Architecture Portfolio

Page 1

J a m i e

K l e i n e

UCLA Architecture + Urban Design • M.Arch I selected projects • 2013-2016



01 spring2016_AUD401 • I n f l e c t i n g C o n t e x t s proposal for a civic center in Kaliningrad 02 winter2015_AUD412 • A s c e n d i n g H o u s e pavilion processional 03 winter2016_AUD401 • F r a m i n g P e r s p e c t i v e proposal for a theater complex in Hollywood 04 spring2015_AUD414 • L e a r n i n g f r o m L o s A n g e l e s ecologies of iconography 05 fall2013_AUD411 • F o r m a l P o c h e multiplying eccentricity 06 fall2015_AUD401 • B l a n k S h r o u d preserving indeterminacy


01

Inflecting Contexts proposal for a civic complex in Kaliningrad

UCLA AUD 401 • Research Studio: Strange Context, Conformity & Incongruity Thesis 2016 • Georgina Huljich



Konigsberg pre-1945

Konigsberg post-WWII

Kaliningrad post-1970

01.1


Venturi’s notion of the ‘difficult whole’ is inherent to the case of the urban complex. A project of this scale not only contends with the coherence of its parts as wholes in and of themselves but also with how it becomes whole itself, which is then rather a part of an even greater context – the whole of the urban fabric. The intricate dialogue at play between these simultaneously wholes and parts destabilizes an understanding of their relationships and thus the legibility of its image as a discrete artifact. How then might the urban complex conform to or further distort these associations in order to engage in the larger cultural conversation of its context? What Venturi refers to as ‘inflection’ in architecture is the way the whole is implied by exploiting the nature of its individual parts. This project explores how this notion can be extended beyond the complex itself, and rather than inflecting toward its own center to achieve wholeness, it questions how might the context inflect to embed the layered multiplicity of historical, social, cultural and physical idiosyncrasies of the city within the complex. For Kaliningrad, what might it mean to revive the center of a city with very little trace of its cultural history present. The former medieval city of Konigsberg endured several wars and two instances of cultural displacement before it was demolished by the Soviets after being bombed into ruin during WWII. So here the revival of the civic center becomes a series of discrete monuments that don’t signify one thing in particular. A collection of references deployed indirectly blurs the legibility of any singular meaning of the whole in order to reveal the several latent contexts embedded in the site, which appear at the ground, in the section of the individual buildings and in the facades. The formerly existing castle superimposed with the shifting city grid establishes a new figure ground, which multiplies the plaza into fragments that dialogue with specific site adjacencies and are interconnected through the buildings and their circulatory voids. A duality between buildings is set up to further undermine their individual significance and rather frame the plaza as the main event of the complex. Sources: Complexity and Contadiction in Architecture. Robert Venturi. 1966. The “Difficult Whole’. Pier Vittorio Aureli. 2007.

01.2


city grid impact on site reconfiguration

adjacent building footprints

castle roof profile impression

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1. Public Library 2. Museum 3. Ceremonial Hall 4. Main Foyer 5. Music/Bookstore

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6. Cafe 7. Retail/Boutiques 8. Tourist Info 9. Exhibition Hall 10 Souvenir Shop 11. Museum of the King's Castle History 12. Education Center 13. House of Soviets Plaza 14. Lanscaped Plaza 15. Event Square 16. Public Plaza

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02

Ascending House pavilion processional UCLA AUD 415 • Steel House Winter 2015 • Neil Denari



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By unraveling the raumplan, a series of glass pavilions ascend the eucalyptus grove toward the waters edge, laced together with ramping circulatory light-wells. The grounded edge serves as a continuous threshold engaging every room and corridor with the meadow beyond while the elevated edge floats amongst the trees. The buildup of a thin and frequent steel frame articulates these edges and the layers in between giving definition to minimal volumes of transparency.

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50’ - 0”

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Longitudinal Section 1/4” =

Plan 1/8” = 1’-0”

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Wall Section 1” = 1’ - 0”

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A. B. C. D. E. F. G. H. I. J. K. L. M. O. P. Q. R. S.

wide flange beam - see fram tube steel column - 4 x 4 3/8” hex bolted + steel angl diagnol steel rod vapour barrier rigid thermal insulation steel plate bolted to concrete plywood sheething steel grating for deck drainage gypsum plaster board face fasted steel sheet steel angle 3mm screed layer, concrete, recessed roll down shades 2x4mm laminated double glazin steel sheet roofing 4x4mm laminated glazing, butt tube steel mullion with glazing


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wide flange beam - see framing plan for sizing tube steel column - 4 x 4 3/8” hex bolted + steel angle diagnol steel rod vapour barrier rigid thermal insulation steel plate bolted to concrete grade beam below plywood sheething steel grating for deck drainage gypsum plaster board face fasted steel sheet steel angle 3mm screed layer, concrete, corregated metal decking recessed roll down shades 2x4mm laminated double glazing with 8mm air gap steel sheet roofing 4x4mm laminated glazing, butt joined tube steel mullion with glazing cap

Details 1 1/2” = 1’-0”

Transverse

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03

Framing Perspective proposal for a theater complex in Hollywood

UCLA AUD 401 • Advanced Topics: Beyond the Frame, Reinvigorating Field of View Winter 2016 • Heather Roberge


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Edward Ruscha Ed Ruscha

Dora Maurer Dora Maurer

Lyonel Feininger Lyonel Feininger

03.1


Drone Footage Series : drone footage collage

Through studying the camera equipped drone as an optical device and the perception that the wide angle lens in addition to movement along the z axis produces, this project explores how drone video and photography can start to track an increasingly dynamic motion. So what are the ways that motion can be represented in a still image and how can the dynamic view of the drone camera start to rearticulate its subject, not only in its representation of movement but to then physically redefine the form of the objects in view.

03.2


14 mm camara shot from range of x, y, and z coordinants 10’

40’

80’

60’ 44’-0” 33’-0” 22’-0” 5’-6”

(10, 3)

(-8, 3) (7, 1) (0, -4)

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Through perspectival snapshots, volumes that constitute the three stages - proscenium, black box and amphitheater are collapsed along the axial edges of their visual vantage points and composed as a panoramic wireframe drawing. The project becomes the translation of the collapsed perspectival drawing into three dimensions. The newly configured form develops a world that is much more inherently dynamic – where the stage conditions are multiplied and distributed across the field of view so that it might be experienced the same way a drone camera views its environment, from several vantage points simultaneously. As the flattened perspective is re-three-dimensionalized, the volumes become enhanced or forced perspectival cones that frame each stage and moments of transition between lobby and theatre seating. The skewed planes provide multiple surfaces for projection that surround the stages so that the building becomes a flexible set for digital projection.

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Wide Angle Drone Panorama Wireframe Wide angle drone panorama wirerframe

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lobby

rehearsal kitchen

green room green room rehearsal

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-10'-0" dressing room rehearsal -25'-0" -30'-0"

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restaurant

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Plan +21’-0” 1/16” = 1’-0”

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stage door office -3'-6"

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green room

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The moments of collapse along the primary axes of the project maintained from the initial drawing study can be viewed in choreographed instants of the patron circulation path as people enter the

main theatre and amphitheater seating. This photo show how these axes visually organize the theatre


series demonstrates these moments of collapse to e components on the site. The photos then flatten

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the perspective again indicating potential for the scheme to be further expanded or contracted along these edges or perhaps produce new axes for a further rearticulation of the form through its image.


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04

Learning from Los Angeles ecologies of iconography

UCLA AUD 414 • Automated Parking + Hotel Spring 2015 • Andrew Kovacs



Ecologies of L.A. : valley, coast, wilshire, downtown, hills, desert “An even greater urban vision than the view of Los Angeles from Griffith Park Observatory is the view of the view of Los Angeles on a clear day from high-flying aircraft. Within its vast extent can be seen its diverse ecologies of sea-coast, plain and hill; within that diversity can be seen the mechanisms, natural and human, that have made those ecologies support a way of life—the dry brown hills…the busting topologies of freeway intersection, a splatter of light reflected from a hundred domestic swimming pools, the power of zoning drawn as a three-dimensional graph by the double file of towers and slabs along Wilshire Boulevard the interlaced rails and road in the Cajon and Soeldad passes, the eastern and western gates of the city.” -Reyner Banham, Los Angeles : The Architecture of Four Ecologies. 04.1


04.2


Motel : a roadside hotel for motorists, typically having rooms adjacent to a parking area. photo credit: 2, 11, 13, 14, 18 : Tag Christof @americaisdead all other photos sourced from Google Image search

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“The building is set back from the highway and half hidden, as is most of the urban environment, by parked cars. The vast parking lot is in front, not at the rear, since it is a symbol as well as a convenience. The architecture is neutral because it can hardly be seen from the road. The big sign leaps to connect the driver to the store which is disconnected from the road. The graphic sign in space has become the architecture of this landscape.� -Robert Venuri, Denise Scott Brown + Steven Izenour, Learning from Las Vegas 04.5


04.6


Site : LAX International Airport

While viewing the texture of the LAX landscape from the air it appears as a flat plane of interweaving runways surrounded by a periphery of parked cars, buses, airplanes, and empty lots of former single family residences awaiting the same fate. The surrounding acres of parking lots are punctuated by traveller services like hotels, drive-thru restaurants, and rent-a-car services, mostly modest buildings set behind striped asphalt, cars, and billboards. 04.7


At LAX, how then would a hotel sign communicate to the flyers-by? When the legibility shifts in scale from the roadside perspectve to the aerial, the sign then presents a spatial opportunity, where the symbols become inhabitable, programmable, and functioning as mechanized and operational systems. The sign becomes the building and within this space there is a further range of scalar breakdowns at which symbols might operate to communicate to vehicular traffic, pedestrians on the ground or in the interior. These graphic connections in space can then communicate a complexity of meanings within but also function as integrated elements of the building system, materialized and composed in a way which identifies and unifies a mega-symbol that is then legible from the sky.

04.8


Automated Parking + Hotel = Sign To air travelers, this hotel communicates the ecologies of Los Angeles through a collection of iconic LA architectural miniatures, and signals the hotel features through spatialized graphics symbols. This collage of iconography makes up the greater ecosystem of the hotel, which becomes the sign for itself, communicating to its passers-by and inhabitants simultaneously. The automated parking system allows each room to come with its own car, an essential extension of the LA lifestyle. While the ecologies represented at each floor are signified by distinct iconic architecture, their arrangement consistently follows a bungalow-style complex where front doors open outside facing a central courtyard, each adjacent to the automated parking elevator which stores and rotates cars per room according to vacancy.

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05

Formal Poche multiplying eccentricity UCLA AUD 411 • Architectural Form Fall 2013 • Steven Chistensen



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Precedent Analysis : Basilica of Saint-Denis, Abbot Suger Saint-Denis, northern suburb of Paris 1136 - 1144, Rayonnant Gothic, masonry 05.1


Carolingian Basilica 8th c. - 9th c. Nave 1135-1140 Crypt 1140-1144 Unfinished Project arrested movement directed outward at radiating chapels suggested by circular geometry

transitional bifurcation from single vault to double annular vault moving traffic cirulation from aisles through ambulatory

directed perpendicular movement at transept

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Construction Phases Diagram

Circulation Diagram (existing plan)

In the 12th century, St. Denis was re-built by Abbot Suger, who was one of the first to utilize the rib vault as a structural device to rebuild the eastern choir and adjacent radiating ambulatory and chapels over the existing Carolingian foundation. In adhering to this existing off-axis plan, the current structure contains several anomalies and eccentricities that make Saint Denis unique.

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ossing ribs as perfect semicircles in existing vault

Crossing ribs needed for intersection in existing vault

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Axonometric view of manipulated vault

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Plan of manipulated vault

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Examining a distinctive bay in particular, a “pentapartite� vault and its relationship to its adjacent quadripartite vaults, revealed the fifth rib as this moment of bifurcation where one primary pathway diverges from a single axis into two separate and distinct paths that then span radially. Questioning how the addition of this anomaly might alter the arrangement of adjacent cells, subdividing them to perhaps diverge further from a curvilinear path into a field or network of cells, I was faced with fractal problem when mass and material thickness were not considered as elements that provide friction. How then might the poche of the columns and walls and misalignments of ribs and arches govern a boundary condition


Fractal Problem

Vault lines recalibrated to column + wall plan

Extension of plan exporing versatility of pentapartite system to create a network of adjacent cells

for the network. The vaults in this area especially negotiate some drastic misalignments, where in plan, the locations of the rib and arch springing points become ambiguous. The project explores how the vault surfaces can become far more responsive to such eccentricities of the plan, renegotiatng its edges to the poche perimeter. The poche then becomes void in the network rather than a mass. The vault rib lines are then recalibrated to the cusp points in plan, folding the surface into several curved facets. The new object employs its pre-exisiting eccentric condition to enliven itself with ‘an illusion of movement and dissolution of the regular.’ 05.4


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06

Blank Shroud preserving indeterminacy

UCLA AUD 401 • Advanced Topics: Big, Black, Blank Fall 2015 • Jason Payne



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This is an image that has become known as the Elephant’s Foot, of an intensely radioactive melted nuclear mass found in the basement of Chernobyl. It is more than two meters wide and weighs several hundred tons. The graininess of the image is not because the photo is of poor quality but because the mass is putting off radioactive particles in the air that become visible in its immediate atmosphere. The Sarcophagus was built to seal off the radiation to the outside world but not entirely. It is outfitted with access points allowing researchers to observe the core. The contents of the Chernobyl tomb will remain radioactive for at least the next 100,000 years. The case of the Pyramid in Tirana is similar to Chernobyl in that despite whatever political or historical associations it has and despite efforts to re-attach purpose to the strange object, it remains completely a-functional. Yet it demands to still exist, devoid of meaning and slowly decaying. With its only obligation to avoid demolition, a proposal for a sarcophagus should embalm it for the sole purpose of remaining intact.

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RIFINITURAT NE FASADE

RIFINITURAT NE SHTRESA GT

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Pllaka graniti 60*60cm

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Pllaka graniti 40*60cm ne fasade

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Shtrese graniti e derdhur ne vend

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Vetrate dopio xham

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Parket druri

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Mbulese xhami

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Dru masiv me trashesi 3cm

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Moket mbi dysheme me lluster cimento

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Moket mbi dysheme druri

SISTEMIME TE JASHTME

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Zevendesim i pllakeve ekzistuese te travertinit

RIFINITURAT NE MURE

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Zevendesim i pllakeve ekzistuese te gurit

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Pllaka graniti 40*60cm ne kolona

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Pllaka graniti 60*60cm ne pjesen e jashtme

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Stof mural mbi panele druri

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Pllaka porcelani per shatervanin

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Lyerje me boje te lashme mbi suva

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Mbulese ßeliku per kanalin

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Lyerje me boje te lashme mbi panel gipsi

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Siperfaqe e mbjelle me bar

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Pllaka qeramike 40*40cm

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RS

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Veshje me rripa druri me gjeresi te ndryshme

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Shkurre

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Panel druri i rimesuar

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Lule

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Stende afishimi

Peme tipi a,b & c

RIFINITURAT NE TAVANEVE GB

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Tavan i varur me panel gipsi

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Tavan i varur me pllaka fiber minerale 60*60cm

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Tavan i varur me pllaka alumini 60*60cm

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Tavan i varur me pllaka druri te rimesuar 60*60cm

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Tavan i varur me rrjete alumini

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Veshje me rripa druri me gjeresi te ndryshme

AP

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Veshje me rripa druri te veshur me stof mural

WG

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Lyerje me boje te lashme mbi panel gipsi

WP

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Lyerje me boje te jashme mbi suva

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PROJEKTI I RIORGANIZIMIT JO-FUNKSIONAL DHE ARKITEKTONIK TE Q.N.K. / "PIRAMIDA"

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GJENDJA EKZISTUESE DHE PRISHJET NE KUOTEN -4.65

SHKALLË 1:300 AUD-401/JP/F-15


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BBB PROJEKTI I RIORGANIZIMIT JO-FUNKSIONAL DHE ARKITEKTONIK TE Q.N.K. / "PIRAMIDA"

-1.35

GJENDJA EKZISTUESE DHE PRISHJET NE KUOTEN E-N

SHKALLË 1:300 AUD-401/JP/F-15

06.4


The grafted images are an exploration in bigness, evoking deterrence on one hand, yet intrigue on the other - that perhaps the misunderstanding of scale and size of the object makes it uninviting or unapproachable, while slight glimpses of aperture might lure those interested to discover a point of entry.

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In the translation of image to physical model, the low fidelity material properties of wax put blankness into play further obscuring the form’s legibility. The layering up of adjacent parts then creates cavernous internalized voids that might reveal a sliver of aperture where material slides past itself but the geometry of the internal void would become lost in the darkness of shadow.

06.8


Through particular joint alignments and adjacencies, the material reveals produces a series mirrored twins where from one view a self-referential composition is apparent but then is immediately lost around the corner to discover a new set of doubles, which vanish again to further misconstrue associations. Like the pyramid, the sarcophagus as a whole avoids being any one thing in particular. In digesting the terms of the studio, I found a tension between the terms black and blank. While the voids and crevasses are even darker and perhaps more alluring because we can’t see them, the white translucent object relies on its formal blankness to evoke a fear of the unknown that is visible rather than hidden. The problem of representation became how to remove abstraction while maintaining an ambivalence and indeterminacy.

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06.10


It can be described through this example. This image has become known as #standingman (left). Amidst the Ghezi Park protests in Instanbul in 2013, this man stood silently in front of the Ataturk Cultural Center in Taksim Square. He stood there for hours and said nothing, never revealing what he was standing for. The images spread virally on social media, everyone projecting their own ideas about this man was standing against and after 8 hours, hundreds had joined him standing in silence, not only in the square beside him but throughout the country.

But his inscrutable silence demonstrates that perhaps he is not making a stance against any one thing in particular but expressing an individual freedom that can have an infinitely diverse meaning attached by the very fact that it doesn’t already mean something. The image becomes familiar as a common reality but does not specify exactitude in its representation. Its muteness is neither narcissistic nor antagonistic but pluralist, suggesting the impossibility of establishing consensus.

06.11


06.12





Thank you.


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