COLBY COX
UNDERGRADUATE PORTFOLIO
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TABLE OF CONTENTS AND CREDITS
pg. 04
MODULARITY critic - Matthew Faulkner
pg. 06
PERSONAL PAVILION critic - Matthew Faulkner
pg. 08
"RAUMPLAN" with - Christian Martinez and Garrett Redditt critic - Andrew Tripp
pg. 10 with - Christian Martinez and Garrett Redditt critic - Andrew Tripp pg. 12
REVIT REDUX critic - Andrew Tripp
pg. 14
INDEXICALITY critic - Gabriel Esquivel
pg. 18
ACROBATIC MACHINE with - Stephanie Shupak critic - Gabriel Esquivel
pg. 22
pg. 24
OVERLAY WORKSHOP EX-MACHINA with - Marie Chapa, Shannon Sumner, Justin Kiser, and Luis Sanabria critic - Gabriel Esquivel and Barry Wark
pg. 31
RESUME updated March 2022
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MODULARITY ENDS 105 PROJECT 1
repetition of the same module. Each 1/16” chipboard square was hand cut and scored to perpetuate the imwere also explored, as each repeated square connects together to form a 12 piece module that can be repeatspace that allows light to percolate angularly through the exterior openings. First Semester First Year project with Professor M. Faulkner.
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12 part module
interior perspective 05
PERSONAL PAVILION ENDS 105 PROJECT 3
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the Kimbell Art Museum, and we’re referenced when working through the iterative process. structural beams. Various pockets of space can be reached as one follows the precessional path through the exploded faces. First Year First Semester project with Professor M. Faulkner.
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RAUMPLAN ENDS 108 PROJECT 1.1
It is stated that the “Raumplan” has never been -
Adolf Loos was set in the countryside of Vienna Austria, in 1918. It was one of the earliest attempts of the “Raumplan” in which each space would have varying ceiling heights based on the needs of each room. In order to dissect the qualities of the “Raumplan” a conceptual model of the house was created, -
using a combination of varying acrylic thicknesses in order to represent primary, secondary, tertiary walls. Each etching on the acrylic represents an opening on the building’s interior, to better display circulation between rooms. Visualization in three dimensional space is needed to comprehend the complexity of elements displayed within the “Raumplan”. Aspects of the “Raumplan” are better represented through a system of masses, that way critical elements are -
grid and how Loos was able to incorporate his mezeven combined based on their function and are represented using task-board coated in white paint.
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photography study - split level masses
photography study - circulation masses
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photography study - mezzanine masses
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the 16 column structure, opposed to an arrangement erations of John Hejduk’s Texas House Series. As space expands upwards, so does the wall structure, to the
contributes to the idea of promenade, as the most social
Hejduk’s “Texas House #7” as they begin to display the terior terracing connects to Loos’ use of balconies, and sist in circulation, while Hejduk uses the mezzanines to push the idea of hidden character. 10 COX
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REVIT REDUX ENDS 108 PROJECT 3
Revit was introduced into the formal study of the 9-Square plan and the Raumplan at the beginning of quarantine, giving the studio opware. We began with studies of the dwellings we were isolated within with the goal of recreating a 3D model of our residences based on later combined with our previous rhino studies, nations being conducted entirely in Revit.
personal quarantine housing plan
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Loos’ Raumplan and John Hejduk’s Texas House SeRaumplan generally begins the precessional path with the social spaces on the ground level, and transitions upward into spaces with increasingly more private with a large entertainment space present on the high9-Square plan with the added consideration of the Raumplan’s emphasis on giving hierarchy to the social ering space, while the walls become more enclosed as you transition between the overlapping 9 square grid.
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INDEXICAL REGISTRATION ARCH 205 PROJECT 2
Mathematics of an Ideal Villa” in which he describes and compares the Villa Foscari and the Le Corbusier house at garches, we performed multiple formal analyses on the Crawford Residence by Morphosis and the Villa Madama
former, built in Santa Barbara, California for Bill Crawford in 1988 and designed by Morphosis, is circular in plan, while the latter was built in Rome, Italy in 1518, designed by Raphael, and has a much more rectangular orthogonal plan. Upon deeper analysis, physical and ideological connections between the buildings begin to appear. persistences such as the axis and bar become more apparent.
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Image 1: Plan of the Villa Madama overlaid with diagrams display-
Image 2: Plan of the Crawford Residence overlaid with diagrams and bar.
Similar to Robert Venturi’s “Complexity and Contradiction in Architecture” the comparison of shared concepts In Collin Rowe’s “Mathematics of the Ideal Villa” Corbusier’s house at “Garches” and Palladio’s “Malcon-
section to display critical information and insight into each architect’s sensibility and means of articulation.
created at their intersection point. With these elements in mind, the organization of the Crawford house can be
highlighted and extruded. Finally, the last diagram of Image 2 exposes suggesting that both Morphosis and Rapha-
overlay and exchange certain relationships within the two houses to construct entirely new, yet similar plans and masses. Our exploration of this idea began with the registration of the Crawford house and the Villa Madama as
We found a few simple relationships that we derived by simply rotating the Crawford house in place, but we were
We began registering each primary axis on the other house’s plan instead of simply registering the two perpendicular intersecting axes directly on one another.
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connected. Right: New plans and massing has been created by indexing the Crawford house’s axis on the villa Madama, and vice versa.
the adjusted Villa Madama and Crawford residence registered into one another at 3 scales
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architecture; outside the realm of the subject. order to explore these connections, the scaling needed to be correctly adjusted, which led us to the writing “Arrows, Eros and other Errors” by Peter Eisenman in which he uses the Romeo and Juliet project to explore and establish
its new context.” Applying this concept to the buildings in question in Image 4 revealed several direct and indirect central space of the Crawford Residence and the general composition of the Villa Madama. porary vs classical architecture can go a long way when it comes to deepening one’s understanding of both buildings and the relationships between them. We applied this understanding to the Villa Madama and the Crawford displayed within “Mathematics of the Ideal Villa” translate well to this style of formal comparison between two as the basis for our later abstractions and explorations in the post-digital realm.
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ACROBATIC MACHINE ARCH 205 PROJECT 3
School relies on the joint of machine parts at many scales and inserting the programming an education center that houses the school, library and administration area, a cafe, and an entertainment building that houses the museum and auditorium with a sculpture garden connection of individual buildings were integrated by various architectural knuckles. Pullbuildings implement structure and mechanical services that are visible on the exterior of
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sign in a combination of ornamental and mechanical pipes completely encasing the interior in certain acrobatic aerial stunts became the process followed the sequence of mapping and massing with reference to the existing site, programmatic studies in both section and plan, and facade integration that all lead to the proposal for the “Acrobatic Machine.” A scattered combination of acrobatic maneuvers were used as the joint between the existing site buildings two dimensional patterns and raised paths.
education center perspective
parts and tie them together through the programming and mapping to create a new reading of the machine objects as a building; “rememwhich encourages the composite” Rowe - “Collage City”
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entertainment building isometric perspective 20 COX
education center perspective In plan, these buildings are organized around the odd hinge. With reference to Hadrian's Villa, the combination of building elements have been joined together at a hinge and rotated to
within the education center are similar to Hadrian’s Villa with the idea of the axis bent for the sake of cohesion with the site and the been articulated with literal machine hinges found within an airplane engine to bridge and work as ornamentation for the facade.
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OVERLAY WORKSHOP WITH AIAS AND ABBY COOVER-HUME
colors overlapping to create unique interprephase in the process centered around the translation of two dimensional geometric studies into the slightly extruded state that comes
workshop concluded with the reworking of geometry to become entirety three dimensional with an homage to the cube. Moments of overetry continues to play with two dimensional concepts, and become emphasized with the added depth and shadows that are introduced.
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2D explorations
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EX-MACHINA ARCH 206 PROJECT 2
and the machine with reference to the anthro-
conditions are altered by these processes, while also altering the cultural and aesthetic qualiof becoming, cultural issues regarding the machine’s role in the anthropocene are explored. two exposed facades that open into an interior courtyard that excavates below the ground and exposes the machine. Additionally, the excavated ground starts to emphasize the varied
placement of the machine in an urban context allows for staining, as it starts to become an extension of the network of machines on the ic contrast of the ancient machine with the anthropocentric exploitation of metal in the urban context. We were interested in the contrast between the high tech machine and the rusty
can be seen in the Lloyd building in London and the mechanical and electrical systems of becomes a rusted machine within the context.
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exterior perspective 25
unreal engine view captures and video link
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close up perspective 28 COX
Materiality is displayed through moments that showcase the different ontologies of parts and conditions of metal, through both human-caused weathering and nature-caused weathering. In addition to this, the individual overlapping lifetimes of all the parts are emphasized through their relativity to each other and the unfathomable timelines of these parts. For example, metallic frames encase more monolithic masses which have been carved through and built around by humans to create the metallic machine; through time, this metallic shell begins to rust over, clearly distinguishing the monolithic structure as a separate entity with its own properties and compounds. This example shows the intricacies of how the parts simultaneously age individually based on the properties of the metal compounds. Some objects appear reflective while others begin to lose their shine due to the different ways weathering treats them, and how their surfaces react to the air around them according to their varying levels of toxicity. physical model views 31
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COLBY COX
colby.cox@tamu.edu - @colbycox.arch
01 EDUCATION Aug. 2019 - Present - Bachelors of Environmental Design - Minor in Architectural Fabrication - 4.0 GPA
Texas A&M University
Barcelona Architecture Center
Jan. 2022 - May 2022
- Semester abroad in Barcelona Spain - 4.0 GPA Aug. 2015 - May 2019
McKinney High School - Member of National Honor Society
02 EMPLOYMENT HISTORY Parma Design
May 2021 - Aug. 2021
- Residential Remodel and Multi-Family Design - Dallas, TX - Architectural Intern Jul. 2021
Camp Arch - Texas A&M College of Architecture Recruitment Summer Camp Counselor
Oct. 2020 - Present - Texas A&M College of Architecture Student Curator of Lectures and Exhibitions
Lectures & Exhibitions Committee
03 STUDENT INVOLVEMENT Texas A&M Chapter AIAS
Aug. 2019 - Present - Creation of Marketing Materials - Assistance with Annual Student Publication - Executive Board Secretary
Oct. 2020 - Present - Vertical Mentorship program with High School, Undergraduate, and Practicing Architects
CityLab High School Mentorship
04 PROFICIENT SOFTWARES Rhino 7 Adobe Illustrator Adobe Photoshop
Revit Microsoft Suite Keyshot 9
SketchUp AutoCAD Unreal Engine 31