G rowth
Peel i n g
De c a y
Folding
Stra ta
Wea v i ng
Kyle Robert Norman Des i g n
Por t fol i o
2 0 1 3
Design Projects
// TABLE OF CONTENTS
Design Build Projects
Cover: Thesis Investigation: 3D Prints Photoshop Ecology. Ver tical Garden panel prototypes, sur face manipulation studies
PA P E R - M A K E R L I V E W O R K
MASTER THESIS : ECOLOGICAL SOLUTIONS FOR I N T E G R AT E D V E RT I C A L G A R D E N S
YOUTH CORRECTION FACILITY
DESIGN CENTER FOR ELECTRIC VEHICLES
M I L L A R L I B R A RY S A N D B O X M E D I A - T E C H
SEAHOLM DESIGN COMPETITION
L I V E T O L O V E P AV I L I O N
STUDIO EN 4 X 8 X 20
S H AT T U C K H A L L E C O L O G I C A L L E A R N I N G P L A Z A
P H OTO G R A P H S
SE 11th
SE Belmont
45˚30’56.37” N 122˚39’16.93”
grow
WHAT : Live - Work Residential WHERE : Por tland, Oregon TYPE : Design Studio Exploration TUTOR : Clive Knights LEVEL : Unit 2.2
// PAPER MAKER _ LIVE - WORK STUDIO
make In this project each student was assigned a unique craf t and asked to design an urban live-work residence within a community of f ifteen other individual craf tsmen. Linking together the residences was an inward facing community space specif ically tailored to the needs of the individual trades while conforming design relationships with adjacent sites. We were encouraged to focus on the manifested connections between the body of the maker, the tools of the craf t, and the neighboring ar tists. Attention was also paid to the crafts person’s relationship to the world around them through their own specif ic fascinations of the craft itself.
display
Through rigorous research and understanding of the paper makers’ life, I was able to explore the daily routines of the maker while developing an understanding for the distinction between living and working quar ters. By exploring and array of media in a sketchbook and modeling at quar ter inch scale I was able to inform my design decisions through the process of making. Level One Plan: Watercolor Rendering
“He is just as much a botanist as a producer of paper.�
Above: Building Section: Watercolor painting
Above: Model Photographs and Process Watercolor
sleep Interior Perspectives: Collage Drawings
eat
sleep
reflect grow
eat make
Building Section: Watercolor Rendering
make
// STANDARDS • PATTERNS • PERFORMANCE
Thesis Question: How can vertical gardens be integrated into eco-districts as an enhancement to under performing street trees, while providing habitat corridors, storm water management, and empowering pollinators?
Abstract American urban centers are experiencing a deepening crisis. Contemporar y culture must discover how to reduce urban heat island (UHI) effect. The UHI crisis was born with the development of our satellite main street centers from the 1940’s to present. UHI is the result of building mass, roads and other solid surfaces absorbing radiation during the day. The stored heat is then emitted into the atmosphere at night. It is proven that temperatures around green areas are lower than that around built environments. A powerful way to lower the average ambient temperature is to integrate natural ecosystems into the built environment. Cities have street trees planted primarily for public enjoyment, canopy coverage to and sequester carbon from our atmosphere . Unfortunately trees do not thrive in our urban areas because of the harsh conditions that both their roots and canopies must endure. Implementing a new for m of engineered ecology, such as ver tical gardens, will provide oppor tunities for a cleaner atmosphere, regulated ambient temperatures and a higher quality of life for citizens to enjoy healthier urban environments. These engineered ecologies will provide pollinators with adequate habitat corridors. This proposal is a design solution for the form of these ecological systems. Portland’s innovative eco district proposals suggest that the creation of living cities will provide a balance at every scale. This balance will occur through the application of the living building challenge criteria. These standards should be applied at the regional, city, district and block level. This thesis proposal analyzes design challenges and oppor tunities for a por tion of the Gateway district’s NE Halsey-Wielder main street couplet. The suggested solution is to integrate a new form of urban ecology as a replacement to contempor ar y urban planting str ategies. Just as Lawrence Halprin ingrained ecological systems into the Portland urban environment, I plan to integrate an architectonic solution that will have the same impact on our urban fabric.
3D Site Model
Column Section
“If we made the scale jump, this geometr y could be a component for a ver t ical gar den .�
Cholla Cactus
Cholla Cactus E xoskeleton
Leaf structure: Section through a soya leaf. Scanning electron micrograph (SEM) www.sciencephotolibrary. com
Cholla Cactus Spine
Inspiration
Concepts and Prototypes
Z Core 3D Print Inspirational Watercolor Urban Scale Model Photo
Presentation Drawings
Planametric Perspective
Sectional Perspective
Sea view ave. NW
Ballard marina
47˚41’10.25” N 122˚24’09.72”W
WHERE : Seattle, Washington WHAT : Institutional TYPE : Poetics of Architecture Design Studio Exploration TUTOR : Nikola Boscanin LEVEL : Unit 3.1
Our design studio’s objective was to create a youth correction facility for trouble teens, a place for changing adolescent lives. As a group we researched the current system in place, we concluded that the current systems purely are discipline center for numbers, not individuals.
// YOUTH CORRECTION FACILITY
I sought to create a space that encompasses a built environment and instills troubled youth with a trade and a sense of purpose. We were asked to write poetr y to inf luence the development of our poetic graphic images. Developing my own poems along side researching youth correction, I began to conjure graphic images related to the systematic classif ication of troubled youth. This is a typology of individuals foreseen to visit the center at some point along their stained path of life. Questioning why one of the same typology would come to be a visitor, lead me to theorize that they had missing voids within their lives. I in turn captured the voids from their images and combined them with my site analysis to create an or thographic representation of a prison, a place that sail making; boat building and rigging could be practiced. I was able to design not only a social solution, but also a physical space that could be a transitional learning environment that would launch youth to new levels of oppor tunity - a prison for change. I chose to place the facility for change in Seattle, Washing ton, in the marina district of Ballard. A community with historic ties to mariner trades.
Character Development Poetic Graphic Images: Pencil Drawing, Watercolor wash, Digital Collage
Infrastructure of loss Realization intertwined with salty knots soaked with tears The closet door has shut But has technology come in---- A one-way memory I can’t get off this island
Bleak Timeless Infrastructure of views Time invested is time worth gambling on The light blares You remember Being lost
The Flapping - Yet it resembles the clapping at the symphony What if I knew how to conduct the ocean? There -- sunken deep within the harbor Put out to sea yet engaged with supervised experiences This is the real world I feel the correction for all intensive purposes. How can they make me a scientologist, if there really is such a thing? Capturing yet run by The contained. Set deep --- like an anchor that the crabbing boat lost in the storm of 2001 Fifty-two knots Yes I was sure of it I now know I know what my life is really worth. They taught me gybes and tacks - Unhand, Overhand, All tangible hitches, that all great salts know. You really don’t know the ocean till you fight it You can’t win --- some say that you can only protect ones self and contain the mannerisms of vibration
Stained Paths of Life: Gouache Wash, Steel rust transfer, Wood block Stamp, Digital Poetr y Overlay
Top: Watercolor montage [2.] Gesture Texture Exploration Model: Embeded and Encased. Fir, Beeswax, Anchoring cement
Or thographic hybrid Mono prints: Copper Etched 18’ x 24” plates, Burnt Sienna pigment
Top: 17” x 27” Print. Or thographic Analytic Oblique drawing of holding cells and circulation towers, Ground f loor plan, Sailing Diagram Bottom Left : 8” x 14” Print. Rotating sewing table diagram
NE Grand Ave.
NE couch St.
47˚41’10.25” N 122˚24’09.72”W
This project was to design center for electric vehicle prototyping, each design student was given six sites to analyze in the East Burside-Couch Couplet. The sites were analyzed and selected based on the clients building program needs. Once a site were proposed we worked through, designing parking for 20 vehicles, and designing the 35,000 sf design prototyping center making sure to continually check our selves on the original goals and clients needs. This project culminated in a 40 page comprehensive document covering all 38 NA AB Learning Criteria. Below are the 4 project goals I created with my client.
Community
Studio / Creative
Research Library
1. Implement a physical por trayal of environmental stewardship guided by the Living Building challenge 6 Prerequisites. Beauty & Inspiration: Provide an environment that represents a combination of qualities that pleases the intellect or moral sense . Energy: Optimize minimal ener gy consumption, by implementing passive systems, integrating alternative systems for ener gy production. Materials: Low embodied ener gy str ucture . Finish mater ials Mater ials that are on the Red List. Indoor Air Quality: Integr ation of planted ecology to enr ich the indoor air quality. Provide maximum exposure to of direct and indirect natural sunlight. Monitor indoor quality, as well as user productivity, and health. Site: All existing str ucture mater ials on site will be reclaimed, reused, what can not be used will be donated to the rebuilding center, or recycled Water: All water that lands on the site will be stored, filtered and reused on site .
Exhibition Space
Administration
// DESIGN CENTER FOR ELECTRIC VEHICLES
LEVEL : Unit 5.3 WHERE : Por tland, Oregon WHAT : Commercial TYPE : Design Studio Comprehensive Design Development MENTOR : Rudy Bar ton, Corey Griff in
Parking
Material Storage
Fabrication / Testing
Community
Site location and maximum building heights allowed. SITE 2
SITE 4
SITE 1
LOT DIM: SITE 2 93’ x 87’
SITE 3
LOT DIM: 100’ x 81’
SITE 5
LOT DIM: 166’ x 76’
8,091 SF FAR 9 : 1
LOT DIM: 93’ x 86’
8,100 SF FAR 6 : 1
LOT DIM: 100’ x 99’
12,616 SF FAR 9 : 1
7,998 SF FAR 9 : 1
SITE 6
Maximum building height allowed by city zoning code map 510-3, Bureau of Planning • City of Portland, Oregon
LOT DIM: 175’ x 83’ x 78’ x 118’ 11,181 SF FAR 3 : 1
A B C D
Maximum Building Height 200 feet. Zoned Exd Maximum Building Height 150 feet. Zoned Exd Maximum Building Height 50 feet. Zoned Exd Maximum Building Height 50 feet. Zoned Commercial
9,900 SF FAR 6 : 1
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[1] Be an artifact for a new generation of design thinking, for a society that is ethically and environmentally responsible.
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[2] This building will be a physical manifestation of the design principles and culture of the firm.
Catalyst Development elopment Areas
Couch Burnside Couplet Double Mainn Street Couch Burnside Couplet Maximum Building Heights
[3] Create a “cutting edge” space that provides the DCEC with the ability to provide sustainable alternative energy transportation for the future. [4]An environment that harvests creativity, while providing oppor tunities for multilevel employee interaction as well as fostering human comfort, health and creativity.
Top: Par ti Diagram- “Weaving Studio” This diagram represents the integration of studio work : Hand Fabrication, Studio Critique Feedback_& Testing. Bottom: FAR site selection diagram / site renderings.
Above: Corner Perspective Hand Rendering. [1] Building program relationships diagram. [2] Off ice interior perspective- Digital rendering.
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1. Triple - Silver MSVD Solar Control Low- E Glass 2. Glass fin, Laminated 1/2” 3. Individual fixing, Stainless steel, 4” dia. 4. Structural C channel 6 x 4 5. Stainless steel rod 1 1/2” dia. 6. Temperate controlled passive louvered vent. 7. Stainless steel glass fixing 8. R - 30 tapered insulation 9. 4” Conc. on rigid decking 10. Angle iron facetted to W10 11. 2” R -19 insulation, ext. wall typ. 12. Stainless steel 8” strut attached to glass. 13. Ipe 1” x 6” rain screen 14. Grace Tri-Flex 30, Ice and water shield 15. 1/2” steel strut welded to pipe frame 16. Metal mesh with Hex patterned screen 17.
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Se c t i o n E n cl os u re D e t a i l 1/4” : 1’-0”
69'-10"
57'-0" 57'-0"
43'-0"
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29'-0"
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E a st Wa l l Se c t io n
N or th E l evati on
West Secti on
sw park ave. sw montgomer y st.
47˚41’10.25” N 122˚24’09.72”W
[1]
// MILLAR LIBRARY MEDIA TECH
LEVEL : Unit 5.2 WHERE : Por tland State University WHAT : Renovation / Expansion TYPE : Interior design MENTOR : Will Bruder, Lisa Ward
The Millar Librar y is in great need of a new librar y media tech. Within this interior design project, our studio spend 10 days exploring all possibilities for what the future of the librar y is going to be.
[2]
This proposal opens the Nor theastern edge of the Millar librar y up to natural corridor of the park blocks. The program developed for this space includes, Laptop plug in stations, comfor table lounge chairs, wireless printing pickup station, 52 computing stations, 4 medium size practice presentation spaces, a innovative technology display center and twenty-four hour access for all Por tland State Students. This project was geared towards looking at the “Catalyst, Big Ideas” for the currently underutilized space, it was our hope that the librar y sandbox quick design charrette would provide visualization to promote funding oppor tunities for the PSU librar y administrators.
[1] Presentation Watercolor Librar y Entrance [2] Process Plan Drawing ‘Space Planning‘
[1]
[2]
[3]
[4]
[1] Millar Librar y corner Perspective, Watercolor Rendering [2] Entrance view from Park Blocks [3] Interior Digital Rendering, Tools used- (Rhinoceros V4, PodiumSU, Photoshop CS5) [4] Interior Presentation Perspective, Watercolor Painting
Lady Bird Lake Wetland Conservation Center
BLV
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NORTH
CEA
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The Wetland Center will use riparian vegetation as the basis, with a smaller component that showcases terrestrial species. Beyond the educational component, the Wetlands Center celebrates the lake and the downtown edge in a dynamic fashion, while sustaining and fostering a healthy urban lifestyle. A lake level Pool Deck encloses an open water swimming pool replenished by the water cleaned by the living machine; connects to an ex tended pier and boardwalk; ex tends the trail system and suppor ts watercraft docking The Pavilion is the larger of the historic buildings and is repurposed as a f lexible, indoor park space. This space can be utilized by the downtown worker on a lunch break, a Seaholm shopper looking to take in a view of the lake, or a trail jogger in need of a rest. The Pavilion can also be rented out for events and special occasions. Imagine a wedding reception overlooking the lake;
D.
The Lady Bird Lake Wetlands Center, capitalizing on the successful model of the Lady Bird Johnson Wildf lower Center, will use evidenced based, ongoing research to educate the public about the role that plants take in our environment and using enhanced recreational activities to bring people into the site.
LAM
// SEAHOLM DESIGN COMPETITION
THE SITE AS A FILTER / THE BUILDING AS A MACHINE
NORTH
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pump
clean
play
Draw water from Lady Bird Lake for filtration, education and leisure.
Yoga on the roof; an inclement weather location for the Farmer’s Market; or a Parks Foundation fundraiser that sells ticket to watch the 4th of July Fireworks from the rooftop. The mass of the building allows it to remain at a comfor table temperature during ex treme temperature swings with the aid of operable panels and mechanical ventilation. The Interactive Tidal Display takes place in the smaller of the Intake Buildings and acts as a major par t of the educational component, teaching people about pollution and the role of humans and the natural environment in cleansing the ecosystem. The Wetlands Center impar ts many sustainable solutions in the redevelopment of this site. A big sustainable feature is the reuse of the existing historic buildings. Solar panels on the glass and steel shade structure offer both dappled light and renewable energy for the project. A variety of native planting in the landscape and in the wetlands require little irrigation, and the water that is used to irrigate the plants comes from the lake – no potable water will be used on plants. The educational component will foster a sense of community and awareness to the sensitivity of our local environment. and rental.
Allow native riparian plants to clean the polluted Lake water, while teaching the city about wetlands.
Enjoy a fresh, clean, safe swimming environment while surrounded by nature.
4 release Give the clean water back to Lady Bird Lake for the rest of the city to enjoy.
Jamu Kashmir India
Leh, India
// LIVE TO LOVE PAVILION...COMMONWEALTH PAVILION
34˚08’55.37” N 77˚33’12.18” E
WHERE : Ladakh, India WHAT : Tensile Architecture TYPE : Design Build / Fabricate MENTOR : Sergio Palleroni LEVEL : Teaching assistant / Project construction coordinator ROLE : Lead Fabricator/ Designer.
Pavilion Elevation: Concept drawing
The Peace Pavilion is the brainchild of the students and faculty of the BASIC Initiative’s Ladakh program and was designed and built in collaboration with Sarah Bonnemaison and Christine Macy of Filum Ltd, renowned for its fabric structures. Constructed from disused militar y parachutes, it is a f itting reminder of the intrusion of war on ever yday lives – yet also highlights the goodness that can emerge from conf lict. Like all of the BASIC Initiative’s project the idea for this pavilion followed one of our central tenets that innovative architecture and effective structures can build people’s capacity for hope and sur vival. The Peace Pavilion does just that. Its original home is the Druk White Lotus School in Ladakh, or Little Tibet; this is one of the world’s most peaceful countries, bordered on three sides by the conf licts in China, Pakistan and Afghanistan. Disused militar y parachutes are a common currency and a daily reminder of the surrounding conf lict. In June 2010, the BaSIC Initiative worked with local pupils and buddhist nuns to re-imagine and re-stitch together parachutes from this region of conf lict into a parabolic hyperboloid tensile structure which resolves structural and design issues in a structure that symbolizes peace and unity that this school and children hope for amidst the chaos of war and conf lict in this region.
Pavilion Plan: Concept drawing
Pavilion Plan: 3D Model for Model Fabrication
Photograph by Laura Dempsey
“LIVE TO LOVE PAVILION” IS A SPIRITUAL SPACE FOR THE 12TH GALWANG DRUPKA Sergio explains: “The legacy of the Commonwealth is one of peace, constitution and hope for the future. The Commonwealth Pavilion takes materials conceived for war and turns them into something positive – essentially building blocks for a peaceful future. We worked with local people to unpick a tool of conf lict and re-stitch a place of sanctuar y. This is the hear t of the BaSIC Initiative, providing structures which unite and empower people to deliver a more positive future.” In Ladakh, the Commonwealth Pavilion is a place for children and adults to meet, to share music, drama and ideas. At a practical level, it is a sanctuar y against the intense sun hitting a countr y founded at an elevation of 13,000 feet. During September 2010 the Pavilion will be showcased at HRH. The Prince of Wales’ Garden Par ty to Make a Difference, as a prime example of innovative architecture improving the lives of others. It will then return to Ladakh to assume its place at the center of this academic community.
Scaled model of the pavilion at the British Design Museum.
nw everett st
nw 5th ave.
47˚41’10.25” N 122˚24’09.72”W
// ART INSTALLATION _ FOUR BY EIGHT BY TWENTY
WHERE : Rake Ar t Galler y Por tland Oregon WHAT : Studio EN Collaboration TYPE : Ar t Installation MENTOR : Garrett Mar tin LEVEL a: Unit 2.2
4 x 8 x 20 is the translated physical manifestation of the implied role of architecture and spatial design on the individual’s experience in a galler y setting. The project creates a three-par t f low along the Rake Ar t Galler y’s existing axial spine. The installation’s objective was the creation of architecture as a viewing lens for ar t. Embodied in the project’s built structures is the question of how architecture f ilters and inf luences the individual patron’s experience of two-dimensional spatial expressions. The temporality of the space is thus interpreted through the sliveredviewing angles of the paintings. The architectural installation questions how ar t interacts with architecture, through the creation of tangible and implied roles in the galler y setting.
Installation Photographs
[1]
[2]
ARCHITECTURE AS A VIEWING LENS FOR ART [3]
[1] Installation Photograph [2] Sketch Plan: Human path [3] Concept drawing ‘Balance’
lar
H flo 2O w
So
Monitoring e Bik
Green Walls sw broadway
Green Roof Curtain wall Canopy
// SHATTUCK HALL ECOLOGICAL LEARNING PLAZA
sw college st.
45° 30’ 32.20” N 122° 41’ 41.04” W
WHERE : Por tland Oregon WHAT : Shattuck Hall Ecological Learning Plaza TYPE : Design Build, Project Management MENTOR : Jeff Schnabel, Sergio Palleroni
The Site The site is located at the Nor thwest corner of SW College St. and SW Broadway just East of Shattuck Hall. This space was previously the home of the CPSO building. Four years ago, when Por tland State University had plans to remove the existing building, PSU Architecture faculty members contacted Facilities and Planning and recommended that the Architecture Depar tment use this territor y for demonstration projects. After some negotiations, the faculty was successful and the site was transformed into the Shattuck Hall Ecological Learning Plaza. The ecoroof on the nor th end of SHELP was designed and planted to monitor the per formance of native species on a steep sloped structure. All of the plants selected for the roof are native to the state of Oregon, though not specif ically to Por tland. Many of the species can be found in the most arid ecosystems, growing under severe conditions such as exposure to hot summer sun and challenging rocky soils. Oregon’s ecosystems which suppor t ecoroof adapted plants include: scree f ields of the Columbia River Gorge and Cascades, the Great Basin deser t, serpentine strata in the Siskiyous, and lithosolic plains in the Columbia Plateau.
Building profile of the Conservation Discovery Zone designed by SRG Partnership
[ OVER | STORY ]
: ( n ) T h e u n d e r s t o r y o v e r o u r c i t y.
Grey to Green Initiative Ecoroof Incentive Program Funding provided by : City of Portland Bureau of Environmental Services
Complete 2012 The Shattuck Hall Ecological Learning Plaza (SHELP) contains the most diverse assemblage of plants on the campus of Por tland State University. A mix of trees, shrubs, and perennials was selected for beauty, hardiness, drought-adaptability, and to provide habitat for pollinators. The eastern peripher y of SHELP was planted f irst in the summer of 2011 using perennials, shrubs, and ground covers procured from Bosky Dell Natives in West Linn, Oregon. Prominent species include red-f lowering currant (Ribes sanguineum), woodland strawberr y (Fragraria vesca), and goatsbeard (Aruncus dioicus). Located under the maple canopy, the eastern peripher y planting functions like a woodland garden, retaining moisture better than the other more exposed sides of the plaza.
Photographs