B. ARCH PORTFOLIO 2014
garrett t. watkins
introduction The ability to take hold of our environment, and shape it in a way to better both human existence and our natural surroundings is powerful opportunity. The world we create is the world we live in and it is my goal to use architecture as a way to shape a more sustainable and meaningful fabric of existence, one that will push boundaries of what we are capable of and enable us to see and experience the world in a more beautiful way. this portfolio is a sample of my approach to architecture. in it, you will find that each project is designed and presented in a unique way, using media, style, color, and material to best clearly represent my solution to specific problems.
table of contents four | John Yeon Architectural Community Center fourteen | Saraha Nyingma Buddhist Institute twenty | Downtown Portland Culinary Institute twenty-six | Whiteaker Branch Library thirty | HEDCO Learning Commons Luminaire thirty-four | The Ecotone forty | Resume and Contact Information
John Yeon Architectural Community Center Location Time of Design Media Used Professor
Portland, Oregon Winter 2014 Hand media, AutoCad, Adobe Illustrator, Physical Models Jim Tice
acting as a backdrop to a newly developed park, the principles behind the design of this architectural center in downtown portland stemmed from the idea of water flow and its connection to human movement. situation between a main streetway to the north, and the southern park, the building sits at the peak of portland’s grid shift, a feature enabling the roadways to align with the willamette river, east of downtown. by understanding the characteristics of both the northern and southern edge of the building, I was able to highlight they key aspects of each while using movement through the structure to create significant connections.
| RIGHT | exterior view of the complex from 9th street sidewalk. large glazing flows from the concrete mass, into the waterfalled terrace below.
| TOP RIGHT | this sectional diagram lays out the programatic elements within the building, highlighting the main sorce of organization dividing up the space. the main entrance is located directly under the workspace.
living
administration
workspace
bookstore archive
| LEFT | site plan. the building sits at the border of two urban fabrics, celebrating and connecting the streamlined nature of burnside st. to the north and the eddied form of oak park to the south.
| BOTTOM RIGHT | entrance view of main atrium. a glass elevator sits within the middle of an open area of light and movement. the space exists to create connections and nurcher vertical circulation through the gallery spaces at the eastern edge of the building.
gallery
library
cafe curatorial
auditorium
9th st.
10th st.
burnside st.
| GROUND FLOOR | the main entrance floor of the building is designed to act as the foundation of movement. the bookstore and cafe serve as a bridge between the main atrium on the north edge of the building and the park to the south. from the main entrance on the western edge, users move east, where the staircase and elevator encourage vertical movement, directing users through the main gallery space above or to the event hall below.
| BASEMENT FLOOR | an alternate entrance on the eastern edge allows for the public to flow into the main lobby space for the event hall, a location for both architectural and community events. the archive and curatorial space can also be found on this level, allowing the opportunity for public or restricted access and the preservation of historical documents.
| SECOND FLOOR | located one floor up from the main entrance, this floor houses the bottom level of the gallery space, library, and workspaces.
| TRANSVERSE | west section. this image clearly displays the spatial relationships within the three story gallery, as well as its connection to the east landing of the atrium and the event hall below. | LONGITUDINAL | south section. cutting through the main atrium, this section clearly depicts how one would move through the space. gallery entrances are located to the left, while entrances to the library and administration exist just off of the elevator landing. workspace can be seen, hovering above the main entrance to the right.
| THIRD FLOOR | this floor acts as a continuation of the program below, allowing users to reach a sense of familiarity and an uderstanding or organization. openings in the gallery and library provide opportunity for the multiple floors to exist as a single space.
| FOURTH FLOOR | this floor contains the top level of the main gallery space. administration is located on the southern edge, with access to an exterior balcony looking down at the park below. the director’s living space can also be found on this floor, with his or her own private balcony patio on the western edge of the structure.
| RIGHT | third floor of the main gallery. the openings within the space serve to highlight the existence of a single space of light, form, and art. sunlight streams in through the beams above, reflecting indirect light into the space, reducing the need for artifical lighting and maintaining the relationship with natural elements within the environment.
| LEFT | cutting through the south facade, this west section shows the detailed construction of a typical wall and floor system within the building, highlighting main structural components. the material of the facade is a paneling of concrete forms, molded from the placement of timber logs. while paying tribute to the city’s logging history, the concrete form gives the building a solid, sculpture like appearance, a concept that reflects some of the many fountains found within the city.
courtyard perspective
Saraha Nyingma Buddhist Institute Location Time of Design Media Used Professor
Eugene, Oregon Fall 2013 Hand media, AutoCad, Adobe Photoshop, Illustrator, Physical Models Kevin Nute
Understanding and openness direct oneself to the truth. This design focused around the ideas of lifting the common individual up from the path of our daily lives. The structure situates itself hovering above the open site, allowing the natural environment to remain continuous beneath it and through the separation, creates a deeper connection and understanding of one’s location. Heavy timber columns planted in the ground serve to lift up a platform for which the buildings can lightly rest upon in the plane of the canopy. The general design of the program allows for the building to be constructed in multiple phases, giving the institute the flexibility of time and money to achieve this massive renovation and expansion. The tectonics of the building provide opportunity for alteration and change over time with the most permanent members of the institute being the floor and roof system. Because the room layout is separately constructed, it can be torn down or changed easily without creating any structural liability and thus leading to a greater longevity of the institute.
site plan
boardwalk perspective
dining hall section
room studies
entry section
exterior perspective
Downtown Portland Culinary Institute Location Time of Design Media Used Professor
Portland, Oregon Spring 2013 Ink, AutoCad, Adobe Photoshop, Illustrator, Google Sketchup, Vray, Physical Models Jolie Kerns
Peering over the public realm, the environment of the kitchen is brought to life in front of the community. With five stories of classrooms, kitchens, a library, and a restaurant, this building serves to provide students with a school built around the collaboration and connectivity that is essential for educational growth in the culinary world as well as creating a public destination, providing the community with a place of dining and access to any culinary needs or questions. The Institute’s library becomes the bridge between the lower floors of public activity and the life of the culinary institute above, bringing the users up to the main atrium space, resting on the third floor. By creating a central core, the building serves to connect these two groups of people while also providing each with their own privacy and seclusion. Instead of separating the building by floors and sections, the structure itself will act as a single space, broken apart by diffused light from above and through the use of material, fluctuate from public to private and from inside to outside. Just as food unveils itself within the kitchen, views within the space change from step to step exposing the structural and spacial components as the user moves in and out of the space.
main stair
concept model
west section
north section
central atrium
MEZZANINE FLOOR PLAN GROUND FLOOR PLAN
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
FIFTH FLOOR PLAN
daylighting diagram
axonometric floorplates
hvac system diagram
Whiteaker Branch Arc Library Location Time of Design Media Used Professor
Eugene, Oregon Fall 2012 Ink, Copic Marker, Graphite, AutoCad, Adobe Photoshop, Illustrator, Physical Models Juli Brode
The focal design strategy for the Arc Library stems from the idea of taking the public away from the metropolitan life and draw them out to the beauty and peace which is instilled in the Skinner Butte Park. The library serves as a bridge between urbanism and the outdoors, connecting the park, the vast area of residential housing, and the Skinner Butte Farm. The library contains numerous books and special zones for any age group. The art center provides the public with the chance to experiment with their artistic takents while the amphitheater helps make the park an excellent destination for city events.
site map
radial sections
HEDCO Learning Commons Luminaire Location Time of Design Project Professor Group Members
Eugene, Oregon Spring 2013 Luminaire Design: ECS II Ihab Elzeyadi Erik Larson, Kyle Stuart-Willis, Wyatt Ininns
Located in in the heart of the Education School, the light box acts as symbol for knowledge. The purity of the cube serves as a reminder for the ability one has to unlock that knowledge within, enabling the light to stream outwards to brighten the space. Our luminaire belongs on the numerous communal tables within the HEDCO Learning Commons, the Education School at the University of Oregon. The movable wood panels allow users to adjust the luminaire for the desired light level appropriate to their task. From individual reading to lively groupwork, en-light-enment provides a powerful glow or more subtle ambient gleam. The symbolism of the luminaire’s operability stems from the discovery of knowledge itself: though not initially evident, the process of experimentation and engagement opens up possibilites previously unknown. The luminaire’s users--education majors within HEDCO--are encouraged in this way to never stop playing, even in the midst of their studies.
trail entrance
Marking the Forest | The Ecotone | Location Time of Design Program Directors
Bauman Family Tree Farm Eugene, Oregon Summer 2013 Architecture Association Visiting School Kristin Cross Stewart Dodd
Marking the Forest, a visiting school program established by the AA in London seeks to establish a connection with the way we use natural resources in the built environment by inventing, imagining, designing and building an insertion into the forest in ten days. Exploring the old and new growth woodlands and the commercialisation and commodification of the tree, we investigated the natural lifecycle of the forest and proposed and constructed solutions for thoughtfully marking and occupying its terrain. In the second year of the program, I took part in the design and creation of the “Ecotone” which enhances the transition from the meadow to the dense forest. Through the use of lumber provided by a local mill, we strove to create a connection between users and their relationship with the forest as they move through the structure. The material used and the representation of stacked lumber creates a poetic tension between the natural and proccessed wood, enhancing the experience of the individual and allowing them to directly understand the tree forest’s purpose and its relation to the build world.
our international team of designers
| research | first days of the program were spent in studio and on site, gathering information and trying ubtain a more detailed understanding of lumber’s relationship with the built environment
| design | design took over the entire program from day one to day ten. it is an unending proccess that continues even after the structure has been constructed
| build | after initial design, foundation and structural support was put into the ground. as designs progressed, so did the structure. framework soon turned into a piece of art through the sweat and muscle of every individual.
| left | what appears from the front as an ordered system, looking back at the structure from the forest shows its change as it grows into the trees | above | structure seen from the front on a showy afternoon | right | partial construction of one wall | below | backside of the structure from farther up the trail
resume EDUCATION | university of oregon school of architecture and allied arts bachelors of architecture, in progress minor in architectural history, in progress 6 of 10 architectural studios completed 2 commends cumulative g.p.a of 3.3 notable courses building construction environmental control systems I & II structural behavior I & structural design II case studies in sustainable architecure first year studio teaching assistant SKILLS | programs autodesk autocad adobe creative suite 6 google sketchup vray rhino revit (in progress) multiframe modeling conceptual models sketch models site models digital models
EMPLOYMENT | capitol construction | university of oregon autocad drafter | april 2013 - present last spring, I was hired by capitol construction as an autocad drafter, updating floorplans for buildings on the university of oregon campus that have been recently renovated along with putting together construction documents for current projects and designing smallscale office remodels. erb memorial union | university of oregon event support crew | january 2012 - present as of january 2012, I have been employed at the university’s student union where I provide conference and event assistance to various groups and events at the university, serving events mainly as a sound or lighting technician and event supervisor. student recreation center | university of oregon lifeguard | october 2011 - august 2013 in october 2011, I was hired as a lifeguard at the student recreation center at the university of oregon.
mikuni kaizen | roseville, ca restaurant busser | spring and summer 2011 in the spring and summer before coming to oregon, I was employed as a food runner and busser at a japenese restaurant, serving customers and maintaining a healthy restaurant appearance. original pete’s | lincoln, ca restaurant server/busser | fall 2010 as a food server, duties included greeting customers, taking food orders by phone, providing a clean and presentable table setting, and clearing tables. I performed these duties until the restaurant closed in september 2010 city of rocklin | rocklin, ca head lifeguard | 2009 - 2011 for three summers, I worked as a lifeguard for the city. In my last summer, I was promoted to head guard, overseeing and managing lifeguard staff. in this role, I insured employees were doing their job correctly and conducted many trainings and job evaluations.
contact
email | gwatkins@uoregon.edu phone | (916)521-5391