17 ARCHITECTURE | PROGRAM PORTFOLIO
TABLE OF CONTENTS | PROGRAM PORTFOLIO
STUDIO 1 2-3 4 5-7
Exploring Different Mediums Drafting Wearable architecture
STUDIO II 9 10 11 12-13
E-Building Analysis Wall section Abstracting a Texture Interior Space Design
DESIGN COMMUNICATION I 15 DESIGN COMMUNICATION II 16 17
Rintala Boxhouse Board
Warped Surface Clock Design
STUDIO III 19-21 22-25 26-27 28-32
Marta Station Analysis Precedent Studies Structural Hypothesis Redesigning the Station
STUDIO IV 34-35 36-38 39-43 44-46
Marietta Square Analysis Material Studies Design synthesis Final Design
*Drawings may not be to scale.
STUDIO 1
EXPLORING MEDIUMS |
After completing module one, the first year students went on a field trip to The High Museum of Atlanta, GA Tech, and the Emory Campus to study the different styles of architecture. Notes were taken in the form of quick sketches in graphite and photographs. The final assignment was to utilize our skills from module one to produce a larger drawing ,with our choice of medium, of our favorite view.
GRAPHITE PERSPECTIVE
PEN SKETCHES
PHOTOGRAPHY
STUDIO I
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CHARCOAL DRAWINGS | CHARCOAL GESTURES
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Charcoals were among the last mediums we explored. Through different exercises of quick gesture drawings and light and shadow studies, charcoals were a great tool for emphasizing movement in a drawing and in a still sense understanding the different tonal values created by light and shadow.
CHARCOAL PERSPECTIVES
STUDIO I
DRAFTING |
Understanding hand drawing and the beauty in the detail was the point of this module. Only through exact measurements would a drawing come out right. Understanding of orthographic and axonometric views, and development in craft were the goals in this exercise. Drawings were originally drawn to full scale.
ORTHOGRPAHICS
MEASUREMENTS
STUDIO I
PLANS AND ELEVATIONS
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DESIGNING WEARABLE ARCHITECTURE | DESIGN SKETCHES
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Through the skills attained in modules 1 and 2, as designers we were given the task of developing wearable architecture. Before actual design began, we were tasked with drafting our own bodies, so that we may trace over the drafts for design concepts to scale.
CONCEPT DRAFT
STUDIO I
EXOSKELETOAST SHELL
DIAGRAMMING THE ARMOR 1) DESIGN INSPIRATIONS
1) DESIGN INSPIRATIONS
2) STUDY MODELS
When it came to the design process, I was most intrigued with the inside of the toaster. The metal prongs and clamps, and the associated mechanics of those pieces were visually intriguing, and was something I wanted to incorporate into my ďŹ nal design. The shell was also a characteristic that I wanted to explore. Using the golden ratio as a guide, i began to culminate several designs through sketches and models.
2) STUDY MODELS Through sketches I was able to hash out several design iterations. However, application and understanding of the mechanics were also apart of our exploration in wearable architecture, so by the use of study models, using chipboard, poster board, and wooden dowels, I began understanding how my design could come to fruition. The golden ratios use of curves inspired me to give my linear design a similar curve, but one that acted with the mechanics of a face shield using rotation of a normal helmet.
3) FINAL MODELS
4) MODEL APPLICATION
3) FINAL MODELS Emphasis was applied on the coating and coloring of the exterior of the armor, to give it a metallic look and shimmer. The intentional gaps of the design allowed for the separated components to slide in on each other, while also giving the wearer multiple points of vision. The light penetrated through the slits also give a unique sense of space in the design.
4) MODEL APPLICATION Upon wearing the armor, the user appears to be wearing a mix of a shell and exoskeleton, with the visual structure. Hence the name. The plated pieces are connected through an interlinking structure that runs throughout the entire armor. The plates in the helmet are suspended by individual dowels on each side of an interior head piece so that the helmet may be worn comfortably.
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STUDIO I
STUDIO II
E-BUILDING SITE ANALYSIS Module 1 in Studio II was an introduction to site analysis. We were required to measure a section of a building of our choosing and then draft and sketch out the measurements to scale. Our plans, sections and elevations would eventually lead up to a ďŹ nal section axonometric drawing. After our initial elevations, sections and plans of our building we were tasked with diagramming our building section. After diagramming our drawings and researching on construction we were then tasked with hypothesizing the true inside materials of our section that we chose.
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STUDIO II
WALL SECTION AND DIAGRAMS
STUDIO II
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ABSTRACTION OF A TEXTURE [Screen] | 2D - 3D ABSTRACTION (1ST ITERATION)
Module 2 was an introduction to abstraction. We were asked to take a texture from our site and to abstract the texture into multiple concepts. We went from a 2d representation to a ямБnal 3d abstraction.
2D INK PRINTING COLLAGE (2ND ITERATION)
3D FINAL ABSTRACTION ITERATION
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STUDIO II
DESIGNING THE SPACE |
Upon completing our abstractions we were then assigned with designing a space of 25’x25’10’ tall. The idea was to incorporate our final abstraction into this space through development in drawings, detailed and sketches. After the plans were complete then we had to construct a final model.
ORTHOGRAPHICS
MODEL PHOTOGRAPHS
STUDIO II
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PERSPECTIVE SKETCHES
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DETAILS OF CONNECTIONS
STUDIO II
DESIGN COMMUNICATION I & II
RINTALA BOXHOUSE In Decom. 1 the focus was around learning of the different softwares of Rhino 3D, Illustrator, and Photoshop. We were tasked with selecting a site and building it in Rhino and presenting the ďŹ nal drawings on a 32x32 board.
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DECOM. I
WARPED SURFACE |
Using rhino, the assignment was to manipulate points on a surface to create a “warped surface“, and then laser cut the individual pieces to build a model.
MODEL PHOTOGRAPHY
DECOM. II
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ENVELOPING TIME |
Using quick sketches and a concept statement, the project was designed around building a clock in rhino.
SHADOW RENDER
EXPLODED PERSPECTIVE
ORTHOGRAPHICS
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DECOM. II
STUDIO III
Going into second year, our first project was to redesign an existing Marta station after developing a design through site analysis, precedent studies and then developing a structural hypothesis to incorporate into the final design. Our first form of analysis was in the way of measuring and modeling the site in Rhino. Below are some plans, elevations, sections, and a rendered view of the Midtown Station.
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STUDIO III
Upon seeing the site at a macro scale, immediate observation is that the site is very dense. To understand the density I broke down the midtown area into three typology diagrams. Through these I began to understand the placement of certain buildings and how the surrounding programs and structures can inuence my design. One notable feature of the surrounding buildings was the use of art throughout midtown, even in the underground station.
When photographing the site I noticed that the main Marta station merely served as a canopy, or waiting area for the underground station below. There was also a notable entrance to the underground across the street which presented an opportunity for a cross connection between the streets.
STUDIO III
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After I analyzed the site on a micro level, not just on program but on structural and spatial variables I began to construct a proposed program for myself. The diagrams to the left show some of the micro analysis I did, and the diagram to the right shows my rough proposal for how I want to approach the project through program.
With the dense environment of buildings surrounding the site, I knew with my approach in the design process that I would want to create a building that is lighter in appearance, perhaps even pavilion like. This would promote more circulation through the structure and offer more opportunity for greenery. I wanted to also make a connection with the entrance across the street. Seating was sparse from what I observed, additional seating for patrons waiting would be required. With inspiration of the surrounding artworks I wanted my design to also appear as a piece of art that would inspire everyday commuters and passersby as they observed the station and walked through it. My precedent studies moving forward would need to accommodate all of these potential ideas for programming.
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STUDIO III
PRECEDENT STUDY 1 | ORQUIDEORAMA PLAN B ARCHITECTS + JCPR ARCHITECTS
STUDIO III
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STRUCTURAL ANALYSIS |
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Through my analysis of the Orquideorama pavilion I began to look at the different loads within the structure, and how something so massive could still look and feel so light and airy aesthetically. I took note of the small footprint and the modular system when moving forward with my own structural hypothesis.
STUDIO III
PRECEDENT STUDY II | EIGHTEEN TURNS [Abstraction] DANIEL LIBESKIND
STUDIO III
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STRUCTURAL ANALYSIS |
Upon analyzing the eighteen turns pavilion, I chose to further study the structure by incorporating the idea of origami folding into my own design. I observed the forces within the structure and broke down the design into several iterations of models for further analysis and documentation.
JOINT SKETCHES
LOAD DIAGRAM
Metal Panel with Cross Columns and Connections Primary Structure
Primary Column with Joints of Beams
Secondary Structure Tertiary Structure
Secondary Tension System Tertiary Panel and Riveting System Tension
Compression
Compression
Base Connection Cross Connections Tension
Types of Forces
ORIGAMI LAYOUT
ABSTRACTION MODELS Initial Origami Study
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Detailed Section
Tension Diagram
STUDIO III
STRUCTURAL HYPOTHESIS |
Below is a series of study models, that led up to the final design. The lower image is the final structural hypothesis and the design I will continue with in my Marta Station Renewal.
STUDY MODELS
STUDIO III
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STRUCTURAL ANALYSIS |
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After studying both Orquideorama and the Eighteen Turns Pavilion I developed my own structural hypothesis, taking inspiration from both pavilions. I wanted to incorporate a small footprint with the origami folding technique. I developed my design to appear sculptural as if it is its own piece of art. The diagrams below show the different structural components well as material connections. The column system was later removed because through the trusses and folding system alone, the structure will stand.
STUDIO III
PULCHRA TRIGONI |
STUDIO III
Pulchra Trigoni translates to beautiful triangles. The form was inspired by the artwork throughout midtown as well as the precedent studies. The structure was informed by the program proposal from the ďŹ rst phase. The design intent is be a structural sculpture/ art piece of the midtown area. The image below is the north elevation.
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STUDIO III
ORTHOGRAPHICS AND RENDERINGS | NORTH ELEVATION
Throught the orthographics you begin to see the different layered systems. The different panels are steel studded sheets, glass panels, and solar panels to help illuminate the station at night. The Piece is sculptural in design and even reaches to the other end of the street to create a connection to both entrances of the Midtown Station. SITE PLAN
SOUTH ELEVATION
FLOOR PLAN SOUTH ELEVATION
EAST SECTION
PERSPECTIVE RENDERINGS
STUDIO III
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MARTA REDESIGN FINAL MODEL
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STUDIO III
FINAL MODEL PHOTOGRAPHY
STUDIO III
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STUDIO IV
MACRO SITE ANALYSIS |
STUDIO IV
Our client for the project was a company called the LCI which focused on community expansion. I chose to focus on understanding circulation through the site so I could bring more people of the community towards the building to build interest in the LCI and get more people involved in their community. Through the tectonic breakdown I began to understand the intentions of the urban designers and how I could potentially harness circulation.
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MICRO SITE ANALYSIS |
CIRCULATION CONCEPT DRAWING |
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After my observations of the site on a macro level I wanted to begin to understand circulation on an experiential level through observation studies and understanding how people respond to different conditions based on their sense of space. I also studied the power over and power to conditions which studies people feeling empowered in a space or feel the sense of power over them. I separated program on oors based on this system of hierarchy.
Moving forward into the design process my concept statement developed into engaging circulation. I wanted to this to inform how I approach my future studies and designs in material studies as well as form.
STUDIO IV
MATERIAL STUDIES |
STUDIO IV
The second phase of the design process was focused on material witness and our experimenting with selected materials. For my materials I chose to study resin and plaster and its ability to form different shapes as well as its effects in those shapes. I furthered my studies into understanding of joints, light interaction and image projection. Moving forward with these experiments I would then construct a ďŹ nal iteration that shows my mastery over the material.
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FINAL ITERATION ITERATION III | TESSELLATION
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STUDIO IV
MATERIAL STUDY CONCEPT COLLAGE
STUDIO IV
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THESIS DRAWING |
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For the ďŹ nal phase of design we were then able to combine the previous phases into a ďŹ nal form and building design. With my concept revolving around engaging circulation I designed a building informed by a circulation diagram. This allowed me to carve out the form seen below. The material study is in the form of the casted glass columns that also move through the roof to act as a sun roof, which helps to circulate light through the entire building.
STUDIO IV
DESIGN SYNTHESIS |
Through my individual design process I chose to work through multiple iterations in plan view, including diagramming. After a few iterations I would then make a small study model to understand the space on a 3D level, and then continue with more drawings and models.
CIRCULATION DIAGRAM INFORMING DESIGN
The Diagram to the right is a perspective representation of the diagram I used to start to carve out my design from the existing site. It incorporates multiple points of intersecting circulation paths.
PLAN VIEW TO MODEL MAKING ITERATIONS
STUDIO IV
ITERATION 2 DIAGRAMMING
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FINALIZING ORTHOGRAPHICS |
SITE PLAN
(Structural Overlay)
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EAST ELEVATION
After multiple iterations of manipulating circulation through the site, I came up with a form that engages circulation on both floors, inside and out. The bridge on the second floor creates a sense of unity between the spaces and offers a unique viewing experience of the Marietta square and buildings surrounding the site.
FIRST FLOOR
(Program Overlay)
SECOND FLOOR (Program Overlay)
SOUTH ELEVATION STUDIO IV
The program is designed around a more public first floor with the gallery, reception desk, and outdoor classroom being open to the public to encourage interaction with the LCI. The second floor is more private and reserved for two of the three offices, conference room, and project studios.
STUDIO IV
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After a ďŹ nal form was decided, plans were drawn in elevation in comparison to the site to make sure the design is cohesive with the surrounding square while also remaining constant with the design concept statement of engaging circulation.
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STUDIO IV
DIGITAL RENDERINGS
STUDIO IV
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LCI DESIGN PROPOSAL
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STUDIO IV
FINAL MODEL PHOTOGRAPHY
STUDIO IV
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THE BEST WAY TO PREDICT THE FUTURE IS TO CREATE IT. -PETER DRUCKER