David Austen Kernodle Undergrad Portfolio

david austen

kernodle architecture

portfolio

BaROCK Design Team: David Austen Kernodle, Jeff Lemley, Arron Rosas Professor: Gabe Esquivel Visiting Professor: Gilles Retsin Spring 2015

INFINITE

The word baroque refers to a “rough or imperfect pearl.”Baroque as a condition of ancestrality, not simply as a term to describe a period of architecture. We are not only arguing the surface affective characteristics of baroque pertaining to ornamentation, but a deeper meaning from where baroque derives its infinity: the process of FOLDING, which has always been present in nature.

We can discuss the Baroque as a machine, the folds and pleats of matter we are arguing have always naturally occurred, for example in rock formations.The fold is the process by which our project, which we called “BaRock”, generates its folds and its high fidelity. Our BaRock machine is folded with a porous crust that retains the identity and chemistry of the object within any scale, this is relative to the discussion of its monadic structure.

This is to say, as we look at the images of the chunk, we notice that they are mereological parts of the whole, and as you dive deeper into the folds we would notice the same organization every time. That is because no matter how deep one goes in an attempt to communicate with the objects, the monads do not change.

Chunk Index parts to whole relationships

B

Section A

Section B

Plan

A

Mission’s Think Tank Designer: David Austen Kernodle Professor: Michael Connor Fall 2012

INTERSECT The missions were religious outpost established by the Spanish with the purpose of spreading the catholic religion to the natives.

Mission San Juan Capistrano was intended for religious purposes but there daily life was also focused on farming the land for survival. The proximity to the San Antonio river was the main provider of water and thus the life line of the missions. During research the idea of intersection was a reoccurring theme that happened on many level both physically and metaphorically in each important aspect of this missions beautiful history. The intersecting of culture is the essence of what the mission was about.

Religiously the cross is a strong symbol of Catholicism and can be seen in the plan of their church. Finally the mission is tapped into the life of the site through an intelligent irrigation system that intersects the San Antonio River. The Think Tank for the Mission is intended to showcase the history of the site as well as provide a facility that will allow students and scholars to study the mission.

Focusing on maintaining the integrity of the site the Think Tank is placed away from the mission its self and the road is rerouted.

These two moves allow the user to appreciate the mission as they should be with no visual cues from the present day.

(Above) process sketches illustrating the analysis of the site, planning of spatial elements, and strategies concerning programmatic placement.

(Left) Floor plan that organizes public spaces on one axis that intersects semi private research spaces that are further separated by a hallway that is compressed at one end to visually stop the public from venturing beyond the intended domain.

(Above) Massing models exploring geometries as the project evolved.

(Above) Welcoming entry portal intended to draw users in, educate, and lead them to experience the mission.

Model images depicting geometry as well as techniques employed in order to protect fenestration from the strong Texas Sun. The constructed drawings were intended to test the aesthetics of the geometry as well as shadow studies.

London Public Library Design Team: David Austen Kernodle, Francisco Reyes, Karla Garcia Archmedium Design Competition Summer 2015

LIQUID HISTORY

This design competition asked for the creation of a new library in London near the Thames river. In the 21st century society has traded in books, newspapers, and magazines for tablets and other digital formats. Considering the strong emphasis society puts ontechnology ARCHMedium requested a library that interlaces technology, culture, and history in order to generate a dynamic space that generates activity within the city. Within the urban fabric, Potters field (our site) is a relief, a pause, a moment of silence in the bass heavy rhythm of concrete, and stone; of which the streets of London are fabricated. The lines of this urban green space break the rigidity of the city, while undeniably maintaining the location as its home. The site is circumnavigated by a rich lineage of history and architecture; starting with the Thames and ending with the newly built shard.

I

A rich history manifests its self through natural and architectural elements providing a beautiful opportunity to strongly engage the public in every direction.

II

The history requested to be woven through the jagged juxtaposing lines of our site to activate a conversation with its surroundings.

III

Preserving the original lines of the site insured Potters Field was never destroyed. The heart of the site held a significant tree that Potters field radiated from.

This tree feeds theentire site.

Enveloping and protecting the tree lays a silo that transports books from shelves submersed beneath the earth.

IV

The silo provides direct access to any book at any time to the entire library, thus feeding the library with knowledge.

The original state of the site was a green park in the middle of the city. Keeping the integrality of the site included a detailed landscape that was informed by its previous condition. Planters and green spaces have been populated with all the vegetation that was previously present in the park. (Above)

Flexible spaces adjacent to the central silo that feeds the library with knowledge.

(Below)

Green public plazas/ Entry

Green Canvas

Gardens

Silo Seating Green Pocket

Sunken Garden The original state of the site was a green park in the middle of the city. Keeping the integrity of the site included a detailed landscape that was informed by its previous condition. Planters and green spaces have been populated with all the vegetation that was previously present in the park.

(Above)

(Above) This interior view explains the approach taken to maintain a flexible space that will provide a front row seat as the year unveils each season.

(Below) Describes the relationship to the sub-way and how the project penetrates the earth.

Government Canyon Shelter Design Team: David Austen Kernodle Professor: Isabel Garcia Spring 2012

HARMONY

This shelter nestled in the woods is a harmonious combination of the 4 elements. Designed to be a humble structure it cools its self with the wind and a sleeping area stays a consistent temperature because it is pressed into the earth. Water is collected on the second level and heated by a fire pit intended for cooking and warmth in the cooler months. The water collecting on the second level could be used for bathing and will keep the lower levels dry. Finally there is several areas designed to adapt to the users, whether it be for seating storage or a place for meditation and reflection.

Richter Gallery Design Team: David Austen Kernodle & Alex Nelson Professor: Craig Babe Spring 2014

MOTIFS

This gallery, located just to the south of downtown Dallas, is designed as a testament to the main motifs of Gerhard Richter’s work. Given the site location between downtown Dallas and Trinity River Park, the gallery strikes a balance between displaying the artist’s work and responding to its context. The building is divided into three galleries, each exhibiting a main motif of his work: representational, sculptural, and abstract. The external massing of the design expresses a hierarchy of these three galleries. Upon entering the building, the sculpure gallery frames a view of downtown, while the main staircase provides a grand gesture, signaling the start of the promenade through Richter’s works. As one makes their way through Richter’s representational work, views to the other galleries begin to open up. The promenade finishes with Richter’s abstract work, lit by a clerestory system surrounding the gallery space, indirectly reflecting light onto the walls.

city contex

Storyboard

Exterior garden designed to hold events.

The grand stair connecting the sculpture gallery to the galleries housing abstract and representational work.

I

Create 3 separate galleries

II

III Articulate entry / Create gardens

IV Building circulation

Museum entry

Respond to Richter's motifs

Representational gallery spaces

Entry

East Elevation

Second Floor

First Floor

Maverick Park Elementary School David Austen Kernodle Professor: Dwayne Bohuslav Spring 2013

CONNECT

Maverick park is a green space within the city of San Antonio. The design focuses on an elementary school that has a direct connections to the park.

Furthermore the project is responding to it’s context by expanding the function of a school into the city. Ultimately the city itself will become a school to teach with paths that can reach out to museums, concert halls, and theatres. As this school expands, grows, and reacts to the city the school will request to be developed as a magnet program focused on the arts with the city as its classroom.

The Nest Design Team: David Austen Kernodle & Stefani Johnson Professor: Craig Babe Fall 2015

TRANSITION In today’s time nature is continuously encroached upon by the man made environment. Nature enthusiast and eco-tourists typically must travel far from home to experience an immersive natural environment. Eco-tourism has recently become popular and our site, Long Acres Ranch is currently undergoing steps to provide this service. The purpose of the Welcome Center is to gently prepare the user’s senses as they transition from the man made to the natural environment. This is achieved by a promenade that begins at the extremities of the site and continues as they enter the welcome center and continue on to various activities. Petite outward-facing buildings are organized around two central gathering spaces. These gathering spaces separate the public and private sections of the welcome center. Each building is surrounded by a porous circular pavilion that allows for cross ventilation, protections from the sun, and provides semi private gardens. The village of buildings is designed to humbly sit within the landscape and allow the user to focus on their experiences with nature.

Promenade

Man-made to Natural

I. Location

The site is located on a former cattle ranch which is now predominately beautiful grasslands.

II. Volume

In order to minimize the visual impact on the landscape, the project was developed as a single story.

III. Division

Creating individual buildings allowed for intimate, small spaces that face outward, and eliminated the need for interior circulation.

Geometry

IV. Public/Private

Organizing the buildings around two central spaces created a public realm as well as a private realm that could be utilized by extended-stay students and researchers.

V. Elements

Porous circular pavilions provide shading for the glazing, creates semi-private gardens for each building and welcomes wind flow through the buildings.

Large overhangs are angled to receive natural light and collect rainwater.

Public / Private

Entry / Retptile Exibition

Spatial Varieties

Aluminum Roof

Light Cannon

Wood Joists

Gluelam Tapered Beams

Clerestory windows

Accordion Glass Doors

Servant Space Wood Flooring

Shading Structure

The Hand David Austen Kernodle An architects greatest tool when designing is the ability to think through the hand. Manifesting thought through the universal language of graphics is the essence of architecture and the root of a responsive solution.