PORTFOLIO Ian Bankhead
Ian Bankhead M.Arch1 Candidate, Harvard Graduate School of Design (805)-708-5533 ianbankhead@gsd.harvard.edu
Contents Ro(room)om
1
Office Building
11
Jump Cut
21
Fragment
33
1
RO(room)OM
UCLA Technology I: Projections, Professor Mohamed Sharif, Fall 2016
2
SITE This project exists in an invented site extruded from a hand-drawn interpre-
tation of Sol Lewitt’s instructions for Wall Drawing #130, “Grid and arcs from four corners.” The site is comprised of topography and overarching grid structure.
3
STRUCTURE
Inserted between topography and grid is a collision (or explosion) of three volumes. A spiraling circulation pattern and a room in a room are contained by this structure.
(room) Inside, a
room within a room is a set of kinked and torqued vertical louvres. These act as a system for curating light, splaying diffraction patterns along the floor. The louvres are also projected onto and subtracted from the exterior wall as fenestration. 4
Circulation Model
Opposite: Room inside a room, exploded
5
6
7
Level 5
Level 3
Plan, Level 1 8
(room) A system of twisted, kinked vertical louvres choreographs the diffraction of light across the floor
9
10
11
OFFICE BUILDING UCLA Studio I, Professor Erin Besler, 2017
12
v
“Typical Plan is an architecture of the rectangle; any other shape makes it atypical - even the square” - Rem Koolhaas Typical Plan is a set of principles, ideals that are eroded by conditions of reality such as regulatory setbacks and site shape. The role of the architect is perhaps to preserve the generic, non-authored nature of the plan - even to disguise the false sense of authorship that might be implied by a building that has been fit into an irregular site. This project is designed for a rectangular site in Irvine, California - the perfect opportunity for pure Typicality.
Process 13
The illustrations Koolhaas chooses for his essay on Typical Plan show the tortured attempts of office buildings on irregular sites to salvage the principles of Typicality. It is perhaps through this tension between a building’s desires and its urban context that the office highrise becomes a compelling building type. In this project, privileged on its rectangular site, a nearby chunk of Irvine’s city grid is imported as a plan. The building is split into four towers by the semblance of city infrastructure.
The four planes from the previous diagram are arranged in three dimensions and their projection in perspective is reinterpreted as a plan. Plans that come from a manipulation of representational techniques are the furthest departure from the logic of Typical Plan vs. context, but are also the project’s closest approximation in shape of the real world typical, as illustrated by Koolhaas.
14
15
Image, 7th floor
South and east elevations 16
Floors become outdoor spaces by the omission of windows
The rotation of floor plates and allocation of certain levels as outdoor space cause columns and cores to surface momentarily outside the building’s envelope
17
18
19
Opposite: Plan, Floor 11
20
21
JUMP CUT Core 1 Studio, Professor Jenny French
Jump Cut resolves two given sections into one building. The given drawings are dissimilar and abstracted to the point that their designation as sections has become questionable. This project produces spatial and narrative consequences by conflating notational drawing types. The given drawings are placed into a system that both takes them at face value and subverts their identities as sections. Their prescribed reading as sections coexists with their subversive reading as plans. The project sets up a sequence of copies that tumbles the drawings into plan and section orientations. The consequence is that each space implicates three copy spaces that are displaced and reoriented throughout the project. An original module is copied progressively, so that subsequent copies collect memories from their past versions. The progressive copies are experienced as premonitions and afterimages in the spatial sequence. As you pass through a mirror seam, you are confronted by a tumbled replica of the space you have just experienced. We end on a diagonal mirror seam, where what is in front of us is identical to what is above us. This project designs and operates within a real-time process. Authored work and digital proliferation are taking place at the same time, not at separate stages of the design, meaning that the authored original must already anticipate its copied corollaries.
22
Section A
Section B
23
The given sections are so indeterminate that they can hardly be called sections. With no trace of circulation and no agreement on the heirarchy of vertical and horizontal elements, there is little to indicate the direction of gravity.
A
BB
A A
B
Resu
Process Diagram
This project weaves an earnest reading of the sections with a devious re-reading as plans. These readings are deployed in an almost naive economy of means that interprets the drawings as straight extrusions. The product is a mirrored double-cube, where the plans and sections of each cube are identical.
24
Copy 2
Copy 1
Copy 3
Original
Mirror Planes
Process produces a double-cube where each cube is identical and plan and section. This object is simplified to an original module, of which the rest is conceptualized as a copy. The original unit is a wedge where section A is upright and B is plan. The consequence is that each space implicates three copy spaces that are displaced and reoriented by the mirror planes. Likewise, each circulation element is proliferated in three other orientations. The order of operations from original to copy reads in these elements of circulation. Stairs and doors begin come into conflict with one another as circulation is progressively 25
26
Site Plan Site 1/16”Plan = 1’
Floor Plan 2ndSecond Floor 1/8” = 1’ Plan
27
Floor Plan 3rd Third Floor Plan 1/8” = 1’
Section Perspective 28
29
30
Above
Before
31
32
33
FRAGMENT
UCLA Technology III, Professor Julia Koerner, in collaboration with Chris Beirach, Spring 2017
34
3-D scan
3-D polygon remodel, produced in Maya
Chunk extracted from the composition
Model rendering, from a spline-based remodel of the chunk in Rhino
35
A chunk is extracted from the Debora Butterfield sculpture Pensive - a skeletal network of branches “drawing� a horse in three dimensions. We found this locality interesting because of its composition of three intricately comingling organic elements.
Physical model, integrating egg-crate and contour modeling techniques*
* Designed and produced in collaboration with Chris Beirach
In the second phase of the project, our focus on the composition of three elements shifts to an intoduction of three systems: mass, ribs, envelope. The extracted region uses an inverted structural system in which a heavy mass is supported by a less dense system of ribs. This inversion is present both in the representational modeling techniques of the study model and in the final chunk. Final chunk, to be thought of as a part of a larger system, or as a building concept*
Process Process 36
Wireframe sample In the inverted structural system of this project, the most dense part rests on a lighter support system. The mass is fabricated using double-sided CNC milling.
Developed with representational modeling techniques in mind, this transparent system of ribs has qualities
An envelope within a skeletal structural system, this 3D printed element becomes an interior as it slides into the piece above. The part is comprised of three pieces, assembled inside the ribs.
37
Cladding Texture Process Diagram
An eggcrate model projects a grid through a form to represent its geometry. To develop a cladding texture from this modeling technique, we instead project a grid onto the surface of our panel. The projections are then removed from the surface and extruded.
Finally, the extruded projections are subtracted from the original part.
38
3-D printed envelope within laser-cut ribs
39
Envelope and ribs
3-D printed cladding panel set into MDF mass
40
Front view: envelope becomes interior
41
Side view: mass, ribs, envelope
42
Visual Art
Large Spindle Piece, Henry Moore Personal, 2016
43
44