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DR OP CE DR ILIN O GR DR P CEIL O OP CE ING S DS ILIN U G P B STR AN ELS UCTU R
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1
50'0" Arch 317 Construction 1 Instructor: Bradley Cooper
3'8"
7'2" 2'8"
4'10"
2'0"
KITCHEN
4'3"
LIVING ROOM
8'7"
20'1"
27'5" 11'4"
4'5" 8'6"
12'9"
3'11"
DINING ROOM
DN
5'6"
3'2"
1'3" 4'5" 3'3"
5'8"
27'5"
5'3"
3'8"
2'0" 2'6"
5'4"
2'9" 2'10"
2'1"
3'8"
14'2"
3'8"
3'1" 2'0" 3'11"
13'3"
9'6"
3'11"
2'6" 3'9" 8'5"
4'2"
6'10"
5'8"
8'2"
3'7"
UP
5'11"
7'5"
11'4"
41'4" 13'2"
Revisions
No.
Date
14'6" 1’
2’
4’
8’
1450 Jones Dr Ann Arbor Mi, 48105 Architect: Sahba La’al
N Title:
First Floor Plan
Drawn By:
2
BY: NATE LONG
Project
Whitney Hansley
Dome Home
Date
Scale
1/4”=1’
Sheet
CONTENTS 3
INTRO
ARCHITECTURE
PRODUCT DESIGN
CONSTRUCTION
CONCEPT DESIGN
03 04 40 50 56
ARCHITEC 4
CTURE 5
OTHER MUSEUM WINTER 2012 UG4
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7
OTHER MUSEUM A CHILDREN’S MUSEUM FOR RAPID COGNITION
Other Museum explores an atmosphere of curiosity and discovery. Exhibitions focus on the kind of thinking that happens in the blink of an eye. Spatial relations promotes Intellectual growth by Challenging that which we consider reality, or the way things work. Using tools such as anamorphic projection, experiential learning, interactive objects, and temporal environments occupants are motivated to question their understanding of space and how we inhabit it.
8
STREET VIEW OF FACADE
233 BOWERY STREET NEW YORK, NY
SHARING SPACE
PRECEDENTS
$
@ * %
Grand Central Station, New York
To exploit the occupants subconscious reaction to what they interpret as defined space, the museum plays with what it is that defines the space. Imagination and sensation are, in some sense, faculties of the mind insofar as it is united with a body. Therefore, Other Museum asks you to question your own physical presence.
Pushing and pulling layers conceive voids; Voids therefor, create the boundaries. Pulling Apart the layers 1/8”=1’0”
Dan Graham Sagitarian Girls, 2008
“Profit comes from what is there; Usefulness from what is not there.” Tao Te Ching Solid vs. Void
Separating Layers
Dan Graham, Double Triangular Pavilion,1989
9
1/8”=1’0”
+32 FT (LARGE GALLERIES)
+23 FT (LARGE GALLERIES, MEDIUM GALLERIES, LOUNGE)
+10 FT (LARGE GALLERY, MEDIUM GALLERIES)
EAST-WEST LONGITUDINAL SECTION 10
ENTRY LEVEL +0 FT (ENTRY, OFFICE, RESTROOMS, GIFT SHOP, ROTATING INSTALLATION)
In the longitudinal section of the museum you see circulation and gallery spaces lose their particular boundaries. Slippage occurs where stairs begin to deform the ribbons and, vice versa, manipulating the hierarchy of space. Spaces are no longer defined by physical relationships, rather, experiential qualities such as crowd density, light, perspective, and ones own quality of transience.
11
12
PLATFORM DIAGRAM
INTERCONNECTING SPACE
EXHIBITION SPACE
13
d.e.i FALL 2011 UG3
14
15
d.e.i
DE TRO I T S C H O OL F OR EN TRE PR E N E U R S H IP AN D I N N O VAT I O N Detroit is a city fresh full of resources and bright young minds. Yet, the city’s growth is at an all time low. Abandoned buildings and forgotten businesses are a common scene. Detroit School for Entrepreneurship and Innovation aims to reach out to the community, help bring business back to the city, and seize the unrecognized resources that Detroit has.
Abandoned buildings at site
Site view 8375 1880 2467
Proposed ally/garden path 14517
d.e.i will sit at the center of Detroit’s cultural district. The site is currently home to a few abandoned buildings, a museum, parking lots, and empty space. d.e.i illustrates the symbiotic relationship between community and school. 16
The school will be implemented with the same concepts as precedents such as the Highline in NY. Reusing the abandoned space to improve the community.
165849
1755 2025
17200
15250
3300
9463
3872
29730 ft
SITE SQUARE FOOTAGE Site:
165849
Existing parking lots:
62085
Existing structures:
47750
Ft.
2
Reusing t he exist ing in f r ast r u ct ure
17
VE EA
E
C
ST
N
CIRCULATION DIAGRAMS
ID
DS
OO
W LD
IE
F AN
The form was designed to harmoniously connect the community with and within the school. Circulation paths create a main corridor that guides the occupant from one side of the site to the other, while sub-pathways create interaction spaces. Elbows in the circulation create visual hot spots and are purposely programmed to exploit the social atmosphere. There are 4 atriums within the school that visually connect the levels, deliver sunlight to classrooms, and create a more open space. The most important architectural factors in creating a community within the school are: visual connections, interaction spaces, circulation hierarchy, and central hub for collaborating and sharing.
CE
NTR
AL
CO
RR ID
OR
DEVELOPING THE FORM
IMMEDIATE ACCESS TO ST.
18
PULLING THE SIDES OUT TO INCREASE SURFACE AREA
UTILIZING THE ANCHOR POINTS TO MAXIMIZE VISUAL CONNECTIONS
CREATING A CENTRAL HUB
1ST FLOOR PLAN
VE EA
SID
OD
WO Men's Bathroom
Study Lounge
Multipurpose Room
Women's Bathroom
Storage Room
Dining Hall
Multipurpose Room Copy Room
School Kitchen Social Media Center
Multi Purpose Space
Testing Room
Study Space
Ticket Office Fitness Center
Collaboration Room
Unisex Bathroom
Auditorium Reception
Large Auditorium
Balcony
Exterior Courtyard Auditorium Balcony Entrance Kitchen Office
Classroom
T DS Storage
Loading Docks
Mechanical Room
Storage and Mechanical Storage Classroom
Woodshop
Community Outreach
Men's bathroom
Multipurpose Space
Women's Bathroom
Men's Bathroom
L FIE Meeting Rooms
Meeting Rooms
Study Space
Meeting Rooms
Meeting Rooms
Kitchen
E
N CA
Multi Purpose Space Women's bathroom
Exterior Courtyard
Fabrication Laboratory
Lounge
Computer Offices
Multi Purpose Space
Computer Offices
Computer Lab
Collaboration Space
Combination Room
Computer Offices
Small Group Room
Large Group Room
Small Group Room
Multi Purpose Space
Student lounge space
Library Offices Group computer Lab
Mechanical Shaft
Information Desk
mechanical shaft
Group Room
Small Group Room
Cafe
Small Group Room
Professor Offices
Public Lounge Library Desk
Group Room
Classroom
Group Room
Multipurpose Room
Conference Room Lounge
Multi Purpose Space
Store
Classroom
Library
Storage
Small Auditorium
Help Center
Collaboration Room
Classroom Multipurpose Room
Unisex Bathroom
Collaboration Lounge
Classroom Administration Desk
Group Room
Classroom
Administration Offices
Classroom
Classroom
Projection Room
Discussion Room
Exterior Courtyard
Work Area
Men's Restroom Exhibition
Women's Restroom
Product Presentation Rooms
N
Multipurpose Room
N
Woodward Avenue
2ND FLOOR PLAN
3RD FLOOR PLAN
19
AERIAL VIEW SCALE MODEL 1/8”=1’0”
LONGITUDINAL MEANDERING SECTION CUT
20
WA LK
-AB
LE T
ERR
ACE
RENDERING INTERIOR ATRIUM
21
THE SPACE WITHIN FALL 2010 UG1
22
23
THE SPACE WITHIN “Thirty spokes share the wheel’s hub; It is the center hole that makes it useful. Shape clay into a vessel; It is the space within that makes it useful. Cut doors and windows for a room; It is the holes which make it useful. Therefore profit comes from what is there; Usefulness from what is not there.” -Tao Te Ching - Lao Tzu - chapter 11 24
It is always around, but it is only defined by its edges. Space is a parasite. Its survival depends on another. Yet space is what defines the purpose of its edges. In this project we investigate space using four images associated with an industrial environment. In the images, crisscrossing supports and repeating structures along with opaque planes and masses form integrated layers. Large pockets of space are created by interlocking planes. The depths of multiple surfaces create a shadow making machine. Space begins to be defined not only by masses but by light and shadows, giving us the ability to realize the utility of what is not.
ISOMETRIC SCALE DRAWING. PENCIL AND CHARCOAL
LONGITUDINAL SECTION
CROSS SECTION
PLAN SECTION
25
ROCKITE CASTING
QUANTIFYING SPACE IN AN EFFORT TO UNDERSTAND THE USEFULNESS FOR WHAT IS NOT THERE, I CONSTRUCTED TWO CONCEPTUAL MODELS OF THE SPACE WITHIN. A ROCKITE CASTING AND A MODEL MADE OF STACKED MUSEUM BOARD. ST AC
KE
26
DM
US
EU
MB
OA
RD
CONSTRUCTING SPACE WITH MATERIAL
CHARCOAL RENDERINGS OF FIRST MODEL
AFTER ITERATIONS OF STUDY A FINAL MODEL WAS MADE USING BOTH TRANSPARENT AND OPAQUE MATERIAL. SOLID MASSES OVERLAP AND COLLIDE. AS A RESULT, THERE IS AN UNDERSTANDING THAT WHAT IS NOT THERE DEFINES WHAT IS AND VICE VERSA.
FINAL MODEL.
COKE BOTTLE GREEN GLASS, BASSWOOD, CHIP BOARD SPRAY PAINTED WHITE
27
(TWO2) OBSESSIONS FALL 2010 UG1
28
29
(TWO2) OBSESSIONS (TWO2) OBSESSIONS JUXTAPOSES TWO UNIQUELY DIFFERENT CIRCULATION PATHS. THE TWO LANGUAGES CREATE A ROMANTIC YET DESPERATE SCENE OF TEMPTATION AND DESIRE. THE PATHS PUSH AND PULL AT EACH OTHER YET, NEVER INTERSECT. “THE GRASS IS ALWAYS GREENER ON THE OTHER SIDE.”
30
PLAN VIEW
CHARCOAL PERSPECTIVE RENDERING 1-3
31
CROSS SECTION
32
LONGITUDINAL SECTION
33
CAMINO DE SANTIAGO SPRING 2011 UG1
34
35
ALBERGUE DE LAS PATAS CAMINO DE SANTIAGO 3”X5” MOLESKIN NOTEBOOK
36
ALONG THE CAMINO DE SANTIAGO, A PILGRIM MAY WALK ANYWHERE BETWEEN 100 AND 2000 MILES. EVERYDAY WALKING TO A NEW LOCATION AND PREPARING FOR THE NIGHT. IN SUCH A TRANSIENT LIFE, A PRIMAL NECESSITY IS SHELTER. THE ALBERGUE SERVES AS A TEMPORARY HOME FOR THE PILGRIMS. EACH DAY SEEING A NEW SET OF FRESH FACES. OUR WALK BEGAN IN PONCE DE LEON, FRANCE, 500 MILES FROM SANTIAGO. ALONG THE WAY WE STAYED IN MANY ALBERGUE’S, STUDYING EACH ONE TO DESIGN THE PERFECT SHELTER FOR PILGRIMS.
37
1ST FLOOR PLAN
38
2ND FLOOR PLAN
SLEEPING QUARTERS FRONT ELEVATION
CROSS SECTION
SPACIAL RELATION
WASHROOM RENDER
NSHIPS AXONOMETRIC DIAGRAM
STRUCTURAL AXONOMETRIC DIAGRAM
COMMON SPACE RENDER
39
LONG D E S IG N
40'7" 16'5-3/4"
42-42 64TH STREET QUEENS, NY 11377
AS NOTED
DRAWN BY:
NJL NJL
DATE:
11.15.2012
11.15.2012
6'5"
6'4"
KITCHEN/ DINING ROOM 14’9”x25’4”
POWDER ROOM 6’9”X5’
4
B
2
4'3-1/4"
3'4-3/4"
FLOOR PLANS
DRAWING NO:
40
7'7-1/4" 40'7"
N
DRAWING TITLE:
7'1"
3
16'6-1/4"
OFFICE 9’6”X7’7”
4
6'8-1/2"
B
9'4-1/4"
3
1
1ST FLOOR PLAN
A1.1
17'0-3/4"
14’8”x15’4”
DRAWING TITLE:
DRAWING NO:
LIVING ROOM
28'6"
DATE:
B 2
10'7-3/4"
NJL
7’3”X7’4”
6'4"
CECKED BY:
ENTRANCE
2
5'1-1/4"
SCALE:
NJL
CECKED BY:
A
11'5-1/4"
1025 REGIONAL ROAD PORT PERRY, ONTARIO
AS NOTED
DRAWN BY:
8'11-1/2"
1
B
1025 REGIONAL ROAD PORT PERRY, ONTARIO
SCALE:
16'5" 7'5-1/2"
A
28'6"
JORDAN MCKAY RESIDENCE
7'8" 7'9-1/4"
15'10"
42-42 64TH STREET QUEENS, NY 11377
8'8-1/2"
6'4"
This renovation of a 1920’s two story, at the heart of the Canadian contryside, began with the stripping of JORDAN MCKAY the interiors and was rebuilt using a RESIDENCE modern and traditional vocabulary. While the project is still underway, the kitchen examplifies that warm and rooted inspiration of the countryside. The white cabinetry and detailed glass panels are brought together by a rustic marble island and an oven vent that was built using reclaimed wood from an old barn on the property.
5'6"
D E S I GN
5'11-1/2"
LONG
9'9"
LONG DE S IGN
40'7" 16'5" 42-42 64TH STREET QUEENS, NY 11377
8'8-1/2"
7'8-1/2"
3'10"
6'5" 4 2'2"
6 W.I.C 6’8”X10’6”
7'2-1/4"
7 5
28'6"
2'9"
1'2"
4
2'8"
11.15.2012
BATHROOM 9’9”X5”
2'8"
ATE:
2'6-1/4"
NJL
28'6"
NJL
8'0-3/4"
4
5'7"
5'11"
B
B
6'10"
MASTER BATHROOM 14’8”X12’3”
6'4"
11'7"
2
3'6"
4'0"
5'3"
4
BEDROOM 14’9”X9’10”
B
14'5-3/4"
B
2'10"
AS NOTED
ECKED BY:
A
MASTER BEDROOM 14’8”X15’4”
4'11"
11'6-3/4"
BEDROOM 14’9”X9’6”
B
5
RAWN BY:
8'6-1/2"
A BEDROOM 10’4”X7’5”
5'2-3/4"
1025 REGIONAL ROAD PORT PERRY, ONTARIO
CALE:
7'9-3/4"
6'4"
A
16'4-1/4"
3'11-3/4"
14'0-1/4"
JORDAN MCKAY RESIDENCE
7'9-1/2"
B
RAWING TITLE:
7'8-1/4"
2ND FLOOR PLAN
8'9-1/2" 16'5-3/4"
5'4-1/4" 7'8"
2'3-3/4"
8'5-1/4"
8'0" 16'5-1/4"
N 40'7"
RAWING NO:
A1.2
41
PRODUCT DESIGN 42
43
MAGAZINE RE-USE WINTER 2012 42 HOURS OF RE-CREATIVITY COMPETITION
PARTNER: ANDREW JIMBO
WON HONORABLE MENTION RECYCLING MAGAZINES TO DESIGN CONTEMPORARY AND INNOVATIVE PRODUCTS INCLUDING A CUSTOMIZ-ABLE COFFEE TABLE, SPEAKERS, AND HANGING LAMPS. 44
45
CLOCK LOOS FREELANCE DESIGN CLOCK LOOS WAS INSPIRED BY ADOLF LOOS AND HIS DESIGN OF THE STEINER HOUSE IN VIENA, AUSTRIA. THE PIECE IS MADE FROM LEFT OVER MUSEUM BOARD OF A SCALE MODEL OF THE HOUSE. THE QUARTER MOON CURVE OF THE ROOF THAT SO FAMOUSLY DEFINES HIS DESIGN IS REPRESENTED BY THE CURVES OF SOME OF THE PIECES OF THE CLOCK.
46
BOXED WINE FREELANCE DESIGN A COMPACT 9”X9”X9” CUBE WINE BOTTLE HOLDER. WITH A DRAWER FOR HOLDING COASTERS AND BOTTLE OPENER.
47
WATER RETREAT A RELAXING WATER RETREAT. IN THE MIDDLE OF SUBURBIA. CAREFUL PLANT PLACEMENT AND A TRICKLING WATER FALL HELP ADD TO THE ENTIRE GARDEN EXPERIENCE.
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49
CONSTRUC
STEEL COLUMN
FINISHED WOOD FLOOR SUBFLOOR
CONCRETE DECK
METAL WAFFLE DECKING INSULATION REINFORCING BAR
STEEL I-BEAM SPRAY ON FIREPROOFING
ALUMINUM RAILING
50
CTION 51
B.A.M.F WINTER 2012 CONSTRUCTION 2
PARTNER: MANUEL MARTINEZ
STEEL COLUMN
FINISHED WOOD FLOOR SUBFLOOR CONCRETE DECK
THE B.A.M.F. PERFORMANCE VENUE OFFERS A VERY OPEN AND FLEXIBLE SPACE FOR EVENTS, INSTALLATIONS, PERFORMANCES, AND GATHERINGS. IT IS A STEEL CONSTRUCTION WITH A GLASS AND WOOD FACADE.
METAL WAFFLE DECKING INSULATION REINFORCING BAR
STEEL I-BEAM SPRAY ON FIREPROOFING
ALUMINUM RAILING
10’0” FINISHED WOOD FLOOR PLYWOOD SUBFLOOR
INSULATION DROP CEILING RODS DROP CEILING SUB STRUCTURE DROP CEILING PANELS
STEEL RIBBON BRACING BOLT STEEL ANGLE STEEL STRINGER GYPSUM FIREPROOFING RAILROAD TIES
10’0” WATER PROOFING LAYER
CONCRETE FOUNDATION
52
GRAND STAIRCASE
FINISH ROOF LAYER GYPSUM FIRE PROOFING
INSULATION
THE FRONT FACADE HAS THE UNIQUE ABILITY TO SLIDE COMPLETELY OPEN, ESSENTIALLY ELIMINATING A BARRIER BETWEEN THE INTERIOR AND EXTERIOR. THE EDGE IS BLURRED FURTHER BY AN ALMOST COMPLETELY TRANSPARENT SHELL WITH A POROUS WOOD DESIGN AT THE CENTER. A LONG BALCONY, HOSTING A MAGICAL WATERFALL HELPS TO CREATE A NATURAL COOLING CONDITION AND SOUND EFFECT THAT CAN EITHER CONTRIBUTE TO THE INTERIOR OR SERVE AS A NATURAL BLIND. THE GRAND STAIRCASES ARE MADE WITH REUSED RAILROAD TIES. THE ENTIRE SPACE FLOWS CONGRUENTLY BECAUSE OF ITS CONSTANT RELATIONSHIP WITH NATURE THROUGH VISUAL AND AUDIO EFFECTS, BLURRING OF PHYSICAL BARRIERS, AND SELECTION OF MATERIALS.
ROOFING GUTTER SYSTEM/ STEEL GUTTER FRAME STRUCTURAL STEEL OVERHANG ALUMINUM GUTTER JOINT
Level 2 9' - 6"
CONCRETE SLAB WATER MEMBRANE SYSTEM INSULATION STEEL WINDOW BRACE WATER PROOFING LAYER CONCRETE MEMBRANE WOODEN PARAPET RIM JOIST METAL WAFFLE SPRAY FIRE PROOFING STEEL BEAM WOODEN PANEL CMU STRUCTURAL WALL
CRIPLE METAL FRAME MATERIAL REVEALING
WINDOW METAL FRAME
CLEAR GLASS WALL INSULATION
STEEL FRAME STUD
FLOOR REVEALED IN FACADE
SINGLE HEADER
WATER PUMP SYSTEM
WATER FALL
STEEL COLUMN
WATER LANDING DRAINAGE SYSTEM
FRONT FACADE
53
DOME HOME: JONES DR. FALL 2010 CONSTRUCTION 1 PARTNER: WHITNEY HANSLEY
DOME HOME IS A RESIDENTIAL HOME DESIGNED BY SAHBA LA’ AL. WE VISITED AND MEASURED THE HOME TO ACCURATELY DRAW SECTIONS AND PLANS FOR IT.
LONGITUDINAL SECTION 54
FIRST FLOOR PLAN 55
CONCEPT D 56
DESIGN 57
OUT OF ORDINARY
58
PHOTOGRAPH TO FORM THE PHOTOGRAPH WAS ROTATED, PRINTED, AND NEW CURVES WERE INTERPRETED. TANGENT LINES WERE EXTRUDED FROM THE CURVES AND DRAWN ON THE PRINT WITH PENCIL. THE NEW IMAGE WAS REINTERPRETED AND 3 DIMENSIONAL FORMS WERE PULLED OUT TO DISCOVER A DEEPER READING IN TO THE IMAGE.
59
DESPINA
Despina can be reached in two ways, by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red windsocks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground floor windows, each with a woman combing her hair.
60
In the coastline’s haze, the sailor discerns the city form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wineskins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed. Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border between two deserts.
“DESPINA CAN BE REACHED IN TWO WAYS, BY SHIP OR BY CAMEL.” BOTH TRAVELLERS SEEK THE QUALITIES OF THE OTHER’S DESERT. EACH STEP IS LONG AND HARD, BUT SUPPORTED BY THE PROMISES AND SEDUCTION OF THE OTHER SIDE; EACH STEP PUSHES A DEEPER LONGING FOR THE OTHER SIDE.
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62
63