IRiSYEE
a rc h i t e c t u re P O R T F O L I O
CONTENTS 2.3
1 FORM AND MAKING 2 ELEMENTS AND OPERATIONS OF FORM 2.1 BASSWOOD
1
2.2 FOAM CORE 2.3 FOAM 2.4 BASSWOOD & FOAM CORE 3 SCALE, MOVEMENT, AND CONTEXT
3
3.1 MAXWELL HALL
2.2
3.2 ABSTRACT FORM 3.3 REACTION TO CONTEXT 4 CASE STUDY ANALYSIS
2.1 5 PERFORMANCE ART HOUSE
3.1
3.2 2.4
4
3.3 5
EXERCISE 1
FORM AND MAKING
1/8” BASSWOOD
While sticking to the use of triangles, the first operation, merge, is introduced. A small cube is merged with an almost triangular prism. To complete the cube, another triangular prism is merged with the first two volumes.
1/8” BASSWOOD
EXERCISE 2.1 Formal structure is explored here through the use of triangles without directly touching each edge of the cube. 3” CUBE
EXERCISE 2
ELEMENTS AND OPERATIONS OF FORM
Blue foam is used volumetrically with the operation, notch, to create space throughout the cube. The notches introduce triangular space both inside and outside the cube.
BLUE FOAM
EXERCISE 2.3
3� CUBES
EXERCISE 2.2 1/8� FOAM CORE
Planar elements are explored through the operation overlap. Two right triangles are overlapped to create two faces of the cube and combined with triangles and squares to create openings.
EXERCISE 2.4
ELEMENTS AND OPERATIONS OF FORM
1/8” BASSWOOD & FOAM CORE 1
2 3” CUBES
3
These three models explore the operations of notch and taper. The first and third model were eventually incorporated into the final 9� model to create a combination of notched openings and tapered spaces. After exploring the operations in the second model, instead of separating the two tapers, the third model was a result of trying to extend and intersect them.
EXERCISE 3.1
SCALE, MOVEMENT, AND CONTEXT
Space and movement are explored throughout the Maxwell School of Citizenship and Public Affairs in my orthographic drawings. Elaine and I measured the building using our height and foot length. The sections and the elevation are aligned to the plan so that they read from where they are taken. The perspectives were drawn using a frame to represent the layers of the building as seen in the plan from the grand entrance to the semicircular auditorium. The drawings are labeled with numbers so that the location in which the perspectives were taken could be located within the plan to show the flow of movement.
Source: Stephen S (via Flickr)
MAXWELL SCHOOL, SYRACUSE, NY, 1924
1 Perspectives, 20”x30” Strathmore
Plan, sections, and elevation, 20”x30” Strathmore
ELAINE MOU
1
5 2
4 3
3
2 4
5
EXERCISE 3.2 Every notch tapers.
ABSTRACT FORM
9” Model, 1/8” Basswood and Foam Core
The final 9” model uses the operations notch and taper to create space. It combines multiple designs from the previous exercises as well as incorporates new designs like the sharing of one surface to create two opposing tapers. The 4.5” study model introduces movement to the 9” model. Some of the tapers were left as columns and some were transformed into ramps. The floating section of the model was transformed into hanging sitting steps as a final destination.
4.5” Study Model, 1/16” Basswood and Strathmore
EXERCISE 3.3
REACTION TO CONTEXT
GROUP: BOHAN LI, ELAINE MOU, ERYN YOUNG
Site Model, White Foam, 1/8” Basswood and Foam Core
White foam is incorporated into my building to direct attention to the shared space between all the buildings. There are multiple entrances to my building; the grand staircase, the ramp, or the underground seating. While my building connects to Bohan’s directly by a ramp, it indirectly connects to Eryn’s at a certain perspective from my staircase at the entrance. Elaine’s building directly connects to her building through a set of steps whereas it indirectly connects to Bohan’s from perspective inside her building. Since Eryn’s building looks like a sculpture, it is lowered into the ground to direct the viewers’ attention.
After o Fon on the walls ment house two axon inc nes sho space being stream thro are
Source: Simplicitylove.com (via FG+SG – architectural photography)
HOUSE IN FONTINHA, PORTUGAL, MANUEL AIRE
doing research on the House in ntinha, I focused e tapering of the s and the movethroughout the as shown in the o diagrams. The nmetric drawing cludes the thickss of the walls to ow that only the e within them is g exploded. The of light coming ough the tapers represented by dotted lines.
ES MATEUS, 2013
EXERCISE 4
CASE STUDY ANALYSIS
Diagrams, 20”x20” Strathmore
Axonometric Drawing, 20”x20” Strathmore
1/8” Study Model, Grey Chip Board and Strathmore
My goal for this exercise was to design a house filled with a lot of light for a one-person contemporary dance. To do this, I made sure to add large windows in my stage and studio spaces. The studio receives the morning sunlight and the stage receives the strongest natural lighting during the afternoon.
1/8” Study Model, Grey Chip Board and Strathmore
The overlap of public and private space to create a living space differentiates the studio from the stage. I used the garden to create more seating for the audience. This way, the performance can be experienced either by directly entering the building or leisurely down the garden steps.
1/4” Model, Grey Chip Board an
nd Frosted Material
EXERCISE 5
PERFORMANCE ART HOUSE
Axonometric Drawing and Diagrams, 20”x20” Strathmore
1st Floor and 2nd Floor Plan and Sections, 20”x20” S
Strathmore
Ground Floor and Site Sections, 20”x20” Strathmore
IRIS YEE IYEE01@SYR.EDU