N I C O L E B R I D G E S
ARCHITECTURE PORTFOLIO UNDERGRADUATE
DEEP DECORATION NICOLE BRIDGES + RAHUL SUBRAMANIAN CRITIC: JAMES PARK
The art of Indian Kolam has been around for thousands of years. Passed down from generation to generation, hours are spent crafting one piece, just for it to be erased from the ground and replaced by another the design the next day. This art teaches detachment from material things, things that we have crafted for hours, I believe that we as architects could learn something from this. This project was completed in 8 phases: Figuring, Configuring, Thickening, Multiplying, Siting and Programming, Fitting/Misfitting, Switching to Production, and Final Production. After studying this art for weeks, we created our own 2:1 sheets using pieces that we drew from our kolam, which we then thickened with offsets and laser cutting. It was here that we began creating compositions, combining multiple 2:1 sheets with various actions, giving birth to complex relationships between the sheets. From here, we chose one of out four compositions to serve as a precedent to our final building, while also studying site and program. We were tasked with creating a multilevel design and research academy on near the bay in San Francisco. For our academy focus, we chose XR or extended reality, a technology that has recently been making grounds in various areas of research, so that we may foster and nurture that research further. In our final stages, we finished with creating beautiful renderings, floor plans, and sections.
DEEP DECORATION
FIGURING + CONFIGURING
L
r1
a
L1 L1
r2
scale scale L1 L1
scale
trim trim L L
L
trim L
a
scale
tan
trim L
r1
scale
scale
scaleL2 tan scale
L2
trim L
r2
L
trim L
L2
trim trim L L
L2
tantan L2 L2 L1
L1
DEEP DECORATION
CONSTRUCTION
FIGURING + CONFIGURING
reflection
rotation
t
t
tangent
vertex2
d
d
edge2
FIGURING + CONFIGURING
DEEP DECORATION
CONSTRUCTION original figures
6 overlap hook
hook figure
MOD. 1- BRANCH
paired figures
tendril figure
transformations
modules
2 4
reflect
4 5
paired figures
transformations
modules
reflect
MOD. 2- VINE
4
shift + point-point connection
branch
2 4
vine
DEEP DECORATION
THICKENING + MULTIPLYING
CONNECTIONS:
HOOK
Throughout our study or thickening
and multiplying, we have created and
The basis of all of these actions is
diagrammed a series of actions that are
the ‘Hook’. The curves within out
used within the 4 configurations. These five
30° YZ
sheets have given us lots of room
connections serve as the bridge between
for connection by hooking the
each sheet within each configuration
Z
curves of one sheet to the curve
allowing them to interact and connect
of another. This action creates
three-dimensionally, forming relationships
Y
strong connections between the
that create forms that were not seen in the
sheets without the need of any
original sheets.
SCISSOR
10° YZ
outside reinforcement.
SPLIT
90° YZ
BEND
90° YZ + 90° XY
TWIST
The scissor occurs when a part of the sheet is
The split occurs when a sheet is cut into two or
The bend can be a result of intentional or
The twist is usually created after a scissor or
split into two or more pieces with each piece
more pieces and one part moves in one direction
unintentional actions. The unintentional bend
split. The piece is then twisted in a clockwise
moving in a different direction.
while the other part remains in the same or very
occurs after an action such as hooking two
motion and hooked to another piece. This
close to its original placement
pieces together on two different sheets, closing
creates complex relationships between sheets
the distance. An intentional bend is created to
and others or even themselves.
connect pieces in more abstract ways, providing a wider variety of relationships between sheets.
X
COMPOSITION 2- SPLIT + BEND + HOOK
I
+C
C
o ok
Sh
V
e
et
Sheet D
H
t Sh ee
I
+D
VI H o ok
V
D + C Hook
IV et S he
B+
V H o ok
VI D
E Hook
I
A III
C
II
III
D B
e She
C
D
She
III
C
et
o Sh eet D + C Ho
k
IV
A+
E
II
VII
et She
IV
VI
+A
tA
+EH
ook
III
Bend + Hook
I
ok
DEEP DECORATION
COMPOSITION 1- BEND + HOOK
She Ho et B + D
V
II
II
VI
VII
IV
DEEP DECORATION
COMPOSITION 3- SPLIT + BEND + TWIST + HOOK
COMPOSITION 4- SPLIT + BEND + TWIST + SCISSOR + HOOK
III Sheet
AS
pl
II
it
I
II Sheet A + B Tw is
t+
I
Ho
I
IV
ok
VI
I
IV Sheet A + B T wi s
VI
t+ ok Ho
et
II A H ook
III
B
et She
III
A
A
V
IV
Sci ssor + ist Tw
IV
A B
Sh
ee t
ee Sh
tB
Bend + Hook
tB
+A
A
Twist + H oo
B+
A Hook
B
k
II
+A
She e
Sh e
B+
A B
V
VI
V
III
V
VI
DEEP DECORATION
SITE + PROGRAM PROGRAM DESCRIPTION
TECH BELT OF THE SILICON VALLEY
Our vision for Fuse is to create an Academy that connects modern technology with design research. Open to professionals, researchers, and students interested in various design fields such as product design, site
architectural design, user experience design, and others, the academy
San Francisco
provides users with experiential and immersive technology. This academy focuses on XR technology (extended reality), an umbrella term used to refer to VR (virtual reality), which superimposes its user into the virtual space, and AR (augmented reality) which adds to the user’s surroundings with virtual overlays.
Foster City
These technologies can be used to expand research beyond the physical
Redwood City Milpitas Menlo Park
world, allowing designers to see their creations instantaneously before
Palo Alto
Mountain View Sunnyvale
they come to fruition, providing a space for deeper exploration of their Santa Clara
designs. With a goal to bridge the gap between immaterial ideas and visual/
San Jose
Cupertino
physical manifestations of said ideas, Fuse aims to create a new norm for design research by testing the bounds between imagination and reality.
VISIBILITY TOWARDS AND FROM SITE
fromW
fromNW
@N
fromN
N
F
fromNE
fromSW
D F C
fromS
A
B
@NE
A C
D
B E
3D PROGRAM DIAGRAM E
@E
fromE
DEEP DECORATION
RELATIVE SIZE F1
F2
60’
F3
60’
7 3 60’
3
4
60’
2 5 5
5
1
4
6
1
1
1
3
6
F6
60’
5
6
7
3
6
F7
60’
5
6
3
60’
2
4
5
5
2
60’
F8
60’
6 3
2
60’
60’
7
6
2
2
3
3
60’
1
6
5
1
5
5
60’
1
4
1
4
1
1
4
Space Utilization 1:1
Space Utilization 2:1
Space Utilization 2:1
Space Utilization 2:1
Space Utilization 2:1
1. Administration Zone 2. Library and Reading Room 3. Faculty Touch-down 4. Mechanical | Electrical Room 5. Restrooms (2) 6. Tel | Data | Custodial
1. Faculty / Student Fishbowl 2. Classroom 1 3. Classroom 2 4. Studio 1 5. Interactive 1 (seminars/podcasts) 6. Restrooms (2) 7. Tel | Data | Custodial
1. Fabrication Lab I (dry) 2. Material Printing/ Imaging 3. Student/Staff Locker Rooms 4. Materials Sampling 5. Restrooms (2) 6. Tel | Data | Custodial
1. Studio 2/3 2. Gallery 1 3. Classroom 3 4. Classroom 4 5. Interactive 2 (seminars/podcasts) 6. Restrooms (2) 7. Tel | Data | Custodial
1. Auditorium 2. Gallery 2 3. Interactive 3 (seminars/podcasts) 4. Studio 4 5. Restrooms (2) 6. Tel | Data | Custodial
2
3
1
Space Utilization 1:1
6
4
1 1
1
4
2
Space Utilization 2:1
1. Foyer 2. Service/Loading Area 3. Cafe 4. Supply Store 5. Restrooms (2) 6. Tel | Data | Custodial
1
5
5
F5
60’
6
6
2
60’
5
F4
60’
Space Utilization 3:2
1. Guestrooms (w/ bath) 1-4 2. Studio 6 3. Classroom 5 4. Classroom 6 5. Restrooms (2) 6. Tel | Data | Custodial
1. Fabrication Lab II (wet) 2. Paint box 1 + 2 3. Light box 1 + 2 4. Studio 5 5. Student/Staff Locker Rooms 6. Restrooms (2) 7. Tel | Data | Custodial
VARIATIONS F2
F1
F3
6
2
F4
F5
6
4
1 4
1
3
2
2
5
1
F8 2
2
1
3
2
4
3
5
5
1
6
F2
F1
5
5
6
6
6
2
2
5
F7
5
1
6
2
6
2
2
3
3
1
5
1
1
F8
6
3
4
1 7
5
3
5
1
2
4
1
6 4
6
5
4 3
F6
5
1
4 1
5 1
F5
7
1
3
4
6
1
1
5
4
6
5
4
6
6
6
F4
3
4
5
1
6
3
5 3
4
6
F3
2
3
3
5
2
5
6
2
6
5
5
3
7
5
5
1
3 5
1
1
1
4
F7
F6
7
6
4
2 2
5
5
1
2
6 1
1
5
5
3
1 3
4
DEEP DECORATION
FLOOR PLANS
F1
F2
F3
F4
F5
F6
F7 F7
F8
F9
SECTIONS
DEEP DECORATION
COTTAGES FOR CABBAGETOWN
After spending time studying the Atlanta community of Cabbagetown, the student created a proposal for an empty lot consisting of two homes for two different craftspeople. The homes within Cabbagetown are typically of vernacular styles, most commonly cottage and shotgun. Keeping this style, as well as the makers’ needs, in mind the student proposed two cottages to fill the lot, one in the traditional square form, and the other L-shape, each home consisting of a studio space for their respected resident.
MAKERS: SITE ANALYSIS:
Sewing Pressing Maker #1: Kim Jameson Age: 53 Occupation: Quilter As a Quilter, Kim is in need of 3 different spaces: 1. Cutting Station – Sharp Edge Action 2. Sewing Station – where fabrics are combined 3. Pressing Station – Where wrinkles are eliminated, and fabrics are tamed
Cutting
Triangle of Use
Enough room to make all stations permanent (working triangle): - Close enough to each other so that Kim can easily move between stations - Far enough away from each other to allow total use of space
Primary area of use Drying
Drawing
Maker #2: Phil Chen Age: 47 Occupation: Lithographer Phil requires four stations within his studio: 1. Print maker (printing table) 2. Storage for chemicals and Ink rolling 3. Drying racks 4. Drawing area - House limestone slabs and oily drawing materials - Must have sturdy desk to hold limestone slabs - Safe space to store blades and knives - Room to sit
Printing Rolling
Section B
COTTAGES FOR CABBAGETOWN
Section A Section C 2nd Level Floor Plan A
B
C
C
A
B 1st Level Floor Plan
4 8 12
South Elevation
0 16 Ft
West Elevation
East Elevation
COTTAGES FOR CABBAGETOWN
COTTAGES FOR CABBAGETOWN
COTTAGES FOR CABBAGETOWN
EXPLORING VERNACULAR The student was tasked with researching the American Foursquare house type. Known for its boxy shape, the American Foursquare earns its name by the quite literal divide of at least four distinct spaces within its floor plan. After conducting research, the student constructed a home that embodies the American Foursquare using its main characteristics and attributes.
EXPLORING VERNACULAR
PRIVACY
ORDERING GEOMETRY
CIRCULATION
FLOOR PLAN SYMMETRY FACADE SYMMETRY
PAVILION FOR THE PEOPLE A pavilion created with the intent of providing a new space for the students of the Georgia Tech to inhabit and use as study space or as a place to gather with a small group of friends. The entrance tunnel shrinks in all dimensions to four feet, causing those who enter to crouch. After crouching, the inhabitants are presented with the open sky and plenty of space, a bold contrast to the entrance tunnel.
Pavilion for the people
DRAWING GEOMETRY Student used mechanical drawing skills to construct a series of three-dimensional objects using only the object’s top, side, and front geometries.
EXPLORING INTERIORS LIGHT EXPLORATION:
Using subtractive processes in order to carve out spaces within a box for people to inhabit and interact with. The model is constructed in four pieces which allows it to be taken apart for easier viewing access of the interior spaces.
EXPLORING INTERIORS
EXPLORING INTERIORS
DIAGRAMS:
HOMETOWN EXPLORATION The student analyzed maps of their hometown at three different scales. Using different tones of gray, as well as black and white, the student differentiated the different uses of space within each map.
Scale: 1” = 3,000’
Scale: 1” = 300’
Scale: 1” = 30’
White - streets, roads, and exterior public space Light gray - for less dense areas such as suburban residential Dark gray - special features (water, major monuments, etc.) Black - densely built-up urban areas or, in small towns, for major individual buildings
White - streets, roads, and exterior public space Light gray - public open spaces such as parks, parking lots, grounds around public buildings, etc. Medium gray - private open space (yards & gardens) Dark gray - special features (natural or man-made); Black for buildings.
White - circulation (both inside and out) Light gray - more public areas (front yard, living room, etc.) Medium gray - service areas Dark gray - more private areas Black - walls & special features Diagonal hatching - zones of transition.
NON-STUDIO WORK ARCH 1060
Digital experimentation with analogous and triadic color schemes.
Massing diagram of the Denver Central Library.
2D ATTRACTORS ARCH 2020
BY NICOLE BRIDGES SEMINAR
MEDIA & MODELING II YEAR
SUMMER 2020 INSTRUCTOR
ASSOCIATE PROFESSOR DANIEL BAERLECKEN TEACHING ASSISTANT SOPHIE MYERS
hexagonal grid + two attractor points and two attractor curves
Triangular cell: no variation Square: average Rectangle: average Rectangle overlap: small
squares positioned at the centroid of each cell surrounded by a diamond
Triangular cell: no variation Square: large Rectangle: large Rectangle overlap: average
Triangular cell: no variation Square: small Rectangle: small Rectangle overlap: none
GLASS HOUSE BY NICOLE BRIDGES
ARCH 2020
SEMINAR
MEDIA & MODELING II YEAR
SUMMER 2020 INSTRUCTOR
ASSOCIATE PROFESSOR DANIEL BAERLECKEN TEACHING ASSISTANT SOPHIE MYERS
Option 2: elongated | sequence: three equally sized spaces
Option 1: cells | sequence: large space attached to slightly smaller space
Option 3: centralized | sequence: small space to large space