bobby NOLEN | architecture PORTFOLIO
“What is architecture anyway? Is it the vast collection of the various buildings which have been built to please the varying tastes of the various lords of mankind? I think not. No, I know that architecture is life; or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today, or ever will live. So, architecture I know to be a Great Spirit.� Frank Lloyd Wright
bobby NOLEN education aug. 2013-present
Texas A&M University major: Environmental Design minor: Business Administration GPA: 3.85
aug 2009-may 2013
Millsap High School
experience may 2016-present
TEEX Product Development Center
Design Team: developing graphic designs, creating 3D models, and fabricating prototypes to be tested by clients may 2015-aug 2015
Miramont Country Club Lifeguard
may 2013-aug 2013
Splash Kingdom Waterparks Lifeguard
june 2012-aug 2013
Self-Employed
Remodeling, Pool Technician
awards & recognitions aug. 2013-present
Texas A&M University
Dean’s List: Spring 2015, Summer 2014 George and Esther Bohn Endowed Scholarship Col. James E. Ray ’63 Endowed Scholarship aug 2009-may 2013
Millsap High School Valedictorian
service/etc. may 2010-present
Baptist Church Builder of Texas Feed My Starving Children Feast of Sharing
software skills Rhinoceros Maya Zbrush AutoCAD Sketchup
Grasshopper Adobe Illustrator Adobe Photoshop Adobe Indesign
Keyshot Maxwell Kerkythea Unity
table of CONTENTS
Deformative Reconformity
Indexicality
Integration
Time Object
Structure As Architecture
Independent Work & Drawings
deformative reconformity: HYPERLOOP STATION Fall 2015: Texas A&M University-Academic Professors: Brian Gibbs Team: Bobby Nolen, Justin Zumel, Christian Stiles Front Cover Featured Project for AXIOM: AN AIAS STUDENT PUBLICATION This project is centered on the idea of a morphing geometry reacting to external variables derived from the site and the developments in the form itself. These variables manifest themselves as objects and as regulating lines that carve out of the object to form a fragmented geometry that contains indices of said variables. The primary influencing elements for the object are the tubes for the Hyperloop and the major axes of the site, the Olive Ave overpass and the I-5 highway directly adjacent. The axes were initially projected onto the object to create fully transparent voids. The axis at Olive Ave demands a change in the form of the building causing it to pull outward on both sides and engage the overpass to create a connection to the city. Once this connection is established the network of tubes for the Hyperloop, which was also designed, protrudes into the building causing the building to inflate and twist in various moments based on the curves of the tubes. In addition, there is another object introduced that is composed of several curved hard edge objects that encapsulate the tubes. Drawing from ideas put forward by Daniel Libeskind in his Berlin Jewish Museum thse objects subtract from each other and leave traces of themselves.
deformative reconformity
I.
Overall blocked length of the site
II.
Divided based on major highway elements
III. Boolean Object based on the geometry of the tubes is introduced
IV. Main Object is expanded and subtracted from by reinserted Boolean Object
HYPERLOOP STATION
deformative reconformity
HYPERLOOP STATION
indexicality: THE AXONOMETRIC MUSEUM Fall 2014: Texas A&M University-Academic Professors: Gabriel Esquivel Designer: Bobby Nolen On this project an observation of indexical and parts to whole relationships were implemented as a means of designing. This design focused on the breaking up of a plan, particularly the floorplan of the Beard House by Richard Neutra. On top of this plan a series of linework drawings were used to determine a way to begin to translate its prior purposes, defined by the original designer, to give them a new definition. On the Beard House this developed into an axonometric design that is grounded on an oblique surface. This design gives the viewer freedom to not be stuck in one point of view such as in an axonometric drawing, but now he or she can move around the object and begin to understand its different complexities.
indexicality
(LEFT) This project began with the analysis of the floor plan of the Beard House by Richard Neutra. Found within the plan, was the layout of a 9 square grid. Moving on, the diagrams developed the possibility of using the diagonals of the grid to divide and to shift the plan two dimensionally. (RIGHT) The two dimensional drawing becomes a 3D representational model that illustratres the same principles that were present in the diagrams. This model in particular developed as an axonometric model based on the diagonals from the original grid.
THE AXONOMETRIC MUSEUM
indexicality
THE AXONOMETRIC MUSEUM
integration: THEATER COMPLEX Spring 2016: Santa Chiara, Italy-Academic Professors: Paolo Bulletti Team: Bobby Nolen, Kimber Wray, Jennifer Romero In the pursuits of design for a certain people in specific locations, cultural barriers and ideals tend to mix peacefully or clash together as they come into contact with one another. How does one begin to bring ideas together in a way that appeases and pushes them closer together? Two different people, the Italian public and foreign performers, will be occupying the space of this theater. Even the city of Castiglion Fiorentino contains a dual culture population, the students studying abroad and the Italians of the town. These two people groups must be satiated. This design integrates elements from the context of Castiglion Fiorentino’s historical city, such as the multilevel split rooflines that slope upward toward the focus of the town, and the young architect’s pursuit of designing something new. It desires inspiration for all people regardless of their traditional or contemporary backgrounds.
Personal Contribution: Developed the parti diagrams, 3D modeling, rendering, and drawing floor plans
integration
I.
Site analyzed for diagonals
II. Primary Object extruded based on various diagonal offsets and locations
III. Slopes added to reflect adjacent city-scape and Theater Object inserted to form the focal point of the project
THEATER COMPLEX
integration
THEATER COMPLEX
proto-index: SCALELESS HIGH-DENSITY Spring 2015: Texas A&M University-Academic Professors: Gilles Retsin & Gabriel Esquivel Team: Bobby Nolen, Nathan Garcia, Stephanie Almendares, William Richard In Architecture there are many different tools that we use to communicate with objects that we happen to be in close proximity to. These forensic tools come in many different forms and processes, such as drawings, diagrams, and other means of representation. As we communicate with the object, we begin to recognize it appears to be similar to an Indexical project. This object seems to have some of the same qualities of the Eisenman’s House 10 due to the appearance of an axonometric representation. This Axonometric is a system of interlocking L’s that were each independently generated. However, this object predates these projects by Eisenman because it is preindexical. It is before any of the parts to whole relationships were understood and diagrammed. Due to this, we are initially only able to understand it as a Proto-Idexical Project. In our attempts to understand this object further we must attempt to communicate to it. To accomplish this goal we generated multiple forms of representation. This axonometric is not an indexical diagram. We use the axonometric as our selected vehicle of communication and representation. The study of the Stanley Tigerman diagram was further used to communicate with the object. We use this to perceive its infinitesimal properties and how this is just a snapshot of the object. The object also gives off a Piranesian sense of deterioration and substance through an affective quality that is before the synthetic. The communication between this Piranesian representation and the object is what suggests deterioration and rustication. The landscape generates an affective romantic realism. The object will exist where it does and our attempts to communicate to it have no effect on it.
proto-index
(LEFT) Designs from the midterm; embracing the three dimnensional axonometric representation (ABOVE) Closeup of the details on the final object (ABOVE-RIGHT) chunks from the overall final object that depict the deterioration of the massing (BELOW-RIGHT) Piranesian style drawing of the final object
SCALELESS HIGH-DENSITY
proto-index
(ABOVE) Physical Model of the full site, the grotto object, and the axo object (RIGHT) Three Quarter Section
SCALELESS HIGH-DENSITY
structure as architecture: CAMH Fall 2016: Texas A&M University-Academic Professor: Craig Babe Team: Bobby Nolen & Ysaac Bustamante This project consists of a full design of implementing an understanding of architectural, structural, and systematic design to achieve an efficient and effective space for people to dwell and view art in. These elements have coalesced to form the final project that is the new facility for housing the Contemporary Art Museum of Houston (CAMH). On this design, the structure is expressed through its exposure of itself and its influence on the programmatic spaces as well as giving a nod to its surrounding context through the presence of its exterior design. The systems of the building play into the structure by either being one with the structure itself or by deriving its geometry from the form of it. Architecturally, this project addresses the typologies of its context. It represents the mixed residential and commercial nature of Houston’s Montrose region by contrasting the two through structural material choice and the form of an American house vs the form of a typical warehouse.
structure as architecture
CONTEMPORARY ART MUSEUM HOUSTON
I.
Address corner of site
Steel Plate
Divide programmatic spaces into II. houses with “light chimneys” connecting them W18
Intersect gallery spaces with the III. houses addressing Downtown Houston and the Menil Museum Welding
Space underneath cantilevered IV. gallery, contrasting structures, windows, and shading
structure as architecture A’
B
A
CONTEMPORARY ART MUSEUM HOUSTON
B’
1 #4 Rebar 2 12” Sitecast Concrete 3 #4 Rebar Ties 4 4” Rigid Insulation 5 Weeping Holes 6 4 7/8” Precast Concrete 7 Rigid Insulation Ties 8 2/5” Water Barrier 9 5/8” Sheathing 10 3/20” Steel 11 Steel Seam 12 Box Gutter 13 Electrical Channel 14 Fluorescent Light 15 5mm Steel Sheet 16 Glare Protection 17 62mm Triple Glazing 18 Grade Beam 19 Sand 20 Pile 21 Footing
GROUND LEVEL
structure as architecture
CONTEMPORARY ART MUSEUM HOUSTON
independent work “The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fit for treasons, strategems, and spoils.” -William Shakespeare
DRAWINGS
independent work
DRAWINGS
independent work
DRAWINGS