ARCHITECTURE + DESIGN PORTFOLIO 2011 ERIK COLON
E
Shaping me as a designer, architecture has fostered my desire to work hard and achieve many of my scholastic goals and aspirations. Architecture is my passion; it motivates my desire to learn and understand the world. Through experience, architecture continues to unfold and reveal its multifaceted attributes. Its complexity challenges me on a physical and mental level in ways that no other profession can. “Every man’s work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself. -Samuel Butler
“Simplicity is complexity resolved.�
-Constantin Broncusi
CONTENT: DESIGNone: GRAPHICS SPACE & ORDER SPACE INTO LIGHT REPLACING HOME CARDBOARD TABLE
(Intro to Technology- S. Cooke)
DESIGNtwo:
THE CORNER THE WALL FLOOR + CEILING DAEDALUS AISLE THE DETAIL
(Materials & Methods- C. Molnar)
DESIGNthree:
SARASOTA ART CENTER CHILDREN’S LIBRARY DIGITAL FABRICATION
(M. Weston)
DESIGN
ONE S. Cook
“But time growing old teaches all things.�
-Aeschylus
“Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.� -Ernest Dimnet
SPACE AND
ORDER
“To create architecture is to put in order.” - Le Corbusier
“...light for me is the fundamental basis of architecture. I compose with light.� -Le Corbusier
SPACE INTO
LIGHT Chamber of Contemplation
In order to have light you must have its counterpart. These studies in plan investigate the relationship of enclosure and how light and shadow interact. Light generates the path of circulation and organization of the spaces. These spaces of light are experienced at varying times of the day constantly changing the space in accordance to the time of day and season of the year.
FINAL
“The whole structu writ
ure rises from the base and is developed in accordance with a rule which is tten on the ground in the plan; noble forms, variety of form.� -Le Corbusier
A transformation occurs upon entry into a darker and more private space of contemplation as the floor condition rises upward reaching for the light. At high noon, the light pierces the darkness and strikes the reflective surface of the water. It is at this moment, that sacred essence of light is captured.
REPLACING HOME In order to ease the difficulty of moving Together Gathering Learning Adjusting Refuge Vista Participation Ritual Reverie Memory
away from home, this concept would create a place that would foster certain qualities related to home. This promotes a positive transition that allows the student to be more comfortable in their new environment and begin to connect to a new place and a broader sense of home.
G
1
2
R
(CARDBOARD)
table
“Whenever, in his designs, he allows the natural beauty of the stone, as stone, to speak its own material-language, he has justified his machine as an artist’s tool...The very nature of the material itself becomes its own decoration.” -Frank Lloyd Wright, In the Cause of Architecture Considering the nature of cardboard, this table focuses on the expression of a rigid tectonic joint that maximizes the strength of the corrugation of the cardboard. It is built from components of a kit of parts which allow the flexibility to be easily assembled or disassembled.
DESIGN
TWO K. Perry
the
CORNER
FORM - STRUCTURE - SKIN - JOINT
The expression of a tectonic connection is exp in these studies. It is important to consider how elements come together as a consistent whole which all parts are necessary. The interaction o tectonic is where elements touch, pierce, and terlock. A holistic system of parts are balanced communicate through a collective language.
plored w e in of d ind and .
“Through tectonics the architect may make visible, in a strong statement, that intensified kind of experience of reality which is the artist’s domain––in our case the experience of forces related to forms in a building. Thus structure, the intangible concept, is realized through construction and given visual expression through tectonics.” -Eduard F. Sekler
the
WALL
Speculative perspective that explores a possibility that the wall could develop to further understand the relation to human scale and proportion of self to wall.
FLOOR
CEILING
The Interval Solarium and Sunse
et Tabernacle
“Are you really sure that a floor can’t also be a ceiling?” -M.C. Escher
Da
aedalus Aisle 14
th
Place
MIAMI, FL
This construct focuses on the connection between Collins Avenue and Ocean Drive. Circulation through the site is heavy as it only serves pedestrian access to Ocean Drive. The design acts to shape a transition or threshold between Miami and South Beach. The design extends outward and presents itself and intrigues passersby to investigate. A study of public and private spaces is also explored so that the residences interact with the public while maintaining a level of privacy.
Programatic conditions entail a gallery space, a sandwich cafe, a live/ work residence for the patron/maker, and a temporary residence for a traveling artist. The circulation is controlled through the site and areas of rest are provided to encourage people to stop and experience the space. The main gallery is open to both the street and the pathway to offer a glimpse of what’s inside. The entry reaches out and embraces the pathway as a threshold to invite the public to engage with the gallery space.
the detail. The design concept focuses on the conn
and the relevance to human scale. It is important to our ver feel as though the parts are relatively proportionate t the cantilever measure around three feet or nearly the s two made it seem as though someone was able to reac block before it plummeted to the ground. The proportio be similar to that of bones or an abstraction of them. The measures to be around the height of the average pe together provide something that one can understand b human scale. We focused on keeping all of the conne of using a heavier or industrial bolt/nut connection. It w everything was crafted or modified by hand instead of u connections.
nections of different materials concept to have the cantileto human scale. The “arms� of size of an actual arm. Having ch out and grab the concrete on of the steel is designed to e counterbalance beam also erson. All of these proportions because it relates to a relative ections very delicate instead was also important to us that using machine manufactured Group Credit: Matthew Baitz, Favio Diaz.
DESIGN
THREE M. Halflants
707 North Tamiami Trail
SARASOTA ART CENTER
Sarasota, FL
Carrying a rich history since 1928, the Sarasota Art Center has served its community providing place for local and travelling artists to communicate and exhibit work. As the Art Center continually extends its welcome to the surrounding area, an expansion of gallery and learning spaces is necessary. This design suggests a scheme that not only provides an expansion of the main gallery and learning space, but also promotes a restoration of the necessary programmatic intention and qualities of the original design to assist in reviving the space.
East, South, West Section
“We enthusiastically embrace found conditions as an opportunity for improvisation.� -Michael Rotondi
Children’s Library Highline
New York City, NY
Focusing on elements that exist at the site, the constru the Highline, and its alignment or juxtaposition to the text. Evident from the strong diagonal axis, it is clear tha which the ideas of circulation and habitation of the site w This move became connection between the street and sign into two parts and acknowledges the need for an a
uct explores circulation on e site and surrounding conat this is the generator from would relate to the library. Highline. It divides the dearrival to both the Highline and the library.
The clouds are dissipating as the sun greets yesterda into the deepest crevices of the city, an epiphany. Th as the sounds bring the city to life and the warmth touc freshly brew
ay’s twilight. It casts its light he mood begins to change ches my skin. The aroma of wed coffee marks the start.
1
2
H
4
5
DI
IGITAL
fabrication
By examining a leaf and the natural occurring patterns in the cellular structure of the upper epidermis, a cellular tessellation is abstracted. The shape of the geometries becomes less organic in order to make the intallation more structural and rigid. The connection of the geometries comes from the idea of a stoma. A stoma provides the necessary exchange of oxygen and carbon dioxide to the leaf. The wooden dowels serves as the connection of where the common points of the pieces interact. The design further develops to be installed as a shading skin system for elevated spaces in which natural shade from a tree cannot reach.
16619 Palm Royal Dr. Apt 228 Tampa, FL 33647 ecolon4@mail.usf.edu www.issuu.com/erikcolon (678) 770-3426
LEARN. CREATE. EXPERIENCE. DESIGN.