DANIEL S. JOHNSON Architectural Portfolio; 2008-2012
WORK
RESUME
EDUCATION
INTENT
2013
Master of Science in Architectural Studies (Pedagogy) Washington University in St. Louis - WUSTL Sam Fox School of Design and Visual Arts
2012
Master of Architecture University of South Florida - USF School of Architecture and Community Design
2008
Associates in Arts (Architecture) Saint Petersburg Florida - SPC
Daniel Stephen Johnson dsjohnson496@gmail.com
My architectural education has lead me to an understanding of the world which transcends a traditional notion of architecture, allowing me to understand the world and its many elements through a general lens of “design.” Everything for me now has become a thought about design and art, leading me to understand the world as something entirely fabricated on many different scales - from the molecular, to the scale of a mile high skyscraper. Architecture has thus taught me to examine the world for its constructive qualities and has opened my eyes to a boundless world of possibility. I know and forever will seek any opportunity to interact with, and respond to these constructed conditions in order to discover news ways in which they can evolve and transform culture and technology. My interests range from photography, to the culinary arts, to the construction of a lamp shade or the structural expression of a building or a piece of jewelry. All of these interests provide the same underlying structure: that of meaningful and craftoriented design. Most recently I have completed a second Master’s degree in Architectural Pedagogy, which allowed me to expand my research interests in education and learn the importance of how a meaningful and lasting education is constructed and facilitated. This again plays into my new found understanding of the world as a constructed place. As an architect I believe I have no limitations in the types of design projects I can engage with, and that freedom allows me to explore and combine ideas from a variety of domains and interests. My intent for employment is to first engage in the profession of architecture, to ultimately become a registered architect, but to eventually not necessarily bound myself to the construction of buildings, but rather ideas which can be constructed and utilized or experienced in a meaningful way.
SKILLS
AWARDS & HONORS
Physical: Model Making Woodwork Hand Drafting Sketching Photography
2013
Graduated with Honors (GPA) - WUSTL
2012
AIA/AAF Henry Adam’s Gold Medal - USF Given to the graduating senior with the top ranking grade point average.
Machinery: Wood Shop Tools 3D Printing CNC Milling Laser Cutting
Software: AutoCAD SketchUp V-Ray Adobe Photoshop Adobe InDesign Adobe Illustrator Adobe Lightroom Photomatix Pro Microsoft Office
2012 Eduardo Garcia Award - USF Considered the top design-based award at USF SACD. The faculty annually nominates four graduating seniors who have displayed dedication to the school, have a strong academic record and who have displayed considerably strong design work. These nominees create a gallery of their cumulative work which is then evaluated by the prior winners who ultimately decide the next recipient of this award. 2012
Thesis Prize - USF Three students are selected annually for the USF SACD Thesis Prize. The award stands for high recognition in research quality and execution within the terminal Masters Research Project.
2012
Provost’s Award for Outstanding Teaching Nom. - USF
2011
All-School Charrette, First Place - USF
2010
CSI USF Chapter President Certificate Award - USF
2010
Faculty Outstanding Portfolio Award Nominee - USF
2010
Masonry Scholarship Nominee - USF
2009
USF Eatonville Charrette Finalist - USF
WORK EXPERIENCE + LEADERSHIP 2012 - 2013 Aug - May Contact
Graduate Teaching Assistant Washington University in St. Louis Fall of 2012 I was a teaching assistant for Introduction to Design Processes 1, a freshman level design studio. Spring of 2013 I was a teaching assistant for a junior/ senior level design studio focused on urban and landscape issues. Lindsey Stouffer + 1 314 605 0880 Kees Lokman + 1 312 287 5041
2011 Graduate Teaching Assistant Jan - Dec University of South Florida Spring of 2011 I was a teaching assistant for a graduate level design studio (Core Design 2) which focused on tectonics, archetypes and precedents analysis. Fall of 2011 I was a teaching assistant for a graduate level design studio (Core Design 1) which focused on fundamental design principles. Contact Kuebler Perry + 1 813 361 3077 Mark Weston + 1 813 406 0461 2009 - 2011 Oct - Dec Contact
2010 - 2011 Aug - May
AIAS Student Chapter Vice President University of South Florida
2010 Undergraduate Teaching Assistant Jan - May University of South Florida As a part of a course called Teaching Methods I assisted in being a teaching assistant for an undergraduate level design studio (Introduction to Architecture 1). Contact Nancy Sanders + 1 813 974 4031 (USF) 2009 - 2010 Construction Intern Oct - Mar I helped construct and install a large scale glass mosaic designed by artist, Mari Gardner, which was commissioned for the exterior entry façade of the Glazer’s Children’s Museum, designed by Gould Evans. Contact Mari Gardner + 1 410 262 8595 2009 - 2010 Aug - May
CSI USF Student Chapter President University of South Florida
Graduate Research Assistant University of South Florida I assisted Mark We ston in constructing and documenting prototypes which explored material performance and form manipulation. These prototypes were displayed at the Sarasota Art Center for one month in December of 2011. Mark Weston + 1 813 406 0461
REFERENCES Robert MacLeod, AIA
Albert Alfonso, AIA
Michael Halflants, AIA, LEED AP
Robert McCarter, AIA
University of South Florida
Alfonso Architects
University of South Florida
Washington University in St. Louis
Program Directior
Principle Owner
Associate Professor
Ruth and Norman Moore Professor
rmacleod@usf.edu
aea@alfonsoarchitects.com
halflants@usf.edu
rmccarter@wustl.edu
+ 1 813 974 4031 (USF)
+ 1 813 247 3333
+ 1 941 365 1820
+ 1 314 935 6226
SPACE & ORDER Core Design 1; Fall 2008 Professor Steve Cooke 2 weeks
An abstract exploration in three dimensional spatial, material, and tectonic relationships. A central spine with progressive spacing creates the generator for tectonic and spatial response. A tectonic system of linear elements envelope the exterior of the spatial volume in order to help explicitly define it and act as a structural apparatus for other space defining elements. This skeleton not only anchors to the central spine but also plays a critical role in supporting eight planar screen elements which create a distinct facade for two elevations. These screens act as space defining elements while also playing a role in a larger compositional strategy which responds to an internal spatial gestalt organization which originates from the central spinal articulation.
SPACE & LIGHT Core Design 1; Fall 2008 Professor Steve Cooke 2 weeks
An illuminated journey of hope, anticipation, and solitude. This small prayer facility emphasizes the importance of light and shadow within architectural design. A central planar canvas becomes a spatial organizer and a receiver of shadow. A tectonic system of elements becomes a secondary organizer which help support the primary prayer space which is suspended above a river. The spaces which lead to this prayer space receive light through a variety of ways as the day progresses from sunrise to sunset. This articulation of light allows the inhabitants to understand the time of day through the specific illumination of light. Each space tells a multitude of stories regarding light creating moods for reflection and peace within these holy spaces.
RIVERFRONT RETREAT Core Design 1; Fall 2008 Professor Steve Cooke 4 weeks
A park side retreat designed for gathering and celebration. This communal structure is organized by a rhythmic punctual spine which not only serves as a critical primary structural element but also as a transitional space between a circulation corridor and the spaces for which it serves. This structural spine works alongside a tension system which aids in allowing the roof structure to maintain its form. The overall plan geometry is born from the site as the north side triangulates in response to the curve of the rivers southern bank. All of the spaces face the river as to emphasize the view and availability of water. The spaces are further defined by a series of sinuous curves which aim to contrast the rigid orthogonal repetition of the structure.
THE CORNER
Core Design 2; Spring 2009 Professor Cecilia Guardia 2 weeks A study of the tectonic juncture of a corner. A section of a house was to be designed on a slope explorting the intersection of space defining elements. The plan is organized as two shifted grids which interact with each other creating a variety of tectonic relationships which are contingent upon each other in order for them to play their individual roles. The floor plate steps down responding to the gesture of the topography, while the ceiling is broken up into sections to allow light to indirectly infuse the space from above. Suspended below the primary ceiling is a gridded substructure which acts as a levitating focal point while also supporting a screen that wraps and encloses the space allowing filtered/dappled light to penetrate it and phenomenologically affect the space.
FLOOR/CEILING
Core Design 2; Spring 2009 Professor Cecilia Guardia 2 weeks Sited in the desert of western New Mexico this cabin creates a relationship between the adjacent Walter de Maria “Lightning Field” installation and architectural expression. Inspired by the site this project conceptually focused on the idea’s involving energy transfer. A sculpted stereotomic concrete base grounds the project, delineating path and seating elements. A long fire pit is carved into one side of it while the roof opens up for ventilation. Heat from the fire pit is absorbed into the concrete and passed through to the sleeping area which is enveloped by a low roof, providing a warm environment for the cold desert nights. A central path also exists, dividing public and private space which ultimately leads to a moment of solitude for viewing the landscape.
MIAMI MIXED-USE Core Design 2; Spring 2009 Professor Cecilia Guardia 4 weeks
The energy and unexpected nature of Miami culture comes together in this mixed use project forming a dynamic plan which holds a Miami beach corner site. The lower floor houses a bookstore and cafe while the upper floor is the residence of the owners. The public spaces of the house are open to below to create a provocative and unusual relationship between public and private leaving the bedroom the only truly private space for the owners. Tectonically the building creates a dynamic relationship between interweaving ceiling planes, vertical stereotomic elements and delicate interstitial moments which slice throughout the architecture breaking down the scale of the larger elements and creating moments for direct light infiltration into the spaces.
SARASOTA RESIDENCE Tropical Design; Summer 2009 Professor Michael Halflants 12 weeks
This private home architecturally focused on harnessing the climatic conditions of the nearby coast of Sarasota, Florida. The home has the option of being mechanically conditioned or passively cooled through natural ventilation. Breezes can be pulled through the length of the house through walls which the occupant can open like vents. A large butterfly roof covers the house and helps shade the primary covered living space with the assistance of a large vertical screen. The roofs geometry also helps channel rainwater into a grey water collection system for later use. The primary conditioned spaces are set back from the hot southern edge of the site and placed along the cooler northern edge to allow for a more pleasant thermal experience.
REVEAL LAMP
The Care of Making; Summer 2009 Professor Steve Cooke 12 weeks the Care of Making course teaches the importance of care and craft. For my project I created a wooden lamp constructed of four columns and sixteen vertical louvers which slide horizontally in a staggered pattern revealing or concealing the light behind them. The experience of the lamp is meant to begin with all of the louvers in a closed position, allowing no light to be revealed. The revelation of light is left to the user as they must exert the effort and slide the louvers open around the lamp to reveal as much light as they desire. This idea was inspired by the trials and tribulations of life: When life brings us down in the dark it is up to us to pull ourselves out, in essence introducing light back into our lives. How much light we want depends on how much effort we put into it.
THE NEW ELECTRIC Core Design 3; Fall 2010 Professor Mark Weston 6 weeks
Located on a 32’ x 104’ in-fill site in historic Ybor city, we were given the challenge to create a small bar and museum which would display new technological forms of art. Site in such a historically protected area I utilized the cities history as a prior industrial center and the modular and scalar quality of its brick envelopes. Constructed of a steel framing system with exposed Hambro trusses the building is organized as two linear bars, one programmatic the other circulatory. The front facade is constructed of brick size modules which pneumatically move to form different patterns, much like a pinscreen toy. This facade is meant to reflect the technological theme of the art inside while also becoming a dynamic way of redefining streetscape sinage.
THE TECTONIC TOY Core Design 3; Fall 2010 Professor Mark Weston 1 week
Tasked with designing a toy which can be constantly changed, I created a system of a singular repetitive tetris-like shape which could interlock in a variety of ways with each other. Eight holes were drilled into each block so that a thin metal connector piece could be slid through and used to string a series of blocks together. A base with an even grid pattern of holes was designed to support rigid metal columns (the connectors) which could be placed as needed. These metal elements could also be used horizontally to hold the blocks in that orientation. This design yielded a product which had an infinite number of possibilities in exploring various compositions, which inherently not only taught constructive skills but potentially spatial ones as well.
HIGH LINE TOY STORE Core Design 3; Fall 2010 Professor Mark Weston 6 weeks
Inspired by the Tectonic Toy Project, the block shapes were transformed to create a building which slipped under the High Line and raised up adjacent and above it’s horizontal datum. This form created a section which allowed the building to create a deeper more spatially dynamic streetscape below and create an opportunity for habitation on the roof of the structure above. This stepped roofscape became a relaxing amphitheater-like environment for the High Line, playing into the various themes proposed by Diller & Scodfidio. The spacing between these steps and seating also allows for light to penetrate the building. The building also provides multiple ways to ascend and descend to and from the High Line, ultimately creating a dynamic threshold for visitors.
BOTTLE CANOPY
Digital Fabrication; Spring 2010 Professor Mark Weston 6 weeks Desiring to find a sustainable way of creating a small daytime shelter my team turned to the idea of recycling. We collected plastic Zephyrhills water bottles from the campus recycling bins and devised a bi-layer structural skeleton made out of acrylic that would hold the bottles and allow us to create a wall section that could be shaped into a parabola. We first designed the form and used digital means to design the componentry needed. Each row of acrylic was unique from the next and was laser cut and labeled for accuracy and organizational purposes. The fastening for the acrylic components were zip-ties, which held their strength relatively well. The end result was a responsive and structurally stable wall section made entirely out of plastic materials.
MANUSCRIPT LIBRARY Advanced Design A; Summer 2010 Professor Michael Halflants 6 weeks
Sited in Cordoba, Spain this Library would contain local ancient manuscripts. Inspired by the Roman and Moorish history of the city, the architecture is a modern interpretation of these two cultures. The project utilizes Roman inspired concrete structure to spatially and physically frame the spaces, while the Moorish inspired screen envelopes the circulation corridor to create a spiritual path and a buffer between the light and the histroical texts. Organizationally the building was inspired by the service and served spaces of Louis Kahn, creating horizontal layering on each level of the plan. Circulation frames the courtyard edge, followed by the book storage and lastly leading to the larger spaces meant for reading and working as dictated by the program requirements.
EDUCATION BUILDING Advanced Design B; Fall 2010 Professor Dan Powers 14 weeks
The University of South Florida was looking for inspired ideas for a proposed flagship building at the heart of the Tampa campus. This building was to be 500,000 square feet and include undergraduate laboratories, classrooms administration departments and 500 offices. My proposal was zoned in two parts: The educational program was placed in relationship to the nearby Education building as well as directly across from the library. The administrative towers were to be placed on the central axis of the schools promenade creating a powerful focal point for the campus. These two architectural entities were spatial unified through a large cruciform courtyard which aimed to create a clear and porous pedestrian passage through the buildings but to also allow for maximum natural light exposure for all of the various programmatic elements. Sustainable strategies were taken through shading elements which would protect the building from direct heat gain and would allow for more comfortable indoor/outdoor experiences given the weather of Florida. The building was designed to maximize shading and air passage by lifting the building off the ground creating as many moments for air to pass under, over and through compressed spaces while also allowing it to be extremely porous between the campus and the interior courtyard space in the heart of the building.
ST. PETERSBURG PIER Advanced Design B; Fall 2010 Professor Dan Powers 2 weeks
St. Petersburg is a leisurely place with small local shops lining its very walkable downtown streets and a city grid that is numerical and very easy to understand. Building upon the idea of the grid and the idea of the already establish street room the pier becomes an extension of that typology as an long armature which reaches out over the water, essentially creating a levitating streetscape. The project consists of a ten foot structural module, which when unprogrammed would be a light sculptural skeleton which would cast intricate shadows along the length of the pier. This skeleton provides a loose framework for program to be placed within as necessary. This flexibility allows the pier to constantly change as stores would open, close and possibly change locations along the pier.
YBOR CITY MASTERPLAN
Advanced Design C; Spring 2011 Professor Vikas Mehta 11 weeks Tampa’s historic Ybor City has been fractured due to the negative affects of urban renewal. This once tightly knit neighborhood is now bisected by a major interstate and has become detached from its residential area to the north. Together with two classmates, Stephanie Herring and Etienne Tola, we devised a solution to “restitch” this historic urban fabric. Our strategy involved utilizing the two main north-south arteries to reconnect the fractured neighborhood. To achieve this we constructed a series of inter-block pathways which would act like circulatory capillaries which would create unique and walkable passages from the southern commercial district to the northern residential area.
YBOR CITY IN-FILL DEVELOPMENT Advanced Design C; Spring 2011 Professor Vikas Mehta 5 weeks
This is a continuation of the previous project where now our group had to zoom in a focus on three blocks for urban development. We focused on three blocks which currently were occupied by large parking lots. We devised a series of in-fill structures which became the framing device for our inter-block pedestrian passages. For my individual project I focused on the northern most block which was adjacent to the main street of the neighborhood. For my in-fill strategy I created a two-story residential building, a library and a two-story office building. This mixed use block would now house a variety of activities through each part of the day and become a central focus for this district.
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER
DESIGN DEVELOPMENT Design Development; Summer 2011 Professor John McKenna 16 weeks
Following are selected spreads from a portfolio which I created for my Design Development course which required us to develop a previously designed project of our own into a code-compliant and fully resolved building. We were responsible for including and resolving the following: Site Plan, Schematics, Structural Systems, Interior and Exterior Assembly Systems, Egress and Building Codes, Mechanical Systems, Electrical Systems, Plumping Systems, Fire Protection Systems, Roof Detailing, Foundation Detailing, Corner Detailing, Dimensioning and Cost Estimation. The project I selected was The New Electric, which provided me with a unique challenge of designing the dynamic pneumatic street-facing facade which was a key technological element.
0
THE NEW ELECTRIC @ YBOR
Daniel S. Johnson Design Development Summer 2011
FINAL
4
SITE PLAN
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION 7th Avenue 16th Street Service Alley Sidewalk (Pavers) Centro Ybor Plaza Vacant Building Power, Water, Sewage Lines Fire Hydrant Offce Building
LEGAL INFORMATION The New Electric 1531 East 7th Avenue Ybor City, FL 33605 YC-1 Zoning A-3 Type II Classication Building Use: Art Gallery/Bar Square Footage: 8,783
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STRUCTURE
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION Rigid Steel Frame (Welded) W12x65 Wide Flange Columns W24x84 Wide Flange Girders Slab on Grade Foundation
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STRUCTURE
10 DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION
CIRCULATION
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
Small Joists
Primary Steal Staircase Rear Fire Stairs
Large Joists
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INTERIOR ASSEMBLY
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION
Small: 12k3 12’ to 24’
Mechanical Lift
Large: 18k6 20’ to 36’
Ramp
Manufacturer Example
Plan Circulation
Slab with Truss Imbeded
Section Circulation
13 INFORMATION Interior Wal System
MECHANICAL
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION Packaged HVAC Unit
3/4” Gypsum Wall Board
Primary Ducts - 17.5” x 11.5” (Max)
Metal Stud Framing
Supply Branch - 10” x 6” Return Branch - 10” x 6” Commercial Comfort System Series 10 Single Packed HVAC Units 12.5 Tons 89” x 59” x 42”
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PLUMBING
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION
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FIRE PROTECTION
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
Vent Stack
INFORMATION City Water Line
Toilet Fixture
Sprinkler Plan
Sink Fixture
Fire Valve Hookups
Branch Vent
Meter
Water Supply Pipe
Shut Off
City Sewage Line
Globe Upright Fire Head Sprinker Brass.
City Water Line Meter Shut Off
16
ELECTRICAL
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION
20
ROOF
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
City Power Line
INFORMATION Terrace Roof Edge Detail
Electrical Room
Metal Finish
Breaker
Flashing
Power to and from Solar Panels
Roof Membrane Insulation Concrete Slab Continous Metal Edge Joist Girder Handrail Assembly
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ROOF
23 DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION Solar Panels
WALL TO GROUND
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION Slab on Grade
Steel Frame (Top)
Water Basin
Steel Frame (Primary)
Moisture Barrier
Solar Panel Assembly
Pavers Aluminum Window Frame Base Foundation Pad Thermal Break
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EXTERIOR ASSEMBLY
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION
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EXTERIOR ASSEMBLY
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
Curtain Wall
INFORMATION Bullet Proof Glass
Aluminum Framing
Raised Aluminum Base Frame
Entry
Finished Aluminum Wrap Column Aluminum Frame Channels Trench Grate Interior Slab
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EXTERIOR ASSEMBLY
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
30 INFORMATION
EXTERIOR ASSEMBLY
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
Resin Coated Foam Block (Painted)
INFORMATION Exterior Armature
RAH-80 Series Pnuematic Actuator
Air Space Full Wall Section
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COST ESTIMATE
DANIEL S. JOHNSON - DESIGN DEVELOPMENT - SUMMER 2011
INFORMATION $ 56,040 - Land $ 675,000 - Structure/Foundation $ 15,450 - Roof $ 64,200 - Mechanical $ 4,200 - Plumbing $ 3,900 - Fire Protection $ 50,150 - Electrical $ 35,200 - Solar $ 1,200,000 - Pnuematic Wall $ 13,480 - Interior Assembly $ 35,400 - Exterior Assembly
TOTAL COST
$ 2,153,020
THE MNEMONIC HOMES Master’s Research Project; Fall 2011 Professor Nancy Sanders 16 weeks
My thesis research began with the exploration of creating spaces which could narrate the lives and experiences of lives which had passed on from a particular place. To study this I selected three homes in which I grew up in, as my life from these places had now been just a memory. I reconstructed these homes on their respective sites, abstractly maintaining general plan elements but primarily designing these homes to reflect the stories of my childhood memories of my family life in these locations. These mnemonic homes acted as memorials to my families life as they once existed in these sites. The importance of creating meaningful architectural narratives was integral to my research if my ultimate goal was to study and create meaningful thanantological space.
THE CAVALCADE NECROPOLIS
Master’s Research Project; Spring 2012 Professor Nancy Sanders 16 weeks My thesis research continued evolving into “The Cavalcade Necropolis” which is essentially an above ground series of eight columbarium spaces which linearly march across the landscape of a particular site in Illinois’ Pere Marquette State Park. This network of thanantological spaces were custom designed to respond to a variety of site conditions while also responding to an architectural narrative inspired by a newly conceived ritual for remembering the lives which we have lost. This project was thus three fold: 1) a mapping and conceptualization of site; 2) the designing of a meaningful ritual; and 3) the designing of architecture which responded to both the mapping of the site and the narrative of the ritual.
THE SEQUENCE OF GENERATIONAL MEMORY Based off of a specific section of the Fibonacci Sequence, the Sequence of Generational Memory creates a ritual which aims to create a landscape of memory which is activated by the presence of friends and family who must return on specific years to engage with the sequence. Five years after the death of a loved one, their urn is placed in the first chamber (which houses a total of 25 urns) and left there for three years until they must return on the eighth year after death and move the urn to the next chamber where it will stay until the thirteenth year after death. This sequence continues beyond this point following the Fibonacci Sequence (5, 8, 13, 21, 55, 89, 144, 233) until the end of the ritual is completed in 233 years after death. To complete a ritual of this length the responsibility of moving the urns must be passed on to future generations which in turn creates a bond with their family lineage, opening a conversation about who they were and the importance of staying connected to their family heritage. The diagram above is a mapping of the ritual which tracks and numerically represents the impact of the ritual/sequence. The diagram below is a fictitious family time line showing how one family would move urns through the sequence, and the impact of the familial connectivity throughout it.
55 13
144
233
The Sequence of Time: Fibonacci Number of Years After Death
34 89
5 8
21
Coinciding Transitions on Site
Volume of Urns + Total Number of Tranisitions during one full 233 cycle
Ring Thickness Number of Transitions in one Cycle 30
60
300 Diameter references volume of urns
67
75 25
750
175 475
76
50
74
125
77
49
71
Model/Diagram in Elevation
Order which coinciding events occur. Top first, Bottom Last.
Each layer represents a group of 25 urns
Model Connections - Link to Time Sequence
Extruded Site Area
Tree Canopy Outline
Vehicular Circulation
The Poised Armature The Imbeded Triumvriate
The Site: The Cavalcade Necropolis The Cadent Belvederes
The Quinquennial Vaults
The Diaphanous Belfry
The Descending Decemvirate The Punctuated Furrow
The Reticulated Pasture
Site Diagram; Zones
Topography of Site Context Topo Lines = 10’ in Elevation
THE EIGHT INSTRUMENTS OF THE NECROPOLIS The Sequence of Generational Memory is housed by eight columbarium spaces which march from north to south along the length of the site. These spaces are grouped into three regions which corresponded with the type of site conditions they are placed in, the proximity (in years) to the beginning of the sequence and the architectural languages employed based on overarching conceptual ideas. The Chambers of the Contoured Territory consists of three buildings of heavy construction which nestle into the mass of the earth and house the ritual from the 5th, 8th and 13th years. The Dancing Datums of the Terra Firma consists of two buildings that march across the landscape in linear fashion and house the ritual from the 21st and 34th years. The Elevated Fields of the Final Horizon consists of three buildings of light construction which are elevated from the earths surface and house the ritual from the 55th, 89th and 144th year. In the final year (233) the urn is emptied into the river as a final goodbye.
GRAPHIC REPRESENTATION Following are selected graphics executed for a variety of projects (most of which have been featured in this booklet). They represent a mix of media and techniques aimed at showing my various skills has a graphic communicator. The work ranges from three dimensional computer modeling and rendering, to hand drawn sketches, drafted compositions, hand rendered reproductions and conceptual schematic diagrams. The various media include: graphite, ink, colored pencil, marker and various software (Adobe Photoshop, Lightroom, SketchUp, V-ray, and AutoCAD. I believe in the importance of utilizing a variety of techniques and media to accurately and appropriately represent and communicate architectural ideas. Every project requires a different tool to communicate it’s relevant concepts.
ARCHITECTURAL PHOTOGRAPHY Outside of my sketchbook the lens of my camera is the other tool which I utilize to capture and record architectural space. For me photography is a way to capture the retinal impact of space, and if captured and composed thoughtfully I believe a photograph can convey the evocative and emotional power, and presence, of architectural experience. Through photography I have been able to further my ability to understand issues of composition, hierarchy, scale, depth and sequence, which in turn has also helped inform my architectural work. My camera has become an essential tool for me during my travels and I respect it just as much as I respect my pen and sketchbook. The following photographs are a small selection of the spaces and places which I have had the privilege of experiencing first hand.