JACOB COMBEE ARCHITECTURE PORTFOLIO
WEB EMAIL PHONE ADDRESS
j a c o b c o m b e e . w e e b ly. c o m jacobc7@vt.edu 804.516.9100 9458 lady elizabeth lane m e c h a n i c s v i l le , v a 2 3 1 1 6
ARCHITECTURE
HISTORY OF THE WRITTEN WORD TH U n d e rg ra d u a te T h e s i s
OCEAN DUNE CROSSOVER 01 V T T h i r d Ye a r C o m p e t i t i o n
FIREHOUSE 02
V i r g i n i a S o c i e t y A I A 2 0 1 3 C o m p e t i t i o n / / To p Te n
DISASTER RELIEF HOUSING 03
V i rg i n i a S o c i e t y A I A 2 0 1 2 C o m p e t i t i o n
RESEARCH LAB 04 PULASKI REJUVINATION 05 NEW RIVER VOTECH 06
VEFP 2011 Competition // Second Place
TIMBER IN THE CITY 07
ACSA Urban Habitats 2013 Competition
E X P LO R AT I O N S
LEAF 08 LIGHT 09 PHOTOGRAM 10 CHAIR 11 WATERCOLORS 12 SCREEN PRINTING 13
TRAVEL
SKETCHES 14 PHOTOS 15
TH STUDIO
Mario Cortes F i f t h Ye a r
U N D E R G R A D U AT E T H E S I S DURATION
2013-2014 Nine Months
LOCATION
A t l a n ta , G e o rg i a
A
rchitecture is the great book of humanity. In Victor Hugo’s This Will Destroy That, he argues that the history of architecture is the history of writing. Before the printing press, mankind communicated through architecture, alphabets were inscribed in books of stone. The idea that architecture is the handwriting of the human race dies with the invention of the printing press. Books could be easily massproduced, spreading ideas in a cheaper manner and to a larger constituency. Architecture is no longer used to communicate ideas, and thus becomes meaningless (this theory is supported by the profusion of movements that mimicked earlier styles: neo-classicism, neoByzantine, etc.). It is my thesis that architecture is still a story telling device, directly communicating purpose through a choreographed procession. In an act of ironic justice, the infusion of technology into our modern lives is destroying the written word. “When the memory of the primitive races began to be surcharged, when the load of tradition carried about by the human family grew so heavy and disordered that the word, naked and fleeting, ran danger of being lost by the way, they transcribed it on the ground by the most visible, the most lasting, and at the same time most natural means. They enclosed each tradition in a monument.� The written word creates ideas that become ubiquitous, durability is exchanged for immortality. Words on paper propel schisms into revolutions; Gutenberg is the forerunner of Luther. I propose a construct that preserves this written word that has so heavily molded our existence: a monument, a memorial to the book. This is the story of the library: past, present and future.
01 STUDIO
Mario Cortes T h i r d Ye a r
OCEAN DUNE CROSSOVER DURATION Fa l l 2 0 1 2 O n e We e k
LOCATION
Natchez Beach, Florida
The bridge acts as a transition from mass t o l i g h t b o t h p h y s i c a l l y a n d m e t a p h o r i c a l l y. The street side mass anchors the bridge allowing it to pass over the dune and lightly touch the beach in a singular point. It is the ephemeral transition from a dense urban fabric to a sublime openness that is the beach. The momentary transition of non-contact between the beach and the stairs accentuates the intention of transition through the threshold.
COMPETITION
V i r g i n i a Te c h T h i r d Ye a r
TEAM
Dean Asplundh + C o s y S o l b e rg
02 STUDIO
Heiner Schnoedt F o u r t h Ye a r
FIREHOUSE DURATION
Spring 2013 Tw o D a y s
LOCATION
A lex a n d r i a , V i rg i n i a
Community forms with water: a space to gather, to fellowship, to thrive. The fire s t a t i o n ’s n e e d f o r w a t e r i s i n h e r e n t t o i t s existence. Through the act of displaying this water, the fire station becomes the b e a c o n f o r a t h r i v i n g c o m m u n i t y.
COMPETITION
V i rg i n i a S o c i e t y A I A 2 0 1 3
AWARD To p Te n
A
The apartments shield traffic noise allowing for the melody of the waterfall to permeate the courtyard. The basketball court is an offering to create a mutual gathering around sport. Courtyard g e n e r a t e s c o m m u n i t y.
A
B
Community forms with water; a space to gather, to fellowship, to thrive. The fire station’s need for water is inherent to its existence. Through the act of displaying this water, the fire station becomes the beacon for a thriving community. As the waterfall travels underground, so too does the patron. The Hearth and meeting room offer a unique perspective of the falls. The apartments shield traffic noise, allowing for the melody of the waterfall to permeate the courtyard. The basketball court is an offering to replace the lost tennis courts and create a mutual gathering around sport. Courtyard generates community.
E B D
C
C
D
E
03 STUDIO
Mario Cortes T h i r d Ye a r
DISASTER RELIEF HOUSING DURATION
Spring 2012 Tw o D a y s
LOCATION
N a g s H e a d , N o r t h C a ro l i n a
What good is a shelter that does not survive the disaster that spawns the refugees? This is a proposal for a self-contained shelter that remains in a state of readiness. The collapsable porches seal the livable space, protecting the shelter until it is needed a f t e r a d i s a s t e r. O n c e p e r m a n e n t d w e l l i n g s are repaired or rebuilt, the shelter can be restocked and resealed and continue to remain as a safety net for future disasters. The space is shaded and designed to take advantage of natural cooling through cross ventilation. With ratcheting cables (much like tie-downs used in freight hauling), the building is anchored to a foundation of four caissons. This connection prevents the building from lifting off its base during the inevitable high winds of a hurricane. In the event of a natural disaster elsewhere the dwelling is simly uncoupled and loaded onto a flatbed for relocation.
COMPETITION
V i rg i n i a S o c i e t y A I A 2 0 1 3
Shelter: What good is a shelter that does not survive the disaster that spawns the refugees? I propose a self-contained shelter, which remains in a state of readiness. The keys to this shelter are the collapsible front and rear porches. As the top sections collapse down, the bottom sections fold up, sealing the livable space, protecting the shelter for use after the disaster passes. After permanent dwellings are repaired or rebuilt, the shelter can be restocked, resealed and continue to remain as a safety net for future disasters. How it works: Shade created by the porches keeps the interior cool from direct sunlight, and the glass doors placed directly across from each other provide cross-ventilated breezes. Four caissons provide the foundation on which the building attaches through the use of cables. Much like tie-downs are used to keep freight on a flatbed, the dwelling is tied down to its foundation. This prevents the building from lifting off its base from wind or water. The cable system also allows for quick repositioning or moving if the circumstances call for it. The cables are simply uncoupled under the building and the dwelling is loaded onto a flatbed.
04 STUDIO
C l i ve Vo rste r S e c o n d Ye a r
M O D U L A R R E S E A R C H L A B O R AT O R Y DURATION
Spring 2011 Fo u r M o n t h s
LOCATION
R u b o n d o I s l a n d , Ta n z a n i a
Rubondo Island is a relatively small island tucked in the southwest corner of Lake Victoria. It is densely populated with endangered and protected species. In an attempt to maintain and study these animals, a prompt was given to develop a modular laboratory to be assembled on the island. In order to ship the building, it is designed to be assembled on site with little t o n o e l e c t r i c i t y a n d l i m i t e d m a n p o w e r. Size constraints emerge as the pieces need to be lifted by humans and need to be shipped in small boats to the island location. The building has minimal parts and minimal assembly time. This simplicity makes quicker work of construction and requires less direction from the des i g n e r o r m a n u f a c t u r e r. The building should accomodate space for a laboratory, classroom, and bedroom. With a comfortable climate, and limited electricty, the building should merge the gap between inside and outside. The best p l a c e t o b e i s u n d e r a s h a d e t r e e i n Ta n zania. The essence of a tree is in the idea of a shaded area open to the elements and the cooling breeze.
E L E V AT I O N
GRAPHIC
GHOSTED PERSPECTIVE
RENDER
STUDIO
DURATION
Spring 2012 Fo u r M o n t h s
LOCATION
P u l a s k i , V i rg i n i a
Storage
Public Restroom
Mario Cortes T h i r d Ye a r
PULASKI CENTER FOR ART
Public Restroom
05
00
Art is unmeasurable and allows a viewer to see past the limits of this world. This pro posal is an attempt to create a space where art can be viewed without mundane limits. Large columns create a rhythm which pro vides a sense of calm. This is juxtaposed with a skewed set of glass boxes, creating a space with tension and movement. A variety of spaces exist, accomodating different artistic expressions.
01
This building replaces three existing build ings, offering three large lofts for resident artists in exchange. The display space is generous and provides for the resident artists as well as artists from across the area, creating a cultural hub in Pulaski.
02
03
R1 R2 R3
R4 R5 R6 R7 R8
F11 F10
F2
F9
R1: R2: R3: R4: R5: R6: R7: R8:
W1
flahsing protective layer waterproofing layer insulation vapor barrier concrete decking corrugated metal decking I-Beam
F1: F2: F3: F4: F5: F6: F7: F8: F9: F10: F11: F12: F13:
12”x12” steel tube (structural) 2“x12” Wood Joist subfloor 3” rigid insulation wood sheathing vapor barrier furring strips (grid) aluminum cladding interior furring strips aluminum cladding plywood subfloor finish wood flooring window mullion 2 pane insulated window
W1: W2: W3: W4: W5: W6: W7: W8: W9:
interior drywall finish 2”x10“ stud wall 3” rigid insulation (x2) exterior plywood sheathing waterproofing 12”x12” steel tube (structure) furring strips aluminum rain screen thermal break
G1: G2: G3: G4: G5: G6: G7: G8:
2’x3’ pile (15’ depth) grade beam 12”x24” concrete column 6” concrete working slab vapor barrier 6” exterior finish slab 3.5” mortar bed 2.5” fired brick finish
F1
F3
F8
F4
W2
G8
W3
F5
G7
W4
F6
W5
F7 F12 W6
F13 W7
W8 W9
G6
G5 G4
G3 G1
G2
G5
06 STUDIO
Mario Cortes T h i r d Ye a r
NEW RIVER VOTECH CENTER DURATION
Fa l l 2 0 1 1 Tw o M o n t h s
LOCATION
D u b l i n , V i rg i n i a New River Community College
Movement, path, and exploration through a labyrinth of halls and stairwells create an environment akin to that of a playground. Passageways reveal alternative routes to synonymous destinations, creating a dynamic movement in and around the building. Through exploration the intricacies of the building are revealed. Furthermore, exploration encourages cross-disciplinary interaction, as the paths l e a d p a s t o t h e r a r e a s o f s t u d y. D i s c o v e r y leads to excitement, and ultimately fosters a healthy and vibrant learning environment.
COMPETITION
V i rg i n i a E d u ca t i o n Fa c i l i t y P l a n n e rs 2 0 1 1
AWARD
Second Place
1.1 1.1: Copper Roof (Drainage Layer) 1.2: Waterproofing 1.3: 4” Rigid Insulation 1.4: Vapor Barrier 1.5: Gutter 1.6: #5 @ 12” o.c. 1.7: #6 @ 10” o.c.
1.6
2.1: #8 @ 15” o.c. - Special Condition at windows to keep them sturdy 2.2: #5 @ 12” o.c. 2.3: #4 @ 8” o.c. 2.4: Voids to lighten weight of floor slab 2.5: #6 @ 10” o.c. 2.6: Copper Cap (Snap in Place) 2.7: Thermal Break 2.8: Weather Sealant 2.9: Compression Gasket 2.10: 2.25” locking screws 2.11: Insulated Window
1.2
1.5
1.3
1.4
1.7
1.4 2.2
2.3
2.4
2.2
2.5
2.1 1.3
3.1: Caisson, 20” diameter x 12’ depth 3.2: 9” Slab/Grade Beam - Minimum 2” cover on steel 3.3: 2” Rigid Insulation 3.4: 4” Finish Slab 3.5: Compressive Material (allows movement of Concrete) 3.6: Undisturbed Soil or Fill 3.7: (4) #6 bars top and bottom 3.8: #8 @ 15” o.c. 3.9: #7 @ 12” o.c. 3.10: (6) #8 x 8’
3.9 3.5 3.4
1.4 3.3
3.2
3.8
1.2
1.2 3.7 3.1 3.10
3.6
07 STUDIO
Heiner Schnoedt F o u r t h Ye a r
TIMBER IN THE CITY DURATION
Spring 2013 Fo u r M o n t h s
LOCATION
R e d H o o k , B ro o k ly n , N e w Yo r k
As a car zooms by and brushes back the pedestrian, a thought occurs: to create a space for the belittled pedestrian. As the city becomes louder, and continually urges an outward movement, one finds a space of i n w a r d f o c u s , a t r u e c o m m u n i t y. To g r e a t e r acknowledge the bicycle as an efficient and environmental mode of city travel; the bike shop extends to create the formal entrance to the space. Entering through the bike shop brings awareness, while other entrances are seemingly hidden behind a screen, creating a sense of stronghold or s a f e t y. The screen filters light, but does not prevent it from creating a calm interior environment. The smoke stack burns the excess of the wood shop, and makes reference to the industrial heritage of Red Hook. The concrete base, offering some sort of protection, supports the wooden block of apartments. The city, being hard and cold is concrete. The residence, being warm and inviting, is wood.
COMPETITION
ACSA Urban Habitats 2013
ROOF PLAN
PLAN 03-06 TYPICAL coffee shop
indoor recreation
showroom
lobby lobby
showroom
cafe
PLAN 02
storage
wood production
digital fabrication
PLAN 01
bike shop offices/ classrooms
08 STUDIO
Hilary Bryon F i r s t Ye a r
LEAF DURATION
Fa l l 2 0 0 9 T h re e We e k s
In an effort to view the world through a new set of eyes, the assignment was given to model a leaf using only right angles, no glue, and no more than two materials. With an understanding of the structure of a maple leaf (regarding stem, vein, and three obvious peninsular pieces), and a thought of three dimensional space, this c o n s t r u c t g r e w.
09 STUDIO
C l i ve Vo rste r S e c o n d Ye a r
LIGHT DURATION
Fa l l 2 0 1 0 Fo u r We e k s
Light primarily renders itself on the surfaces of objects. When light does something greater than surface rendering, we find a sense of wonder in the act. This is an exploration of light as a space filling e n t i t y. L i g h t c a n n o w e m b r a c e a n d e n g u l f a user in a space. By refracting and reflecting inside the acrylic rods, the light becomes knowable. The space between the rectangular masses becomes tangible through the occupance of light. Rather than simply lighting up the darkness so that the space can be seen, light can be the space.
10 STUDIO
Hilary Bryon F i r s t Ye a r
PHOTOGRAM DURATION
Spring 2010 T h re e We e k s
Light is arguably the most powerful tool an architect has in his repitoire. This exploration is an effort to better understand the refracting property of light. A wine glass, full of water, is placed on a piece of photo paper in a darkroom. The subsequent studies are a result of varying light strength, exposure time, and position of the light.
11 STUDIO
C l i ve Vo rste r S e c o n d Ye a r
CHAIR DURATION
Spring 2011 Fo u r M o n t h s
A typical chair is focused on the seat. The legs and back depend on the seat to exist. The legs rise to the seat and from the seat the back rises. In this exploration, the architype of chair is reversed by making the seat dependent on the legs and back. It is my opinion that heaviness (or lightness) is dependent on preconcieved notions of material or purpose. Compressive elements contribute the most weight to a n o b j e c t , b o t h i n p h y s i c a l l l y a n d v i s u a l l y. In order to achieve a sense of lightness, the seat is trapped in suspension between opposing forces. Suspension elements are lighter than compression elements. By minimizing compressive components and maximizing tensile components, the chair is developed.
12 STUDIO
Mario Cortes F o u r t h Ye a r
W AT E R C O L O R S DURATION
Spring 2013 One Semester
To e x p a n d m y k n o w l e d g e o f r e p r e s e n t a i o n a l media, I enrolled in a watercolor class. The following pages demonstrate studies and probes of the media.
13 STUDIO
Chris Pritchett F i f t h Ye a r
SCREEN PRINTING DURATION
Fa l l 2 0 1 3 One Semester
In an effort to continue my exploration of representational media, I enrolled in a screen printing class. The following pages demonstrate studies and probes of the media.
14 STUDIO
Tr a v e l P r o g r a m F o u r t h Ye a r
T R AV E L S K E TC H E S DURATION
Fa l l 2 0 1 2 One Semester
I was lucky enough to have been afforded the opportunity to travel Europe and study architecture. The following compositions are sketches from these travels. As I visited both wellknown and unknown architectural constructs, I recorded them both in sketch and photograph. The sketch captures the moment and experience, and is not necessarily literal. Pieces and events can be embellished (or unembellished) in order to recall that moment more accurately with regards to a point in time. The act puts one in the moment.
15 STUDIO
Tr a v e l P r o g r a m F o u r t h Ye a r
T R AV E L P H OTO S DURATION
Fa l l 2 0 1 2 One Semester
In my opinion, there are some instances in which a camera more accurately conveys the atmosphere of a space. Through the tool of the aperture, one has the ability to capture specific moments in accordance to what is seen. The use of the camera captures light and solemnity greater than the sketch. However, the camera does not make as much of an emotional connection to a time and place. Both photo and sketch have a purpose, and together, create tangible memories.