University of California Berkeley Bachelor of Architecture
EMERGENT PARADIGM
Sonoma, California 02 URBAN INSTITUTE San Francisco, California 03 INTERLOCKED Community Center, Oakland, California 04 ROY LICHTENSTEIN DUPLEX Los Angeles, California 05 ANALYTICAL DRAWINGS
SONOMA, CA
FALL 2022 | ARCH 100C
| KEITH PLYMALE“Emergent Paradigm” acknowledges current design principles and the immediate need for fire resilience in Northern California. With a focus on fire, earthwork, and the human body, this project presents a new system of 3D-printed concrete buildings that have a lower chance of burning in a fire by leveraging their surrounding earthwork as an additional protective layer.
The design process started with understanding how fire affects people and buildings. Furthermore, the design process was anchored in an earthwork study of various different artists. Based on a study of “Cuts” by Carl Andre, I was able to develop a site of my own, the geometry of which extends into the two dwellings.
The design approach for the houses began with a series of six situations. The six conditions are proportionally related to the body. They, however, are objects with a physical presence derived from a composition of words.
01 Scale of proportions used in the design of dwellings and earthwork
02 Analytical Axonometric Drawing
Situation 01 Stair
Stepping, two planes, vertical off set, seat, cris-cross
Situation 02 Corner Intersection
Two walls, one window cut/ aperture, a frame, a seat, fold
Situation 03 Cantilever Reflection, oculus, physical dynamics, structure, extension
Situation 04 Threshold Canopy
Entry door, long wall, seat, ground, cut, shade/rain awning
Situation 05 Horizontal Plane
Bed for sleeping, one window, floor plane, fold
Situation 06 Concave Tub
Soaking bath, shift, a depression, a window, reflection
Dwelling A is printed within a 37’ x 47’ x 28’ box. Dwelling B is designed as a continuing series of 25’ x 25’x 14’ prints. The two are conceptually comparable in that they both follow the site's line geometry. Dwelling A is built around a stair, a wall, and water, whereas Dwelling B is built around a wall, a hallway, and water.
Frame 01
Bedroom, stair, bed, window, curtain
Frame 02
Wall, stair, mass, window, directionality
Frame 03
Opening, steps, reflection, continuation
Frame 04
Pathway, shift, apertures, rythm
Frame 05
Outside, steps, enclosure, rythm
Frame 06
Inside, intersection, movement
NICOLE
A porposal of an urban institute exploring the idea of interwoven spaces. To interweave, in the project means mingling spaces by positioning them in such a way that each space is able to offer a distinct experience. The building is designed so as to not be divided by its floors or corridors, but instead to be thought of as a series of spaces that foster the possibility for different relationships between neighbors.
The stairway stays uniform so as to aid with the rational placement of these space containers, connect, and allow for overall flowing composition. Floors are composed of concrete, which climbs up the walls and changes texture. Areas are enclosed by operative glass panels and wooden frames that attempt to create a rhythm in the facade. This rhythm changes where the program allows for it to: in the two front entrances that open to both sides of the sidewalk, allowing for free movement as well as fresh air, and in the ‘wooden arch’.
Several arched shapes intersect in two directions. This allows for a variety of floor levels and different spatial relationships to be present between programs.
The Urban Institute contains both public and private spaces. Private spaces are placed higher up in the building and are usually detached from communal ones.
Concrete walls are appropriately isolated for temperature control. Additionally, several window openings allow for operability.
Concrete decks typically span for a maximum of 25 feet. Shear walls are located on both sides of the building as well as its circulation core.
A moment of intersection between the arched shapes. The glass exhibition space overlooks the urban model as well as the art studio. Visitors walk underneath the exhibiton space to enter the assembly hall.
Concrete arches break down into a wooden structure, providing the visitors an outdoor experience. The space can be used interchangeably as an exhibition or leisure space a moment of peace.
One method to comprehend how structures function within their context is by examining historical precedents. By studying Rosenthal Contemporary Art Center by ZHA I was able to begin to comprehend how the design decision-making process affected the final design by reverse engineering the building's programs and form. I was then able to apply what I had learned and incorporate important elements into a design of my own.
Programmatically the building provides spaces for temporary exhibitions, offices, a museum store, a cafe’, and public halls. The massing model was simplified based on programmatic rationales. The vertical layout intends to emphasize vertical relationships between the building’s programs. Formally, the building is conceived as a dynamic space rather than a static structure. An important element, the “Urban Carpet” is designed to draw in pedestrian movement. In contrast to the Urban Carpet, exhibition spaces interlock similarly to a three-dimensional jigsaw puzzle made up of solids and voids.
01
Precedent Analysis
Rosenthal Contemporary Art Center Zaha Hadid Architects
01.1 Porgram Analysis
01.2 Form Analysis
One of the initial considerations was where to place the structure so that a welcoming public area could be added close to the cafe. Public and private spaces served as a guide for how the program was organized, with communal spaces on the first two stories and calmer private spaces on the upper two floors. A shift occurring between the two sets of floors serves as a visual representation of the grouping.
Building on the precedent research, the idea of interconnecting blocks intrigued me. With time, some of the blocks turned opaque, and others were completely made of glass to let in light and air. The block is noteworthy because it defines inner regions outside of the facade.
Figure 1 Fourth Floor Terrace
Figure 2
Drone View
Figure 3
Second Floor Office Space
Figure 1 Imperfect #223 Roy Lichtenstein
LOS ANGELES, CA SPRING 2021 | ARCH 11B | RUDABEH PAKRAVAN
Design ideas and graphic design norms are introduced in Arch 100A as they relate to the study of architecture. The project's goal was to create a conceptual architectural design using drawings that would later become a three-dimensional model.
The first step in the process was extrapolating planimetric relationships between the figure and ground of the chosen painting: Imperfect #223 By Roy Lichtenstein. In order to produce an abstract object, corresponding orthographic projections were made using the drawings as a starting point. In turn, the abstract object served as a canvas for the design of a duplex.
Primary walls projected from the painting become divisors of space between the two units as well as axes of circulation. Circulation happens both externally and internally in relation to the structure.
Unit 1 Unit 1 + Unit 2 divided by primary wall Unit 2
The duplex is meant to accommodate two families. Conceptually, the building is developed as an ever-folding plane that wraps around itself to create angular geometric forms and spaces.
Ultimately, the building's shape affects what goes inside it, resulting in a Total Design where spaces and furniture are combined to create a single cohesive whole.
Step 01 Step 02
Step 03 Step 04
SPRING, FALL 2022 | ARCH 100 B&C
03
Superimposed drawing of layers of information
Thank you for your consideration, Ines Bici.