PORTFOLIO
Thorncrown Chapel Structural Analysis
06
Extraction + Description of Primary Organization
02 Applied Graphics to a Building Facade
07
Landscape Manipulation
03 Buenos Aires Public Pissior
08 Torrey Pines Gliderport Redesign
Buenos Aires Museum of 04 Contemporary Art
09 Transition - A Home in Encinitas, CA
01
05
Connecting Urban Spaces Through Directionality
The Hollow - A Space for Experimental 10 Performance
TABLE OF CONTENTS
“I think of the past and the future as well as the present to determine where I am, and I move on while thinking of these things.� - Tadao Ando
THORNCROWN CHAPEL STRUCTURAL ANALYSIS
This group project analyzes the structural composition of Thorncrown Chapel in Arkansas. By building a model of the chapel in the exact manner it was originally constructed, we are given insight into how the structural systems work and support one another. All pieces are cut to size and then assembled into joist systems, which are then placed into the foundation to form the structure.
“Space is the breath of art.” - Frank Lloyd Wright
APPLIED GRAPHICS TO A BUILDING FACADE
A three dimensional graphic is applied to a new building facade by extracting and abstracting elements from the existing Basilica by Palladio in Vicenzo, Italy. The form is created by looking at the existing lines of the Basilica and creating folds upon those lines. The graphic facade is inspired by the textures on the facade of the Basilica. A melted plastic skin is applied over two-tone paneled walls to create depth and texture.
“I think you need to understand the essence of a place and create a building that feels like it resonates with the culture of a place.� - Moshe Safdie
BUENOS AIRES PUBLIC PISSIOR
Inspired by street fashion and runway trends; this school project focused on designing an easily portable public pissior for outdoor events in Buenos Aires. The structure was designed specifically to be placed near the Obelisco de Buenos Aires, but could potentially be integrated anywhere in the world. The structure can be easily folded into triangular components for portability. The design features a sloped hill with embedded cell phone charging stations so that users can lounge on the hill while their devices charge, a large covered gathering space for concessions or events, and 2 toilets with large rotating blinds. The blinds allow for as much or little privacy as the user desires. The flowing shape of the gathering space and charging hill were inspired by the high-low gown design that is popular on runways. The toilets with blinds are inspired by the unique eye wear that can be seen in current ready-to-wear fashion.
MEXICO
BUENOS AIRES MUSEUM OF CONTEMPORARY ART BERNARDO DE IRIGOYEN
This potential design for a new contemporary art museum in Buenos Aires, Argentina was based on architectural and circulatory inconsistencies throughout the city. In Buenos Aires; neighborhoods are unique to one another, creating a city that feels stitched together. I aimed to provide a museum design with the same stitching together of various “neighborhoods.� These neighborhoods have been translated into pod like galleries, classrooms, and commercial spaces, while the structure keeps all of the pods stitched together. Circulation and administrative spaces occur in the spaces between the pods. The structure, pods, and circulation spaces all share the same skin, which creates the illusion that although these spaces are completely unique they are also connected as one.
Roof Plan Sublevel 1
Sublevel 2
CONNECTING URBAN SPACES THROUGH DIRECTIONALITY
This modern day obelisk in Rome, Italy seeks to create a connection point between Piazza del Popolo, Piazza Venezia, and the Colosseum, while providing the city with a new metro station typology. The form reflects the direction of the Colosseum while pointing down Via del Corso toward Piazza del Popolo. Differing forms are seen from various locations to reinforce this directionality including the inhabitable sunken portion of the roof, the interior, the approach from the Colosseum, and the approach from Via del Corso.
“Architecture is a visual art, and the buildings speak for themselves.� - Julia Morgan
EXTRACTION + DESCRIPTION OF PRIMARY ORGANIZATION
By investigating the landscape of Sonora, Mexico, connections are drawn between densities and circulation routes. These connections are abstracted to form a framework for the design of a transformed interior and shell of an existing San Diego apartment building. To further create connections in this design, glass is used to create a visual connection between exterior spaces. Modular units are implemented on the interior to create open and changeable spaces.
1 : to plunge or engulf something 2 : to cause to combine, unite, or coalesce 3 : to blend gradually by stages that blur distinction 4 : toby become combined into one (as defined Mirriam-Webster) verb: 5 : to blend or come together without abrupt change
1 : to plunge or engulf something 19’
22’
27’
12’
2 : to cause to combine, unite, or coalesce 12’
16’
3 : to blend gradually by stages that blur distinction 19’
19’
3.2’
17’
16’
4 : to become combined into one
14’
20’ 21’
19’
22’
5 : to blend or come together without abrupt change
27’
12’
16’ 19’ 19’
3.2’
17’
16’ 14’
20’ 21’
LANDSCAPE MANIPULATION
By manipulating the landscape of an existing park in Ocean Beach, CA, a swimming area and amenities were accommodated. The verb “merge” was picked before design to drive ideas. My interests lay in the portion of the site that contains both the highest and lowest elevation points, despite sitting between a freeway offramp and on-ramp. This change in elevation provides a sense of seclusion, which was recreated throughout the site, for the final design, to activate under-utilized areas and “merge” three portions of the site currently separated by busy streets. Craters house pools and social areas. Bridges/pathways connect all areas of the site. Pathways and craters are included in one continuous structure emerging from the ground. Saunas are placed on bridges/walkways as breakpoints. Roads are designed to ungulate based on proximity to craters. Undulations are more extreme at the craters, while roads flatten as they get father away from the craters.
32 8 32 6
33 6 2 1
324
32
0
322
TORREY PINES GLIDERPORT REDESIGN
Inhabitants will experience the wind with multiple senses. SEE the weathering and movement of materials, HEAR the sounds of the wind against the structure and roof, TOUCH and feel the varying levels of wind intensity. Layering, placement of the building on an axis to the landscape, and an elevated structure, transport users from land to air. Public and private spaces emerge through the form of the structure to activate multiple areas of the site. The entry ramp confines and then frees users as they progress. Service spaces are confined to a weatherproof bar. The form of the ramp and service bar carve out outdoor rooms protected from the wind, while the remaining portion of the program can be fully enclosed or exposed to the elements.
errace
Living Room
ntr
ining Room
o er
Citrus Orchard itchen
Outdoor Sho er
Bathroom aster Suite
Sleeping Nook
Sleeping Nook
Storage
B
TRANSITION - A HOME IN ENCINITAS, CA
By altering the perception of what defines indoor and outdoor spaces, the Southern California dream of experiencing beautiful weather follows residents through every space in the home. Large skylights, floor to ceiling glazing, trellising, and the continuation of exterior finishes to the interior of the home blurs the line between indoor and outdoor. An orchard courtyard is situated in the center of the house and surrounded by glazing to allow additional light into circulation spaces and allow transparency throughout the house.
N SCALE: 1/16” = 1’ GROUND LEVEL
12 FEET
THE HOLLOW - A SPACE FOR EXPERIMENTAL PERFORMANCE SPACE SECTION B
MACHICHE WOOD
CONCRETE FLOOR + PAVING
FROSTED GLASS BLACK STEEL MULLIONS
STEEL STRUCTURE
+20 FEET
A
B
C
SECTION C
SECTION A
Situated on a site between Broadway and Pershing Square in Downtown Los Angeles, this performing arts center joins two distinct cultural districts; the financial district (represented by rectilinear programmatic elements), and the jewelry and fashion districts (represented by an organic shape grown out of the street). As these geometries intersect, as the two cultures do, they push and pull one another to create deformations. Shallow steps extending from the main site to Broadway provide an extended space for street life and outdoor performance. Three glowing cubes highlight the main entry, the public cafe, and the exclusive patron’s lounge on the second level, creating place markers for way finding. Materials are meant to weather and gray to slowly blend in with, and return to, the street from which the design grew.