JEREMY NGUYEN ARCHITECTURE DESIGN PORTFOLIO 2018
FOREWORD As an aspiring designer, I am constantly questioning both how to develop my architectural skills further and how can I use my architectural knowledge to make an impact. To best equip myself to be a difference-maker, I search to strengthen my ability to communicate graphically through analog and computational methods, while integrating sustainable design practices and technologies into my design process. After five years of architectural school at California Polytechnic University of San Luis Obispo, I believe I have gained a strong foundation in the pragmatic and structural understanding of construction and design. However, I had a desire to build further on my experiences and knowledge in order for me to reach the next level in my architectural skills. To take advantage and broaden my understanding of the innovative resources available to architects, I pursued a M. ARCH at UCLA, with the access to new technologies such as robotics, VR/AR, animation, and projection mapping along with the guidance and ways to integrate these tools into my own design methodology.
NAME ADDRESS EMAIL WEBSITE PHONE
Jeremy Minh An Nguyen 789 Kyle Street San Jose, CA 95127 jeremy@visson.com www.jeremy8085.wixsite.com/design 408.242.5922
DESIGN FABRICATION
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ART MUSEUM
MUSEUM OF THE FUTURE MASTERS UCLA M. Arch II SPRING 2018
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TRANSPORT HUB
KOREATOWN METRO STATION MASTERS UCLA M. Arch II SUMMER 2017
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SCHOOL OF EARTH
THESIS: PERMACULTURAL SCHOOL 5TH YEAR Cal Poly: SLO B. Arch 2017 - 2018
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IRIDESCENCE
BUTTERFLY RESEARCH CENTER 3RD YEAR Cal Poly: SLO B. Arch WINTER / SPRING 2015
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APERTURE
DIGITAL MEDIA INCUBATOR 3RD YEAR Cal Poly: SLO B. Arch FALL 2014
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TIMELESS
SWITZERLAND STUDY ABROAD 4TH YEAR Cal Poly: SLO B. Arch SUMMER 2015
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EXPERIENCE
PROFESSION STUDIO + CO-OP 4TH YEAR Cal Poly: SLO B. Arch SEPT 2015 - JUNE 2016
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SPATIAL PROFILE
VIRTUAL DESIGN MASTERS UCLA M. Arch II FALL 2017
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CARBON FIBER
2.5D SURFACE TO VOLUME
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COBOGO
ADAPTIVE MASONRY UNITS 5th YEAR Cal Poly: SLO B. Arch 2017 - 2018
MASTERS UCLA M. Arch II
WINTER 2018
MUSEUM OF THE FUTURE Hammer Art Museum
MODERN ART MUSEUM + MEDIATHEQUE + DIGITAL / VIRTUAL EXPERIENCE Yibing Wu / Hengzhi Ye Professor: Guvenc Ozel 10899 Wilshire Boulevard, Los Angeles Spring 2018 ANIMATIONS + WEBSITE: www.jeremy8085. wixsite.com/design/museum-of-the-future
Where contemporary museums struggle to archive and store many of their physical collections, a solution where the building becomes vessel for direct dialogue and relationship with the contents of their interiors. Through the use of contemporary digital technologies such as AR/VR, the public can engage with the vast collection of artwork, objects, and reveal relevant connections between items of different collections; the curator to design processes of access rather than set exhibits with particular time-lines. Visitors filter and access certain parts of collections independently, allowing the museum building to act as an interface to access physical and digital works / representations of art. The building’s formal development revolved around the study of the intersection between presence and absence, exploring the relationship between solids and voids using different computational methods. The mediatheque becomes the programmatic solution that links the public to the digital archive through immersive and interactive experiences, while is formed spatially from the intersection of galleries.
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LOB BY
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T H E AT E R
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AR C HI V E
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OF F IC E
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M E DIAT H EQU E & GA LLE RY
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M E D I AT HEQ UE & GAL L E RY
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MED IATH EQUE & GALLERY
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M E DIAT H EQU E & GA LLE RY
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FO R M AL M AS S I N G
CONCE PT
MATRIX
VALUED
CONTEXT
Resolution of articulation to final form
CIRC UL AT ION
CURVED SURFACE
INTERACTIVE MEDIATHEQUE
IMMERSIVE MEDIATHEQUE
LOBBY ATRIUM
Au gmente d rea l i ty gl a sses g i ve v i ewe rs a n i m a g e of the whole o r i gi n al ove r a f ra g m e nt of th e a r ti fa c t
Virt ual realit y tool s a l l ow v iewers to a ccess digit al represent ation s of item s n ot c urrentl y on displ ay. O th er v isitors c a n obser ve th e v iewers experien ce on projec tion wa l l s .
Projection technolog y d isp lays artifacts f rom variou s collections tog ether w hen the items may not all b e p hysical p resent .
Data Archaival System + Navigation
PAT R I C K SC H U M A C H E R
SEQUENTIAL OVERLAP - ADDITION + SUBTRACTION
REM K O OL H A A S
Z A H A H A DI D
EXPANSION + CONTRACTION
FRAGMENTATION CORE DATA C U BE
E XPANDE D R E LATE D I NF O
Data Visualization - VR SIMULATION
MODE 1: Material Transparency
Our research revolved around the study of the intersection between presence and absence, the in-between space. Through a process of computational methods, we looked at the conditions and spaces created in the sequential overlapping of solids and voids.
MODE 2: Data Archive Our next step was to bridge these transformations with virtual reality and connect the computation calculations such as sequential overlapping, expansion, and fragmentation of the intersecting boxes as a formal system for a data archive. Data is given a graphic and visual form and archival activity interfaced with physical motion.
APPEAR - generation of data cubes
SCRAMBLE - randomize set of data cubes
The first mode explores the notions of transparency and revealment. One can have a fundamentally different understanding of the project and the relationship between different forms that make up the building. Secondly, the system of data archival demonstrates various methods of formal exploration of intersecting boxes undertook.
SHIFT - re-organization of data cubes based on classification
COMPUTATION OF SOLIDS + VOIDS
MODE 3: Data Cube
INDEX - highlight specific data cube & show similar / related data cubes
FAR LEFT: Procedural system modeled in Houdini, a nodebased workflow visualization engine
MIDDLE LEFT: System for searching for related data sets and draws connection showing pathway. Secondly specified data cube can be exploded to view additional information
RIGHT: Using Unity, a cross-platform game engine, a
simulation was developed that: 1) visualizes our building in various material transparencies 2) demonstrates the data archival system
INSPECT - view selected data cube
FRAGMENT - reveal relevant data
EXPLODE - expand similar information
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TRANSPORT HUB Koreatown Metro Station
AUTONOMOUS VEHICLE PARKING + METRO STATION + DRONE CENTER Yi Qian / QianQian Song / Yu Zhang Professor: Benjamin Ennemoser & Martha Novak Wilshire Boulevard, Los Angeles
Summer 2017
VIDEO: https://vimeo.com/286648883
With technological advancements changing daily life, buildings must be prepared with the means to support these new technologies. As a metro station of the future, new modes of transportation dictates new public infrastructure to take advantage of autonomous automations. Located at the current end of the Metro Purple Line, the proposed transport hub serves as a connection point for high-speed transportation systems. The top structure is designed to interface with autonomous vehicles to allow for non-planar driving and parking. In addition, the transport hub acts as a communication and drop-off center for drones. At night, the transport hub opens up to the people and turns into a communal center. The undulating surface is connected to the street corner and folds upon itself to create the separate levels.
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SITE BOUNDARY & EXISTING METRO STATION
BILLOWED COLUMN INSERTED INTO SURFACE
SURFACES PUSHED AT CORNERS TO FORM CONTINUOUS CONNECTION
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VOLUME EXTRUDED OVER EXISTING STATION
VOLUME SPLIT BY 2 N D SURFACE
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SURFACE IMPRES SED INTO VOLUME
BUBBLE & HOLE FORMED BET WEEN T WO SURFACES
TRANSFORMING
ROTATING FACAD
CURVED SURFACE
Autonomous vehicle communication & drone lidar detection system
TRAINSTATION
Autonomous vehicle navigation on non-planar surface
BUBBLE
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SCHOOL OF EARTH Permacultural Childen’s School
For my undergraduate thesis project, I wanted to utilize my time and effort towards a project that would have an impact for a poor rural community by providing a place for young children to play, create, and learn. I partnered with Journeyman International, a non-profit organization focused on designing humanitarian projects across the world. Working with an interdisciplinary team of structural engineering and construction management students, the project team engaged with the client from the Kotaro Kihira / Linsdey Kuster / Kiersten Bakke very start of the design process to understand the site’s geography and natural resources & identify possible eco-friendly site Professor: Ansgar Killing & Greg Wynn planning and building design strategies. Our objective was to create a detailed design and construction service package for Cabo de Santo Agostinho, Brazil our client in hopes of helping him execute his vision; Nossa Escola de Terra. The project is built out of local resources, and using 2017-2018 earthen clay as the primary construction material in compacted earth bags and bricks. Wholly site-specific, the construction Fly-thru Video: https://vimeo.com/298122093 of the school reflects a commitment to a way of building derived from using the potential assets of a particular environment: Thesis Book: www.issuu.com/jeremynguyen4/ availability of local materials, technical skills of the local community, the strategies and methods appropriate for the particular docs/thesis_book conditions of its surrounding context. The intensive research put forth for this project can be viewed via the ISSUU weblink. 5TH YEAR THESIS - JOURNEYMAN INTERNATIONAL x NOSSA ESCOLA DA TERRA
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Exist ing si te on top of
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Project volume
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hi llside
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Program revolves around
Central core t akes advant age of winds coming up valley from North
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ci rculat ion
Weave co ncept ref lec ted by
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pa t hway cent ra l co u rt ya rd
Walls and form resp ond to weaving p ath and cour tyard
a s k not t yi ng a rea s to get her
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Roofi ng st rategy i nf luenced by sun exposure and heat
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Water filtration + retention oriented around topography
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Gardens + outdoor areas respond to spaces carved by path and cut into the terrain
WATER STR ATEG I ES For conser vation, treatment , and re - u se of water on-site 1. Rain Garden
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2 2. Organic Pond
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3. Natural Pool
4. Bio-Digester
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5. Compost Tank
6. Waste-Water Treatment Tanks
7. Anaerobic & Aerobic Treatment Tanks
8. Water Tank for Irrigation
255 SOUTH SANTA FE AVENUE LOS ANGELES CA 90012
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IRIDESCENCE BUTTERFLY HABITAT
RESEARCH + INCUBATION LABATORIES
CASA d’ ARTE
timeless art record
In the heart of downtown Los Angeles, along a quarter-mile long former freight depot in the artist’s district, SCIARC can be found. An emerging hub of innovation devoted to exploring unique solutions, SCI-ARC becomes the
Professor: Dale Clifford
perfect opportunity to merge two worlds together. Since the 1990’s, Monarch Butterfly numbers have declined more
SCI-ARC, Los Angeles Winter / Spring 2015
than 90%. As our landscapes are becoming more fragmented the loss of habitat’s effect on monarch population is
learn / nurture / educate
undeniable. Thus, this building that grows from the existing SCI-ARC building can become a beacon of monarch awareness for the public, way-stop/overwintering grounds for monarch butterflies, & an opportunity for research & study. With 55,000 ft2 of walkable space out of 84,000 ft2 total area, this habitat transforms the downtown LA site.
1. 2. 3. 4. 5. 6. 7. 8.
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Entry Lobby Gallery Outdoor Gallery Elevator Cafe Outdoor Patio Kitchen Women's BathRoom
9. Men's BathRoom 10. Multi-Use Auditorium 11. Administrative Room 12. Admin Meeting Space 13. Mechanical 14. Butterfly Interactive Space 15. Outdoor Public Area
16. 17. 18. 19. 20. 21. 22. 22.
Learning Lab Storage interactive Learning Lab Library Collective Research Lab Caterpillar Incubation Lab Outdoor Social Area Monarch Butterfly Living Environment
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Structural Section
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Structural Section South Facing
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FIRST LEVEL 1st Floor
SECOND LEVEL
2nd Floor
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Section
GROUND LEVEL Ground Floor
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Programmatic
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Programmatic Longtitudinal Section
NORTH ENTRANCE Entering the building, one is met by the openness of the north entrance and the beginning of the repetition of the steel frames. Sliding into the next space, the surroundings are closing in around the visitor. A cascade of flitted light escapes through the façade and bounces off of the steel frames, trapping the visitor in beauty and awe. Through the repetition of steel members, the idea of visual transformation begins to achieve the alteration of people’s visual perception through the building based on location. Major structural steel frame members are spaced approximately 30 feet away while secondary steel frames are spaced 3 feet in between and support the various secondary components contained within the ‘cells’.
INTERIOR COURTYARD
BALCONY & WALKWAY
SPATIAL DIAGRAM & CIRCULATION CREATE.
Monarch Habitat and Immersive Space
PLANT.
Interactive Labs and Research Facilities
EDUCATE.
Library and Children’s Learning Center
RECREATE.
Gallery / Mixed Use Space / Cafe / Admin.
PHYSICAL MODEL DESIGN DEVELOPMENT CIRCULATION
LONGITUDINAL SECTION
LEVEL 4
LEVEL 3
LEVEL 2
LEVEL 1
STRUCTURAL DRAWINGS
CL
CL
52’
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Facade 1 Butong Panel Facade 2 Shear Connector 3 Open Web Steel Joists 4 Steel Connection Plate
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Roof 5 Concrete Roofing 5 Air & Vapor Control Layer 6 Rigid Insulation 7 Steel Stud 8 Water Barrier 9 Steel Decking 10 Exterior Sheating 11 Wood Cant 12 Roof Edge Flashing 13 Joint Sealant 14 Light Gauge framing Glazing 15 Ceiling Mullion 16 Typical Mullion 17 2-Paned Glazing w/ Film 18 Air Cavity Ceiling 19 Suspension Tee 20 Suspended Ceiling Panel 21 Supply 22 Recessed Lighting Fixture 23 Return
Half Steel Moment Frame Low-e Glazing Curtain Wall
32’
Concrete Facade Cladding 16VG Joist Truss System
24’
Window 24 Glazing 25 Rigid Insulation 26 W8x26 Steel Beam 27 L-Angle Bolted Connection 28 Hex Bolt
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Wall 29 Metal Stud Layer W12x26 30 EIFS Exterior Ins. Finish 31 Plywood Sheathing 32 Moisture Barrier 33 Air Gap 34 Air Infliltration barrier / Vapor Retarder 35 Gypsum Panel Board
W8x26 Wide Flange Beam
Foundation 36 W12x26 Column Beam 37 Bolt HPM-1 30/L 38 Column Base Plate 39 Concrete Footing 40 Concrete Slab 41 Foundation Anchor 42 Earth
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15’
W12x26 Wide Flange Beam
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0’
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Wall Section
West Elevation
Jeremy Nguyen Studio - Dale, Practice - Killing Section, Elevation, Plan ARCH 342 Wall Section Scale
ABOVE: Exploded Axonometric TOP LEFT: Section TOP RIGHT: Elevation RIGHT: Structural cross-section
1/2" = 1'-0"
Plan View
CL
FACADE DEVELOPMENT Fascinated by how the unique molecular structure of a butterfly’s wing gives off a iridescent shimmer, I wanted to emulate how visual perception could be manipulated through perspective, developing a facade system with openings angled which would allow passage through for butterflies, take advantage of natural ventilation, provide desirable levels of light, while acting as a sound barrier. The rotated octagon form was also derived through the microscopic form of the monarch’s wing in addition
1’
to studying the monarch’s eyes. Acting
4.5”
as a sound absorber, the façade brings peace and tranquility to those within the lux
9am Sept 16 - GHI:518 DNI: 676 DHi:86w/m2 Area Below Minimum threshold: 6% Area Above Upper Threshold: 7% Area Fulfilling Threshold Limits: 87%
1st Level
structure that seek to escape from the bustle of downtown LA.
2nd Level
Rotation
Ground Level
44000 17000 6000 3000 1000 450 300 200 75 40 10
Translation
lux
48000 4500 2000 700 200 70 10 3 1 0
Illuminance threshold falls between minimum threshold of 300 lux and maximum of 3000 lux w/o automated shades -> achieves LEED v4 EQ Credit 7 opt. 1
DAYLIGHTING ANALYSIS
Absorption Sound
LEFT: Desired 1000-2000 lux range of daylighting met for public programs, including the gallery, mixed-use space, and administrative rooms on the ground level
MIDDLE: Learning Labs situated facing Sci-Arc on the 1st floor take advantage of the existing building to reduce the habitats direct heat gain of the hot LA weather. In the interactive space, more daylighting is necessary thus lighting levels rise is desirable
RIGHT: The library is located at the northern most portion of the building on the 2nd floor, and as the building transgresses through research labs, varying light levels reflect the varying needs of the caterpillar incubation lab, monarch monitoring lab, and interactive butterfly habitat
Wind
IRIDESCENCE APERTURE CASA d’ ARTE
timeless art record
DIGITAL MEDIA INCUBATOR
The term aperture refers to the optical hole in which light travels. Thus, ‘aperture’ refers to an opening that shines
MIXED-USE + LIVE / WORK UNITS
line. Similarly, this structure, derived from the humble shapes and forms of a camera’s aperture, becomes a ‘hole’ in
Professor: Umut Toker
downtown LA that seeks to open the eyes of society and both express and showcase the creative talents in digital
Financial District, Los Angeles Fall 2014 live / work / create
media. White and dark concrete are used to form the structure, while bright brick patterning line the ground like a digital array. Exterior and interior horizontal timber screens flow around the building and glazing to provide varying levels of transparency and lighting, akin to the vinyl tape of cassette tapes. The digital media incubator serves as studio, art gallery and live / work residential units for artists to gather, work, and display their artwork to the public.
GALLERY + LIVE / WORK The project serves to provide downtown Los Angeles’ historic
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district a unique digital media platform where the creation,
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exhibition, and fostering of the digital media industry comes
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into play with the artists and entrepreneurs that work and
, s e c a p s n e h c t i k o r c i m e h t r of g n i n n a l p e c a p s d n a s n g i s e d
reside in the community. The building becomes a center where
h c a E . s e g a t s d n u o s d n a , s n o i t a t s k r o w , s e c a p s ev i t ar o b a l l o c
community members and inhabitants can gather, connect, and
f o e c a l p a s a e c a p s n e h c t i k o r c i m d e m e h t n w o s t i d a h l eve l
express themselves. The program is split into the public digital
e h t g n i n g i s e d f o y t i l i b i s n o p s e r e h t n ev i g s a w I d n a , e g u f e r
media labs and galleries along with services / administration on the first four floors. The live / work lies above, sitting on top like a cassette slotted into a VCR player. A wooden facade wraps around the exterior lower portion of the building like
s e l g n a i r t d e t e c a f h t i w n o i t ar e t I c . l eve l d r i h t e h t n o m o o r e m a g y b d e p o l eve d n g i s e d d n a t p e c n o c ; s l e n a p n e d o o w f o t u o e d a m flesym
TIF ERUTINRUF
recording tape, allowing indirect light to travel through while minimizing glare and heat gain. In contrast, the live / work units are veiled in the interior by wood louvres, keeping a seamless appearance while reflecting the magnetic tape medium around two reels.
TOP: Exhibit hall BOT RIGHT: North-face isometric perspective
leveL drihT
MAIN ENTRANCE BOTTOM: Floor plans, ground floor to 6th floor from left to right
RIGHT: Longitudinal and latitudinal Section
INTERIOR COURTYARD
ROOFTOP BALCONY
TIMELESS C A S A D’ A R T E
CASA d’ ARTE
A sanctuary for travelers and locals of Matera, Italy to gather, learn, and share. The art foundation acts as
WORKSHOP + GALLERY + LIVE / WORK
a time record– affected physically and visually by all the practice and human interaction that takes place
Molly Chen / Roxy Kermani / Ramon Robles
over time within the space. Artists are encouraged to learn from past travelers, apply that knowledge
Professor: Tom Di Santo Matera, Italy Summer 2015 Switzerland Study Abroad
e ce loers ds oa fr t a rr et c /o rrde c o r d o f t i m e / r e c o r d o f p e o p l e t ri m
to their current practice, and then influence future occupants of the space technically, stylistically, and culturally. Collaborating with three other architecture students to develop the design of the project, the drawings and diagrams shown were created by myself unless otherwise noted.
PUBLIC VS PRIVATE SPACE
CIRCULATION
ARTISAN / ARTIST LIVE-WORK STUDIOS MATERIALS & FORM
FORMAL DEVELOPMENT ABOVE: The path of circulation through the Casa reflects this idea of time. Weaving through gallery and workshop spaces, it reveals glimpses into what is to come further along the path and into moments that have passed, but from different vantage points.
RIGHT: In order to encourage artists to want to stay at Casa d’Arte, we wanted to create living quarters which drew its inspiration from the vernacular practice of excavating down into the stone and stacking the unearthed stone on top, also known as sassi. The concept, model, and rendering of the living quarters are my own original contributions.
FLOOR PLANS
MATERIAL ASSEMBLY RIGHT: Exploded axonometric showing materiality. Designed to preserve the existing parts of the building and creating spaces without taking away the aesthetics of the existing stone structure. Corten steel is used as a curtain to frame special areas, while glass and louvres promote transparecy throughout the building.
First Level
BELOW: To take advantage of the ample of outdoor areas while minimizing direct light, we designed louvres that both serve to diffuse light and provide shade, functioning as a connection between the different programmatic areas.
BOT RIGHT: The use of glass in the workshop area provides transparecy to the artists at work while emphasizing the original building’s openness.
Ground Level
Below Grade
exploded axonometric worked on with Ramon Robles
ROOF TOP GARDEN
WORKSHOP AS LIVING GALLERY
255 SOUTH SANTA FE AVENUE LOS ANGELES CA 90012
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EXPERIENCE PROFESSIONAL WORK
PROFESSIONAL STUDIO + CO-OP EXP
Zimmer Gunsul Frasca, LLP. Los Angeles Sept. 2015 - June 2016
interior rendering of Google Spruce Goose project; aided by ZGF in-house renderer
After the Professional Studio program ended in December, I wished to continue my experience at ZGF and applied for an extended internship & Co-Op experience. The additional exposure, investment, & responsibilities that came with being a full-time intern allowed me to test my ability as a designer. To get course credit, I needed to show my university that my co-op experience at ZGF would fulfill the requirements of a typical studio course. A majority of the time was spent working on the new Google offices in Playa Vista. Since completed, the new building is built with-in a historic air-plane hangar that was the largest timber vaulted structure in the world. With the Google office project I was directly involved with building design development, digital modeling, concept and space planning, team / firm critiques, and client meetings. All drawings created, diagrams illustrated, and renders made entirely by myself unless noted otherwise. ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.
GOOGLE SPRUCE GOOSE
Longitudinal Section
The Google Spruce Goose is an office development within an old historical building in Playa Vista. The site was previously created as an airplane construction hangar but is now being turned into office space and sound stages for the Marketing and YouTube sectors of
Badging/Reception
Tech Talk
Collaboration Center
Microkitchen
Workstations
Third Level
Google. Each floor plate is approximately 100,000 sf with workspace
Workstations
collaborative areas to accommodate 1400 workers. I was closely involved with the development of the designs and space planning
Microkitchen/Gameroom
for the microkitchen spaces, collaborative spaces, workstations, and soundstages. Each level had its own themed microkitchen space as
Workstations
a place of refuge, and I was given the responsibility of designing the game room on the third level. Faceted triangular panels wrap along the floor, wall, ceiling through the microkitchen, a major intersection between the adjoining workspaces. Clad in wood, the panels articulate to form various surfaces, seating areas, and an enclosure for the gaming room. The entryway pulls you within the spine, into another world for employees to retreat.
USER FLOW TOP: Longitudinal section highlighting the different vertical circulation types and programmatic organization ABOVE: Third floor plan showing circulation paths through the 3rd floor plate connecting between collaboration spaces, workstations, and other amenities
MICROKITCHEN / GAMEROOM LEFT: Entry way into the central recreational area located within the spine
RIGHT: Interior view of microkitchen / gameroom showing different areas of interaction and uses
ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.
EXPLODED AXONOMETRIC TOP: Built inside an old historical airplane hangar. The existing exterior in addition is left untouched while the spine will be removed and replaced
TOP-MID: Removal off existing wooden spine walls and floor to be refurbished and placed back
BOT-MID: Floorplate and circulation to accommodate 1400 workers, visitors, and Youtube specialists
BOTTOM: Diagram depicting completed design, showing all new construction elements integrated with the existing hangar
MICROKITCHEN / GAMEROOM DESIGN SKETCHES TOP: Entry way framed by faceted panels MIDDLE: Panels undulate to create interior surfaces and spaces
BOTTOM: Video game room enclosure
ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.
CULVER CITY COMPETITION For the Culver City Design Competition, the majority of the design decisions were already developed by the lead architect and designer for the project. Therefore, my contributions to the overall design submission were limited to the exploration of the facade & entry portal for this multi-use commercial development. My approach which I presented during a design charrette explored different horinzontal & vertical louvre applications to achieve dual sustainable performance while adhering to a strong design aesthetic. In addition to doing plan & form studies of the 4-story tall building, I created diagrams & plans for their client submittal package. Two week competition over a mixed-used development. I was involved with form studies, diagrams, illustrations, design charrettes, and partner design critiques.
EXTERIOR ELEVATION RENDERING: Entrance from main street entry, showcasing the stacked panels of vertical louvres running horizontal. Louvres rotation create dynamic visual perspectives; rendered by ZGF
SITE DIAGRAMS LEFT: Diagram shows surrounding diverse uses in relation to the zone boundaries along the commerical corridor SE K
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paths and circulation around site
SOUTHERN CALIFORNIA HOSPITAL
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RIGHT: This diagram shows the major
ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.
SPACIAL PROFILE Virtual Reality & Kinematic System
FACEBOOK-DRIVEN MINIMAL SURFACE MANIPULATION Karan Pashine / Evgenia Professor: Guvenc Ozel Fall 2017
VIDEO: https://vimeo.com/298528695
The project explores a geometrical shape: a minimal surface as a space within Virtual Reality, to develop tools for designing in VR. The project starts with analyzing and conceptualizing the minimal surface in different scales through VR. This was achieved by connecting our digital model in Grasshopper to Unity to use physical movement to manipulate values. An UI is developed on Unity Engine for a Virtual experiential space initially using the Oculus controllers and later replacing the interaction with Leap Motion controller for a more intuitive interface. Then the digital model is developed in Rhino using the Grasshopper plug-ins and the Mosquito plug in is used to get live data from Facebook through Facebook opengraph, and connected to Unity via the g-Howl plugin.
IMAGES TOP LEFT: Virtual universe with different
peoples’ spatial profiles created w/in Unity platform
TOP MIDDLE: ‘Liking’ a photo triggers transformation
BOTTOM LEFT: Workflow diagram BOTTOM RIGHT: Physical model
CARBON FIBER Kuka Robot & Kinematic System
2.5D SURFACE TO VOLUME TRANSFORMATION Yibing Wu / Roxanna Perez
Professor: Benjamin Ennemoser Winter 2017 VIDEO: https://vimeo.com/298528695
2.5D surface generated based on topological forms found in nature along with the folding and flexible qualities of paper to design a dynamic form. Single elements form a spatial composition that begin as flat and twist and fold to form an enclosure. Carbon fiber is re-envisioned with the aesthetic and structural quality of paper. Alternating patterns of sloped surfaces were sculpted into the surface to allow for the transformation into different key moments while highlighting the aspect of 2.5D. The Kuka robot is used to systematically apply epoxy resin in varying layers to harden the carbon fiber in specific zones, combining the advantages of the hard and soft qualities of baked and unbaked carbon fiber simultaneously as one object. In addition, the robotic arm enables us to control the panels to livesimulate the surface to twist, bend and curve in multi-direction.
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CO NTO U R - embed lines upon 2D surface
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C RE A SE - Lif t a n d l owe r c urve s
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S UBT R ACT
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CMU ADAPTIVE MASONRY UNITS
COMPACTED BRICK MODULES FOR SCHOOL OF EARTH Professor: Mark Cabrinha
Cabo de Santo Agostinho, Brazil Winter 2017
In unison with my thesis project in Brazil , I developed and designed an adaptive masonry unit. Inspired by the cobogo brick development in Brazil , an element that allows sunlight and natural ventilation in construction openings, the cmu module is an exploration of a singular element which can be utilized for different applications. This gives Nossa Escola Da Terra a unique building block which also provides its own identity and cultural relevance. The goal of the design was to break away from the concept of a masonry unit and re-conceive it as a system that works in pairs. In doing so, variation and apertures can be increased while functionality and structural properties of brick building remain the same. The blocks needed to be able to function flexibly, for different applications, & primarily increase ventilation & light penetration.
OPENING RECESSED FACE CURVE
1. M AS S + VO ID Op e n i n g th rou g h m a s s a l l ows fo r ve n ti l a ti on , p oros i t y, a n d v i su a l experi ence. De p re s s e d fa ce i n c rea s e s v i s i b i li t y a nd ad d s d e pt h . C u r ve c rea te wa ter c ha nnels.
2 . PA I R Bri c k m o du le desi gned to wo rk i n t wos w i t h di fferent va ri a t i o ns t hro u gh f li ppi ng, rot a t i ng, a nd m i rro ri ng bri c ks
3 . STACK + RUN NIN G Mod ulation p atter ns consistent reg ard less of assemb ly.
5 . PAVI NG + P LA NTE RS
4 . STRU CTU RA L By rot a ting mo dule on its side, a new variation w h ere the a pertures beco me vertical rein-
Bricks can be used as porous pavers with planters that allow water to drain.
VARIAT IONS FAC ING DIRECT I O N
PAT T E R N
CHA N N EL
D I AGON A L
WAT ER
MO LD
B RIC K D E S I G N 1.) In i ti a l b r i c k
2 Ap e r tu re w i t h d i a m ete r 4 . 35 c m c u t th rou g h w i d th of bri c k a t q u a r te r m a r k
3 Fa ce s p l i t i nto h a l ve s a n d p u s h ed i n by 2 c m . Re c i p ro c a ted a l on g q u a r te r ma rk
4 Voi d s t ra n s l a ted a c ros s m i d p oi n t
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Mod u l e com plete
H E AD CAP W: 6” (1 5 . 2 5 cm) x L: 1 2” ( 30. 5 cm) - > swi n g s i n to p la ce ove r op e n i n g of b r i ck p re s s
M OL D I N FI L L DI ME N SI ON W: (1 2 . 5 cm) x L: ( 2 5 cm) - > s h a p e of b r i ck n e g a t i ve comp a ct s s oi l a g a i n st h ea d ca p M OL D FRAME DI ME N SI ON W: (1 2 . 5 cm) x L: ( 2 5 cm) x H : (6 cm) - > f i ll i n 2 .63 cm a lon g wi d t h a n d 1 . 37 cm a lon g l e n g t h to f lu s h wi t h ou te r ste e l con t a i n e r
BRI CK P RE S S BAY DI ME N SI ON W 6” (1 5 . 2 5 cm) x L 1 2” ( 30. 5 cm) -> brick press assembly utilizes shaped bottom plate in order to create desired face and form; baseplate compacts added clay upward