Cayman Langton | Design Portfolio by Cayman Langton

08 | 08 | 2019 RISOGRAPH PHOTOSHOP EXPERIMENT

ARCHITECTURE PORTFOLIO UNIVERSITY OF MICHIGAN

TAUBMAN COLLEGE OF ARCHITECTURE + URBAN PLANNING Ann Arbor, MI 48109 MICHIGAN, USA

CAYMAN LANGTON S E L E C T E D

W O R K S

CAYMAN LANGTON W O R K S

S E L E C T E D

10 | 18 | 2019

SETTINGS: NIKON 18MM | F/12 | 15s | ISO 100

CO N T ENT

| Pr oj ect _ 0 1 | AL T E RN A T I NG D U A L I TY UG4 DESIGN STUDIO

| Pr oj ect _ 0 2 | CO MPAN Y R E S O U R C E S UG3 DESIGN STUDIO

ALTERNATING DUALITY 1 N. Canal St., Texas city, IL. 77591

Wallenberg Studio is a semester-long competition that challenges students to develop proposals that define WAL LEN BE RG The archicture as a humane and social art, translated into a physical project. We are asked: what is architectureâ&#x20AC;&#x2122;s relatiS TUDIO onship to the humanitarian; how does architecture take up a position in the world?

FOAM AS RE C Y C LE D C ON TE N T

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01 UG4 AWARDED THE 2020 WALLENBERG STUDIO AWARD

This project is done in collaboration with Natsume Ono. Each piece of the project was a collaborative effort, each contributing to the final outcome. A special thank you to our studio instructor, Matiss Groskaufmanis, for providing us with the idea of decomission and advising us on our many iterations thorughout the semester.

D EC O M I S S I O NI NG - H O U S T O N, T EX A S

Each of the six studios explored a particular theme relating to the wallenberg thesis: our theme being “decomissioning”. We explored decomissioning as an architecture practice rooted in the fringe ideology of de-growth. The studio experiemented with forms of architectural production that identifies clashes between intentions and value, meaning and utility. The end result is a decomissioing project that serves as a counter-proposal to a fully operational building, ours being an oil refining facility. Our area of interest was the greater Houston area, a setting that presented us with a rich backdrop of research of decomissioining as Houston is one of the highest net CO2 producers in the US and home to an expansive oil and gas industry. CLICK YOUTUBE LINK BELOW:

https://www.youtube.com/watch?v=Mk9vUKqV9t8&feature=youtu.be

P R EM I S E

Initiating a divergence towards valuing ecology requires exposure to the history, process, and exploitation of petrochemicals throughout the human landscape. In the age of the pandemic, with oil prices plummeting, the production of petrochemical products is draining corporations, and many have drastically cut back their production. Our project identifies a petroleum coking refinery located in Texas City, Texas, where the continued production of petcoke is contributing to both local and international damage. The time for intervention is now. “Spaces can be real and imagined. Spaces can tell stories and unfold histories. Spaces can be interrupted, appropriated, and transformed through artistic and literary practice.” -bell hooks

We use this space to begin working at the smallest scale of intervention; the individuals and their ability to empathize. By telling the tragedies and the unseen dangers, singular minds can create a movement for change. This can only happen within the larger system of the corporation that overlooks these marginal spaces, but unknowingly aids their growth.

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

We created a short video that provides context to the current events, an introduction to petcoke, and a preview of our site intervention.

ALTERNATING DUALITY

1 N. Canal St., Texas city, IL. 77591

P ETROLEUM C OKE (PE TC OKE ) Petcoke is a byproduct of an oil refining process called coking. Petcoke visually resembles coal, yet emits 30-80% more CO2. As an alternative to low-grade coal, cheap petcoke is exported from the US to over 50 countries at the cost of harmful air-quality conditions. The dangers of petcoke are present in all its phases: oil extraction, coking, transportation, to use.

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01 UG4

Below you see how petcoke is stored. These open piles are all over the United States, but are most often found next to low-income neighborhoods where they often do not have the political leverage to fight back. An estimated 100 tons of petcoke dust is realease into the atmosphere every year. Multiple studies confirm that the residents of these areas have a much higher risk of cancer when compared to the rest of the city.

Prior to our studio trip to Houston, we reached out to Oxbow to see if we could get a tour of the site. They declined to let us visit and also said they were unable to share any information on the site due to confidentiality concerns. The coking process happens beyond gated roads and surveillance cameras, unable for the public or nearby residences to access, yet is constantly exposing them to their harmful processes.

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

ALTERNATING DUALITY 1 N. Canal St., Texas city, IL. 77591

IN TERVEN TI ON D I A GRA M PLA N OB L I Q U E

The project begins as an installation for Oxbow, substituting half of the newly obsolete elements with mesh replicas. These highlighted elements are units that exist in pairs on the site, allowing elements to continue production while these halves can be independently decommissioned. This strategy creates a tension and ambiguity between the dualities of the past and present and will allow people to gain access to see more of the polluting process of creating petcoke.

F O A M A S R EC Y C L ED CO NT ENT

As outlined in the studio brief, the studio was charged with choosing a material to create a material loop between waste and stage prop after completing the design of the building envelop. Due to its poor environmental track record, its overabundance in the world, as well as the unique opportunity to incorporate it into the social and performative aspects of everyday life, the material I chose was foam.

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01 UG4

D I S A S S EM B L Y O F CO K I NG T O W ER A X O N

Coking facilities are designed to be constructed as quickly and efficiently as possible, enabling an easy disassembly of parts and substitution for the mesh.

P ET C O K E S T O R A G E A X O N

The addition of orange fabric serves to clarify the divisions between the accessible and the prohibited to ensure an additional level of safety for visitors.

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

ALTERNATING DUALITY 1 N. Canal St., Texas city, IL. 77591

S ECTION S + PLA N

The halves create a dialogue between the functional and the ethereal through the dissolution of the parts into mesh. The mesh structure brings beauty to the site that allows us to market the installation to Oxbow as a celebration of the growth and capital that Oxbow has accrued and allows visitors to marvel at the scale.

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01 UG4

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

ALTERNATING DUALITY

1 N. Canal St., Texas city, IL. 77591

Upon arriving at the site, visitors are offered layers of protection to guarantee their safety. They are free to choose if they wear additional protection, but are required to wear gas masks and hardhats.

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01 UG4 The visitors are immersed in a world that exists between two states: the transparent trace against the impenetrable machines, the petroleum refining employees against the visitors. There are moments where people can observe what workers are doing on the site behind the orange fabric.

At night, phosphorescence enables the mesh to glow. Now, the mesh that disappeared into the sky during the day becomes the highlighted element, intriguing people who may drive by. What allowed visitors on the site to see through the complicated structures during the day now serves to outline the massive presence that the refinery has in Texas City by night.

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

ALTERNATING DUALITY 1 N. Canal St., Texas city, IL. 77591

A U G M ENT ED R EA L I T Y

However, beneath this beautiful facade, there is another layer that represents the marginalized communities both local and global who have endured the detriments of petcoke. On the ground level, the protection provided to the visitors corrects the celebratory portrayal of the industry by uncovering the negative impacts of the site, through augmented reality. The technology converts the orange fabric into informational banners through the maskâ&#x20AC;&#x2122;s screen, revealing subversive messages invisible to the corporate perspective.

The AR element is most clearly represented in the youtube video linked on page 5.

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COKIN G DRUM S RE N D E R (TOP)

Looking at the delayed coking drums, the augmented reality interface works to demonumentalize the industry and its operation through information that reveals the environmental costs of the operation.

SELECTED WORKS

STUDIO INSTRUCTOR : MATISS GROSKAUFMANIS

P ET C O K E P I L E R END ER ( B O T T O M )

The visitors are then immersed in the final process of petroleum coke production, learning of its detrimental nature to both human health and ecology.

n s e

01 UG4

COMPANY RESOURCES 1425 N. Magnolia Ave., Chicago IL. 60642

P R O JECT B R I EF

The studio was presented with a problem: production houses such as those associated with the film, theater, and performance industry are known to be one of the most wasteful trades. Similarly, architecture is also known to produce immense amounts of waste and therefore holds the same infamous position. We are at a moment characterized by the over abundance of material, both physical and virtual. The studio was charged with designing a resource-aware production house and event space that diverts resources from the consumer-waste loop and places them in service of temporary events. Programmatically, I am concerned with the circulation of objects, the logistics of material movement, and the methods of material processing. In this project, production is defined as a series of aesthetic tactics and material manipulations. The site is located on the North Side of Chicago, IL in a heavy industrial area.

KIT O F PA RTS

B UILD IN G EN VELOP

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02 UG3 EL EVATION

KIT OF PAR TS (TOP)

B U I L D I NG ENV EL O P ( B O T T O M )

Below the kit of parts is the assembly of these componets. My building is defined as a container whoâ&#x20AC;&#x2122;s responsibilities are primarily to itâ&#x20AC;&#x2122;s contents. The linear proportions are qualified by the arrangement of a production line of my material processes, circulation, and activity. Space is designed for everyday objects and materials to get transformed in order to serve the social and performative versions of our life.

I began by researching building components of particular precedent projects to have a clear understanding of their physical composition, environmental track record, and manufacturing practices. My inventory of parts (knolled below) are made up of prefabricated and readymade components that follow standard sizes to negate the custom fabricated and on-site cutting down/ editing of these materials that lead to waste, thus, being resource efficient throuth material recovery and meaninful next use. My parts include steel beams, perforated metal panels, polycarbonate and glass panels, steel walkway planks, handrail horizontals and posts, and metal decking.

SELECTED WORKS STUDIO INSTRUCTOR : LAIDA AGUIRRE

COMPANY RESOURCES 1425 N. Magnolia Ave., Chicago IL. 60642

FL OOR PL A N S

The structural grid becomes prominent in the floor plans, which acts as an armature upon which to place event spaces, supporting spaces such as bathrooms and offices, spaces for fabrication logistics such as storage, sorting, processing, fabrication, mechanical systems, and circulation. The first floor has established zones that serve the mechanical processing of content as well as public gathering spaces. The second and third floor combine multiple programs, creating unique entanglements between space and occupation. For example, in any one of the three performance spaces, there are other programs adjacent to and sometimes punctuating the space. The idea around this spacial arrangement is to dissolve the prominent line often seen in performance between stage and audience.

EXPL ODED A X ON D E TA I L

Below is an exploded axon of one office space within my building. The easy assembly and disassembly of building parts is displayed. The englarged exploded railing detail highlights the care that I took in designing each material connection throughout the building.

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02 UG3

SELECTED WORKS STUDIO INSTRUCTOR : LAIDA AGUIRRE

COMPANY RESOURCES 1425 N. Magnolia Ave., Chicago IL. 60642

FOAM AS RE C Y C LE D C ON TE N T

FOAM CYCLE D I A GRA M

Below is a diagram of the different stages of processing of foam, as well as the mechanical equipment needed to enable each stage. Depending on the needs of each performance and its accompaning stage props, the foam may be needed in large blocks, sheets, small blocks, or shredded pieces. Upon reaching the stage where the foam is shredded and can not be reduced any further, the pieces are compacted in a rebonding foam block machine, turning the foam back into large blocks. Thus, once the foam that is being sourced from the existing scraps in the world has reached its compacity within the building, the recycling loop is complete. STAGE 1 Foam arrives to site via delivery.

SEMI-TRUCK DELIVERY

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STAGE 2

Larger foam pieces can be reduced using wire cutter to create sheets or desired shape.

FOAM WIRE CUTTER

FOAM IS ONE OF THE MOST ENVIRONMENTALLLY UNFRIENDLY TYPES OF WASTE, COMPRISING AS MUCH AS 30% OF THE TOTAL LANDFILL VOLUME.

The world produces more than 14 million US tons of foam each year. Although the recycling technology is available, few recyclers are recycling foam due to its large volume making transportation unprofitable.

STAGE 3

STAGE 4

STAGE 5

Foam pieces can be further reduced using CNC machine to produce unique geometries and textures.

A foam shredder is used to turn scrap or unused foam into foam particulate.

A foam compactor is used to turn the shredded pieces of foam back into larger blocks of foam.

CNC MACHINE

SHREDDER MACHINE

REBONDED FOAM BLOCK MACHINE

02 UG3

MATERIAL STUD Y - RE B ON D E D FO A M

To test my process of recycled foam, I conducted a study to rebond shredded pieces of foam into a block of foam. Through research of the professional process of reconstiting foam, I realized it involves industrial equipment and glue; however, I was able to achieve a similar result at a smaller scale.

REBON DED FOA M PROC E SS

First, I made a wooden mould to the size of the foam block I wanted. Next, I placed one layer of foam at a time into the mould, applying a layer of spray adhesive in-between each layer. Finally, I placed a sheet of acrylic on top and used clamps to compress the foam in the mould to my desired density. After curing, I opened the mould and allowed the rebond to dry.

SELECTED WORKS STUDIO INSTRUCTOR : LAIDA AGUIRRE

COMPANY RESOURCES 1425 N. Magnolia Ave., Chicago IL. 60642

S CEN OG RAPH I C A RC H I TE C TURE

Methods of display and packaging became one of the ways in which I defined the nature of foam within my building, both as stage and off stage. I curated three renderings that each serve to define the interface between the objects and their audience. I considered the quantities and qualities of foam, how and what is displayed, used, stored, and how it is packaged and contained. Within the building are three performance spaces. In the design of each one, I appropriated different resources and spatial ideas to provide a unique experience for each with one central goal: dilute the restriction between stage and audience that is common in convential performances.

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As represented in the rendering, a series of stacked volumes serve as both methods of foam storage and performance. The audience has multiple options for how they observe the spaces, with no obvious reasoning for one or the other. Therefore, participants can indirectly participate in a type of theatrical expression by having the oportunity to seek new points of view.

SELECTED WORKS STUDIO INSTRUCTOR : LAIDA AGUIRRE

COMPANY RESOURCES 1425 N. Magnolia Ave., Chicago IL. 60642

FIN AL MODE L - 1/ 16 ” = 1’ - 0”

A phsyical model of my structure served to display the exterior finishes of the building that included translucent, transparent, and opaque panels, which were dependent on the lighting and privacy needs of each space. Additionally, the model helped me organize and visualize the continuous circulation throughout the space.

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02 UG3 S ITE PL AN OB LI Q UE - RE PRE SE N T A T I O NA L EX P ER I M ENT

I challenged myself to develop a series of aesthetic tactics for representing my work. Displayed below is the final result of my experimention throughout the semester of a dithered/pixelated representational method. The reasoning for this stems from our studioâ&#x20AC;&#x2122;s focus for the semester that conceived of architecture as a quantity of parts, objects, and images. This inspired me to create a drawing that similarily reducing the contents to a quantity of pixels and patterns.

SELECTED WORKS STUDIO INSTRUCTOR : LAIDA AGUIRRE

LITTORAL IMMERSION 9075 S Huron River Dr, Ypsilanti, MI 48198

P ROJ ECT B RI E F

This studio focused on the context in which we build, how people perceive the urban environment, how buildings fit contextually into existing circumstances, and how outdoor spaces relate to built forms. Given the site at Ford Lake Park - a 98 acre park located on the south banks of Ford Lake - the studio was tasked with the design of a boat house/rowing center. As the park is already a publicly available leisure and event space for the city of Ypsilanti, my interest was in activating the existing park and revitalizing the public experience through new forms of spatial organization and the inclusion of a boat house. 60 58 56 54 52 50

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BOAT DIME SI ON S D I A GRA M

To launch the project, we began with serveral exercises to develop our awareness of scale and expand our ability to represent a set of movements pertinent to the design of a boathouse. Above is an analysis of boat types and their dimensions that served in my design and presentation of a boathouse. I compared five boat types in plan and elevation to develop an awareness of their scale when in a boathouse or on a dock.

FUL L S CALE TRA N SLA TI ON

To develop a proper scale awareness of an 8 person rowing shell, our studio worked as a team to translate a scaled drawing of the shell into a full scale representation. Using a 1/2”=1’=0”, one team was responsible for pulling measurements from the drawing and sharing it with the team producing the 1:1 reprentation. Using blue painters tape, we layed out the dimensions of the 8 person rowing shell including the locations of the rowers, oar locks, and riggers.

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03 UG2 S ITE AN ALY SI S D I A GRA M

Through analysis of the urban condititions in Ypsilant, MI and the parks that reside within, I recognized that Ford Lake Park serves as the primary activity and leisure hub for the densely populated residential area. The park provides beautiful views of its natural landscape and the lake that streches 4.500 meters long. Despite this, by researching the parks usage throughout a year, I found that there was not as much draw to the park as the city had intended, despite the many ammenities it provides.

SELECTED WORKS STUDIO INSTRUCTOR : ATHAR MUFREH

LITTORAL IMMERSION 9075 S Huron River Dr, Ypsilanti, MI 48198

S PACE PL A N 1 PROPOSA L

In the development and research phase of the project, I equally materialized two spatial organization proposals for the park. Proposal 1: The existing park has leisure and activity spaces distributed throughout the park; however, the different areas are spread out and have little connection, interaction, or form of circulation between them, contributing to the under utilzation of the park. By relocating these spaces to one shared area of the park, all the main elements of the park (basketball court, playground, beach volleyball, tennis and pickleball courts) now interact and connect to one another. Finally, with the inclusion of a boathouse into the program, this new element serves to unify the existing land elements with water activities such as canoeing, kayaking, rowing, and fishing.

S PACE PL A N 2 PROPOSA L B RI E F

Proposal 2: Both proposals rely on simplicity in structure, but the goal of this proposal relys on the architecture conforming to the exisiting topography and existing programs. Here, the architecture become a part of the landscapeâ&#x20AC;&#x201D;a structure meant not to draw attention to itself, but enable the visitors to enjoy the beautiful environment with walkways, courtyards, and transparent volumes that invite people to engage with their surroundings.

Interchangeable Parts

Interchangeable parts are parts (components) that are, for practical purposes, identical. They are made to specifications that ensure that they are so nearly identical that they will fit into any assembly of the same type. One such part can freely replace another, without any custom design, such as filing. This interchangeability allows easy assembly of new design, and easier repair of existing design, while minimizing both the time and skill required of the person doing the assembly or repair. Christopher RUSS

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DESIGNER

03 UG2

SELECTED WORKS STUDIO INSTRUCTOR : ATHAR MUFREH

LITTORAL IMMERSION 9075 S Huron River Dr, Ypsilanti, MI 48198

S TUDY MOD E LS - 1/ 6 4” = 1’ - 0”

A model of each proposal allowed me to visualize the variations in topography across the park. Depending on the programmatic needs, the volumes are imbedded in, catilever over, or rest on the topography.

S PACE PL A N 1 PROPOSA L

S PACE PL A N 2 PROPOSA L

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03 UG2

P ROCES S RE N D E RS - YE A R ROUN D I NH A B I T A T I O N

In my research of the parkâ&#x20AC;&#x2122;s usage rate throughout a year, I recognized that the park served little use during the winter. Illustrated below is my interest in turning the park into a year round destination through a transition in activity between the seasons.

SUM M E R - PLA Y G RO U N D

SELECTED WORKS STUDIO INSTRUCTOR : ATHAR MUFREH

W I N T ER - I C E R INK

LITTORAL IMMERSION 9075 S Huron River Dr, Ypsilanti, MI 48198

FIN AL S ITE PLA N

In the final design of my project, the task was to combine my two goals of a building that had minimal impact on its natural surroundings, yet also activated the site in a new way. In essence, the structure is one roof that sits sixteen feet above the ground and is supported by eighty-two thin columns. The visitorsâ&#x20AC;&#x2122; experience always involves the surrounding nature with a sightline through the three glass enclosed volumes as well as groups of trees that inhabit the in-between spaces. The roof is punctured by twenty-eight openings that allow natural light to illuminate the space.

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03 UG2 FL OOR PL A N - B E LOW GRA D E

FLOOR PLAN - ABOVE GRADE

The first floor accomodates an indoor basketball court, a training and exercise facility, and a locker room/restroom that are enclosed. In addition, there is an open performance area that acts as an event space in the summer and an ice rink in the winter. Situated between these primary functions and incorporated into the structural columns are benches and tables that provide visitors with a place to sit, rest, visit, eat, and enjoy the activies happening around them and the beautiful views of the park.

As you approach the water, there is a twelve foot slope in the topography. I took advantage of this by locating the boat storage below the first floor, allowing the users to access the docks and waterâ&#x20AC;&#x2122;s edge with ease. The storage is divided into two spaces: the left side accommodates the more competitive rowers and stores 8 person, 4 person, and 2 person rowing shells. The right side accommodates the recreational rowers and stores kayaks and canoes. In-between is a staircase leading to the water.

BUIL DIN G S E C TI ON S

The sections served to show the buildings relation to ground and the care to follow the natural slopping topography of the park. In the enclosed spaces, you can see the roof height varies from the sixteen foot height. This was done to create a clerestory ribbon allowing natural light into the spaces as well as increase the ceiling height necesssary for activities such as basketball.

SELECTED WORKS STUDIO INSTRUCTOR : ATHAR MUFREH

LITTORAL IMMERSION 9075 S Huron River Dr, Ypsilanti, MI 48198

FIN AL MODE L - 3/ 3 2 = 1’ - 0”

The final model serves to communicate the spatial arrangement and interrelationships between land, water, nature, structure, activity, and inactivty.

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03 UG2

SELECTED WORKS STUDIO INSTRUCTOR : ATHAR MUFREH

BETWEEN SOLID AND VOID PART ONE: POSITIVE MODEL

P ROJ ECT B RI E F

The project begins with Rowe and Slutzky’s essay, “Transparency: Literal and Phenomenal”, where they define literal transparency as a quality inherent to substance or matter and phenomenal transparency as a quality inherent in the spatial or volumetric organization. In the essay, Rowe and Slutzky use Cubist artwork examples to depict space from multiple and mixed perspectives. I was prompted by Braque’s painting The Portuguese, in which he investigates the tension between shallow and deep space. In pursuit of developing an understanding of phenomenal transparency through a stacked model, I used Baraque’s painting “The Portuguese” (to the right) to investigate the tension between shallow and deep space.

S TUDY MOD E LS - STA C KE D C A RDB O A R D

Five study models allowed me to construct space through an interative process in which I was pursuing the Cubist technique of creating volumetric spaces that create an optical layering and fluctuation. I was experimenting with multiple elements that are associated with notions of superimpositions, overlapping, and contracting and expansion. Through a combination of a few (or all) of these, I was progressing towards a percieved phenomenal experience.

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04 UG1 FINAL MODEL - STACKED MUSEUM BOARD

The final model consists of ten small aperatures that allow the viewer to access only bits and pieces of the interiorâ&#x20AC;&#x2122;s spatial arrangement. You are refrained from accessing all of the information, thus creating a continuous, ambiguous perception of space. This generates multiple readings and activates the imagination as you try to piece together the organization of the void space.

IN TERIOR

SELECTED WORKS STUDIO INSTRUCTOR : DAWN GILPIN

EXTERIOR

BETWEEN SOLID AND VOID PART ONE: POSITIVE MODEL

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L AYE R 6 3

L AYER 84

L AYE R 2 1

L IN EAR SU PE RI M POSI TI ON

The above drawing highlights the void contours I designed and arranged in the ninety-six layers of meseum board. They are laid out in a linear path to serve as a spatial understanding of the constant contraction, expansion. and intersection within the void space.

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04 UG1

MOD E L A XON OM E TRI C

SELECTED WORKS STUDIO INSTRUCTOR : DAWN GILPIN

BETWEEN SOLID AND VOID PART TWO: NEGATIVE MODEL

P ART ON E - POSI TI VE M OD E L

Part one is bound by the parameters of vertical stacked museum board. Space is translated through a two-dimensional image into a three-dimensional spatial experience. The set of curves construct continuous void space as it digs the specific volume out of the solid. Part to Whole is â&#x20AC;&#x2DC;spaceâ&#x20AC;&#x2122; that is constructed by these set of parts, but you never really understand the whole. Instead, you are presented with a relationship of Part to Part (aperature to aperature).

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P A R T T W O - NEG A T I V E M O D EL

Part two operates within the same formal laguage as part one, only now using the medium of Rockite to formalize the void of the stack model and understand the relationship between solid and void. Of the ten aperatures that provide views into the space, I casted three, thus maintaining the relationship of Part to Part, and never gaining a full understanding of the whole. Only the void space that the eye can access is inverted to a solid.

04 UG1 P ART ON E A X ON + ROC KI TE

Now, placing the three casted negatives into the void space provides an understanding of what space is accessible, or not acessible by the three aperatures.

SELECTED WORKS STUDIO INSTRUCTOR : DAWN GILPIN

GREEN ONE RESIDENCE GROUP PROJECT

TECH N ICAL D OC UM E N TA TI ON C OL L A G E

In a three person group project, we designed a building from the perspective of integrating material and construction techniques to build our understanding of construction assemblies, material systems, and building enclosures. Below is a collage of seven drawings of our building. I was responsible for the three floor plans and section detail. In collaboration with Jacob Pyles and Clayton Artz

Green One Family Home Southeast Michigan

PREPARED BY:

Cayman Langton

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,,--Sliding door: Triple glazing in fir/spruce frame

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3/4 = 1 '-011 II

Non-reinforced concrete blinding layer Drain tile in gravel

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PLAN DETAIL

3/4 = 1 '-011 II

2000 Bonisteel Blvd Ann Arbor. Ml 48103 p.734.764.1300 f. 734_ 763.2322

taubmancollege.umich.edu

Taubman College architecture DATE:

11/0/2018

SCALE:

AS NOTED

DETAILS

A4.0

CAYMAN LANGTON FALL 2018 . ARCH 317

05 A317 S ECTION D E TA I L M OD E L - 3/ 4”=1 ’ - 0 ”

A physical model reveals the tectonic qualities of the building. One half of the model shows the structure and framing of the building while the other half shows the layering of the roof materials from the structure to the interior and exterior finish. I was responsible for the construction of the ground, walls, windows, and floor slabs. In collaboration with Jacob Pyles and Clayton Artz

SELECTED WORKS CLASS INSTRUCTOR : CRAIG BORUM