christian cononico architecture portfolio
profile My passion is to study architecture as an art form, and to bring that art into the built environment through forms of sustainable application. I want to move beyond an architecture that just solves problems and instead move towards architecture that is capable of producing new problems, even if just to ignite the forming of new ideas. Through my research and theory application, I have discovered architecture is always evolving, and I strive to be there learning and evolving with it. I know that by continuing my education at Sci Arc, it will allow me the opportunity to develop these ideas further, and experience architecture in ways not possible at any other institution. To learn directly from the pedagogy taught at your institute is something I yearn for in my education, and to be surrounded by the art, culture, and diversity present in downtown Los Angeles is something I am eager to have influencing my life. The work in this book consists of my time at the University of California Los Angeles as an Architectural Studies major. I hope that this portfolio strongly encourages you to consider me as a 2018 M.Arch I Candidate.
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chapters
I
II
III
IV
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the x building A.UD 121 Studio I Winter 2017 Erin Besler
T
asked with designing an office building, I began to analyze the four walled, vertically structred typical plan in order to see if it was possible to replicate it’s positive qualities in an atypical building design. I accomplished this by working off of the letter “X� to create a building with two intersecting volumes. The intersection allowed me to establish zones within the building. I then took the surface planes from those zones and manipulated them to instill a sense of movement both on the interior and exterior. These manipulations proved to have a symbiotic effect on both the interior space and the exteror . From these operations, produced was an architectural proposal capable of being occupied by twelve start-up companies, while still abiding by all circulation, structural, and program requirements.
form
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chapter I
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Model Photographs Black Acrylic (taken on iPhone)
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121 Studio I Winter 2017
Instructor: Erin Besler
chapter I
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Ground Floor
Floor Thirteen
Furnished Plan (Floor 8)
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121 Studio I Winter 2017
Instructor: Erin Besler
Floor Sixteen (Top)
Front Elevation
Right Elevation
chapter I
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the party wall A.UD 122 Studio II Fall 2017 Katy Barkan
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ection drawings were the primary object of study for this studio. The party wall is traditionally thought of as the between two neighboring programs, and is typically only visible through section. Rather than giving programs their own set of stairs on either side of a party wall, I chose to work against the concept of , and instead opened up the party wall and stair located inside. Both tenants were now controlled put one shared by architecture in order to access certain floors. By redefining the party wall as not a partition or divider, and utilizing circulation to force interaction, I in my design. established them both as the main organizational From this, the matters of sequence, boundary, and threshold are now open for interpretation.
partition
boundary central
armatures
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chapter II
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Model Photographs 1/4� Plywood (taken on iPhone)
12 122 Studio II Fall 2017
Instructor: Katy Barkan
chapter II
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Section
Circulation Diagram
14 122 Studio II Fall 2017
Instructor: Katy Barkan
Plan
Program Diagram
chapter II
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the fit out
A.UD 121 Studio I Winter 2017 Erin Besler
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geometry
n architecture, one of the most prevailing forces is . plan for a tenant I was tasked with exploring the fit out of a circular moving from a typical plan environment. Rather than arranging the interior in pie shaped wedges, I was interested in how a shape that suggests continuity around . One its periphery could in fact, be broken up and half of the plan is scattered and chaotic, while the other is orderly and is reflective of the . Meanwhile, the middle is oriented in an fashion. This fit out confirms that through different orientation, zoning, and compartmentilization, shapes can be fit out with the same volume of furniture intended to accompany a business transitioning from a previously environment.
atypical
compartmentalized
orthagonal
typical
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exterior
round
chapter III 17
Model Photographs
Foamcore, Museum Board, and Clear Acrylic (taken on iPhone)
18 121 Studio I Winter 2017
Instructor: Erin Besler
chapter III 19
Furnished Plan
20 121 Studio I Winter 2017
Instructor: Erin Besler
chapter III 21
the japanese joint A.UD 220 Introduction to Computers Fall 2017 Julia Koerner
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enturies before the invention of screws and fasteners, Japanese Joinery served as a complex interlocking system used in the construction of traditional Japanese architecture. Stage one of this studio required the study and construction of a joint. I chose to work with the Hip Raster Joint due to the fact it was composed of three parts. For stage two, I began working
morphology
with vertices and edges in Maya in order to create a series and explore more abstract geometry. From the series, one piece was selected and further morphed
object
system
. The final stage was to develop a resulting in a unique standalone consisting of 5 pieces. Piece one was an egg-crate model made from laser cut museum board,
3D printed PLA, and piece three was CNC milled mahogany. I used piece three as a center reference piece and duplicated pieces one and two for a piece two was
symmetrical design. By using multiple materials, I was able to experiment working with digital 3D modeling programs as well as explore different analog techniques.
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fabrication
chapter IV 23
1. Hip Raster Joint
Line Drawings
Paraline Drawing
Plan
Elevation
Section
Model Photographs
Model Renderings
24 220 Introduction to Computers Fall 2017
Instructor: Julia Koerner
2. Morphology
3. Object
4. System
chapter IV 25
System Photographs Mohogany, PLA, and Museum Board (taken on iPhone)
26 220 Introduction to Computers Fall 2017
Instructor: Julia Koerner
System Renderings (rendered with KeyShot7)
chapter IV 27
Thank you
Christian Cononico