2020-21 Portfolio- Juvenal Garnica

Juvenal Garnica 2020-2021

FALL 2020 The Structure of Place.............................. 2 Finding the Essence of Architecture............. 6 Formal Organization................................ 10 Body, Site, Program, & Structure................. 14 Fundemental Studies................................ 18

SPRING 2021 Drafting Geometry................................... 22 Constructing Geometry............................. 26 Rooted Precedent.................................... 32 Urban Interaction..................................... 36

Art Nouveau’s Tendrilling Research................................................ 45 Figuring ................................................. 47 Configuring ............................................ 49 Configuring & Thickening........................... 53 Siting & Programming .............................. 55 Fitting & Misfitting.................................... 57 Plans & Sections ..................................... 59 Renderings............................................. 61

MEDIA & MODELING 2-D Parti ............................................... 67 3-D Parti ............................................... 69 Systems ............................................... 71

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PROJECT

The Structure of Place Create a series of three maps at varying scales of view. It should not be a recreation of an existing map, but rather a reimagining of an existing place. The meaning, purpose, and essential nature of the place should be conveyed with a consistent language across the 3 maps.This language should help initiate an understanding of substance, meaning, structure, and the overall experience of the place.

1:3000 At the 1:3000 ft scale, a clear division between the natural landscape, residential areas, and industrial areas. These three types of areas each span vertically on the map and help to create a relation of three distinct vertical bars of occupancy. The arrangement makes sense as people in Dalton tend to live more away from larger industrial complexes. The location of people and businesses is also influenced by the geographic terrain, that being, not many people prefer to live in the mountainous area.

At the 1:300 ft scale, the arrangement of neighborhoods can be seen a lot clearly.

This map represents that common form or way of organization of people in the residential area of Dalton. Typically the neighborhoods aren’t created with a consistent form or shape. This creates a sense of randomeness among the neighborhoods, but with the randomness comes a sense of respect for the boundaries of different areas.

The positioning of homes and roads seem to respect the shapes of different areas, which conveys an arrangement similar to a puzzle.

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1:30 At the 1:30 ft scale, a larger focus on the chosen area is discovered. This map shows a small scale representation of private and public space as well as the functionality of different areas of the focus building. Generally, public spaces are represented in a lighter gray while private spaces are represented with a darker gray.

DALTONGeorgia 4

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PROJECT

Finding the Essence of Architecture Through the use of drawings and diagrams, make a discovery of a building rather than a recreation of one. The focus should not be on what is seen, rather it should be a focus on anaytical data and critical thinking. The diagrams should reflect a deeper meaning and understanding of a building and communicate the language of space to a viewer.

Studying the East Architecture Building on Ga Tech Campus in its context reveals its position in space as well as how the building interacts with the surrounding buildings and possible paths of circulation.

From the creation of a section and floor plan drawing, a deeper understanding of the building is gained that cannot necessarily be observed from the exterior. This understanding of the building includes the analyzation of the basic structure of the building from floor to floor. The section drawing shows the relationships between of each floor of the building. The floor plan illustrates the organization of the 2nd floor and the areas that people circulate around and within. A common observation between the two diagrams is the representation of the basic foundation and structure of the building

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The diagrams above explore different aspects of the building in terms of structure, functionality, and environment, respectively.

Floor arrangement Column Structure Hierarchy Circulation Additive/Subtractive Wind

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PROJECT

Formal Organization

ORTHOGONAL SYSTEM

The model photos and sequential diagrams were created with an orthogonal arrangement of 12 different sized cubes. In this model, the cubes were placed with a language of symmetry in terms of action, rather than position. Each step is dependent on the previous; meaning that the position of the previous cube (additive or subtractive) influences an opposite placement of the next cube.

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COLLIDING SYSTEM

The model photos and sequential diagrams were created using a system of colliding volumes. This composition explores a more complex arrangement of cubes (varying angles of rotation and placement). The sequence of actions was influenced by the symmetrical aspect of the previous model, but with variants. With this model, a sense of symmetry is present that is focused on an orientation around the center of the cube.

The cubes are oriented to make it seem as if the shapes are sliding towards the center of the larger cube.

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PROJECT

Create a pavilion using 40 sheets of white corrugated polypropylene sheets that can accommodate 5 people standing, sitting, and sleeping. It must be a communal space that stands as an individual space, but is also inviting to the general public. The pavilion should be designed with a clear entrance and a defined interior that divides public and private space.

The sequencing of the module is arranged to create a linear body of material.

They are connected by weaving the sliced ends together and placing a square panel on corresponding areas of connection. The overall unit created by 40 sheets of white corrugated polypropylene is twisted around to create a coil arrangement

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From an analyzation of the form of the pavilion, positioning was a major component that was considered. Areas of normal circulation and points of sight when entering the courtyard were evaluated and diagramed to show a central focal point created in the center of the courtyard, where the pavilion was placed.

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Fundemental

STUDIES

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Color Using model photos of analogous and triadic color swatches. In these compositions, color was used in three different ways. the first was to represent the interaction between light and the model. The second use, present in the Triadic color model, is a focus on establishing mood.

The choice to include cool colors helps to create a calm mood within the piece. The third use, present more in the analogous color model, is the grouping of different forms. Blues and greens were each used to seperate and differentiate similar shaped forms from other forms.

Transformation Transformations made on a clay cube shows how the sequence and order of transformations effects the final form of the cube. This highlights the importance of action and the role it has in influencing how something is perceived when a transformation is made.

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Analysis

From analyzing the Wa Shan Guesthouse on Xiangshan Campus, a common organization between floors was discovered, with small variations. This is most likely due to a variation of use in rooms from floor to floor. From analyzing the elevation and figureground of the building, the basic structrue and organization of the building can be observed through the creation of two grid diagrams.

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PROJECT

Provided 6 objects and their projections, construct a series of paraline drawings. The exercise should assess and cultivate skills in analog drafting and spatial representation. From this composition and development of 6 paraline drawings, a combination of two of the six objects should be combined into a singular form of geometric complexity.

DRAFTING GEOMETRY

The drawings on this spread were developed from sets of given measured drawings of various views (top, left, front).

On the left side of each set of paraline drawings are 3-dimensional drawings with projected drawings of each side of their own respected form. Additionally, to the right of each paraline drawing, a couple other drawings were incorporated in order to provide varying views of the form.

This was intended to highlight any geometric details that may cause confusion or may not have been expressed as clearly through the incorporation of one single view.

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PROJECT

Embark on an exploration of form, volume, and structure. The question of how space is occupied and inhabited in 3 dimensions should be explored. From the previous exercise, use the hybrid forms as references in creating a 3-dimensional object out of cardstock paper. Also, construct a kit-of-parts drawing to accompany the models. Then, using cardboard sheets, construct a model (8”x4”x5”) with a unique interior volume that builds upon the skills and logic of the previous exercises.

CONSTRUCTING G E O M E T R Y

KIT-OF PARTS DRAWING

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Above, the development of a kit-of-parts drawing is shown, of which was developed from an original combination of two seperate forms. Within this form, the intention to create fluid transition from the geometric qualities of one form to another was greatly utilized as well as the exploration into interior space. As seen in the physical model, the combination encompasses a variety of geometric variants that create complex relationships between faces and edges. With the existence of the complex relationships, there still exists a sense of simplicity throughout the form.

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Above, the development of a kit-of-parts drawing is shown that was constructed from the observation of a classmate’s paraline drawings depicting their 3-dimensional combination.

The combination, as seen in the physical model, finds similar geometric aspects of each seperate shape in order to create a simple, smooth combination between the two forms.

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The model photos on the page show the form developed and created using cardboard sheets. The form focuses mainly on the interior space, thus its simple appearance on the outside. Within the “walls” of the structure, there exists an exploration of light and orientaton of geometric shapes. the way light interacts with the interior was a driving factor into the creation of the structure. A slit in the top of the form was made in order to light the end of the tunnel that lies between the entrance and the main chamber. This was intended to draw the viewer in by creating differentiation in how the light interacts with the structure.

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The drawings on this page aim to show the interior volume of the structure. Circulation, basic form and the interactions of light are explored and displayed to emphasize the logic and thought processes made during the design and construction of the structure.

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3

PROJECT

S H O T G U N

D O G

ROOTED

PRECEDENT

Discover the significance of vernacular architecture by researching a vernacular building type and organizing and curating a composition of research. From this research, create a representative example of the building type. Develop a series of measured drawings and diagrams that reflect the key design elements that define the building type as a vernacular piece of architecture.

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On this spread, an exploration into the dogtrot was made in order to develop a representative example of the vernacular building type. From the exploration, the key elements of the dogtrot include its interactions with the wind, in respects to its location, orientation (facing north) and the simple 1 floor, two room, symmetrical design of the building that reflects the building type’s history as housing for southern living.

DOGTROT VARIATION

CIRCULATION

ADDITIVE & SUBTRACTIVE

WIND INTERACTION

STRUCTURE

SUN INTERACTION

ORDERING GEOMETRY

MASS & VOID

Masonry

Wood

Shingles

MATERIAL CONSTRUCTION

SYMMETRY

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PROJECT

U R B A N INTERACTION Delve into the wonders of site research by making on-site observations of the Cabbagetown District as well as develop an understanding of the District guidelines that aim to preserve the history and logic behind the development of Cabbagetwon throughout its history. From the information gained from on-site research, develop a proposal for a live/work structure(s) on the corner of Gaskill street and Powell street. This proposal should follow the compatability rule as defined in the Cabbagetwon District Guidelines.

M I I LL LL II NN EE RR M Definition: A milliner is someone belonging to the profesDefinition: A milliner is someone belonging to the profes-They sion of manufacturing and crafting hats/headwear. sion manufacturing and crafting hats/headwear.

They to mayof also be responsible for making other accessories may also be responsible for making other accessories to accompany an outfit (shirts, cloaks, caps, nackercheifs), accompany outfitexisting (shirts,accessories cloaks, caps,or nackercheifs), adjust or an modify articles of clothadjust ing, or modify existing accessories or articles of clothing, Equipment: Equipment: - Wooden Hat Block - Floral Making Iron - Wooden Hat Block - Floral Making Iron - Push Pins - Sewing Tools - Push Pins - Sewing Tools - Hammer - Dressmakers Tape - Hammer - Dressmakers Tape - Hatstand and Dolly - Hatstand and Dolly SpacialNeccesities: Neccesities: A milliner would typically Spacial A milliner would typically needneed vari-variousspaces spaces in order to fulfill duties required ous in order to fulfill thethe duties thatthat are are required by by process designing, producing, selling headwear. thetheprocess of of designing, producing, andand selling headwear.

A space sitting down clients discussing - A- space forfor sitting down withwith clients and and discussing designs desired headwear designs forfor desired headwear A space crafting headwear storing crafting - A- space forfor crafting headwear andand storing crafting equipment materials equipment andand materials A space displaying headwear - A- space forfor displaying headwear

The Milliner, who specializes in crafting hats, is intended to occupy the northern most space of the area that encompasses a single story work space and a two story living space.

P H O T O G R A P H E R Definition: A photographer is someone who records events through the use of photography. Photographers typically take pictures pertaining to the natural world, people, culture, events, or objects. Photographers take pictures in two main atmospheres. These include a studio (where all ther equipment and set ups are located) and an onsite location where natural environments can be utilized.

Equipment:

-Camera and accessories - Laptop - Backdrops, Lights, Reflectors - Cleaning Kits - Printer

Spacial Neccesities: A Photographer will require variety of different areas in order to accomplish the needs of clients.

- A space for storing equipment

- A studio space where equipment can be set up for

portrait photography.

- A space for displaying the photographer’s work

- A space where the photographer can develop, edit,

and prepare photos for clients

The photographer, who develops photos digitally, is meant to occupy the area on the souther portion of the property. The space is a two story building with a double height space that allows for more natural light into the studio space.

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Model Charrettes

Gaskill St SE frontage

Powell St SE frontage

Gaskill + Powell St SE hybrid

synthesis + reflection

Through the development of these charrettes, the main objective was to determine a large variety of varying ideas in order to cover a large scope of different iterations that served to fulfill a different purpose. As the iterations progressed, a few ideas were taken further into more iterations to the point where a concise model could be chosen in order to fulfill the intended uses for each live/work space.

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Viewshed

Circulation Private/Owner Circulation Public/Client Circulation

Light & Shadow

Nodes Diagram 1

Living Room

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Kitchen

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Display Area

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Milliner Crafting Area

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8 4

2 5

Laundry Room

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Walk-in Closet

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Personal Bathroom

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Bedroom

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Laundry Room/Storage 13 Kitchen & Dining Room

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14 Closet

11 Guest Bathroom

15 Bedroom

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10 Editing Room

12 Studio Space

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Massing

These diagrams are used to convey the different aspects of each building that were taken into consideration when designing the spaces for each live/work space. A driving factor for this design was the importance of light for each maker. It was dtermined that the photographer would need more natural light, so their studio space was incorprated with more windows that allowed light to enter from the south.

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The milliner, whose profession doesnt require natural light, would then be situated north of the photographer’s building. There was a greater importance for the living space of the milliner to have access to some natural ight, however. This problem was fixed by seperating the milliner’s building into two seperate parts and moving the two story living space leftward and out of the shadow of the photogrpaher’s building.

A key issue that arose during the development of this design was the issue of space. Because there were many restrictive rules regarding square footage, unique solutions were needed in order to allow for enough space for both living areas and working areas for both makers on the property. Storage space for each maker was made within thickened walls throughout each studio in order to allow more space for creation and living areas.

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The orientation of the building was meant to mirror the orientation of the building across the street.

The reason for this was to build upon the idea of a store front building existing on the corner of two streets. If the two corners of Gaskill and Powell both developed an orientation where a storefront faced Powell st, it would create a stronger sense of untiy with the area and further drive the proposal’s intent in the area. The appearance of the building was also very important. When deciding the color swatches for each building, the colors of the surrounding buildings were taken into consideration. The surrounding houses didnt seem to be too bold, so colors that sort of fit into the color families of the surrounding buildings were chosen. This was done in order to cement the building into its environment by almost camouflaging the building with specific colors that made sense with its surroundings.

Elevation Gaskill

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Outer Perspective

Inside Perspective (looking down from the upper dining area)

Elevation Powell

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ART NOUVEAU’S

TENDRILLING

F I G U R A T I O N & DEEP-DECORATION

RESEARCH [Art Nouveau Precedents and Analysis] Iron Balustrade Hector Guimard (1909)

Layering

Taxonomy

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Elevator Door Otto Wagner (1898)

Layering

Taxonomy

Stairway, Hotel Tassel Victor Horta (1892)

Dress Panel Hector Guimard (1900)

Layering

Layering

Taxonomy

Taxonomy

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FIGURES AND FAMILIES [Relationships | Functionalities | Variation] J-Curve

Typically 3 control points Skewed to one side, provides sense of direction + weight.

Hook Curve 5 or 6 Control Points Turns down, generating compound motion. Hooked aspect does not sit above main curve.

S-Curve

4+ Control Points Two changes in direction. Very dynamic and dramatic.

C-Curve

Typically 4 Control Points Addition of fourth point stabilizes curve.

More balanced and centralized than J-curve.

Spiral Curve

6 Control Points Defined by folding over itself. Nesting effect.

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Intersect

Branch

Nest

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CONFIGURING Parent Family I - AB Tessellation

Configuration1

unit duplicated + linked

column copied

alternating column inverted

columns linked + repeated across page

Parent Family I

unit duplicated + rotated same tessellation as parent

scale increases across page

new forms linked into chain

units are linked

progressively more severe chains arranged onto sheet, then linked

expansion

linked on left-hand side

Family I - Var I

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Family I - Var II

unit duplicated + joined

column duplicated + offset

Configuration2 offset columns repeated

Parent Family II

unit copied + compressed in one direction

repeated across axes

unit duplicated, rotated, + scaled down

intermediate transformations filled

Family II - Var II

units linked, action repeats

links form chain, which is repeated

Family II - Var I

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CONFIGURING

Configuration3

Parent Family III

Family II-Var1

Formulative Elements

Decorative Elements

Structural Elements

Formulative Elements

Decorative Elements

Family II - Var II

Structural Elements

Family II - Var III

Formulative Elements

Decorative Elements Structural Elements

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Configuration4

Parent Family IV

Compositional Formulation

Family IV - Var I

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CONFIGURING | THICKENING II Configuration Family I

Configuration Family II

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Configuration Family III

Multiplying

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SITING & PROGRAMMING VEHI C U L A R

PREVAILING WIND

TROLLEY

SUNLIGHT WINTER

FALL/SPRING

SUMMER

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Afternoon

Noon

Morning

Winter

Fall/Spring

Summer

OCCUPANCY Hyatt Regency

Culmination of restaurant and apertment properties

Embarcadero Center Americano Restaurant & Bar

Embarcadero Plaza Alameda Ferry Service

Commercial Interior Builders

Scheme I: Narrow Studio Core

San Francisco Artists Market The Ferry Building

Scheme II: Alternating Use Layers

Scheme III: Centrifugal Program

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FITTING & MISFITTING

Panel Warping

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Metastructural Stretching

Center Panel Delamination

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PLANS & SECTIONS

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RENDERINGS

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MEDIA &

MODELING

2-D PARTI

Radial Divisions: 2 main Symmetrical axis’

Orientation of Columns on each floor

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Elliptical void created by the spiral ramp

Crescent shape formed by relationships of occupied spcae on each floor

Ellipse is scaled up while crescent shape is scaled down

4th Floor

3rd Floor

2nd Floor

Ground Floor

Ellipse is scaled down while crescent shape is scaled up 5th Floor

6th Floor

Ellipse is scaled down while crescent shape is scaled up 7th Floor

8th Floor

9th Floor

Ellipse is scaled down while crescent shape is reversed and scaled down

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3-D PARTI

External Form

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Ramp Formation

Floor Orientation

Variation 1

Variation 2

External Form

Ramp Formation

Floor Orientation

Mid-circle guide scaled down

Ramp stretched upward with width scaled down

Floor scaled accordingly to fit exterior form

Variation 3

External Form

Ramp Formation

Floor Orientation

Top-circle guide moved upward

Ramp stretched upward with width scaled down

Floor scaled accordingly to fit exterior form

Variation 4

External Form

Ramp Formation

Mid-circle guide scaled up and moved downward

Ramp width scaled down and a gradual right shift from bottom to top

Floor Orientation

External Form

Ramp Formation

Floor scaled accordingly to fit exterior form

Mid-circle height increased and guide circles aligned concentrically

Ramp width scaled down and aslight shift leftward from bottom to top

Floor Orientation Floor scaled accordingly to fit exterior form

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SYSTEMS

Base Shapes w/ Splines

Base Exterior Surface

Window Panel Creation

(Quad. & Diamond Panels)

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Resultant Surfaces

Exterior Surface Division

Variation 1

Variation 3

Variation 2

Variation 4

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SYSTEMS

Floor Arrangement

2’ Interior Offsets

Offset Curves Divided into 10 Segments

Vertical Curves Created Between Points

Thickness added to Curves to Create Columns

Resultant Formation

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Variation 1

Variation 3

Variation 2

Variation 4

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