CHASE FREEMAN
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C O N T E N T S
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t h e s e c l u s i o n f r o m t h e c i t y
photo: Holocaust Memorial, Berlin, Germany by Chase Freeman
The project brief called for a contemporary treehouse in a garden, woods, park land or island retreat for a professional city couple. The treehouse will be used as a retreat lodging and relaxation space to be used by a couple with hectic professional lives in an urban environment. It should be a cabin that allows them to connect and enjoy nature; the sights and sounds that the surrounding area has to offer. The design itself must be sustainable and take into account the welfare of the tree and the surrounding environment. The treehouse must be no larger than 20 square meters.
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At 60 meters tall and 2 meters in diameter, the Coast Douglas Fir is one of breaking down
the largest trees in North America and a very suitable tree to support a partially cantilevered structure. The
CONCEPT
for my design was derived from the
FIR LEAVES; long, thin ANGLE from CENTRAL STEM are symbolized
douglas
leaves protruding at an a
by the angled columns of the treehouse creation
seemingly extending from the central stem that is the tree itself. The space itself is SURROUNDED by glass and LIFTED in order to give the occupants a feeling of being in the natural surroundings.
lifting
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site plan
Axon section
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original render
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concept sketches
design modifications
SEPARATION OF PUBLIC AND PRIVATE SPACES needed to be addressed. In the
First, the
original design, all the spaces interacted on the same level and had no distinctions between them. Now, each space has its own level in order to distinguish between them better.
One of the best features about the original design was its ability to have a full panorama view of the surrounding
MULTIPLY those VIEWS AND THE DIRECTIONS that they had. This
nature. I wanted to
allowed for the entire house to have a full 360 degree view of the surrounding landscape.
What good is having a treehouse in the natural environment if you’re separated from it by walls and glass. Something the original design was lacking in was exterior space. By stacking and rotating the middle module, the
CREATION OF EXTERIOR SPACES was made in the implied space of the voids of each module.
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final render
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third floor
second floor
2.25 m
4.00 m
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3.00 m
first floor
t h r o u g h t h e s e a o f k n o w l e d g e
photo: The Long Room at Trinity Library, Dublin, Ireland by Chase Freeman
Partner: Steph McConnell This competition brief asked for a new modern library on the Copenhagen harbor in Denmark. “The new Central Library will be much more than a traditional library. It will be a dynamic entity comprised of the physical spaces themselves as well as technology, library collections, staff, cooperation partners and clients. Libraries are no longer being thought of as a musty, silent holding area for books. Instead, technology is paving the way for libraries to emerge as a digital repository of information, gaming areas, and community centers. Create a space that emphasizes natural light, sustainability, education, and community while representing a new understanding of what the future of a library will be.�
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form
program
i
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circulation
The circulation of the library differs from the traditional idea. Visitors are invited into the ground courtyard before being allowed to enter the building. This allows the combination of outdoor and indoor spaces of the site. Afterward, the visitor vertically circulates in the northern corner of the building to the main floor and the rooftop terrace. This singular method of vertical circulation invites collaboration and cooperation by making visitors interact with each other all throughout the site.
exterior spaces
The connection of exterior spaces is essential to the design of the library. There are two main outdoor spaces, one on the ground level, and one on the rooftop terrace. They are connected through the use of structural columns with open interiors, visually connecting the main floor to the exterior environment and physically connecting the two courtyards.
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floor plans
first floor
section
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second floor
third floor
final render
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photo: Salton Sea, California by Chase Freeman
f r a c t u r i n g t h e t i m e s o f p e a c e
The project brief called for the design of both a memorial and a war and peace museum for a site located on the former sea wall in Genova, Italy. Genova is known historically as a large port city with a once powerful navy. A couple famous battles were fought on the waters in front of the site, and calling to those was something the design needed. But we first asked ourselves if it were the times of peace that were separated by times of war, or if it was the other way around. We settled on the former, and it was a philosophy that led our research and design direction from the beginning. Group Partners: Katie Carter, Maddy Orick, Elpa Zhou
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site analysis
Our site analysis began with studying the relationship between the site and the surrounding area, looking at its connection to the street below it, the sea to the southwest, and the neighborhood site analysis
that led to the site.
analytique
site analysis
One person looked at the relationship between the upper and lower parts of the site, one looked at the views to and from the site, another at the sectional relationship between the adjacent street and the site, and the last at the symbolism of the site through the Daoist yin and yang.
site analysis
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geometric extrusions
projection to site
After creating the analytique from the site analysis, we extruded certain geometries based on prevalent lines and shading. These geometric extrusions offered the opportunity to infer architectural spaces and forms and project them to the site. We used the extrusions to visualize our concept, seeing the circular areas as the times of peace and the lines that intersect them as the times of war. This helped further drive our concept and have a design based on the concept as well.
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memorial section
entry level floor plan
ground level floor plan
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exterior render
longitudinal section
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ramp render
memorial render
interior render
glass screen detailing
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P r e f a b r i c a t i n g n e w h e i g h t s
photo: St. Vincent Cathedral, Prague, Czech Republic by Chase Freeman
The project brief asked for the study of a single tessellation and its implemention in a mixeduse highrise building in New York City through the use of precast concrete. The hexagon, a periodic tessellating shape, has the ability to form intricate geometric connections within its six points and, when tiled, can create a seemingly random pattern of solids and voids. With the designed pattern acting as the facades of the building, it creates a unique play on light that enters both the residential and the recreation center spaces. With that, the simple form of the tower is transformed into a unique highrise that blends with the old Manhattan and contrasts the new. 29
Tessellation study
intra-geometric study
tiling study
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wall paneling
glass facade
geometry study
depth study
process photos
suburban relationship
height profiles
form creation
site plan
w 12th hwy
w 34th street
w 33rd street
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floor plan layouts
first floor
second floor
three bedroom
second floor
second floor
two bedroom
first floor
one bedroom
first floor
residential floor plans
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recreation center floor plan
section
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precast unit assignment
shear walls
beams
hollow core slab
columns
insulated wall panel
double t
structure diagram core
primary steel structure
hollow core slabs
supporting columns
wall panel attachments
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hollow core connection
Mesh and Refin.
internal beam
Hollow Core Slab
Steel Beam edge beam
Weld
transportation diagram
There are two difficulties regarding the transportation of the precast panels and double t’s that require unusual methods. First, the wall panels need to be 16’ wide and 42’ in length in order to be efficient in the casting process in custom molds. This, however, causes the panels to weigh about 35,000 lbs. As the weight limit for semi-truck trailers depends on the state, the maximum amount of panels allowed would be two. Shipping them on a semi-truck bed would not be a major issue, but would instead be very time consuming. To accomodate the recreation center’s need for long, free-standing open spaces, the design requires 100’ long double Ts to construct the roof. This causes a problem because of a few reasons. The first being that a semi-truck is unable to transport these double Ts, and the second being that they would be impossible to maneuver in Manhattan. To solve this problem, the double Ts would be transported to the coast on a freight train, where they would then be transferred to a cargo ship. The ship will then sail to New York, where the double Ts will be transferred to a barge and brought to the site. The benefit of this method is the need for only one shipment.
Site - N YC
wall panels 16’ x 42’
double t 12’ x 100’
Met ro mont Pla nt
T i n d al l Pla nt
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v i s u a l i z i n g t h e wo r l d a r o u n d
Photography
DANDELION
Clemson, South Carolina
FLOWER OF THE SUN
Clemson, South Carolina
HOMER
Clemson, South Carolina
THE DESCENT TO COPENHAGEN
Copenhagen, Denmark
ASCENDING
Turin, Italy
STREET LIGHTS
Dublin, Ireland
“Which of my photographs is my favourite? The one I’m going to take tomorrow.” -Imogen Cunningham
HOME
Pienza, Italy
IN THE DISTANCE
Clemson, South Carolina
TREE OF LIGHT
Rancho Mirage, California
graphic design
HOTEL DE L’ATELIER
logo
HAWTHORN’S GIN
label design
BLESSING IN DISGUISE
invitation KOMANDOAV
logo
ONE LESS GOD
ZIGONG COMMERCIAL BANK
movie poster
logo
MRVGE
branding
A MATTER OF TRUST
poster illustration
Sketches
GEOMETRIC SKETCH
GEOMETRIC SKETCH
STADIUM SKETCH CONCEPT
GEOMETRIC SKETCH
DK BUILDING, IT UNIVERSITY THE PLAYHOUSE
Copenhagen, DK
Copenhagen, DK NANJING ART MUSEUM
Steven Holl
APARTMENTS
Copenhagen, DK
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M A N I F E STO HOW MUSIC HAS SHAPED THE WAY I APPROACH ARCHITECTURE AND ITS INFLUENCE ON MY DESIGN PHILOSOPHY
the key The first thing I look at when composing a song is to decide what key I want the song to take. The scales of notes A through G can take either a major or minor direction. Major chords often sound happy and uplifting, while minor chords take on a more dark and brooding tone. The key of each composition is directly influential on how the song will sound. In architecture, the visual concept of each space and their qualities is translated from this selection of key. the space which each visitor occupies gives off different emotional responses depending on the design of the space. The influence that the architect has on his or her occupants is very similar to how a composer has an influence on his or her listeners.
the tempo After deciding the key of the song, I chose the tempo. Tempo, measured in beats per minute, is critical in how listeners react to the song both mentally and physically. There have been many scientific studies regarding the relationship between song tempo and mood. Many find that faster tempo songs tend to ellicit happier emotions, while slower tempo tends to ellicit sad emotions. However, tempo is best utilized in combination with the key of the song. A slow song in a minor chord will have a very sad reaction, while the opposite with a fast song in a major chord. The spatial design in architecture is the basis of each architectural concept, however the connection of those spaces is just as important to the design and influential in the occupants’ responses to the space. How one enters a space designates how the visitor will view the space. For example, a large, light room seems larger by way of a small, dark hallway. This relationship is directly correllated to how a song in a minor key sounds more depressing with a slower tempo.
t h e M e lo d i e s The last part of the composition of my music is the creation of the melodic and harmonic note arrangement. Many people believe that this is the most important part of the song, and understandably so by people who only hear the notes on a superficial scale. These same people believe that the facade of the building and the building’s furniture are the most important part of architecture. The melodies and harmonies are in fact the way to compliment the key scale and tempo that I have decided on in the beginning. The notes have no relationship without the key designation, and they have no time arrangement without the tempo. The materiality of both the exterior and interior aspects of the building, while noticed by everyone on a superficial scale, are really there to compliment the design of each individual space and help the visitor visually connect their emotional response to the space they occupy. Similar to the melodies and harmonies, the materiality of the building is a complimentary aspect designed to increase the emotional response of each occupant.