C h r i s t i a n D e s i g n
G l u v n a
P o r t f o l i o
Domicile 2: Granance Residence
Ta l l a w a n d a O u t d o o r C l a s s r o o m
Te c t o n i c F r a g m e n t : A s s e m b l y
We s t c o t t H o u s e V i s i t o r C e n t e r
Live:Make Competition Studio
Domicile 2: Granance Residence The primary focus of the studio was the exploration of generative form making through Deconstructionist and Phenomenological Practices. Through the deconstruction of plans and sections of famous houses, such as Louis Kahn’s Esthrick House, we developed a shape language that can be used to generate forms, which in turn, created architectural space. The semester was divided into two residential building typologies: the first one being a multi-family housing complex and the other a single-family residence. The single-family residence was for a fictitious wealthy client for whom we were to design their dream house in the Southeast United States.
The forms that I derived from my shape language were extruded shapes that both interlocked and shifted against each other. Through several Boolean Operations, the resulting form created two distinct, interlocking shells and a solid core. Both of the shells and the core help organize the interior spaces and circulation within the house.
The theme that is carried throughout the house is the relationship between balance and counterbalance. This theme not only assists in the structure of the house, but also the placement of the building on the site. The placement and orientation of the house was due to the client’s love of watching sunsets during the summer and the view of the lake: thus, the dramatic overhang over the cliff.
Section A - A Gallery viewing towards Kitchen Area
Section B - B A
A
C
Dinning Area viewing towards Living Room
B
B
A
A
C
Living Room Alcove
Ta l l a w a n d a O u t d o o r C l a s s r o o m The main objective of this studio was the exploration of what “shelter� entails. In other words, what makes a building habitable for humans to occupy? To answer this question our project was to design an outdoor classroom building this is sited adjacent to a new high school under construction and a large 100acre nature preserve. Our challenge was to provide a learning environment that is both sustainable and shelters occupants from the elements.
The outdoor classroom embodies two opposite constructs, enclosure and open space, and how they can both occupy the same building. Other influences for the aesthetics of the classroom spaces were incorporating cues from E. Fay Jones outdoor pavilions, traditional Japanese architecture and construction, and the adjacent high school.
Te c t o n i c F r a g m e n t : A s s e m b l y Through regimented physical model building, the studio explored new meanings of building tectonics and detailing that inform structure, connections, forms and space making. This was an opportunity to seek out multiple possibilities of how structures and spaces are assembled. Each student in the studio were then tasked to synthesize their tectonic fragments and details into their own agenda of what tectonics means to them on various scales.
For the first 7 weeks of the semester, each student was to produce a physical sectional model by the end of each week. Everyone then explored tectonic joinery and connections creating spaces with each model iteration. Once all 7 models are assembled together, the different structures and spaces could appear to read as one building. The second half of the semester was taking what we learned from the 7 sectional models and creating our own agenda for what tectonics should mean. For this portion, my thesis was creating new means of assembly of site, spaces, and structure. My proposal is having the occupants “assemble� the site, spaces, and programmatic elements using a component based structural and enclosure system.
We s t c o t t H o u s e V i s i t o r C e n t e r After acquiring 3 acres of land adjacent to the historic Frank Lloyd Wright House in Springfield, Ohio, the Westcott Foundation was looking to develop the site. The program for this project was to design a 2,200 sq. ft.Visitor Center that held administrative offices, an educational space, a coffee shop, and a Museum Store with the goal in mind of community education and engagement. The entire semester has explored many design principles that Frank Lloyd Wright used in his designs such as the use of Froebel Blocks, Weaving, and Tartan Grids.
Taking inspiration from Frank Lloyd Wright’s Usonian Houses, the Visitor Center has a split-level layout in order to create a separation between the public and the administrative halves of the building. By doing so, the interior space became more expansive and lofting.The structure and the form of the roof are also light and open to make the interior one continuous space.
Live:Make Competition Studio The studio’s focus was on an AIA Cincinnati sponsored competition soliciting proposals to transform a neglected warehouse in the Over-theRhine neighborhood of Cincinnati into a combined industrial arts center and residential building. The program totaled 48,000 sq. ft. of both residential units and industrial arts space including digital fabrication, woodshop, metal shop, and open workshop spaces.
Since the existing building was a monolithic mass placed up against the sidewalk edge, the first step was to add apertures to allow sunlight into the interior of the warehouse spaces. Planes, masses and voids are used to organize the Industrial Arts Center and Residential Complex and to open up the existing warehouse. The construction of the Industrial Arts Center is modular and component based so other components can be fabricated to construct the residential spaces adjacent to it.
Storefront
Medium Living Unit
Southeast Street View
Industrial Art Center Workspace
Live-Work Circulation Connection
cbgluvna@uwm.edu
(440) 796-8659
2977 N Bartlett Ave Apt 3 Milwaukee WI 53211