JONATHAN S. SOLIS ARCHITECTURE PORTFOLIO UC BERKELEY
2014-2018
BURBANK PARK
DOLMEN
SUPERFLUOUS PIECES
PARADOX: CONVENTION CENTER
THE SPLIT
GOOD FOOD: URBAN FARM
CONCEPTUAL CUT
POTRERO HILL LIBRARY
DOUBLE NEGADITVE
BURBANK PARK INSTRUCTOR ANDREW ATWOOD SPRING 18 AS SOURCE OF EXPLORATION WE WERE TRANSLATE PRECEDENTS LIKE: ROSSI, POLESEL LO, MEDA, LOCOMOTIVA 2, TURIN, 1962. INTO TYPOLOGICAL BLOCKS. THE LOOSE FORMS OF THESE BUILDINGS HAVE BEEN SELECTED FOR THEIR ABILITY TO SPAN ROADS, AS SOURCE OF EXPLORATION WE WERE TRANSLATE PRECEDENTS LIKE: ROSSI, POLESEL ENVELOP PUBLIC SPACE, OR PRODUCE AN INTERSECTION OF CIRCULATORY ROUTES. LO, MEDA, LOCOMOTIVA 2, TURIN, 1962. INTO TYPOLOGICAL BLOCKS. THE LOOSE THROUGH THE EXPLORATION OF SIMPLE MASSING BLOCK THAT WERE PRIMARY BUILT FORMS OF THESE BUILDINGS HAVE BEEN SELECTED FOR THEIR ABILITY TO SPAN ROADS, USING FOAM CORE AND MASSING TAPE THAT WOULD LATER BECOME REPRESENT THE ENVELOP PUBLIC SPACE, OR PRODUCE AN INTERSECTION OF CIRCULATORY ROUTES. BUILT FORM. AS A EXPLORATION OF HOW THE MODULARITY OF THE BLOCKS AND THE THROUGH THE EXPLORATION OF SIMPLE MASSING BLOCK THAT WERE PRIMARY BUILT UNIQUE FOAM CORE MATERIAL PROPERTIES I INTERPRETED AS THE PRIMARY SOURCE USING FOAM CORE AND MASSING TAPE THAT WOULD LATER BECOME REPRESENT THE OF INSPIRATION FOR THE FORM. IN CONTINUATION, AS THE STUDY PROGRESSED THE BUILT FORM. AS A EXPLORATION OF HOW THE MODULARITY OF THE BLOCKS AND THE USE OF MASSING ALLOW FOR IT ALONE TO HAVE A PLAY IN THE BUILT FORM AS WELL. UNIQUE FOAM CORE MATERIAL PROPERTIES I INTERPRETED AS THE PRIMARY SOURCE AFTER MODELING SOME OF THE MODULAR BLOCK WE DECIDED TO REPRESENT THE OF INSPIRATION FOR THE FORM. IN CONTINUATION, AS THE STUDY PROGRESSED THE TAPE IN A MORE LITERAL WAY SUCH AS STRUCTURE OF IN SOME CASED A DIVIDING USE OF MASSING ALLOW FOR IT ALONE TO HAVE A PLAY IN THE BUILT FORM AS WELL. SYSTEM THAT ALLOW US TO EXPLORE THE SEPARATION AND ARRANGEMENT OF THE AFTER MODELING SOME OF THE MODULAR BLOCK WE DECIDED TO REPRESENT THE FORM IN A MUCH MORE UNIQUE SYSTEM. IN CONTINUATION, THE PROJECT BECAME A TAPE IN A MORE LITERAL WAY SUCH AS STRUCTURE OF IN SOME CASED A DIVIDING PARK THAT IS LOCATED ON NORTH HOLLYWOOD WAY AND WEST CLARK AVE, BUR SYSTEM THAT ALLOW US TO EXPLORE THE SEPARATION AND ARRANGEMENT OF THE BANK, CA. THE PROGRAMS OCCUPANT THE THREE INDIVIDUAL FORM WOULD BE: FORM IN A MUCH MORE UNIQUE SYSTEM. IN CONTINUATION, THE PROJECT BECAME A RESTAURANT, COMMUNITY THEATER AND A SHARED CIRCULATION CORE. THE PROJ PARK THAT IS LOCATED ON NORTH HOLLYWOOD WAY AND WEST CLARK AVE, BUR ECT ITS SELF IS A PROVOCATION OF HOW ON CAN USE A MATERIAL WORK THE FORM BANK, CA. THE PROGRAMS OCCUPANT THE THREE INDIVIDUAL FORM WOULD BE: INT O A PROJECT. IT QUITE THE UN ORTHODOX WAY OF DESIGN THAT ALLOWS FOR THE RESTAURANT, COMMUNITY THEATER AND A SHARED CIRCULATION CORE. THE PROJ FORM TO PREDICT THE MATERIAL. ECT ITS SELF IS A PROVOCATION OF HOW ON CAN USE A MATERIAL WORK THE FORM INT O A PROJECT. IT QUITE THE UN ORTHODOX WAY OF DESIGN THAT ALLOWS FOR THE FORM TO PREDICT THE MATERIAL.
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DOLMEN INSTRUCTOR ANDREW ATWOOD SPRING 18 AS PREMISE OF PRECEDENCE WE DECIDED TO STUDY DOLMENS. MORE SPECIFICALLY STRUCTURE AND ITS UNIQUE HISTORY OF PRIMITIVE ARCHITECTURE DROVE THE CON VERSATION OF HOW ONE CAN PERCEIVE AND MODEL DOLMENS. WHAT’S INTRIGUING IS HOW DOLMENS APPEAR AROUND THE WORLD WITHOUT AN ESTABLISHED PURPOSE. HOWEVER, ONE THING WE ARE CERTAIN OF IS THAT THESE STRUCTURES ARE WE STARTED EXPLORING FORMAL QUALITIES BY DIGITALLY MODELING THE DOLMEN THROUGH THE USE OF PICTURES. ONCE MODELED, WE DECONSTRUCTED FIVE FORMS SIMPLIFYING THEM TO BE MODELED USING FOAM CORE AND WOODEN DOWELS, AS THE PHYSICAL MODELING MATERIAL. MODELING WITH FOAM CORE ALLOWS US TO THINK OF THE ROCK AS SIMPLE ONE PLAIN SURFACE THAT CAN BE SHAPED INTO A SIMPLE TRIANGULATED FORM. IN CONTINUATION, ONCE ONE COMES TO THE PRIMARY FORMS WHICH MAKE UP THE DOLMEN, WE CAN DERIVE THAT THE OPPOSITE OF ORGANIC DETAIL WHICH ARE SOFT AND SMOOTH SURFACES IN TO A MORE UTOPIAN RECTANGULAR FORM. IN THEORY, THE USE OF THE WOODEN DOWELS REPRESENTS THE WIRE FRAME STRUCTURE OF THE UTOPIAN RECTANGULAR. IN CONCLUSION , ONE CAN DECONSTRUCT AN ORGANIC SHAPE AND ADJUST ONES SENSIBILITY TO RAW AND SIMPLE DETAIL. DETAIL THAT OTHER WISE IS AS FORBIDDEN AND DISRUPTIVE.
SUPERFLUOUS PIECES INSTRUCTOR NEYRAN TURAN FALL 18 SUPERFLUOUS PIECES EXAMINES THE GROWING PROBLEM OF THE COLLECTION OF PRECIOUS OBJECTS. 90% OF MUSEUM COLLECTIONS ARE HIDDEN FROM THE GENERAL PUBLIC. THE DE YOUNG MUSEUM HAS OVER 800 SCULPTURES, AND 24,000 PAINTINGS OR PRINTED MEDIA. SF MOMA AND THE OAKLAND MUSEUM HAVE CONSIDERABLE COLLECTIONS. WITH SEEMINGLY UNCOUNTABLE NUMBERS OF OBJECTS, THE QUESTION OF WHAT IS VALUABLE AND WHAT IS IMPORTANT BECOMES UNAVOIDABLE. THIS FACIL ITY SERVES AS A COLLECTION CENTER FOR ALL THE LOCAL MUSEUMS AGGLOMERATED ARTIFACT IS AS WELL AS A MUSEUM FOR THE PUBLIC TO SEE THE VAST NUMBER OF OBJECTS STORED. FORMALLY SUPERFLUOUS PIECES IS A WAREHOUSE THAT CONTAINS A COLLECTION OF ROOMS WHICH ARE GENERATED FROM COLUMN SHAPES AND TAKE A SHAPE OF THEIR OWN ON THE ROOF. THESE ROOMS ARE GROUPED IN PLAN AS SQUARES CIRCLES AND CROSSES AS WELL AS GROUPED IN SECTION BETWEEN VARIOUS FORMAL CONDITIONS. EACH ROOM HOUSES ONE MUSEUM COLLECTION AND SO THE WAREHOUSE ITSELF IS A COLLECTION OF MUSEUM COLLECTIONS.
PARADOX: CONVENTION CENTER INSTRUCTOR NEYRAN TURAN FALL 18 IN THIS PROJECT WE LOOKED AT CONVENTION CENTERS AND CONTINUED THE PROVOCATIONS OF ALMOST FLAT SUPPLEMENTED BY READING ABOUT SHEDS AND ACCUMULATION OF OBJECTS OF HOARDERS. FIRST WE STARTED BY LOOKING AT CONVENTION CENTERS FROM AROUND THE WORLD IN HOPES OF UNDER STANDING GENERAL FORM ALONG WITH ITS ARRANGEMENTS. IN THIS STUDY WE UNDERSTOOD HOW THE CONVENTION CENTER ARE PLACES OF GATHERING AND COLLECTION. “ EVERYTHING AND ANYTHING HAS A BLE AND CAN BE ARRANGED IN ORDER TO ACCOMMODATE AND INDIVIDUALIZE THE SPACE DEPENDING ON THE NECESSITY. AS FOR OUR FIRST DRAWINGS WE DECIDED TO SHOW A DEEP EXAMINATION OF CONVENTION CENTERS STARTING WITH MORE OF A ARCHITECTURAL TECHNICAL CONTEXT LIKE PLANS AND SECTIONS/ ELEVA TIONS. HERE WE INTENDED TO SHOW HOW ONE CAN BRING ALL OTHER CONVENTION CENTERS INTO ONE AS A PROVOCATION TO HAVE A “ CONVENTION CENTER WITH CONVENTIONS CENTERS TO HAVE CONVEN TIONS IN”. WITH THIS WE MOVED TO ANOTHER PROVOCATION DRAWING SHOWING THE ACTIVITIES THAT CAN HAPPEN IN A CONVENTION CENTER AND SHOW THE TRUE ESSENCE OF THE CONVENTION CENTER AND HOW ONE CAN SEE IT AFTER A EVENT HAS HAPPENED TO TRULY HIGHLIGHT HOW THE CONVENTION CEN OBJECT INTO A CITY GRID THAT SHOWS HOW EVERYTHING CAN HAVE A CONVENTION TO SHOW THAT WE CONCENTRATED ALL THE OBJECTS INTO ONE BUILDING TO SHOW THE CORRELATION OF BOTH LARGE SCALE AND MINIATURE. CONCLUSION, IN OUR LASTAT DRAWING WE WANTED HAVE HAVE A CONCENTRATED PROVOCATION IN THIS PROJECT WE LOOKED CONVENTION CENTERS ANDTO CONTINUED THE PROVOCATIONS OF ALMOST DRAWING TO SHOW ABY GRID OF CUBES “ISLAND” DIFFERENT OF ACTIVITIES THISFIRST IS FLAT SUPPLEMENTED READING ABOUT SHEDSTHAT ANDSHOW ACCUMULATION OBJECTSHAPPENING. OF HOARDERS. ACTING AS A BY CONDENSED VERSION OF ALL THE PREVIOUS IT HIGHLIGHTS MAIN WE STARTED LOOKING AT CONVENTION CENTERS FROMDRAWING AROUND SINCE THE WORLD IN HOPESALL OF THE UNDER KEY POINTSGENERAL OF THE PREVIOUS DRAWINGS. STANDING FORM ALONG WITH ITS ARRANGEMENTS. IN THIS STUDY WE UNDERSTOOD HOW THE
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Convention Centre Strasbourg / Dietrich
Katowice International Conference Centre / JEMS
EPFL QUARTIER NORD SwissTech Convention Center
Urban Agency / Aarhus Arkitekterne
Seville Convention Center / Vรกzquez Consuegra
Tripoli Congress Center / Tabanlioglu Architects
LCC / ACXT Brisbane Convention and Exhibition Centre / Cox Rayner Architects
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Virginia Beach Convention Center / SOM
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Katowice International Conference Centre / JEMS
EPFL QUARTIER NORD SwissTech Convention Center
Seville Convention Center / Vรกzquez Consuegra
LCC / ACXT Brisbane Convention and Exhibition Centre / Cox Rayner Architects
Virginia Beach Convention Center / SOM
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Katowice international conventional / JEMS
Brisbane Convention and Exhibition Centre Expansion / Cox Rayner Archite Virginia Beach Convention Center / Som
Tripoli Congress Center / Tabanlioglu Architects
Seville Convention Center / Vázquez Consuegra
EPFL QUARTIER NORD SwissTech Convention Center Retail and Student Housing / Richter Dahl Rocha & Associés
Convention Centre Strasbourg / Dietrich | Untertrifaller Architects + Rey-Lucquet et associés
Taichung Convention Center / MAD Architects
Vancouver Convention Centre West / LMN + MCM + DA
LCC / ACXT
Brisbane Convention and Exhibition Centre Expansion / Cox Rayner Archite Virginia Beach Convention Center / Som
Seville Convention Center / Vázquez Consuegra
EPFL QUARTIER NORD SwissTech Convention Center Retail and Student Housing / Richter Dahl Rocha & Associés
Convention Centre Strasbourg / Dietrich | Untertrifaller Architects + Rey-Lucquet et associés
Vancouver Convention Centre West / LMN + MCM + DA
THE SPLIT: TALE OF TWO SCALES INSTRUCTOR NEYRAN TURAN FALL 18 THIS PROJECT LOOKS AT HOW AN OBJECT CAN PERFORM IN TWO SCALES. USING A COMPOSITION OF SPATIAL CONSTRUCTS CREATED FROM PRIMARY VOLUMES WITHIN A REPETITIVE WALL CONFIGURATION, THIS PROJECT ACTS IN MULTIPLE SCALES SIMULTA NEOUSLY; THE REPRESENTATIONAL DIAGONAL IN THE DRAWING ACTS AS A TRANSITION BETWEEN THESE TWO SCALES; THE OBJECT STAYS AS A CONCEPTUAL CONSTANT BETWEEN THE TWO SCALES. THE IDEAS OF THE LIVING, PUBLIC AND STORAGE SPACES IS ALTERNATED THROUGH THE CHANGE IN SCALE; FOR EXAMPLE, THE WALLS IN THE SMALL SCALE SCENARIO BECOME STORAGE SPACE IN THE FORM OF POCHE, WHICH IS JUXTAPOSED TO THE ALLOCATION OF “WALL TOWERS” AS APARTMENT COMPLEXES AND DENSE LIVING SPACES. THE OBJECTS ACT AS SMALL PRIVATE SPACES SUCH AS KITCHENS, BATHROOMS, AND BEDROOM SPACES, BUT IN THE LARGE SCALE, THESE OBJECTS IN THE FORM OF A COLLECTION OF SHAPES BECOME HOLD LARGE SPACES OF “COLLECTIONS” THEMSELVES, SUCH AS COLLECTIONS OF FOOD, TRASH, WATER, BOOKS, ETC. THIS ‘SPACES’ OF COLLECTION SPILL OUT ONTO THE INTERSTITIAL SPACE, AND FORM PLACES OF ASSEMBLY AND PUBLIC SUCH AS AMPHITHEATERS IN THE LARGE SCALE, OR LOUNGE SPACES IN THE SMALL SCALE. FURTHERMORE, WE SAW THE ELEVA THIS PROJECT LOOKS AT HOW AN OBJECT CAN PERFORM IN TWO SCALES. USING A COMPOSITION OF SPATIAL CONSTRUCTS CREATED FROM PRIMARY VOLUMES WITHIN A THESE WALLS AS STACKED UPON EACH OTHER RATHER THAN CHANGING IN DEPTH, ALL REPETITIVE WALL CONFIGURATION, THIS PROJECT ACTS IN MULTIPLE SCALES SIMULTA THE WHILE RETAINING THE CHANGE IN SCALE THROUGH TEXTURING AND FIGURES: FOR NEOUSLY; THE REPRESENTATIONAL DIAGONAL IN THE DRAWING ACTS AS A TRANSITION BETWEEN THESE TWO SCALES; THE OBJECT STAYS AS A CONCEPTUAL CONSTANT EACH AND EVERY APARTMENT IN THE TOWERS. BETWEEN THE TWO SCALES. THE IDEAS OF THE LIVING, PUBLIC AND STORAGE SPACES IS ALTERNATED THROUGH THE CHANGE IN SCALE; FOR EXAMPLE, THE WALLS IN THE SMALL SCALE SCENARIO BECOME STORAGE SPACE IN THE FORM OF POCHE, WHICH IS
GOOD FOOD: URBAN FARM INSTRUCTOR JASON CAMPBELL SPRING 17 THE BUILDING IS A CONJUNCTION OF MULTIPLE VARIED PROGRAMS CENTERED AROUND A COMMON SET OF INTERESTS, WHICH COULD GENERALLY BE DESCRIBED AS FOOD AWARENESS AND EDUCATION, CHALLENGING THE NORMS OF MASS FOOD PRODUCTION, ADVANCING FOOD RESEARCH, SLOW FOOD, PROMOTING AND SUP PORTING URBAN FARMING AND FOOD PRODUCTION, AND THE CELEBRATION OF GOOD, HEALTHY, LOCAL FOOD. THE PRIMARY ELEMENTS OF THE PROGRAM INCLUDE A LARGE, FLEXIBLE GROUND FLOOR MARKET/HALL/URBAN ROOM, AN URBAN TEST FARM AND RESEARCH FACILI TY, A SMALL EVENT SPACE, AND COMMISSARY KITCHENS FOR LOCAL FOOD ENTRE PRENEURS TO RENT AND USE IN THE PRODUCTION OF FOOD. COLLECTIVELY, THE PROGRAMS TOUCH UPON ALL ASPECTS OF THE FOOD CYCLE FROM GROWTH THROUGH PREPARATION TO DISTRIBUTION AND CONSUMPTION. THE GROUND FLOOR OF G O O D F O O D IS COMPRISED OF ELEMENTS THAT NEED DIRECT ACCESS TO THE CITY: A LARGE MARKET HALL/URBAN ROOM, A LOADING AND SERVICE AREA, AND ENTRY TO THE OTHER PROGRAMS THAT ARE LOCATED IN THE UPPER PORTIONS OF THE BUILDING. THE PREMISE OF THE MARKET HALL/URBAN
INTERFACE BETWEEN THE CITY AND THE MARKET HALL SHOULD ALLOW FOR DIFFER ENT DEGREES OF OPENNESS AND POROSITY THAT SUIT THE NEEDS OF DIFFERENT KINDS OF EVENTS.
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CONCEPTUAL CUT INSTRUCTOR JASON CAMPBELL SPRING 17 THE CONCEPTUAL CUT IS THAT THE ESSENTIAL CHARACTERISTICS, QUALITIES, SYSTEMS AND CONDITIONS OF A BUILDING RESIDE IN A REPRESENTATIVE CUT OF THE BUILDING
THE INFORMATION IN EACH DRAWING REVERBERATES BACK AND FORTH IN AN ITERA TIVE MANNER, UNTIL SOME SENSE OF COHERENCE OR INTERDEPENDENCE IS ACHIEVED. THE SECTION AND ELEVATION ARE DESCRIBING THE SAME MOMENT IN THE BUILDING, AND AS DRAWINGS, THEY SHARE AN ABSOLUTE CORRESPONDENCE IN THE SENSE THAT WHATEVER RESIDES IN ONE MUST, BY DEFAULT, RESIDE IN THE OTHER. ALTHOUGH BOTH DRAWINGS ARE IDEALIZED DESCRIPTIONS, THEY PARTICIPATE IN DESCRIBING THE SAME IDEALIZATION. WE WERE TO DEVELOP A DESIGN/CONCEPTUAL CUT FOR A HYPO THETICAL BUILDING, AND DESCRIBE A SPATIAL, STRUCTURAL AND PERFORMATIVE PREMISE FOR THE BUILDING THROUGH THIS ONE CUT. THE CUT ENTAILS ONE WALL SECTION THROUGH A CORNER CONDITION OF THE BUILDING, WITH THE CORRESPOND ING PARTIAL ELEVATION THAT IS BEING CUT, AND THE ELEVATION THAT WOULD THEN TURN THE CORNER. THE ELEVATIONS SHOULD DESCRIBE BOTH THE NORMATIVE CONDI TION YOU HAVE DEVELOPED, AS WELL AS HOW THE NORMATIVE SYSTEM WOULD ACCOMMODATE AT LEAST ONE ARCHITECTURAL EXCEPTION SUCH AS ENTRY,
POTRERO HILL LIBRARY INSTRUCTOR AJAY MANTHRIPRAGADA FALL 17 AS A CONTINUATION FOR THIS PROJECT WE WERE TO INVESTIGATE THE NATURE OF THE CONTEM PORARY LIBRARY. THE PROJECT IS DESIGNED TO ENABLE THE FOCUS ON INTERIOR SOCIAL AND INDIVIDUAL SPACE, SEQUENCE AND VERTICAL CIRCULATION, NEGATIVE AND POCHE PROGRAM SPACE, FORM AND ENVELOPE IN A CONSTRAINED SITE. WITH THE PROLIFERATION OF ONLINE MEDIA IT MAY SEEM PARADOXICAL THAT WE ARE ASSIGNING A LIBRARY PROGRAM. THE STRUC TURE OF THE LIBRARIES SHOULD REFLECTS THE WORKING RELATIONSHIPS AND PROCESSES THAT TAKE PLACE WITHIN AS WELL AS ACT AS A TEST BED WITH WHICH TO CELEBRATE AN EVOLVING AS A CONTINUATION FOR THIS PROJECT WE WERE TO INVESTIGATE THE NATURE OF THE CONTEM PUBLIC/PRIVATE REALM. AS A QUESTION WE HAD TO ASK “HOW CAN THE USE AND OPERATION OF PORARY LIBRARY. THE PROJECT IS DESIGNED TO ENABLE THE FOCUS ON INTERIOR SOCIAL AND LIBRARIES ADAPT TO MEET THE NEEDS OF MODERN STANDARDS OF EXPLORING AND EXPLOITING INDIVIDUAL SPACE, SEQUENCE AND VERTICAL CIRCULATION, NEGATIVE AND POCHE PROGRAM SOCIAL SPACE?”. SPACE, FORM AND ENVELOPE IN A CONSTRAINED SITE. WITH THE PROLIFERATION OF ONLINE THE DESIGN CONTINUED FOR THE PREVIOUS “ DOUBLE NEGATIVE” EXERCISE BY USING THE CON MEDIA IT MAY SEEM PARADOXICAL THAT WE ARE ASSIGNING A LIBRARY PROGRAM. THE STRUC CEPTS AND FORM. JUST LIKE THE LAST PROJECT WAS AN EVOLUTION OF DOUBLE NEGATIVE, THE TURE OF THE LIBRARIES SHOULD REFLECTS THE WORKING RELATIONSHIPS AND PROCESSES THAT LIBRARY SHOULD BE AN EVOLUTION INTO THE BUILT FORM AND ARRANGEMENT OF SPACE. FOR TAKE PLACE WITHIN AS WELL AS ACT AS A TEST BED WITH WHICH TO CELEBRATE AN EVOLVING INSTANCE I TOKE THE LARGE AMOUNTS OF POCHE AND CONCEIVED THEM AS BOOK STACKS PUBLIC/PRIVATE REALM. AS A QUESTION WE HAD TO ASK “HOW CAN THE USE AND OPERATION OF CREATE A ENCAPSULATION IN THE CORE AND A CONNECTION WITH THE CIRCULATION. IN ADDI LIBRARIES ADAPT TO MEET THE NEEDS OF MODERN STANDARDS OF EXPLORING AND EXPLOITING TION, TO THE BOOK STACKS THOUGHT THE USED OF SLOPED SURFACES I WAS ABLE TO TURN SOCIAL SPACE?”. THEM INTO BOTH SMALL STAGES TO ALLOW FOR PERFORMANCE OR JUST TO HAVE A PLACE TO THE DESIGN CONTINUED FOR THE PREVIOUS “ DOUBLE NEGATIVE” EXERCISE BY USING THE CON READ. THE LIBRARY IS DIVIDED IN TO THREE FLOORS AND IS FOCUSED ON ALLOWING NATURAL CEPTS AND FORM. JUST LIKE THE LAST PROJECT WAS AN EVOLUTION OF DOUBLE NEGATIVE, THE LIGHT TO PENETRATE THE INSIDE. ANOTHER PRIORITY OF THE FORM WAS TO ALLOW FOR WIDE LIBRARY SHOULD BE AN EVOLUTION INTO THE BUILT FORM AND ARRANGEMENT OF SPACE. FOR OPEN VIEWS TO THE SAN FRANCISCO SKYLINE. THE LOCATION OF THE LIBRARY'S PRIME FOR SITE INSTANCE I TOKE THE LARGE AMOUNTS OF POCHE AND CONCEIVED THEM AS BOOK STACKS SEEING AND ALLOWS FOR THE VISITORS TO ENJOY THE HIGH GROUND VIEWS. THIS IS ALL CEN CREATE A ENCAPSULATION IN THE CORE AND A CONNECTION WITH THE CIRCULATION. IN ADDI TERED AROUND THE FEELING OF COMMUNITY IN THE AREA. SINCE THIS LIBRARY DOES SERVE THE TION, TO THE BOOK STACKS THOUGHT THE USED OF SLOPED SURFACES I WAS ABLE TO TURN POTRERO HILL DISTRICT. THEM INTO BOTH SMALL STAGES TO ALLOW FOR PERFORMANCE OR JUST TO HAVE A PLACE TO
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DOUBLE NEGATIVE INSTRUCTOR AJAY MANTHRIPRAGADA FALL 17 THE PRODUCTION OF ARCHITECTURE HAS OFTEN VACILLATED BETWEEN PRIVILEGING THE DESIGN OF EXTERNAL FORM AT THE EXPENSE OF INTERIOR SPACE, OR VICE VERSA. WE BEGAN THE SEMESTER BY RESISTING EITHER APPROACH, AND POSITING ANOTHER APPROACH WHEREBY THE DESIGN OF SPACE AND FORM WILL BE THOUGHT OF TOGETH ER AS A COMPLEMENTARY AND SUBTRACTIVE PROCESS. FOR OUR PURPOSES, DEFIED IT AS “DOUBLE NEGATIVE” . AS AT LEAST TWO SUBTRACTIVE VOLUMES/VOIDS THAT INTER SECT TO PRODUCE A THIRD CONDITION. COHESIVELY THOROUGH INVESTIGATION AND INTERROGATION WE QUESTION HOW SIMPLE GEOMETRIES WHEN INTERSECTED CREATE THEIR OWN NATURE. IN ORDER TO FACILITATE THIS EXERCISE, WE TRANSFORM A SCULP TURE FROM ARTIST TONY SMITH. MY SCULPTURE CONSISTED OF TAU, 1965. AS SOURCE OF MY FORM FINDING THE SIMPLE ALIGNMENT OF THE SCULPTURE NATURALLY FORM A SPIRAL THAT LATER ARRANGED IN SPACE. IN THE PLACEMENT I DISCOVERED AREAS OF SPACE THAT WOULD LATED BECOME THE VOIDS IN THE MODELS. THERE FORMS WOULD THEN BE SUBTRACTED FROM A SIMPLE RECTANGLE IN ORDER TO CREATE THE DOUBLE NEGATIVE CONDITION.
THE WEAVE PLANTER INSTRUCTOR DANA BUNTROCK SPRING 18 THE BASIS OF THIS PROJECT STARTED WITH THE PROVOCATION OF WOOD AS A BUILDING MATERIAL. WOOD AND ITS UNIQUE CHARACTERISTICS LIKE: TYPE, COLOR, SIZE AND END GRAIN. OUR OBJECTIVE WAS TO DESIGN A PLANTER WHICH COULD CARRY THE WEIGHT OF 8 POTS. AS BASIS WE STARTED WITH A SERIES OF SMALL MASSING MODEL EXPLORING HOW WE WOULD CHALLENGE THE THICKNESS OF A STANDARD PIECE OF LUMBER INTO SOME 1/8” SLICES. HERE WE LEARNED THE IMPORTANCE OF WOOD GRAIN AND HOW TO BE PLAIN, SLICE AND SANDED IN THE SHOP. OUR FINAL DESIGN WAS A SERIES OF CURVED WOOD MEMBERS WHICH WEAVED BACK AND FORTH AGAINST ONE ANOTHER TO CREATE SPACES LARGE ENOUGH TO CARRY PLANTS. WE INTERPOLATED TRIANGULAR POTS INTO THESE OPENINGS TO CREATE A JUXTAPOSITION OF SHARP EDGES AGAINST THE BEND OF THE PROMINENT SURFACES. SOME INTERESTING ELEMENTS OF THIS DESIGN INCLUDE THE STRATEGY OF GESAMTKUNSTWERK WHICH WE USED, DESIGNING EVERY ELEMENT FROM THE POTS TO THE BASE, TO THE LAYOUT OF THE PLANTS THEMSELVES. ANOTHER FOCUS OF OURS WAS THE USE OF MULTIPLE MATERIALS, INCLUDING METAL NAILS, A CONCRETE BASE, AND OF COURSE THE WOOD BODY. AFTER BUILDING THE PLANTER WE LEARNED ABOUT HOW WOOD AND CONCRETE REACT WHEN THERE IS NO MOISTURE BARRIER. WE HAVE ALSO NOTICED HOW THE BENT WOOD SLICES CHANGING DO TO THE WOOD WORKUPS AND TWIST DUE TO MOISTURE IN THE AIR.
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LE STAIRS INSTRUCTOR DANA BUNTROCK SPRING 18 THE GOAL IN THIS PROJECT WAS TO BUILD A CANTILEVERED PLATFORM AT THE END OF A SET OF STAIRS. WE HAD TO MAKE THE STAIRS IN SUCH A WAY THAT IT MET CODE STANDARDS IN EVERY DETAIL ASIDE FROM TREAD WIDTH. OUR DESIGN ATTEMPTS TO BE VERY LIGHT AND SLENDER, USING A UNIFORM MATERIAL, ¼ INCH STEEL RODS WELDED TOGETHER WHICH ALLOWS FOR A NEAR TRANSPARENCY OF THE STRUCTURE, AND AN ABILITY TO EXPLORE THE DESIGN MORE THOROUGHLY. THE FLUCTUATING AND REPETITIVE FORM OF THE HAND RAIL CREATES AN ILLUSION OF IMBALANCE, IN JUXTAPOSITION WITH THE CONCISE STRUCTURAL SUPPORT BELOW THE TREADS. WE USED THE ORANGE COLOR TO MAKE THE SLIM FORM STAND OUT AGAINST ITS SURROUNDINGS. SOME CHALLENGES OR AREAS FOR IMPROVEMENT INCLUDED THE SIZE AND PRECISION OF WELDS. MANY OF THEM TURNED OUT TO BE VERY WEAK. WE COULD ALSO HAVE MADE MORE OF THE MEMBERS CONTINUOUS, IN ORDER TO PRESERVE THE STRENGTH OF THE STRUCTURE, RATHER THAN CUTTING MEMBERS SHORT AT EACH POINT OF CONNECTION, WHICH LED TO THE REQUIREMENT OF MORE FREQUENT WELDS.
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WATER COLOR SKETCHES AS COMPLIMENT FOR THE STUDY OF ARCHITECTURE PAINTING, SKETCHING, AND COLORING HAVE BEEN A LONG TIME PASSION OF MINE. AS A PREFERRED MEDIUM WATER COLORS ALLOWS ME TO CAPTURE VIVID COLOR AND DEPTH WHEN DRAWING URBAN SKETCHING BUILDINGS. THE PASSION OF DRAWING HAS EVOLVED SINCE MY CHILDHOOD AND HAS HELPED ME UNDERSTAND COMPOSITION AND FORM. AS A WAY OF PRACTICING MY TECHNICAL COMMUNICATION SKILLS DRAWING ALLOW ME TO SHOW THE CONCEPT IN A SIMPLE MANNER THAT IS EASY FOR EVERYONE TO UNDERSTAND. IN PRACTICE I CAN SAY THAT CONNECTING THE BRAIN TO MY HAND AS MEANS OF SKETCHING ALLOWS ME EXPRESS IDEAS/ CONCEPTS IN A MUCH FASTER AND EFFECTIVE MANNER COMPARED TO A DIGITAL APPROACH. IN THESE SET OF SKETCHES I STUDY AND DRAW DIFFERENT BUILDINGS AND SCENERIES FROM AROUND THE WORLD. AS A SOURCE OF INSPIRATION FOR ARCHITECTURE DRAWING THIS BUILDINGS HAVE TRULY HELPED ME UNDERSTAND DIFFERENT ARCHITECTURE STYLES FROM AROUND THE WORLD AND HAVE MADE ME A BETTER DESIGNER. THIS SET OF SKETCHES WERE TAKEN FROM MULTIPLE SKETCHBOOKS OF MINE.