DAVID JI A R CHI TECTU RE PORTFOLI O // 2 0 1 0 -2 0 1 4
CONTENTS
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C U R R I C U L U M V I TA E
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RALEIGH MEDIA ARTS CENTER
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HELIOS MODULAR SCHOOL SYSTEM
11. P R E C E D E N T S T U D Y : S E N D A I M E D I AT H E Q U E 13. D W E L L I N G F O R A SCULPTOR 15. C H A R L E S T O N M U S E U M 17. S U N - K I N G
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DAV I D J I
EDUCATION expected May 2014
3606 Corbin St. Raleigh, NC 27612 919-803-9845 dyji@ncsu.edu NORTH CAROINA STATE UNIVERSITY Raleigh, North Carolina Bachelor of Environmental Design in Architecture GPA: 3.66 / 4.00
EXPERIENCE Jun 2012
May 2011 - Aug 2011
Feb 2012 - May 2012
May 2012 - Dec 2013
2010 - Current
NORTH CAROLINA STATE UNIVERSITY Raleigh, North Carolina Design Camp Counselor Mentored young aspiring designers to consider design as a field of study through a weeklong summer program. College of Design Summer Assistant to the Dean Maintained and renovated facilities in the College of Design. Film scanned the Dean’s personal drawings and photos. Assembled panel dividers for the Contemporary Art Museum. Sustainability Office Street Team Member Promoted environmentally sustainable habits to students on NCSU campus through publicity. Facilitated surveys to assess data of campus’s energy use. McKimmons Center Setup Crew Member Arranged furniture in multipurpose event rooms for professional gatherings such as meetings, conferences, trainings, classes, lectures, and graduations. DJ at WKNC 88.1 Played electronic music every week on NCSU’s college radio. Assisted in reviewing newly released music and supporting WKNC sponsored events.
HONORS + AWARDS Sep 2013 Dec 2012 Apr 2011 Dec 2011 May 2012 Aug 2010 2010 - Current
Shawcroft Prize nomination Triangle AIA Scholarship nomination CMU Blockfest 1st place Represented NCSU School of Architecture Reaccreditation Exhibition KSEA Undergraduate Scholarship recipient 2011 Eagle Scout Award Dean’s List recipient 2010-present
SKILLS + EXPERTISE Digitally competent in AutoCAD, Adobe Photoshop, Illustrator and InDesign, Google Sketchup, Bentley Multiframe, and Microsoft Office. Experienced in hand model building and hand drafting Strong oral and written communication skills.
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RALEIGH MEDIA A RT S C E N T E R fall 2012 arc 301: matthew griffith individual project Building an art center where the public could visit art exhibitions, watch movies and be educated in contemporary arts would draw more life and attention into Raleigh’s city center. However cohesively fitting the program and its supporting functions on the tight 3,446 square foot site requires an understanding of spatial efficiency, urban site conditions, and their interior/exterior relationships. The building is organized by strategically anchoring four service and egress cores into the site. These cores imply the regulated lines to delineate the dimensions of the vertically stacked and shifted theater, lobby, library and gallery volumes. Semi-private support spaces such as the storage rooms, reception desk, offices, conference room, and rooftop garden are discreetly tucked away towards the back of the site but are stacked in relation to the floor’s primary function as well as the outdoor views to the existing trees, occasional passing train, and Raleigh skyline. The front façade of the building allots outdoor spaces for bus stop seating, bike racks, ticket box threshold, and a streetfront roof terrace. The shimmery media screen wraps around the glazed facades of the protruding library volume to filter western light. The opaque, south-facing party wall formally wraps over the transparent primary volumes while responding to the potential future development of the neighboring vacant lot.
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HELIOS MODULAR S C H O O L SYS T E M spring 2012 arc 302: dana gulling partnered project Wake County Public School Systems could increase classroom seating by utilizing a demountable and transportable system of prefabricated modules that assemble to support a full-sized campus of 6th-12th graders. The Helios Modular School System pushes ordinary modular design by introducing a variety of social arrangements and classroom types that suggest communal and collaborative learning while improving upon the well-being of students through spatial qualities, daylighting, circulation, security and aesthetics. The undulating tri-form is composed of three radial wings linked to a continuous single-loaded corridor. Students are educated to live balanced lifestyles as they rhythmically circulate between the program of the mind [library, science, math classrooms, and horticulture garden], body [gymnasium, cafeteria, healthful living classrooms, locker rooms, and administration], and soul [auditorium, music, drama, and art classes]. The design process was driven by a rapid, iterative decision making system to keep pace investigating mechanical systems and construction details. The roof structure is made up of a series of sweeping glulam beams lifting towards the interior. Translucent Kalwall+ Lumira aerogel roofing panels allow for maximum daylight to enter the building while shading could be controlled through dynamic terracotta louvers. Air-conditioning units recede behind horizontal terracotta screens to maintain the smooth surface gesture.
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electrical conduit deep, wood box beam Kalwall + Lumira aerogel roof panel arched glulam beam florescent pendant lighting laminated veneer lumber beam zinc-plated aluminum gutter sealant and backer rod dynamic louver chain guard Kawneer sliding window glulam end cap steel louver frame aluminum louver endcap fasteners tieback member stainless steel housed ball bearing Baguette terra cotta louver gypsum board wood stud 16" o. c. batt insulation plywood sheathing vapor barrier aluminium panel clip vertical panel support clips horizontal panel support clips Longoton terra cotta panels
carpet plywood subfloor 4" deep sips panel steel w-section joists formed aluminum flashing steel mitered c-channel welded L-angle field welded plate
brick panel bracket post-tensioned brick panel skirting concrete pier foundation gutter downspout concrete pad concrete gutter splash earth
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Sendai, Miyagi Prefecture, Japan 2001 P R E C E D E N T S T U DY : S E N DA I M E D I AT H E Q U E
structure and circulation. The building criteria calls for maximum flexibility in both plan and se tion. Ito’s Aim was to design the building as transparent as possible a free from constraints. Truss-like tubular columns that appear to swa vertically through the building plates support the building against gra and earthquakes. The columns are also used to allow for stairs, eleva tors, mechanical equipment, and natural light shafts.
fall 2012 arc 301: matthew griffith partnered project Toyo Ito elaborates on the concept of the human body as a fluid while architecture can be seen as a device for storing and transmitting information. These ideas are clearly exemplified in the Sendai Mediatheque, which stands as one of the most important works of contemporary architecture.
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The essential elements of the building are composed of the tubes, plates and skin. However, the way these elements assemble and are expressed is what reinforces the clarity of the concept. Through the mediums of drawing, diagrams and physical model, the details and tectonics of the architecture were studied and communicated. The building was critically analyzed and diagrammed under five basic architectural lenses: orientation, enclosure, circulation, program, and structure. The physical model captures the essence of the Sendai Mediatheque by preserving the qualities of fluidity and translating the actual assemblies of the elements into a digestible scale. Twisting metal wire tubes pierce through the superimposed floor plates, securely tying them together. The transparent skin wraps around the structural framework and is emphasized with detail in order to express the relation of the façade orientations to the surrounding context.
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The Sendai Mediatheque relies on thirteen tubular structures that pierce the six floors and hold it up using the connection seen in the diagram. The tubes are constructed from a lattice of steel pipes. The tubes range in diameter of 2 to 9 meters in diameter. The four largest tubes in the four corners act as the main vertical and lateral support system which are structural and flexible, yet they also allow for circulation of people, light, and utilities through the floors. the slenderer tubes do not provide horizontal stability but are randomly placed on the floor plan and provide vertical support. Elevators and stairs are located within these tubes as the main options for ascending and descending. The foundations of these tubes were designed to absorb shock from earthquakes in the basement levels and leave the structures of the upper floors free. The reinforced concrete slab of the ground has been set on the outer walls of the foundation allowing for horizontal movement of up to 100 millimeters. The reticular columns are transformed into framed structures in the sunken levels with rounded heads that allow them to rotate. This complex structure system relied on prefabrication because on site construction would have been impossible to rely on due to the height of accuracy needed for this structure to come together.
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DW E L L I N G FO R A S C U L P TO R spring 2011 arc 202 Rebecca Necessary individual project The 60-year-old sculptor works by casting outdoor bronze sculptures to display the public, but wishes to live privately in connection to the landscape. By assessing the client’s daily activities in proportion to the site through three comparative lenses: work vs living, public vs private, and interior vs exterior, the dwelling is formulated from two volumes that emerge from the earth and interweave. As the traversing gesture conforms in plan and elevation, a range of different rooms emerge, each emitting a distinctive experience while suggestively contrasting adjoining rooms. Using this conceptual framework, the activities are appropriated to each of the rooms depending on the space’s particular quality and situation relative to other rooms. Because the dwelling is open to visitors, the varying floor levels were resolved by defining an intuitive distinction between public and private space. The visitors’ path widens towards expansive spaces and descends with the slope of the site to achieve an instinctive flow of public circulation, while the occupant’s path requires movement against gravity towards elusive pathways in order to limit public access into private spaces. The exterior walls are shaped in an introverted manner to establish privacy from the neighboring lots while preserving the vivid view towards nature.
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gathering carport kitchen dining terrace living bedroom personal terrace gallery studio
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C H A R L E S TO N M U S E U M Fall 2011 arc 201: Patricia Morgado individual The Charleston Museum has no artwork on display but uses a series of experiences to tell a story about itself. The museum is composed of two essential volumes [volume of line and volume of center] comprised of four major walls [wall of the city, wall of the surveyor, wall of light and wall of books] interwoven by a single circulation ribbon. The components are arranged in a way to treat the site rather as an archaeological artifact. Using the Charleston Sanborn Maps, the volume of line is embedded directly on the historical footprints of two houses that existed on the site before the great fire of Charleston in 1861. The threshold into the volume specifically alludes to traditional Charleston housing typologies of side entries via porch with columns. Users are greeted with a refreshing waterfall where they must step onto a delicately floating wooden circulation boardwalk to begin the sequence of events. Along the way, a visual connection is made with the Cathedral of Saint John the Baptist down Broad Street A climax is reached as one enters into the volume of center, where they are suddenly cascaded into a sensational space of natural atmospheres. Diffused light penetrates through the ceiling of the cube, washing down the concrete surfaces. The sound of thrashing water and the flow of cool air disperses throughout the space, as waterfalls exist just behind the four walls of the cube. The sequence comes to a resolution as users emerge out of the earth and are oriented back towards the sidewalk.
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SUN-KING spring 2010 d 105: Fernando Magallanes individual project
The Sun-King pushes traditional marionette design by reinterpreting human form into abstract geometries and attributing human traits to inanimate materials. Through an understanding of simple joints and connections, the functions of the sun are expressed through rays that can retract or sway back and forth to create a dazzling effect. The front face of the disc is carved using a sunk-relief technique to define its facial features. The sun is sculpted from MDF coated with acrylic paint and uses a ball-bearing mechanism in order to support its own weight without impeding upon the mobility of the rays. The end product stands as a visual tool used for narrative means.
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