Portfolio Jordan Odor
the
of
Pictures from Ghana are of a shared collective All other contained work is original All work was produced during studies in architecture at
Miami University 2010 - 2016
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Architecture of Repose | Moment, Transition, Well-being
Graduate Thesis
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2015 - 2016
Ghana, Africa | Design + Build Studio
Study Abroad 2012 Summer
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Art Museum Addition | Client-Based, Civic Design
Undergraduate Studio 2013 Spring
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Uptown Mixed-Use | Spec Space, Technical Drawings
Graduate Studio 2015 Spring
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Identity of a City | Phenomenology, Housing Concepts
Undergraduate Studio 2013 Fall
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Animate Vision | Freelance, Property Marketing
Entrepreneurial Startup
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2012 - Present
Form + Modeling | Craft, Detail
Selected Works
Architecture of Repose1 Repose, Transition, Well-being Graduate Thesis 2015 - Present
This thesis includes the crossover of three semester’s worth of work. The first semester involved research and a written thesis document. My written document is titled, “Architecture of Repose: Creating Moments for Retreat and Intimacy.” The core motivation for the inception of this thesis came out of a desire to improve people’s wellbeing through architecture. My thesis journey began with this question “In the fastpaced nature of contemporary society, how can architecture provide opportunities for repose in order to relieve an anxious culture?” Though this thesis journey I’ve come to believe that an architecture of repose acts as a venue for the moment. I believe that architecture has the opportunity to help center individuals through their senses in order to live grounded in the present. In order to investigate my question, I have selected a site to continue my exploration. My site is located in Over-The-Rhine of Cincinnati, OH
Site Panorama
Over-The-Rhine, Cincinnati, Ohio
Concept Development
Process Development
Process Development
Approach from North
Entry - Community Living Room
Interior Atrium to Auditorium Below
Courtyard Gallery/Reading Room
Ghana, Africa2 Design + Build Studio Study Abroad_Group of 16 2012 Summer
The summer of 2012 was simply life-changing. It was the summer that 15 architecture students and I had the opportunity to study abroad in Ghana, Africa. Over a period of six weeks, we became completely immersed in Ghanaian culture. During the first two weeks we traveled around the country and designed a teacher’s cottage for a local Ghanaian village. In the final four weeks, we constructed the cottage using local building methods with vernacular materials, e.g., mud bricks, forest wood. Prior to this experience, I had never traveled outside of North America. I saw this trip as a chance to travel to an exotic foreign land and gain new experiences. I was excited to design and build a social architecture for a community in need. I had high expectations to see jungles and villages. I soon came to realize that this trip vastly exceeded my initial expectations.
*D.B. Erin Graham
During our two weeks on the road, my team of four came up with the following design for the teacher’s cottage. The asymmetrical design utilizes sunlight through the use of reflective metal that would shine light into the space from in between the offset ridge of the two roof planes. It utilized natural ventilation in the main living areas by having screened walls on either side of the living rooms as well as through the Venturi effect through the offset ridge. The living areas would take advantage of natural views while the bedrooms would be privatized, each with their own washing area. At the end of the hall would be a bottle wall that would bring in fragments of light that would colorize the space.
*D.B. Erin Graham
After presenting four different designs to the village chiefs, a final design for the teacher’s cottage was chosen. The following drawings are of the chosen design.
Plan Parti Section Parti
The Wall/Breezeway Section is to show the simplicity of the walls that were created. The wall is nothing more that mud brick with mortar plastered on either side. The height/ width ratio is high but it is safe. This drawing also shows the building’s continuous footing below the walls and the layering of the foundation.
Wall/Breezeway Section
After four weeks of construction, the teacher’s cottage was completed! Our intention for this cottage is that it will attract teachers to come and work in the village. Although there is no running water or electricity, this house was a luxurious mansion compared to others. We hope that this house will serve the Ghanaian community for many years to come. I pray for prosperity for the fellow workers that we grew so close to over the last four weeks. The children will always hold a place in my heart. Even though I went on this trip to serve the Ghanaians, I took away from it more than I could have ever given the people of Africa. I will always remember their kindness, hospitality, contentedness, and joy.
Miami University Art Museum Addition3 Client-Based, Civic Design Undergraduate Studio 2013 Spring
This studio was heavily involved with client-collaboration, the interaction of light and sculpture and interpretive analysis of an existing site. For this building we studied field theory as practiced by Walter Netsch. The process had high concern for daylighting, as we were dealing with precious artifacts. Multiple iterations explored ideal forms that were to contrast the existing building. I delved into environmental systems and acoustic design.
Concept A
Concept B
Concept C
Respond to initial reactions of the building. They put emphasis on the forced-perspective, playing with the line-of-sight on central axis and radial response to harsh geometries. These concepts led me to the design shown below.
Site Forces
Above shows initial reactions to the space. The north room contained valuable views that needed to be retained. The iconic forced-perspective view needed to be preserved. The harsh geometries were a result of field theory used by SOM. The circulation throughout the galleries was linear and repetitive. Spatial relationships had little regard for human scale. The building was more of a mathematically derived equation than a building concerned with human comfort.
Process
GALLERY ENTRY (FROM STAIRS)
Gallery Wall Parti
N-S Section
Process
Scheme A
The Eugene Brown Sculpture is located in the center of the pre-function room. This space is ideal for the sculpture because it acts as a major connection between the existing and the addition of the museum. The pre-function room is a transitional space between the existing third gallery and the new American Southwest Collection Gallery. The pre-function room also serves as the intermediary room between the auditorium and the rest of the building. The Eugene Brown Sculpture is a node in the building that will be passed by many visitors.
Auditorium Perspective
Scheme A was the result of half the semester’s work. After evaluation with peers and staff, I decided to shift the design with some prominent changes.
I found it important to leave the entire existing East facade untouched. The design would create an improved circulation of the gallery spaces by creating a loop.
Auditorium Section Reverberation Time: Walls - 2505sf, 0.1 (wood) = 250.5 Absorbing Wall - 390sf, 0.65 (perf. wood) = 253.5 Floor - 2436 sf, 0.55 (carpet) = 1340 Stage Floor - 336sf, 0.0 (concrete) = 0 Ceiling - 2436sf, 0.1 (gyp.) = 243.6 = 2,087 sabines volume = 40,236 ft^2
T = 0.05 x 40,230/2,087m = .96 seconds
Auditorium, Pre-Function, Office Plan Scale: 1/16” - 1’
Pre-Function - Eugene Brown Sculpture (Day Lighting) Pre-Function - Eugene Brown Sculpture (Night Lig
The Eugene Brown Sculpture is located in the center of the pre-function room. This space is ide acts as a major connection between the existing and the addition of the museum. The pre-func between the existing third gallery and the new American Southwest Collection Gallery. The preintermediary room between the auditorium and the rest of the building. The Eugene Brown Scu will be passed by many visitors.
Common Areas Galleries Function Areas
Auditorium Perspective
Scheme A
Scheme B Auditorium Section
Program
Reverberation Time: Walls - 2505sf, 0.1 (wood) = 250.5 Absorbing Wall - 390sf, 0.65 (perf. wood) = 253.5 Floor - 2436 sf, 0.55 (carpet) = 1340 Stage Floor - 336sf, 0.0 (concrete) = 0 Ceiling - 2436sf, 0.1 (gyp.) = 243.6 = 2,087 sabines volume = 40,236 ft^2
The office space would relocate to the south of the building with desirable views in each office. The new gallery spaces would Auditorium, Pre-Function, Office Plan face campus in efforts of enticing Pre-Function - Eugene Brown Sculpture (Night Lighting) students to participate within the museum.
Gallery Circulation Circulation Loop Pre-Function - Eugene Brown Sculpture (Day Ligh
T = 0.05 x 40,230/2,087m = .96 seconds
Scale: 1/16” - 1’
The Eugene Brown Sculpture is located in the center of the pre-function room. This space is ideal for the sculpture because it acts as a major connection between the existing and the addition of the museum. The pre-function room is a transitional space between the existing third gallery and the new American Southwest Collection Gallery. The pre-function room also serves as the intermediary room between the auditorium and the rest of the building. The Eugene Brown Sculpture is a node in the building that will be passed by many visitors.
Common Areas Galleries Function Areas
Program Program Auditorium Perspective Pre-Function - Eugene Brown Sculpture (Day Lighting)
Pre-Function Room - Day
Common Areas Galleries Function Areas
Pre-Function - Eugene Brown Sculpture (Night Lighting)
Pre-Function Room - Night
The Eugene Brown Sculpture is located in the center of the pre-function room. This space is ideal for the sculpture because it acts as a major connection between the existing and the addition of the museum. The pre-function room is a transitional space between the existing third gallery and the new American Southwest Collection Gallery. The pre-function room also serves as the intermediary room between the auditorium and the rest of the building. The Eugene Brown Sculpture is a node in the building that will be passed by many visitors.
Program
Gallery Circulation
Gallery Circula
The auditorium/lecture space was designed with precision for a one second reverberation time. This was achieved by allotting for proper material placement and surface area.
Auditorium
West Elevation
An overlook area arriving at the edge of the buildings main axis. This point extends views to the surrounding natural landscape.
Balcony Overlook
Uptown Mixed-Use 4 Spec Space, Technical Drawings Graduate Studio 2015 Spring
Initial Perspective Sketch
The Uptown Project was a speculative, mixed-use building that was to be designed for an unknown client. The purpose of this project was to learn about design process, construction, budget and feasability. The building is a hybrid of wood and metal frame construction. The process of this project allowed for two weeks of design, followed by 3 months of construction drawings. The final deliverable was a CD set of the building (next two pages).
Process Drawings
Initial Plan Sketch
North Elevation
West Elevation
Identity of a City5 Phenomenology, Housing Concept Undergraduate Studio 2013 Fall
This studio was an in depth historical research and contextual analysis of the visible and invisible layers of a city neighborhood. The task was to understand a building’s role in a community and then design a building or city space that responds to the identity of that community. During the process, I explored the philosophical and architectural theories of hermeneutics and phenomenology. Major emphasis was placed upon theories of meaning and place. City: Louisville, Kentucky Neighborhood: Butchertown
Process Images of Model-making
The series of photographs above document the process of creating the three diagrams shown below. These diagrams are to express the essence of the neighborhood without any type of codified language (i.e. color, number)
Borders - Natural vs. Man-made
Oppression - Factories vs. Housing
Figure-ground
Site: abandoned junk yard
The goal was to revitalize the street. The new building forms took after local vernacular of Louisville, which for residential typologies meant shotgun and row houses.
The typical front facade entry is located in front of residence. Typical streetlevel entries provide little separation from public to private. In the shotgun typology, the primary spaces also serve as the transitional spaces.
Facade-Street Relationship
Proposed Parti
Typ. Shotgun Style w/ Raised Entry
The typical front facade entry is relocated to a secondary side entry vestibule. The side entry allows for a layer of separation between front door and street. The entry vestibule facade can be materially differentiated for uniqueness. The side vestibule becomes a core transitional space that directs circulation throughout the interior of the home.
Proposed Shotgun-Row Hybrid
Process
Proposed Street Elevation
Section Through Transitional Circulation Core
Section Through Primary Spaces
Transitional Circulation Core
Detail of Cantilevered Stair
Animate Vision6 Freelance, Property Marketing Entrepreneurial Startup 2012 - Present
The name Animate Vision means to give life to vision. My vision for this company is to serve property owners by helping them better sell and rent out their properties. I find interest and excitement in work that is executed to its highest quality and aesthetic potential. This is what I seek to produce for each and every client of mine. Since the company’s inception, I have drawn up many different houses and two different apartment buildings. All houses that have been drawn up and put on the market have sold. The two apartment buildings were rented out in record-time due partially to the clarity and attractiveness of the building drawings. In my toolbox I bring with me a wooden pencil, a laser measurer, graph paper and a camera. The process essentially involves the measuring and recreation of the entire space. It requires excellent attention to detail, extreme patience and careful organization so as to have an accurate and efficient workflow.
Form + Modeling7 Selected Works
The following pieces range from minor to major projects during my first two years of study. Each model and form exemplifies my dedication to high craft in all that I do. I have a habit of creating wooden models during my design process. This is an increasingly uncommon practice that I would like to continue doing as I move forward as a designer.
Sense An exercise focused on the five senses of the body. These senses were tested by experiencing the sensual stimuli of a particular space. The following piece is based solely on the smell of the Lindner Center at the University of Cincinnati.
Ripple
Pavilion
A major project focused on the peace relations between two warring countries. My concept is that this peace pavilion would initiate a ripple effect that would impact all other countries, starting at the location of the signed treaty. This ripple would then also affect the site’s landscape in a dramatic fashion.
A pavilion on Western Campus of Miami University for the purpose of contemplation and connecting with nature. An infinity pond would visually connect with the lake at the bottom of the hill. The slatted wood would provide privacy while also enabling views of the entire landscape. The pavilion features a kinetic roof and a large swing door to create a viewport into the landscape.
Site Plan of Madison and Edwards Site PlanScale: of Madison and Edwards 1:20 Scale: 1:20
Site of Madison and Edwards Site Plan ofPlan Madison and Edwards Site Plan of Madison and Edwards Scale: 1:20 Scale: 1:20 Scale: 1:20
on
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Edwards
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Edwards
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Facing East Facing East
Bus Shelter
Bus Shelter of Madison & Edwards Bus Shelter of Madison & Edwards
Bridge
The folding of the of a monolithic, geometrical, concrete structure around a simple, modern metal sitting shelter. The two elements do not touch but stand visually unified through the folding of their forms.
A derivation of the Shelter of Bridge(precedent) - London (precedent) Bus ShelterBus of Madison & Madison Edwards & Edwards Millenium Millenium Bridge - London bus shelter’s form. The large, monolithic, Bus Shelter of Madison & Edwards Plan View of Section Cut Plan View of 1:20 Section Cut tripartite structures Scale: Scale: 1:20 counterbalance each other while supporting Plan of Section Cut Plan View of View Section Cut a pedestrian bridge Scale: 1:20 Scale: 1:20 by cable suspension. Plan View of Section Cut Scale: 1:20Inspired partially by the Millenium Bridge Longitudonal Section - looking south Longitudonal Section - looking south Scale: 1:20 in London. Scale: 1:20
Millenium Bridge - London (precedent) Millenium Bridge - London (precedent)
Longitudonal - looking Longitudonal Section Section - looking south south Scale: 1:20 Scale: 1:20
Longitudonal Section - looking south
Structural Armature & Cables Structural Armature & Cables
Facing EastFacing East
Facing East
& Cables StructuralStructural Armature &Armature Cables Facing West Facing West
Millenium Bridge - London (precedent)
Experiential Vie Experiential FacingView West
Facing West Structural Armature & Cables
Facing WestFacing West
Experientia Experiential View Facing WestFacing West
Facing Wes
White A communal area inspired by a cubist painting and works by Le Corbusier. The space is limited in materiality so that the significance of ideal geometrical forms and modern elements can be elevated.
“Uptown Lights” Oxford, Ohio 2013
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