Architecture Portfolio

joseph bourque

architecture portfolio

freshman

of

freshman year

one inch equals thirty feet

one inch equals three hundred feet

one inch equals three thousand feet

project I: mapping and scale

This project focused on the simplifying of detail and scale through a series of iterative maps. These maps display my hometown, Warner Robins, Georgia, at varying levels of scale. Starting at one inch equals three thousand feet and finishing with one inch equals thirty feet. The colors found within the maps represent different degrees of privacy at each level scale. Black being the most private and white representing the most public with shades of gray displaying areas that fall within these two extremes. The final element, diagonal hatching, displays transitional zones and is saved for the highest detail map.

one inch equals thirty feet

one inch equals three hundred feet

one inch equals three thousand feet

mapping and scale 8

one inch equals thirty feet

one inch equals three hundred feet

one inch equals three thousand feet

mapping and scale 10

one inch equals thirty feet

one inch equals three hundred feet

one inch equals three thousand feet

mapping and scale 12

miscellaneous diagrams

plan, section, and axonometric drawings

front elevation and figure ground diagram

project II: diagramming

This project revolved around the full analysis of a building on Georgia Tech’s campus. The analysis was ultimately construction of elevations, plans, and diagrams and was collected through on-site observations. The building I have represented in this project is the Price Gilbert Memorial Library. This library contains a simple symmetry that can be seen throughout the structure’s facade as well as the interior of the structure. The material structure of the library consists of several evenly spaced concrete columns that allow for large expanses of glass in the facades. This pattern is repeated throughout the structure and displays the balanced design of the building as a whole.

miscellaneous diagrams

plan, section, and axonometric drawings

front elevation and figure ground diagram

project II: diagramming

The uppermost diagram to the right is a figure ground map that displays the library in the center of the map. The second diagram displays both the front facade of the library and the simple A,B symmetry found within it as well.

miscellaneous diagrams

plan, section, and axonometric drawings 18

front elevation and figure ground diagram

miscellaneous diagrams

plan, section, and axonometric drawings

front elevation and figure ground diagram

project II: diagramming

This set of diagrams serves to display several ideas within the design of the library.

section

daylighting

public versus private

balance

axonometric drawings orthogonal cube non-orthogonal cube

project III: cubic solids and voids

This project consisted of the creation of both an orthogonal and non-orthogonal cubic solid that was created by a series of cubic additions and subtractions from an original solid. These cubic additions and subtractions were as follows: one 8-inch cube, one 6-inch cube, three 4-inch cubes, four 3-inch cubes, and finally three 1-inch cubes. These cubes aside from the 8-inch cube could be arranged in many different orders as either additional solids or subtractive voids. The final solid that remained after this process was the ultimate result of this process. Themes such as balance, symmetry, and volume can to fruition within this project and helped to influence the final designs of both solids.

axonometric drawings orthogonal cube non-orthogonal cube

project III: cubic solids and voids

This series of diagrams displays the process of creation that led to both final solids. The uppermost series represents the orthogonal cubic solid and the lowermost series displays the non-orthogonal cubic solid.

non-orthogonal cube

axonometric drawings orthogonal cube non-orthogonal cube

axonometric drawings orthogonal cube non-orthogonal cube

elevations exterior and interior views

use and creation diagrams

wind and viewshed diagrams

project IV: pavilion

This project focused on the creation of a pavilion that could ultimately house five people standing at once, five people sitting at once, and five people laying down at once. This pavilion could also only be constructed using a restricted amount of materials. This restriction led to an open design for my pavilion. Based upon a honeycomb pattern, my pavilion acted as a combination of both the organic and inorganic. The natural side of my pavilion can be observed in both the hexagonal pattern that gives it strength and the organic curves both inward and outward throughout the structure. The open design also allows for an observation of ones surroundings without having to actually step foot outside the honeycomb structure allowing for a distinction of spaces. This final design came after many iterations and studies based upon the available material.

elevations exterior and interior views

use and creation diagrams

sun/wind and viewshed diagrams

project IV: pavilion

These environmental diagrams display the very open natural of my pavilion. By allowing both wind and sunlight to flow through the structure fairly unimpeded, the pavilion separates itself from its surroundings but just barely.

elevations exterior and interior views

use and creation diagrams

sun/wind and viewshed diagrams

project IV: pavilion

The construction to right displays the simple process of construction that creates the modules within my pavilion. These modules combine together in order to create curves and bends. The other diagram to the bottom of the pages serves to display possible uses within my pavilion. One of these uses is found in the movable tiles in the walls of the honeycomb structure that can be removed and changed to a new location in order to affect both lighting and air circulation as desired by the inhabitant.

use

IV: pavilion

IV: pavilion

fifth through seventh set of geometries

first through fourth set of geometries

project V: drafting geometry

This project consisted of drafting geometries based on flat two dimensional images of the facades. These studies of drafting helped to focus on concepts such as line weight and visual language. Each of the individual geometries had to be hand rendered several times in different perspectives in order to be fully understood. Ideas such as dashed lines versus dotted lines came into play with the perspectives. The paraline drawings in particular had an emphasis on this idea. The final solid geometry was of our own construction and was a combination of two of the other geometries. The two solids that I chose both a contained an identical slope that could be combined together. This is where I joined my two solids to form a creation of my own.

42

fifth through seventh set of geometries

project V: drafting geometry

fifth through seventh set of geometries

first through fourth set of geometries

sixth set seventh set

exterior views interior views

origami plans constructed models circulation and view diagrams

project VI: constructing geometry

This project consisted of two parts. The first part looked at the geometries created for the previous project and combined some of them to create new solids. These solids were then deconstructed into origami type plans that could be folded together to created paper models that represented the solids that had been conceived. From here, aspects of these solids were examined such as volume and were studied for inspiration. This inspiration was then used to construct a new model made of planes of cardboard. These sheets of cardboard were aligned together to allow for the carving and removal of solids within them. Through this carving process, a new structure was created that contained elements of the original paper models but held a new identity.

exterior views interior views

origami plans constructed models circulation and view diagrams

project VI: constructing geometry

The origami plans can be seen for the two constructed solids to the right. These unfolded plans took many iterations in order to be combined into one continuous sheet of paper.

origami plans constructed models circulation and view diagrams 50

exterior views interior views

exterior views interior views

origami plans constructed models circulation and view diagrams

project VI: constructing geometry

This set of circulation diagrams serve to display the pathways possible throughout the carved voids alongside possible views found in the structure.

exterior views interior views

origami plans constructed models circulation and view diagrams

exterior views interior views

origami plans constructed models circulation and view diagrams

VI:

constructing geometry

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

The cottage is a beloved and cozy style of architecture. Typically consisting of a small house, this style has been applied to different cultures all over the world and remains popular to this day. This project seeks to define the cottage type in part and display the distinct forms of cottages and their differences as well as stripping down the grand cottage type to its basic components.

Drawing its origins from old England, the traditional cottage was of a wood and thatch design, with these materials being common to the era in which the cottage arose. As time continued, some of these materials were updated and changed as the cottage design passed from nation to nation. Stone could be used in place of wood while retaining the original character of the cottage. Shingles replaced thatch as the cottage moved to the United States and found a home in the chilly New England area. In other places, such as South Africa, cottages used the available materials to create stucco walls instead of the traditional wooden. This design did retain the thatch roof however. Another pure representative if the cottage is the Norse cottage. Being a purely wooden structure, this design carries the old origins of the style with it.

Despite differing materials, the cottage today remains homey and cozy with its small design. Its classic style calls back to its origins with a clear distinction. Cottages are ultimately represented by a very diverse group of buildings that share a compact style with minimal rooms to save space. The geometries that make up cottages are typically simple and inhabit the whole space of the cottage.

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

The research for this project involved the studying of vernacular precedents through sources such as the library of congress and works of literature discusses the role of vernacular forms of housing. This initial research involved three types of housing: shotgun, cottage, and duplex. Eventually I narrowed this down to only the cottage type house and focuses on the distinctions and commonalities found between the forms of cottages. To the right can be seen an example of a grand cottage constructed of stone masonry as well as a humble cottage the consists of balloon framing and clapboard siding. These two cottages are fairly different from one another but still retain the original spirit of the cottage type.

Sources:

Historic American Buildings Survey, Creator. William Enston Home, Cottage No. 6, 900 King Street, Charleston, Charleston County, SC. South Carolina Charleston Charleston County, 1933. Documentation Compiled After. Photograph. https://www.loc.gov/item/ sc0896/.

Historic American Buildings Survey, Creator, U.S. Bureau Of Fisheries, Mark Schara, Andrea K Righi, Dana Lockett, and Mark Schara, Lowe, Jet, photographer. Employee’s Cottage, Gorbatch Street, Saint Paul, Aleutians West Census Area, AK. Saint Paul Aleutians West Census Area Alaska Saint Paul Island, 1933. Documentation Compiled After. Photograph. https://www. loc.gov/item/ak0517/.

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

The first digram to the left acts to display the simple transformations that can take place to change the grand cottage to the humble cottage and vice versa. In contrast, the diagram to the right focuses on the grand cottage and displays the circulation that connects the individuals isovists throughout the floorplan of the house.

connectivity of path and isovists

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

These programmatic and representational diagrams work to display both the similarities and differences of the distinct cottage types. Both the grand cottage and more humble cottage contain their own distinctions and despite ultimately sharing a heritage. This heritage is fairly loose however and leaves room for different elements and ideas within each house.

non-ordered rooms versus ordered rooms

public versus private

grand versus humble construction

servant versus served

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

The environment of this particular cottage is situated within Charleston, South Carolina. As such, the sun remains relatively high in the sky throughout the year and warms the house from the south. This can been seen in both diagrams to the right. The heating diagram to the bottom expands the shown heating and cooling to include the fireplaces that run through the house.

heating and cooling

paraline diagram

elevations, sections, and plans 68

environmental system

research form/space system programmatic and representational system

paraline diagram

elevations, sections, and plans

environmental system

research form/space system programmatic and representational system

project VII: rooted precedent

This paraline diagram combines five faces of the house including the roof into a final three dimensional form to display the volume and space that these faces create.

exterior views

daylighting volume elevations and plans

research and environment

project VIII: transformed vernacular

This proposal for two neighboring houses in central Cabbagetown---one for a weaver and one for a stone lithographer--grows out of our studio research into the urban mill town’s history, its unique fabric of vernacular housing types, and its particular design guidelines as a historic district. Throughout the process, the built environment of the project site and context have been understood and analyzed as a one larger socialecological system and the ‘interactions’ of five of its subsystems: formal/spatial, programmatic, material/constructional, environmental and representational.

From this, an iterative design process yielded two primary parti directions--one for a linear plan shotgun type house, and one for a central plan, duplexcottage type [shown in the second column to the right]. There were merits to both approaches on the small, 50-foot by 70-foot site at the corner of Gaskill and Powell, but the shotgun type was ultimately chosen for its ability to moreeffectively engage the character studies in its internal organization of live/work spaces and functions, and for its ability to engage its external orientation to the site and surrounding context in terms of space, function, and resemblance to the surrounding buildings.

Key interior ‘served’ spaces were developed in relation to each other and the garden views and modulated in plan and section by a mathematical system of ‘servant’ layers. In these two houses, there is a shotgun-like sculptural volume. Associated with these is a system of different types and locations of windows developed in a series of daylighting studies that explored performance criteria particular to each of the artists and their processes. Working from the outside in, the houses engage the site/context analysis in the following ways:

1. By meeting historic district guidelines for massing and setbacks;

2. By employing porches along the street;

3. By employing the local material/ construction system;

4. By employing passive heating, cooling and daylighting; and

5. By employing a system of windows is set with the clapboard cladding of its wood balloon framing, and muted color that are designed to interact with its neighbors in ways that mirror their traditional vernacular modes of representation on the two public exposures along Gaskill and Powell, while larger scale openings on the more private elevations relate to the gardens and the needs for substantial daylighting in the studios.

exterior views

daylighting volume elevations and plans

research and environment

project VIII: transformed venacular

The initial research for this project took many forms including on site analysis and photography, online resources, and in depth looks into the precedents of the area. For the area of Cottagetown, these precedents are the shotgun type and cottage type house with their many distinctions. The diagrams to the immediate right form some of the basic understandings of the regulations that encompass the area of Cottagetown. The topmost diagram displays the regulations that apply to the general housing of Cabbagetown. This includes minimum length for driveways and that structures such as sheds must be unattached from the main house. The next diagram displays the regulations of mill housing. This carries with it the required driveways and front porches. Following this is neighborhood housing. This displays the required setbacks for the area. Finally shown is the shotgun and cottage housing regulations. These regulations include for shotguns a lack of dormers and required driveways. Character studies for both the lithographer and weaver can also be seen.

character studies

The stone lithographer’s house requires fairly large spaces within it to fully run a lithography print shop. Lithography revolves around the use of large sandstone blocks that soak up ink and then transfer that ink into paper. These blocks take up a large amount of space and require fairly tall walls to hold the shelving that store them. Another requirement of the home is that it also contains enough room to house a large press within one of its rooms. A garage type room would be useful in this manner as it could store all the necessary equipment needed by the lithographer while also remaining fairly separate from the house so as to not create a mess. Keeping the work areas of the house separate from the living areas ensures that the home is not overrun with materials for lithography scattered throughout the residence. Windows within the work area would also be a nice feature as they could continue to pump in new air through the work area, invigorating the area with energy and avoiding stale air. The windows used for this role would need to be located high on the walls to avoid accidentally blowing the papers created by the lithographer around. These windows could also take advantage of the prevailing winds within the area to supply the house and room with incoming fresh air. Using the direct environment found around the house is an easy way to save energy and design intelligently. Ultimately, however, while the lithographer’s place of work is found within the house, it is still his home so this function should not overtake the role of comfort and security that a home typically provides.

The weaver’s house sits in a kind of contrast to the house of the stone lithographer. While the lithographer requires ample room to properly use and transport the stones used for printing, the weaver can make due with less space. This is not to say that the weaver can work in cramped conditions but that she does not require as much free area to practice her craft. Ultimately what she requires is space for her supplies, being yarn, string, dye, etc. and the tools that help her to weave effectively. As far as dedicated spaces within the home of the weaver go, there would need to be a room for dyeing the yarn and string and also a room for the weaving itself. The dye room would preferably have access to fresh air to make the drying of the yarn and string easier for the weaver. This room would preferably be placed on the edge of the house or outside the main bounds of the house, acting as a garage or shed of sorts, to avoid tracking dye into the living quarters of the home. The weaving room could be placed more inward the house itself due to the smaller mess this area is capable of. Much like the lithographer, the work found within the house needs to be separated from the leisure areas or living areas in order to provide an environment that is not swamped in work and that offers some retreat. Parts of the house could also display the work and art that the weaver creates whether that be a rug on the floor or a tapestry attached to a wall. Long stretches of hallway or large walls could provide this opportunity.

exterior views

daylighting volume elevations and plans

research and environment

project VIII: transformed venacular

These daylighting studies highlight the light available to each house throughout the year and at different times of the day. The top row shows the daylighting at 8am. The second row shows a different space at 12pm. The final row shows a new view at 5pm. For each set of daylighting studies, the left column takes place on the winter solstice and the right column takes place on the summer solstice. The two diagrams at the bottom of the page display the overall lighting scenarios for each studio space of the different houses.

daylighting studio studies

work/ inspection area 1

work area 1

display area display/ inspection area

weaver’s storage

storage lithographer’s

work area work area

exterior views

daylighting volume elevations and plans

research and environment

project VIII: transformed venacular

The diagrams to the right display the significant volumes of the shotgun home. This includes the bedrooms, kitchen, living room, and studio space. These are thee areas of the empty voids within the structure. Also seen is the diagonal shotgun path that weaves through the house and gives it part of its trademark characteristics.

exterior views

daylighting volume elevations and plans 80

research and environment

exterior views

daylighting volume elevations and plans 82

research and environment

sophomore year

plans sections interior views exterior views

programmatic diagrams 86

research configuration, thickening, and layering

This project was an exploration of the art nouveau movement and how that could influence the form of a building. The first step of this process was initial research and discovery of the art nouveau and what defined it among its peers. A thorough breakdown of the many curves that make up the art nouveau followed the initial research. Afterwards, these many curves were manipulated and rearranged into “seeds” in order to fully develop sheets that could be used for the final structure. Thickening and layering studies came next and determined just what sheets to use. From this point forward, the focus moved on to developing a structure that incorporated these chosen sheets. Our team received a site in the San Francisco bay in which to place this structure. Site analysis came next along with developing the program of the building. A choice was made to incorporate a “moving” stair case that would follow one of the sheets through the floors as well as a void to bring in light at the opposite side of the building. As these ideas developed and progressed our team arrived at our final structure.

plans sections interior views exterior views

programmatic diagrams 88

research configuration, thickening, and layering

The initial research for this project revolved around finding art nouveau inspired pieces of sculpture and imagery and tracing the many curves found within these pictures. These curves were then arranged into five different groups: C, S, Valley, Y, Hook based upon their physical characteristics and control points. From here, it was observed that the many groups can flow into one another fairly freely with small tweaks.

tracings

views exterior views

plans sections interior

programmatic diagrams 90

research configuration, thickening, and layering

The curves from the previous research were rearranged through a series of actions to create “seeds” that would go on to become the genesis of final sheet arrangements.

progression of curve to sheet

physical model of layering

plans sections interior views exterior views

programmatic diagrams 92

research configuration, thickening, and layering

progression of sheets sheet voids

moving

spacial bubbles

views

interior views

plans

second through fifth floors (left column)

sixth through ninth floors (right column)

sections interior views exterior views

plans

programmatic diagrams 98

research configuration, thickening, and layering

interior view of stairs

sections interior views exterior views

plans

programmatic diagrams 100

research configuration, thickening, and layering

plan and section renderings lighting data

Precedents are incredibly useful for studying previously explored concepts within any discipline. This project served as another exploration into what one of these precedents succeeded at, in this case artificial and natural lighting. The Twilight Epiphany, designed by James Turrell and constructed for Rice University serves as a pavilion on the campus. It holds seating to observe the various lighting configurations that can be arranged within the structure and to achieve this, the pavilion holds programmable colored lights that shine onto the ceiling to create a contrast with the natural lighting provided from the sun or moon. This natural light can in turn shine down through an oculus to illuminate the space without the need of the artificial lights. The exploration of this lighting configuration influenced the ideas and thoughts behind the next project in this portfolio and worked as an exercise in the refining of rendering techniques.

plan and section renderings lighting data

daylighting section

plan

plan and section renderings lighting data

night view

interior view

plan and section renderings lighting data

day night

plan and section renderings lighting data

The data simulations shown to the right were created using the software Climate Studio, which allows for the creation of accurate lighting simulations. Its primary use is for creating simulations for indoor locations but in this case it has been applied to an outdoor scene. The first set of data, spatial daylight autonomy, looks into how much physical space within the location receives sufficient daylighting. The next set, average luminous flux, acts as a measurement of how intense the daylighting would be perceived by the human eye. The last set, annual sunlight exposure, on the next page refers to the percentage of space that receives too much direct sunlight (1000 Lux or more for at least 250 occupied hours per year), which can cause glare. This specific data would suggest a harsh environment indoors but as the pavilion being studied is outdoors, the data is acceptable.

spatial daylight autonomy data

average luminous flux data

plan and section renderings lighting data

annual sunlight exposure data

renderings

indoor light cube studio studies 114

outdoor configurable grid studio studies

indoor light well studio studies

building plans, sections, and elevations

site plan and circulation

The program pertaining to this design revolves around daylighting and its differing effects on the human experience. By controlling the daylight one receives, one may directly study daylight’s inert power over the human conscious and subconscious using an FMRI machine. Each studio space constructed bears this in mind and allows for configurable spaces that directly affect daylighting in a controlled manner. The studios, split between outdoor and indoor experiences, achieve this purpose in varied ways. For the outdoor studio space, poles (and panels) are erected upon a platform suspended over the nearby river. These poles create a matrix of possible daylighting conditions with their insertion or removal. The two indoor studios then split their focus upon direct lighting and indirect lighting. By making use of adjustable pulled screens, one space is able to create sharp beams of light that penetrate the interior. On the other hand, the other indoor studio uses an adjustable light well to reflect light into its interior. Together, these separate studio spaces create controllable variables that can be used to change the daylighting and in turn the daylighting’s affect upon the subject experiencing the space.

renderings

indoor light well studio studies

indoor light cube studio studies

outdoor configurable grid studio studies 116

building plans, sections, and elevations

site plan and circulation

configurable lighting of sweetwater park

circulation nodes diagram

differing one may subconscious using allows for varied ways. For suspended conditions upon direct one space is other hand, the used to change experiencing the

renderings

outdoor configurable grid studio studies

indoor light well studio studies

indoor

light cube studio studies

building plans, sections, and elevations

site plan and circulation 122

III:

configurable lighting of sweetwater park

The indoor light cube studio studies lighting configurations and their affects through its use of pulled screens that can be used to create adjustable apertures on the walls and ceiling of the glass cube. This cube can also be rotated to take advantage of more possible lighting conditions.

adjustable pull screen

lighting configurations

renderings

indoor

light well studio studies

outdoor configurable grid studio studies

indoor light cube studio studies

building plans, sections, and elevations

site plan and circulation 124

III:

configurable lighting of sweetwater park

The outdoor configurable grid studio uses an arranged series of poles, movable walls, and removable floor plates to create a matrix of lighting conditions that can take advantage of the caustics created from the water below and the direct sunlight from above.

outdoor studio components 9:00 am 12:00 pm 4:30 pm

renderings

indoor

light well studio studies

indoor light cube studio studies

outdoor configurable grid studio studies

building plans, sections, and elevations

site plan and circulation 126

III:

configurable lighting of sweetwater park

The indoor light well studio makes use of an expandable and contractable curtain to control the lighting within the indoor space. As the curtain expands, the lighting within the room decreases and vice versa.

indoor light well curtain expansion

renderings

indoor

light well studio studies

indoor light cube studio studies

outdoor configurable grid studio studies 128

building plans, sections, and elevations

site plan and circulation

junior year

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

The pyramid brick kilns were then arranged in respect to the predominant wind directions to narrow the smoke created from the kilns to two paths in order to keep it interacting with as least of the site as possible. A pedestrian path was then created to unite the kilns based upon the topography lines. Finally, the mud mixing fields were pushed away from the entrances to the site to keep the paths from getting messy. The cycle of sharing resources between industries ties this project into the greater Fata Burnu eco-industrial park. The brick kilns receive needed materials from industries such as agroforestry, bioremediation, and biodigesting and gives, in return, bricks to be used within the village and within the industries for construction. One possible use of the bricks would be to help create a water canal, overseen by bioremediation, that runs from the wadi, or seasonal creek, through the village and into the eco-industrial park, uniting the different industries through their connection to the water.

nubian pyramids

cannonical images of brick making

arrangment of bricks within kilns

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

layout of park

Multiple industries unite the eco-industrial park into a greater whole. These include agro-forestry (not pictured), oil production, bio-digesting, bioremediation, mulberry and silkworm farming, hydro-ponics, weaving, pottery, and brick making. The brick making kilns associated with this project lies to the very south of the map.

site layout construction diagrams

plan and elevation

renderings N

brick creation diagram 50’ 25’ 15’ 10’ 05’

research eco-industrial park

renderings

site layout construction diagrams

plan and elevation

research eco-industrial park

brick creation diagram 60’ 75’

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

progression of site layout

The layout of the site began with a combination of the street grid of the village to the north-east and the IDP camp street grid which lies to the west. This established a basic grid that could then be built upon. The pyramid kilns were then placed upon this grid according to size and the direction of the most prominent winds. In this location, the predominant wind directions are northeast and east. By arranging the kilns in accordance with these wind directions, smoke can be contained to two alleys on the site if all kilns were hypothetically fired at once. After this was established, a pedestrian pathway was laid out using the location of the kilns and topography lines. Finally the mud mixing fields were moved away from the entrances to the site.

regulating street grid final grid

wind direction

topograghy lines

pathing and mud fields

renderings

site layout construction diagrams

plan and elevation

research eco-industrial park

brick creation diagram kiln

cycle

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

internal brick layout

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

Agroforestry: Waste Aggregate

Bioremediation: Water

Biodigester: Gas

Pottery: Dirt - Clay

Mud Mixing

renderings

brick creation diagram

site layout construction diagrams

plan and elevation

research eco-industrial park

project I: eco-industrial park brick making

assembling pyramids

firing kiln