j a c o b
W E L D O N
P O R T F O L I O
2007-2011
JACOB WELDON MONTANA STATE UNIVERSITY SCHOOL OF ARCHITECTURE
weldonjacob@gmail.com
T
his portfolio is a compilation of work
completed during my time at Montana State University from 2007 to 2011. There are three sections: one focusing on eight architectural designs, the others on personal photography and hand drawings. The architectural designs are placed chronologically to show my process and growth throughout my undergraduate years at Montana State University. They represent my understanding of urban design, cultural perception, and design of form and structure. The language used to represent these ideas are sketches, diagrams, drawings and digital and physical models.
These,
along with photography and hand drawing sections, demonstrate my creativity, modeling skills and digital capabilities.
F R E E H A N D
P H O T O G R A P H Y
A R C H I T E C T U R E
1 2 3 4
F A L L
07
SPRING09
F A L L
09
2007-2011
THREE PLANES SIX STICKS
URBAN INFILL
GROWING PLACE GENERATING EXCHANGE
SPRING10
DIALECTICAL PAIRINGS EXIT GALLERY
SUMMER10
ROME STUDIO
F A L L
10
COMMUNITY DESIGN CENTER
D R A W I N G S
F A L L
07
THREE PLANES SIX STICKS
F A L L
07
THREE PLANES SIX STICKS
S P R I N G
09
the
PARTI SKETCH
DISPLAY UNIT
The knot breaks the rule within an ordered and consistent system, thus creates an emphasis on the knot rather than the ordered system. The premise was to create an ordered and consistent architectectural language and find a way to break that system. Thus once the system is broken, en emphasis will be made on that which broke it (the knot).
S P R I N G
09
DISPLAY SPACE DIAGRAM
This diagram shows how the displays act as a “knot” within the display space; breaking up the ordered system of how people walk through the space.
PERSPECTIVE FROM THE STREET
AXONOMETIC DRAWING
(DISPLAY
SPACE)
inte in int terio or axonometrricc drraawi wing ing n
URBAN INFILL
S P R I N G
09
URBAN INFILL
MODEL PHOTOGRAPHS
S P R I N G
09
URBAN INFILL
FINAL RENDERINGS
VIEW OF DISPLAY SPACE
PERSPECTIVE FROM THE STREET
G R O W I N G
p l a c e
The first project in Butte,Montana was aimed at creating growth within the community.
As individuals become
more aware of the benefits of micro-gardening and organizations see the benefits of community gardens and green space there is an emerging need for access to appropriate products and tools. My proposal resulted in creating a public green house within a tower inspired by Butte’s iconic mining towers.
F A L L
watercolor street perspective
09
GROWING PLACE
F A L L
D
09
E
GROWING PLACE
S
I
G N
e v o l u t i o n Diagram iagram showing mine tunnels beneath Butte’s utte s surface.
Later studies were made with the use of conThe evolution of the green house tower began with hand drawn partis (in ( plan) p ) inspired p from underground g miningg tunnels.
The strengh and significance of thiss project is its display of hand drawings which drove a significant part of my process.
ceptual
modeling
and
elevation
drawings.
F A L L
preliminary plan drawing
preliminary tower sketch
09
GROWING PLACE
F A L L
09
a c c u m u l a t i o n The second project in Butte, Montana enhanced the initial concept of accumulation.
Accumulation or accumulating density implies motion and preservation.
F A L L
09
GENERATING EXCHANGE
The aim of this project was
Overall this project aimed to
to
exchange.
explore the duality that oc-
The program entailed a com-
curs within the process of
munity center, marketplace,
accumulation and the rela-
along with offices, public cafe,
tionship
and public meeting rooms.
solid, transparent, and void.
generate
an
first floor plan
ground floor plan
between
what
is
F A L L
09
GENERATING EXCHANGE
profits collection
several things grouped together or considered as a whole
Accumulation an increase by natural growth or addition
accretion
Density
parti sketch - exploration of accumulation as a linear expression
a spatial property of being crowded together
compactness
tightness concentration
parti sketch
site parti
physical model
F A L L
VIEW OF SOUTH ENTRANCE
GENERATING EXCHANGE
PUBLIC MEETING ROOM
PUBLIC MEETING ROOM
digital model
09
S P R I N G
10
DIALECTIC:
the juxtaposition or interaction of conflicting ideas, forces, etc.
PARTI SKETCHES
VIEWS OF BRIDGER MOUNTAINS
-
EXPLORATION OF ACHIEVING WEIGHTLESSNESS
S P R I N G
10
DIALECTICAL PAIRINGS
Emptiness points us towards the beauty in life's
All natural objects make a kindred impres-
Culture acts as the filter, through which we see
openness and beckoning: in window gleam, in dust
sion, when the mind is open to their influ-
and understand the world. Culture defines
motes on an oak table. Architecture with empti-
ence....We
impres-
the HOW we come to see and understand
ness is thus always unfinished: if not literally, then
sion made by manifold natural objects. It is
reality which, in turn, influences the WHAT
by the space it makes and potential it shows. We
this which distinguishes the stick of timber of
we see in reality and in the world around us.
become engaged with the intervals and open end.
the wood-cutter, from the tree of the poet.
- Michael Benedict
mean
the
integrity
of
- Ralph Waldo Emerson
- Juan C. Moreno
S P R I N G
10
DIALECTICAL PAIRINGS
NATURE/CELLULAR
T
his project was aimed at creating a dialectical
This balance creates a dialect between the two as
pairing with a long span space and a cellular space.
well as between the long span and cellular spaces.
Rooted within the heart of industrial Bozeman, my
The cellular building is made up of short stay hotels
project aspires to create the notion of silence to
and apartments. The longspan building contains an
the site. Weightlessness is seen as a balance be-
art gallery, wine gallery, music hall, and restaurant.
tween dynamic and static thus creating silence.
APARTMENTS
S P R I N G
10
DIALECTICAL PAIRINGS
The project reacts to the site’s immediate surroundings, connecting to the landscape and creating a place of awareness for the surroundings. GROUND FLOOR PLAN CULTURE/LONGSPAN
MUSIC HALL
MUSIC HALL
MOUNTAIN VIEW DIAGRAM WINE GALLERY
By taking the ratio of the peaks down to the site, a strong connection was made to the immediate surroundings. Views of the Bridger Mountain Range were broken down to relate to each major peak.
Ranging from Baldy
Mountain to Hardscrabble, each void represents a view as well as a peak. ART GALLERY
S P R I N G
10
DIALECTICAL PAIRINGS
interior apartment
in between exterior and interior
interior apartment
S P R I N G
music hall
art gallery
wine gallery
10
DIALECTICAL PAIRINGS
S P R I N G
10
DIALECTICAL PAIRINGS
S P R I N G
10
DIALECTICAL PAIRINGS
SPRING10
the
EXIT GALLERY
(Project by Jake Weldon and Scott Freitmuth)
RY @ Montana State University
DESIGN INTENTION
The Exit Gallery is in a constant state of change. The design strategy was to create an adaptable space because new artwork is displayed weekly. The gallery consists of moving wall partitions that can be folded in any manner the artist wishes to display their art.
The
reason
for
this
project’s
placement in this portfolio is due to the display of construction documents
completed at
the end of the design process.
SPRING10
P R O C E S S Scheme 1
EXIT GALLERY
LEGEND OF SYMBOLS
Sceme 2 Detail reference tag
For the first revision we were concerned with achieving a more poetic solution than we had previously created; mainly focusing on structure. As far as the first scheme went, there were some aspects that worked really well poetically and some that were obviously detracting from the feeling of this gallery. The panel system, we felt, was very poetically strong from the beginning: actively creating a different space with the changing artwork. Our concrete enclosure, on the other hand, had no say in the dialect of the space: it was too mute. It was also a very impractical enclosure system; originally not insulated and lacking wall or ceiling space to run appropriate mechanical componets. Our alternative was a simple steel stud wall with corrugated aluminum sheathing. This wall construction provided ample airspace for proper insulation and mechanical conduit, and the corrugated siding added slightly more visual interest than the CMU, which contrasted well with the panel system. After considering how impractical a non-insulated enclosure system in our climate was, we concluded that it was also far too impractical to have a non-enclosed gallery space. This presented a major design problem: how to enclose the panel system without masking its dynamic movement? The solution was a structural glazing wall that would allow for maximum transparency. Glass fins were substituted for mullions so the view of the panels was not obstructed to the passer by. Because the entire structure was now enclosed, we moved the building off to the north side of the walkway so that people were not forced through the gallery. Rather, they were forced to walk beside it and look through the glass wall to notice the panels. t.
Our first scheme was derived from the concept of allowing the building to adapt to ever changing artwork. To achieve this, we left the gallery space open to the outside so that nothing was obstructing the moving panels. In this sense the panels acted visually as the exterior of the building to reinforce the movement and adaptation. To ensure the artwork was protected from the outside elements, peices would be displayed in hermatically sealed containers made of plexi-glass To keep the main emphasis on the panel system, the smaller parts of the program were enclosed with simple CMU walls and concrete plank roof to appear as mute as possible. The building was sited right on the main walkway so that students would be forced to travel through the gallery to experience the art and the buildings adaptation to it.
Section reference tag
Elevation reference tag
Door reference tag
Window reference tag
Construction type tag
LINE TYPES LEGEND
Final Scheme URRI RYHUKDQJ UR
WATER
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SEWER ELECTRICAL MECHANICAL existing sidewalk new sidewalk ADA entry
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Grid Line
Visible partitions
Overhead
Cut Through
Detail Callout
/RZ ( JODVV Phase 2 Baseline results
Phase 3 Baseline results*
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* phase 3 E-quest test results do not factor
%\ LPSURYLQJ WKH JODVV WR /RZ ( ZLQGRZV WKH KHDW FUHDWHG ZLWKLQ WKH VSDFH ZLOO QRW HVFDSH RXW WKURXJK WKH HQYHORSH EXW UHĂ€ HFW EDFN LQWR WKH VSDFH
in thermal performance of insulated shade. shade adds an addition R-12 to wall assembly which will lower electric and gas consumption.
re vi s i on b loc k
architect stamp
node creative
S cot t Fre imu t h Jak e We ldon
EXIT GALLERY
MONTANA STATE UNIVERSITY BOZEMAN
s h e e t n um b e r
date of issue - May 4, 2010 re vi e we d by Ty le r Ca ll a n d h i s p os s e
REVISIONS
A0.2
SPRING10
EXIT GALLERY
CONSTRUCTION
DOCUMENTS
S.U.B. existing bldg.
2 A3.1
5
4
3
2’-0”
2
17’-2”
1
5’-2”
5’-2”
AJM Johnson 4 A6.1
4 1 A6.1
ESTCODE
existing bldg.
Top of south wall 118’ 0”
Top of North wall 114’ 0” Top of Track 112’ 0”
1
4
5
2
3 A6.1 Restroom 104 75 sf
Gallery 102 1190 sf
2
2 A6.1 Finish Floor 100’ 0” remaining tree
F
E
Top of Footing 96’ 0”
1
14’2 to top of wall D
3
removed tree
’0”
A
100 HT= OR SH
existing sidewalk
HEIG
FLO
new
PROPERTY LINE
r line contou
65’
A
F
C
B
100’
FINI
45’
0
1 A3.1
5
new sidewalk
6’
1/4” = 1’
4
sidewalk = 98’ 8”
Romney
Cross Section
1
C B
FFE = 100’ 0” = 4900’ above sea level
36’-9”
D
6’-3”
5’
15’-6”
15’-6”
20’
10’
F
E 10’-0”
E 2
1
D 2
4
3 C
1
Roof 116’ 0”
B
Top of North wall 114’ 0”
4
20’
5
existing bldg.
Top of Track 112’ 0”
25’
1
A
1 2
2 benchmark
PROPERTY LINE
5
232’
Reception 101 238 sf
Gallery 102 1190 sf
1
1
4
Grant St.
Finish Floor 100’ 0”
W S
Top of Footing 96’ 0”
E M
WV
Longitudinal Section 1/4” = 1’
H
2 Y D
N
N 75’
10’
SITE PLAN 1/16” = 1’
Project North
True North
50’
5 1 A3.1
A
B
C
6’-0”
D
E
4
1
2’-0”
F 4 A6.1
36’-9”
6’-3”
15’-6”
Top of south wall 118’ 0”
10’-0”
15’-6”
0’-9 1/2”
KALWALL insulated skylight Structural Steel Tee C channel 4.5” Round HSS
Insulated shade
1 A2.1
Top of Track 112’ 0”
5’-0”
5’-2”
2
Office 103 100 sf
3
3 2
2
3 A6.1
5’-2”
5’-2” 5’-2”
Top of Track 112’ 0”
structural Tee
1 Restroom 104 75 sf
Restroom 105 75 sf
Storage 106 394 sf
2
3
4 3
2
1
100’ 4”
Reception 101 238 sf
1 A2.2
1” thick concrete w/ exposed fasteners
17’-2”
Gallery 102 1190 sf
5’-0”
2 A2.2 17’-2”
steel c-channel
FINWALL glass fin
2
3
Top of North wall 114’ 0”
Partition track
2
2
steel plate
Top of North wall 114’ 0”
FINWALL curtain wall
Mechanical 107 60 sf
1
1 A6.1 KALWALL insulated skylight
shade mounting bracket
1
2 A3.1
30 lb felt
5/8” OSB
FINISH FLOOR HEIGHT= 100’0”
2’-0”
5
1
1 2’-0”
4
4’-0”
1
1
6” metal stud
4 5
2 A6.1 Finish Floor 100’ 0” Concrete Slab
2 A2.1
Finish Floor 100’ 0” Concrete Slab 6 mill Vapor Barrier
0’-5”
6 mill vapor barrier 3” Rigid insulation 3” Rigid Insulation
Gravel fill
36’-9”
6’-3”
15’-6”
15’-6”
10’-0”
Footing
Top of Footing 96’ 0”
A
B
C
D
E N
1
N
Floor Plan 3/16” = 1’
Project North
True North
South wall section 3/4” = 1’
2
North wall section 3/4” = 1’ 1’-0”
0
1
Top of Footing 96’ 0” 0’-8” 4” Foot Drain
F
5’
10’
20’
SPRING10
EXPLODED
DETAILS
KALWALL insulated skylight Old Castle Fin-wall steel plate/hardware
steel c-channel
HSS hollow round column 4-1/2”
structural Tee brushed stainless steel hardware 6” rigid insulation weld connection
1” thick concrete w/ exposed fasteners
30 lb felt concrete slab 5”
5/8” OSB foundation wall 8” 6” metal stud
Wall to Roof Connection
1
2
F i n - w a l l t o fl o o r c o n n e c t i o n
KALWALL insulated skylight 3-form Translucent Panel
brushed stainless steel hardware brushed sttainless steel hardware
Structural Tee HSS hollow round column 4-1/2”
Old Castle Fin-wall Partition Track
HSS hollow round column 4-1/2”
3
3-form panel to column connection
4
Fin-wall to roof connection
EXIT GALLERY
SUMMER10
ROME STUDIO
A
C E N T E R
F O R
THE
GISMONDI R O M E
MODEL
S T U D I O
2
0
1
OF 0
ROME 2
0
1
PROJECT SUMMARY
Rome Studio for 2010 required a center that would be used to house the Gismondi Model, a 75 foot by 75 foot model at 1:250 scale of ancient Rome. From inside the inhabitants are able to view the model and have a better context due to an unobstructed view of the
real Colosseum.
(All drawings for this project, from conceptual work to final presentaion, were done by hand)
(PROJECT
COMPLETED BY JAKE WELDON AND MICHAEL GUILIANO)
0
SUMMER10
E A S T
E L E V A T I O N
S E C T I O N
F I R S T
D E T A I L
A
D E T A I L
B
L O W E R
F L O O R
P L A N
F L O O R
ROME STUDIO
P L A N
SUMMER10
ROME STUDIO
P R O C E S S S E C T I O N
W O R K
S T U D I E S
B U I L D I N G
P A R T I
S I T E
P A R T I
SUMMER10
upper level entrance
walkway to entrance
h a n d
Gismondi Model
scultpure space
ROME STUDIO
d r a w n
P E R S P E C T I V E S
noguchi sculpture (photograph)
FALL10
CDC
COMMUNITY
DESIGN
CENTER
The Help Center provides 24 hour crisis counseling, sui-
two included programming. Phase three encompassed four
cide outreach and crisis intervention.
In becoming a cli-
separate designs done by each member of the team. My de-
ent of CDC, the assigned student team worked with the
sign was chosen due to easy transfer into the new design
Help Center staff and provided them with four phases of
as well as the preservation of the old Help Center building.
work. Phase one included research for the project. Phase
process
FALL10
of
CONCEPTUAL DRAWINGS
design
P R O C E S S
O F
CDC
M O V I N G
With expanding the Help Center the problem of how the staff would continue working through construction had to be addressed.
EXISTING HELP CENTER
The solution was the idea that one part of the new design would be built away from the existing Help Center to provide a temporary work space for the staff.
COUNSLING WING
Once the staff was moved into the SSiittee Paarrti t
temporary workspace, further construction on the call center would begin.
CALL CENTER AND OFFICES
FALL10
CDC
Proposed A Alllleyway -4’ 6’’
e 4
3
6
Bozeman n Creek
35 3 5’ 5’ Creek Se tback
5
7
Existing Building B
Church Street
1
2 3 Existi Exi sting ng Bui Buildi lding ng SITE PLAN 1/8’’’’ = 1 1/8 1’0’ ’0’’’
Exissting Exis ting He Help Hel H p Centter Cent er B Build uild ildiing ing
8 ADA DA Pa P Parking a ark rrki kin ing ng g
N
The Help Center 421 Peach Peach St, Boze Bozeman man, MT MT
4
-0 0’ 6 0 6’’
0 6’’ 0’ 6
A
B
C
D Pe Pea P ea each ch Str Stttrre S re ee e
Project #: 04-10 15 November 2010
Existing Trees
E isting Exi ti Conttours
New Tr Trees ees
New Co New Conto ntours t urs
Paving Pavi Pav ing
E hist Exhi Exh isti ting ing Bu B Build uild ildiing ings ings
FALL10
TECHNICAL
CDC
DRAWINGS
Section A
B
B
Corrugated Metal Clip Roof
C
2.5x12 Glulam Beam
A
C
2x10 Beam
10 1/4” Sip Roof Panel
6 1/2” Sip Wall Panel Drip Edge
Beam Structure for Roof
17' - 0"
2x2 Cedar Slats
B C
Two Pane Low E Glass Window
8 1/4” Sip Floor Panel
A
A
Second Floor
D
8' - 10 1/2"
D
D
2x2 Cedar Slats
36” wide Sliding Door
E
12x12 Concrete Column Wood Flooring Concrete Slab 6 mill vapor Barrier Existing Building Floor
0' - 0" 3 inch rigid insulation
F
Gravel Fill Footing
1
WALL SECTION
2
3
4 5
GROUND FLOOR PLAN
6
7 8
1
2
3
4 5
SECOND FLOOR PLAN
6
7 8
FALL10
F
CDC
I R
N
A
L
E
N
D
EXTERIOR CALL CENTER
E
R
I
N
G
S
FALL10
INTERIOR CALL CENTER
COUNSELING ROOM
MEETING ROOM
WAITING ROOM
CDC
PHOTOG
GRAPHY
PHOTOGRAPHY
p h o t o g r a p h y
Italy
PHOTOGRAPHY
p h o t o g r a p h y
Montana
j a c o b
W E L D O N
A
R
T
W
O
R
K
ARTWORK
ARTWORK
I
T
A
L
Y
travel drawings Over the couse of two and a half months spent traveling in Italy, travel drawings were performed as weekly assignments and quickly became an everyday routine.
ARTWORK
JACOB CHARLES WELDON MONTANA STATE UNIVERSITY SCHOOL OF ARCHITECTURE
weldonjacob@gmail.com