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O P E O P E O P E O P E O P E O P E Undergraduate O P E Architecture O P E Portfolio O P E O P E O P E [\] [x] [=] [+] [~] [\] [x] [=] [+] O [~] P E O [~] P E [\] [x] [=] [+] [~] [\] [x] [=] [+] [\] [x] [=] [+] [~] [\] [x] [=] [+] [~] [\] [x] [=] [+] [~] [\] [x] [=] [+] [~]
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University of Michigan B.S. Architecture _._.20
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OPERATIONS Operation | \-p-r-shn : Any of various mathematical or logical processes (such as addition) of deriving one entity from others according to a rule. As I progressed throughout my college career the exuberance of design has escaped me. Lending my designs to be informed by operations, not intuition. By defining these operations I now enter a phase where my exuberance must return and entangle with new logics and operations.
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C O N T E N T S Definitions & Models
Planar Interventions [\] Boathouse on Ford [x] Complementary Figures [-] Pornographic Manifesto [=] Krumbach Residence [~] New Kids on the Block [+]
[\] The project’s initial disposition was invested in studying the larger context of Ann Arbor- denoting areas of political and educational activity. In doing so, it allowed the project to establish itself as a node for conversational exchange between the two. The conversation offered opportunities to deliver listening as an analytical experience and attention as a commodity for speakers. A transition between the exuberant and anechoic, guided by an amplifying inlay [bookshelves] gives the participants an incredible sense of concentration and connection when suddenly enclosed or open. May we be many or single, the formal proposal conclusively creates an arena for the individual and the public in which they may debate, connect, or compromise.
P L A N A R
I N T E R V E N T I O N S
// Noun: The brupt Interruption of thought caused by a disagreement in debate. Individual work: Undergraduate Studio 1- Dawn Gilpin
12.10.18.
Planar Interventions
Mapping sound throughout the building established its formal parti. The wedge allows sound to travel throughout the building similar to a megaphone amplifying ones voice. Having this control allowed floorplates to be designed in a way to mediate the noises of the society and the academy as they made their way up to the top of the edifice.
42.2793° N, 83.7399° W
More often than not, we don’t take the proper time to listen to opposing opinions. This architecture works to draw focus on those who are trying to be heard in our current intemperate political field in Ann Arbor.
MODEL
||Areas of debate in Ann Arbor.
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Planar Interventions
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The Construction of this Intervention uses steel to resonate and wood and brick to dampen conversation. The combination of these materials provide reverbs for deeper listening during debates.
Planar Interventions
Detail //: Staircase balcony.
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A S S E M B LY
Detail //: Front threshold Facade.
B O AT H O U S E
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3.24.19.
// Verb: The act of multiplying the shoreline in order to create a new threshold using architecture.
Individual Work: Undergraduate Studio 2: Jen Mairget.
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[X] The Spectacle of competition is the boundaries that are broken by the human capacity. When we are spectators to these spectacles, we become witnesses of human history. In its disposition this boathouse becomes an extension of the bleachers, a new viewing platform that engages how we experience rowing as a spectacle. By tracking the schedules of the athletes, spectators, and the coaches, the designed path would know when to undulate through the terrain- enabling the best views of the race. This project imagines a new spectorship methodology, one that is kinetic, not static and also one that is more participatory. It challenges the current notion that spectators are only witnesses. In the advent of method training, one should be able to practice alongside the athletes making a history of their own.
42.2183° N, 83.6056° W
Boathouse on Ford
P R O G R A M Formal Diagram //: Dancing with lines to create intersections and voids.
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The multiplication of the shoreline formally activates the threshold between land and water and the blocks of program allow for relief during the event.
Boathouse on Ford
The structure of the boathouse took on a high level of focus as it would have to endure natural conditions as well as the human condition. By placing aquatic renditions of dry activity underneath their structural units, its longevity would be extended while providing activity in both summer and winter.
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Boathouse on Ford
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Boathouse on Ford. Iteration.1.0
A S S E M B LY
PLANS
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[-] In This project, we were tasked to take a two dimensional composition and create a three dimensional response. Through analysis, implementation and iteration, this project takes Three Faces by Fernand Leger as a design challenge to establish relationships between spaces and voids. Its final development focuses on frontality, orthogonal and oblique grids, and the propensity that the painting had pherperical development. Three Faces is composed of fractured objects, layered into a logical spatial field. Through a lense of cubism (the style in which this piece was painted) layers were extracted to show the scale and depth that each component was placed. To push the project further, the question of frontality came into play. Why only four distinct sides?
C O M P L E M E N TA R Y F I G U R E S 10.24.18. // Verb: The dissassembling of a whole and reconfiguring it with a new whole. Individual Work: Undergraduate Studio 1: Dawn Gilpin
Complementary FIigures
P R O C E S S This question led me to experiment with new relationships that could cause the flattened composition. I experimented with the possibility of rotation. More specifically, a plane that excavated these forms out of a tracing path. This investigation led to new fronts, redifing what face sat on the our world plane. This rotational operation suggested new material intersections and unique tests of perspective.
This investigation led to a revised iteration between the layered quality of the painting and the rotational intervention that was discovered.
Rotational operations used an experiments to decipher new material forms.
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Complementary Figures
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Having deconstructed the painting into a set of logics, the question of how these individual artifacts would come back together become the next design problem. By instituting a set of personalities within each piece, they were able to come together through personified similarities and differences. The aggregated form can now speak as a holistic object created from operations that produced an identity in each unit.
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Phillip
R E A S S E M B LY
Bun
Complementary FIigures
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Cezar
Third
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P O R N O G R A P H I C 12.10.19. M A N I F E S T O // Adjective: To be of a rising subculture, a resistence to Individual Work: Undergraduate Studio 3: Y.T.
[=] In the advent of new technologies: the book, the screen, augmented reality, and virtual reality, society is faced with new filters. The obscene is now more accessible than ever and the human condition towards sexuality has not changed. As a billion dollar industry, the porn industry is no sub-culture economically, but politically and socially they are hidden behind virus-infected ads and online cookies. The obscene content has been filtered throughout our new media because of societal declarement. Politically, there is no strict definition as to what obscene can be defined as, because of this it has become a subjective constraint in the porn industries’ stride to become a reputable career field. This project works to empower those actors through a “pornhub”, to celebrate human sexuality and shed a positive light at this rising subculture.
41.9011° N, 87.6415° W
F O R M
F I N D I N G
Pornographic Manifesto
Surface Intervention using the Human Form
Using Leonardo da Vinci’s manifesto as a method to study the human body, geometries were extracted to be used as cross-sections for interior forms. However, instead of one individual, more were involved to accomodate all gender types and scenarios. In turn, this established new geometric forms that would create a new fabric of filming. One that is comfortable and adjustable at the same time.
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Pornographic Manifesto
VIEWS
Peak Amateur Performance Professional Career Begins
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8:00 A.M.
Peak Professional Performance
The aforementioned subculture quality of these occupants made it difficult to answer the question of how to disrupt the urban fabric enough to make a marker of new intervention. Monuments have been used historically to mark a place of change. In this way, this new edifice would have to act as one too. In order to do this, the porn industry had to be placed on the same level as a similar profession, Hollywood. With red carpets and academy awards, it would be the precedent for this project. Having Hollywood qualities would set standards in the industry to create more A-class level films , to give proper treatments to professionals and can create checks and balances on producers that are clearly exploiting this business for money. The professionshould work to be seen as a form of art.
12:00 P.M.
Pornographic Manifesto 2
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EAST ELEVATORS BATHROOMS LIVING ROOM PERFORMANCE BEDROOM MEDIA ROOM
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eAST eLEVATORS lIVING rOOM BEDROOM LOUNGE Bathroom Viewing Balcony Performance bedroom Dressing Room South Elevator
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EAST ELAVATORS PERFORMANCE BATHROOM BEDROOMS CURTAIN STAGE
PLAN 1.3 hotel floor
5:00 P.M.
In designing the shell of the interior, spectatorship and the external context were taken into account. Treating it as a black box theater, It stayed true to a simplified shape, contrasting the beautiful curves of the interior. In this way, it would not contrast its exterior surroundings during the day. However, at night, a beam of light would rise from the atrium of the building, signaling a beacon for those in the porn industry within the new urban fabric. To protect the integrity of the actors, the addition of programs such as a gym, cafe, work room, offices would be rentable for outside companies to provide the actors a way to distribute their other hobbies and work.
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K R U M B A C H
R E S I D E N C E
// Verb: The act of multiplying the shoreline in order to create a new threshold using architecture. Goup Work: Construction Studio: Done with Jacob White & Ethan Hop
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47.5219° N, 16.1937° E
[~] This project was a study of construction. Construction methods, ideologies and code. We were tasked to take the Single Family House in Krumbach and decode its site-specific qualities. In this way, we took these attributes, studied them, drew them and modeled them. In designing the construction method for our model, the material choices created the most discussion. Most definitely the most important aspect of the house was the stark contrast between the heavy and cold exterior and the warm insulated interior. We knew that we would have to cut through a skylight and an exterior window to show the thick relationship between the glass framing and the house framing. Having decided our process we began building. The final construct took about 48 hours. The longest part being the oxidization of the copper. Overall the project was straightforward but it taught my team and I a lot in the methodologies in construction.
3.24.19.
Krumbach Residence
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Plans done by Ethan Hop. Model Done by all members.
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// Verb: To reconnect using the smallest unit of measure. Goup Work: Wallenberg Studio: Jonathon Rule. Done with Jesica Yu.
[+] In the spirit of Raoul Wallenberg, this project focuses on the social capacity in which architecture could intervene. In the emerging crisis of overpopulation, more specifically in prisons, this project is a diagramatic research project that utilizes models to create a new methodology of reintegrating prisoners back into society in a healthy way. The end result that this work hopes to deploy is a new perspective in transitional housing for the post incarcerated. Also as an overarching motive is to bring about a critical awareness at the dire situation of prisoners and how it relates to homelessness.
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New Kids on the Block
The site in which this project takes place is the city of New Orleans. Over the decades the city has been tormented by walls- both physical and sociopolitical. Moreover this site holds the New Orleans Parish Prison, notorious for malpractice and overcrowding. With these conditions, my partner and I decided that this would be an optimal site for intervention. Historically, a major factor that has played in the social divide existent in New Orleans was the redlining activity going on in the 1930’s. Redlining was the process of demarcating good and bad neighborhoods, on maps the bad would be highlighted in red. Although this activity was removed a decade later, its social effects lingered, further dividing the 72 neighborhoods in New Orleans. While the contrast of this social divide tried to repair itself, the city would find itself back in the same divide when Hurricane Katrina hit. Areas that were recovering from redlining would be sent back into their “redzone� as the city prioritized neighborhoods of less damage. While this natural disaster instigated the further contrast between good and bad neighborhoods, it can be argued that political indecency did not help the situation. Where then, could architecture intervene in a situation where boundaries are set by institutions but are lingered by social perspective?
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New Kids on the Block
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Using the post incarcerated as the occupants of our intervention, we looked to the neighborhoods in which they could possibly reintegrate into to design a method for not just recovery, but growth for both the post incarcerated and the community. More specifically, we studied the elements of a neighborhood and how they are divided. What we found is that there are no physical barriers between neighborhoods in New Orleans only the invisible lines instituted by the city government. To erradicate these lines, we looked to bridge the fundamental blocks that make up a neighborhood.
New Kids on the Block
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This thesis project questions the displacement of those that lie in the margins of good and bad and tries to connect them with those who are subject to political coercision. Can architecture provide a bridge to misfits and the misguided? Furthermore can it be unbias enough to empower growth between two different subjects?
O P E R AT I O N S
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T H A N K T H A N K T H A N K
YO U YO U YO U