ARCHITECTURE PORTFOLIO
JARED ABRAHAMIAN GEORGIA TECH | ARCH | 2019–2021 FALL 2021
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ARCH 3017
– 3D PASTE EXTRUSION RESEARCH – JUGTOWN POTTERY MUSEUM
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10
ARCH 3017
– 255 ARTISAN YARDS
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ARCH 2017
– SWEETWATER CREEK RETREAT – BUILDING LANDSCAPES
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ARCH 2016
– CHICAGO INVENTOR’S CLUB
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ARCH 1855 – URBAN INFILL
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– PERSPECTIVE
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– ASCENSION
– MAISON DE VERRE ANALYSIS
ARCH 1854
– STUDY CARREL
– USING SPACE AS YOUR MEDIUM – FORMAL ORGANIZATION
– THE STRUCTURE OF PLACE
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CONSTRUCTION TECH – CONCRETE PAVILION
– GEORGIA TECH BUS STOP
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MEDIA & MODELING 2
– SHANGHAI TOWER CASE STUDY
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MEDIA & MODELING 1
– NARIWA MUSEUM CASE STUDY
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ARCH 1060
–CONCEPT EXPLORATION
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3D PASTE EXTRUSION RESEARCH ARCH 3016 – ARJA – FALL 2021
This was an exploratory studio of merging 3D printing technology with architecture. This section includes several study models where I learned about the structural properties of the clay material and the possibilities with the technology. The focus of this studio was on North Georgia’s Folk Pottery tradition. So many of the study models are modeled after traditional jug shapes. For each successful model there was at least five failed attempts. Each failure taught a lesson which helped me design a 3D printable building in the final project. The idea with this program is that a 3D printer could be set up on site and fed a dirt and water mixture as it printed a building. While there are several limitation to this emerging technology, new opportunities are presented allowing for a level of intricacy unachievable with modern construction processes. 3D printing buildings from dirt makes building construction extraordinarily cheaper by eliminating the need for form-work and the number of workers. Since the medium being used is pure earth, the practice is sustainable and all material can be reused after hydration. This introduction period of the studio translated to the final program through texture exploration and structural wall analysis.
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Movement
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Texture
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Compression
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Repetition
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JUGTOWN - POTTERY MUSEUM ARCH 3016 – ARJA – FALL 2021
The North Georgia Folk Pottery Museum will be along the Appalachian Highway in rural Cleveland, Georgia. The site, currently a mound of dirt from a halted construction project, is surrounded by mountains located next to Cox Creek. This project seeks to become an experiential pottery museum that takes visitors back to the past, exploring the historical utilitarian prevalence of pottery and juxtaposing traditional practices with modern artwork.
This project aims to architecturally become an icon for the Cleveland area, attracting visitors from far away to learn about the history and practices of Folk Pottery. I originally started with a more rectilinear form which developed into circles as I experimented with the material and the limits of paste extrusion. As the project developed, the concept took charge and the form of the building became jugs themselves. Jugs of various sizes, heights, and roofing conditions are connected organically based on the program. The building is submerged within the earth as if it were buried with time, strengthening connection with the soil. The necks of the jugs become skylights, casting mystical light on artwork. Other light phenomena are created with domes of translucent glass for gathering spaces and focused light, scattered skylights for experiential gallery rooms. 10
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Traditional Outdoor Maker Experience After the main museum people immerse themselves in the pottery garden where pottery and plants are showcased together. The outdoor maker space is where visitors themselves can choose to get their hands dirty and create their own masterpiece from clay
which will be fired in an onsite kiln. Visitors then walk through the vegetable garden and conclude their journey in a non-traditional dining experience where food is prepared by kiln and served on potterware made at the museum.
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Program Concept
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Parti
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MOVIE ROOM
BATH 2
AUDITORIUM
POTTERY GARDEN
TRANSITION GALLERY 2
HISTORICAL GALLERY
STORAGE 2
STORAGE 1
CLAY MINING
COURTYARD TRANSITION GALLERY 1 PAVILION
BATH 1
GLAZING
ADMIN
LOBBY
ENTRANCE
MODERN GALLERY
WHEELS
CLAY MILL
GATHERING
GIFT SHOP
KILN VEGETABLE GARDEN
RESTAURANT
OPEN KITCHN
MAKER SPACE /STORAGE
OUTDOOR DINING
BATH 3
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3D Printed Light Study Model
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255 ARTISAN YARDS ARCH 3017 – ROARK – SUMMER 2021
Artisan Yards, a historic warehouse community located in industrial Mechanicsville, is an island of isolation separated from the city by a cargo rail to the west and I-20 to the east.These borders have restricted access to fresh food, retail and office space, causing Artisan Yards and Mechanicsville to fall economically behind their growing neighbors, Castleberry Hill and Summerhill. 255 Artisan Yards seeks to become a mixed-use development providing Artisan Yards with those services absent on the island through living, working, relaxing, dining, and health-related functions. The goal is to create an all-inclusive space that acts as the seed of Mechanicsville which would hopefully spread across the town, eventually linking the separated districts back together. This project aims to architecturally become the portal of transition between the districts by focusing views between and responding to its neighbors on either end. The building features two “C” shaped courtyards sided back-to-back meant to draw people in and amplify the experience of the site by keeping the connection with the outside worlds on either end. One courtyard serves the public while the other is intended for the 255 residents, but both support the idea of connection. The spaces act as visible through-ways allowing you to “C” across the train tracks towards Castleberry Hill or, reciprocally, over I-20 into Mechanicsville. 26
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Site Plan
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The site specifically is 255 Forsyth St SW, a large warehouse built in the early 20th century. Based on the needs of the program, a conscious decision was made to remove the pre-existing walls which have no historical value, while preserving the beautifully aged I-beam system becoming the bones of the intervention.
View from Castleberry Hill
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Ground Floor Plan
Mixed-Use Parking Garage Residential
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Third Floor Plan
Front/ East Elevation
Mixed-Use Perspective
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W/D CLO.
KITCHEN 520 SF
BEDROOM
BEDROOM
DW
W/D
CLO. REF
M.
KITCHEN CLO. LIVING ROOM
M.
REF
BATH
REF
BATH
DW
BATH
BATH
725 SF
DW
900 SF CLO. M.
LIVING ROOM
BEDROOM
M.
W/D
One Bed/Bath End Unit w/ Balcony (M, 3)
REF
REF
KITCHEN 530 SF
CLO.
KITCHEN
CLO.
DW
W/D
One Bed/Bath End Unit w/ Balcony (L, 3)
DW
W/D
One Bed/Bath (S, 4)
DW
M.
CLO.
CLO. REF
BATH
BEDROOM
REF
KITCHEN
KITCHEN W/D W/D
KITCHEN M. DW
CLO.
BATH
1150 SF
DINING
725 SF
CLO.
CLO.
W/D 402 SF
LIVING ROOM/ BEDROOM
Studio (S, 28)
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CLO.
M.
BATH
LIVING ROOM
BEDROOM
One Bed/Bath w/ Balcony (M, 9)
LIVING ROOM
BEDROOM
BATH
BEDROOM
Two Bedroom/Bath w/ Balcony (L, 6)
Residential Unit Types
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Fourth Floor Plan
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Fifth/ Sixth Floor Plan
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Seventh Floor Plan
Portal of Transition
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Southern Elevation
Northern Elevation
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Night Time Perspective Render 255 Artisan Yards features a glassed staircase that serves as a beacon becomes an icon for the area. The roof top bar and pool features breathtaking uninterrupted views of the city and creates a fun night life environment.
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SWEETWATER CREEK RETREAT ARCH 2017 – RINEHART – SPRING 2021
This project aims to reconnect a person with themselves and the natural environment through architecture. Calling back to traditional Chinese architecture the Beijing courtyard housing style used the encapsulated landscape to create the harmony of sky, earth, and human. As with the traditional courtyard, this project aims to give hierarchy to the spaces, frame views of the sky, Earth, and water by creating overlap between the interior and exterior. This building will use material from its surrounding environment such as iron, wood, brick, and stone to support the connection formed with the natural environment. As the courtyard house removes you from the outside world, the wellness retreat will support this idea by framing all views of the natural landscape and will focus on amplifying your sense of presence. The site is along the water within the ruins of the New Manchester Manufacturing Mill that was last functioning in the civil war. Given the context of the surrounding environment, I chose to allow the natural landscape shape the environment of the wellness retreat. Following the latitudinal and perpendicular axis such as the Forbidden City, the building is divided into three main nodes which stretch across the creek in order to achieve the ultimate experience. Each node is driven by a courtyard or central space, where all circulation happens; flowing, continuous interior spaces around these courtyards extend out and over the surrounding landscape. 44
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20’
40’
Floor 1: Node 1
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Floor 1: Node 2
Floor 1: Node 3
Floor 2: Node 1
Floor 2: Node 3
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Slipping Wall Entrance
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As you round the corner of the ruins, an unexpected view of the creek appears drawing you into the main courtyard. Similar to a Chinese courtyard, you slip past the precedent wall and a floating glass box experiencing a dramatic contraction and expansion of space.
Node 1: Main Courtyard
The courtyard creates an instantaneous connection between the human, sky, water, and Earth and removes you from the outside world. Once again as you round the corner you earn a glimpse of the exterior experiential pool, making you wonder how to get there.
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Node 1: Entry & Experiential Pool
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Node 1: Residential
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EXTERIOR POOL
MAIN WARM POOL
RELAX
MAIN WARM POOL
SALT SAUNA
RELAX IMMERSION
ICE POOL
ICE SAUNA
GOLD SAUNA
FIRE POOL
Node 2: Circulation
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10’
20’
Node 2: Pools Section
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10’
20’
Node 3: Section 56
Node 3: Bridge Detail 57
BUILDING LANDSCAPES ARCH 2017 – RINEHART – SPRING 2021 DESIGN PARTNER: LAUREN MIRALDI
In these two exercises we were asked to explore how architecture can shape the user experience. In B1 the site was in the windiest state in the United States, Nebraska, and consisted of rolling planes and prairie grass. We had to carve into the Earth an ordered path leading to a simple tectonic element to shelter people. We chose our concept to be wind as architecture to take advantage of the location. Our idea was that the tectonic element, a fluted piece of aluminum, would not only shield from the strong winds, but serve as a wind funnel casting musical notes across the field to the path calling people to it in a way. The form itself was inspired by a paper airplane appearing to be so light that the wind could just pick it up and carry it off.
Project B2 was all about creating a habitable wall or wedge. Unlike B1, the site was much steeper and had its own challenges. We had to carve a wall into the landscape at least a hundred feet in length and create a habitable place at some point in the path. We took inspiration from the Vietnam Memorial in DC and followed the contours of the land. The concept was that the wall would hide the view of the overlook, but serve as a guide for getting too it. The depth increases as you get closer to the view and as you round the corner it frames the landscape. From then one you can either stay and enjoy the view or continue down the path. 58
B1 Field
B2 Slope
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CHICAGO INVENTOR’S CLUB ARCH 2016 – DORTIVANLIOGLU – FALL 2020 DESIGN PARTNER: JOSEPH L’HEUREAUX
This semester–long project was a combined effort with my partner Joseph LHeureaux. The order in which we worked was reversed from a traditional studio, where we first researched Celtic Knot-work and then developed a mechanized system which formed our building. We took our knowledge from our research and used figures to create two different cells. Inspired by Conway’s Game of Life, we created a mechanized rule based system where cells either died and reconfigured or lived based on their spatial organization. While Celtic Knot-work is normally considered ornamentation, this system allowed ornament to become solely the structure of the building. After we received the program, we decided on creating a space for inventors and creators to collaborate with other like–minded people to work and produce projects. In the heart of Chicago surrounded by a college atmosphere, the average person does not have access to machines such as 3d printers and laser cutters. This studio provides a place to turn digital drawings into reality.
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Construction
Centerline
Single Line Interlacing
The Lindidfarne Gospels Created: c. 700
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X-Figure location
X-Figures
X and C Figure location
C-Figure C-1
X-1
X-2
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X-1’
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X-3
In this phase we analyzed several pages of the Lindisfarne Gospels to grasp how Celtic Knot-work was constructed. We deconstructed each knot to centerlines and then to figures which is the simplest form. From our research, we were inspired by how this ornament holds a block like structure to the eye, while it is made out of curves.
X-Figure location
X-Figures
Variations Connection Termination Location Connetion 8
X-1
X-2
Connections X-1’
X and C Figure location
X-3
Connection 7 Connection 9
X-3 Compressed of X-3 and C-1
X-3 Compressed
C-Figure
C-1
Connection 10
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2
4
Connects in the middle as well as the top and
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than having curve meet with curve
are stretched
We then took another approach to understand how the knot-work changes and still remains one continuous line or system. We found that the knotwork adapts based on its spatial organization. 63
X-Locations
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X-Figures
C-Figures
Figure Identification
Rectalinear
Curvilinear
Combo
After getting a firm grasp on Celtic Knots we created our own from figures we studied. We then treated the configurations as cells and mapped them across sheets to create a structured system.
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Mechanical | Electrical Room
Loading area
Admin
Coat Room
Kitchen/Laundry Area
Reception
Lobby Locker Room
Gallery
Collab
Collab
Locker Room
Production space Fitness Room
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Nap Space
Workshop Research Space
Courtyard
Sun Study
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Collab
Collab Expresso
Guest Rooms
Guest Rooms
Guest Rooms
Guest Rooms
G Guest Rooms
Guest Rooms
Guest Suites
Transportation
Expresso
alle y
Guest Suites
Initial Sheets
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Rotate Interior Sheets
Bending/Tearing Sheets
Cell Rules
Applying Cells
Thickening
Materializing
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Exterior Sheets
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Interior Sheets
Exterior Thickening
Interior Thickening
2 3
Rule Based System
We took our sheets and started bending them to create a variety of spatial conditions. We turned the inner sheets on an angle to allow more light into the space based off our sun study. Then the cellular rules were applied to the sheets. The cells die and reconfigure based on if the system can support
them. The line-work was thickened and ornament became structure. Thickening varies based on spatial organization of the cells. We then used the system and added floors according to the program. 67
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Lounge Research Library
Production Space
Collaboration Space
Admin Cafe Lobby
Espresso Collaboration Space
Lockers
Workshop Lockers
Gym Exhibition
Lecture/Auditorium
Collaboration Space
Residential
Exhibition Space
Top to Bottom: Floor 1, Floor 2, Floor 3
Top to Bottom: Floor 4, Floor 5, Floor 6
Top to Bottom: Floor 7, Floor 8, Floor 9
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B
A
Section B
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Site Plan
This section cut looks into the atrium and really emphasizes how the spaces are created by the Celtic Cell based system. The floors of the building are open plan and are in harmony with one another.
Section A
Exterior Street View
The render shows how the cells die and have reconfigured to maintain the structure of the building. This creates apertures that allow light to enter and fill the spaces. 73
Bridge Perspective
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Based on the cellular system, cells die, reconfigure, and create phenomenal qualities such as openings that form the circulation throughout the building. The curvilinear on the interior have their own set of rules to allow for these
Lobby View
phenomenal experiences such as the bridges through the atrium. Being one continuous system. The curves flow throughout the building and drive your eyes up and around to new spaces.
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Thickening Detail
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The thickening detail shows all the depth, dimension, and flare created by the structural cells. The more structural curves become thicker where the cells have died. The Chicago snowy night render depicts the front facade which
Chicago Snowy Night
compliments the adjacent buildings. This facade is more open to allow light in from the South and fill the atrium which transforms the entire building. On the side facade light escapes the cellsadding to the phenomenal experience.
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URBAN INFILL
ARCH 1855 – WILLKENS – SPRING 2020
This was an urbaninfill project located in Atlanta.The site is within an old factory and warehouse community that is slowly growing and being repurposed.Thered buildings in the diagram depict the older red–brick buildings surrounding the site. We had to design a work/ live/ display space for two artists. This is the gallery work-space where people can view the muralist painting in the studios down below. A skylight casts light down to fill the space as if the sun was parting clouds. The glass-brick wall is the front of the building and allows northern light to fill the tightly packed urban space.
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Bu ild ing ss ing
Ma
The parti shows the longitudinal system extending along the entire site. Due to the clients’ needs and the urban environment, the front and back facade, and the roof are the key access points for natural light which shaped the design of the project.
Shared System
Shared System
Pr iva te
Pu
bli
c
We were also given the opportunity to integrate an additional 10,000 square foot massing for a project that would also occupy the site. The decision was made to make the buildings work together as one by being similar in design and having shared circulation.
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Nelson Street
SHAPE STUDIO
First Floor (Below Street Level)
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Second Floor (Street Level)
Third Floor
The plans show the shared circulation core between the massing and the proposal. The artist’s studio is imagined to be the part of the gallery itself. The audience is immersed into the environment so they can truly understand the work. The sections show the openness of the gallery space and the separation of public and private space. The Renzo Piano inspired skylight system passes light into the triple height atrium that gives the building a sense of openness and feeling airy.
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Axon
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Nelson Street Perspective The buildings contextually fits within the area while making a statement of its own. The front facade holds the street line and some of the materiality characteristics of its adjacent such as red–brick, but features glass-brick which fades from the red–brick. It responds to the precedent facade on the South side of the site with geometry and the apertures allowing essential light into the gallery and for the public to see inside.
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ASCENSION
ARCH 1855 – WILLKENS – SPRING 2020
This project revisited a precedent where a spatially organized ‘cube’ was transformed through several different iterations to create a better understanding of formal and spatial systems of organization. This project focused the idea of using simple transformations to create a form that would become a pavilion. The driving concept derived from the transformations was ascension through an interlocking tubular system. The angels of the chamfer drive your eyes towards the top of the pavilion. Once inside you are drawn to climb up the ramps through the tubular system and travel to the light at the end of the tunnel. Even though a specific site was not provided for this project, one would imagine that at each end of the tube compelling views would be framed which would increase the experience. While this pavilion shields from the elements, it intentionally becomes a wind tunnel adding to the effect of movement and becoming a cooling space for anyone who enters.
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The Precedent Cube
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The driving concept derived from the transformations was ascension through an interlocking tubular system. The chamfer tool, scale tool, and make hole tool were used to create the general form and then other tools were used to create circulation through the system.
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Circulation and Nodes
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Integration of Circulation
Systems
The systems diagram shows the concept of long tubular forms. The tubes protect from the elements while also controlling the views linearly. The Circulation shows how people approach the pavilion and have an experience of walking up a long and wrapping linear system. The nodes lie at the end of each tube or tunnel.
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Plan at 4’– 0”
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Plan at 12’– 0”
Plan at 16’– 0”
Ascension Render
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PERSPECTIVE
ARCH 1854 – WILLKENS – SPRING 2020
The Annunciation was painted by Fra Angelico in 1426. I analyzed the painting and determined that it is organized into a three panel system. The progression is from left to right from unsavageable, to a word of good news, to the savior. I interpreted that the painting is a window through time that shows the reason for Christ and I then finished the story by adding baby Jesus. After carefully studying the painting I translated the 2D work into a 3D form that both represents and extends the featured perspective, questioning the arrangement of the spatial layers and what is beyond the frame of the image. The display was made by cutting acrylic and wood. The spacing between layers was intentional as were the height of the pieces of acrylic. From eye level the pieces are on a slight incline to create the impression that as you walk up the stairs you are entering the painting. This was because Fra Angelico’s intentions for the painting were to be looked at as you ascend up stairs.
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PRECEDENT STUDY & INTERVENTION: MAISON DE VERRE ARCH 1854 – WILLKENS – SPRING 2020
This project ties to the previous one because we were required to place the painting within a precedent building in an intentional place after analyzing it. Maison de Verre literally translates to “Glass Box” which is represented in the parti diagram. This system allows for natural light to fill the space while eliminating the undesired view of adjacent buildings. This building was famous for the way public and private space interacted with one another.
The perspective features the painting, The Annunciation, by Fra Angelico which was placed on the existing structure of the building. The painting’s location allows one to view it as they ascend up the stairs as intended by the artist. Light comes in behind the heavenly painting and creates an aura effect.
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Parti
Light Study
Transparent Translucent
Structure
Public/ Private
Business Residential: Living Business: Exam Rooms Residential: Private
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J.S COON STUDY CARREL ARCH 1854 – DIMITROPOULOS – FALL 2019
This project was to design a study carrel for one to three people to study on Georgia Tech’s Campus. The site assigned was the facade of the J.S. Coon building, one of Georgia Tech’s oldest academic buildings. Requirements for the project detailed the space had to be raised off the ground while still being ADA accessible. The proposed study carrel connects a small bridge to the second floor of the building which leads to a nearby elevator. The concept was to use the prexisting trees as the main structure. The carrel focues on providing a view that escapes the city and immerses people into the natural environment.
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0 1
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2
4
8
16 FEET
A-A
UP
J. S. COON BUILDING
0
50
100
500 FEET
The location of the carrel on the site was chosen because there is a corner of the Coon building that nests the carrel. Using the site to its potential while being sustainable led to the development of a tree house structure.
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UP
A-A
Level 2 17’ - 0”
J. S. COON BUILDING 0
2
4
8
16 Feet
Ground 0- 0” 0 1 2
100
4
8
16 FEET
As one studies, there is a view showing repeating trees as they fade away in the distance. The view prevents distraction from pedestrian traffic which creates a peaceful place to study and escape the rest of the world. The view also faces North which is best for studying.
A-A
UP
J. S. COON BUILDING
ELEVATOR
STAIR EXIT
0 12
4
8
16 FEET
Circulation UP
The carrel is easily accessible from the spiral staircase along the sidewalk. There is also ADA acessibility through the J.S. Coon Building. A-A
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USING SPACE AS YOUR MEDIUM ARCH 1854 – DIMITROPOULOS – FALL 2019
A comfortable space was designed for a single person without incorporating mechanics in the design. The project was designed to emulate the idea of a tiny house with a small footprint of 1,700 cubic feet. The prompt asked for a space which allows the person who occupies it a place to study, eat, and sleep. In this project I allow light in through large windows and clerestories from the North and have overhangs in the South to dampen the effects of the harsh Southern light. The sleeping space is lofted to make the best use of the space. The design concept that drove this project was bringing the outside in so the South Facing wall can be opened up to the elements. This allows the person in the space to study while being part of the natural environment, but shaded from the elements simultaneously. The South Facing wall is flush to the rest of the building and may lifted out so that it creates a porch that shields from the elements. The repeated orthogonality of the windows creates unique shadows that are cast along the blank wall faces inside of the structure. Natural light fills the space and makes a suitable environment for studying, eating, and sleeping.
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FORMAL ORGANIZATION ARCH 1854 – DIMITROPOULOS – FALL 2019
In this project the stipulations were that you had several different sized cubes and had to fit them all together to create a unique form within a 10”x10”x10” cube. This project was a major test of our craft skills and really challenged me to make seamless models. Each of the required cubes could be incorporated into the form by the addition or subtraction of space. The first form had to be arranged orthogonally. I focused on the experience created within space. Light floods down from a small skylight filling a tight and compact dark space with warmth and the feeling of openness. This form was designed to emulate the experience of a cave. The second iteration allowed rotations; I chose to make every cube additive to create a massive and imposing form. This iteration tested the limits through complex rotated additions. The final form was designed to emulate a large building structure.
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THE STRUCTURE OF PLACE ARCH 1854 – DIMITROPOULOS – FALL 2019
This project was to hand-craft three different maps of your hometown all at different scales. Being our first project at the school, the objective of this project was really too work on developing craft skills. Georgia Tech is my home for this project and the maps were created (1”=3,000’, 1”=300’, 1”=30’) by analyzing Google Earth and cutting paper accordingly. This project became really interesting because it make you analyze your home in three different scales and lead to discovering things I hadn’t really noticed before. The map of Atlanta does not appear as it would traditionally on Google Earth key, this shows the densest urban areas black, less dense areas in gray and major roads in white. The Georgia Tech campus map has several locations that are dark gray representing special features; for example, Bobby Dodd stadium and Tech green are places for mass gatherings on campus so that is why they earned this color. Lastly, the Glenn and Tower’s dormitories were both previous residencies of mine and in this map I showed how they surround the Quad or courtyard where students hang out and enjoy time outside.
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1”=3,000’ Atlanta
1”=300’Georgia Tech Campus
1”=30’ Glenn & Towers Dormatories
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HILLSIDE PAVILION CONSTRUCTION TECH – RUDOLPH – FALL 2020
The goal of this project was to demonstrate a basic understanding of form-work and structure to create a site-cast concrete pavilion. With the site being sloped this offered a unique challenge because it didn’t just function as a pavilion but also served as the linking path between the two sidewalks. The concept created was an interlacing shoe–lace design which provides both shelter from the elements while allowing light in to open up the space. The pavilion works with the land by following the slope offering seating at different levels. In this project I learned how to create a retaining wall and draft drawing details on the rebar holding the concrete above.
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25’
20’
A
B
10’
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Section A
Section B
Retaining Wall Formwork 111
GEORGIA TECH BUS STOP CONSTRUCTION TECH – RUDOLPH – FALL 2020
We had to design a bus stop for Georgia Tech and the site is situated between the CULC and the architecture buildings. The hexagonal system was first conceptualized when trying to figure out how to relate architecture to Georgia Tech to create a more personal experience. The hexagons come out of the ground from where they are nested and then arc to create a canopy. The structure of the bus stop is exposed to create a contrast between both sides. The smooth back draws people with light and then the underside creates interest for the eyes through repetition. The cracks between the structure coupled with the use of translucent glass creates a phenomenal experience that gives the sense of warmth. Light seeps out of the bus stop to create the stripes of the Yellow Jacket.
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10’ Sheathing
4x4 2x4 Support
20’
2x4
Plan (Cut at 4-0’)
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Site Plan
Plan
2x4
Steel Plates
Sheathing Translucent Glass
2x2 Mullion Translucent Glass
4x4
2x2 Mullion
Sheathing
Screen Detail Steel Plates
2x4
1’-8”
Concrete
Section A
Sheathing
2x4 Structural 2x4
Hexagonal Structure Detail
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SHANGHAI TOWER CASE STUDY MEDIA & MODELING 2 – BAERLECKEN – SUMMER 2020
Sited adjacent to Jin Mao Tower and Shanghai World Financial Center, Shanghai Tower rises at 632 meters ranking as China’s tallest building. With over 575,000 square meters of building space and an impressive 128 floors Shanghai Tower is the skyline’s most prominent icon. As the glass tower rises it twists and tapers conveying a feeling of movement and growth. The spiraling cut into the building makes the building aerodynamic. Geometrically, Shanghai Tower is slim and is based off of a reuleaux triangle helping it withstand the typhoon–force winds subject to the area. Designed to simulate and embrace the life of the city, the tower includes office spaces, a luxury hotel, sky gardens, restaurants, and living spaces. The skyscraper comprises nine cylindrical buildings stacked on top of one another. The central core of the building is surrounded by a double–skinned curtain wall facade that serves as a thermal buffer zone to minimize heat. The tower has been awarded a China Green Building Three Star rating and a LEED® Platinum Certification.
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Exterior Facade
Interior Facade
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Base Geometry: Based of Equilateral Triangle
Base Geometry: Reuleaux Triangle
Structure: Core, Dual Facade, and Wind Channel
Reuleaux Square: Rotation and Scaling at 120 Degrees
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Base Geometry: Wind Channel
2D Parti: Aerodynamical Rotation and Scaling at 120 Degrees
Reuleaux Triangle: Counter–Clockwise Rotation
60 Degrees
90 Degrees
120 Degrees
150 Degrees
180 Degrees
210 Degrees
2d Parti Variations: Rotation
25%
40%
55%
70%
85%
100%
2d Parti Variations: Scaling
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Lofting
Lofting
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-0.005 Scaling
Scaling Y
240 ° Rotation
60 ° Rotation
Top After Scaling
Top After Scaling
Rotation
Rotation
Number of Floors = 120 Floor to Floor Height = 5m Lofting
Number of Floors = 120 Floor to Floor Height = 5m
Scaling Perlin Graph
Number of Floors = 120 Floor to Floor Height = 5m 120 ° Rotation
Number of Floors = 120 Floor to Floor Height = 5m
Top After Scaling
Top After Scaling
Rotation
Rotation
Number of Floors = 120 Floor to Floor Height = 5m Number of Floors = 120 Floor to Floor Height = 5m
Lofting
Scaling Perlin Graph
120 ° Rotation
Number of Floors = 120 Floor to Floor Height = 5m Number of Floors = 120 Floor to Floor Height = 5m
Lofting Final Transformation
Top After Scaling
Rotation
Lofting -.005 Scaling
120 ° Rotation
Number of Floors = 120 Floor to Floor Height: 5m
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Reuleaux Zoning
Core
Trusses
Structural Columns
Floors
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Core
Structural Columns
Reuleaux Zoning
Floors
Interior Facade
Shanghai Tower (Exterior Facade)
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NARIWA MUSEUM CASE STUDY MEDIA & MODELING 1 – PARK – SPRING 2020 PARTNERS: LINNA XIA & KHIN MAHAR
This project was precedent study of Tadao Ando’s Nariwa Museum of Art in Takahashi, Japan. We reconstructed this building in Rhino by following Ando’s plans. In this project we improved our modeling skills and learned how Ando uses angles to create an experience in harmony with nature.
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The diagram shows a geometrical analysis intended for further understand the building. The intentionality by Ando with the difference in ceiling height space can also be seen in the section.
The rendered interior view features the atrium hallway space, often also used as an exhibition hall, and one of Ando’s unique angled concrete stair cases.
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CONCEPT EXPLORATION ARCH 1060 – NOEL & ROARK – FALL 2019
This semester, we were required to choose and analyze something from our surrounding environment and derive a concept from it. The Kessler Campanile, located at Georgia Tech, is a tall, futuristic obelisk constructed of stacked metal plates twisted in a corkscrew fashion. The conceptual idea was twisting a rectangular object to create a unique appeal and transform a design. When looking at the spire, it represents a symbol of power and nobility. The Campanile is inspiring because it reaches into the sky, glorifying the mindset that the sky is the limit at Georgia Tech. The model is constructed of rectangle pieces that interlock to form a complex and stable structure; it was designed so that it can be flipped to express the concept in multiple ways. The simple geometric shapes come together to make a complex form. The squares twist up and create the illusion of infinity.
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