L O G A N D U M O N T
M . A r c h + 3 C a n d i d a t e University of Southern California
International Relations Course
Oxford University San Diego State University B.A. in Public Administration w/ Emphasis in City Planning
Project Coordinator
Technicolor
Art Gallery Micro -Unit Public Pavilion Axonometric Cube Small Venue Work Experience Intern Account Manager
R&A Design Los Angeles Institute of Architecture and Design
Deluxe Digital Studios Graduate Prepatory Program
University of Southern California
Art Gallery Space within a Space
PROJECT BRIEF In downtown Los Angeles, a new, emerging neighborhood known as the Arts District is slowly growing in popularity. A physical site was given on the corner of 3rd Street and Spring Street, to renovate an existing 1st floor building. The program called for 3 main components: an art gallery, retail space and a cafe/bar all under 3,000 sq.ft.
OPEN SPACE
STREET DIRECTIONALITY
PROCESS
Walking the urban site and exploring downtown Los Angeles, I began to notice the importance of directionality as an outside force. This lead to the exploration of vectors in neighborhoods, influencing the formal language of my design. The main attraction benefitting this area is the Art Walk and its ability to change the flow or direction of the neighborhood. These forces, along with a previous precedent study of bifurcation,lead way to my design method.
E LOCATION
NETWORK OF OPEN SPACES
VECTOR DIRECTION OF NETWORKS
Exterior Forces: <Outside-In> Throughout the urban context of downtown Los Angeles, vectors stood out most frequently in my initial study. Focusing mainly on the presence of the Thursday Night Artwalk and the emerging “Gallery Row” on Spring Street, vectors were discovered by means of the connectability of open spaces, street directionality, the gentrification of the surrounding neighborhoods, and pedestrian traffic and their visibility, especially to the site itself.
PUBLIC OPEN SPACE LOCATION
CONNECTION TO OPEN SPACE
NETWORK OF OPEN SPACES
STREET DIRECTIONALITY
VECTOR DIRECTION OF NETWORKS
OUTSIDE PRESENCE
BEST VIEW QUALITY BUNKER HILL
FINANCIAL DISTRICT
SKID ROW DISCONNECT
Every thursday night, an Art Walk is held with Food Trucks encompassing the nearby parking lot. The visibility for the storefront is at its highest peak during this time, which can be seen from nearly all angles.
PEDESTRIAN VISIBILITY
ARTS DISTRICT
NEIGHBORHOOD INFLUENCE
A
SKIN
B
B
STRUCTURE
A
CASE WORK A
PLAN SCALE 1/8” = 1’0”
FLOOR PLAN
B
EXISTING
A
COMPLETE
CEILING PLAN
SCALE 1/ CEILING PLAN
ALE 1/8” = 1’0”
CEILING P
SECTION AA
SECTION B
SECTION B
SECTION BB
SECTION B
Micro-Unit Net-Zero Live/Work Housing
PROJECT BRIEF
With the continuing energy crisis at the forefront of all future endeavors in any industry, the examination and implementation of conserving energy is at its all-time high. One way to help reduce the use of energy is to reduce the habitable square footage of new homes and effectively use passive design strategies to help achieve a net-zero dwelling. The aggregation of units is often overlooked in the passive design strategy, which is a key focus to this project as well as collaboration with a colleague.
PROCESS
Being born and raised in Northern California, the weather climate fluxuates drastically from season to season. With this knowledge, my colleague and I chose a hillside site in Mill Valley, just north of San Francisco, in order to get an array of results from our initial aggregation design. The hillside is key in our concept of lowering the footprint of the building, forcing verticality over traditional horizontal housing. To better understand the typology of the climate region, Climate Consultant was often referenced in order to drive passive design strategies.
PROGRAM The program consisted of a small, micro-unit dwelling for a couple where both live and work could be done.
WINTER SOLSTICE
SUMMER SOLSTICE
THERMAL NIGHT FLUSH A
B
Heat Stored
B
Thermal mass protected by shade
Heat Released A
9’
17’
CIRCULATION
WORK
AGGREGATION
LIVE A
B
B
A
SECTION AA
SECTION BB
SOLAR ANALYSIS
PLAN_OBLIQUE
A Summer Solstice June 21st @ 12pm
Thermal mass protect ed by shading
A
Heat Released
NORTH
EAST
Winter Solstice
SITE PLAN
December 21st @ 12pm
MATERIALITY_STUDY
UNIT_ANALYSIS Heat Stored
4.
3. 4.
MATERIALITY_STUDY
UNIT_ANALYSIS
2. 4.
4.
3.
Heat Released
SOUTH
PLAN OBLIQUE
WEST
1.
SECTION A-A
3.
3. 2. 4.
4.
UNIT_ANALYSIS
2. 2.
4.
4.
1. 3.
3. 1. 3. 1. 4.
FIRST FLOOR
1ST FLOOR
SECOND FLOOR
2ND FLOOR
2. 4.
2.
2.
3. THIRD FLOOR
3RD FLOOR 4. 1. 2.
BY_FLOOR
AGGREGATION
1ST ITERATION
2ND ITERATION
Public Pavilion Liner
PROJECT BRIEF Pop-up pavilions are a current trend in the field of fabrication and architecture which helpl explore space within a space as well showcasing new techniques for construction methods. In this project, the idea was to explore the interstitial space that was first formulated from a previous project while experimenting with connectivity.
PROCESS Apertures on cameras are used to delineate the amount of light allowed into the lens. Bringing this concept to a surface allowed for the adjustable settings needed for addressing “public” vs “private” situations. Using form created in a previous project which took place as the frame, I created a liner using the aperture system as a surface. This allowed for shelter while providing an interactive experience through the space.
PROCESS
STUDY MODEL OF INTERLOCKING PIECES
PROFILE VIEW
FRAME
INTERSTITIAL SPACE
A
FORM W/LINER
A
B
B
0
B
B
6
10
20
1’-0” = 1/4”
A
0
6 1’-0” = 1/4”
PLAN
A
SECTIONAA
SECTION BB
10
20
Exploration of Form & Space In order to better understand the space within the space, multiple study models were made, starting from the most primitive shape, a box. From here, different mediums were used to help analyze the interstitial space which included 3D printing, laser cutting and hand modeling in basswood and museum board.
Axonometric Cube Hand Drawing
PROJECT BRIEF The ability to graphically represent ideas, whether it be on trace paper or napkins, is important to convey ideas. In these series of hand drawing exercises, everything from trace paper and drafting dots to 45 degree triangles and pantone were used to better understand where architecture originated. Two sets of important twentieth century house plans were given to study and form canonical procedures that would eventually lead to an axonometric cube formed from the original house plans.
PROCESS Each architectural floor plans were overlayed with orthogonal grids through every intersection. From there, special attributes throughout the plan were made visible. Studying thick walls, columns, enclosed spaces and door swings, both forward and inverse, were the basis of my projections. These rules filled in the orthogonal sections, creating two for each plan. The diagrams were then overlayed and reinterpreted by creating white space whenever black overlapped black. Final drawings were completed with ink on vellum, trimmed to the size of 7” x 7”. Finally, a 20” cube was drawn, transferring both diagrams to the bottom and back face of the cube. Here, each shape was projected and formed by Boolean operations.
Floor Plans Two important twentieth century canonical floor plans received an orthogonal grid overlay by drawing a horizontal and vertical line through every intersection in the plan. This created visible sections to further explore spatial patterns.
Hand Drawings Placing trace paper over the existing floor plans, a black and white figure/ground composition was created by pochet-ing sections of the previously drawn orthogonal grid. This was governed by revealing or emphasizing distinct aspects of each project. Columns, doorways and confined spaces were the driving forces of these projections.
Composites For each plan, two hand drawings were overlayed over one another and synthesized into composite diagrams. When black elements overlapped other black elements, that section would turn white. The final drawings were inked-on-vellum and cut to 7â&#x20AC;? x 7â&#x20AC;?.
LOVELL BEACH HOUSE
LANGE HOUSE
ORTHOGONAL GRID
Axonometric Cube The final two composites were placed into an axonometric cube where Boolean operations were used on the projections. Pantone color was then used on specific attributes. Objects that had no touching corners and were solely by themselves were highlighted here in the final drawing.
ATTRIBUTE
OVERLAY
Small Venue Game Club
PROJECT BRIEF A cite plan was assigned with dimensions of 40’ x 40’ x 40’ which would hold a Game Club. Since the Duality project was built around the dimensions of a cube measuring 12” x 12” x 12”, it was to be scaled and used as the base model for the club. Inside that club, a stage measuring 20’ x 20’ x 20’ had to be placed anywhere in its enclosure, essentially creating a cube within a cube. Still maintaining a conceptual design, the club would encompass a few real elements such as hallways, windows and floors.
PROCESS In order to create a shell or skin for the cite plan, the Duality project was exploded from the center to create four individual pieces. Each piece was then flattened on two adjoining faces, creating a corner. Once all four corners were established, they were joined together to form a shell. To create the inside of the club, the shell’s unique and individual pieces were all given simplified rules to unify a more building like structure. Once the inner cube was placed, all objects would deflect from its space as if it had a force field. This enabled the stage to be preserved and remain a cube.
Phase_3:
Formation
Explosion FLATTEN
Exploding the Pentago model from the center created four sections of cubes. Each cube was then flattened on two adjoining faces to create a corner. Once all four sections were flattened, they were rejoined to create one single cube.
REJOIN
v
JOIN
Simplification
SMOOTH
WINDOW
HALLWAY
WALKWAY
BEAM
STAGE
Since the formation of the cube created multiple, distinct qualities, each were simplified in order to provide more of a balanced aesthetic and overall uniformity.
By exploding the Pentago model from the center, forcing all features to create a shell for a cube, really enabled the “cube within a cube” to take center stage. This allowed for the focal point of the project, creating visual interest as all other components within the model would surrender to the stage, allowing open space. By evolving the force field concept of the stage, no extremity would enter, thus diverting objects to continue their forward rent direction. This is turn helped create both informal and formal areas of seating, sitting and viewing areas, allowing guests to explore freely, and competitors to maintain hierarchy.
A
A
N
N
10’
STANDING STAGE
12’ B
B
B
SEATING
18’
40’
A
A
FLOOR PLAN
CAFE
SECTION BB
PROGRAM
SECTION AA
WEST
SOUTH
EAST
NORTH
R&A Work Experience Scope of work:
SCHEMATIC DESIGN Sketchup / Rhino / Hand Sketching RENDERS Sketchup / Vray / Artlantis FULL SCALE MOCK UPS Onsite / Site Visits PHYSICAL MODELING Massing / Detailed / Presentation PRESENTATIONS Planning Commision / Client / Office CLIENT RELATIONS Maintain client rapport