design by
Derek Woods 970.389.8666 dereklwoods.com dereklwoods@gmail.com
Puerto Morelos Residence
Petersen Automotive Museum UCLA | Fall 2014 Prof. Ben Refuerzo Individual Project Pg. 4-11
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2013 Eccus Arquitectura Individual Built Work Pg. 12-19
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Machinarium Hotel
UCLA | Spring 2014 Prof. Craig Hodgetts Individual Project Pg. 20-27
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Columbia Cemetery Design Build CU Boulder | Summer 2011 Prof. Marcel DeLange Group Built Work
Chemosphere Redux
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UCLA | Spring 2013 Prof. Neil Denari Group Project Pg. 28-35
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Pg. 50-59
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Archipelago House UCLA | Winter 2014 Prof. Ben Refuerzo Individual Project
Frieze Art Fair
Pg. 36-43
UCLA | Winter 2013 Prof. Mohamed Sharif Individual Project Pg. 44-49
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The Petersen Automotive Museum is dedicated to the exploration and presentation of the history of the automobile and its impact on American life and culture. The design of the new structure calls for an interactive museum that engages with the site and visitor to create an active and dynamic display for the historic machines. When entering the Petersen Museum, visitors are led along a pathway of catwalks elevated above the 300 car vault. The walkways allow visitors to catch a glimpse of the rare and unique automobiles kept in the vault, enticing them to explore the optional area. The stepped ceiling also provides vantage points to view into and out of the galleries.
Surface, Void, Volume With half of the total program dedicated to visitor parking, the building takes advantage of the constant flux of cars as a form of exhibition. The ground floor is raised and sloped to transition the parking lot surface from a flat plane to a gradual field condition of undulating cars. This surface is inset with a hollow core looking down on the basement vault level. Visitors park their vehicles along the perimeter of the site and view into the museum below.
Outdoor Gallery
Rotating Displays
Main Galleries
Surface Parking
Entry Walkway
Vault Display
Underground Parking
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03 15 02 16 10
01 08 02
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04
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Ground
Level 2
Level 3
01. Lobby/Front Desk 02. Entry from Parking 03. Vault Car Display 04. Offices 05. Conference Rooms 06. Executive Offices 07. Underground Parking
08. Main Gallery 09. Auto History Gallery 10. Rotating Gallery 11. Class Gallery
12. Technology Gallery 13. Atrium Gallery 14. Outdoor Gallery 15. Artist Gallery
Grid Overlay The galleries are contained in the raised structures overhead, which cap the vault and allow uninterrupted views across the site. To enter the galleries, the main stairway cuts directly into the floor of the volume above and switchbacks, transitioning from the street grid to a cardinal grid.
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Gallery Overlap The organization of the galleries provides moments of overlap and fissure, which dictate the circulation through the spaces. Each large gallery is separated by a smaller volume containing areas of respite and rotating art displays. The galleries utilize the structure of the building to guide navigation, support upper levels, and layer the space from the channel glass walls to the exhibition areas. The interiors are composed to create a sense of momentum to emphasize the dynamism of the vehicles.
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The new residence, situated along the mangroves and beaches of Puerto Morelos, Mexico, offers a comprehensive remodel and addition of a former single-room studio into a three-bedroom home that benefits from its climate and surroundings. In collaboration with local architecture firm, Eccus Arquitectura, I designed the home and landscape to incorporate local materials and modern style, blending vernacular construction with sustainable design.
Preserving Site
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The former foundation and walls set the grid for the residence, which is designed to reduce costs by maintaining as much of the existing vegetation, structure, and site variances as possible. The new design is heavily influenced by the client’s needs for the home to host family gatherings and vacations and be easily accessible by wheelchair.
Repurposing the palapa roof of the original house, the residence deconstructs the canopy to create a continuous pergola throughout the home. The wooden feature extends from the entry, through the living spaces, and out again to the private yard, visually dividing the open plan functions and diffusing sunlight from the skylights above.
Existing Site Condition
Final Design Scheme
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The design of this 125 room hotel considers the entire mass and function as that of a transportation hub. With the connecting subway terminal, car rental service, and vast amount of parking requirements, movement is central to the design of the hotel. The layout of the building is inspired by a mechanical relationship of program and parts to interact with vehicle and pedestrian paths of travel.
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Wilshire Blvd.
Rooms and Suites
Conference Rooms
Restaurant
Skywalk
Parking Helix
Parking Core With provided parking for hotel guests, car rental services, and subway transfers, the integration of the parking structure was crucial to the building volume. Due to the size of the parking program, occupying almost 50% of the built space, a double helix is used to bridge across Little Santa Monica Blvd. to reduce its footprint to the site surface. It also acts as an anchor for the remaining structure as pieces plug in to the vertical cores. Secondary parking for the subway is located adjacent to the hotel, but still accessible to the helix.
Pool and Gym
Bar
Lobby Lounge
Stores and Kiosks
Subway Parking
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Floor Plan Mechanics In contrast to the linear and spiral forms of the parking garage, the pedestrian spaces take on a more freeform plan. The subway entrance as well as stores and kiosks are located in a subterranean level that acts as a reveal for the hotel, passing through the hotel lobby. In the same way, the lobby itself is designed as a series of freestanding balconies that overlook the pedestrian space and parking helix.
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Ground:
Lobby, Kiosks, Valet, Subway Entrance
Level 2:
Level 7:
Skywalk, Conference Rooms, Restaurant, Pool
Level 8-16:
Lounge, Restaurant, Parking
Typical Rooms, Suites
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The Chemosphere, designed by John Lautner in 1960, is a misunderstood structure teetering on the edge of the Los Angeles hills. The design can be described as an analysis of depth of field. Lautner’s structure collapses the living spaces into a foreground condition and allows for the city backdrop to become a background for the interior scene. In this sense, the middleground is completely dissolved. With a team of two students, I designed a modern interpretation of Lautner’s pillars of design: immerse the visitor in the atmosphere of the space, collapse the foreground and background conditions into distinct planes, and eliminate a single vantage point.
Peripheral Vision Lautner employs radial planning techniques in both plan and section in the design of the Chemosphere. In plan, the viewing subject’s gaze is directed to a reinforced periphery. In section, Lautner uses the spacing between wood framing members to sweep attention towards a horizon. The radial technique, in combination with a reinforced horizon, produces an effect that pushes panning properties of peripheral vision to an extreme.
Reflecting Vision The quarter plan is a reduced form of Lautner’s octagonal structure but works in similar methods by mirroring the space along the flat wall, duplicating both the room and viewer. Interior furnishings and occupants serve to populate the foreground while the field condition of Los Angeles populates a distant background. The subject’s vision is transported via the radial plan as it stretches continuously toward the periphery and horizon.
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Longitudinal Section
Transverse Section 33
Structural Skin 34
Developable Surfaces 35
Located along a high traffic street for business and beach access in Santa Monica, the Archipelago House straddles the edge separating single story homes and commercial buildings. With this in mind, the design takes on a unique mixture of retail and residential program with a three bedroom home connected to a SCUBA Dive Center. The shared space between the two functions takes the form of a large pool for recreation and training. As the water wraps around the site, it provides a training space for the divers and an introspective view and layout for the residence, giving shape to the living areas. The pool intersects into the home, becoming a reflecting pool and entry approach.
Fluid Spaces The residence forms a bridge across the water, separating the public and private spaces and providing interior atria. The living room extends outward to catch sunlight and transverse views while also bottle-necking the pool to privatize an outdoor deck.
A
B
C
D
E
106'-3"
Level 1
24'-11" 12'-2"
15'-0" 11'-4"
20'-0"
1'-5"
5'-0"
10'-0"
15'-0"
21'-4"
15'-0"
1'-5"
2 A3.2
4'-6"
12'-0 1/2"
1 A3.1
5'-0"
5'-4"
5'-0"
20'-0"
1 A3.1
20'-0"
10'-0"
2'-7 1/2" 1'-0"
3 A3.2
1'-0"
1
15'-5"
10'-0"
20'-0"
20'-0"
10'-0"
2
1'-0"
1'-0"
3
3 A3.2
2 A3.2
N
2'-10"
18'-2"
24'-11"
38
3'-11"
10"
11'-8"
15'-0"
2'-6"
2'-0"
20'-0"
8'-0"
10'-0"
9'-0"
6'-0"
15'-0"
3'-10 1/2"
10'-8"
17'-3"
2'-8"
A
B
C
D
E
106'-3"
Level 2
24'-11" 12'-2"
15'-0" 10'-9"
20'-0"
2'-0"
5'-0"
10'-0" 15'-0"
5'-0"
15'-0" 5'-0"
7'-3"
21'-4" 7'-9"
3'-10 1/2"
2 A3.2
10'-10"
2'-11"
3'-8"
12'-0 1/2"
1 A3.1
5'-0"
5'-4"
5'-0"
20'-0"
1 A3.1
20'-0"
10'-0"
1
2'-7 1/2" 1'-0"
1'-0"
3 A3.2
10'-0"
20'-0"
20'-0"
10'-0"
2
1'-0"
1'-0"
3
3 A3.2
2 A3.2
N
2'-10"
18'-2"
24'-11"
3'-11"
10"
10'-11"
15'-0"
3'-3"
3'-5"
20'-0"
3'-3 1/2"
10'-0"
3'-3 1/2"
9'-0"
6'-0"
15'-0"
3'-10 1/2"
11'-7"
2'-8"
18'-1 1/2"
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Rhythm and Structure The building is composed of a series of distinct, overlapping, and angled surfaces, which are supported by a five-foot grid of flitch-beam moment frames. The repetition of the beams highlights the gradual shifting planes and geometry as you move from one space to another. In the opposite direction, the structure resists lateral forces through a shear skin system.
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2 20'-0"
Roof Cladding
12'-4"
EL FR 57’-10”
24'-10"
Bedroom
1'-0"
11'-6"
EL FF 45’-6”
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Entryway
EL FF 34’-0” EL FF 33’-0”
3 20'-0"
RHEINZINK CLADDING PANELS
1/2” PLATE STEEL MEMBRANE ROOFING MOUNTING BRACKET
1/2” PROTECTION BOARD VAPOR BARRIER
DOUBLE GLAZED WINDOW 1”X5” HEX BOLT 8”X16” BASE-PLATE ALUMINUM MULLION
1 5/8” GALVANIZED FURRING STRIP RHEINZINK MOUNTING HARDWARE
CRUSHED GRAVEL
3” RIGID FOAM IMSULATION 3/4” PLYWOOD
GRADE BEAM
2X4 HEADER ALUMINUM MULLION 1/2”X4” RECESSED HEX BOLT
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The project adopts and adapts the program of the Frieze Art Fair, imagining it to take place for two weeks annually in Los Angeles. Programming for the remaining fifty weeks of the year is managed by the Frieze Art Foundation, which focuses on multi-generational arts education and events, including screening facilities, experimental cuisine restaurants, and smaller seasonal art fairs. The design of the 100,000 square foot building emphasizes user interactions and creates spaces for the seasonal events as well as the spontaneous activities that take place on the site.
Site
Cross-traffic
Gallery Loop
Structure
Responsive Truss The main volumetric gesture utilizes the urban context to cut through the site and building mass, carving away a central courtyard space and connecting the main pedestrian nodes. The truss structure is a direct translation of the forces acting on the cantilevers. Each web of the truss is scaled and differentiated according to its compressive or tensile forces. The opposing forces create a gradient of members ranging in depth and mass, allowing the building to maintain a sense of transparency while also boasting the efficiency and strength of the system. 47
Terraced Exhibit The main gallery space is located within the trusses, which cantilever and surround the courtyard, providing momentum for pedestrians as they follow the continual gallery loop over screening facilities, auditoriums, classrooms, and restaurants, touching down to the ground at public spaces. The cantilever allows for a unique opportunity to step the gallery floor and create multiple levels of terraced displays for dividing works, artists, mediums, indoor and outdoor works, and even create distinct paths through the network of galleries. Site Plan
Central Courtyard
The historic landmark of Columbia Cemetery in Boulder, CO, has come into disrepair in recent years. Since its establishment in 1870, hundreds of headstones have been damaged or vandalized. As the artifacts of the site gradually wear away, the cemetery risks losing the links to its origin and history. With a small team of students from CU Boulder, I participated in the design and construction of a project to revitalize the public space. The new storage and restoration facility provides an opportunity for the active cemetery volunteers to repair the grave markers and grounds.
Grave Marker Intended to accommodate multiple user groups, the design integrates a public space intersecting the building mass. The two remaining volumes differentiate the storage and grounds-keeping space from the working restoration room. The public cavity acts as a shaded area for volunteers and visitors to the cemetery. Like a headstone, the building was designed as a marker and symbol of the cemetery. Facing east with the graves, the building presents a white polycarbonate wall that transmits sunlight to the interior and diffuses light to the exterior at night. The building extrudes west from the symbolic facade, creating modest northern and southern faces that do not detract from the focus of the cemetery.
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Detailed Assembly To complete the project on time and on budget, most aspects of the building were designed to be pre-fabricated at the studio. Hundreds of pieces of flat-pack, 1/4� steel were plasma cut and sent to our facility, where they were welded into the connections of the structure. Simultaneously, 20 foot lengths of 2x8 LSLs were cut and drilled to create the basic structural components. The framework was then assembled on-site in a matter of days. 54
Weathered Materials A public cavity intersects the structure and allows visitors an escape from the elements. Clad in local beetle-kill lumber, the walls of the cavity also display a timeline, chronicling the history of the site. Recycled concrete gravel and logs from recent forest fires define the exterior path and landscape surrounding the building. Corrugated CorTen steel offers a protective skin, which will continue to wear and age with the headstones it protects.