charles william day architecture portfolio
Architecture is evidence based design.
In the world of design ideas are created. Different processes are taken to achieve the desired design. All my life I have been surrounded by visual art, and to my understanding it can be easily classified into two categories: folk art and fine art. The main difference between these two genres, for me, are knowledge and research. Folk art is a rough expression of the artist, while fine art is an intended series of marks based on understanding. Although abstractions or non-objectives are hard to comprehend a level of knowledge it is an artist’s understanding of emotion and examination known sometimes only to the artist. Architecture is a fine art, based off of research and examination. Thought and consideration are given to all aspects of the building. Without knowing the parts that compose the structure the construction cannot be orchestrated. Knowledge on the components is a necessity, as is having a process of design. Design is intentionally derived from studies of site, climate, context, experience, user interaction, and man
more variables. Just as in paintings where not every color is used, in architecture not every design component is always used. However, the design created should appeal to the human senses. Through our own perception experiences are created. While studying at Savannah College of Art & Design, I have learned intent and examination. I have taken the opportunity to transform my folk art into more of a fine art. Understanding the tools and practical applications of ideas and materials has helped in the composition of design. I hope to continue my education at SCAD and further explore possibilities of architectural design on a larger scale focusing not only on buildings but also functionality of cities. As I watch the world progress, the average consumer sees a need for expansion, always wanting more. Being a designer, I step back, I plan for a more simple world, seeing the value in what we already have and strive to help design communities based off evidence.
The Hostess City The Esalen Institute, East Artist’s Studio + Residence Object Abstraction Trustee’s Market GHS Mediatheque School of Culinary Arts Construction Technologies
contents
An introduction to the Hostess City of the South drawing 115 Professor Montgomery draw115 spring 2010
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A map of perception through the city of Savannah analyzes the city itself through Charles Eames’ concept of the “Power of Tens”, as well as Kevin Lynch’s defining principles of a city from his book “The Image of the City”.
The Powers of Ten Charles and Ray Eames created the film, “The Powers of Ten”, for IBM to illustrate the relativity of scale; beginning with a simple lakeside picnic, expanding beyond the universe and returning back to the atoms that compose the human body. This concept relates directly to the arts and sciences. In relationship to architecture, it helps define scale and experience. Each power of ten defines space and features to be recognized in that space.
Entering into a more familiar group of scales is the power of 3. This space can be easily viewed by walking out the door. To look at the building across the street would place you near the range of the next power, 2. Walking back through the door and finding a seat in the room, you find yourself comfortable at power of 1. Lounging in the seat you have chosen places you in the power of 0. That is, this scale is your personal space, the bubble you have set around yourself.
In the study of the Hostess City the scale begins at the power of 5. This encompasses the city of Savannah and parts of neighboring cities. We begin to understand Savannah’s location due to its relation to other cities. At the power of 4 ,we reach a walkable distance where we gain a more personal relationship with the city. In these scales we focus on the texture of the terrain and the formation of the city layout.
Our focus in this study is the Telfair’s Jepson Center for the Arts designed by renowned architect Moshe Safdie. Within the museum, a favorite spot was chosen that represented familiarity. The Telfair Ward lobby was chosen due to its large windows; regardless whether you are inside or out you are familiar with the setting that is visible. Within this space you experience a variety of scales, from the urban content to individual spaces.
10 5 s c a l e o f
100,000 meters Patterns from the landscape and cityscape create texture recognizable at this height from the Earth. The city boundaries are visible yet not necessarily discernable.
h u m a n c i t i e s 10 4 s c a l e o f
10,000 meters This view is typical from the height of a commercial airplane. The view allows for sight of the entire city and its surroundings, but does not allow for much detail to be identified.
r e c o n n o i t e r i n g
10 3 s c a l e o f n e i g h b o r h o o d
1,000 meters A kilometer is an easily traveled distance by car, bicycle, or foot. This scale encompasses the average size of the typical Savannah ward.
10 2 s c a l e o f b u i l d i n g
100 meters Building details become noticable. The Jepson Center for the Arts has become the focus of study.
10 1 s c a l e o f
10 meters This is an area of familiarity where you can observe and acknowledge most of the properties that occupy the close proximity.
h a b i t a t i o n 10 0 s c a l e o f h u m a n
1 meter The most intimate scale of an arm’s length, where we have interactions with colleagues and friends.
e x p e r i e n c e
The Image of the City In Kevin Lynch’s book “The Image of the City”, he identifies key concepts of what makes a city recognizable. His five main principles are edge, entry, path, nodes, and landmarks. For Savannah, the edges are the Savannah River and Atlantic Ocean in a very broad sense, but to enter the Historic Savannah I have pin-pointed 5 different entries: General McIntosh Boulevard, Abercorn Street, Montgomery Street,
Oglethorpe Avenue, and the Talmadge Bridge. These entries also create influential nodes that help visitors navigate the town. Leading to the Jepson Center for the Arts, I created a path that connects these entries and identified landmarks relative to varying types of art. These assumptions are based on my own opinions and everyone’s should differ slightly according to their belief of what “his/her Savannah” is.
“...we must consider not just the city as a thing in itself, but the city being perceived by its inhabitants.” -Kevin Lynch
landmarks
The Esalen Institute, East Tybee Island, GA
fundamentals 2 Professor Reno dsgn224 winter 2011
Along the shores of Tybee Island, massive concrete relics of war linger. Some of these now act as museums others are forgotten to be consumed by island overgrowth. Esalen East aims to invigorate some of these abandnoned fortressesand help humans reconnect with nature.
The Spirit of Esalen
The Esalen Institute on Big Sur is focused around embracing nature and living full lives. The settings on the mountain cliff provide a rich artistic culture. A majority of the community lives on the campus grounds working and studying. The institute provides an extensive garden, art center, school, and a relaxing retreat. Hot springs provide mineral rich waters to bathe in.
The concept for Esalen East is derived from the current program at Big Sur. Tybee is the Euchee tribe name for salt. The environment of the beach was believed to remedy ailments. The main purpose for the Esalen building at the Backus Battery is to incorporate salt water collected from the ocean to use in baths focused to relax and rejuvenate visitors.
“A feeling of being in the world while at the same time being apart from it, apart together.� - George Leonard Co-founder
Artist’s Studio + Residence
fundamentals 3 Professor Ronazegi dsgn225 spring 2011
An analysis in an artist’s personal preference for art contributes to the design of the artist’s live/ work space.
Piet Mondrian’s “The Gray Tree�
The above painting is a favorite of the artist, Mitchell White. My objective in the survey of this painting was to extract shapes from it that can be transformed into cartesion spaces for the design of a residence and studio space for Mitch. The lines above not only assisted in the creation of spaces but also in planning the forms that occupy the lot. In arranging the two spaces on the lot, it was also important to preserve a large tree that was centered on the land.
e a t s l e e p b a t h e c r e a t e r e l a x a t i o n m e d i t a t i o n p a i n t e n t e r t a i n
b a t h
s l e e p
e a t r e l a x m e d i p a i
e n p t & l t a t e r n t n t a i n
narrative of space
Within the design of this building I intend to create a space that meets all the needs for my artist. It, of course, will have the basic features of a house with spaces to eat, sleep, and bathe. And within the studio space an area for him to create paintings. As well as being a painter, my artist also designs floral arrangements and plans weddings. He would need a space to be able to conduct meetings. The yard will lush with flora so that he may grow the flowers on site and be able to create arrangements within the same space as his studio/home. I believe that people need a separation between
work and home. I intend to develop two separate spaces that are detached to achieve this goal. Between the two spaces there needs to be a buffer that allows for the artist to leave one space and acknowledge a clear definition between the other space. This dividing space will be a place for meditation,relaxation, and vegetation. As young artist he needs a space to entertain guests. My vision to accomplish this is to develop an area that acts as a gallery and living space. This area could also help create a less abrupt change between the two main spaces of studio and residence.
5
13
Copy of North 1/8" = 1'-0"
final rear 12" = 1'-0"
6
Copy of South 1/8" = 1'-0"
Object Abstraction
studio 1 Professor Dudzik arch301 fall 2011
By selecting an object I use frequently in my everyday life, I created an abstraction of that object, and then created a continuing abstraction that could be used as space.
By examining my interactions with objects I use on an everyday basis, I concluded that I had the most meaningful relationship with my smart-phone. It seems cliche, but I didn’t grow up with one of these devices glued to face or finger tips. In creating an abstraction for this object, I created diagrams of how I feel about this object. Without a cellphone these days there is a sense of isolation. Possessing one has the power to connect you to others. This has the possibility of opening your world to more experiences. However, this is not a god-sent device that has no flaws. In fact, this device can be detrimental. In
my experience with this device, although it affords freedom, it also creates restraint. Anyone can reach you anytime. Another issue with the smart-phone is the amount of information held within it. You can start out using a single application and it suggests another, and another, and another. Before you know it you have forgotten what you were doing in the first place, not realizing the time wasted. From these abstraction diagrams I combined them to create the architectural form. I selected a museum because it has the potential to bear mass information and one can lose themselves for hours within its content.
Trustee’s Market Savannah, GA
studio 2 Professor Clements arch302 winter 2012
The Trustee’s Garden is the connection between old and new. By studying the city and human factors of the site, a farmer’s market was created to continue the respective grids and rejuvenate a part of the city that had been forgotten.
After planning the development of the Savannah River Landing, that continues down the southeast side of the Savannah River, a gap was created between General Oglethorpe’s classic grid plan and the new
development’s modified grid. The Trustee’s Garden is the connection between these two points. The Savannah River Landing has laid desolate due to the market crash, but in an effort to reacquaint citizens with the
idea of realizing the future development it has been found appropriate to establish a farmers’ market to help activate the space. By creating a new urban design and a functional market this location will serve as a
connection between the old and the new. The new market will provide allotment gardens, a playground, parking, and shopping while the urban layout will allow for more housing units and safe and accessible means of travel.
After notification of the site was given, the task was given to create something significant at the location to help reactivate the space. I came up with the idea of installing a playground. The design for the playground equipment came from the idea of threading together these two parts of town. The shapes are an abstraction of how the thread would move creating stitches. While considering what would happen to the installation after construction commenced on the site, I allotted space to allow for the equipment to become condensed and moved, thus still permitting children’s’ enjoyment of the play structure.
A - Allotment Gardens B - Playground C - Trustee’s Square D - Trustee’s Market E - Townhouses/ Gardens
A
C
B D E
Georgia Historical Society Mediatheque Savannah, GA studio 3 Professor Strother arch303 spring 2013
The GHS was designed as an idea to modernize historical archives to be accessible via electrical devices. It would serve as a space in downtown Savannah that would host the server for this information as well as offer a variety of other resources to the general public.
Designing the mediatheque for the Georgia Historical Society led to a study of the historic area of Savannah. The site is a vacant parking next the SCAD’s Jen Library on Broughton Street. I noticed the traffic seemed to dissipate at this point on Broughton, so public space that helped bring the public into this area was essential. Next I did a study on a common identifier of Savannah, its live oaks. South of the site is Columbia Square where I observed a canopy the trees created within this space. Next I studied how the trees and buildings interact together in regards to scale. An exploration of structure needed to be performed to create tree-like columns to hold the building as in the Stuttgart Airport Terminal. This was experimented with a chair carrying the load distributed along legs that branch out.
SCAD School of Culinary Arts Savannah, GA studio 4 Professor Elnahas arch404 fall 2013
The SCAD School of Culinary Arts is an extension of the school, located along three major arteries of Savannah. Through a process of creation and manipulation, this building is designed to host the school and help activate the public space.
The first stage of the design process was centered around the chef. Aside from the food a chef values two things: his knives and his whites. I created a logo to be embroidered upon a chef’s whites to identify the school. The logo is comprised of four symbols: first, the chef hat as an identifier of chefs; the next two are the knife and the whisk, each identify the to arts of the school - culinary and pastry; lastly, the bee represents SCAD’s mascot.
Designing this led me to the creation of the form. With the idea of implementing transparency in the design, the concept of watching a honey bee working in a hive behind a sheet of glass helped shape the parti. With the fear of a simple hexagon representing the cells that create the hive, I found that an abstraction of the basic shape needed to occur. This was created with a series of overlapping hexagonal shapes.
With the site being located at the corner of Oglethorpe Avenue and Martin Luther King Jr. Boulevard, it is a high traffic site. The site is currently a large parking lot rarely utilized. Analyzing the grey field , I tried to understand the current public interactions and weather patterns. The parking lot has become a pedestrian shortcut away from the busy intersection of MLK and Oglethorpe. I placed the building away from that corner of the lot to allow for the pedestrian travel and an interactive public space.
The shape of the building responds to interactions with the site. Situated between three roads that are connected to the highway, the form needed to be dynamic; a simple rectangular form would diminish the potential for this location. The abstracted hexagon allows for a changing view of the building within a short amount of traveling. The building‘s program provides a division between public and private space. The restaurant and bakery shop being located on the first level allow for easy access to the public to enjoy the hard work of the training chefs. Students and staff have a private entry on the Montgomery side of the building, and service access is located on the south. The upper floors are have a series of training kitchens stacked to allow for aligned mechanical systems and classrooms to provide training to the chefs. Upon the roof of the building are gardens that allows space for herbs and vegetables to be harvested and cooked fresh.
west
north
east
south
Construction Technologies I & II
Professor Granacher & Professor Munilla arch241/arch341 fall 2010/ spring 2011
AS IS
PROPOSED
PRODUCED BY AN AUTODESK STUDENT PRODUCT 3
East 1/8" = 1'-0"
DN
UP
UP
W D W
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-
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4
South 1/8" = 1'-0"
A101
5
5 A101
PRODUCED BY AN AUTODESK STUDENT PRODUCT
6
West 1/8" = 1'-0"
Bridging 2x6 Floor Joists @ 16” or 24” o.c. Joist Hanger 2x4 Double Top Plate 2x4 Full Stud Cripple Blocking 2x8 Double Header Cripple Stud Baluster 2x4 Trimmer Stud Tread Stringer
Single-hung Window Wall Sheathing 2x4 Sole Plate Floor Sheathing
FRAME ON 4" LAYER OF CRUSHED STONE MOISTURE BARRIER ON COMPACTED CRUSH STONE DRAINAGE
5 OVER A101
EXISTING BUILDING
EXISTING BUILDING
UP
MERCANTILE SPACE 101 STAIRS 104
4' X 4' COLUMN FOOTING 16 X 16 CONCRETE COLUMN
RESTROOM 102 5 S101
INDICATES A 5' TURNING RADIUS
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
MERCANTILE SPACE
28W X 24D CONCRETE 101FOOTING
4 S10
EXISTING BUILDING
EXISTING BUILDING
EXISTING BUILDING
4 S101
O
NORTH 1 S101
ROOF STAIRWELL
FOUNDATION PLAN UP
UP
SCALE: 1/8" = 1'-0"
STAIRS 103
1 A101
STAIRS 203
FIRST FLOOR PLAN SCALE: 1/8" = 1'-0"
2 A101
NORTH
SECOND FLOOR PLAN SCALE: 1/8" = 1'-0"
4 A101
STAIRWELL BEYOND
8" CMU BLOCK
2 A401 ROOF STAIRWELL 45'-0"
ROOF 35'-0"
STAIRWELL BEYOND
8" HOLLOW CORE SLABS WITH 2" CONCRETE TOPPING
16" X 24" CONTINUOUS PRECAST CONCRETE BEAM
18"W X 24"D CONCRETE FOOTING
THIRD FLOOR 24'-0"
SECOND FLOOR 13'-0"
16" X 16" CONCRETE COLUMN BEYOND FIRST FLOOR 0'-0"
ALUMINUM STOREFRONT GLAZING SYSTEM
SOUTH (FRONT) ELEVATION SCALE: 1/8" = 1'-0"
7 S101
16" X 16" CONCRETE COLUMN BEYOND
6 S101
C LEVEL 3 24'-0"
EXISTING BUILDING
EXISTING BUILDING
EXISTING BUILDING
16" X 24" CONTINUOUS PRECAST CONCRETE BEAM
5 S101
4 A101
PARAPET WALL 37'-0" ROOF 35'-0"
8" HOLLOW CORE SLABS WITH 2" CONCRETE TOPPING
16" X 16" CONCRETE COLUMN BEYOND
LEVEL 2 14'-0"
EXISTING BUILDING
2"x4"x8" BRICK MASONRY
16" X 24" CONTINUOUS PRECAST CONCRETE BEAM
EXISTING BUILDING
ALUMINUM FRAMED DOUBLE HUNG WINDOW
LEVEL 1 ALUMINUM STOREFRONT GLAZING SYSTE 0'-0" 5 A101
2 A101
4" X 4" X 24" COLUMN FOOTING
PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
4 S101
3 A401
STAIR #2 FLOOR PLAN SCALE: 1/4" = 1'-0"
STAIRWELL BEYOND ROOF 35'-0"
LEVEL 3 EXIT 36"
AREA OF REFUGE
LEVEL 4 EXIT 36"
HANDRAIL AREA OF REFUGE
HANDRAIL
L STREET EXIT 36"
EXISTING BUILDING
LEVEL 3 24'-0"
LEVEL 2 14'-0"
LEVEL 1 0'-0" 9 A401
STAIR #2 SECTION SCALE: 1/4" = 1'-0"
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PARAPET WALL 37'-0"
PRECAST CONCRETE COPING CONTINUOUS METAL FLASHING DRIP EDGE
DRIP EDGE
BOLT FABRIC MASTIC 8" CMU BLOCK 2"x4"x8" BRICK MASONRY MORTAR
ROOF 35'-0"
MORTAR
MORTAR
WOOD CANT STRIP INSULATION
2" CONCRETE TOPPING
2" CONCRETE TOPPING ANCHOR BOLT TO HOLD MASONRY WALL UP
HOLLOW CORE CONCRETE SLAB
WEEP HOLE SHELF ANGLE BOLTED INTO SLAB METAL FLASHING
EXISTING BUILDING
2"x4"x8" BRICK MASONRY
2" CONCRETE TOPPING
ANCHOR BOLT TO HOLD MASONRY WALL UP
HOLLOW CORE CONCRETE SLAB
WEEP HOLE
ANCHOR BOLT TO HOLD MASONRY WALL UP
METAL FLASHING
EXPANSION JOINT
EXPANSION JOINT
EXPANSION JOINT
EXPANSION JOINT
8" HOLLOW CORE SLAB
BRICK MASONRY TIES
EXPANSION JOINT
BRICK MASONRY TIES AIR BARRIER INSULATION VERTICAL STEEL REINFORCING SHELF ANGLE BOLTED INTO CMU BLOCK WINDOW WINDOW
ROWLOCK SILL
CONTINUOUS FLASHING AND WEEP HOLES 2"x4"x8" BRICK MASONRY MORTAR 8" CMU BLOCK MORTAR
THIRD FLOOR 24'-0"
ROWLOCK SILL
2"x4"x8" BRICK MASONRY
MORTAR
2" CONCRETE TOPPING 2" CONCRETE TOPPING
HOLLOW CORE CONCRETE SLAB ANCHOR BOLT TO HOLD BRICK MASONRY UP
ANCHOR BOLT TO HOLD BRICK MASONRY UP WEEP HOLE
WEEP HOLE
SHELF ANGLE BOLTED INTO SLAB
METAL FLASHING
METAL FLASHING EXPANSION JOINT EXPANSION JOINT
EXPANSION JOINT
8" HOLLOW CORE SLAB
EXISTING BUILDING
MORTAR
2" CONCRETE TOPPING
BRICK MASONRY TIES
ROWLOCK SILL
CONTINUOUS FLASHING AND WEEP HOLES
HOLLOW CORE CONCRETE SLAB ANCHOR BOLT TO HOLD BRICK MASONRY UP
EXPANSION JOINT
EXPANSION JOINT BRICK MASONRY TIES
AIR BARRIER INSULATION VERTICAL STEEL REINFORCING SHELF ANGLE BOLTED INTO CMU BLOCK
WINDOW
WINDOW
ROWLOCK SILL
ROWLOCK SILL
CONTINUOUS FLASHING AND WEEP HOLES
CONTINUOUS FLASHING AND WEEP HOLES
2"x4"x8" BRICK MASONRY MORTAR
SECOND FLOOR 13'-0"
2"x4"x8" BRICK MASONRY
8" CMU BLOCK
MORTAR
MORTAR 2" CONCRETE TOPPING
2" CONCRETE TOPPING HOLLOW CORE CONCRETE SLAB
SHELF ANGLE BOLTED INTO SLAB ANCHOR BOLT WEEP HOLE METAL FLASHING EXPANSION JOINT EXPANSION JOINT 8" HOLLOW CORE SLAB BRICK MASONRY TIES
ROWLOCK SILL
EXISTING BUILDING MORTAR
ANCHOR BOLT
2" CONCRETE TOPPING
WEEP HOLE
HOLLOW CORE CONCRETE SLAB
METAL FLASHING
ANCHOR BOLT TO HOLD BRICK MASONRY UP
EXPANSION JOINT EXPANSION JOINT
EXPANSION JOINT
BRICK MASONRY TIES
INSULATION AIR BARRIER VERTICAL STEEL REINFORCING CMU LINTEL OVER OPENING SHELF ANGLE BOLTED INTO CMU BLOCK WEATHERSTRIPPING
FRAMELESS GLASS DOOR
WOOD DOOR THRESHOLD 6" CONCRETE SLAB EXISTING SIDEWALK
EXISTING SIDEWALK
EXISTING BUILDING FOUNDATION
CRUSHED STONE EARTH
18" X 24" CONCRETE FOOTING
1 A501
FRONT FACADE WALL SECTION DETAIL SCALE: 1" = 1'-0"
2 A501
REAR FACADE WALL SECTION DETAIL SCALE: 1" = 1'-0"
3 A501
WEST FACADE WALL SECTION DETAIL SCALE: 1" = 1'-0"
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FIRST FLOOR 0'-0"
METAL FASTENING BRACKET 8" X 8" X 16" CMU MORTAR TEMPERED GLASS ANCHOR BOLT
Charles Day and Cassie Bray
INSULATION
2" CAVITY MEMBRANE WOOD FRAMED WINDOW MORTAR
4 A501
BRICK MASONRY
WINDOW/DOOR CONNECTION TO THE EXTERIOR CLADDING SCALE: 3" = 1'-0"
MORTAR
RIGID INSULATION
MORTAR
BRICK MASONRY
BRICK MASONRY
MORTAR
5 A501
STRUCTURAL COLUMN CONNECTION TO THE EXTERIOR CLADDING SCALE: 3" = 1'-0"
WEST BROUGHTON ST., SAVANNAH, GA, 31406
8" X 8" X 16" CMU MORTAR
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
8" X 8" X 16" CMU
ASSIGNMENT FOUR
16 x 16 CONCRETE COLUMN
MORTAR
8" X 8" X 16" CMU 2" CONCRETE TOPPING
REVISIONS
ORIGINAL
05/17/11
REVISED
05/31/11
8" X 8" X 16" CMU MORTAR
BRICK MASONRY RIGID INSULATION MORTAR
5 A501
SIDE FACADE CONNECTION TO FRONT FACADE SCALE: 3" = 1'-0"
CONSTRUCTION TECHNOLOGY II ARCH 341 PROFESSOR GREGORY SPRING 2011 SHEET