JB ARCHITECTURE PORTFOLIO
JAKE BRANNON 620-243-3272 jakebrannon@ksu.edu
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LÄMPÖ SAUNA Liesjärvi, Finland
MOJAVE MOTEL Amboy, California
KING’S ROAD GATEHOUSE Los Angeles, California
COOPER HEWITT MUSEUM New York City, New York
STUDY TRAVEL 2015 - 2018
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LÄMPÖ SAUNA Liesjärvi, Finland Professor Gary Coates 2,400 ft2 The Finnish word “lämpö” is used to describe a very specific sensory experience that English has no equivalent term form. Lämpö is the contrast and compatibility between warm and cold environments--a concept around which the long enduring tradition of sauna use was formed. The sauna is a staple of Finnish culture and architecture as well with over three million of them throughout the country. The use of one can be broken down into steps with specific durations, levels of heat, and other environmental requirements. This project was designed around the Finnish sauna ritual to enhance the sensory experience and connect visitors with the beautiful landscape of Liesjärvi National Park.
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175°
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200°
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TEMPERATURE - F°
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COLD PLUNGE
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TEMPERATURE GRADIENT Each step of the traditional sauna experience has specific environmental requirements--the most important of which is temperature. This design accommodates for these variations through furnace placement and outdoor spaces.
PROTECTIVE SHELL The popularity of saunas in colder climates can be traced back to the inborn desire for sensory contrast. The architecture represents this dichotomy as a curvilinear shell with a protected interior space. The materiality of both were chosen to reflect their associated environments.
MIRRORED PATH The two entry points to the site demanded a path that provides the same experience in both directions. By mirroring the pathway across the central axis, this design ensures that visitors from both the cabins and dispersed camping area is identical.
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CORRUGATED ALUMINUM
8” RIGID INSULATION VAPOR BARRIER
2” x 8” TIMBER
FURRING STRIPS 1/2” WOOD PANELING INSULATED GLASS
3/4” x 4” BOARDS
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02
MOJAVE MOTEL Amboy, California Professor Genevieve Baudoin 8,850 ft2 This site is located on historic Route 66, only seven miles from the Mojave National Preserve. For 38 years the only lodging between Needles and Barstow were the six cabins of Roy’s Motel which shut its doors in 1977 and has since fallen into disrepair. The Mojave Motel is a proposal to replace the existing abandoned building and provide refuge for California’s desert travelers once again. Inspired by the motels that sprung up all over the nation during the birth of America’s interstate system, the Mojave Motel pays tribute to midcentury architecture and the captures the spirit of the “great American road-trip”.
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PORTAL One of the most consistent features of the motel archetype is the welcoming portal--a ceremonious threshold to signify your arrival. This feature also has the utilitarian use of protecting guests as they move from their car to the lobby before they check in.
ZONING Due to the possibility of late night arrivals, most motels have a live-in operator. By separating the spaces for guests and staff this project ensures the privacy of both parties and allows the operator a sense of ownership of their space.
SERVICE Five dual sided service bars are distributed throughout the building to accommodate for restrooms and mechanical closets for each unit. A larger service bar in the operator’s quarters contains the laundry room and dedicated restroom.
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SOUTH ELEVATION
SECTION PERSPECTIVE
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ENTRY PORTAL AND LOBBY
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CONVERSATION PIT AT NIGHT
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M O T E L
WEST ELEVATION
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KING’S ROAD GATEHOUSE Los Angeles, California Professor Chris Fein 930 ft2 The King’s Road House built by Rudolph Schindler in 1922 is arguably the first home built in the modernist style and it’s influence on the world of architecture can still be seen today. Today, it is home to the MAK Center for Art and Architecture which is visited by thousands of people each year. For this project I was tasked to propose a gatehouse on the same site as Schindler to provide a living space for the steward of the property and a welcome center for visitors. Designing anything next to such a well known and influential work was incredibly intimidating. For guidance, I studied the work of Schindler and the King’s Road House intensively. The result is a gatehouse that is sympathetic to Schindler’s design strategy, scale, and tectonic language.
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ORIGINAL SKETCH BY RUDOLPH SCHINDLER (COURTESY UCSB)
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CENTRAL LIVING SPACE
EXTERIOR COURTYARD AND CENTRAL LIVING SPACE
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ORDER Schindler adheres to a strict 4x4 grid to provide a clear and logical order to his designs. This same grid system was applied to the gatehouse so that the lines Schindler worked so hard to produce are not interrupted.
COMPRESSION Scale was a very difficult site condition to address for this project. Rudolph Schindler was very short and did not conform to standard ceiling height. To make the smaller than usual volume feel larger, a lower ceiling height was introduced at each of the thresholds.
OUTDOOR SPACE The “L” shaped wings of the King’s Road House define outdoor garden spaces associated with each of the individual studios. That same method was used in the gatehouse to provide private outdoor spaces for both the visitor’s center and the stewards residence.
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SECTION - A
SOUTH ELEVATION
SECTION - B
WEST ELEVATION
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BEDROOM BATHROOM LAUNDRY KITCHEN LIVING ROOM STORAGE VISITORS KIOSK
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COOPER HEWITT MUSEUM New York City, New York Professor Chris Fein 74,000 ft2 The Cooper Hewitt Design Museum was founded on New York’s 5th Avenue in 1896. Since then, the museum has collected notable designed objects from across the globe and made them available to be seen by the public. With an incredibly vast collection and very little display space, the museum can only display many of their works digitally rather than in person as they would like. Additionally, much of their collection consists of very large items like cars, tractors, and expansive textile samples. To accommodate for such items a satellite building in New York’s East Village was proposed. This building was to include additional spaces for the upkeep of the Cooper Hewitt’s collection--services that have to be performed off site currently due to lack of space. This creates an interesting programmatic dialogue between front of house and back of house spaces not typically seen in the average art museum. The challenge of this project was to provide visitors not only an appreciation for the items on display, but also for the process of design and the work it takes to preserve such an expansive collection.
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ORIGINAL COOPER HEWITT MUSEUM BUILT 1896
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CASE STUDY CRANBROOK COLLECTIONS WING The Cooper Hewitt is now a division of the Smithsonian Institution whose mission is to “increase and diffuse knowledge about the universe”. This is an incredibly large undertaking requiring much more most museum visitors would think. Countless hours are spent restoring and cataloging the collections that the Smithsonian has acquired over the past 160 years. Every moment that an item from these collections are not on display is a missed opportunity to “diffuse knowledge” to the museum’s visitors. In addition to documenting and digitizing collections for online use, another new trend has taken root that allows visitors to view items that otherwise would be locked away. One great example of this trend is the Cranbrook Collections Wing by SmithGroupJJR which opens up spaces rarely seen like storage areas and conservation labs to the public. This method allows the museum to display the greatest amount of their collection as possible as well as demonstrate some of the behind the scenes processes it takes to maintain the collection without jeopardizing museum security.
CRANBROOK PRESERVATION DEPARTMENT
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STORAGE ON DISPLAY
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MASSING The program of this building requires a great deal of service spaces that need to be accessible from all portions of the building. By compressing these spaces in to a central bar, the rest of the building is freed from the burden of mass associated with egress stairs and restrooms.
ZONING After dividing the program into the categories of front and back of house, it became clear that the spatial demands of the two categories were completely different. These categories were interpreted literally, resulting in a clear physical separation between the two.
CIRCULATION To ensure visitors experience both the gallery and conservation sides of the building, a vertical circulation path that wraps around the service bar was established. Additionally, this path skips alternating floors in the back of house portion of the building creating a subtle separation of spaces that need to remain truly private.
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LOBBY CAFE KITCHEN RECEPTION GIFT SHOP LOADING DOCK MECHANICAL
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WORKSHOP CORRIDOR
STAIR FROM GALLERY
SECTION PERSPECTIVE
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STUDY TRAVEL New York City, New York Amsterdam, Netherlands Fort Worth, Texas
Rome, Italy Los Angeles, California Paris, France
During my time at Kansas State University I have been fortunate enough to travel throughout the United States and beyond to study some of the greatest works of architecture in existence. I have come to know architecture and design as a new lens through which to see the world through and constantly strive to better understand it’s role in our dayto-day lives. In doing so I have developed a wide frame of reference for quality of space and logical design solutions. Through sketching and photographing these experiences I hope to preserve their memories and the lessons learned.
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CENTRE GEORGES POMPIDOU - PARIS
WAVE / CAVE BY SHoP ARCHITECTS - MILAN
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IL DUOMO DI FIRENZE - FLORENCE
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GIN AND TONIC - AMSTERDAM
LAKE COMO - ITALY
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THE OCULUS - NEW YORK CITY
FULTON CENTER - NEW YORK CITY
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BRION CEMETERY - ALTIVOLE
PANTHEON - ROME
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FIAT MODEL 127 - CAPRI
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THE LOUVRE ISLAMIC ARTS WING - PARIS
GRAND CANAL - VENICE
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IL MAGISTERO - URBINO
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KIMBALL ART MUSEUM - FORT WORTH
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GETTY MUSEUM - LOS ANGELES
IL MAGISTERO - URBINO
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