
Construction Documentation The enlarged construction and ceiling plans of the break area capture the major design elements. Finally, the detail bellow - of the break area island - goes in depth to communicate the full design intent of
every element. Using the axonometric detail drawings are much more clear and can communicate more detail than regular section and elevation details.
* this exact detail is produced by a teammate [15]
THE PEAK Client Start Date Current Phase Media
[Confidential Client] Summer 2017 Schematic Design Rhino 3D, V-Ray, Adobe Creative Suite
An Introduction This is a corporate tech campus located in California and these are just a few of the process diagrams from the conceptual phase. The building form responds to environmental context and considers the well-being of future users. Through a large global team of designers - from London to Chicago to San Francisco - we aim to deliver a project that is highly sensitive and responsive to its surrounding environment, future occupants, and design experience.
Journey Diagrams circulation diagrams communicate different user journeys from outside to inside and within the interior programs as well. These help inform some key features and adjacencies that need to be maintained and some that need to be improved upon [16]
General Diagrams This is an example of series of diagrams that communicate certain design decisions and reasons behind the general massing of the project. A Landscape: showcasing the building in its landscape and some landscape features that were added to enhance the experience of the whole project.
B Daylighting: Identifying some the key features and reasons behind the form of the building from a lighting standpoint. The saw-toothed roof, the courtyards in the core or each side of the structure, and exposure to northern and southern light by shifting the slices of the building in and out.
C Vertical circulation and mechanical cores: Each floor of this building terraces and overlooks the floor underneath it. Therefore, not all vertical cores travel the full height of the building.
* all images are property of Gensler [17]
170 STATE STREET Client Start Date Current Phase Media
Los Altos Community Investments Winter 2018 Programming, Conceptual Design Rhino 3D, V-Ray, Adobe Creative Suite, Hand Sketches
An Introduction This was part of a proposal for a project in downtown Los Altos, CA which is adaptive reuse of an existing two-story building. We viewed this building as an opportunity to create a new hub for the downtown area; a place infused with new energy that brings the community together, fosters discovery and supports a wide range of activities. Our focus is to creating a more open facade to blend the inside and outside spaces, creating a vibrant and lively destination for families, entrepreneurs, friends and neighbors. Ultimately, we view this as an opportunity to create moments for shared experiences and a place for the community to embrace and make its own. It’s about socializing. It’s about fun. It’s about learning. It’s about the experience. It’s about all the places one can discover.
existing destinations in downtown Los Altos
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major pedestrian paths, parking, bike, and bus routes
opening up the ground level; allow public access through building
possible entry points into the building. extending the building and programs to the outside zone to activate the city block
re-thinking the existing vaulted roof. thinking of utilizing the rooftop. activating the back of the building and creating a second front
potential programs; parklets and outdoor jazz nights, restaurant and coffee house, co-working spaces on the second floor
* all images are property of Gensler [19]
BLOCK ONE Project Date Professors Partners Media
Parking Garage in Springfield, Oregon Spring 2015 Judith Sheine, Mark Donofrio James Chrisman, Connor Davies Revit, Rhino 3D, V-Ray, Adobe Creative Suite, Physical Models
An Introduction New engineered wood products are making it possible to reduce the carbon footprint of tall buildings and their uses. In this studio we worked with the city of Springfield to design a mass timber parking garage for their new development along the Willamette River, as a demonstration of what engineered wood products manufactured in Oregon can do to both increase job growth and reduce the environmental impact of construction. For this project we kept the CLT (Cross Laminated Timber) structure simple yet expressive both inside and out, allowing the parking to be easily constructed but also stand as a symbol for what this new wood material can do. The parking garage becomes block number one, the anchor point of change to this new and exciting area. Block One is not just a parking garage. It is the start of something new.
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Process Traditional parking garages are big masses and only serve one function in their life span: accommodating cars. We divided this mass into two smaller volumes to match the neighboring buildings and allow daylight inside. The result is a building with two masses connected with light bridge elements.
The Heart We designed this garage with the concept of changing the purpose from a passive, single-use structure to something that does so much more. Not only does the parking support cars and visitors to the neighborhood, but also it provides energy and waste management systems for the neighboring businesses. The garage cleanses the storm water run-off and creates a better ecological environment for all. The garage creates a closed loop system supporting the ecology and neighboring urban context.
TOP: process sketches RIGHT: outside view of heavy timber structure OPPOSITE: hand sketch section drawing and digital model informing environmental and ecological factors [21]
SOMETHING FROM NOTHING Project Date Mentor Media
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Blacksmithing and Bronze Casting 2017 Yori Seeger Cold Wax, Bronze, Steel
Power of Man’s Hand Arguably one of my most favorite pastimes is making and working with my hands. I always try to ask myself: how can we embrace the future and the new technology in our design process without losing touch of the past? The process of slowing down and making is, perhaps[, the most valuable skill in the design field. This past year I’ve made an effort to ramp up my abilities in crafting and I picked up blacksmithing and bronze casting which I’ve absolutely enjoyed. This is a process which starts from the molecular level of both bronze and steel alloys and ends in a product or a tool that we can use.
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CONTACT amin.t.yazdi@gmail.com +1 307 922 4270 www.issuu.com/aminyazdi www.linkedin.com/in/aminyazdi