ARCHITECTURAL DESIGN PHILOSOPHY Contemporary generations of architects and developers will likely be remembered for their investments in the foundations of the environmental movement. Changes in material consumption, efficient use of passive and active environmental systems, support of anti-consumerist ideals, autonomous construction, integration of urban and agricultural environs, and the ease of trans-architectural palettes has diversified the field of architecture all across the board. Architecture is in itself a material and spatial thing, and as a result, the response and impact on the natural context is a crucial part of design development. At its essence, environmental response is also a social concept, as the atmosphere, energy (figurative and technical), and the interface of a space have an overwhelming effect on the overall health of the user experiencing it. By taking steps to understand these integrated concepts as layers of design, the architectural process can be responsibly comprehensive, demonstrating considerations that flexibly balance many performance imperatives and interests, invoking research, experiments, and practice, ultimately forging into the next frontier of design. In this respect, the responsible expression of materials and the inclusion of new ways of thought are essential to the growth and exploration in the architectural field. Due to its material and experiential nature, the importance and identity of architecture does not emerge from any one piece of construction, but through the ideas and words of the people who experience it, making the evolution and procession of our ideas as culturists, community activists, artists, engineers and businessmen/women absolutely crucial. As our culture grows and evolves, so should our articulation in architecture, as design is not a static thing. Architecture should be designed with this in mind, emphasizing that the things that are designed and constructed today will become our history tomorrow, and will probably not be as relevant in its intended purpose; architecture needs to be pliable and renewable. This does not mean that those inflexible designs are useless, by any means; it simply implies that the use and purpose of all things evolve, while the original shell serves only as a supposition of what it used to be. Architecture has come to embrace the concept of integrated design, which is both an organized collaboration between disciplines and a knitting of building systems to create a product that is socially, economically, environmentally and programmatically responsible. The balancing of people, prosperity and planet creates an equal basis for which any user can identify with, regardless of the scope or intended purpose, resulting in the maximum quality and probability of success in architectural design.
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// ARCHITECTURAL PORTFOLIO THEORY & CONTENT The various projects presented in this portfolio explore ideas of sustainability, spatial juxtapositions, and phenomenology, while maintaining a strict knowledge of architectural theory. Through each project, I explore different building typologies and programmatic issues while attempting to advance the discipline of architecture in the application of novel forms and often conflicting ideas. The work is not entirely modernist, nor is it entirely organic, but rather, the conceptualizations occupy the space between the two movements, and continually investigate attributes of both. Although there are many theoretical camps to develop and adhere to, the work contained herein vacillates between many polarities in an effort to remain flexible to the influx of new ideas.
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year 2 / semester 2
WHITE RIVER HERITAGE a cultural center for MUSEUM forsyth, missouri
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year 3 / semester 1
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year 3 / semester 2
A BATHHOUSE FOR THE OZARKS turkishinhammam a curious
context
DRURY UNIVERSITY CENTER FOR PERFORMfacilitating artistic ING ARTS growth and community
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year 5 / semester 1
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year 5 / semester 2
EYEBEAM : SGF
a multi-use highrise housing a digital collective
TEMPLE OF BITS : UNDER CONSTRUCTION
developing architectural narrative through technological empowerment
MISCELLANEOUS WORKS graphic design, branding, precedent studies, sketches, etc.
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WHITE RIVER HERITAGE MUSUEM
A CULTURAL CENTER FOR FORSYTH, MISSOURI TEAM: NATHANIEL DEASON ARCH211 - BILLY KIMMONS - SP09
PROBLEM This project provided a real life application of our architectural studies up to the time. Drury’s second year architecture students were contracted to design a center for the exhibition of artifacts from the White River area in southwestern Missouri. We were given a site and context in Forsyth, Missouri, along with some information concerning the expected inventory. CONCEPT I adhered to the client’s prerogative to make the visitors discover the natural, historical (Native Americans, Civil War, etc.), and the more contemporary histories of the surrounding area. With this in mind, the development focused on the dichotomy of the more industrialized areas and the more natural, untouched boundaries of the site. I used these boundaries to develop axes as a tool to orient my building and began to investigate a contrast between the two sides of the building. The edges of the construction corresponding to the more developed boundaries of the site are much more rigid and planular to reflect and emphasize the rectilinear nature of the architectural histories. On the other hand, the face of the museum that corresponds to the natural formations of the context emphasize an organic form, in the likeness of an arc and accentuates a more progressive and unrefined growth that also houses the main body of the exhibits.
PROGRAMMATIC REQS. 1. Main Gallery 2. Subsidiary Gallery 3. Support & Offices 4. Storage 5. Classrooms 6. Theature 7. Reading Louge 8. Library 9. Gift Shop 10. Revolving Gallery 1
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// LEGEND 1. Exterior Rendering 2. Site Plan 3. Proportion and Circula tion Flow Diagram 4. Exterior Rendering 2 4
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1 GROUND LEVEL Classrooms Storage Park Access
2 ENTRY LEVEL Offices Storage Revolving Gallery Gift Shop Main Gallery Theatre Restrooms Lounge(s)
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SECOND LEVEL Offices Library Reading Lounge Conference Space
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// LEGEND 1. Southeast Elevation 2. Building Section 3. Structural Rendering 4. Library Rendering 5. Lobby Rendering 6. Gallery Rendering 7. Gallery Rendering
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A BATHHOUSE FOR THE OZARKS
TURKISH HAMMAM IN A CURIOUS CONTEXT TEAM: NATHANIEL DEASON ARCH319 - M.J. NEAL - FA09
TYPOLOGY The turkish hammam is the middle-eastern variant of a steam bath. The bathing process is similar to that of a sauna, but it generally resembles the organization of ancient roman baths. In this sense, it is said the functionality and form of the baths are derived from their conquests into Alexandria, but have in turn adapted to the cultural implications in Turkey, resulting in early baths being added on to mosques and other religious and civil buildings. In many cases, they have evolved into large, dedicated complexes. For the most part, these baths are not exclusive to men: women are segregated by different spaces or by different bathing times. Moreover, each of the spaces in the bath have different functions and varying forms. Typically a hammam is divided into 3 areas:
A
tepidarium (warm room): used for washing up with soap and water
C
B s覺cakl覺k (caldarium: hot room): used for soaking up steam and getting scrub massages
B
C sojukluk (cool room): used to relax, dress up, have a refreshing drink and take naps
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OTHER PROGRAMMATIC REQS. CONCEPT Upholding the typological attributes of sensuality, procedure and transformation, the conceptualization analyzes an amorphous process in which a minimalist object develops themes of maximalism and iconic manipulation of volumes being defined by organic forms. PROCESSION The bather would enter the facility, meeting very rigid and narrow spaces, revealing a sense of friction or compression that would personify the stressed qualities of the visitor as they begin the bathing process. As the bather begins to progress through the warming rooms, the rectilinear qualities of the structure and walls begin to warp and peel away, creating larger spaces in plan and in elevation, as they also create lounges and viewing areas. Once the bather emerges from the warming rooms, the surfaces begin to curve outward and overlap over the prior volumes to create a different sense of form as the compression and friction continues to lessen.
1. 2. 3. 4. 5. 6.
Reception Staff accommodation Laundry Changing rooms Garden / meditation spaces Plunging pools
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5
3
6
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// LEGEND 1. 2. 3. 4. 5. 6.
Spatial Procedure Conceptual Floor Plan Contextual Site Plan Building Site Plan Southwest Elevation Exterior Rendering
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1
// LEGEND
2
1. Main Floor Plan 2. Structural and Formal Diagram 3. Detail Wall Section
3
1
2
// LEGEND 1. Primary Circulation 2. Caldarium 3. Tepidarium 4. Plunging Pools 5. Exterior Rendering 3
4
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DRURY UNIVERSITY CENTER FOR PERFORMING ARTS FACILITATING ARTISTIC GROWTH AND COMMUNITY TEAM: NATHANIEL DEASON ARCH320 - JASON HAINLINE - SP1O
PROBLEM The interest for this semester was to design a performing arts theatre and educational addition for a series of 4 sites on Drury University’s campus. This structure would house a 700 seat theatre that would serve both the university’s needs as well as a venue for off-Broadway shows. The educational component would serve all of the performing arts departments as well as a black box theatre. CONCEPT A formal response to allow students, visitors and performing groups to abstractly experience the idea of making art forms “come alive” and be experienced throughout all of the spaces of the structure. To accomplish this, I pursued the creation of a multi-dimensional, sensory experience from a singular (planular) dimension (Similar to the experience of a propagator (a musician or thespian) interpreting a piece of sheet music or script to an audience or space). By blurring two dimensional and three dimensional perceptions through the use of solids, voids, or graphics (all following the issues of the Plastic Number) , one can create an experience similar to that of an illusionist painting, which ultimately begins to correlate the common traditions of spatial ambiguity that are entangled in both architectural and theatrical histories. In other words, this makes a space that is capable of being understood in two or more possible senses or ways, similar to the theatre experience itself.
PROGRAMMATIC REQS. 1. Main Seating Area 2. Balcony Seating 3. Support / Offices 4. Storage 5. Classrooms 6. Fly / Loading Dock 7. Summer Theatre 8. Box Office
1
3
4
// LEGEND 1. Corridor Rendering 2. Site Plan 3. Conceptual Sketch 4. Conceptual Sketch 2
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1
3
2
4
s
s
5
r r
s
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r
r
s
7
8
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// LEGEND 1. Building Axon 2. Expl. Struc. Axon 3. Corridor Elevation 1 4. Corridor Elevation 2 5. EW Building Section 6. NS Building Section 7. Entrance Rendering 8. Theatre Rendering 9. Summer Theatre 10. Space Frame 11. Exterior Rendering
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EYEBEAM : SPRINGFIELD
A MULTI-USE HIGHRISE HOUSING A DIGITAL COLLECTIVE TEAM: NATHANIEL DEASON ARCH519 - GERARD NADEAU - FA11
PROBLEM The task for this semester was to produce a comprehensive design for a speculative high-rise, light industrial loft building comprising apprx. 100,000 sf in the Center City District of Springfield, on Water St. between N Main and S Campbell. The program includes a leasable and residential focus for digital arts, as well as entertainment and leasable components. CONCEPT While the process of urban gentrification has created an influx of diverse user populations in a typologically dominated environment, this has also created a sense of disconnect from the innovation of the existing urban fabric .Conceptually, this project upholds the ideologies of the technologically-empowered client and the ways that they wish to integrate functions in new and innovative ways. In this light, this high-rise structure departs from the perfunctory element of typologically supportive formalism and tectonics, focuses on the holistic interaction and integration of the inhabitative programs, and the mutability of the building volume according to its relationship with the physiological, built and natural environments. CONTEXT The existing urban condition of Spring-field is made up of many independent one and two story retail, restaurant and gallery spaces. The proposal, through the application of program and public space attempts to group many of these outlets into one collective community to service the artists and visitors. each separate part of the program should be autonomous and have its own identity,but also be able to adapt and change as the surrounding functions do as well. In this sense, the boundaries of function and program begin to blur and become indistinct. The space is discovered, not told and creates the most interactive and emotional impact on the user.
PROGRAMMATIC REQS. 1. Residences 2. Leasable Studios 3. Exhbition Space 4. Club/Restaurant 5. Bookstore 6. Fabrication Shop 7. Video/Audio Studio 1
// LEGEND 1. Exhibition Render 2. Birdseye View 3. Site Plan 4. Detail Wall Section 2 4
MILLED 2500 X 1500 mm. CORTEN STEEL COMPOSITE PANEL - SHELL / WEATHER SCREEN
FULLY ADHERED EPDM
HIGH TEMPERATURE ICE AND WATER SHIELD
1/2” PLYWOOD SHEATHING- FULLY GLUED AND SCREWED INTO STEEL ARMETURE
ANEL, STEEL STEM
SUPPLY DUCT 1/16” METAL FLASHING FLAT SEAM ZINC ROOF PLASTIC DRAINAGE SHEET (VENTILATION SHEET) HIGH TEMPERATURE ICE AND WATER SHIELD 1/2” PLYWOOD ROOF AND PARAPET SHEATING-SCREW DIRECTLY INTO 1” STEEL DECKING AND INTO STEEL PURLIN STRUCTURE. STAGGER SCREWS AS REQUIRED DOUBLE 2X4 HEADER CAVITY CAP FACE UP AT EDGE ANGLE EXHAST DUCT STEEL CAVITY BARRIER & SECONDARY FLOOR SUPPORT ROOF STEM
OUTSIDE PANEL GLASS OF DOUBLE SKIN CURTAIN WALL STEEL TENSION CHORD AND EXTERIOR SECONDARY FLOOR SUPPORT
AND TION)
4” AIR CAVITY TO ALLOW FOR ROLLER BLINDS IF NEEDED
WALL FLOOR SUPPLY & SEATED WINDOW DETAIL IFIER)
1’-0” CONCRETE POST-TENSIONED SLAB (TWO-WAY FLAT PLATE) 1/16” METAL FLASHING
AUST SKIN)
DOUBLE SKIN SUPPLY STRUCTURE - METAL DUCTWORK HIDDEN WITHIN INTERIOR STUD WALL- SUPPORTED BY COMPRESSION CABLE AND ENCLOSED BY EXTERIOR GRADE SHEATHING CLAD WITH CORRUGATED ALUMINUM
KING
CTURE
PORT
HE IPE NOLTS
1SQFT. RECTIFIED TILE
WAY STEM)
GALVANIZED TUBE-STEEL CW SHOE & SILL PLATE
STEM
1/16” METAL FLASHING
JOINT
6” METAL CANOPY/PARAPET EDGE
SOLID PLASTIC CW PANEL
SLAB
ATION
3
19
1’-0” SLAB EDGE
1
2
3
exploded structural axon
two-way flat plate column system
4
ation, 1”: 16’-0”
west elevation, 1”: 16’-0” west elevation, 1”: 16’-0”
1”: 16’-0”
section b, 1”: 16’-0”
vation, 1”: 16’-0”
1”: 16’-0”
east elevation, 1”: 16’-0”
section d, 1”: 16’-0”
// LEGEND 1. Exploded Axon 2. Cross Sections 3. Structural Analysis 4. Elevations and Sections 5. Exhibition Render 6. Exterior Render 7. Exterior Render 8. Exterior Render 9. Atrium Render
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6
7
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TEMPLE OF BITS (thesis)
UTILIZING TECHNOLOGICAL EMPOWERMENT TO ENCOURAGE AN ARCHITECTURE OF NARRATIVE AND RELIGIOUS PLURALISM TEAM: NATHANIEL DEASON ARCH529 - ROBERT WEDDLE- SP12
GENERAL TOPIC/INTEREST I investigated the emergence of invisible and ubiquitous digital information systems and devices such as cell phones, portable computers, GIS, GPS and WAP technologies, and how they can be applied in a spatial context to counter a rationalized architectural experience. Where a sociological standpoint might look at how people use these pervasive technologies and how they relate to one another in their usage, architectural design needs to explore the methods in which we create and apply primary and secondary technologies and design strategies, not only to construct something useful but also to advance cultural and technological understanding. Using this perspective to translate diverse and mutable technological sources into the construction of sacred spaces has the possibility of thwarting modern architectural trends in regards to their traditional application or absence of interactive media. PROGRAM/CONCEPT This project will draw upon light, mass, geometry and digital and analog interfaces to develop a new medium, inspiring the evolution from the historical architectural intentions of a pilgrimage space to create a unique, integrative worship and heritage space(s) that articulates historical ideologies in an iconic manner. The construction will attempt to institute an organization of hybrid spaces that disrupt the typical religious and social landscape, developing technology, interaction, mass, structure and light as the material and narrative device from which the space is “read.” The program will investigate these tactics for the reinterpretation of spatial definitions for a digitally empowered user population in a culturally convergent environment. SITE To facilitate and exhibit physical and ideological connections and conversations, it would be ideal to organize the structure in a diverse culture within a highly conservative state, to promote the ambiguous and indiscriminant personalities found in digital culture. In this light, as the selected program highlights the polemic integration of religions and culture, it is important to designate a location that activates cultural and religious tensions as well as an emerging technological culture. For these reasons, I chose to investigate the integration of Abrahamic world religions in the culturally-convergent environment of Jerusalem, the historically controversial holy city of Judaism, Christianity, and Islam, specifically on the Temple Mount (alHaram al-Sharif) of the “Old City.” Since early biblical times, the Abrahamic peoples have been historically tied together in the blessed but tormented city, discouraging the compromise of their ideologies for the sake of spiritual and programmatic differences in ceremony.
IN PROCESS
Historically, the fabric of the built environment was defined by the telling of stories: structures were designed to leave long-lasting legacies, communicate a message greater than the function within, and reflect an essence of the collective cultural memory. The pervasion of industry and globalization, however has revealed an absence of this human-spatial relationship, generally to provide for predictable and calculable situations concerning both the immaterial and physical structures of society
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MISCELLANEOUS
GRAPHIC DESIGN, BRANDING, PRECEDENT STUDIES, SKETCHES, PHOTOGRAPHY, ETC. TEAM: NATHANIEL DEASON FA07 S SP12
west coast culture logo design using loose paint aesthetics, the letter ‘g’ is transformed into a definitive visual that emphasizes a free work environment that is personified in the chosen name. it is available in a b/w contrast as well as a variety of color scales.
TO:
FROM: 1234 quelquefois st. ontario, canada 0166-9983
ABSTRACT: s st. elquefoi 1234 qu 0166-9983 , canada ontario
nathaniel j. deason lead designer 654-995-0023 ndeason@gfxshmfx.com
who what where how
1234 quelquefois st. ontario, canada 0166-9983
nathaniel j. deason lead designer 654-995-0023 ndeason@gfxshmfx.com
who what where how
FRUSRUDWH FXOWXUH ORJR GHVLJQ WKH ORJR XWLOL]HV WKH FXUYLOLQHDU QDWXUH RI WKH VWXGLRV QDPH WR FRQVWUXFW LQWHJUDWHG OHWWHUV DQG IRUP D FRQFHQWUDWHG YLVXDO WKDW UHPDLQV FRQVHUYD WLYH DQG FUHDWLYH LW LV DYDLODEOH LQ D E Z FRQWUDVW DV ZHOO DV D YDULHW\ RI FRORU VFDOHV
TXHOTXHIRLV VW RQWDULR FDQDGD
QDWKDQLHO M GHDVRQ OHDG GHVLJQHU QGHDVRQ#JI[VKPI[ FRP
ZKR ZKDW ZKHUH KRZ
QDWKDQLHO M GHDVRQ OHDG GHVLJQHU QGHDVRQ#JI[VKPI[ FRP
ZKR ZKDW ZKHUH KRZ
TXHOTXHIRLV VW RQWDULR FDQDGD
TXHOTXHIRLV VW RQWDULR FDQDGD
QDWKDQLHO M GHDVRQ OHDG GHVLJQHU QGHDVRQ#JI[VKPI[ FRP
ZKR ZKDW ZKHUH KRZ
1234 quelquefois st. / ontario, canada / 0166-9983
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PAINT CAN LABEL
APPLICATION DIRECTIONS: Use only in well-ventilated areas. Use drop cloths or newspapers to protect surrounding areas from potential spills and drips. Drips can be cleaned with soap and water within 20 minutes. Use at temperatures between 50 and 85 degrees fahrenheit. DO NOT apply in direct sunlight. For best results do not use in humid conditions, as high COVERAGE: humidity will increase dry time and decrease gloss. Use can opener or screwdriver to Approximately 70 square feet per quart. Coverage varies based on color, surface pry lid from paint can. Stir paint thoroughly using a flat paddle. Move paddle in a lifting porosity, and method of application. motion from the bottom of the can. For best results use a high quality nylon or polyester bristle brush. Test paint for compatibility in an inconspicuous area. Apply 2 thin coats for SURFACE PREPARATION: best performance and coverage. DO NOT apply paint in heavy coats. Thinning is not Clean surface well removing all dirt, grease, oil, and dust with a mild detergent. Rinse thoroughly and allow to dry. Remove visible rust with a wire brush, sandpaper, or scraper. recommended. Dries to the touch in 30-60 minutes. Can be handled after 2 hours. Sand surface with 220 grit sandpaper. For best adhesion, lightly sand new or bare wood Recoat after 6 hours. Splatters and spills can be cleaned with warm water and mild detergent within 20 minutes. If paint has dried, use paint thinner to remove. Brushes or previously painted surfaces. Remove dust with a tack cloth. Use primer on chipped surfaces, new wood, meal, or rusted surfaces to improve hide, adhesion and durability. may be cleaned with mild detergent and warm water within 20 minutes of use. GREAT FOR USE ON: Wood, metal, wicker, plastic, pottery, concrete and more. Use for window trim, molding, furniture, lamps, doors and planters.
CAUTIONS: Use only with adequate ventilation. To avoid overexposure, open windows and doors or use other means to ensure fresh air entry during application and drying. If you experience eye watering, headaches, or dizziness, increase fresh air, or wear respiratory protection (NIOSH approved) or leave the area. Avoid contact with eyes and skin. Wash hands after using. Keep container closed when not in use. Do not transfer contents to other containers for storage. FIRST AID: In case of eye contact, flush thoroughly with large amounts of water. Get medical attention if irritation persists. If swallowed, get medical attention immediately. WARNING: This product contains a chemical known to the State of California to cause birth defects or other reproductive harm. DO NOT TAKE INTERNALLY. KEEP OUT OF REACH OF CHILDREN.
FILTERED
CONTACT INFORMATION To contact, purchase or supply paint, please reach us at: 8-BIT Recycled Paint, a subsidary of BEHR Paints 528 Weston Rd. Santa Barbara, CA 45702-1082 Phone 517-828-0909 Email eightbit@behrpaints.com
MIXED WITH STANDARD PAINT
WINE BOTTLE LABEL
what was once a one-color, limited-use product is now available in numerous grades, colors and percentages of post-consumer content
ADDED PIGMENTS
ADJUSTED Ph
SOLD
APPLIED
RECYCLED
WINE BOTTLE LABEL
Product of USA ProducED AND BOTTLED BY VEDEMMIA VINEYARDS & WINES
METROPOLIS MOVIE POSTER DEFINING GRAPHICS POSTER
THE COMPLETE ORIGINAL CUT FRITZ LANG'S 1927 MASTERPIECE NOW WITH 25 MINUTES OF LOST FOOTAGE
metroplis m metr etr oplis oplis SINIS VOLORA nos nobitincti DES ETUR SED QUE NUM DOLORIA NIST LABORRUMQUIS et placepr ECTUR, tes quae SERUM ALIQUO VIT ADIST, OD ESERCHILITA CON RERFEROVID ET ENESCIM nulloribus, UT EATUS EARUM ILLUPTAT volupta conecte VEREPRENT ARCIDENT AUT ALIQUID ET ESECTUR, te nos simi, NIMENESSIT aut occatem poribust, ut quam solum sam, nost, ommolup taquamenit LICIDEMPED MOS PE CON PORESCIISTIS QUAS CONSENDAM, te mos nobitam EVELECTEM FUGIA dolupiet as DUCILICTUR SITATEMOLOr aut accus CON CON PED ETUS NOS QUAM SUM EATUR ad ulparcit ex et UNT AUT FUGITA ADITATEM FUGA. Ut omnihil INIS ET, QUIAE num neceperia ASSIT QUIA IPIET DOLORIB eaquatectur
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FIRST & CALVARY STRUCTURAL ANALYSIS
FIRST & CALVARY CIRCULATION ANALYSIS
31 FIRST & CALVARY STRUCTURAL ANALYSIS
CAPITAL DETAIL
PARIS TILT-SHIFT
SALONICA CITY VIEW
OLYMPIC VELODROME
OLYMPIAPARK
BLUE MOSQUE VERT. PANORAMIC
SHERAF WALLS
LOUVRE ENTRANCE
MYSTRAS KEEP
NAPFLIO BAY VIEW
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MORE INFORMATION For more information and an electronic copy of this document, I can be reached at any of the following media of contact: