The Man in Oil
Christopher Persiville Locke M.ARCH + [ Intensive Design ]
Content Advisory Do not proceed until after reading this. Thank you. Architecture and black bodies have a familiar and troubling relationship. Ask yourself, how many black architects do you have in your firm? Look around, a sea of ambient whiteness may proceed you. Blacks have been burdened with the duties of forced labor in construction, and the creation of housing projects that result in dilapidated neighborhoods. The architectural society has not embraced its responsibility to serve black communities. What is one major issue that causes this? There is an alarming dearth of black architects and firms in the nation. Black architects are less than 5 percent of the licensed architects in this country and continues to grow tremendously slow. The unforgiving and disruptive projects that do not benefit black communities and those alike, will continue to prevail in a field that is dominated by a white male patriarchal industry. Bleak. Where is dark space? Why do I only see it when I close my eyes? As a student for the last 6 years in architecture this outlook has been a daunting, but has challenged me to digest architectural problems that not only address specific issues within the discipline but begin develop a discourse of work and practice that prioritizes the research and critical thinking of black designers in the entire field of architecture from academia to practice. Working through various mediums such as film, imagery, and materiality, my work unpacks the finer moments of social constructs that disrupt architectural space for an array of people. The work in this portfolio does not attempt to answer the question but rather deconstruct the problems that are not discussed in architecture. Read and review diligently and pose the questions that will generate meaningful conversation, otherwise if you are not attempting to be a part of questioning the reoccurring systems, then you are a part of the problem. Listen, and fuck what you heard. -Christopher Locke
Dark Space | Intro [Inten-sive Design] CV. Questions of Space, Globalization and Identity. l. Projected and Performed ll. Streaming Blackness
Building in Large Scale
lll. Meisian-Preversian lV. Broadway Pointe V. Transportation Intelligence R&D Campus
Scholarship/Fellowship
Vl. 2016 Venice Biennale U.S Pavilion Fellowship
Materiality and Translation
Vll. Transductive Magnetism Vlll. Drawings that Blush (St. Paul’s Cathedral)
Questions of the Body lX. Body Dis-placement
Building in Small Scale X. UConn Art Gallery
[Inten-sive Design] Thank you.
A
[01/02] | Inten-sive Design | INTRO Space is the fundamental construction of an environment for the production of positive work and interactions. These spaces are not just defined by form of which an architect is a master of, but also the care and participation for those in it. The work in this portfolio not only explores the discipline of architecture in its most rudimentary and practical situations but also challenges the boundaries of architecture to create new and replenish a variety of discourses. Intensive Design is not a brand nor is it just a platform to develop work but rather a practice where design is not withheld from the ability to change and critique a social cause. Architecture has the capability as a discipline to develop the means to willingly converse within topics of race, gender, culture, religions and other facets of human individuality that can be present in a space. The work in this portfolio attempts to challenge these notions through a variety of mediums.
c.lllocke@gmail.com 6jjyjynyrnynynynrynnrnnn6 CHRISTOPHER (860) 249-4014 30 South Barn Hill Road LOCKE Bloomfield, CT 06002
EDUCATION
Master of Architecture, M. Arch (2014-2016) University of Michigan Ann Arbor, GPA: 3.81
Bachelor of Fine Arts in Architecture (2010-2014) University of Massachusetts Amherst
International Study Abroad in Architecture (2013) American University of Sharjah, United Arab Emirates
EXPERTISE
Drafting, Modeling and Rendering Autodesk AutoCAD Rhinoceros 3D 5.0 Google Sketchup 8.0 Vectorworks Revit Architecture Maya Animation Autodesk Mudbox Mental Ray V-Ray 2.0 Maxwell
LEADERSHIP, PUBLICATIONS & HONORS
Graphic Representation and Communication Photoshop Illustrator InDesign After Effects Premiere Pro Autodesk 123D Catch Autodesk Mesh Mixer Laser Cutter Experienced 3D Printing Model Making Final Cut Pro
Architecture Representative Committee Social Chair [2014-2015] Co-President [2015-2016]
National Organization of Minority Architecture Students College Student Liaison [2015-2016]
EXPERIENCE
Volume One Studio, Detroit MI
Architectural Intern & Designer [Summer 2015]
- Participated in design of 35,000 Sqm train research center in Hefei, China. Primary role on project was to develop and finalize designs for building massing and pre-fabricated facades.
Smith Edwards MCcoy Architects, Hartford CT Architectural Intern, Designer, & Drafter [Summer 2014]
- Worked on contract drawings for historical Italianate houses. - Developed schematic designs for the pattern of a rainscreen facade for a K -5 magnet school. -Designed a proposal for UConn Contemporary Art Gallery extension. Was the sole designer and producer on the project. - Created schematic designs of site and buildings for urban student housing near Central Connecticut State University. Project is now being built.
Venice Architecture Biennale Fellow, Italy US Pavilion Exhibition Installer
- Assisted in installation and curation of work for three weeks
Gensler, Detroit MI
Architectural Intern [Spring Break 2015]
- Worked on site surveying and automotive layouts for a site.
3D Print Lab Taubman College, Ann Arbor MI Lab Coordinator
- Responsible for day-to-day maintenance and operations of lab.
Taubman College Honors and Exhibitions - UMich Martin Luther King Jr. Symposium [2016]
Studio Project “Streaming Blackness� featured in exhibition - Taubman College Student Show Exhibition [2016] - Study Abroad Travel Scholarship [2015] - Fellowship Search Committee Student Representative {2016]
01
Projected & Performed Reconstruction of Cultural Identities within the Theater Thesis: Form Functions ARCH 660 l Taubman College Fall + Winter 2015 Critic l Adam Fure Collaborators | Olivia Kempf In the age of social media, both architecture and identity require the production and distribution of images. Past notions of authenticity are complicated by the surfeit of digital imagery and an increase in public intimacy. What were once deeply personal feelings of identity are now spread throughout online profiles and photo libraries stored in cloud databases. This creates a condition where identity is progressively more performed—constructed, curated, and transmitted. Likewise, architecture is less and less visited in person and increasingly circulated online, reducing physical space to shifting images. Firsthand experience has given way to visual consumption. This thesis responds to this phenomenon by conceiving of architecture as a platform for the performance of identity and a device for producing images in the context of intersectionality. It engages the world of high-end fashion by designing a boutique store in the most iconic retail space in the country, Beverly Hills’ Rodeo Drive. The programmatic structure allows individuals to try on or buy into the identities on offer, in any fashion he, she, or they wish.
[03/04] | Projected & Performed | INTRO
Idenitity Layered
techniques of a space
The Body in Space Intersectionality is an undiscussed occurrence in architecture. It includes those who participate in the process of design and building and those who are asked to experience a space. The thesis brings this into question by using film, pattern, and geometries to disguise the layering of people in space in relation to architectural devices. In a field dominated by a white patriarchal society for several centuries, architecture needs to address the fundamental practice of the discourse in the equality of space and project design. The 10-minute film for the thesis combines these various methods used to display the theater. [05] | Projected and Performed | Technique
questions of intersectionality
[06]
Creating the Theatre
techniques & re-organization of space The initial studies of this thesis challenges form finding and the use of tools that redefine how one sees others in a theater. Geometries such as squares or triangles were used to create architectural backdrops or illusions that inhabit the interior. The reconstruction of the flattened objects on 3D dimensional planes create moments where the viewer is challenged to question the validity of a specific moment and those involved. The spectator and actor is not a fixed entity. The center of the building which is collapsed around a theater is reorganized as a performance space where everyone is provided a view throughout the multi-level complex.
[07]
devices of the space
Projected Views
Bodies Projectd on Objects
One Way Mirror
Spatializing the Effect The above diagrams show five different methods of how images of people in the retail/theater space are projected using different techniques. The creation of imagery enhances the fitting process of fashion while also bringing identity in question. [08] | Projected and Performed | Techniques
Collapsing Projections
combining retail and the social theater
figure 1. anamorphic projection initialized
Opposing Moments The interior is situated around a central atrium that provides an open space where the perforÂmance of architectural form, via projection, and people, via fashion, begin to create moments of pause and exploration. Each image above shows the moment where the anamorphic projection perfectly aligns to create an image of a flat object in space. These moments become scenes where people can view intended situations that collapse geometrical shapes with retail displays to create a backdrop of a stage. Questions of black spaces versus those of lighter spacÂes create a difference in lighting that helps to heighten the depth of the space.
[09] Projected Performed | Surfaces
anamorphic projection
figure 2. anamorphic projection mis-aligned
When the anamorphic projection is not achieved, a partiality indefinable image is conceived and changes based on the viewers position in space. The projection of screens and images on the interior walls become a visual queue for those who desire to achieve the moment of being in the right place at the right time. The actors versus those who are spectators are constantly being shifted based off the positions of those inside. This opportunity for visual pleasure heightens how we, the public, want to be viewed in space and project identities onto others.
[10]
Collapsing Projections
combining retail and the social theater
figure 3. upper level of theater
Opposing Moments + Atrium The upper-level space, situated around the atrium, has additional seating to promote access to the center stage below. The yellow and black colors help to code the program of the space. The black space is retail, meanwhile the yellow spaces are projections screens of people being promoted in space. The turquoise mediates the relationship be-tween the two with what is considered safe space that is unmonitored and un-coded.
[11] | Projected and Performed | Surfaces
anamorphic projection
figure 4. anamorphic projection looking upward
The figures in the images are flattened onto the space to minimalize the authenticity of fashion as an objection of dress and identity but instead prioritizes the figure as a shape and representation of a person. The images challenge the viewer to question the depths of identity beyond dress as normally represented.
[12]
Section Perspective
grand opening on rodeo drive Cutting Through the Theater The building section helps explain the Spatialization of theater and the retail space circulation. What becomes evident in this drawing, is a large atrium that clears space for the theater to become viewable throughout the building. The projections are misaligned, creating acutely painted surfaces that code the program. The circulation wraps around the interior of the building to create “runways� that help to define the space as a retail space. The abstraction of the anamorphic projection becomes a new misreading of possible space in at one specific moment.
Scale 2
5
[13] | Projected Performed | Section
10ft
building section
[14]
The Installation interactive space
Filming the Theater + Exhibition The final exhibition for the thesis presentation featured a full installation of four different elements within the project including a live green screen, project drawings, a 10-minute film of the theater, and an anamorphic projection aligned with a live camera. The entire display used the tag line “#projectme� to gather content that was live from the installation and interactive green screen with the anamorphic project surrounding them. [15] | Projected and Performed | Install
The live camera projected visitors into the project to experience the space in real-time with the overlay of the anamorphic projection surrounding them. The thesis installed achieved a level of scale and representation that allowed viewers to comprehend the devices in the work.
[16]
The Installation interactive space
Live Screen Composite into Theater
[17] | Performed and Projected | Install
ur with the jury? Can we
intersectionality occ Why didn’t the conversation of talk about this in architecture?
Anamorphic Projection+ Green Screen
[18]
Intersectionality -the interconnected nature of social and physical categorizations such as race, class, gender, religion, sexuality, and disability as they apply to a given individual or group are understood as a multi-faceted identity. These categorizations are to not only be known as the result of overlapping and interdependent systems of discrimination or disadvantage, but creation of unique and intriguing persons. -written, black male, college graduate, Jamaican-American,1st generation student, architect
02
Streaming Blackness
Finding the Asylum within the Evasiveness of Urban Terror Propositions Studio: Wet the Ropes ARCH 600 l Taubman College Fall 2015 Critic l Robert Adams Streaming is an attitude that does not succumb to numbness or pain. This project vividly attacks attitudes toward Blackness within urban terror that like torture, constantly makes and unmakes bodies, architecture and territory. The asylum is not an object you find, but rather a form of embodied knowledge located in the deep structure of speciation. The DNA of this new network persists within the domains of urban environments laying in wait. Guns for Oil. Streaming Blackness occurs in real-time to illustrate simultaneity without the collapse of difference. The film is a critique of geopolitical issues and urban terror between African countries, such as Sudan and Nigeria, and China. Simultaneously, this project attempts to co-locate a space of asylum in the United States for an expressive space for Black Culture and its allies to embrace an exchange of emotion, struggle and triumph.
[21/22] Streaming Blackness | INTRO
Urban Terrors of Global Societies
The Remaking of Pain and Devices of Confinement
pop 1
[23}
T-329s
1
Forces of Propaganda- Brutality The Propaganda in this project attempts to capture the relationship of China and Blackness throughout Africa and specifically in Nigeria. The images are not only trying to capture the state of the appar-ent situation but also the subliminal messages that the participants are involved with. These posters which serve as a prequel to the larger 20 minute film, highlights the powers of control and damaging relationship with urban terror on black bodies. [24] | Streaming Blackness | Confinement
Urban Terrors of Global Societies Beijing, China - Lagos, Nigeria
监督是不禁止
Amnesty is not where it appears, it does not watch you
Filming the Theater + Exhibition The diptych of propaganda above addresses the issues of asylum in between the relationship of Beijing and Lagos. The Chinese state is heavily involved in surveillance of its people. The CCTV actively captures the presence of those in the totalitarianism governance in an attempt to regulate strict regimens and systems. This results the blocking of world data through a filter of information that does not include popular search engines such as Google or popular world political sites. The image above highlights the scarcity of amnesty in a government of constant surveillance. Where do you go for refuge when you are constantly being monitored?
[25]
T-310s
Powers of Control
pop
America, We have Africa Taken Care of
In contrast, China’s involvement in African countries, such as Nigeria, has resulted in urban development that has helped grow major cities but also in issues of brutality. The weapons trade from Beijing to countries such South Sudan and others in civil war, has resulted in increased access to deadly firearms. Innocent black bodies have fallen at mercy of this trade. Much of this has resulted in one of the largest migrations to Europe from Africa recorded.
[26] | Streaming Blackness | Confinement
THE CITY of BLACK MASS
City
The City of Black MASS The city, created from a series of black masses extruded out of the ground, is a representation of a place that is obscured by unidentified species and imposing objects rising from oil. Below the city is connected through a series of cables that help to pass inscripted messages to those seeking asylum. The images to the right show the progression of scenes in the entire 20 minute film. | Streaming Blackness | The CITY
[27]
411.s Streaming Blackness Timeline
T-247s ...
y
Scene lll. house on the highway - Beijing
Scene lV. niggas in arms - The World
Scene Vll. bodies in motion - The Asylum
[28]
Choreographed Disturbances
devices of confinement and torture on the body/study of surface
Surfaces and Forces The choreographed moments are extracted from the 411s film. Studied as devices of confinement and surface tension, the relationship of the black and white figures, trap the bodies in pressured space causing it to contract and expand against alternate forces. These spatial moments become the concept behind the asylum. The persons forced to experience the tight conditions are subject to the reinforcement of oppressive behavior of space that does not consider places of refuge.
01 Containment bodies in tension
02 Containment aggregated surfaces
[29]
T-300s
03 Disturbance dual and paired forces
04 Collision abrasive forces
[30] | Streaming Blackness | Confinement
The Asylum of Deep Space
aggregated and manipulated surfaces
Finding the Asylum The asylum is a lost space of knotted intersections and forms that have been positioned to create habitable moments but also areas where the body cannot position itself. The characters who help to define the space, experience contemplation. The opportunity for silent space renders them powerless to forces that are no longer visual but instead present in the new space they have been placed in. The form of the asylum uses a series of curved geometries to create pockets of darkness that appear to be menacing. Opposed by areas of lightness, the entire mass becomes an evolving environment animated in the view of a section. The section plays the role of perspective where the viewer only gets a specific scope of the intended terror animated through time. Scale 5
10
[31] | Streaming Blackness | The Asylum
20ft
Section Cut 01 l T-167s
BB02
binded spaces
AA01
aggregated surfaces
Section Cut 02 l 131s Scale 5
10
20ft
[32]
Spaces of Terror & Crude Oil continuums of space
Figure 1 + 2 continuous spaces and voids
sectional cut animation
The man in oil closes out the film in a scene that captures both the oppression of black men disguised by the thick disruptive crude oil, and shows the triumph black men have had to accomplish to escape the capitalistic behavior around them. This dramatic scene is a climactic moment in the film, summarizes the urban terror that destroys blacks across the globe, no matter in riches or pain.
black oppression Is heavy and evasive You are not excluded from the terror
[33]
T-000s
[34] | Streaming Blackness | Black Oil
03
Miesian-Perversian Reconstructing the Black Mass in Detroit Networks: Differentiaed Repitition ARCH 500 l Taubman College Fall 2014 Critic l Matias Del Campo Mies van der Rohe was a master of complex systems that not only helped define spatial parameters but also structural wisdom. The Seagram building is example of repetition defined by structural logic and a clear office layout. The building is a great ex-ample of design and control of exact fits from the use of “I “beams to its specifications of blinds, and its bold use of the setback. However, what happens to these systems when they lose their rigidity in favor of looser processes? Miesian-Pervisian, a tower located on the river front of Detroit, challenges the use of rigid systems to create constructions that are unlike Mies in form, but follow a similar system of rigid creation. The tower combines a spiraling facade onto the brutal body of monolithic scaled building that becomes the tallest tower in Detroit, creating a black mass. The mass not only thickens the skyline but also increases density in the city. The interior of the project challenges the fixed layout of office towers. The floors undulate to create moments of misalignment where habitants experience the depth of the tower vertically. The tower is situated on a base that lifts off the ground onto a round pedestal. This move removes the building from the site similar to the Seagram building’s removal from the New York City street front.
[35/36]]Miesian-Perversian| INTRO
Intializing Form
developing systems of movement The tower is specifically proportioned using the scale of the 2001 Space Odyssey Monolith, one the most popular monoliths in current culture. To disturb the brutal nature of the tower, the floor plates became the focus to create areas of undulating floors that open up light to lower areas in the building. The desire is to create a tower that feels more connected and is a network of smaller hubs. The possibility for offices to purchases multiple floor in the tower would exist to create a connected office culture in a large tower vertically and horizontally. Each floor is then setback from the glass facade and illuminated at night creating the impression of a lighter tower. The tower is mounted on a rounded structural plinth that is elevated to allow the core to continue to the ground without being visible.
[37]
the massing of the tower
Network Area C
Network Area B
Network Area A
[38] Miesian-Perversian| | Networks
Re-thinking the Office Tower
Facade Area B
Facade Area D
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
horizontal and vertical layouts
The facades are densely altered to transform the Seagram buildings regular I-beam structure to an irregular gridded curtain facade. The mullions do not adhere to regular forms, but instead mask the rigid monolith proportions of the tower, attempting to disguise its rigidity while also taking cues from the undulating floor plates.
Scale 35
75
[39] | Miesian-Perversian| | Drawings
150ft
perversian details
E
D
C
B
Section
A
[40]
Open Office Layout
rethinking the tower layout
Plan Network A
Plan Network C Scale 25
[41]
50
100ft
spatial paramaeters
Floor plan A creates an office space that surrounds the core and has corridors on both sides. Above, workers can see the receding floors to feel a sense of depth in the large tower.
The pinched floor is divided into three sections of large office space. All three areas are connected by a long corridor that heightens the sense of suspension on the higher floors in the tower.
[42] | Miesian-Perversian| Floor Plans
Open Office Layout spatial axons
Plan Network A
Plan Network C
[43]
[44]]| Streaming Blackness | The Asylum
[45] | Miesian-Perversian| | Exterior
[46]
[47/48] | Miesian-Perversian| | Plinth
[49]
04
Broadway Pointe MichCon Brownfield Site Development
Systems Studio: Ann Arbor Housing and Development ARCH 552 l Taubman College Winter 2015 Critic l Lars Graebner & Doug Kelbaugh Collaborations l Ryan Goold & Tara Harandi Situated on a current brownfeld site in Ann Arbor, Broadway Pointe, a large scale development for housing in lower-town, combines retail and transit into a massive DOT project. The entire site is sub- divide into 3 sites. With a project team of Ryan Goold, Tara Harandi, and myself, we developed the river portion of the project. Our development consists of three towers with lower level retail and a central park. Balconies help to provide exterior views and light into all the apartments off a doubled loaded corridor. The entire project, elevated on a masonry base to avoid flooding from the nearby river, is constructed using Cross Laminated Timber to create a light but sturdy structure. The tenants range from college students to singles who pay either market rate or adjustable income based rents. The massive development ties into transit with the nearby Amtrak station and proposed new light rail to connect southern and northern Ann Arbor.
[50]
Lower Town Ann Arbor a brownfield and river site The original massing of the buildings began with arrangements catered specifically to the positioning of the river and the bridge adjacent to the site. Moving the river back to its orginal form makes it possible to relieve flooding. The largest towers were positioned closer to the bridge in consideration of traffic and shadows. The final proposal includes a fourth tower to increase the FAR and maximize the population and profit on the site. The tower closer to the bridge was reduced to engage with the river and include a small restaurant for visitors of the complex.
Before
[51] | Broadway Pointe | Site Strategy
creating a new city center The final proposal repositions the river to a small peninsula park to help reduce flooding on the site increasing the possibility of using the new park for the river front community and adjacent tower near the Amtrak station.
After
[51]
Lower Town Ann Arbor a brownfield and river site
[52]
creating a new city center H-2
H-1.8
H-1.4
H-1
GYP. BOARD ON METAL FRAMING - PLUMBING WALL 7-LAYER CLT STRUCTURAL WOOD BEARING WALL 2x6 RAISED WOOD FLOOR WITH OAK FINISH 5-LAYER CLT STRUCTURAL WOOD FLOOR MEMBRANE LAYER ON PLYWOOD SHEATHING OVER RIGID INSULATION 2' x 4' VERTICAL RUNNING BOND ZINC PANEL RAIN SCREEN w/ 1/2" REVEAL
H-D INSULATED ZINC PANEL INSET INTO WINDOW WALL FOR PRIVACY DOUBLE GLAZED WINDOW WALL WOOD SLAT BALCONY RAILING WITH VERTICAL METAL POSTS AND FLAT TOP WOOD HANDRAIL
PRESSURE TREATED WOOD DECKING ON TAPERED 2x JOIST FRAME
Scale 1
4
8ft
Plan Details All units in each of the four towers features exterior balconies or french doors. This feature was important to the design of the entire complex to ensure access to exterior views and sunlight. Each tower has larger end units on the top floor as well as at the end of each lower floor. The balconies are situated near common living spaces such as the kitchen to ensure cross ventilation occurs throughout the larger areas of the apartment.
---
H-G.2
Scale
H-5.2
2
5
10ft
---
[53] | Boadway Pointe| Plan
H-5
CLT Details
0' - 4 5/32" PARAPET FLASHING 2x4 PARAPET WALL CONSTRUCTION BEHIND WINDOW WALL, MEMBRANE LAYER ON PLYWOOD SHEATHING
1' - 10 3/4"
2' - 5 5/8"
0' - 6 7/8"
3' - 4 1/2"
WOOD TRELLIS @ PENTHOUSE
STRUCTURAL LAG SCREW SUPPORTING TRELLIS @ SPANDREL
2' - 0"
WHITE EPDM ROOF SURFACE MEMBRANE
MEMBRANE LAYER ON PLYWOOD SHEATHING OVER RIGID INSULATION 7-LAYER CLT STRUCTURAL WOOD ROOF
GYP. BOARD ON METAL FURRING
8' - 3 3/4"
Cross laminated timber was the primary construction mateirals and method proposed for the tower in order to create a much lighter building.The challenge of the system was developing a structural logic for the incorporation of air gaps for the various balconies that exist on the exterior of the building. The concern for insulation and heat loss was a concern with the use of CLT throughout the building. The wall section shows the arrangement of the balconies near the kitchen and other common areas in the units.
DOUBLE GLAZED WINDOW WALL - DOUBLE HEIGHT @ PENTHOUSE
H-2
H-1.4
H-1
2x6 RAISED WOOD FLOOR WITH OAK FINISH 5-LAYER CLT STRUCTURAL WOOD FLOOR STRUCTURAL LAG SCREWS SUPPORTING BALCONY RIM JOIST
1' - 3"
Housing LVL 4 24' - 0" WOOD SLAT BALCONY RAILING WITH VERTICAL METAL POSTS AND FLAT TOP WOOD HANDRAIL FLASHING BELOW WINDOW SILL, TYP.
MEMBRANE LAYER ON PLYWOOD SHEATHING OVER RIGID INSULATION
ZINC METAL PANEL ON FURRING CHANNELS
7' - 0"
10' - 0"
MEMBRANE LAYER ON PLYWOOD SHEATHING OVER RIGID INSULATION
MANUAL ROLLING PRIVACY SCREEN
DOUBLE GLAZED WOOD FRAME CASEMENT WINDOW
2x6 RAISED WOOD FLOOR WITH OAK FINISH METAL FLASHING OVER ZINC PANEL RAIN SCREEN 5-LAYER CLT STRUCTURAL WOOD WALLS
MEMBRANE LAYER ON PLYWOOD SHEATHING OVER RIGID INSULATION
1' - 9"
IRREGULAR BOND BRICK COURSING ON METAL FURRING
2' - 0"
2' - 0"
Housing LVL 3 14' - 0"
2' - 2 9/16"
5' - 2"
8' - 0"
14' - 0"
5' - 2"
DOUBLE GLAZED STOREFRONT 2x6 RAISED WOOD FLOOR WITH OAK FINISH 5-LAYER CLT STRUCTURAL WOOD FLOOR
MEMBRANE LAYER ON PLYWOOD SHEATHING OVER STACKED 2x WOOD RIM INSULATED ALUMINUM SPANDREL PANEL
WOOD SLATS FASTENED TO BOTTOM OF TAPERED JOISTS PRESSURE TREATED WOOD DECKING ON TAPERED 2x JOIST FRAME FLASHING ABOVE WINDOW WALL, TYP. DOUBLE GLAZED WINDOW WALL GYP. BOARD ON METAL FURRING
1' - 10"
1' - 2 1/4" 1' - 4 3/4"
6x8 HEAVY TIMBER BEAM - EXPOSED TO INTERIOR
T.O. Bridge 0' - 0" DOUBLE GLAZED STOREFRONT
7' - 11"
7' - 11"
10' - 0"
9' - 9"
GYP. BOARD ON METAL FURRING
DOUBLE GLAZED STOREFRONT SLIDING DOOR 2x6 RAISED WOOD FLOOR AND ENTRY RAMP REINFORCED CONCRETE BASE
BRICK PAVERS @ ENTRANCE TO MATCH WALL
2' - 0"
2' - 0"
2' - 0" 12' - 0"
2' - 0"
2' - 0"
2' - 0"
2' - 0"
2' - 0" 10' - 2 9/16"
[54] | Broadway Pointe | Drawings
2' - 0"
2' - 0"
1' - 6"
0' - 6"
REINFORCED CONCRETE INFRASTRUCTURE
1' - 9 7/16"
T.O. Lot Entry -10' - 0"
4' - 0 1/16"
2.G-H
6.G-H
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[55]
Site Section Scale 10
25
[56] | Broadway Pointe | Drawings
50ft
[57]
Lower Town Ann Arbor catalyzing a region
The proposal for Broadway Pointe not only challenges the prospects for building a new residential area near a prominent river site in Ann Arbor, but also speculates the idea for building a town center. This location would catalyze the current Amtrak station that currently sits as a one story building with no amenities. The river park activities coupled with retail opportunities would help to spur a region of activity not currently present in Ann arbor.
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creating a new city center
[59] | Broadway Pointe | City Center
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Transportation Intelligence R&D Campus Transportation Intelligence Research Institute of Anhui Volume One Design Summer Internship [2015] Design Team // Lars Graebner, Christina Hansen, Chris Locke The Transportation Intelligence Center for transit research in Hefei, China was a 37,000 sqm development that combines office space with retail and a hotel. My primary role on this project included the early development of the site layout, building massing, and final pre-fabricated panels. The client desired a site that had green space but also maximized site FAR. The response to this was to elevate buildings so they appeared to twist to created dramatic views from the adjacent intersections. The development is anchored with two large towers to enable a lower center courtyard.The elevated buildings also leave room below for a train track to test prototypes on site for visitors.
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Hefei, China research center
Site and Massing Strategy The strategy for the site development began with the study of proportions appropriate for creating a central courtyard. Once it was determined that the site would be anchored by two large towers the design motive was to create a cantilevered horizontal building that tied the site together below and above the ground with a lower building diving into the site.
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creating a new city
[64] | Research Center | Site Massing
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Transductive Magnetism Autonomous Tectonics Indepedant Study/Thesis ARCH 660 + ARCH 509 l Taubman College Spring 2016 Critic l Matias Del Campo, Sanda Manninger Collaboration // Drew Bradford The goal of this research is to explore the combination between the emergent properties of magnetic fields and code controlled motion of industrial robots in order to explore alternatives in architectural proto-conditions. Transductive Magnetism aims to address ideas of emergent modeling through inherent material properties and the use of highly controlled magnetic fields. As part of the Autonomous Tectonics discourse, it explores autonomous material formations and emergent robotic fabrication processes. The two elements that define this approach consist of computational rule sets which in return influence a robotic setup coupled with material behavior. By transforming basic architectural conditions into the rule set dictated by the magnetic field, and exploring a series of composite assortments of materials, Transductive Magnetism investigates the possibilities of generating emergent structural and spatial figurations by means of magnetism as a driving force and controlling agent. This research spans across two years of work, concluding with a joint development in an independent study and thesis completed by Drew Bradford.
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Transductive Magnetism using magnets as a field agent
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Magnetism as a Structural Agent The integral architectural thesis being examined through the lens of transductive operations is load-bearing tectonics and the possibility of highly controlled, highly articulated structural reinforcement; or to state plainly, columns. Created using a mixture of clay, iron fillings, iron powder, and epoxy resin, this mix was the fundamental material for the project. By challenging the typical notion of an architectural column we can begin to realize autonomous tectonics at the 1:1 scale rather than considering the produced emergent model as a scaled-down model of an architectural environment. Throughout the research, an emphasis on scale was given to maximize the size in combination with minimal material consumption.
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magnetism and finding form
The initial study to the right developed from early precedents, helped create a foundation for building a base and vertical language.
[68] | Tranductive Magnetism| Base
Material Aggregation
finding form in plan and patterns After finding sufficient control of the material, a defined pathway was created in plan by studying different configurations of geometrical relationships. The resulting pattern is created in the image below. The articulation of the material, which attempts to find the closest magnetic pole when curring, creates sharpened ends that become a reference for the magnetic fields response of the form.
Plan of base of model via robot [69] | Tranductive Magnetism | Models
study model of techniques
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Iterative Process
cutting through the model
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iteration two, process
Defining the Structure The first prototype for this project was then studied in section to understand some of the finer structural properties of the model and its defining magnetic fields. The next iterative process was to develop more control over the pouring system for the material. This process is studied in the diagram to the left.
[72] | Tranductive Magnetism | Base
Resulting Models
the physical and digital
6’
[73] | Tranductive Magnetism | Models
final work
Magnetism The project concluded in several digital configurations of model studies (to the left) and physical models that show the creation of structural columns (to the right). The digital models were speculated to stand around 6 feet while the physical models achieved a height of 3 feet.
3’
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Venice Fellowship 2016 Venice Architecture Biennale | US Pavilion University of Michigan 2016 Venice Biennale Fellow Curators | Monica ponce de Leon & Cynthia Davidson Professional Installer | Brian Butterfield The 2016 Venice Biennale focuses on the city of Detroit. The theme, “ Architectural Imagination”, brings light to Detroit’s rich history through four specific sites that focus on different programmatic elements such as the Packard Plant or the riverfront. The exhibition challenged 9 teams of architects to create a proposal that speculate the sites unique history. All teams were required to engage with the community members for their projects in order to create deeper dialogue within the project. For three weeks me and 5 other students contributed to the exhibition by assisting in the installation and curation of the projects at the US Pavilion with curators Monica ponce de Leon and Cynthia Davidson..
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Drawings that Blush Methods of Translation Representation:Drawings that Bush ARCH 515 l Taubman College Fall 2015 Critic l Clark Thenhaus Collaboration // Drew Bradford, Tommy Nam Drawings that Blush is the study of using various transformation techniques to create drawings of dome structures with new parametric concepts. This group project done in collaboration with Tommy Nam and Drew Bradford uses St. Paul’s Cathedral as a site for translating ink drawings to physical forms. The project required the mastering of translation from various mediums to achieve new formal qualities. This included transforming analogue ink drawings to Photoshop patterns which were then used to develop vector drawings that resulted in creation of a aggregated form that replaced the crown of the dome of St. Paul’s Cathedral. The historical drawings of the dome were used as a basis for redefining the building with our new physical aggregations.
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Translation Method 1 ink drawings on velum
Translating Ink + Color The first method of translation for this project used the analogue process of using water based inks on velum. Once dried, these configurations created a “blush� effect where the colors pop off the page and deep areas of darks and lights are created to result in high contrast images. Each small drawing was then scanned and then translated into a organized pattern.
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creating a new city
[82] | Drawings that Blush | Ink
Translation Method Two vector based drawings
Ink color to specified drawings. The series of drawings below were translated from original ink drawings from the previous project. The bottom row is a direct transformation from the ink images to vector drawings in the second row. These drawings help spatialize the colors into possible forms when converted into three dimensional aggregations.
[83] | Drawings that Blush | Ink
translating form
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Translation Method Three st. paul’s cathedral
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morphing original drawings
St. Pauls Cathedral The final step in the translation used the new aggregated form to re-create the forms within the original St. Paul’ Cathedral drawings. The result is new formal relationships that begin to create a series opening up the original drawings to new apertures and geometric configurations. The final section captures the new dome articulation in the original drawing to create a series of opened apertures. [86] Drawings that Blush | Sections
Translation Four the final section
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re-creating the section
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Body Dis-Placement The Collapsing of Digital Mediums Photography Studio Art 500 l UMass Spring 2014
Body Dis-Placement is the study of the body and images in an obscured form using photography. The subjects are no longer just a result of their own physical appearance, instead they are layered with an image masked with blurring that helps to fuse image and body. The subjects are flattened with space and projection of the art on their faces, creating a form and altering the present state they present. This project masters the relationship of photography with other imagery mediums and projection in a confined spatial parameter of the body.
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Body and Color mood and tone
[91] | Body Dis-Placement | Images
projected art
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Obscuring the Image The face is no longer just a figure. The eye wants to recognize a person but a new composition is to be understood. Skin tone is no longer just a simple color but morphed into a form that is a result of the projection image on the face and background.
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[94] | Drawings that Blush |
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UConn Art Gallery
Proposal for addition to UConn Contempory Art Gallery SmithEdwardsMCcoy Architects Summer Internship [2014] Design Team // Tyler Smith, Chris Locke Standing in the interior courtyard of the current small contemporary art galley at the main campus of UConn located in Storrs Connecticut, this extension proposes a building that brings presence to the gallery on the street front. Designed in collaboration with firm principal Tyler Smith and the director of the gallery, my primary role was to deliver the design and associated drawings to be used to promote the need for additional programming space. My primary design intent was to create a building whose facade appeared to reach outward and upwards, grabbing the attention of visitors and pedestrians. The exterior facade, a dense metal cladded frame, reflects light to allow the building to shine and display work at night. The extension,while small, would not only give the program larger access to a black box theater but also a site of work that is visible to the larger campus. The exterior of the buildings shines bright juxtaposing its darker black box interior which maintains a calmer atmosphere for art work. The front facade maintains its transparency to offer the possibility to display teaser work to the public.
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Elevation + Views The front elevation of the building defines the opposing verticality of the base of the building with the large cladded metal box that sits on top of it. The box as a result, appears to float and gives off the impression of being elevated due to the use of a light metal that is lit at night. The box then recedes back into the buildings to complete its placement into the main theater space in the center.
[97] | Uconn Art Gallery | Elevation
exterior at night
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The Struggle