TIMOTHY HARMON harmonmo@gmail.com 7 3 4 . 6 7 3 . 4 4 7 8
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THE NEW NEIGHBORS university of california, los angeles - fall 2012 design studio / professor roger sherman eight week project
“The New Neighbors� works against the one-toone relationship between geometric primitive and housing unit typical of student projects. Instead, this project breaks down that relationship, dissolving the boundaries in the process. In doing so, the identity of the individual is dissolved in favor of promoting the identity of the collective. Relationships with neighbors are promoted and connected in different ways. In order to create this strategic planning, rules were established to generate iterative geometric primitives while maintaining calibrated geometric relationships across the site. These variably discontinuous adjacencies activate the street for pedestrians, create legible entrances to home offices, and allow for cars to slip underground to parking below. Away from the street, these shifting voids offer courtyards of various size and program. On the second level (second Landscape), the blue tunnel voids offer elevated garden spaces shared between elevated neighbors. Finally, the third Landscape focuses inward, offering more isolated and private dwelling spaces.
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aligning to alternating corners allows for more visual privacy removal of specific third levels increases visual privacy of others
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LS_3
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15' "width" varies between 15 and 19 feet
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"depth" varies between 15 and 19 feet 15' allows for more daylighting within and under the third level
LS_2
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19' allows for more audio privacy
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42'
29' 15'
14' "depth" varies between 14 and 56 feet
if street-facing, extends to street center line; varies between 29 and 56'
if not street-facing, depth equals depth of 1st layer; varies between 14 and 24'
LS_1
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if street-facing, extends to street center line; varies between 29 and 56'
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30'
14' "depth" varies between 14 and 24 feet
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24' 24' maximum allows for daylighting
14' is minimum to allow for circulation and comfortable living spaces
“rules� of operation
iterative geometric primitives
three distinct Landscapes
oblique section north-south 3
plan drawing (LS3) cut 36’ off ground
plan drawing (LS2) cut 19.5’ off ground
site plan drawing 4
plan drawing (LS1) cut 3’ off ground
physical model painted bass wood
I created a porous mass in which living units find themselves and neighbor relationships are flexibly connected. Units cross over the deliberately discontinuous landscapes. There are three distinct landscapes, which offer unique visual experiences. These landscapes further promote the assertion of community by level over the assertion of the individual unit.
The first landscape (LS1) runs primarily north-south, while shifting east-west to create openings and semi-closures. This shifting strategy activates the street and opens courtyards away from the street, connecting groups of neighbors together. LS2 features large voids running eastwest, visually connecting rows of neighbors while physically connecting pairs of neighboring units via roof terraces.
physical model etched layered acrylic
LS3 is a scattered non-directional pattern of pixels, offering more privacy and directing their focus inwards. Neighbors viewed are skewed from their direct neighbors by the shifting logic of organization.
oblique section east-west
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“generic unit” plan 36’ off ground
“generic unit” plan 25’ off ground perspective view first roof terrace (LS2)
“generic unit” plan 14’ off ground
two “housing units” sharing one geometric unit 6
“generic unit” section
“generic unit” plan 3’ off ground
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COMPOSITION OF STRUCTURE university of california, los angeles - winter 2011 design studio / professor hadrian predock eight week project
This project was for UCLA’s Structures Core Studio. The program is an electric car assembly plant and showroom, sited in downtown Los Angeles. This project makes use of a multi-layered structural system. Conical section glulam arches carry vertical loads from the steel diagrid shell. Three divisions of span dictate a different number of diagrid divisions as well as the number of slits in the shell. These slits are inserted with a truss system to help the diagrid carry the load over the larger spans. The slits also serve to bring north-eastern light into the building. At the valleys of each bay, the diagrid transitions into a trussed beam which spans between the conical section glulam members. The depth of these trussed beams is given by a proportional relationship to the span.
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Damon Street
milling
material storage
project
Mateo Street
Lemon Street
shaping studio
project
fiberglass
showroom
shipping and loading photo studio
project
(left) exterior perspective ground floor plan drawing
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Vertical loads transfer from steel diagrid to steel truss to glulam conical section members. Horizontal forces in the primary direction are resisted primarily by the glulam members, which act as a portal frame. Horizontal forces in the secondary direction are resisted by the combination of sheer walls between glulam members and trussed steel beams which gain depth at their ends to provide moment support. Mezzanine and showroom floors are suspended on tension cables attached to elliptical steel tubes. 10
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interior perspective - assembly space glulam conical section diagram
west - east section perspective
moment connection
trimmed for varying depth profile
CROSS-LAMINATED TIMBER (glulam) produced from kiln-dried finger jointed spruc which are sorted and cut into sheets. These s stacked at right angles and glued under a high bonding system in perpendicular layers.
BENEFITS truly sustainable alternative to traditional mate cost and time savings precision - CNC cut structural strength - bi-axial performance
PRODUCTION cut into sheets 54’ x 9’8” (16.5m x 2.95m) 3 - 9 layers 2.1” - 12” (55 - 300mm)
pin connection
Experientially, the space is organized with a directional bias. In one direction, the glulam conical sections read with thickness as graphic pattern. In the secondary direction, the glulam members are thin and read as thin lines. Shear walls and steel trusses also respond to this directional bias emphasizing thinness or graphic thickness. Light streaming in from the crescent slits in the envelope and the design of curvilinear stair runners reinforce the graphic quality of the conical section’s continuous curvature.
physical model built at 1/16” = 1’
(above) physical model interior perspective, construction details
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diagrid center-line geometry gravity analysis
original inflation pre-stress
original inflation gravity analysis
diagrid center-line geometry gravity analysis
“optimized” inflation pre-stress
“optimized” inflation gravity analysis
structural analysis and optimization diagrams using Grasshopper and Kangaroo Live Physics (right) composite perspective
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TANGENTIAL AGGREGATION
Each Product (physical model, three drawings) displays an aggregation which is highly related to the others’, but is still unique. Rather than thinking of the physical Product as the “model” and the drawings as representations of that model, the four Products here are neither models nor representations, but are different iterations of the same system.
university of california, los angeles - fall 2011 design studio / professor georgina huljich three week project
The physical Product uses a rigid rule set to govern its growth. Drawing 1 displays those connections present in the physical model, and additionally explores alternative connection strategies physically possible but not actually present in the physical Product. Drawing 2 aggregates using that original list of connection options, but does so in a more controlled manner than the physical so as to increase clarity of the connection strategy.
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physical model “Drawing 1 and 2”organizational diagram drawings (right) “Drawing 3” - experiential drawing 14
Drawing 3 takes on all the possible connections explored in Drawing 1 to produce an aggregation mainly built of strings of Primitives. These strings bend, twist, turn, branch, bundle and dead end, forming a different aggregation not previously explored with this project. Drawing 3 tells two narratives: it displays the narrative of the Primitive’s aggregation in three-dimensional space, and highlights the anomalies in the system; secondly, it explores a narrative of drawing convention and representation. This second narrative does more than highlight specific moments in the field; it changes the moments producing a richer field. Hierarchy and differentiation are created with the division, deletion, addition, and manipulation of line work to produce a lineage of points, lines, surfaces, and volumes. Moments are isolated and expanded to obscure and enunciate the intricacies of the representation. 15
ON THE EDGE university of michigan - winter 2011 design studio / professor rosalyne shieh eight week project
As the waters surrounding Manhattan rise, the city’s edge will be redefined. Eventually the water will rise high enough to claim many of the streets, requiring New York to open up to radical possibilities. Despite its initial appearance, this form is not a landscape but a building; it is a building that operates in a different logic than traditional buildings. This allows the project to simultaneously act as a field - which promotes movement and flow, entering and exiting - and as a figure - a singular form which is identifiable and complete. The project builds off the concept of continual surface. The bands of surfaces unite together blurring themselves and distinguishing themselves at different moments, always allowing access through the space to be uninterrupted. Space is defined by horizon lines, rather than vertical walls.
east-west section perspective
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physical model built at 1/32� = 1’
ground level plan drawing
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exterior perspectives current and future water level rises
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As the waters rise closer to the roof surface, the relationship between the water and surface begins to act like a beach. The proximity of two separate worlds charges this edge. Additionally, the roof surface
becomes the datum on which new construction can take place. The placement of beach sand reinforces the idea that the interior of the building is now the “underground.�
Additionally, the chances of storm surges and floods increase. In order to protect the two Manhattan blocks circled by the building, storm walls drop down and keep water out. this provides shelter for long term periods of time.
north - south section drawing
aerial drawing - current condition
aerial drawing - future 8’ water level rise
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DELAMINATED BEAST university of california, los angeles - fall 2011 design studio / professor georgina huljich five week project
This project organizes space primarily through the plan. Curves, materialized as bent plywood, laminate and delaminate as they flow through the space making spatial and physical connections to the given site’s walls and columns. The moments of lamination express themselves as curvilinear fillets, defining buffer zones of voided space. These spaces are not only evident in plan, a view which no occupant will see. The walls drop down to reveal the voids and the delamination process to occupants of the space. This project is also focused on sidedness. Each surface has a front face and a back face. The laminated plywood behaves as a multiple layer skin (double, triple, or quadruple skin). As one side of the skin peels away from the opposite skin, an eerie blue inside reveals itself to the occupants of the lounge, making them hyper-aware of the physical process of lamination.
interior perspective, west-east section (right top) interior perspective, context floor plan, physical model (right bottom) floor plan drawing
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MASK
university of california, los angeles - spring 2012 design studio / professor mohamed sharif six week project in collaboration with MEGAN LEPP and JULIE MITHUN
This is a study for a façade appliqué, or mask, that may be used as an enhancement to the character and environmental performance of preexisting normative buildings in a temperate climate. Drawing cues from Sir Nicholas Grimshaw’s high-tech British Pavilion for the ’92 Seville Expo, our project developed into a lightweight, soft-tech kitof-parts assemblage comprised of four types of components. The components, analogous to cartilage, muscle, artery, and bone, form a puffy and translucent layered system. This system evokes a sense of suppleness and buoyancy by transforming the typically angular skeletal frame into a bubbly skin. The exterior surface engages the viewer with multiple levels of detail. From afar, the system registers as a smooth, puffy silhouette, which softens the boxy nature of the building behind it. From a closer view, the ETFE pillows virtually disappear, revealing the intricately detailed acrylic elements and their embedded infrastructures of light and air.
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cartilage panelization
arterial infrastructure
planarized back panels
detail section drawing drawing in collaboration with Julie Mithun (left) physical model on display approx size 4’ x 4’ x 8’
skeletal system
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perspective view west facade
exploded axon detail drawing by Megan Lepp
detail perspectives
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ETFE detail drawings drawings by Megan Lepp
perspective view north facade
Morphologically, the project focuses on a corner entry where the geometric billowing invites access through multiple thresholds between interior and exterior space. In elevation, a gradual transition occurs from a regular taut arrangement of vertical cartilage fins on the west faรงade to a softened composition of swollen, horizontal
windows on the north faรงade. The vertical fins block out the harsh low-angle western sun but maintain outward views while the large apertures on the northern faรงade provide more generous, glare free views. The mask interweaves endo- and exodermic systems to create interplay between pillow and cartilage; the cartilage dominates the western elevation and recedes on the northern elevation
as the pillows grow and the ETFE frames push out to expose themselves. On the inner-facing skin surface, translucent planarized panels complete the layered composition, creating a more geometric faceted surface to relate to the existing normative curtain-wall system. isometric drawings
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