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Jacob C. Weldon Architecture Portfolio Montana State University Master of Architecture 2013
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The premise of this book takes a simplified method of displaying work from architectural design school. By freeing the content from the typical hierarchy of the overarching project design, the result is the most qualified work allowed to speak for itself.
As a way of arranging the content I have chosen a method of 2d/3d. The first section focuses on two-dimensional drawings and illustrations which correlate to a three-dimensional perception of space. The second section focuses on three-dimensional works consisting of architectural models, details, and other built work.
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Observation Drawing
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Conceptual Sketches
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Details
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Competitions
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Thesis
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Design Studio
Pencil & Watercolor
Pencil & Charcoal Rome Studio 2010 Butte, Montana Studio
Art Gallery
Archtriumph Treehouse 2014 Drylands Design William Turnbull Competition
Path & Place Weldon Ranch
Final Studio Elementary School
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hand graphics Graphics Course School Project: 4th Year Summer 2010, Italy Professor: Peter Kommers Our graphics course consisted of learning free hand perspective drawings. “Travel Drawings” as they were refered to, were performed throughout our studio’s time in Italy which resulted in roughly a dozen sketches for each student. I found that if I constructed the smaller loose sketch first the final sketch became much easier and more efficient to draw.
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conceptual sketches
Section Studies- Center for Gismondi Model Rome 4th year
Site Parti- Center for Gismondi Model Rome 4th year
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Bozeman Help Center 4th Year
Butte Greenhouse Tower 3rd Year
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center for gismondi model Museum/Outdoor Public Events Center School Project: 4th year Summer 2010, Rome, Italy Professor: Peter Kommers Partner: Michael Guiliano
Right Geometries were derived from plan for circulation purposes. The subtle taper grew and spread throughout the design and found its way into section and elevation. First sectional studies were literally done by overlaying plan sketches, transforming them into sectional spaces to test the spatial capacity and possibilites.
Next Page One of the initial concept sketches, portraying a powerful and evocative relationship on the site, beside the final site plan and elevation drawings for the project. The power of the initial sketch carries through to the merging of the landscape and building, elevation and section.
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butte design studios Green House/Market School Project: 3rd year Spring 2010, Butte, Montana Professor: Steve Juroszek
Top Right First design of the semester in Butte, MT. Perspective and sketches of the concept for a green house tower. Bottom Right Second project entitled “Generating Exchange� focuses on the notion of duality through the manipulation of the landscape, the arrangement of spaces on that landscape, and the materiality of the spaces. The community center and marketplace represent the solid and void. Every other space in the program lays within the inbetween space, representing transparency.
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EXIT GALLERY Art Gallery School Project: 3rd Year Spring 2010, Bozeman, MT Professor: Chris Livingston Partners: Scott Friemuth The Exit Gallery was designed for the Building Construction Course in my 3rd year of architectural school. The design consisted of developing a design for an art gallery on MSU’s campus. Other phases of the course included creating axonometric exploded details and integrating sustainable strategies with our design. Energy simulation software was used to generate the most efficient design possible which correlated with our initial design intent.
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KALWALL insulated skylight Old Castle Fin-wall steel plate/hardware
HSS hollow round column 4-1/2”
steel c-channel
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
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F i n - w a l l t o fl o o r c o n n e c t i o n
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Wall to Roof Connection
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”
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3-form panel to column connection
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Fin-wall to roof connection
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GRAND CANYON
Drylands Design Competition
Drylands Design William Turnbull Competition Entry School Project: Grad School Fall 2011, Grand Canyon, AZ Professor: John Brittingham Collaborators: Holly Mumford Scott Freimuth Sten Witmer Bill Zanoni Steph Johnson Aggie Frisby Amy Swinger Charlie Langford Darian Rauschendorfer Tyson Kraft Thompson Limanek This project was fueled by a studio trip to Grand Canyon National Park with the ambition to redesign the South Rim of the park. As an entry into the Drylands Competition, this submission was from a graduate level class of 12 students, the complete submission consisting of 18 (24�x36�) boards.
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SLOW FLOW is a phased remediation proposal for Grand Canyon National Park's South Rim, its 5 million annual visitors (projected to be doubled by 2050), employees, residents, their annual water consumption and the cost of that consumption. Each scale of the proposition is defined by a top down/bottom up strategy mitigating the water-energy nexus that strives to inspire dissemination and conservation through education, exposure of systems, and enhanced visitor experience. The multi-valent approach and scale begins with re-texturing the
landscape of the existing watersheds at the South Rim. The introduction of inexpensive & easily implemented gabion walls as a set of architectonic strategies works to slow the fiow of water. Enhanced water retention, vegetation, habitat, visitor experience through water consciousness, and connection to the resource are the omnipresent themes. Phase one retextures the land. Phase two re-choreographs the existing landuse th rough an understanding of environment, infrastructure, and means of transport.
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GRAND CANYON
Drylands Design Competition
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VIEW VILLAGE D DESERT BOAT MUSEUM 6
project statement This inter vention’s primar y intent is to re_engage visitors with the landscape and make people aware of natural processes through the rising and falling of water levels while providing views directly to the Colorado River. By monumentalizing the process of capturing, diver ting, and storing water, people witness firsthand the preciousness of the material and its significance to the region. parti
FLAGSTAFF
IAMS
DESERT VIEW BEFORE
DESERT VIEW WATERSHED
WILL
capturing
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2
diverting
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storing
connection
to
sketch
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river
nearing the end of the gabion walls, a grand view opens up to the canyon and a presence of water is shown within a l a r g e p o o l w h i c h a c c u m u l a t e s w a t e r d u r i n g t h e y e a r.
DESERT VIEW SITE PLAN PROPOSAL
DESERT VIEW PERSPECTIVE
existing underground water storage
MARY COLTER DESERT VIEW WATCHTOWER
existing water treatment plant
Built in 1931, the watchtower has profoundly affected how people engage the canyon and the river. My project attempts to enhance this architecture by allowing it to always be framed within the negative, giving people a sense of distance and location.
HISTORIC BOATS The Grand Canyon National Park currently has over a dozen historic boats which once floated the Colorado River. To provide a connection from River to Rim these boats were placed within voids overlooking the canyon and the river.
INDIAN STEPWELLS Derived from ancient methods of harvesting water, stepwells provided a captivating intuitive approach in how people will be engaged with water and the landscape.
MICHAEL HEIZER’S DOUBLE NEGATIVE As a part of the land art movement in the early 1970s, the Double Negative provided philosphical along with physical attributes that greatly influenced the design at Desert View.
As a passive process the rising and falling of water levels reflects the amount of water available during the year, creating an experience unique to this region.
Ideas such as how subtractive qualities can construct an implied object and how something must not be seen into but actually viewed from within were seen as profound new ways for people to engage themselves with the landscape at the Grand Canyon.
as
visitors
down they
DESERT VIEW SECTION
steps
halted
by
views
of
canyon.
these
also
con-
historic
boats
spaces tain
flow
the are
framed the
which once floated t h e c o l o r a d o r i v e r.
CAPTURE DESERT VIEW WATCHTOWER
DIVERT STORE BOAT MUSEUM
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T148
T150
T153
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T155
T156
T157
T049
T144
T148
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6 GRAND CANYON
Drylands Design Competition
The boat museum tells a story of Colorado River boats. These boats played a significant role in the canyon’s history and a major role in mitigating dams along the entire river. Historic boats are placed within small spaces. Large enough to hold a comfortable amount of people but small enough to give a sense of privacy and intimacy. Every boat is sacredly contained within its own space, separated along the rim of the canyon, each with its own unique view to the river 3,000 ft below. This separation provides rhythm of prospect and refuge along the rim, encouraging visitors to explore and constantly be reminded of the difference between the inside and outside as well as the rim and river. The boat houses embody qualities of Mary Colter’s watchtower nearby; giving distance and reference to time and place. Boat Museum Design Presentation Best in Category, Graduate Student: Design Image 2012 DCA Exhibition www.designcommunicationassociation.org
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archtriumph treehouse 2014 ArchTriumph 2014 Treehouse Competition Entry Personal Project Spring 2014, Petrified Nation Forest, AZ Partner: Michael Guiliano PROJECT SUMMARY This project challenges the idea of a treehouse setting and engages the inhabitants through an entirely new experience and interaction within their surroundings. Interactions between the body, the mind, and the earth, provoke an understanding of time and memory outside their place in the world. Though basic, these cyclical bodily experiences in everyday life become significantly transformed when in contact with new material, thus reinventing the usefulness of a tree.(1) “Architecture domesticates limitless space and enables us to inhabit it, but it should likewise domesticate endless time and enable us to inhabit the continuum of time.” - Juhani Pallasmaa, The Eyes of the Skin (2) A tree is most commonly understood as a woody perennial plant, typically having a single stem or trunk, growing to a considerable height and bearing lateral branches at some distance from the ground. However in this landscape lies only the memory of the tree. Thus a treehouse in this landscape encapsulates the significance of memory and time. Fragments of petrified wood are placed throughout, reflecting the programmatic functions that take place in the treehouse. Each individual space recognizes the posture of the individual by placing the fragments in such a way that intimacy with these remnants can not be ignored. SITE CONTEXT The site is located in Arizona (southwestern United States). It sits roughly 1657m above sea level and receives an average of 267.7mm of precipatation annually. The average anual temperature ranges from 3.8° C to 21.5° C. Petrified Forest National Park is managed by the federal government and was declared in 1962. The park is considered a semi-desert shrub steppe and contains a large variety of fossils that date back to 250 million years ago. (3)
Triumph Mention- Archtriumph Architectural Treehouse Award www.archtriumph.com
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path and place Independent Thesis Project School Project: Grad School Spring/Summer 2010, Billings, MT Professors: Chere LeClair Zuzanna Karczewksa Barry Newton
Thesis statement Overall, this writing aims at creating mindful connections between path and place. Moreover, discover how those connections influence architecture’s ability to instill within people a pace to experience their surroundings, either accustomed or unfamiliar.
2d3D Design Intention The intent for this project is to create a better sense of place through the experience of path in the landscape on the Weldon Ranch. Through a coupling between time, measure, dwelling, and demarcation of material people will gain a better understanding of the history and geologic makeup of the landscape. The architectural proposal consists of four major structures which intervene along one’s path in locations that are in the proximity of a former (and in one case current) dwelling. These structures provide pause within
s i t e_
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site _
Structure Location Strategy Each structure is located on a path and directs one towards a dwelling (a location representing time). Every structure is perpendicular to the path so as to create a change in one’s direction and posture similar to approaching a fence and having to cross that boundary. Only through crossing these structures’ boundaries one is familiarized with a part of the place.
one’s motion and rhythm of movement and in pausing one is directed to places of inhabitance, whether fully present, somewhat present, or absent. Through demarcation of material, relating to either specific dwelling material or material directly from the site, the character of each shelter one will influence and familiarize one with this landscape.
“Character of place is a function of time; it changes with the season, the course of the day, and the weather, factors which above all determine different conditions of light.” Christian Norberg-Schulz The Phenomenon of Place
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site_
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site_
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si t e_
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f r a m i n g e r o sio n
ex t ending t he creek
e xt e nd i ng b o und ar y
o c c upyi ng t he i nt e r val
ma r k in g th e v oid
th e str u c tu r e fo r site o n e is lo c ated o n leased land and i s i nfluenced by hi stori cal c o n n ec tio n s with g ath er in g water alo n g with the erosi ve quali ti es of the creek. the str u c tu r e situ ates yo u d o wn to th e level o f t he ground to create nearness to the creek an d to exten d th e h eig h t o f th e h illsid e. s mall stones from a nearby hayfi eld are deposi ted to c r eate a po o l by th e c r eek wh ic h fr ames accumulati ng w ater throughout the year.
t he st ruct ure on sit e t wo is l ocat ed on a hil l east of t he current dwel l ing. the design was inf l uenced by t he not ion of absence and impl ied space and vol ume. the st ruct ure ut il iz es l arge sand and river st one t o impl y a boundary and t o ext end t he creek t o t his l ocat ion ( so t he t hing which made t he hil l a hil l is represent ed in t he space.)
the structure on site three rests in a former grain field and directs one towards the first dwelling of the w eldon family. f arm machinery measurements are translated into the design of the structure. t he main influence however is the junipers which lie along the edge of moonshine creek. t he material has been utilized for the 20 miles of fence on the ranch. t he character of the space is similar to a fence and is an extension of that boundary but also preparing one for the character of the place. s pecifically at the first dwelling site, which is now a graveyard.
the structure on site 4 directs one to the second dwelling of the w eldon family which was built on a small peak to experience the distant views from the site. the structure is located on a former grain field and is influenced by the interaction of machinery with the site. t he measurements of the farm equipment that plowed and collected the material from the site along with the path of the machinery are translated into the design of the structure. c lay and sand from a nearby coulee are used to create a series of rammed earth walls to represent the connection to measure. o ccupying the interval of space created by the walls generates an experience of confined and open space further connecting an observer to the second dwell ing.
the structures on these sites mark the absence of former dwellings from past families that lived in the area. all that remains of their dwellings are subtle voids in the ground left by their underground root cellars. a simple concept was generated to connect to these voids by using rammed earth posts as a way of marking these locations to be seen from a distance. the volume of the posts is similar to the volume of the void and to the height of a person. the presence of the earth reveals the absence in the earth.
5 site analysis
sit e anal ysis
site analysis
site analysis f ir s t d w e l l in g
geological connection
material connection
historical connection
connection to path
feeling of confinement
material connection
extension of the creek
connection to measure
atmosphere
material connection
feeling of confinement
feeling of confinement
material connection
connection to path
connection to measure
concept diagram
small stone
section
east elevation
1”=10’
1”=10’
metal cage
west elevation
east elevation
corrugated metal roofing
1”=10’
1”=10’
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2x4 wood beams 60” railroad tie
s3 reused lumber
river stone
1st dwelling locatioin
bentonite clay
s2
s1 1”=10’
large stone dry stacked
floor / roof detail 1/2”= 1’ s2
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s1 small stone
2x8 wood member
bentonite clay
hay bale
4 inch pipe
plan 1”=10’
plan 1”=10’
detail 1/2” = 1’
site plan
plan
1”=100’
1”=10’
s3 plan 1”=10’
site plan 1/128” = 1’
5 far view
near view
distant view
near view
distant view
near view
distant view
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path and place Right: The structure on site 4 directs one to the second dwelling of the Weldon family which was built on a small peak to experience the distant views from the site. The structure is located on a former grain field and is influenced by the interaction of machinery with the site. The measurements of the farm equipment that plowed and collected the material from the site along with the path of the machinery are translated into the design of the structure. Clay and sand from a nearby coulee are used to create a series of rammed earth walls to represent the connection to measure. Occupying the interval of space created by the walls generates an experience of confined and open space further connecting an observer to the second dwelling.
“… landscape denotes the external world mediated through subjective human experience in a way that neither region nor area immediately suggest. Landscape is not merely the world we see, it is a construction, a composition of that world. Landscape is a way of seeing the world.” Juhanni Pallasmaa Reading American Landscape May Watts
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elementary school Elementary School School Project: Grad School Spring 2013, Bozeman, MT Professor: Barry Newton The design molded itself according to the relationships of program and responding to the public edge along the east side, giving the plan a kind of monastic quality, focusing on a central, more introspective spatial arrangement. Within the walls of the school the U-shaped plan allows the inhabitants to view the exterior of the school ultimately placing themselves within the site. Scale influenced spatial hierarchy and introspective spaces which were executed through the use of the pure geometric form of a triangle. Children are able to occupy space which may be unsuitable for larger adults, giving children a hierarchy and more freedom to discover. Shared learning spaces promote freedom, discovery, collaboration and private places to work. The idea that an older student, familiar with the school, can still discover new spaces according to his/her tasks through their years as a student created a poetic result from the plan and sectional studies made in the design process. Final Graduate Project Chosen for AIA NWPR Student Competition Image Accepted into 2012 DCA Exhibition www.designcommunicationassociation.org
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east entrance East entrance provides views/transparency into the central courtyard from the primary traffic and public street.
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building sections a nts
building sections nts
b
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legend
1
Entrance
2
offices
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library
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computer lab
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shared learning
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science lab
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art lab
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music
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gymnasium
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cafeteria
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kitchen
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playground
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restrooms
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elevator
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mechanical
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classrooms
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storage
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outdoor classroom
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5 13
13 14
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5 18 3
4
1
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17 17 11 15 1
b 2nd floor plan nts
a
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Planting wall
exterior space
suspended steel Cables metal tray Planting Box Various Plants
wall section
1
nts
An exterior grow space was designed within the transition space to the classrooms to provide a connection to the exterior as well as connecting to the pedgogy of learning through the senses.
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classroom corridor Providing evocative sectional qualities and wider corridors for community gathering to the traditional double loaded corridor.
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roof assembly
outside to inside
metal seamed roofing on Cold roof air Gap waterproofing Layer 8” sip Panel
wall assembly outside to inside
Vapor Barrier
Cedar siding
Primary structure
air Gap provided by secondary structure on metal brackets
1/2” Plywood sheet
waterproofing Layer 6” sip Panel Vapor Barrier 1/2” Gypsum Panels
6” metal Louvres on steel track
Floor assembly outside to inside 4” Concrete Pavers 3” sand Gravel in situ Concrete filled to drain Backfill
wall section nts
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Phyical Models
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Wood / Steel
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Designing in Detail
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Material & Presence Dialectical Pairings
Guitar Stool Steel Frame
Handrail
Concrete Sculpture
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MATERIAL AND PRESENCE residence Infill Project- Woodshop School Project: 2nd Year Spring 2008, Bozeman, MT Professor: David Fortin Though a number of mediums were used to communicate a cohesive language and concepts the laser cut technology allowed another level of precision to allow for the greatest level of craft and ability to communicate those ideas.
display
office
street wooshop
The knot breaks the rule within an ordered and consistent system, thus creates an emphasi premise was to create an ordered and consistent architectectural language and find a way broken an emphasis will be made on that which broke it (the knot).
sketch depicting ment through di
is on the knot rather than the ordered system. The to break that system. Thus once the system is
g proposed moveisplay space
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DIALECTICAL PAIRINGS Apartments / Art, Music, Wine Gallery School Project: 3rd Year Spring 2009 Bozeman, MT Professor: Barry Newton The discovery of this project was a simple one; the Bridger Mountains that lay northeast of the city provide orientation and a soothing atmosphere for its people. The design is a play between solids and voids which provide views of the surroundings within the transitions from outside to inside and prepare one for prospect and refuge. MOMENTARY WEIGHTLESSNESS: “Japanese Ma- Ma is in the gaps between stepping stones, in the silence between the notes in music, in what is made when a door slides open, when a child's swing reaches the point of neither rising nor falling and momentarily weightless... There is ma.” Benedikt, Michael. For an Architecture of Reality. New York: Lumen, 1987. Print. - gaps (space) between stepping stones (object) - silence (space) between the notes (object) in music - what is made (space) when a door (object) slides open - swing (object) reaches point of neither rising nor falling and momentarily weightless (space). EMPTINESS: “Emptiness points us towards the beauty in life's openness and beckoning: in window gleam, in dust motes on an oak table. Architecture with emptiness is thus always unfinished: if not literally, then by the space it makes and potential it shows. We become engaged with the intervals and open end.” Benedikt, Michael. For an Architecture of Reality. New York: Lumen, 1987. Print.
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steel & wood Furniture/Materials Class School Project - Fall 2011 Professor: Bill Clinton Left This piece combines the function of guitar stand and stool into one. A split slab of douglas fir was connected together with custom dovetail jointery. A remnant of the slab became the bottom support placed both for the guitar and guitarist’s foot.
Right Picture frame made with a plasma cut sheet of quarter inch steel plate and gun blued finish.
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HANDRAIL detail Stair Handrail for Elementary School School Project: Grad School Spring 2013, Bozeman, MT Professor: Jack Smith Bill Clinton As a way to compliment one design with another a stair handrail was designed for the elementary school I was developing for my final design studio. My memory of a stair handrail was still evident from a site visit to a local school earlier in the semester. The need for two handrails provided to be an interesting design problem to develop for the design within the school.
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VESTIGE Sculpture
of Absence and Time
Vestige 2012 - 2013 pumice concrete, charred wood 36 x 96 x 9 in. Independent Study Project: Grad School Spring 2012, Bozeman, MT Professor: Vaughan Judge Bill Clinton Vestige: -a mark, trace, or visible evidence of something that is no longer present or in existence: The sculpture incorporates biological time (the tree seen by man) as well as geological time (natural time). The unfamiliar combination of material, texture, and scale gives the sculpture its presence, but it is what we cannot see that gives this piece its significance. I was greatly influenced by Tao Te Ching’s Verse 11 of Lao Tzu: “Shape clay into a vessel; It is the space within that makes it useful. The usefulness of what is depends on what is not.” The impression of the tree on the stone evokes time and absence. The sculpture is a monument in the landscape as well as part of the landscape. It is a mark, or trace of something which is no longer there.
Nomination, International Sculpture Award independent study, Vaughan Judge 2012
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Jacob C. Weldon Architecture Portfolio Montana State University Master of Architecture 2013
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