David Graham Jr | Undergraduate Architecture Portfolio

david jerome graham jr

undergraduate portfolio

Š 2012 . david jerome graham jr . all rights reserved

m.arch candidate florida a&m university selected works 2004-2009

i want to design; to create; to influence; to inspire. architecture is the development and execution of conceptual ideologies coupled with one’s aesthetical values in the manipulation of space and light; the resultant of arts, intuition, and sciences to create imaginative solutions rooted in human need. architectural design and realization ranges from the pragmatic to the abstract. it provides the opportunity to be impactful, figuratively and literally, from an intimate to grandiose scale.

“gestures become significant symbols when they implicitly arouse in the individual making them the same responses which they explicity arouse, or are supposed to arouse, in other individuals.� - george herbert mead can a gesture be meaningful without being significant? architecturally?

selected architectural works galleria for modular architecture f.i.r.e. facility for the visually impaired soundless corridor: an exercise artist’s house advertisement pavilion for a musical artist

other works assemblage sketches

thanks resume

galleria for modular architecture || design studio four.one to design a museum and car park within mission bay the galleria, situated between third, fourth, and channel streets, and enclosed on the fourth side by the china basin water channel, will house an extensive compendium on modular architecture and design. the museum serves to educate and stimulate, promoting awareness through charettes, critiques, educational workshops, film screenings, interactive displays, physical models, and symposia. it is to have a character and coherence synonymous with the existing architectural landscape and attitude of within the bay area, acknowledging conventions and entering into a dialogue with building fabric in the adjacent china basin.

professor laverne wells-bowie | caffeinated spider’s web

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left . points of interest tensile anchors

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proposed site 1 bay bridge 2 golden gate bridge 3 presidio 4 golden gate park 5 financial district 6 market street 7 mission district 8 twin peaks 9 new construction 10 san fran airport 11 port of oakland 12 berkeley 13 oakland airport 14 top . green space + site

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opposite page . immediate site analysis

background our fourth year studio trip was to the colorful city of san francisco, the site of our studio project. the three professors constructed an itinerary complete with visits to popularized tourist attractions, including the embarcadero, fisherman’s wharf, golden gate bridge and park, the numerous districts, union square, and the yerba buena center, among others. we also toured the university of california berkeley and visited several architecture firms, including skidmore owings and merrill. although the group activities were fundamentally necessary, the most significant and intimate experiences within the city stemmed from grass-roots like, self exploration during down time, which contributed to a more thorough understanding of the culture and spirit within the bay area. much of my designated free time was spent with my studio instructor, professor wells-bowie, graduate of the california college of the arts and the university of california berkeley, the epitome of culture and art. she introduced us to her dear friend, mildred howard, acclaimed sculptural and mixed-media artist, who gave us a tour of her home and studios, fabrication warehouse, and a sidewalk installation. it was priceless watching and listening to them reminisce about past life, discussing everything from artistry and the hippie subculture, to civil unrest and the berkeley riots. she took us down alleyways to admire ethnic murals tourists would not be privy to. we met for breakfast one morning at an inconspicuous coffee shop | bakery in an unassuming neighborhood, having to snake around the overflowing bike racks and scooters littering the sidewalk to reach the entrance. it was standing room only, an obvious indication this cafe was an underground staple, not only within the immediate community, but within san francisco, given the broad spectrum of customer garb. we were in the midst of the culture, submerged. we were fortunate to take an informal tour of cca, having the opportunity to eat and converse with students, my demographic, people sharing similar aspirations and interests to myself, listening to their perspective of the city and prevalence of art in life, later capping the evening at 1300 on filmore. it was this aspect of the trip, these outings with my professor, that helped draw a more complete, comprehensive cultured perspective of the bay area, an understanding of the users, for a more successful studio project.

tensile influence professor wells-bowie, having a background in textile design, called for a tensile element to be a major component within the program. i did extensive research on tensile structures, looking at materials, connections, fabrications, and different applications, also looking at natural occurrences, such as spider webs. it was during this research that my idea to draw allusion to a tensile structure, versus incorporating one physically, arose, which drove the design of the museum, grounds, and influence the design of the car park.

design galleria the shape was interpolated through the use of anchor points, significant areas or objects within the bay area. i quickly modeled this and began to play with the incorporation of the web into the design. i placed the web atop the protruded shape, wrapped the sides of the building and extended web onto the ground plane. this became my study and the basis of the design. after numerous iterations, along with site and geographic analysis, the museum would have a thickened exo-skeleton, speaking to the membered architecture of att park, the iron bridge on site, and the bay bridge off in the distance. next was to address form and light. in plan view, it appeared as if the building was caught in the web, much like leaves or insects become entangled in a spider’s web. this idea was realized with the decision to create a floating mass, as if suspended within the web. the ground level was to seem almost non-existent, realized by uniformly glazing the entire ground level. this also draws to the mixed-use architecture of the china basin. the second problem was to address light, which is particularly damning if improperly addressed with museum design. i extended the simplicity and uniformity of the ground level to the suspended form, opting to encapsulate it. i designed a parametric weave, a woven screen to mimic the immobilized cocoons that dangle within spider’s web. this mesh could be infinitely adjusted to allow the right amount of natural light into spaces. grounds green spaces are prevalent in san francisco, which contribute and encourage the walkability within the city. i initially extended the web onto the ground plane, which was the basis of my spatial demarcation. designing the ground plane was easy; i simply took existing cues from surrounding parcels in order to create cohesive spaces. we were also to designate a space to exhibit large models, and i also designated a spaces to house installation, an ode to mildred. garage the garage was to mimic the main site, complimenting the galleria. i began with an orthogonal shape and continued the two curves from the galleria for cohesion. the upper levels mimicked the elevated nature and form of the museum, incorporating a planted screen, supported by rhythmic vertical blades.

opposite page (top to bot) . study model of developed building form and site, including designated plaza spaces | museum facade study, solid web versus perforated mesh. right . initial study mockup of building form and implied structure, using three anchor supports.

site | ground floor plan site a 1 exterior exhibit space 2 commissioned art 3 restaurant seating 4 hardscaped plaza 5 receiving drive ground floor 6 entrance 7 lobby | reception 8 grand hall 9 featured exhibit 10 exhibit spaces

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10 signature restaurant 11 high-end retail | six 12 receiving 13 freight storage 14 hvac service 15 restroom 16 library 17 theater 18 gifting site b 19 exterior exhibit space 20 commissioned art 21 car park entrance | exit

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three-dimensional mesh weave

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elevated floor plans half floor storage 1 optional storage 2 second floor featured exhibit 3 exhibit space | six 4

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third floor digital stations 5 featured exhibit 6 exhibit space | three 7 lobby reception 8 production room 9 staff offices | five 10 conference room 11 breakout lounge 12 hands.on workshop 13 fabrication room 14

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building components structural components . galleria

structural web

columnar grid + mullions

floor slabs

roof shell building components . car park

vertical louvers . planted screen

columnar grid + elevator core

ramps + floor slabs

vertical circulation

galleria sections a|a and b|b

chipboard and polystyrene on chipboard

architectural parallax can you know architecture by perspective? what if you are blind? depth of field? what if you are blind? what are the points of reference when there is no perspective or depth of field? light? what if you are blind? how does time pass when there is no light? can you know architecture except by colliding with it? how do you see? what do you see? what do you expect to see? what do you think you are seeing? the depth of field collapsed, no distance, no projection, no past, no future.

- alexander pilis

f.i.r.e. facility for the visually impaired || design studio three.two to investigate an architectural language for the blind and visually impaired through the design of a new facility offering adjustment counseling, information and referral, and education, through individual instruction and group settings. the lighthouse of the big bend, formerly f.i.r.e. (florida institute of rehabilitation education), a nonprofit agency dedicated to guiding people through vision loss, assisting with their pursuit towards independence, is in need of a new administrative office building/facility. their current facility encloses 2000 sq ft of divided and subdivided, overcrowded space due to increased service demand, leading to an associated increase in staff, ultimately compromising their clients ability to learn and assemble. this new facility will more than double their current square footage.

professor valerie goodwin | current facility

opposite page . three-dimensional architectural interpretation of quilt, to serve as inspiration in the design of the new f.i.r.e. facility. right . before presentation of the f.i.r.e. project, professor goodwin (architect and acclaimed fiber artist) introduced us to her passion of fiber artistry, soon after commissioning the design of an architectural quilt.

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left . proposed site in relation to downtown tallahassee and site of current facility. downtown 1 current facility 2 proposed site  3 1

top . contextual map

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opposite page . immediate site analysis

background the lighthouse of the big bend, formerly f.i.r.e. (florida institute of rehabilitation education), is a nonprofit agency directed toward helping the legally blind “in their pursuit to independence,” according to their motto. the program is referral based, providing assistance to two age groups; children up to five years and individuals fourteen years and older, within leon (tallahassee) and surrounding counties. the lighthouse of the big bend, situated within a small, defunct business park on cedar center drive, just off of paul russel road, has outgrown their current facility (pictured on the introduction page). the 2000 sq ft building was originally sufficient, given initial growth projections, providing ample space and resources to fully accommodate their client base. as demand has increased, several functioning spaces have been condensed, eliminating the ability to efficiently counsel and educate, at the expense of the client. for example, what once was a low vision lab, complete with literature, braille and low-vision equipment now houses office production equipment and several archival file cabinets. the kitchen, furnished with a large dining table, originally functioning as the break room for staff, now doubles as a flexible classroom, complete with a dry-erase board. coincidently, this was the room in which we assembled for an open dialogue after touring the facility, gathering information and conducting interviews, right next to the stove. this meeting was the most important and rewarding aspect of this project.

current facility (beginning top left, clockwise) ... staff office, children’s classroom, kitchen | break room, low.vision lab, production room. we hear the word “blind” and quickly associate it with darkness, however blindness does not explicitly mean completely without sight. given first hand accounts of life with vision deficiency, we gained a thorough understanding of the physical obstacles, but more importantly, the emotional and mental anguish associated with an inability to do everyday activities, independently. Aside from the use of a guide dog or human lead, those with vision impairment depend on the stimulation of the other senses to navigate the world, which operate with a higher level of acuity. it is this understanding and subsequent considerations that will determine the success of the new facility.

design intent and parti drawing conclusion from the meeting, given the unique experiential perspectives of each user based on deficiency, it seemed as if they all are constantly reaching out, navigating the world as a result of sensory cross-talk. i wanted to draw allusion to and emphasize the significance of the tactile sense, the idea of sight through touch; the notion that what is “seen” is a direct result of reaching out into an unknown and the subsequent processing of that perceived information. the new facility would reach across the site, towards the users, towards tallahassee, towards the world. the parti, derived form this initial sketch, consists of three elements, drawing allusion to the staff, hand, and specialized thumb.

parti staff ... linear element organizational element fingers ... grouped program service space blocks thumb ... special program user specialty space

developed design i grouped the program into three distinct, organizing categories which comprised the “fingers” and “thumb” … the office and the school, represented by of the fingers, and the house, represented by the thumb. the staff, serving as an organizational element, is manifested as two very thick, staggered concrete walls, in turn creating a central sky lit corridor. This corridor not only serves as the primary organizing element, it is also the main circulator path throughout the facility, ramping to each of the other “buildings,” represented through with level change. there are two lesser sky lit corridors flanking the main axis in the office and school, which establish familiarity and reiterate their organizational function, representative in the parti as the gaps between the staff and fingers. the central corridor | staff also established a dichotomy of spaces, creating an eastern (public) and western (private) site.

signage . auditory element

site plan park 1 hardscape 2 basketball court 3 2

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longitudinal sections

west elevation

component diagram

floor plan entrance 1 learning lobby 2 bathroom 3

roofing 17 16 15

opaque

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mullions

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glazing

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concrete 12

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partitions 10

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the office reception 4 waiting room 5 staff offices | twelve 6 production room 7 the school flexible classroom 8 outdoor extension 9 children’s classroom 10 braille classroom 11 main classroom 12 low vision lab 13 the house kitchen lab 14 dining lab 15 exterior patio 16 flexible storage 17 public lounge 18 private lounge 19 bedroom lab 20 bathroom lab 21 laundry lab 22 mech | elec 23

main hall perspective

basswood and plexiglas on chipboard

soundless corridor: an exercise || design studio three.one to design a traveling installation 100’ in length and 15‘ in height the culmination of a five week project, the corridor was to physically represent my experience without the auditory sense, emphasizing the process, path, beginning, end, and social interaction within and around the corridor. it is to eventually become a permanent outdoor museum exhibit.

professor donald gray jr | “aware” getty images

backgound this was the first studio project of the semester. professor gray hypothesized that we could become more interconnected with our thoughts, the subconscious versus the conscious mind, and the effects of exterior factors, through exercise in controlled conditions and manipulated environments.

excercises music the first exercises were graphic interpretations of music. professor gray played various selections music, from classical-like pieces to unorthodox compilations with dynamic bass lines and sporadic percussion elements, to which we were to sketch, ultimately creating of an assemblage or high relief representation. sensory blind … calm. passive. intermittent. the journey through campus blindfolded was an enjoyable experience, despite the lack of visual stimulation. There was some comfort having a human lead, however, our relationship was not built with a high propensity of trust. to completely let my guard down, relinquish all hesitations and undoubtedly trust their decision-making for the two of us was impossible. was my lead taking into consideration my gait, where I may step, what I may feel, if or how they will react and guide me to safety should something unexpected occur? or were they focused on getting through the exercise and studio that day? in the midst of the unfamiliar and lack of trust, you have to overcompensate for that loss of control, and being blindfolded, the result is an ordered approach. each step taken is a smooth step, a calculated step, a step to stir no more necessary than needed, to hear every decibel, every sound within your environment. you are focused on the sound of your guide’s feet, processing the rhythmic pattern for consistency, meaning stability, the sudden passing of cars and buses and the smell of exhaust, varied conversations and dialect of people, rustling of leaves and the whispering of wind. every sound is essential in painting an accurate image of your surroundings, the conditions, and components, in order to function successfully. deaf … chaotic. hypersensitive. paranoia. the lack of hearing creates a type of hysteria. no longer can you rely on your ears to help negotiate the world around you, particular that which is not in your immediate nor peripheral vision. this journey was one of constant motion, not only moving forward from destination a towards destination b, but scanning the environment. having to look forward while checking peripheral and behind you becomes a task, even in this familiar environment. it is not enough to feel the ground tremble from an approaching taltran bus, without satisfying the urge to peer around, checking for safety. it is alarming to see someone running in your peripheral and anticipate something happening, only to later recognize that they are playing; something you would have immediately recognized had you heard the laughter. without sound creates another world within reality is created, of which you are one is constantly looking for information to maintain sanity. this feeling was captured in the “aware” photo on the introduction page. both … helpless. insufficient. lost. this journey was depressing. without the ability to see and hear, your experience is predominantly left to the imagination. this new world was such a far extreme from the one we are most familiar with; it opened my eyes to other conventions, and adaptations. for someone lacking both senses, what can be said for your everyday necessities, particularly shoes, where the ability to differentiate the ground plane is not best accomplished in a pair of thick soled nike blazers. Having the senses taken away, you’re at the mercy of your memory, into your internalized database of textures and responses, fabricating a new dark reality based solely on tactility. The most unfortunate aspect while lacking both senses was the inability to generate an accurate image of your immediate surrounding; your projections are limited to all within arm’s or reach of feet.

material assignment and corridor design materials were assigned based on drawing from a hat; my selected material was glass. upon reading the project, i knew the corridor would be a long, linear space with emphasis on the terminus, a space that significantly narrowed from entrance to a perceived exit. recreating a hypersensitivity to motion would be achieved using a combination of both transparent and translucent glass. while both materials allow the passing of light, translucent materials may scatter light at either or both interfaces, significant affecting image formation. this difference is significantly amplified with lamination. instead of creating a wall or barrier with one instance of grouped glass, each wall would consist of two narrowing walls, creating secondary spaces within the overall exhibit, exponentially increasing the user’s ability to relive my deaf experience. the corridor created layers of activity; activity within the corridor, activity within the walls, activity around the perimeter of the corridor. the walls were to have partitions, which enabled access into the exhibition spaces and created a break to an otherwise monotonous, translucent environment; sometimes you may have an unobstructed view completely through the corridor, sometimes through one wall panel, sometimes through two. the sketch below summarized these design moves.

the strengh of the design is in movement. the slow, laggard moving bodies visible through multiple panes of translucent glass are a far cry from the frenetic commotion of feet present in the bottom three feet of transparent glass. in the midst of your progression, your attention is distracted by the various levels and speed of movement, variation in size and darkness in shadows, appreciation of the interior exhibits, and interaction with other inhabitants. the user doesn’t realize that the perceived exit is not actually an exit until they’ve reached the end, then forced to turn around, acknowledge their lack of awareness, and find an exit.

opposite page (top to bottom) . massing model study | model of solid wall panel detailing sanding pattern and resulting opacity . right . shadow study of completed panel design and sanding pattern.

plan a b 3 2

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legend 1 entrance 2 exhibit space 3 sculpture space 4 designed exit 5 perceived exit

elevations wall panel a

wall panel b

wall panel c

wall panel d

wall panel a frosted glass ... 256 clear glass ... 128 connectors ... 36 connecting rings ... 36 openings ... 3

wall panel b frosted glass ... 256 clear glass ... 128 connectors ... 36 connecting rings ... 36 openings ... 3

wall panel c frosted glass ... 336 clear glass ... 168 connectors ... 48 connecting rings ... 48 openings ... 4

wall panel d frosted glass ... 304 clear glass ... 152 connectors ... 42 connecting rings ... 42 openings ... 4

panel construction each panel consists of seven layers of 2.8125” laminated glass

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exterior sandwich

interior sandwich

exterior sandwich

2.8125 in glass 1 0.75 mm pvb film 2 heat reflection film 3

2.8125 in glass 1 0.75 mm pvb film 2

2.8125 in glass 1 0.75 mm pvb film 2 heat reflection film 3

entrance perspective

panel detail frosted glass clear glass steel concrete

plexiglas on foamcore

artist’s house || design studio two.one to design a studio dwelling for an artist given two different building footprints and allowed to exceed or relinquish up to 5% of the given area, we were asked to choose one and design an artist’s house and studio.

“barcode” remment koolhaas | professor vanessa greenaway

given building footprints footprint a approx 2600 sq ft

footprint b approx 2500 sq ft

process background the driving idea behind this project was the notion of one’s identity. an artist is defined and categorized according to their works, grouped amongst others. i became interested in the barcode, how a collection of lines, varying in thickness and distance, are used to identify one object among a collection of many. design i wanted to incorporate a barcode into the entrance facade, introducing the artist to the world with an identifiable stamp. my focus then shifted towards the artist and their experience as an inhabitant, asking how these vertical elements could be used to encourage and inspire thought and design based upon how light enters the house and the resultant shadow patterns created. these vertical elements would also be strategically incorporated in different areas and rooms to define public and private areas, to frame views, and provide protection from the sun. process collage

floor plans

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west | entrance elevation a

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ground floor 1 entrance 2 gallery 3 bathroom 4 living room 5 sitting area 6 covered patio 7 dining area 8 kitchen 9 garage

second floor artist’s bedroom artist’s bathroom studio workspace studio storage covered patio planted roof guest bedroom guest bathroom

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rear perspective

chipboard on chipboard

advertisement pavilion for a musical artist || design studio one.two to design a series of advertisement pavilions for a favorite musical artist a music company is staging an event in a large convention center to attract fans of various musical artists; each artist receiving a plot 21’ wide by 42’ long. our assignment was to design a pavilion containing a series of spaces that serve to advertise the music, persona, and achievements of a chosen artist by placing, integrating, and displaying related media. the artist’s image and character of their music should be evident in the architectural language of the pavilion.

professor valerie goodwin | pastor troy

pavilion design pastor troy is a successful, yet somewhat underground, rapper, producer, and actor from augusta ga. although he has created and sustained a large, loyal fan base in the southeast, he has yet to crossover and maintain notoriety on a national scale. his musical style and delivery can be described as hardcore, his messages span an assortment of topics. the design of the pavilion seeks to play on all that is pastor troy. the 21’ x 42’ plot has been subdivided into three sections as a means of organizing the presented material, alluding to the holy trinity, reference back to the religious tone of his stage name. furthermore, these divisions have been manipulated to resemble a crucifix. the large mural of troy blatantly introduces the pavilion to the patrons, reminiscent of his attitude and musical delivery. the slits establish a consistent rhythm, allowing a glimpse of the patrons and happenings within, comparative to his core fan base those frequently peering into his world. thickened exterior walls narrowly offset provide enclosure and surface area for displays, representative of his thickened skin toward criticism from “the norm,” opposition, and the music industry.

entrance elevation

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floor plan first tier a early life and present career second tier b digital media and listening stations

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third tier c future projects and aspirations

chipboard on chipboard

assemblage || design studio four.one to creatively capture an experience legumes and grain, two of the worlds most widely consumed and used food types, are a staple food within every ethnicity and demographic. i thought beans and rice were befitting to represent the eclectic diversity of san francisco and the bay area. my assemblage captures the essence of san francisco on both a macro scale: the diving fault representative of the tectonic activity; the hilly terrain and pronounced twin peaks; the shore line of the bay covered in rice, representative of the planted, fertile lands; and water represented with split green peas, highlighting the ever-present movement towards a more ecologically sensitive and sustainable lifestyle. more importantly, my assemblage captures the spirit of san francisco on a micro scale. the beans are intermixed, some saturating a specific area, such as chinatown, where there is dense population of a particular people, and others are sprinkled throughout the entire piece (blackeyed peas), representative of other groups, such as the gay community.

professor laverne wells-bowie

“hands� contour drawing | graphite on paper

five minute warm.up sketches | ink on 3 x 5 index card

“ronchamp� | ink on sketch paper

thanks to mrs. valerie goodwin and ms. laverne wells-bowie ... for direction, encouragement, and most importantly, your artistry. you both have truly been an inspiration. to dean wright, mr. chin, the famu soa professors, staff, and my studiomates ... for the constuctive criticism and competitive environment. to my family ... for believing in my dreams, continued support and love beyond measure. special thanks to my cousin, gerald sheffield, for the artwork on display in the galleria.

david jerome graham jr david.grahamjr@me.com 2305 summit oaks court lawrenceville ga 30043 m . 404 509 2363

talented creative, fluent in advanced mathematics, seeking an apprenticeship to commence my professional architectural career and further develop and refine my aesthetic within a dynamic, design-driven firm

education tallahassee fl 2004 - 2009

florida agricultural and mechanical university (famu) school of architecture | bachelor of science in architectural studies minor concentrations in building construction and mathematics active member of the american institute of architecture students (aias) summa cum laude | 3.86 (out of 4.0) gpa highlighted collegiate achievements most outstanding fourth year design award finalist rhodes + brito architects’ design award and scholarship for most outstanding promise white and gold honor society of famu inductee national society of collegiate scholars (nscs) inductee

proficiencies architectural representation mcneel rhinoceros mcneel grasshopper

autodesk autocad autodesk revit

google sketchup physical model making

adobe indesign hand rendering

maxwell render kerkythea

mathematics

german

graphic presentation adobe illustrator adobe photoshop other skills microsoft office suite

experience dacula ga 2012 - present

home depot certified garden associate  provide customers creative direction and education for home | garden improvement and design.  execute merchandise resets with visual acuity, audit and verify inventory, including price changes and markdowns, plan and construct seasonal displays, re-stock shelves ensuring product availability, maintain immaculate department appearance.*  three-time recipient of the “homer award” recognizing commitment and contribution to excellence.

atlanta ga 2009 - 2013

united parcel service unload supervisor | package handler  recommended for managerial tract upon hiring ... appointed leader by a group of twelve peers.  facilitated and sorted packages with efficiency during peak shift ... unload rate of 1700 pph.

tallahassee fl 2006 - 2009

florida agricultural and mechanical university tutor for the mathematics department  recruited by the mathematics chairperson ... only non-math major tutoring for the department.  taught and assisted both undergraduate and postgraduate students with mathematics coursework in applied fields, ranging from pre-calculus and trigonometry to advanced conceptual mathematics, including statics and engineering math.

2005 - 2007

teaching assistant and research specialist for professor of mathematics  planned and administered course material and student work for several mathematics classes.  piloted large tutored group sessions comprising of 20+ students during midterm and final examinations.  worked on several funded research grants, some sponsored by the us department of defense.  accumulated and documented precedent studies, executed computational simulations, drafted summation reports.

mableton ga 2005 2006 2008

skyline forming inc estimator | summer intern  estimated prospective projects ... imported and analyzed blueprints and accompanying specification documents, completed quantity take-offs, composed submittals.  fabricated formwork and framing components and performed regulatory safety checks.

again ... “gestures become significant symbols when they implicitly arouse in the individual making them the same responses which they explicity arouse, or are supposed to arouse, in other individuals.� - george herbert mead can a gesture be meaningful without being significant? architecturally?

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