Ink: An Architectural Portfolio by Joseph James (2018) by Joseph James

JOS E PH J OU R I E S J AME S I V

ink AN ARCHITECTURAL PORTFOLIO 2018

EDUCATION UNIVERSITY OF TEXAS AT AUSTIN Masters of Architecture

2016 - 2018

CLEMSON UNIVERSITY Bachelor of Arts in Architecture / Minor in English

2012 - 2016

BARCELONA ARCHITECTURE CENTER Five Month Study Abroad in Barcelona, Spain

Fall 2015

WORK EXPERIENCE

Joseph J. James IV

THE BECK GROUP (Austin, Texas) Graduate Architectural Intern

2016 - 2018 (2 Years 8 Months)

MACK HOME (Columbia, South Carolina) Summer Architectural Intern

Summer 2015 (4 Months)

LSM DESIGN GROUP (Columbia, South Carolina) Summer Architectural Intern

Summer 2014 (3 Months)

ARCHITRAVE (Columbia, South Carolina) Summer Architectural Intern

Summer 2013 (3 Months)

EMAIL josephjames@utexas.edu PORTFOLIO https://issuu.com/josephjames4 INSTAGRAM @jjj_iv LINKEDIN /in/joseph-james-3a57b6114

AWARDS + RECOGNITION FACULTY DESIGN AWARD Clemson University

Spring 2016

DESIGN EXCELLENCE NOMINATION The University of Texas at Austin

Spring 2017

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WORK EXPERIENCE

ARCHITECTURE

ADAPTIVE RE-USE

INTERIORS

CONTENTS 01

FRIESENHAHN CAVE MUSEUM + LABS Fall 2018

06 - 27

AUSTIN ENERGY GREEN BUILDING HEADQUARTERS Spring 2017

28 - 41

SIX MILE PUBLIC LIBRARY AND FARMERâ&#x20AC;&#x2122;S MARKET Spring 2016

42 - 55

ELECTRIC CITY MUSIC + ARTS FESTIVAL Spring 2015

56 - 67

LA ESCOCESA ARTIST COMMUNITY FABRICATION LAB Fall 2016

68 - 77

ZARA CREATIVE TEAM HEADQUARTERS Spring 2018

78 - 93

01 FRIESENHAHN CAVE EXCAVATION LAB + MUSEUM The University of Texas at Austin Professor: Murray Legge Partner: Lauren Townsend Fall 2018

The Friesenhahn Cave, located in San Antonio, is home to one of the most important fossil excavations in the United States. The cave is home to a variety of Pleistocene (Ice Age) Vertebrate fossils, the most prominent of which being Baby Mammoths, Dire Wolves, and Smilodons. This excavation site is considered one of the most important sites in terms of its importance to the Pleistocene Era, only second to the La Brea Tar Pits in Los Angeles. The cave, which is centered in an untouched plot of land located within a massive suburb just north of San Antonioâ&#x20AC;&#x2122;s city center, introduces an interesting site condition given the neighboring single-family homes. The site gives an opportunity to connect residents with a one of a kind typology, aimed at improving the quality and identity of the area. The studio was tasked with developing a center dedicated to housing the findings from the cave and introducing them to the greater public. Considerations for the design included addressing conservation, education, and research. The program for the studio is a building approximately 15,000 SF with related site work containing a small, public Ice Age (Pleistocene) museum and educational facility, and, private paleontological archive and research facility for Concordia Universityâ&#x20AC;&#x2122;s School of Natural and Applied Science. The new facility will house over 4,000 isolated teeth and bones of the more than 30 genera of Ice Age mammals, reptiles and birds that were found in the cave.

Site Plan

THE COVES

NY ON

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04 02

TRANQUIL RD

THE VILLAS

01. 02. 03. 04.

04 08

Museum Labs Friesenhahn Cave Washing Stations

Site Strategies

PUSH TO THE PERIMETER

DEFINE SCOPE + PRESERVATION

SITE ACCESS + FOOTPRINT

The design of the center emphasizes the divide of the public and private aspects of the program. Public components are lifted, visible, and cladded in a white glass that reflects the immediate surroundings while inviting in pedestrians. The private program sits back from the road, submerged into the landscape, and clad in wood. The two contrasting buildings respect the focus of their occupancyâ&#x20AC;&#x2122;s. The gallery engages with the neighborhood, while the archive/lab connects to the cave. Together the buildings create a sense of balance between the artificial suburban context and the natural cave environment.

Programmatic Organization Entry

Phase 1: Dig

Museum

Cafe & Gift Shop Classroom Archive

Phase 2: Discover

Library Lab

02 Replace with trip to the Cave

Offices

Public

Phase 3: Display Public

Move the Museum to the end of the sequence Public

Public

The private program is embedded into the landscape of the site

Upper Level Plan

01. Lobby 02. Exhibit 03. Cafe 04. Gift Shop 05. Green Roof

Lower Level Plan

03 04 06

02 01 09

01. Labs 02. Offices 03. Archive/Library 04. Courtyard 05. Lower Exhibit

06. Time-line Exhibit 07. Classroom 08. Mechanical Room 09. Outdoor Classroom 10. Washing Station

Building Elevations

WESTERN ELEVATION

SOUTHERN ELEVATION

EASTERN ELEVATION

NORTHERN ELEVATION

Early Conceptual Rendering

Detail Section: AA

Detail Section: BB

The Primary Exhibit

LIGHT IS A GOOD THING Given that the cast representations of the animal bones are what is on exhibit, the exhibits can provide more light than a traditional museum without fear of damaging the artifacts. The light sought out in the exhibit contrast with the much more controlled lighting in the archive, where the more fragile original bones are located.

Building Sections

EXHIBIT HALL

SERVICE HALL

DINNING HALL

LOWER LEVEL ENTRY

LOBBY/SERVICE HALL

LOWER LEVEL EXHIBIT HALL

CAFE + SOCIAL HALL

ARCHIVE + LIBRARY

The Outdoor Classroom

LEARNING EXTENDS TO THE OUTDOORS The museumâ&#x20AC;&#x2122;s planning and programming strategies extend to the outdoors, with outdoor classrooms and a walking path that connect the visitors and the cave in a more seamless experience.

02 AUSTIN ENERGY GREEN BUILDING HEADQUARTERS The University of Texas at Austin Professor: Michael Garrison Spring 2017

Started in 1990, the Austin Energy Green Building (AEGB) program is responsible for teaching residents of the city of Austin how to build, remodel, or buy green buildings. The program specializes in three scales: Single Family, Multifamily and Commercial. The program, which was the first of its kind in the nation, is considered the most successful sustainable building program in the country. The program emphasizes a culture that engages an audience at all levels to be more envolved in learning what contributes to the sustainability of the built environment The goal for their new headquarters was to create a design that embodied their concepts of green building performance and design, while promoting their presence to the public. The program consists of offices for each scale, lab spaces, classrooms, lecture halls, and administrative offices. Given the programs progressive attitudes, engineered timber is used experimentally as a solution to a high-rise office typology in the Texas climate. The design also introduces a living machine system for water recycling within the building and from rain water collection. The proposed building seeks to provide a beautiful design that considers energy, water, and material efficiency.

STR EE T

Site Plan +Analysis

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LEVEL

01 01 LOBBY

A 01

02 FRONT DESK 03 GRAND STAIR 04 EXHIBITION HALL

05 PARKING GARAGE 06 WOMEN’S BATHROOM 07 MEN’S BATHROOM 08 FIRE STAIR 09 ELEVATOR 10 SHOWERS

11 BIKE RACK 11

LEVEL

03 GRAND STAIR

06 WOMEN’S BATHROOM 07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR 12 LIBRARY 13 REVIEW ROOM 14 SINGLE FAMILY DIVISION OFFICES 18

17 ENERGY SIMULATIONS LAB

18 GREEN MATERIALS LAB

LEVEL

03 15

03 GRAND STAIR 06 WOMEN’S BATHROOM

07 MEN’S BATHROOM 08 FIRE STAIR 09 ELEVATOR 15 MULTI-FAMILY DIVISION OFFICES 19 LIGHTING LAB 20 COMPUTER LAB 21 WATER RESOURCES LAB

LEVEL

03 GRAND STAIR

06 WOMEN’S BATHROOM 07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR 24 LIVING MACHINE 25 MAINTENANCE/ELECTRICAL

LEVEL

N A 25

03 GRAND STAIR 06 WOMEN’S BATHROOM

07 MEN’S BATHROOM 08 FIRE STAIR 09 ELEVATOR 16 COMMERCIAL DIVISION OFFICES 22 ADMINISTRATIVE OFFICES 23 AUDITORIUM

Engineered Wood Structural System

01 02

04 06 08

15 13

01. 02. 03. 04. 05.

4” Concrete Slab Radiant Floor Heating System Semi-Rigid Glass Fiber Insulation 5-Layer CLT Panel 12” x 24” Glulam Beam

06. 07. 08. 09. 10.

2-Ply Plywood Services (Water/Electrical) Recessed LED Lighting 3-Layer CLT Panel Structural Fritted Glass

11. 12. 13. 14. 15.

12” x12” Glulam Column Dropped Wood Ceiling Double Facade Glazing Operable Interior Glazing Steel Mullion

Design Development + Green Design Efforts

AEGB Headquarters

Research

Pedagogical Path Licensing

Plaza/Living Machine

Place

Connect

Divide

SITE DEVELOPMENT

BUILDING ACCESSIBILITY

PROGRAMMATIC DISTRIBUTION

The plaza is designed to be an extension of the living machine program that directly embraces the pedestrian thoroughfare. The living machine connects the interior and exterior programs as well.

The grand stair, which opens to the North and West and the lobby, which faces the West create a visual link to the greater Mueller site. The stairâ&#x20AC;&#x2122;s glazing, proximity to the entry, and views encourage their use to move through the building, rather than relying primarily on the elevator.

The building is distinguished by three major programs - licensing, research, and pedagogical education. The licensing areas and research spaces are divided by a central core, while the education areas exhist on a pedagogical path that begins outside of the building and runs itâ&#x20AC;&#x2122;s course up the grand stair, terminating at the 5th floor living machine.

WATER RE-USE The large surfaced roof in conjunction with water retention strategies for rain water collection allow for recycled water to be collected and pumped back into the building for use as grey water. The water is filtered through the living machines in the top floor and planters on the ground level.

Outdoor Living Space E

W Atrium

Puncture

Tilt

PLAZA/LIVING MACHINE

PHOTOVOLTAIC ROOF

The south facade is recessed from the adjoining building to allow for light to enter the building from the south. The adjoining building simultaneously provides a direct sun light barrier to the lower levels. A shaded west facing atrium allows light into the core of the building.

A roof covered with PV panels and an extended canopy for shading is set to a 10 degree angle to improve the efficiency of the PV system. The PV roof system is employed to improve off site energy use. The large roof structure also provides shade and improves rain water retention for the building to reuse.

SOLAR ENERGY A 1300 square foot roof filled with photovoltaic panels sits on the top of the building providing shade and collecting energy in the heat of the Austin Summer.

OPERABLE SYSTEMS The building implements several operable systems to adjust shading, cross ventilation, and light. The double facade allows for adjustments to directionality of the sun and for natural ventilation. The shading systems on the west provide a solution to the lower sun of the summer evening.

Structural System + Benefits of Engineered Timber

DLT Core & Shear Walls DLT Stair Core

Glulam Beams

DLT Floor Panels

DLT Party Wall/Green Wall

Concrete Foundation Planter Boxes

Glulam Columns

Private Outdoor Patio & Green Wall

DLT Core + Shear Walls

Glulam Beams + Columns

DLT Floor Panels

The footprint of the building sits on a concrete foundation with a central core providing structural shear support. The grand stair provides additional structural support. The party wall to the south is self supporting, and allows for a green wall to be added.

Glulam columns and beams serve as the primary structural system for the building. A 20’ x 30’ grid defines the two wings, while the central grid connects to the core. The beams support the floor panels above.

DLT (Dowel Laminated Timber) Panels are used for the ceiling and floor of the building. The system, which uses 8’ x 20’ panels, works as a structural joist spanning from beam to beam. The panels are staggered with one resting on the other to allow services to run underneath.

SUSTAINABILITY

Retractable PV Panels Retractable PV Panels

Engineered wood continues to absorb and sequester carbon even after being harvested. Using wood promotes responsible forestry. Engineered wood products also require less energy than their counter products to be produced.

Stagnant PV Panels Steel Beams

STRENGTH + LOAD CAPACITY

Gyp. Walls on Metal Studs

Concrete Foundation

Wood Frame Wall Partitions

Steel Roof System

Prefabricated interior partitions are designed for the building offfsite. The walls are a traditional woof frame with gyp finishes on the exterior to provide a clean lined interior to the building.

The 1300 square-foot roof system is attached to the timber structure via steel connections. The roof is almost completely covered with PV panels and the ends of the roof are a mesh component to provide additional shading to the building. The retractable PV system allows for additional southern light to enter the living machine during the winter months in a similar function to a green house.

Engineered lumber is a light weight but powerful building tool when cross laminated. This cross laminated timber performs better than traditional lumber in its load bearing abilities. Laminated timber performs much like concrete, but with a much more warm aesthetic.

AESTHETIC APPEAL Timber provides a warm aesthetic to the interior of the building in a more unique way than the traditional office typology. The lively warm look within the confines of an office offers and inviting space to work in.

SECTION B

Contents

04 40 SECTION A

NORTH ELEVATION

WEST ELEVATION

03 SIX MILE PUBLIC LIBRARY + FARMER’S MARKET Clemson University Professor: Criss Mills Spring 2016

Six Mile, South Carolina is a small farm town located in the upstate between Greenville and Clemson. The town has few notable public buildings and lacks an active city center. The studio was tasked with designing what a contemporary library in such a rural context might look like. Traditionally libraries rely on a population desity to drive their size and use. Given that Six Mile lacked a population to truly support the need for a state of the art library, consideration for the cultural and social needs of a community of this scale were considered. Driving forces for non-local users to interact with the city were also examined. The question of what a library should do and who it should serve in the community all became driving factors in the design process. The economy and social elements became inspiration for the library to serve as more than a typical library. Traditionally libraries are major civic entities in urban conditions. Given the rural conditions, the idea to add additional programmatic elements to the library became a way of increasing the community’s engagement. A library and farmer’s market at first thought seem like an odd pairing, but given Six Mile’s demographics and context the two programs are a perfect fit. The goal of the design was to create a local destination focused around programming that might bring different crowds at different times. The design uses loosely defined spaces that can be interchanged to either minimize or maximize the library or farmer’s market typologies.

Site Plan

Floor Plan

9 10

7 6

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Entry Lobby Front Desk + Office Auditorium / Event Room Meeting Rooms / Adaptable Market Classrooms / Adaptable Market Men’s Bathroom Women’s Bathroom Interior Market Spaces Library Stacks Computer Desks Study Tables Outdoor Market Pavilions Amphitheater Market Storage Women’s Amphitheater Bathroom Men’s Amphitheater Bathroom

04 46

AXIS OF CIRCULATION

LIBRARY SPACE IS DEFINED

COLLABORATIVE SPACES

SOCIAL EXTERIOR SPACES

An axis is determined that crosses north-south and east-west in order to create a central point for administration to view all parts of the library.

The core of the Library and itâ&#x20AC;&#x2122;s primary circulation is located in the center of the site and building. This minimizes the amount of noise in this area.

Collaborative spaces sit just outside of the core of the library to allow for an easy access. The level of socializing is higher in these areas so they stay on the libraryâ&#x20AC;&#x2122;s periphery

The nosiest area of the library, the outdoor markets and amphitheater are pushed the furthest from the core of the library to reduce the amount of noise let in.

SECTION B

A. B. C. D. A

White Opaque Glass Panels Tinted Glass Pedestrian Market Isle Vehicular Market Isle B

E. F. G. H.

Library Reading Areas Library Stacks Performance Stair Auditorium

I. Amphitheater J. Outdoor Restrooms

PEDESTRIAN

VEHICULAR + PEDESTRIAN

5 23

VEHICULAR + PEDESTRIAN

VENDOR ACCESSIBILITY TYPES

MARKET ACCESSIBILITY POINTS

AVAILABLE MARKET VENDOR STALLS

SECTION A

K. L. M. N. L

Front Entry Staff Work Space Main Corridor Interior Market/Reading Tables P

O. P. Q. R.

Rear Market Entrance Pavilion Vending Space Outdoor Reading Area Reflective Pavilion Q

S FLASHING

ROOF PANELING

RIGID INSULATION

OUTDOOR PAVILION MARKET

CORRUGATED METAL DECKING

Y - FLANGE BEAM

GYPSUM BOARD

INSULATION/ STEEL FRAME

SHEATHING

AIR GAP INTERIOR MARKET GLASS WALL PANEL

CONCRETE FOUNDATION

CONCRETE SLAB

L CHANNEL

CONVERTIBLE CLASSROOMS / MARKET

BUILDING ORIENTATION The Building is oriented along the Cardinal Directions with the path of the sun in mind to allow for the desired directional light to enter the building.

E 1. SITE AXIS + GEOMETRY

S CURTAIN WALLS Curtain Walls are on the West and East Elevations to allow for indirect sunlight into the building. Those on the Southern Elevation are underneath overhangs to prevent harsh light into the library.

2. SITE APPROACHES

3. VEHICULAR CIRCULATION

OUTDOOR SPACES Outdoor spaces are oriented in a way to prevent harsh sun from the South directly into the spaces.

4. INTERIOR CIRCULATION

PAVILIONS + SOUTHERN EXPOSURE The pavilions are tilted to prevent the sun from the south directly onto the sight. The angle also allows for the possibility of adding solar panels.

5. STREET TO SITE

Elevations + Sections RESOURCES: KNOWLEDGE + NUTRITION In planning the design of the Six Mile Public Library, the primary purpose of the typology became providing people with the necessary resources they needed from day to day. Starting with this idea the resources of knowledge, which is traditional to a library, and the resource of nutrition, which is necessary for a thriving community, were coupled. This collaboration established a concrete program in which a Library that could accommodate a farmersâ&#x20AC;&#x2122; market with vending and gathering spaces for the community would be developed.

WEST ELEVATION

INTERSECTIONS + INTERACTION With the establishment of two programs, cross-programming became an immediate necessity in order to maximize the impact of the design on the site. The idea of an intersection linking the two became the goal. This was developed by orienting the library on an axis that ran East to West and by orienting the coverable aspects of the Market North to South. This encouraged a better interaction between the two programs by adding cross-programming where the two programs met.

SECTION C

04 54

COMMUNITY + COLLABORATION With the design of this projectâ&#x20AC;&#x2122;s programs involving community resources, the visibility of community spaces and collaborative spaces became pivotal. Light, materiality, and color were all used to amplify the movement and collaboration of people within the building. Glass is on both sides of the classrooms in order to showcase the use of these spaces from all angles of the design. The exterior programs are also social in order to display the activity of the community.

EAST ELEVATION

FREEDOM FOR FUNCTIONALITY The design of the library leaves as few restrictive programmatic spaces as possible. The location of the classrooms, and meeting rooms allows for many uses and organizational groupings within the building. The pavilions and amphitheater are also unrestrictive, so when the market isnâ&#x20AC;&#x2122;t going on other collaborative activities can occur within these spaces with little to no hassle.

SECTION D

01 55

04 ELECTRIC CITY MUSIC + ART FESTIVAL Clemson University Professor: Armondo Montilla Spring 2015

The Delaware Power Plant was the former home to much of the city of Philadelphia’s power until it was shut downin the 90’s. The plant, which lies on the edge of the Philadelphia suburb Fishtown and the Delaware river, is an iconic piece of architecture that is visible from both Philadelphia and New Jersey. After the plant shut down, many residents of Fishtown were forced to leave the once booming neighborhood. The goal of this studio was to develop urban renewal strategies for the site given its prominence within the community. An Electronic Dance Music (EDM) festival is introduced to the site, allowing for the site to instantly create an economic and social identity within the greater community. Knowing that with a project as large as this that no completely new program could be immediately feasible, the festival and building take an urban re-use strategy to develop an art museum in conjunction with the festival over time. The goal of the project was to create a program that revolutionizes Fishtown’s declining identity as a working-class fishing and manufacturing town. The program seeks to benefit the emerging demographics of creative-type, post-graduates who are moving to the area due to its proximity to city-center and low cost of living. The design hopes to develop an environment that fosters innovation, creates a social culture, and promotes a new form of commerce.

Culture Hubs and Population Growth

THE CREATIVE CLASS The question that this design strategy seeks to answer is “how can two unique programs coexist and grow in a way that revitalizes an area lacking an identity”? Richard Florida, author of ‘Rise of the Creative Class’ became the driving inspiration for the factors that could best benefit this community. His following opinion became the backdrop for the design strategies expressed in the project: “regional economic growth is driven by the location choices of creative people, the holders of creative capital, who prefer places that are diverse, tolerant and open to new ideas.”

04 58

CREATIVE CLASS HUBS

BOHEMIAN CULTURE HUBS

POPULATION GROWTH

Attracting the creative class to Fishtown is the primary desire of the program. Creating a singular event worth wanting to be in close proximity to is the first driver of new residents in fishtown. By making this event something that caters to creative types helps to attract the desired demographics. The shift in population is an indication to the creative class that Fishtown can be the new home of the Philadelphia creatives.

Bohemian culture seems like an odd pairing with the concept of economic stimulation, but these social groups often are an indication of where artistry and social events are within a city. Introducing a heavily art focused program seeks to bring these social masses closer to Fishtown. The cultural shift also increases the bounds of central Philadelphia’s creative scene.

Population growth around the city of Philadelphia has steadily grown over the las 20 year; however, the suburb of Fishtown has struggled with attracting residents as a result of a marginalized economy. The suburb has struggled with the closure of prominent factories, and a lack of tranportation or desire to connect the area to the rest of the city worsens the condition. The hope is to provide a more contemporary connection to the area.

University Demographics + Populations

8 12 11 15

78 9 1 2 5 63 4

5 6

2 3

1â&#x20AC;? : 10 Miles

1â&#x20AC;? : 2 Miles

UNIVERSITIES WITHIN 60 MILES 1. Temple University 2. Community College of Philadelphia 3. University of the Arts 4. Thomas Jefferson University 5. Drexel University 6. University of Pennsylvania 7. Philadelphia University 8. University of Delaware 9. Saint Josephs University

UNIVERSITIES WITHIN 10 MILES 10. Arcadia University 11. Villanova University 12. Eastern University 13. Widener University 14. Rowan University 15. West Chester University 16. University of Delaware 17. Stockton University 18. Rutgers University

1. Temple University 2. Community College of Philadelphia 3. University of the Arts 4. Thomas Jefferson University 5. Drexel University 6. University of Pennsylvania 7. Philadelphia University 8. University of Delaware 9. Saint Josephs University

Conceptual Phasing of Fishtown Development

A low cost of living and proximity to city-center has turned Fishtown into a destination for many post-grads and young adults.

The contamination of the Delaware River and the closure of the Delaware Power Plant in 2004 resulted in Fishtown losing its identity as a fishing and industrial town.

EXISTING CONDITIONS

Over time a static program with a more permanent user and more restrictive spacial constraint can be developed as the areas population and local -economy grow.

The introduction of a dynamic music festival, with limited spacial restrictions and permanence, is implemented to draw in the desired demographic of the creative class into Fishtown.

PROPOSED PROGRAMMATIC SOLUTION

DESIRED OUTCOME

STIMULATE A NEW SOCIAL ECONOMY How do you re-connect an area that lacks connectivity, but has a growing young adult / liberal / college educated demographic? - create a unique activity that attracts a desired demographic - employ a creative workforce though this event - create a program that benefits from isolation

The static and dynamic programs begin to cycle and cross-promote one another, and the creative class hub is maintained and thrives.

Event Programming + Phasing Strategies

Trimester 2 Opens (2nd Week)

Trimester 3 Opens (2nd Week)

Trimester 1 Closes (2nd Week)

Exhibit + Festival Activity

Trimester 1 Opens (2nd Week)

Trimester 2 Closes (2nd Week)

Trimester 3 Closes (2nd Week)

Electric City Music Festival (3rd Weekend)

Trimester Exhibits In Use

Electric City Music Festival (3rd Weekend)

D Electric City Music Festival (3rd Weekend)

Clean Up Time Set-up Time Music Festival Going On

Parlor A + Parlor B Activity Parlor A In Use Clean Up Time Set-up Time Parlor B In Use

Artist A-2 (3rd Week)

Artist A-3 (3rd Week)

J Artist B-2 (1st Week)

Artist A-4 (3rd Week)

F Artist B-3 (1st Week)

M Artist B-4 (1st Week)

Artist A-5 (3rd Week)

Artist A-6 (3rd Week)

M Artist B-6 (1st Week)

Artist A-7 (3rd Week)

J Artist B-7 (1st Week)

J Artist B-8 (1st Week)

Artist A-8 (3rd Week)

Artist A-9 (3rd Week)

S Artist B-10 (1st Week)

Artist A-1 (3rd Week)

O Artist B-11 (1st Week)

Artist B-12 (1st Week)

PHASING: A TWO PRONGED PLAN Phase 1: Create a program that will require minimal financial input while immediately creating a financial stimulant for the suburb - Result - An EDM Festival that will attract local and non local participants and help promote the areaâ&#x20AC;&#x2122;s new identity Phase 2: Create a program that is intertwined with the music festival that can constantly stimulate the local economy - Result - A Digital Arts Museum dedicated to the growth of the scene and culture of Fishtown

The Pier: An Outdoor Stage

KEEP THE CULTURE Since its shutdown, the Delaware Power Plant has been overrun with graffiti, odd objects, and debris. With some cleaning and structural checks, the building can still function as an unconditioned shelter. The artistry of the graffiti and the grungy nature of the plant provide a uniquely odd backdrop for an event such as a music festival. The festival would seek to enhance the worn and colorful aesthetic of the power plant now, rather than try to restore it to its old function.

THE DYNAMIC PROGRAM: ELECTRIC CITY - MUSIC + ART FESTIVAL

FESTIVAL PERFORMANCES

VENDING + CIRCULATION

REST ZONES

Stages

Vending Spaces

Public Rest Zones

Audience

Pedestrian Circulation

Private Rest Zones

Notable Public Venues

Parks + Outdoor Public Spaces Museums + Art Venues Music Venues

Public Transit Study Light-rail Major Roads Public Bus System Stops Subway Station Stops

1. 2. 3. 4. 5. 6. 7. 8. 9.

Seasonal Exhibit Halls Music Gallery Black Box Theaters Recording Studios Gift Shop Local Artist Galleries Feature Artist Galleries Video Gallery Lobby + Main Hall

10. 11. 12. 13. 14. 15. 16. 17. 18.

Seasonal Exhibit Halls Video Formal Concert Hall Restaurant Private Event Room Full Time Galleries Artist Studios + Workshop Ramp Galleries Foam Pitt

12 11

LEVEL 3 - 40’

8 16

7 1 10 6

LEVEL 5 - 80’

LEVEL 2 - 20’

14 12

2 3

7 1

1 4 3

LEVEL 4 - 60’

LEVEL 1 - 0’

Turbine Hall: An Indoor Stage

MINIMAL INPUT MAXIMUM INCOME Early stages of the dynamic programming seek to use interior and exterior spaces on the site with an event that uses minimal upkeep and energy. By implementing stages into the large halls and exterior pier and lot, income on the property can begin to be acquired, with minimal upfront funding being needed. The adjoining park and dockyard could also be used if the festival grows over time.

THE STATIC PROGRAM: THE NATIONAL ELECTRONIC ARTS MUSEUM

Parking Exterior Exhibition Spaces Interior Exhibition Space

Studio Spaces Full-Time Exhibit Spaces Rotating Exhibit Spaces

Visual Learning Active Learning Performance Spaces

05 LA ESCOCESA ARTIST COMMUNITY FABRICATION LAB Clemson University (Barcelona Architecture Center) Professor: Miguel Roldan Fall 2015

The La Escocesa Artist Community is a home for local and foreign artists who want to live, work, and exhibit their talents in Barcelona, Spain. The community has been home to many emerging artists over the years, but as the program has aged facilities have gone by the way side and deteriorated. The goal in this adaptive reuse project was to create a fabrication lab for the La Escocesa Artist Community that helps to stimulate the industrial heritage of the site while embracing new technologies. The design uses the concept of time as a form of progression and the idea of layering new and old to create a programmatic layout and aesthetic platform. The fabrication lab abandons the traditional idea of programming by levels and instead uses a horizontal organization of progression to create more interactions between people. These social connections between the programs enhances the building as a whole by creating social interactions between the programs rather than within them. The design focuses primarily on creating social interactions at several designated spaces in hopes of improving overall functionality within the community.

Conceptual Development

The existing structure included three levels which rose along the linear path.

Existing roof lines are extended and connected to accentuate horizontality.

Translucent and permeable spaces are created to improve connectivity physically and visually.

A connection is created to link the entry with the social areas of the site.

The two sides become linked for an improved circulation.

The building is split to create three distinct programs that connect and interact horizontally.

CONCEPT 1: THE INDUSTRIAL ASSEMBLY LINE The organization of the building is derived from the siteâ&#x20AC;&#x2122;s former identity as an industrial factory. The building uses the concept of an assembly line to generate a product, which in a fabrication lab happens to be art. The line of production mirrors the design process by leaving a defined space for conceptual planning, development, and exhibition. Each design step is isolated and autonomous within the design, but interactions between these spaces are considered in the spaces designated as transition spaces..

04 70

The spaces between the primary programs are defined to improve interactions between programs.

LEVEL 1

CONNECTION + VOID

LEVEL 0

The transition spaces are intended to foster interaction between the various programs by forcing vertical circulation through these communal spaces. The first transition space serves as connection within the fabrication, while the latter serves as a void in the fabrication lab, but a connection between exterior spaces.

LEVEL -1

Perspective Sections of Linking + Joining Voids

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

LOUVER AND GLASS SYSTEM OPERABLE WINDOWS STAGE ATRIUM ADAPTIVE TRANSITION SPACE GLASS STRUCTURAL WINDOW SYSTEM LOBBY RESTROOM + COMMUNAL SERVICES WINDOWS FOR CROSS VENTILATION EXHIBITION ENTRANCE

11. 12. 13. 14. 15. 16. 17. 18. 19.

EXHIBITION OFFICES LOUVER SYSTEM FABRICATION LAB OFFICES COURTYARD THRESHOLD OVERPASS TO SKY LIGHTS EXHIBITION SPACE FEATURE SPACE COURTYARD DUAL SIDE ELEVATOR SHAFT

8 INTERIOR TRANSITION SPACE

EXTERIOR TRANSITION SPACE

Conceptual Development 01. THE NEW ROOF A new roof is designed to tie in the entire design as one piece that defines a new era in the site’s history.

02. WINDOWS + THE LIGHTWELL The windows that are interjected between the green spaces are designed with glass structure to maximize visibility and stress the connectivity of the spaces.

03. NEW FACADES CONCEPT 2: LAYERING NEW + OLD In analyzing the site, many of the buildings that currently make up the La Escocesa Site have a history of layers. Graffiti is piled on top of the buildings, new structures are set over existing ones, and the deterioration of certain parts of the site stand out against the site’s newer areas. In all, a story of new and old is seen when entering the artist’ haven. In introducing the new design of the fabrication lab, the concept of new and old was something I wanted to continue. I was able to incorporate this idea of layering into my design by maximizing the use of the existing structure, emphasizing the new through materiality, and building in a way that stressed a definitive line between existing and imposed.

New facades are built vertically and in place of where cuts were made to show the story of how the building was altered. The facade in the conceptual space of the building portrays the horizontality of the building in an attempt to portray the progressional movement. The facades along the transition spaces stress the verticality of the circulation that occurs there.

04. EXISTING FACADES The existing facade is kept for the most part, but punctures and disruptions in the facades are created to show where transitions occur.

05. STUCTURAL SYSTEMS Structural systems continue the existing roof line out to the front facade, but the exposure of the structure between the two spaces to imply different areas of the design.

06. VERTICAL CIRCULATION Vertical circulation is exposed as its own element in the front facade with a cut in the existing front facade. The stairwell off of the smokestack shows a variance in design and materiality to achieve a variance between new and old. In the interior, this exposure of the circulation also continues.

University Demographics + Populations

NEW ROOF

WINDOWS + LIGHT-WELL

NEW FACADES

EXISTING FACADES

STRUCTURE

VERTICAL CIRCULATION

CONCEPTUAL SPACE

PRODUCTION SPACE

EXHIBITION SPACE

INTERIOR TRANSITION SPACE

EXTERIOR TRANSITION SPACE

06 ZARA CREATIVE TEAM HEADQUARTERS The University of Texas at Austin Professor: Primo Orpilla (Visiting Professor) Spring 2018

Zara is a Spanish based fast-fashion retailer with over 6,500 stores in 88 countries. The company has four lines: Men’s, Women’s, Kid’s, and TRF. Their TRF line is an extremely trendy fashion forward line targeting younger women. The clothing empire has quick lead times on new designs, an ever-changing product line (20 collections per year), and an ability to sell high-end looks at an affordable price. The goal of the studio was to design a workspace for the creative team of Zara within an existing building shell located in Germany. The project focuses on interior conditions with minimal regard to the exteiror design outside of the entry conditions. Consideration of the company’s brand, history, and work strategies were pushed to the forefront of the studio’s design strategies. The design goal for their creative team offices was to bring to life an atmosphere that celebrates Zara’s design culture and ability to blur the lines of high-end fashion and ready to wear fashion. The interior caters to the world of fashion, and Zara as a company specifically. Inspiration is drawn from the fashion cycle, seasonality, the customer experience, and Galicia, Spain (home of Zara). Within the scope of interior: branding, graphics, color, materiality, work-flow, organization, and dynamic architecture are all factors of the design process.

Design Concepts + Inspiration

BRANDING + GRAPHICS

PHYSICAL

BRANDING + GRAPHICS

EDITORIAL

ZARA DOES NOT ADVERTISE

MUTED MOMENTS, POPS OF COLOR

Zara relies heavily on its physical store presence and digital presence to apeal to its customers, rather than spending money on expensive advertising campaigns. The result of investing on their user interfaces result in high quality imagery and beautiful stores.

Color is an important tool in Zara’s editorial presence; however, its use is selective and reads as more powerful when present. In the design of the workspace colors are muted to allow for seasonality to affect which colors are thrown into the forefront of the office.

BRANDING + GRAPHICS

COLOR + MATERIALITY

LARGE/BOLD/AGGRESIVE IMAGERY

GALICIA, SPAIN - COSTA DE MORTE

Zara’s use of models in strong vivid photos with clear pops of color became an immediate choice for branding within the companies creative team offices. The imagery seeks to evoke Zara’s culture of people and not simply the aesthetic of their clothing.

Galicia, Spain - The home of Zara became an inspiration board for the colors, light qualities, and overall aesthetic of the interior of their creative team office.

COOL COLORS GLOWING LIGHT WAVES + WATER JAGGED EDGES POPS OF COLOR REFLECTIVITY GREENERY + LIVING

The Fashion Season + Cycle

NEW YORK

FALL / WINTER

LONDON

THE SEASON PHYSICAL CONTEXT

THE CYCLE SOCIAL CONTEXT

FALL/WINTER

NEW YORK

SPRING/SUMMER

SPRING / SUMMER

MILAN

LONDON MILAN PARIS

PARIS

Juxtaposing High Fashion + Ready to Wear

THE RUNWAY HIGH-FASHION

THE SIDEWALK READY TO WEAR

THE LINEAR CATWALK

THE LINEAR BOULEVARD

THE PROJECTED SEASONALITY

THE AUTHENTIC SEASONALITY

PRESENTATION TO THE AUDIENCE

PRESENTATION TO THE PASSERBYER

Organizational Development

THE CUSTOMER EXPERIENCE LOBBY

THE CUSTOMER POST PRODUCTION AND DIGITAL MARKETING

BUYERS + CONSUMER INPUT

THE BUYER

THE STORE DESIGN + DEVELOPMENT

THE DESIGNER

01. 02. 03. 04. 05. 06. 07. 08.

Existing Interior Conditions Concept Overlay Larger Programmatic Locations Primary Circulation Corridors Collaboration + Circulation Intersections The Dynamic Lobby Dynamic Lobby Partitioning Lobby Work Station Relationships

09. 10. 11. 12. 13. 14. 15. 16.

Adaptable Meeting Rooms Focus Rooms + Circulation 4 Person Meeting Rooms Conference Rooms (War Rooms) + Circulation Outdoor War Room (Informal) Interior War Rooms (Formal) Living Rooms (Informal Collaboration) Adaptable Studio Spaces

Traditional Lobby Organization

Level 1 Plan

07 06

22 14

23 05

A 08

04 09

15 17

27 06

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12.

Entrance Foyer/Event Reception Space Reception Desks The Dynamic Lobby 8 Person Meeting Rooms Phone Booths Online Management Teams Material + Garment Inventory Janitorial Room Mechanical Room MDF Room Electrical Room

13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23 . 24.

Dressing Rooms Women’s Restrooms Women’s Infant Room Men’s Restrooms Men’s Infant Photography Studio Photography + Cosmetic Team Offices Buyer’s Team Offices Prayer Room Print Room + Storage Focus Room Open Studio Work Area

25. 26. 27. 28. 29. 30. 31. 32. 33. 34.

Courtyard War Room Indoor War Rooms Men’s Apparel Design Studio Women’s Apparel Design Studio Kid’s Apparel Design Studio Kitchen Bar Serving Counters TRF Apparel Design Studio Outdoor Office Patio

Level 1 RCP

Section A

Level 2 Plan

34 25

26 DN

Section B

Level 2 RCP

Section C

04 90

Runway Lobby Organization

THANK YOU FOR YOUR TIME + CONSIDERATION Joseph J. James IV M.Arch The University of Texas at Austin B.A. Arch Clemson University