PORT FAITHCHARLES
ELEVATED GRAFFITI ART COMPLEX: A VOICE ABOVE THE NOISE
04
Fall 2020, Design IX
Spring 2020, Design VIII Peter Zweig
24
Dwayne Bohuslav
Jon Kevin Story
16
CAMH MEDIATHEQUE Spring 2019, Design VI Paul Homeyer
BIOLUMINESCENCE Spring 2017, Design II
Fall 2019, Design VII
Ronnie Self
BONES: A HOUSE OF PERMANENCE & BODY
HOUSTON ARBORETUM VISITOR CENTER
38
50
ELEVATED GRAFFITI ART COMPLEX: A VOICE ABOVE THE NOISE Fall 2020 Senior Design Instructor: Ronnie Self University of Houston New expansions to the infrastructure of Houston, Texas have raised new conversations in the community about its potential positive and negative impacts. The highway improvement project will widen segments of the interstate with the intention of improving traffic in between city and suburban areas, however this will cause disturbances to the surrounding neighborhoods. With several vehicular bridges going over the highway, they allow for an opportunity to revitalize them for the community since there has been major resistance and backlash from the public. In today’s society when matters arise, there is one thing that everyone wants and can unite upon in all spectrums, the desire to express themselves and be heard. Houston’s communities are filled with history and many varieties of urban art media. The bridge is intended to serve as an artistic connection between the Third Ward neighborhoods and Midtown areas, uniting both sides with a public graffiti art complex as a place to use as a canvas of visual communication and artistic voice. The modular organization of the park creates dynamic surfaces for professional murals and public graffiti alike to display the ideas and thoughts of the community, while containing programs of galleries, artist housing, and museum. The nature of this canvas is to promote temporary works of art that can used as artistic outlet, inspire someone else, and evolve/grow over time. The bridge gets its idea from metaphoric relationship between the loud noises from the vehicles below on the highway, and the significance of the above graffiti program; “a voice above the noise.” Software: Revit, Rhino, Illustrator, Photoshop, Sketchup, Enscape
4
17 5
Houston has always been know as a colorful and diverse city in all aspects. As a city of expression, graffiti art has been a popular medium of voice and thought around the city, with over 750 mural located in the city, and over 467 documented murals located near the site. *HoustonMuralMap.com data reference
7
18 8
20
9
10
11
12
21
ARTIST HOUSING 23
ART GROWTH OVER TIME
SMALL GALLERIES 25
BONES: A HOUSE OF PERMANENCE AND BODY Spring 2020 Senior Design Instructor: Peter Zweig University of Houston The ideal house is a term that is constituted by its occupier and environment, while its most basic function has been to provide shelter from exterior elements. For different climates and cultures, houses are built to function based on its relations to its elements and lifestyle. We’ve grown to accept a battle mentality between house and nature, thinking that we could successfully subdue it. Standards have valued speed over quality (in a build-tear down-rebuild timeline) making the idea of long-lasting design practically non-existent in residential architecture. With these ideas of obtaining a permanence while still maintaining customization to each user, we can combine them to bring the best of both worlds together. The house, similar in relation to the human body, functions to protect and use its specific components to fulfill a purpose. This terminology draws attention to defining relationships between main components of the body and the house that highlight the essential and most basic elements needed for their forms. Software: Revit, Rhino, Illustrator, Photoshop, Sketchup
16
27 17
LOCATION Houses situated alone the steep hillsides of the island of St. Lucia, residents have responded in several different ways to its challenging elements; building on piers, slab at highest peaks, excavating into its slopes. They live with constant forces such as strong winds, hurricanes, flooding, and landslides, while also dealing with a limited space with every growing population.
CARIBBEAN ISLANDS
ST. LUCIA
SAN SOUCIS
DISASTER FREQUENCY
HURRICANE SEASON
EARTHQUAKES LANDSLIDES RAINFALL TROPICAL STORMS
JAN
18
FEB
MARCH
APRIL
MAY
JUNE
JULY
AUG
SEPT
OCT
NOV
DEC
ELEMENTS PASS THROUGH PRIMARY SYSTEM
B O NE S STRUCTURE
STAIRS, MECHANICAL, AND SUSTAINABLE SYSTEMS
HORIZONTAL CIRCULATION SEGMENTED THROUGH
VEINS
CIRCULATION
ACCESS POINTS OF THE BONES AT MULTIPLE LEVEL
EXTERIOR CONNECTIVE SPACES OF MOVEMENT
M USC LES
PROGRAM GROWTH WITH BONE INTERSECTION
O RG A N S
SECONDARY LATERAL STRUCTURE SYSTEM
RIBS
PUBLIC PROGRAM
PRIVATE PROGRAM
SUPPORT FRAMING
EXTERIOR LIVING SPACES FOR ACCESS TO NATURE
HOLDS BEDROOMS, KITCHEN, AND LIVING AREAS
STEEL BEAMS FOR CROSS BRACING
29 19
MOST BASIC FORM AS IDEA OF BONES & A “BLANK SLATE” ALLOWING ELEMENTS TO PASS THROUGH
MOST BASIC FORM AS IDEA OF BONES & A “BLANK SLATE” ALLOWING ELEMENTS TO PASS THROUGH
MOST BASIC FORM AS IDEA OF BONES & A “BLANK SLATE” ALLOWING ELEMENTS TO PASS THROUGH MOST BASIC FORM AS IDEA OF BONES & A “BLANK SLATE” ALLOWING ELEMENTS TO PASS THROUGH
ENABLES GROWTH FROM “BONE “AND ABLE TO ENABLES GROWTH FROM “BONE ABLE TO BECOME PERSONAL AND“AND FLEXIBLE BECOME PERSONAL AND FLEXIBLE
CONCEPT CONCEPT GROWTH CONCEPT
20
SPACIAL TYPE
NATURAL LIGHT: Filters through sky light to give light inside of bones
WIND VENTILATION: North east winds move thoughout house through a brick screening system that that slants away from interior wall so no water comes in, but allows wind to travel through for natural cooling from the ocean breezes
IN DI VIDU AL BRIC K: SECTION
ISO
ELEVATION
WATER COLLECTION: Water collected from roof and drained to be stored in cister underneath the bones residential levels for resuage
INDI VIDUAL BRI CK: SECTION
INDIVIDUAL BRICK:
ISO
ELEVATION
21
FIRST FLOOR
32 22
SECOND FLOOR
THIRD FLOOR
NORTHWEST PROGRAM SECTION
NORTHWEST PROGRAM SECTIONSECTION NORTHEAST PROGRAM
NORTHEAST PROGRAM SECTION
N O R T H W E S T P R OGR A M SEC TIO N
23
HOUSTON ARBORETUM VISITOR CENTER Fall 2019 Senior Design Instructor: John Kevin Story University of Houston On the site of the Houston Arboretum & Nature Center the design and form creates minimal impact and awareness of trees in the area to work together with them, while creating the opportunity to merge site and building spaces. Its form and openings create an extension into the site and allow the site to likewise extend into the building in a mutual relationship. Software: Revit, Rhino, Illustrator, Photoshop, Sketchup
24
25
TEXAS
HOUSTON
MEMORIAL PARK
The Houston Arboretum & Nature Center is a 155-acre non-profit uraban nature sanctuary, which provides education about the natural environment to the public. The site alongside the Arboretum is currently undergoing development to enhance the future Memorial Park Master Plan expansion. The City of Houston hopes to construct a Visitors Center Facility inside the park to promote the importance of the park’s history to the public and provide a cultural amenity to the current park. Visitors can enjoy 5 miles of nature trails, winding through forest, wetland prairie, and savanna habitats.
26
ARBORETUM
Woodway Drive Entry
Proposed Visitor Center Administration Building
Nature Center
Conservation Center Highway 610 Entry 27
The Houston Arboretum Visitor Center design is compromised of a simple form of two intersecting elements oriented towards a pond at the northeast corner of the site. The building allows for continued, centralized grouping of the existing buildings on the site and for clear access and orientation.
28
The exterior facade uses two main materials to illustrate an intersection of transparent and solid forms. Using wood to fully wrap around the singular form will attempt to ground the structure as a singular monolithic element, and naturally blends into the wooded landscape. Uses selective openings to direct views will highlight significance and encourage curiosity and circulation to an open second floor social area with a rooftop garden and observation deck.
29
30
53
NORTH ELEVATION
WEST ELEVATION
BRIDGE VIEWING PLATFORM
33
INTERIOR LOBBY
35
A A B
B
SECTION A
A
B
SECTION B
37
CAMH MEDIATHEQUE Spring 2019 Junior Design Instructor: Paul Homeyer University of Houston The design developed as an extension of the Contemporary Arts Museum of Houston , and used its orgainzational relationships to influence the form of the building. The design was largely influenced from using site components and orientation. An important component of most buildings included in the Museum District is the use of exterior public spaces. The integration of a garden plaza creates a usable egress space between the CAMH and the Mediatheque; a space where the experience of the design begins and ends. Software: Revit, Rhino, Photoshop, Illustrator, Sketchup
38
39
AR
TIST
HO
USI
NG B.O
.H.
AD
ED
GA
MIN
U. S
LIB
LLE
PA
RA
RY
CE
RY
CO
RE
PE
TO
OF
RO
SCHEME A
E
AC
T SP
N VE
LO
BBY
ING
CO
US
HO
T TIS
AR
RE
.H.
B.O N
MI
AD
TO
OF
RO
ED
U.
SCHEME B
SP
AC
L
LIB
RA
OO
FTO
R
RY
40 GA
LLE
E
AC
T SP
EN
V PE
ED
U. S
RY
LLE
GA
Y
B OB
E
CE
PA
TS
EN
V PE
PA
CE
LIB
RA
RY
AR
TIST
HO
USI
NG
A
B
The main element of the design focuses around the outdoor plaza area, which is used to connect to the CAMH, and also access the underground tunnel systems extending to the other surrounding museums of the district.
41
Program 42
Access & Connection
Structure & Material System Concepts CONCEPTUAL PROCEES
SECTION A
SECTION B
43
MAIN GALLERY
ENTRY
CORE PERFORMANCE
UNDERGROUND GALLERY
45
EAST ELEVATION
NORTH ELEVATION
47
48
ENVELOPE DETAIL
ASSEMBLY DETAIL
STRUCTURAL BAY MODEL
BIOLUMINESCENCE Spring 2017 Freshman Design Team Project Instructor: Dwayne Bohuslav San Antonio College Individual matrix designed from a point, line, grid, territory, and net chart. My chosen column consist of an evolving triangle which morphed to respond with other elements. This row was projected into solids in a three dimensional space. This project combined into a team project, with each person contributing a piece of their own matrix into two blocks: Orthogonal and Random. This project was installed full scale for the San Antonio’s AIA Beaux Arts Ball 2017. Software: Rhino, Photoshop, Illustrator
50
51
53
54
Credit: Design Development, Drawings, Team Installation, Team Model Team Acknowledgment: J Flores, German Martinez, Amy Rojas, Carlos Garza, Richard Pina, Derek Duran, Stephanie Maher, Jose Marcano, Jonathan Reyna, Eric Cruz, And Keegan Brown
55
FAITHCHARLES