C R ISTIN A VA LE NCIA P O RTFO L IO O F CREATIVE WORK
B AC H E LO R O F S C I E N C E I N D E S I G N MASTER OF ARCHITECTURE
Cristina Valencia Arizona State University, MArch, BSD, 2015, 2007
CONTENTS 4
HIDA THINK TANK PUBLIC SPACE, KINETIC CAMPUS
12
GMEX GLENN MURCUTT EXHIBIT
18
HAAUB MUSEUM SEATTLE, TACOMA
24
URBAN REUSE HB FARMER EDUCATION BUILDING
30
LIVE/WORK SPACE RORO ARTISAN COMMUNITY
34
MONTESSORRI LEARNING ENVIRONMENT CREOSOTE ELEMENTARY
39
VISUAL COMMUNICATION DESIGN
44
DRAWINGS
HI DA K I N E TIC C A M P US P UBLIC SPACE Definition: The capstone studio objective for students was to develop different strategies to intervene in HIDA’s public space through “space activation” by bringing together the different disciplines insights and knowledge into a common and multi-faceted ground. ADE 622 Adv Architecture Studio IV: Spring 2015 Site: Tempe, Arizona. Arizona State University. The Herberger Institute for Design and the Art’s public space and the adjacent Gateway parking lot. Design Team: Prof. Diego Garcia-Setien, Cristina Valencia, Collaborative Research by Martha Rodriguez, Jussara Scarle, and Lee Tribbie. Project description: The creativity of the Herberger Institute for Design and the Arts can transform society through the activation of public spaces located within the institute, across ASU campus and the surrounding Tempe community. These spaces must respond to both environmental and social ecologies through the use of flexible, dynamic, and adaptive systems. Process: Initial collaborative research focused on defining the boundary conditions at at different scales. Final : The public spaces within these boundaries can be designed to foster collaboration and reflect the creativity within the institute externally.
Boundaries and thresholds As a group, we explored three different scales of the ASU and HIDA campus that encompass the surrounding community. We defined strategies and tactics for the following themes: Buildings Connectivity Education Social Circulation Economy Technology Energy Climate Ecosystem Climate
Formal and informal boundaries Individual definition of the boundaries relating to the HIDA buildings and its students. Social Boundaries Building Edges
Individual tactics Individual development of energy, social, and environmental issues relating to HIDA’s threshold.
PERSONAL
SOCIAL
PUBLIC
Interior Edges
DBA longitudinal speed of sound
4’
12’
24’
150’
300’
Transportation Boundaries
Radius in feet *Edward T. Hall
NOT TO SCALE: GATEWAY PLAN
5
Ecological Arts This chart depicts information gathered on gardening, temperature, events, and the ASU academic calendar semester information.
GARDENING
120
TEMPERATURE 110
100
100
90
80
70
60
50
40
30
20
EVENTS 10
August
ACADEMIC CALENDAR
FALL
September
October
November
Session A
December
January
SPRING
February
March
April
Session A
June
SUMMER
Session B Session B Session C
May
July
Session A
Session C
Session C Session B
Session B
Building and site system
Structure study configurations
Service bldg Core building and program Kinetic buildings climate and event systems Camp sites Energy pavers(piezoelectric technology) Desert landscape and rain gardens Community gardens
Classroom and Community Garden interactions and
Permanent bldg and kinetic structures Service Building
Spring
Desert Scape
Late Spring
Educational Event
Energy Pavers Camp sites
Minimum and maximum site configurations Building expansion and contraction plan diagrams
Typical site configuration Buildings expanded Sunday Farmers Market Gardens are not at peak season
Spring semester Tempe festival for the arts Events and lectures at peak kevel Gardening season
Fall semester Sunday Farmers Market Events and lectures at high levels Gardening season at maximum
7
Axonometric of Kinetic Campus site design
Farmer’s Market on Mill Avenue
Renderings depicting the Community Garden and Classroom entrances.
9
University Tempe Festival for the Arts
Foerst Avenue and University
11
G M E X G L E N N MUR C UTT E XHIBIT Definition: Architecture for Place: Glenn Murcutt Exhibition and Studio Exhibition: December 20, 2014 – April 4, 2015 Site: ASU Art Museum, Tempe, Arizona Design Team: Jack DeBartolo 3, Principal and design leader Architecture: Tim Berry, Robert Huff, Bryson Kahala, Jay Scariani, Lee Tribbie, Cristina Valencia, Francesca Zucchi. Interior Design: Alyssa Hitt, Kirsten Keane. Graphic design: Candy Choi, John Thomas Sutton, Jennifer Testamarck Project description: GMEX is a multidiciplinary studio focused on the collaboration between architecture, interior design, and graphic design students creating both the design and construction of the exhibit of Glenn Murcutt’s projects, drawings, and models. Our goal was to educate ASU Art Museum visitors about responsive architecture and also to create a dialogue on sustainable building design. Process: Travel studio: Montreal, Canada, New York City, Washington, D.C. Individual proposals, group proposals, collective proposal draft, and final proposal. Final: Simple Move, functional efficient use of space. 45 deg. offset, using musuem walls. Relationship to the existing grid.
Long section of realised project. The roof light, visible in the early scheme, is now emphasised, and the bedroom set up a few steps from the entry
Sketches of studio
Sketches of studio
Early diagram of layout, with parent and children occupying symmetrical spaces each side of courtyard
Early sketches of final design
East elevation
Section drawing of early scheme, 1988. This was later revised in favour of a more economical solution
Early sketch study of sun penetration
Penultimate plan of parent’s wing
Detailed plan Sketch studies of eastern wall
Sketch section showing water sprinkler on roof
Design sketch of living areas
Detailed section of northern roof
Marie Shor t / Glenn Murcutt House 1974-75 / 80 Kempsey, New South Wales.
house plan is disarmingly simple with two almost identical pavilions, rotated and slipped; one for sleeping,
Altitude: 20m above sea level. Warm-temperate/ sub-tropical climate. High rainfall. Summer, circa 26ËšC cooled by north-east winds. Winter circa 18ËšC. Clay soil with poor drainage.
the other for living. Each pavilion is six, structural timber bays, the last two bays treated as an open entry porch.
where each functional component is individuated, repeated and grouped as a cluster of cells. The spatial contrast between the service and living zones heightens a sense of generosity in the larger rooms.
degrees of ventilation. This double layered system gives a high degree of personal freedom to orchestrate the
conservation and reuse was realised when Murcutt altered the property in 1980.
The 1974-75 house was conceived in terms of existing timber, stockpiled by the client. An expressed post and
The orientation of the house and its articulation are
Sketch of north elevation of revised scheme
Sketch sectional detail through roof
of the pitched roof form reinforces the conception of the house as a floating platform.
building as an instrument, for both environmental comfort and aesthetic experience of the landscape.
Between the two, a thickened wall implies an external corridor which links the porches and accommodates the collection of rain water.
Located on farmland in northern coastal NSW the Marie
Sketch perspective study of steel frame and cladding detail
Climatic performance also drives the detailed resolution
beam structure draws on farm shed construction
In this House Murcutt offers a centred enclosure as well
Plan
as the spatial repetition and extrusion of a machine. The
Sketch plan showing contours and lake views
abstract and original re-presentation of familiar forms
conceived in relation to climatic considerations. The
of the roof. Curved corrugated metal sheets overlap to
techniques. The assembly system and junction details
such as the pitched roof and entrance porch using local
living pavilion faces north to receive sun for the majority
provide horizontal ventilation slots. Doubling the layers
were developed in order to accommodate the client,s
techniques and materials assigns the building an
Short House was designed in the 1970,s, later
The strategy to repeat and distinguish the pavilions by
of the day. Retractable metal louvres control levels of
calls attention to the immaterial edge and renders the
wish to pull apart and reassemble the components for
important position within the pursuit and evolution of
purchased and altered by Murcutt in 1980. The 1974-75
function is extended to the kitchen and bathrooms
light and privacy and the glass louvres allow varying
building as a horizontal volume. This abstract treatment
future relocation of the house. This ambition for
modernist architecture in Australia.
Steel stair details to raised bedroom
Magney House 1986-90
Paddington, Sydney, New South Wales.
Magney House
The building is a substantial reconfiguration of a row
The original building had rooms located either side of a
In a building type normally experienced as a sequence
A stair to the lower level along the western wall forms
appears to float over the adjacent trees. The north
‘terrace’ house, an urban dwelling characteristic of the
central corridor and stair, most of which was demolished
of interiors and darker rooms, the house is striking for its
one void and a skylight across the width of the house
façade is rendered as two vertical blank masonry walls
inner Sydney suburb of Paddington. With a substantially Altitude: 200m above sea level.
conserved 19th century urban fabric, all development in this area is tightly controlled. Murcutt was consulted in
Temperate coastal climate. Summer, circa 25ËšC with cooling on-shore breezes. Winter circa 18ËšC with lows of 12ËšC. Sandstone soil.
excepting one bedroom and bathroom at street level. Two designs were prepared; the first with an additional upper level, which was later revised in favour of a more
the building site selection and the block was chosen for
economical solution. Both schemes retained the original
its steep fall from the street to the north, a generous
street facade and flanking masonry party walls.
width and adjacency and outlook toward established trees and landscape.
sense of light and spaciousness and inclusion of the external landscape. A fine steel frame sits within a large
forms another. An unexpected lightness is found in what would typically be the darkest part of the house.
void formed by the original masonry shell. It supports a new upper bedroom with small bathroom and frames openings to the north facing garden. This new room is visible from the entrance as an apparently floating
1982-84 / 1999 Bingie Point, New South Wales.
framing a metaphorical void. The walls provide privacy from adjacent neighbours and proportionally describe piece of shade cloth is held over an outdoor dining area. The delicately woven fabric registers the movement of the breezes and offers dappled shade in the manner of
Simpson-Lee House
Situated on the southern coast of NSW, the site is a
areas open onto the shared court and a connection is
large single downpipes. In this way both the functional
The large angled roof overhang shades the building
The climatic and formal ambitions of the building are
spectacular landscape between the ocean and western
implied between these adjacent spaces. The separate
hierarchy of the house and the collection of rainwater
from summer sun and allows winter sun access.
evident in the development and material resolution of
mountains with a nearby lake to the north. It is exposed, windswept and rugged. The clients had owned the land
Altitude: 50m above sea level.
the typical dimensions of neighbourhood houses. A The living spaces are accommodated at the ground floor and extend into the garden. Very large steel framed doors pivot to allow for the desired spatial connection.
proposed garage bay in the plan illustrated was never
interested in a house with tent like qualities.
architect,s development of a pavilion type with a distinct A repetitive bay structure is employed. Typically, large rooms with rear service facilities are divided by a lower
The building is a single pavilion divided by a central
circulation zone rendering a functional distinction in the
front and back and this dominant spatial orientation is primarily developed in relation to climatic considerations. The open northern face is treated as a glazed sliding
1988-93 Mount Wilson, New South Wales.
the structural system. The design of the tubular steel
are given symbolic representation in the east and west elevations. The striking roof form also registers the
realised.
for many years using it for camping holidays and were Temperate climate with coastal influence. Rainfall approx 1,000mm per year. Summer, circa 20ËšC with north-east on-shore breezes. Winter, circa 15ËšC with
In sharp contrast, the lower rear wall facing the predominant southerly winds is largely closed and is constructed of reverse brick veneer. Continuous upper fixed glazing along the southern façade admits light and sky views. These glass panels slope away from the wall
Critically acclaimed, this house has been acknowledged
Alignments as well as tensions intensified the architect’s
corrugated metal sheeting are here reduced to a point of
hierarchy is a more complex spatial configuration in
abstracted landscape within the built extent of the
by many as a significant project in the evolution of Glenn
disciplined approach. Murcutt’s descriptions of the
elemental abstraction. The plan follows the protective
which the rear bagged brick walls wrap to form rooms
house. The pool reads as an implied platform which
Murcutt’s work. Located in the Blue Mountains west of
frame refines experiments from previous buildings and
Altitude: 1,000m above sea level.
achieves an extremely light skeleton. This material
Sydney. It is a development of many of the ideas employed in the house at Bingie Point but concentrated
reduction is visible in the fine edge of the northern roof
Cool temperate climate. Occasional light snowfalls.
overhang where the metal skin acts with the tensile steel
westerly winds in winter and hot westerly winds in
building reveal satisfaction with the results suggesting that “the detailing in this house is as good as I’ve ever done.�
back and open front organisational strategy employed at Bingie point. This emphasis is reinforced by the site against an existing rock ledge.
The clients requested a house with a “secular monastic The clients were engaged at every stage of the lengthy
containing the services and connect with the frontal glazing.
quality� with an insistence on restraint. Simple, hard
Sketch studies of eastern wall
vestibule, one of two which bracket the glazed opening Murcutt describes the circulation strategy as an acknowledgement of an existing aboriginal path. This
The living spaces form a new floating platform over a fall
dimensionally anticipates the living area of the major pavilion. The timber bridge enters the house via a glass
topography where the rear low service wall is grounded
and refined and the result is more austere and abstract.
Sited in the lee of a hill which protects it from cold
struts and eliminates additional supporting members.
linear
movement
connects
two
pavilions,
a
of
the
living
areas.
The
vestibule
dimension
accommodates a series of sliding screens allowing the glazed wall to completely disappear. This uninterrupted
volume, vertically and horizontally surrounded by light
The exterior landscape is defined as a series of
a floating canopy, an abstract register of the landscape
extremely cold winds from south-west off Mt. Kosciusko
court and can operate as two self contained suites, one
bipartite section. The implied internal corridor supports
screen with individually adjustable and retractable
to accommodate continuous adjustable horizontal vents
The improbably thin roof is symbolic of a house which
summer. Summer circa 29ËšC. Winter circa 16ËšC with
design and approval process; the decision making
wearing materials; polished concrete floors, bagged
in the landscape which anticipates a much larger valley
garage/studio and the major living spaces. A timber
connection to the landscape allows the room to be
and air.
horizontal planes, stepped up to a platform, which
beyond.
and lows of 5ËšC. Granite soils.
for the parents, the other for guests or family. Living
an oversized gutter which connects at either end to two
external louvres.
at door head height.
feels unexpectedly light, almost transportable.
lows of 1ËšC. Volcanic and sandstone soils.
affected by their personal ethics and aesthetics.
painted brickwork, steel structural frame and exterior
beyond. In tension with this implied strict back/front
bridge, passing an external pond, includes this
experienced as an open veranda. Sketch studies of eastern wall
Sketch perspective study of glazing detail at kitchen window
Detailed plan through sliding glazed screen (Full size)
Sketch sectional detail through sliding glazed screen (upper part)
Early version on 2 levels with vault roof
Sketch detailed plan of eastern wall
Early design sketch of ground floor living spaces Early studies with pergola
Early plan of the slipped pavilions Elevations and plan Detailed section.
Early sketch of final version
Sketch plan of kitchen & bathroom windows, and south-west corner of the house Detailed section and detailed plan
Sketch sectional detail through sliding glazed screen (lower part)
Sketch perspective study of steel frame and cladding detail
Sketch studies of roof variations
Early plan of studio & pond
Detailed section through sliding glazed screen (Full size)
Final plan of studio & pond
Plans of the realised project Early studies of plan, form and cost
Panel 12
Sketches of studio
Panel 13
Panel 14
Panel 15
Panel 16
Panel Panel 23 17
Panel 24
Panel Panel48 26
Panel 25
Panel Panel49 27
Panel 50
Panel 51
Panel 52
Panel 28
Panel 29
Panel 30
Panel 31
Panel 32
Sketches of studio
Early sketches of final design
East elevation
Sketch studies of dining hall roof form
Site plan
Early sketch studies of roof variations
Detailed plan of blade walls Early sketches of end elevation
Sketch studies of eastern wall
Early sketches of end elevation
Sketch section showing water sprinkler on roof
Early studies of elevations using corrugated metal cladding
Sketch study of gutter between dining hall and service wing
Early site study / sectional sketch
Early sketch of east elevation
Marika-Alder ton House
Sketch perspective study of steel frame and cladding detail
1991-94 Eastern Arnhem Land, Northern Territory.
Commissioned by the aboriginal leader Banduk Marika and her partner Mark Alderton this project is in Yirrkala
estuary creek and freshwater lagoon, the building is slightly removed from a generally suburban settlement.
Above and below: initial sketch plans
screwed together on site, the entire process taking four months.
plywood and slatted timber screens slide or pivot open
presented a rare opportunity to design a house in Australia,s extreme north and to architecturally address
Subject to occasional tidal flooding 500mm deep during
the inherent climatic and cultural conditions.
cyclones. Wet summers, dry winters. Summer, circa 33ËšC, hot north-west winds. Winter south-east winds,
Ar thur and Yvonne Boyd Ar t Centre
Voids under the bay structures confirm the sense of It was conceived by Murcutt as a prototype and as a viable alternative to the house then occupied by the clients, a brick building with small windows typical of aboriginal public housing in this context. Prefabricated in
Facing the Arafura Sea and the Gulf of Carpentaria the
early morning and late afternoon.
allowing prevailing breezes to naturally cool the house.
on land associated with the Marika clan. The project Altitude: 3m above sea level. Monsoonal tropical climate.
Plan
Gosford, north of Sydney, all components were packed
The building is elemental. A pitched roof, dry timber platform and operable skin float in relation to each other. The structural system is comprised of a steel frame and Australian hardwoods. The fine sheet metal roof is dominant, deep eaves protecting the interior from
One of the most striking aspects of the architecture is the southern façade, where vertical plywood blades of varying depths project out from the steel column line. These register the dimensions of different built-in
suspension above a horizontal floor plane. In this house Murcutt creates a situation from which the inhabitants can observe the horizon, changes in the weather patterns, the movement of people and animals and the
furniture elements; a kitchen bench, timber joinery or
playing of children; a building which is experienced as
temperatures rarely below 25ËšC with lows of 20ËšC on
site has a tropical climate with cyclonic conditions, high
in two shipping containers and transported to site via
summer sun. The exterior wall is treated as finely crafted
beds, framed as floating window bays. The fins provide
an elevated shaded platform.
winter nights. Sandy soil with good drainage.
winds and very heavy rainfall. Surrounded by a beach,
semi-trailer and barge. The house was bolted and
infill panels with no glazed openings. These typically
both visual privacy and shade from the summer sun in
Collaborating architects: Reg Lark and Wendy Lewin
building reveal satisfaction with the results suggesting
back and open front organisational strategy employed at
containing the services and connect with the frontal
dimensionally anticipates the living area of the major
that “the detailing in this house is as good as I’ve ever
Bingie point. This emphasis is reinforced by the site
glazing.
pavilion. The timber bridge enters the house via a glass
by many as a significant project in the evolution of Glenn
employed in the house at Bingie Point but concentrated
Alignments as well as tensions intensified the architect’s disciplined approach. Murcutt’s descriptions of the
done.�
corrugated metal sheeting are here reduced to a point of elemental abstraction. The plan follows the protective
hierarchy is a more complex spatial configuration in which the rear bagged brick walls wrap to form rooms
topography where the rear low service wall is grounded
and refined and the result is more austere and abstract.
against an existing rock ledge. The clients requested a house with a “secular monastic
The clients were engaged at every stage of the lengthy
quality� with an insistence on restraint. Simple, hard
cultivated farmland and natural bush, the building emphasises the differences of each condition, framing views to both. It provides a large meeting hall with
sandstone and shale. The distinguished Australian artist Arthur Boyd and his
Rainfall circa 1,500mm per year. Sited between eucalypt forest and cultivated farming land, in the lee of a hill
Critically acclaimed, this house has been acknowledged Murcutt’s work. Located in the Blue Mountains west of Sydney. It is a development of many of the ideas
Cool temperate climate. Occasional light snowfalls. Sited in the lee of a hill which protects it from cold
views serves as a stage for a proposed landscaped amphitheater and is dominated by the large portico of
were
commissioned
to
propose
an
Sketch studies of portico roof
zone. Here the greater scale acknowledges a more
positioned below timber panels which pivot open or can be adjusted for screened ventilation. Painted plywood
public situation.
blades externally bracket each bed, and provide privacy.
the multi purpose hall. The elevated ambition of this
kitchen, bathing facilities and shared accommodation for
arrangement contrasts with the scale of the entry door
The sleeping areas are treated as a linear arrangement,
The larger blades accommodate a sliding door which
up to thirty two students.
and utility of the low bench with washbasin.
each accommodating four people. Located along an
can divide each room into two. The system is a
open walkway and grouped around shared bathrooms,
partner Yvonne donated this land in the Shoalhaven River valley for use by their Education foundation. The architects
Three existing timber cottages prolong an entry sequence where one moves from a car-park between
The bipartite section employed in previous houses informs the organisation of the main pavilion where a
each cluster is separated from the next by a breezeway. Precisely scaled according to the specific dimensions of
development of the facade strategy employed in the Marika-Alderton House. Clustering and repeating the bedroom bays on the eastern façade gives a public
Summer, circa 24ËšC, infrequently up to 40ËšC with some
arrangement of facilities in this spectacular landscape, a
the dwellings and finally arrives at a large open platform
large hall oriented toward the significant view is
the beds, each sleeping bay forms a window framing a
scale to this previously domestic device whereby each
influence from cooling north-east and south-east
retreat for artists and students. Located between
via an old veranda. This entrance court with striking river
separated from its rear service facilities by a circulation
personal view of the landscape. Fixed glazing is
bed (and implied child) is given symbolic presence.
Above and below: initial sketch plans
1988-93 Mount Wilson, New South Wales.
Altitude: 1,000m above sea level.
westerly winds in winter and hot westerly winds in
on-shore winds. Winter, circa 20ËšC with lows of circa 12ËšC occasionally down to 5ËšC. Granular loam soil of
1996-99 Riversdale, New South Wales. Altitude: 20m above sea level. Temperate climate.
which protects it from cold winds off Mount Kosciusko.
Simpson-Lee House abstracted landscape within the built extent of the house. The pool reads as an implied platform which Sketch studies of eastern wall
vestibule, one of two which bracket the glazed opening Murcutt describes the circulation strategy as an acknowledgement of an existing aboriginal path. This
The living spaces form a new floating platform over a fall
linear
movement
connects
two
pavilions,
a
of
the
living
areas.
The
vestibule
dimension
accommodates a series of sliding screens allowing the glazed wall to completely disappear. This uninterrupted
summer. Summer circa 29ËšC. Winter circa 16ËšC with
design and approval process; the decision making
wearing materials; polished concrete floors, bagged
in the landscape which anticipates a much larger valley
garage/studio and the major living spaces. A timber
connection to the landscape allows the room to be
lows of 1ËšC. Volcanic and sandstone soils.
affected by their personal ethics and aesthetics.
painted brickwork, steel structural frame and exterior
beyond. In tension with this implied strict back/front
bridge, passing an external pond, includes this
experienced as an open veranda. Sketch studies of eastern wall
Elevations
Sketch perspective study of glazing detail at kitchen window
Detailed plans of the dormitory accommodation
Plan
Detailed plan of the large dining hall and kitchen
Detailed plan through sliding glazed screen (Full size)
Detailed section
Sketch sectional detail through sliding glazed screen (upper part)
Early sketch section
Early sketch section Detailed section through west wall
Sketch detailed plan of eastern wall
Detailed plan of blade wall
Detailed section.
Sketch plan of kitchen & bathroom windows, and south-west corner of the house
Sketch sectional detail through sliding glazed screen (lower part)
Sketch perspective study of steel frame and cladding detail
Early plan of studio & pond
Detailed plan of screen door
Detailed plan of north-east corner
Detailed plan at entrance deck
Detailed plan of sliding shutters
Plan
Detailed section through dining hall Detailed section through dormitory accommodation
Detailed section through sliding glazed screen (Full size)
Early sketch of site layout
Sketch studies of dormitory stair
Plan of projecting plywood blades between dormitory windows
1997 - 2001 Kangaloon, New South Wales
Panel 29
Panel 30
Panel 31
Panel 32
Panel 18
Panel 19
Panel 20
1997 - 2001 Kangaloon, New South Wales
Panel 33
Panel 21
1997 - 2001 Kangaloon, New South Wales
Panel Panel33 22
1981-82 / 2001-04 Jamberoo, New South Wales 1997 - 2001 Kangaloon, New South Wales
Panel 33
1981-82 / 2001-04 Jamberoo, New South Wales
Panel Panel34 33
1981-82 / 2001-04 Jamberoo, New South Wales
Panel 34
2000-03 Mosman, Sydney, New South Wales 1981-82 / 2001-04 Jamberoo, New South Wales
Panel 34
2000-03 Mosman, Sydney, New South Wales
Panel Panel35 34
2000-03 Mosman, Sydney, New South Wales
Panel 35
2001-05 Kangaroo Valley, New South Wales 2000-03 Mosman, Sydney, New South Wales
Panel 35
2001-05 Kangaroo Valley, New South Wales
Panel Panel36 35
2001-05 Kangaroo Valley, New South Wales
Panel 36
Panel 10
2001-05 Kangaroo Valley, New South Wales
Panel 36
Panel 11 Panel 36
Panel 1
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Panel 2
Panel 3
Panel 4
Panel 5
Panel 6
Works of architecture are discovered, not designed. The creative process is a path of discover y. The hand makes drawings and arrives at solutions before the mind has even comprehended them. It is ver y impor tant to me to make buildings that are like instruments. They respond to light, to the movements of air, to prospect, to the needs of comfor t. Like musical instruments, they produce the sounds and tones of the composer. But I am not the composer, nature is the composer. The light and sounds of the land are already there. I just make the instruments that allow people to perceive these natural qualities.
Total existing wall space available, 138’-3� Column Grid 10’ OC
Sketch study of dining hall elevation
Final plan of studio & pond
House in the Souther n Highlands House in the Souther n Highlands House in the Souther n Highlands House in the Souther n Highlands Panel 28
Sketch studies of the dormitory accommodation
Sketch studies of dormitory corridor handrail (Full size)
Glenn Murcutt
Detailed section through dining hall Detailed section through dormitory accommodation
Exhibit Panels Panel 4
Total length of exhibit panels, 185’-0� (50 boards) 12 projects, 2 Quotes. Panel height 5’-11�, 4 models, 5 drawing books, 11 min. video
Panel 5
Panel 6
Panel 7
Panel 8
Mosque at Newpor t, Victoria
Opal and Fossil Centre, Lightning Ridge, NSW
in collaboration with Elevli Cameron Architecture and Interiors
in collaboration with Wendy Lewin
Panel 9
Panel 42
Panel 43
Panel 44
Panel 45
Panel 46
Panel 47
Panel 37
Panel 38
40’
MoMA Dept. of Architecture and Design Conceptions of Space Exhibit
Travel studio Montreal, Canada New York City, New York Washington DC Museums visited CCA, Canadian Centre for Architecture Montreal Canada MOMA Museum of Modern Art AIA, American Institute of
Architects The Guggenheim Museum and Foundation The Noguchi Museum New York City, New York United States Holocaust Memorial Museum Washington DC *Tod Williams Billie Tsien Architects *Olson Kundig
scale 1’-1/8�
MOMA Museum of Modern Art Glenn Murcutts Philosophy
Case Studies
Discovery through drawing
Orientation based on the site and it’s surrounding environment. (Australia is on the opposite side of the pole) ((Sun orientation)
Environmentally responsible
“What are the three most important things in life?� The first one is simplicity, second one simplicity and the third one... simplicity.� 13
45째
Group proposal Contrasting dialogues
Initial collective proposal
Final collective proposal
Marie Short
S imps on Lee
Marika Alderton
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Scale: 1/32”=1’-0”
15
Final Exhibit Entrance signage and process room
Final Exhibit Elevated panels and detail of wooden screen built for the movie display area.
17
C H A M B ER O F LIF E TACO M A, WA Definition: Tacoma Art Museum Extension, Haub Galleries Adv. Arch II, Spring 2014 Site: Tacoma Art Museum. Tacoma, Washington Design Team: Professor Greg Brickey Ali Abbaszadegan, Ritu D’Cruz, Cristina Valencia Project description: The Tacoma Art Musuem expansion , 13,500 sq ft. for Haub Western Art Gallery Collection and event, community space and improvement to lobby and existing entryway. Process: Travel studio: Seattle, Washington. Individual case study, group schematic design, final proposal. Final : An environmentally responsive site and building that seeks to address cultural pragmatics while reconnecting to nature. The Tacoma Art Museum is a didactic of current technologies and materials that embody the beliefs and rituals of the Native American culture, being expressed through the artwork and the symbolic experience of the building. The museum uses existing infrastructure as an armature to further connect places and districts that help to foster a sense of community. The visual and spatial quality of the site and building encourage the interaction of the pubic off of the street and allows there to be a re-establishment of the landscape that connects the urban realm back to nature. These design decisions are sensitive to the antiquity and chronicle of the Native American culture and help to educate the public about the diversity and majesty of their society.
Site area
Form diagrams
The Tacoma Art Museum is located at the heart of Tacoma’s cultural district including the History Museum, Union Station, ant the loop of the Thera Foss Waterway development.
Inspired by the Native American belief in the circle as a symbol represenative of life and the cycles of nature.
Sun studies Post tension concrete beams 10’ OC Cantilever girders Concrete slab structure Radiant floor heating Structure
Circulation diagrams
front
back
19
3 Sculpture level
2 Main gallery level
1 Lobby floor
Bridge connection detail Model
Section
21
South view, near light rail stop
Lobby area
Exterior view of street entrance looking from Tollefson Plaza of Museum
23
U R B A N R EUSE HB FA R M E R EDUCATION BLDG Definition: Farmer Education Building Adv. Architecture Studio II: Spring 2014 Site: 1050 South Forest Mall, Arizona State University, Tempe Campus Gross SqFt 95,944, Bldg Height 53’-3”, Construction date 09/1956 Project description: The Farmer Education Building was originally built in 1962. A massive structure expressed through the design of precast concrete panels on the exterior and a private interior courtyard. The design fails to correspond to ASU’s current design aspirations towards social impact, civic engagement and community relationships. Process: Individual case study for the design of the 1992 British Pavilion Seville World Fair builfding by Nicholas Grimshaw + Partners. Initial group research, schematic designs and conceptual framework, final proposal. Final : Climatic responsive building that improves the current passive cooling technologies by reducing energy consumption. An eductional environment that improves academic performance utilizing environmental factors. Engages the community through interactive and collaborative spaces.
Existing Farmer Education Building
Program CLASSROOMS COURTYARDS OFFICES CAFE RESEARCH
1969
6
2013
6 Outside research 7 Outside reading yard
7
4
Concrete Waffle
4 Outside lecture 5 Outside conference
Slab, 28’ O.C.
5
2
2 Outside Tech 3 Outside classroom
1 Cafe courtyard Playground Main zen garden 3 1
1
Envelope The additional outside courtyard and garden space on the exterior shows a reflection of the inside without disrupting the quiet atmosphere. Opportunities for outside engagement include a garden, water feature, and a cafe.
1
25
Traditional Arid Climate Courtyard
Existing Conditions
Design Expansion
Boundaries
Farmer Building: Open Courtyard Design Central courtyard allows for building to stretch to the very edge of it’s site.
Wasteful buffer around building leads to relatively useless space.
Build to edge of site.
Sun Light Roof open to the sky at each courtyard and covered by tensile fabric allowing diffused light to enter the space. Courtyard | one to seven Open up floor plan. Now allows for for additional outside collaboration spaces.
Spatial Quality
Rooms generously open to courtyard at cooler times of the day or season.
Minimal views to the courtyard only perceivable from circulation corridor.
Interior enjoys the benefits of the courtyard.
Southern edge: porch during the summer. Winter space with movable glass.
All conditions are treated equally. Concrete panels and vertical screened windows.
Incorporate overhangs on the South for sun protection.
Southern edge: porch during the summer. Winter space with movable glass.
All four cardinal directions have a ground floor entrance.
All four cardinals directions have a ground floor entrance opening allowing for air flow.
Environmental Response
Ventilation
Water Wall Water feature provides evaporative cooling for interior courtyards. Helping to reduce the micro-climate.
Circulation Activity Connects to adjacent Teachers College Building. Close proximity to Gammage, Art Museum, and Music Buildings. Near the Ash neighborhood district. Vehicle traffic occurs during performances and events held at the Gammage audutorium. Easy access to nearby bus routes. Farmer Education Building serves as a shortcut for pedestrians.
Pedestrian Bicycle Vehicle
Building model
27
Level 4
Level 3 1 - Zen Garden Scale: 1/64”= 1’-0
Level 2
Main student entrance
South view of building
29
L I V E / WO R K SPAC E
R O R O ARTISAN COMMUNITY
Definition: Live/Work Space for bycycle artisan Palmer Kelley Architectural Studio II: Spring 2013 Site: SE corner of 2nd St. and Portland, Roosevelt Art District in downtown Phoenix. Project description: Live/Work Space Artisan Community Process: Initial investigation on details of the client’s needs and daily life routines. Individual site selection, group community design, and final proposal. Final: A Live/Work space design that provides increased work space, private living, and ample outdoor and transitional spaces for the client. While also working to create part of the cultural identity on RoRo by providing space for weekly, monthly, and annual events. The events are designed to draw in the community by displaying bike races or movies on a large screen projection that can be viewed from a distance.
1 WO RK LE VE L
1 Work Level S CALE: 1/4 ”= 1’ 0 ”
2 LI VI NG LE VE L
2 Living Level
3 S L EEPIN G /G A R D EN L EV EL
3 Sleeping/Garden Level
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W E ST S E C TI O N
NORTH SECTION SCALE : 1 /4 ” =1 ’0”
West Section
North Section WEST ELEVAT I O N
EAST ELEVATION
East Elevation
West Elevation
Main entrance
Bedroom terrace view
Bike shop view
Model
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M ON T E SSO R I L E A R N IN G E NVI RONMENT CREOSOTE ELEMENTA RY Project: Montessori Elementary Learning Environment and Classroom design Architectural Studio II: Spring 2013 Site: Washington St and Priest. Dr., near the Papago mountains, Arizona Grand canal, Light rail, Downtown Tempe, and Arizona State University. Process: SIte analysis, group research and program development, classroom design, and Proposal: Outside Gardens and learning environments. Providing an opportunity for varying degrees of personal and public spaces throughout the site. The concept begins with the micro to macro spacial defintions. The main learning objective is to promote differing levels of collaboration spaces between students, staff, and parents. Final: Beginning with the interior classroom space, the folded roof allows for varying ceiling hieghts. Providing students with intimate studying spaces as well as interactive open spaces. It also creates a humanistic, secure and comfortable surrounding. Each classroom cluster has a garden/play space that connects to other classroom gardens. This connection of outside gardens facilitates student interaction and collaboration with students from other classrooms. The folding continues through the landscape, folding levels between lower/upper elementary, administration/pre-k, playfield and gym. These levels serve as a grouping of spaces. The integration of building form and land not only serves as an aesthetic appeal but it also facilitates the use of sustainable design materials. Utilizing a green roof and photovoltaic panels hidden underneath the steel mesh shade structures. The non-traditional design provides an environment that students can look forward to going to and they can be proud of. Further exemplyfying the Montessori school of thought.
Roof Plan Not to scale
Site Plan Not to scale
Structural Plan Not to scale
Classroom Building Plan
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Classroom Sections 1 1
CLASSROOM 1 2 3
2
CLASSROOM 3
3
CLASSROOM 1
CLASSROOM 2
4
CLASSROOM 1
CLASSROOM 2
CLASSROOM 3
Folding planes diagram
Private Reading Pryamid
Classroom Interiors
37
V I S UA L CO M MUN IC ATIO N INFORMATION DESIGN
History of the Typographic Latin Letter
Garamond reconstructed by Robert Slimbach in 1988
H
H
H Bembo based on the design of Francesco Griffo Venice,1499
Hendrik van der Keere recontsruction Antwerp, in 1575
H
Monotype Arrighi M reconstructed after Ludovico delgi Arrighi
H Hendrik van der Keere reconstruction Antwerp, in 1575
Printing with Movable type in Germany
Incunabula period
Medium originally a metal type for hand composition
M
originally for machine composition in metal
P
originally designed for photosetting
D
originally designed in digital form
abefop
agnop
abpfoe
abgofp
H Garamond Italic constructed by Adobe in 1989 in digital form.
H Poetica recent typeface by Robert Slimbach
H Flieschmann reconstructed by DTL
Fournier based on original cuts
H
H Baskerville versions reconstructed are not very close to the original design.
H Bell based on types cut in London about 1740
Bulmer H based on the series cut in 1790
Dido H based on types cut in London about 1740
Bodoni H Based on types cut in Parma between 1803–1812
Bi Sheng invents movable type, Korea
Nicolas Jenson I 1420–80
Claude Garamond F c.1485–1561
Francesco Griffo I fl.1494–a1518
Ludovico delgi Arrighi de Vincenza, I fl.d.1527
Characteristics: Modulated stroke, humanist axis modest contrast, penformed terminals.
Claude Garamond F c.1485–1561
JM Flieshmann D c.1701–1738
Pierre Simon Fournier F 1712–68
Manerist tradition example of the chancery italics.
William Morris was the first to attempt to recreate Jensons Roman.
H
afojop
1700
M Jenson constructed after the Nicolas Jenson, Venice,1469
1600
abpfoe
Romantic
Neoclassical
Gutenburgs 42-line Bible Example is a recreation of Gutenbergs Blackletter.
Trajans Column, Greek
Example above Trajan based on the Greek inscriptions at the base of Trajans Column.
abfgn
1500
1465
1450
1400
ARQ
1040
114
Historical Marks
Roccoco
1800
Renaissance Italic
Renaissance
Characteristics: Stems vertical or even slope not exceeding 10° consistent Humanist axis, low contrast light, modulated stroke
Characteristics: modulated stroke, variable axis,moderate apeture, penstroke axis is normally oblique
John Baskerville GB 1706–75
John Bell GB 1746–1841
William Bulmer GB 1757–1830
Francois Ambroise Didot F 1730–1804
More than punches ar the Bodoni
Deeply Admired by Benjamin Franklin primarily because of taste Characteristics: modulated stroke, rationalist and vertical axis refined serifs, moderate apeture
Giambattista Bo I 1740–1813
Characteristics: hypermodulated stroke, rationalist and intensified axis, abrupt, thin serifs, small apeture
Poster Logos Calendar Timeline
vistas
communities
39
Information design ASU Destination & Activities guide Arizona State University Main
2
The Ritz Carlton 2401 E Camelback Rd
Cactus Rd
3
Pointe South Mountain 7777 S Pointe Parkway
Peoria Rd
4
The Phoenician 6000 E Camelback Rd
Continental 1 nonstop 1st class $1,365
Pima Rd
Scottsdale Rd
64th St
56th St
Tatum Blvd
40th St
32nd St
24th St
Cave Creek Rd
16th St
7th Ave Central Ave 7th St
19th Ave
27th Ave
35th Ave
43rd Ave
51st Ave
59th Ave
67th Ave
83 rd Ave
Resorts 1 Arizona Biltmore 24 St Missouri
75th Ave
Tempe, AZ 85287
Cactus Rd Shea Blvd 2
US Airways nonstop $439 America West nonstop $567
Olive/ Dunlap Ave
Squaw Peak Pkwy
Northern Ave
Glendale Ave
Bethany Home Rd
Dinning 1 Cibo Italian 603 N. 5th Ave Phoenix, 85003
Camelback Rd
2
Indian School Rd
3
4
Elis American Grille 7000 E Shea Blvd Scottsdale, 85254 Mucho Gusto Taqueria Mexican Bistro 603 W. University Drive Tempe, 85281 Golden Buddha 668 N. 44th St Phoenix, 85008
Indian Bend Rd
1
McDonald 2
1
4
3
1 I - 10 Papago Fwy
I - 10
Loop 202
McDowell Rd
1
Van Buren St Jefferson
Loop 202 Sky Harbor Airport
Buckeye Rd
University Dr 3
SR 14
Apache Blvd Broadway Rd
3
Southern Ave
US 60 Superstition
7th St
Squaw Peak
South 2, 330
1/2 hour relative to 1 mile Estimated time, does not reflect traffic delays
1, 200
Scottsdale Museum 7374 E 2nd St Scottsdale, 85251
3
height s q ft
3
Heard Museum 2301 N.Central Ave #1 Phoenix, 85008
Broadway Rd Northern Ave Baseline Rd
McKellips Rd Washington St Brown Rd
The Arizona State University students in the Graphic Design Program are proud to invite Mr.Edward R Tufte to our final reviews on Dec.9th, 2005
Red Mtn Fwy
4
7t h Av e
2
Indian School Rd
Thomas Rd
2 Thomas Rd McDowell Rd 1 - 10 Freeway
Lower Buckeye
Leisure 1 Phoenix Art Museum 1625 N Central Ave Phoenix, 85004
Chapparral Rd
2
Camelback 1, 190
Hiking 1 Squaw Peak 2 Camelback Mountain 3 South Mountain
Baseline Rd
Finals will be held through out the day, during 1:00 - 8:00 pm. This guide was created to provide different options of travel, restaurant, and leisure while visiting the valley.
41
DR AW I NG IN P LAC E M O R O CCO, SPAIN, AND PORTUGAL Riad Dar Doukkala in Marrakesh
Ronda Bullring
D R AW I NG S
43
cgvalenc@asu.edu, 480 318-1798