J.SCARBOROUGH ARCHITECTURE PORTFOLIO
selected works 2015-2020
Our Moments
p. 4
Reinventing Roji
p. 18
Hueston Woods
p. 28
Incarceration in America
p. 34
Muqarnas
p. 44
Graphic Explorations
p. 50
Bullet Journal
p. 58
OUR MOMENTS Graduate Thesis: Fictitious Spaces Advisor: Keith Mitnick Encountered or practiced routinely, the ‘everyday’ is an experience that goes unnoticed. Subject to life’s circumstances, experiences, and things encountered are all individually relative. By virtue of relativity, selective perception is developed that allows certain ‘everydays’ to be omitted or taken for granted. Only when a change or interruption occurs is it recognized that what was once normal is no longer so. How is this recognition of disruption reacted to and processed? The exploration of suburban single family houses and modern American housing revealed that the expectations and perceptions of space can be altered and even manipulated. This project’s interest lies within how tactics in psychology and architecture can influence the expectations and perceptions of architecture relative to the everyday of the individuals who live within it.
Written in the form of short, relational moments, this fictitious narrative presents the perspectives of three family members. Each set of moments recalls memories to provide insight into a consequential life decision that was made. While living and occupying the same house, the shared moments overlap in various spaces and points in time to create architecture affected by expectations and perceptions. Each episode is written at a different moment in time, in a different architectural setting, and with attention towards a particular level of architectural detail. Demonstrating the lack of a master life narrative, a comprehensive understanding of their residence is never revealed, nor fully conceptualized.
click here to read full narrative
MATERIAL
SCALE
ARCHITECTURAL INTERRUPTION TACTICS Influenced by the works of Sandy Isenstadt in The Modern American House and Lars Larup in Planned Assults, I created a taxonomy of ways in which architectural elements, both physcial and schematic, can be used to create deceptions in space. These 12 tactics range from literal spacial orginations that influence the experience of a space to tactile movements that create physical interactions with architecture. Throughout the design of Our Moment’s plans, seven tactics were primarily used including: Apertures-Form, Poche-Static, Enclosures-un/expectedly, Organization-Program, Organization-Sequence, Sensory-Atmosphere, and Sensory-Axis. p. 6
SENSORY
ENCLOSURES
APERTURES
ORGANIZATION
POCHE
Our Moments // p. 7
CHARACTERS The narrative presents the perspectives of three family members: Mother, Father, and Child. Each of the characters has a line that represents the Expected, Actual, and Perceived happiness throughout their lives. Each of the moments causes a shift in the respective character’s happiness aligning with an architectural setting within the Home.
MOMENTS Each of the moments takes place within a specific place in the Home. Spaces overlap between characters allowing for the differences in emotional and architectural perception to be juxtaposed. Moments also take place at different points in time showing how the spaces change given the psychological state of the family member.
p. 8
Our Moments // p. 9
MOTHER She had found her place; this house would be her home where, together, they would build a family filled with happiness and warmth. In an effort to curate this life she envisioned, attention is put towards the home to ensure everything has its place. She intensely cares for the spaces she loves. Unfortunately, these are not necessarily the spaces he wishes to be, quietly creating separate lives.
p. 10
DOOR TO DOOR. entries LIFE BEGINS
THE GOLDEN LEAF
A DEEP BREATH
This was a neighborhood comfortable to get lost in; the houses felt expensive yet relateable, comfortably large yards, and the occasional couple walking their family dog along the tree-lawns. I have pictured this moment for as long and I could remember—my first home. We passed a small park where a few children were running, we curved down the driveway, passing under two beautiful maple trees, and arrived at the house with a red door.
The bench has cracks in its wood and there are uneven divots on the arms where the iron has been repainted. The trees in the park are young, replacing the old that have been deemed a risk, should one fall in the wrong direction. The one exception is standing overhead as I sit here. I suppose its place at the tip of the triangle-shaped park gave it enough clearance not to be a threat. Most of the leaves have fallen; the green grass showing through, it’s color slightly dull as the sun is obstructed by gray overcast clouds, holding the sky.
Her head is resting against the window, stationary, as the rest of the world flashes by. The moment she settles in to any mode of transportation, she is sound asleep. The road begins to curve as we enter the neighborhood, and she sits up straight. Prim and proper, with picturesque gardens, unattached garages sheltering high-end cars, and perfectly kept tree-lawns I felt myself sit up a little , too. The houses are a mixture of styles that somehow work together to fulfill the dream of everyone that lives here. The land each house occupies is generous—enough to forget that you have neighbors, but close enough to be reminded you most certainly do.
The front had a traditional entrance with slate stones to guide our way, but the driveway led to a quiet patio that overlooked the yard. I could see our life echoing in front of me: picnics in the soft grassy yard, colorful birthday parties in the living room, pancakes flipping in the kitchen on Saturdays, teaching our children to ride bikes up the driveway, and cozy winters in front of the fire place. Excited to begin this life, I smiled, squeezed his hand, and turned the key.
Hearing laughter, my gaze moves from the tree branches above to across the park. Delighted, a little girl scurries to her parents, holding a golden yellow leaf high. Her father scoops her up as her mother pushes a stroller, carefully avoiding the large cracks in the slate sidewalk. Now, high on her fathers shoulders, she holds the leaf like a flag, waving it as they flank the park, walking towards the house with a red front door. I cherish the innocence she carries through the door, into a house, once a home, filled with love, but equally with the sorrow. Her leaf, once held high, is taken from her small hands, and is left pinned under the door knocker, as the family disappears inside.
I stopped midway up the stone path, taking in what is our foreseeable future: commitment, excitement, responsibility, and passion. Everything I knew, but didn’t expect so suddenly. With a deep breath, and the return of a smile, I followed her through the red door.
SENEORY - atmosphere The senses are unavoidable: sight, touch, smell, sound, and taste. Occupying and living in architectures, one’s senses are subjected to what the architecture provides as stimuli. Through careful observation and nuanced design moments, the atmosphere of an architecture can be used to create a sensation unexpected from a normal space. Our Moments // p. 11
POCHE - active A wall is interacted with from only one side at a time; happenings on the other side of a wall are unknown aside from assumptions and expectations. Within the ambiguity of experiencing one side of a surface at a time, opportunities to exaggerate and experiment with dimensional movement become available.
MISPLACED connections INITIALS
SOMETHING MISSING
AGAIN
I looked past the cacophony of the morning’s excitement, met with a soft smile and a wink. Set delicately within the branches of the tree, I felt the room grow still. The small box was wrapped in a paper that didn’t match the rest—a creamy background with watercolored holly leaves, berries, and a bow that was a deep emerald green. I carefully removed the wrappings to find inside a delicate bracelet. There were three silver letters threaded through a white band, the clasp holding the bracelet together hanging gently. Overwhelmed with love and bewilderment, I was embraced with affection that made the world stand still. I am noticed, I am considered, I am loved.
Snow softly falling outside, a gift from the season on this eve, a slight breeze of frigid air tickled my toes as the back door closed with a click. Turning to see who entered, my heart fell, not disappointed by her, but I had hoped it was someone else, him. It didn’t matter the season or the weather, I could always see the soft glow of light from the narrow garage windows. I should have learned by now not to get my hopes up. Seeing the excitement fall from my face, she gave me a hug that whispered, me too, but out loud, she rationalized the importance of a snowblower over our family tradition and dusted a cookie with red sprinkles.
Turning around, the mature hand that tapped my shoulder was paired with a soft smile. She handed me a small box wrapped in paper with a bow. I did not need to be reminded that I fell short on my end, again. Watching her walk towards the house, I saw her daughter, my wife, through the window. She is laughing in the kitchen, her eyes creasing at the sides, hair in a messy pony tail, carefully rolling cookie dough, with two pairs of small hands helping to decorate. Feeling ashamed, only for a moment, irritation returned as my attention shifted towards the snowblower I was failing to fix.
If my memory serves me, the bracelet is in a box on the top shelf of my closet. I haven’t seen it in years. p. 12
CHILD Nostalgic of her childhood, she visits her old neighborhood and thinks back on the memories of her family. She was a child caught between glass walls, observing the slow and devastating destruction of her family. As she strains to reconcile two truths, the spaces she occupied throughout her childhood help reveal what she has always known but never understood.
Our Moments // p. 13
FATHER As he walks through his house, he puts up walls. Surrounded by his life, he questions what he is allowed to do, touch, move, or add. Walking through the halls, he can see into rooms but unable to enter them. With growing discomfort, he follows these walls to the one space he is certain he can enter. This pursuit of place rewards him with purpose, but at the cost of what he left in the house: his family.
p. 14
MISPLACED ENOUGH
STRANGELY ENOUGH
ENOUGH IS ENOUGH
How does one come to realize that, for ten years,they were unhappy. All the birthdays, holidays, graduations, nights reading stories as your child fell asleep in your arms, coming home to your favorite dinner on the table, your dog wagging its tail when you wake up in the morning, and soft smiles from across the room silently saying, “I love you,” must not have been enough.
I saw that you were unhappy. All the birthdays, holidays, graduations, nights you missed reading me stories to help me fall asleep, coming home to your dinner cold on the table, our dog wagging its tail by the door, waiting for you to come inside, and the smiles when you finally did must not have been enough.
I did not even realize that, for ten years, I was unhappy. All the birthdays, holidays, nights reading stories as the children fell asleep, coming home to dinner on the table, my dog wagging its tail asking for breakfast, and glances from across the room were enough.
The trips and projects that occupied your evenings and weekends; the poche unacknowledged birthdays and holidays are forgiven with a smile; the encouragement and excitement in the pursuit of new opportunities, everyone who loves you must not have been enough. Your reasons for leaving are not reasons at all.
Trips and projects occupied your time when I wanted it. The birthdays and holidays always felt distant; when the arguing stopped I tried to give encouragement and provide my excitement in support of your new pursuits. My love must not have been enough. Strangely enough, I understand your reasons For leaving.
The trips and projects that occupied my evenings and weekends got me out of the house. I have never been good at remembering birthdays and holidays— you know that. The encouragement and excitement in pursuit of new opportunities never felt genuine. Everyone who loves me must not have thought that I was enough. I didn’t know that I was leaving, but I did it anyway.
SENSORY - axis The greatest feat of an architecture is curating what an occupant is or is not exposed to; apertures decide what someone does or does not see. Directing lines of sight, rotations and offsets in both plan and section can give the illusion that something contextually present is not.
ORGANIZATION - sequence The manner in which spaces are sequentially organized allows for a diverse library of interpretations and perceptions of space. Varying shape, scale, and orientation, space works in ways to give distinct feelings physically and mentally to the same space when viewed from various perspectives.
Our Moments // p. 15
p. 16
Our Moments // p. 17
REINVENTING ROJI Senri New Town, Osaka, Japan Co-Authors: Elizabeth Sinyard, Marco Nieto 2nd Year Graduate / Supervisors: Craig Borum and Claudia Wigger
Built after World War II, Senri New Town is a development that addressed the need for mass affordable housing. As Japanese families have a tendency to stay in one location, the population of Senri New Town is aging along with the architecture. New families are moving to the area with a close proximity to Osaka University and the Kita-Senri transit station. This neighborhood is in desperate need of revitalization as the area becomes a more desirable living location. Our proposal takes the traditional concept of the Japanese “roji” and intertwines with three building typologies at various levels of encounter. These pathways of small but diverse circulation encourage social interaction and accessibility for residents of all ages. Throughout the design of these spaces, special attention is given to the materiality and surface textures to create a contemporary feel within traditional settings. *All drawings were designed and produced collectively. Each team member was responsible for a building typology; I focused on the Row House.
Rendering of Row House Aggregation
Site Plan with Roji Diagram
p. 20
Site Axonometric
STATISTICS Floor to Area Ratio
1.57
Gross Floor Area
71,055 sq. ft.
Unit Types
4
Number of Units
63
UNIT TYPE
NUMBER OF UNITS
SQUARE FEET (AVERAGE)
One Room
17
400
Two Room
29
565
Three Room
15
857
2
1060
Four Room
Reinventing Roji // p. 21
ROW HOUSE Providing a more individualized and private atmosphere, the row house units offer space for families to live and grow within. These units offer direct access to the roji, public and private green areas, and various retail spaces. As larger units with flexible programming, these homes provide the space for diverse families with various spatial needs.
COURTYARD This new building typology being introduced into the neighborhood playfully uses circulation between and around units to create intimate spaces for cultivating relationships with neighbors. The variety of units welcomes a diverse group of individuals to live in this building; from young families to older couples.
APARTMENT Keeping in continuity with the existing buildings, the apartment typology offers a variety of smaller, accessible units for both elderly and young individuals or couples. The building offers an elevated version of the roji that creates small, open spaces for social interaction between residents on separate levels.
p. 22
Row House Facade Diagram
Unit Aggregations
Courtyard Facade Diagram
Unit Aggregations
Apartment Facade Diagram
Unit Aggregations Reinventing Roji // p. 23
A
B
+0
LANDSCAPE DESIGN The roji is the main site feature as it navigates residents and visitors through the neighborhood and provides spaces for collective experience and community interaction. In areas where there is more activity and has higher residential density, the roji is wider and has more paths of travel. In areas that are used primarily by residents, the roji is smaller and has a finer grain of detail when considering steps to residences. In addition to the roji, there are community gardens and a large park that provide areas for residents and visitors of all ages to gather and meet together. p. 24
A
B
+1
N
12’
24’
Reinventing Roji // p. 25
Apartment: Studio Units
Detail Section Perspective A: Apartment and Courtyard p. 26
Courtyard: Three Room
Row House Three Room
Detail Section Perspective B: Courtyard and Row House Reinventing Roji // p. 27
HUESTON WOODS NATURE CENTER Located in Hueston Woods State Park, Ohio 2nd Year Undergraduate / Supervisor: J. Elliott
Located outside of Oxford, Ohio, Hueston Woods State Park is a destination for people across the country. A nature center has been proposed to compliment the lodge and campsite located within the park with the intention to educate and promote local research. Using a site to the South-East of the lodge, this nature center celebrates the beauty of nature through the dramatic escalation of forest and waterfront views. The center reflects the landscape in the glass and wood facades using materials that blend with the surroundings while the geometry of the building influences movement in and around the center in an effortless and intuitive manner. Celebrating and encouraging education and research, this nature center is a beautiful addition to the Hueston Woods State Park.
ENTER GALLERY SPACE
DOWN
UP
EXHIBITION SPACE
OPEN TO BELOW
+2
p. 30
HUESTON WOODS LODGE
ACTON LAKE
N
VIEW PRIORITIZATION
LL
+1
Upon entering the nature center, the gallery presents limited views through a series of narrow windows emphasizing gallery work on display. Throughout the circulation of the building, the windows broaden in size giving the increasingly beautiful scenery more visibility. The shades of gray overlayed on the roof and building plans show how the desirability of views increases as the circulation wraps towards the lake. Hueston Woods Nature Center // p. 31
p. 32
10’
20’
East Elevation
10’
20’
West Elevation
1/8” = 1” Basswood Model
1/8” = 1” Basswood Model Hueston Woods Nature Center // p. 33
INCARCERATION IN AMERICA Located in Long Island, New York 1st Year Graduate / Supervisor: Jeffery Mansfield and Michael Murphy
The United States Prison System lacks fundamental social and academic structures to rehabilitate individuals who have conducted acts against the law. Through visitng and touring 2 facilitie in partnership with the Prison Creative Arts Program (PCAP), we were able to speak with current and formerly incarcerated persons about their experiences. Facilities, such as Queensboro Correctional Facility in Queens, NYC, need to be re-imagined to correct the detrimental trajectory of the carceral system. Queensboro’s Genesis seeks to create a safe environment that promotes relationship building between individual and self, and individual and others through an emphasis on education in a systematically open facility. Genesis facilitates a successful transition of incarcerated individuals back into society through academic and ethical practices. By establishing respect, safety, and trust upon entry to the facility, residents will transition through three pillars aimed at providing the experiences and skills necessary to live a successful life upon graduating to civilian life. Additionally, each resident will peruse an educational track during their stay that will establish a network of skills and personal connections to encourage individual success post-incarceration. Genesis will provide a precedent for the successful rehabilitation and integration of incarcerated persons ending recidivism entirely.
Women’s Huron Valley Case Study
p. 36
LAND OF THE FREE A collection of US Federal Prison campus maps organized by the date built beginning in the top left corner (1902) ending in the bottom right (under construction). Through this visual, patterns emerge in construction, style, and location offering insights into how the United States understands and participates in incarceration. Queensboro’s Genesis // p. 37
COMFORT VS SAFETY “The space needs to be modernized. It would make the environment more calming because [residents] will have less anxiety about coming home. Ask yourself, what would
you want in your apartment?”
Member of Fortune Society
Prior miss-use of items in prisons and correctional facilities have caused restrictive regulations on materiality and maneuverability of furnishings such as beds, lockers, and lavatory facilities. This often leads to spaces feeling rigid, cold, and uncomfortable. How to design for comfort and flexibility while maintaining considerations of security for residents and staff?
PSYCHOLOGY OF SPACES “The psychology goes back to how we think as a society, how we view what prisons are and what they are supposed to do, which is confine and separate and remove. We always have this running joke of, ‘they know what they are doing.’ They understand and designed it this way for a particular reason, not just about economy, but separation. When you see repeated themes you can only assume there is some kind of intent behind it, whether it be inherent or not.” Cozine • 20 years incarcerated How spaces are oriented and organized relationally to one another can have sever psychological implications. To facilitate in rehabilitation and re-entry, these spaces must be designed to function as closely to those outside the confines of the facility. There should never be a thought that uses punishment as a quality of environment.
MATERIALITY “The noise, from day one to the very last day it was like a constant irritation this chaotic cacophony of sounds. Everything is concrete and steel, so of course the steel banging
makes lots of noise, everything echoes off the concrete walls, loud PA systems and radios going off all day and night, doesn’t matter. The lighting of the buildings is not designed for comfort at all. It’s designed for security, for control, for oppression. Ken • 11 years incarcerated How a space performs is largely dependent upon its materialistic attributes. A diversity of colors, textures, sounds, or smells brings create an environment reflective of respect and maturity. By creating spaces with consideration to the sensory environment, mentalities towards self worth can begin to develop.
RELEVANT PROGRAMMING “It’s strange that in this era, rehabilitation comes six months to a year before you go home. They start putting you in programs, giving you a pro-social state of mind. When really, 16 years ago I should have gotten these opportunities for cognitive thinking. We have to make our own choices but some of us aren’t capable, some just need a little push. A lot of us are here today because we wanted to make a change, and we wanted to do better.” Pat • 16 years incarcerated Success upon release is indicative of the programming within their facility. While current programs may aim to plant a motivational seed in the minds of the residents, there needs to be substantial programming to promote success once released.
p. 38
COMMUNITY “We have to feel like real people, if when we get our there eventually, we are supposed to act like real people. We have to be treated like human beings if when we get out you want us to be seen as human beings. We have to be given the ability to create our own support system.” Martin • 46 years incarcerated Personal behaviors are influenced greatly by an individual’s environment. It is important to create communities beneficial to the mental health of residents. These communities should consist of like minded, equally motivated residents and civilians to create a support network and ease anxiety upon release.
SPATIAL DEFINITION “Prisons have this idea of the economy of space where each space is multi-purposeful. I can understand the logic in it when you are talking about trying to find economy and do the most with the least, but also it creates this idea that no space is really safe or sacred. You can’t depend on any space to be for one thing.” Cozine • 20 years incarcerated Economy of space is important to recognize within any design, but not when it becomes detrimental to the reputation and reliability. Spaces must be design for specific uses and be regulated to ensure consistency in use to establish respect and safety.
ACCESS TO NATURE “You wait all year for nighttime yard to open when its warm and you can go outside after dinner until about 9 o’clock after the time change and you can actually have somewhat of a life. You can see your friends. Everything is controlled by what time it is physically and what nature looks like. I spent a whole life sentence trying to get out somewhere I could enjoy being outside.” Mary • 30 years incarcerated While even rural prison campuses do not have access to nature outside of a fenced, grass yard, access to natural environments is a necessity to the health of an individual. In facilities where re-entry is their top priority, access to outdoor environments should be a substantial consideration.
INTEGRATION OF TECHNOLOGY This facility could have a technology center. Most people have little to no knowledge of computers or programs. Individuals have been in the system for 15+ years, they have no idea how to do anything.
Member of Fortune Society
Technologies are being developed and advancing at astonishing rates. While incarcerated, individuals have little to no access to the technologies that run the outside world. Upon release, most have never used technologies required by day to day life such as a smart phone and public transportation kiosks. Technologies must be integrated into facilities to ensure easier transition upon release.
Queensboro’s Genesis // p. 39
PEDAGOGY Queensboro’s Genesis seeks to create a safe environment that promotes relationship building between individual and self, and individual and others through an emphasis on education in a systematically open facility. Genesis facilitates a successful transition of incarcerated individuals back into society through academic and ethical practices. By establishing respect, safety, and trust upon entry to the facility, residents will transition through three pillars aimed at providing the experiences and skills necessary to live a successful life upon graduating to civilian life. Each resident will persue an educational track during their stay that will establish a network of skills and personal connections to encourage individual success post-incarceration. Educations range from a GED to a Masters degree with opportunities to facilitate learning upon program completion. Genesis will provide a precedent for the successful rehabilitation and integration of incarcerated persons ending recidivism entirely. p. 40
Queensboro’s Genesis // p. 41
+4
+6
p. 42
Pavilion Garden Apartment Units Resident Community Spaces
+5
Dormitory Eta Dormitory Delta Library Reference Desk Restrooms Study Counters Computer Lab Library Lounge Quiet Study Area
Community House Alpha Dormitory Beta Library Auditorium Classroom Technology Center Study Lounge Grab-and-Go Food Commissary
+3
Community House Shared Community Space Dormitory Alpha Service Commons Health Services Academic and Care
y House
eer Services
+1 Visitation Dining Commons Dining Hall Gym Entrance Locker Room Cardio Room Gymnasium Storage
+2 Leisure Vocational Training Exercise Track Functional Training Area
-.5
Entry Visitor Circulation Gallery and Cafe Outdoor Patio Resident Circulation Administration Mechanical Level
Queensboro’s Genesis // p. 43
Muqarnas Conceptual Design Co-Authors: Bryan Hicks and John Knauft 3nd Year Undergraduate / Supervisor: Sergio Sanabria
Architects have always striven to create elegant spaces that are simple in beauty and intricate in design. The aspiration for increasingly complex space resulted in the development of muqarnas, ornamented Islamic vaults. While traditional muqarnas are somewhat obsolete, their implications in modern architecture could be profound. With the introduction of modern materials and the inherent strength of these forms, it is possible to use muqarnas as resilient structural systems, generating a provocative form celebrating light and space. We meticulously designed and constructed a muqarnas using a seven-fold symmetrical tile pattern. Using the most precise compasses and measuring tools, we created prisms that formed our tiling while custom jigs and the band saw were used to shape the inner pieces. With little to no margin of error, our model came together at 24 inches in length and width, weighing 40 pounds. *The physical model was a group project, all drawings and photographs are my original work
Original Tile Pattern
Designated Levels
Sectioned Axonometric
p. 46
1
2
3
4
5
6
7
8
9
10
11
12
Muqarnas // p. 47
p. 48
MEASUREMENTS
JIGS
Using 2”x8” boards, each board was cut in length, planed, then cut into the shapes of the tile pieces. To ensure every piece of the muqarnas fit together with the least amount of error, the angles of the table saw blade were measured precisely to the minute of an arc.
To cut the angles of each piece, jigs were created using the corresponding waste pieces. This allowed each piece to be held sturdy while it was fed through the band saw by hand following specified curves.
ASSEMBLY
DISPLAY
Each layer of the muqarnas was carefully placed and adhered together using wood glue and rubber bands for pressure. The model was then sanded to smooth any rough edges from the saws. The entire design, fabrication, and assembly processes took 6 weeks.
For the student show, each team suspended their muqarnas 15 feet in the air using fishing line. This allowed for the vaults to be experienced from below as it would be if built at full scale.
Muqarnas // p. 49
DESIGN EXPLORATIONS Various exercises in graphics and representation Author: Jenny Scarborough Various academic years and supervisors
The visual representation of information has always been a passion of mine. Through the use of computer aided technologies or by hand, I have enjoyed approaching presenting ideas through various methods of representation including hand sketching, publication design, tryptics, analytic drawings, and augmented reality.
DOUBLE DEEP SURFACE Representation Spring 2019 1st Year Graduate / Supervisor: Perry Kulper Exploring the theme of “Doulbe Deep Surface” through three phases of design: conceptual design, erasure, and translation. Primary program used was Photoshop.
Double Deep Surface
Translation
p. 52
Erasure
Graphic Explorations // p. 53
DIMENSIONS Volume 32 1st Year Graduate / Supervisor: Christian Unverzagt Staff Members: Jenny Scarborough, Jordan Laurel, Grace Hsu, Hannah Cane, Rinika Prince, Nour Majzoub, Karun Chughasrani, Austin Kronig Tasked annually with documenting student work, Dimensions 32’s second motivation was to elucidate the traces of labor required for much of this architectural work to exist. Dimensions 32 seeks to make work more transparent. Accompanying each project are statistics to frame the labor involved, where we define labor as the composition of three variables: time, money, and material. Projects across the book begin with a set of data, provided by the contributors at our request, as well as statistis into the labor we contributed in the creation of this publication.
p. 54
DIMENSIONS Volume 33 2nd Year Graduate / Supervisor: Christian Unverzagt Staff Members: Jenny Scarborough, Rachel Skof, Abirami Manivannan, Anhong Li, Leah George, Ben Vassar, Mytreyi Chandrasekhar As a way of reframing relationships between people, objects and architecture, this year we are approaching Dimensions not as an objective artifact but as a subjective volume bringing together a diverse set of work and discourse—both before and after the journal is published. The journal follows various trajectories of correlations and a series of overlaps that blend seamlessly to provide multiple readings and hierarchies, yet forming a cohesive whole— Dimensions 33.
Graphic Explorations // p. 55
INFINITE HYLIAC VAULT HOUSE Representation Spring 2019 1st Year Graduate / Supervisor: Jacob Comerci Analyzed the Vault House’s construction and created a kit of parts used to compose an “infinite” image with the stylistic influence of the video game Hylics.
Vault House / Johnston Marklee / Architecture Precedent
Hylics / Mason Lindroth / Stylistic Inspiration
p. 56
Vault House Analitique
Infinite Image
Graphic Explorations // p. 57
Bullet Journal Organizational Design 2017 - Present
The methodology of a Bullet Journal was conceived by Ryder Carroll in 2013; taking a blank notebook and creating spreads to organize and simplify the happenings of life. Since then, a community of bulletjournalers has emerged and spread their self designed organizers through various platforms. In June of 2017 I started Bullet Journaling. Over the last three years I have developed my own take on the minimalist style often using metallic watercolors and illustrations as accents. All spreads are my own design and done completely by hand.
Each month I design a cover, a full month calendar, various trackers (such as habits, mood, exercise, expenses, and sleep), and weekly spreads. Typically following a theme, each month has a unique set of designs that meet my organizational needs and goals.
MARCH 2020 Dutch Door Exploration Muji .25 pen Staedtler Fine Liners
February 2019
p. 60
March 2020
April 2019
June 2019
APRIL 2019 Progressive Weeklies Mildiner - Coarl Pink Staedtler Fine Liners
Bullet Journal // p. 61
Journaling Instruments
Year 2020 Overview
p. 62
April 2020
Bullet Journal // p. 63
2020 Part 2
AUGUST 2020 Muji .25 Pen UniBall White Ink
p. 64
August Weekly
Sentence Per Day
JUNE 2019 Muji .25 Pen Serif lettering
JULY 2017-2019 An overview of the three July covers
Bullet Journal // p. 65
thank you view full portfolio here