carldilchergraduateportfolio
georgia institute of technology college of design m.arch ‘22
table of contents x=4 inequities grasshopper shoreditch kendeda
2
3 6 18 20 23
light space matter modulator | x=4 arch6039 advanced architectural design studio prof. michael gamble fall 2020
3
4
01
60
5
confronting our history of inequities arch6039 advanced architectural design studio prof. michael gamble fall 2020
6
7
CONFRONTING OUR HISTORY OF INEQUITIES contextualizing hypertrophic memory with history SITE RELEVANCE
NARRATIVE
COLLECTION
LOCATION+PROGRAM
Bellwood Quarry was operating for more than 100 years and began as a prison labor camp, supplying Fulton County with white granite for government buildings and other civic projects. The neighborhoods it is situated in are predominantly black communities. As prison labor became outlawed, it became operated by Vulcan Materials. Its cameos in many popular movies and prominence as the centerpiece of Atlanta’s new Westside Park gloss over the site’s clouded history.
This collection seeks to sift and separate history from the qualifiable attributes associated with it through memory and tradition. The memorials, monuments, statues, plaques and other artifacts that celebrate figures under certain narratives serve as tools of oppression and mockery for those who have been victimized by them. Collecting these artifacts and grounding the attributable memory of them with the factual history that surrounds them provides an opportunity for confrontation.
An index and database make up the largest part of the program. Figures, events, symbols, and places that honor genocide, oppression, discrimination, murder, hate rhetoric and more will make up the database. The index physically manifests throughout the scheme. The collections is also composed of physical artifacts. Digital projections accommodate a larger collection for the physical space and will ground the objects of hypertrophic memory in their factual histories in order to dispatch their oppressive authority.
The project’s origin is situated on the north side of the quarry. The scheme is a living organism, intended to grow in either direction along its axis, wrapping around the edge of the quarry. Vacancy acts as a significant part of the program, leaving the implication that there will always be a supercedence of hypertrophic memory over history for this project to collect. A modern medieval garden along the scheme provide opportunity for remembrance, rest, reconciliation, and healing.
GEOMETRIC ORDER
MATERIAL+LIGHTING
KERN + KUNST
RITUAL OF USE
This proposal upholds an equity of access, open and transparent for people of all abilities to experience. This manifests in a linear scheme, with potential to grow at either end. Interior and exterior circulation provide countless points of arrival and departure. The container holds stern rectilinear form on the exterior, and dramatically sharpens along the profile of the index text in the interior conditions. Organized in three levels, vertical transition is minimized and handled with handicap-accessible escalators.
Granite from the site and other local quarries will contribute to the main shell of the project. The rigid edge of the index’s profile shall be cast in place concrete. Laminated glass screens divide the container providing surface for the index and allowing transparency throughout the scheme. A weatherable soapstone rounds out the jagged edge of the index. Natural light will penetrate the scheme in the openings. Artificial light will illuminate the index and artifacts as well as display the projections.
The core system is the container whose depths vary from 10’, 20’, and 30’. It is a modular kern system, heaviest in mass where the soapstone fills the void of the jagged profile of the index. The soapstone also acts as a symbolic element, meant to weather away and expose the jagged edges of the collection, legible from the exterior only in its terrorizing form. The transparency of the laminated glass throughout the scheme leaves a subliminal depth intending to disorient and weigh in its length.
Procession becomes the ritual of use in this project. It is a journey of acknowledgment. The predominant experience lies in traversing the scheme, reading the index, contextualizing the artifacts with their histories through projections and giving users the control of perspective. It is a record of the time at which the narrative and memory of the collection’s artifacts are seized and history is realized for what it is. This experience is not to be limited by time of day, weather, or accessibility. It belongs to each of us.
8
9
10
11
12
Fulton County Prison
Bellwood Quarry Georgia Tech
Downtown Atlanta
0
lameinated glass
64’
128’
240’
prefabricated concrete + soapstone
locally-sourced marble
13
14
15
16
17
exercises in grasshopper arch7030 media and modeling 3 james park fall 2020
18
Krispy Kreme Rejects
Three Mathematicians Walk Into A Grasshopper Script...
Suave Surface Curvature + Tantalizing Tilings
Donuts of All Different Sizes These donuts are different sizes, getting smaller due to their proximity to 5 points. The donut cut-outs are all randomly generated. Each of these Krispy Kreme Rejects is 100% unique due to both of these factors.
Klein Surface x(u,v): (1+cos(u/2)*sin(v)sin(u/2)*sin(2*v))*cos(u) y(u,v): (1+cos(u/2)*sin(v)sin(u/2)*sin(2*v))*sin(u) z(u,v): sin(u/2)*sin(v)+cos(u/2)*sin(2*v)
9 Layers of Surface Curvature Hell The surface is subdivided based on the amount of curvature. Amounts of curvature higher than the mean is further subdivided. The gradient representing the curvature runs from red to yellow to blue in homage of Dante’s Inferno.
These Donuts Aren’t Circles[?] The donuts are polygons with 5 to 10 faces. The number of faces and the size of the donuts are determined by their proximity to a wavy curve -- the closer, the fewer/smaller. The cut-outs’ sizes are randomly scaled to their host donut sizes.
Mobius Strip x(u,v): sin(u)*(-2+v*sin(u/2)) y(u,v): cos(u)*(-2+v*sin(u/2)) z(u,v): v*cos(u/2)
Fields of Gold Grasshopper tested. Sting approved. A flowerinspired motif is morphed onto a wavy surface. The result is a magnificent, flowing field of barley that would make Grammy-Award-Winning artist Sting shed a tear of joy.
You’re A Star All of these Krispy Kreme Rejects have a starshaped cut-out that varies in size due to their proximity to the lines that make up the Krispy Kreme logo. The star-shaped cut-outs also rotate and scale depending on their distance to the logo.
Stereographic Sphere x(u,v): 2*u/(u*u+v*v+1) y(u,v): 2*v/(u*u+v*v+1) z(u,v): (u*u+v*v-1)/(u*u+v*v+1)
Diamonds Aren’t Forever, 008 This tiling includes a “+” motif that generates octagon and diamond voids. A different wavy surface creates some exciting depth to the tiling. Its generative surface is not infinite...So, sorry Ian Fleming. Diamonds are not forever.
Assignment 1: Attractor Fields
Assignment 2: Mathematical Surfaces
Assignment 3: Morphing Tilings
19
the monolith of shoreditch arch7030 media and modeling 3 james park fall 2020 project with kathryn dayton + monica rizk + suzanne shorrosh [all work shown is personal work]
20
as a team of 4, we selected the monolithic shoreditch hotel in london by aqso arquitectos to investigate, analyze, and generate a parametric model of in grasshopper. each group member extracted a formal compositional logic and diagrammed them. my contribution to the analysis was a formal geometric study through section drawings. we identified the massing, facade, floor slabs + atrium, and interior partitioning systems to be the critical building systems that we would model in grasshopper. the script must allow variations for each individual system that would work individually and collectively. i scripted the floor slab + atrium system of the project.
FLOORS SLABS/ ATRIUM
ANALYSIS STEP 1
ANALYSIS STEP 2
18.34°
ANALYSIS
12.64°
In section, form is generated from a series of volume cuts and control point shifts
Cut the rectangular prism volume at a -18.34° angle from the top of the prism
Cut the rectangular prism volume at a 12.64° angle from the left side of the prism
ANALYSIS STEP 3
ANALYSIS STEP 4
ANALYSIS STEP 5
8.14°
5.09°
The left face of the prism becomes curved in profile; see formal analysis A & D
A courtyard is cut out from the figure at a -8.14° angle on its left face and a 5.09° on its right face; See formal analysis A, B or D for more information of the courtyard’s profile
The control point of the northwest corner roof is stretched vertically, to align with the slope of the cut from step 1
ANALYSIS STEP 6
ANALYSIS STEP 7
ANALYSIS STEP 8
The control point of the northwest corner roof is stretched along the axis of the cut from step 1, pulling the envelope of the northwest corner towards the intersection
Clad the figure with the envelope
Add the floor slabs, partitions, and internal structural elements
21
FLOORS SLABS/ ATRIUM
DERIVATION STEPS 1-4: FLOOR PLATE GENERATION
1.
Establish the ground plane.
2.
DERIVATION STEPS 5-7: FLOOR AGGREGATION + ATRIUM PROFILE
5.
Copy plane vertically to desired floor slab thickness.
4’
35’ 3.
Identify intersection of planes and building massing.
4.
Loft between the intersection curves to create side edges for the slabs. Close the slab with planar surfaces.
FLOORS SLABS/ ATRIUM
6.
Repeat floor plate generation steps for each floor level.
DERIVATION STEPS 8-10: CARVING THE ATRIUM
8.
Repeat per floor.
9.
Generate a lofted surface through the atrium profile curves.
47’
35’
Offset edge of slab curves inward to desired atrium geometry.
7.
Close atrium profile curves. 10. Split and trim floor slabs with atrium lofted surface.
VARIATION 1: OFFSET CONTRACTION
VARIATION 2: INCREASING OFFSETS
VARIATION 3: RANDOM OFFSETS
The volume of the atrium cuts squeezes down to half of its profile on the first and fifth floors, creating a wave-like gesture.
Offsets for the atrium cuts start as a smaller profile on the first floor and increase by two feet in each direction on each floor.
The atrium follows the original’s conditions, but on each floor one of the border offsets is randomized. The changed condition alternates around the atrium at each step.
combined systems variation parameters manipulated: massing + facade + atrium + partitions 22
the kendeda building in seattle arch8833 integrated building systems 1 prof. tarek rakha + russell gentry fall 2020 project with caite canfield + stephen conschafter + kathryn dayton + sebastian foxley + tasha snedaker [all work shown is personal work]
23
this team assignment tasks groups to design a new lateral load resisting system for the kendeda building for innovative sustainable design at the georgia institute of technology, but reimagined in seattle, washington. a braced frame proposal replaces the “x” frames with diagonal bracing. inspiration was drawn from the group’s lateral load resisting system tower design, build, and analysis. the braced frame tower utilized pairs of parallel, diagonal members in directions that perform in compression rather than tension. most of the new bracing system is embedded in the exterior to unburden interior circulation as much as possible. more bracing units were added to compensate for seattle’s increased seismic risk coefficient.
section oblique
24
axonometric from the northwest
axonometric from the northeast
axonometric from the southwest
axonometric from the southeast