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georgia institute of technology
TABLE OF CONTENTS
THE MONUMENT OF HEALTH
ARCH 4011—ARCHITECTURE SCHOOL
6–11
RETAIL THERAPY
12–17
CHAMPIONS PLACE
18–21
WOVEN WATERS BATHHOUSE
22–25
CABBAGETOWN SHOTGUN HOUSE
26–29
PATTERN EMERGENCE
30–33
FACE CONTOURS
34–35
OPERATIVE CONDITIONS ARCH 1011—ARCHITECTURE SCHOOL
36–43
HAND DRAWINGS
44–45
ARCH 3012—ARCHITECTURE SCHOOL
ARCH 3011—ARCHITECTURE SCHOOL
ARCH 2012—ARCHITECTURE SCHOOL
ARCH 2011—ARCHITECTURE SCHOOL
ARCH 1011—ARCHITECTURE SCHOOL
ARCH 1010—ARCHITECTURE SCHOOL
M O N U M E N T O F H E A LT H MONUMENT VALLEY, UTAH
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This studio project is located in Monument Valley, Utah right on the border of Utah and Arizona, in the midst of the Navajo reserve. After doing research about the traditional Navajo lifestyle, I became very interested in their emphasis on spirituality and healing processes. This geared me to focus more on the health aspect of the site. Each space has a different component of health that it focuses on, and then one that ties them all together. The auditorium space is exercise, and the restaurant and kitchen classroom is healthy eating, and being able to take what you learn with you. The spa is about relaxing and meditating.
To connect all the spaces I use the lobby as a central point, and also as a place of camaraderie. The connections between each space puts an emphasis on interaction. All these components together is what I believe are the best ways to have a healthy lifestyle.
To the right is a render collage of the entrance into the site To the left is a collage axon of the full site
Section of the full site showing the connections between each seperate space
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Pictures of section model of the spa. Left is the first shower. Right bottom is the cold pool. Right middle is the private massage room. RIght top is the entrance.
R E TA I L T H E R A P Y ATHENS, GREECE
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In collaboration with Student X and Student X we created the new way of organizing retail that will cut down on the amount of time it takes for a storefront to change, as well as be a more dynamic experience for the customer. First of all we wanted a nearly column free interior, so to do that we put the main structure of the building in the perimeter. Our design alternates between customer floors and service floors to implement an innovative concept of movable tiles. The 18” by 18” tiles are means by which a flexible environment is created. Tiles come up to define different patterns of subdivision on customer floors. They also move to support the changing interests of customers.
The movement of tiles presupposes careful zoning so that main circulation routes are preserved and also so that the response to the desires of one customer, or the needs of one store, does not compromise the effectiveness of adjoining areas. Service floors also support flexible changes in the cielings of customer floors, by allowing adjustments in lighting, projections wherever they’re required, as well as the deployment of wayfinding signs. As a result, the building provides for almost infinite options for store layouts.
To the right is a render focusing on the outside structure and rooftop garden and restaurant. To the left is a night render focusing on transparency and structure.
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Section of Retail space showng connections of floors and one placement of moved tiles
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on the left is an axon of our project. above is some interior renders of how the space can change
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CHAMPIONS PLACE
POWERS FERRY ROAD. ATLANTA. GA.
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The building of Champions Place was to take form by intertwining the concept of community, equality, and privacy. To achieve this, Champions Place features a zero circulation building, making all circulation space into community space. Each quad unit is equidistant from the main entrance and indoor community spaces. Each bedroom within the quads are all within a 1-2 range of distances. There are new innovations incorporated into this design that can allow both handicapped and able bodied people to occupy the spaces. The main feature in all community spaces is a floating bench. It has multiple different heights, so some people may use it as a table, whereas others may use it as a bench, while all occupying the same spaces.
For privacy, each bedroom features a U design so that if you are in the bathroom or closet area, no one can see you from the common area. The building as a whole is a very flexible concept, each quad can be moved out or in as needed to maintain a certain square footage, and quads can be added to the concept very easily. The concept of the common area space being a glass box to simply cover the indoor community space for weather protection gives the feel of having four different cottages while at the same time making the middle area livable at all times of the year.
top: perspective of building from the front opposite: common area render to make you feel you are outside
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Because of the component of Universal Design that this project emphasizes, there was a lot of research that went into this project. The first section of research was to design the best layout of a bathroom for someone in a wheelchair. This helped me to understand the dimensions and turn radius that a wheelchair user can fit in not only for the bathroom, but I was able to think about it in the whole space. Another design conflict that came along with universal design was having just the right amount of sunlight and the feeling of outdoors because the users of the space explained that being in the outside air can be very restrictive to them, but sunlight is beneficial in the right directions. Because of this I opened the main gathering space in the middle on each end and then wrapped the top of space with clerestories. This helps the user to not have sunlight coming directly towards them, but at least have natural light in the space.
This page is a section of the unit. The right top is the full building plan. The right bottom is the unit plan with emphasis on how a wheelchair user can utilize the space
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D O W N T O W N AT L B AT H H O U S E ATLANTA, GA
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This project came about by first starting with some research. The research started from bare minimum knowledge and was used as a tool to build a basis of knowledge about the operation of weaving, its origins, and how eventually weaving could tie into architecture. Research first discovered the significance of the warp and the weft, and how the two intertwine to form a strong, and tensile fabric. My research after this went into the direction of discovering different materials that could be woven instead of just thread or yarn. I started out with pipe cleaners, and discovered that if you weave something that has an underlying structure in it, the material doesnt have to be pulled tight to tension.
After that, I decided to explore the possibilities of what I could do with this structure, so I made a Rhino model of the form and started moving it around and weaving it with more of the same multiple times. Then I finally decided the form that somewhat like the first form arrayed rotationally around a center point is the most entriquing. I then continued the same concept of walls formed from the lofts of these pipe forms and got the final shape. I sliced the facade with tall and thin windows to keep privacy but allow enough light in.
This page is an interior render to show the stairs and columns. To the right is a full exterior render
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8 3/32” = 1’
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Left shows an exploded axon of the building Above shows a the first floor plan
CABBAGETOWN RESIDENCE 198 CARROLL ST NE, ATLANTA, GA 30312
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The original house parti was the Ocean and Sea House, with the most intriguing concept being the strict heirarchy between each space as you went to the back of the house. I then joined my parti with the parti from the Charred Cedar House. Both partis joined to form a concept where each is shaped by the second parti, and offsetting each other. Each space in the house also will correspond with the parti from the first house, with each consecutive shape getting more private as you go deeper into the structure. Each form was made three dimensional straight up. Through the deisgn process, each form from the second parti has either had pieces added, removed, or the whole form was moved into a different direction. The house design now has each form move up 3 feet, from the cafe to the circulation and then the livng space to the master suite. The “ruler breaker� is the bedroom mass. The bedrooms go from the circulation space and offset down 3 feet instead of up. The cafe is located on the very front, with the bottom portion the kitchen area and an ordering window wrapping around,and the sitting space on the second level as an open porch. You can access the porch by a spiral staircase on the right side. Once you enter in the front door you can either go straight back to the bedroom space, or go straight up the stairs to the living space. Some interesting spaces in the house are the clerestory over the lower bedroom spcae, the circulation spa that cuts the square into two triangles, and the concept of moving immediately up the stairs when you enter.
Above is the site map with the house design outlined in black. Right is the front elevation of the physical model.
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Left top is the front elevation. Left bottom is the north facing elevation. This page is pictures of the model of the house.
FOLDING PHASE 1 ARHITECTURE SCHOOL
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16 different pattern maps were drafted, and then folded into either a “mountain” or a “valley” to create these multiple different shapes. A lesson learned is that one operation used over and over again in different ways can generate many very different forms. All of these objects were drafted and folded using 2 ply museum board. The surfaces of each object also reflect light in many different ways, showcasing the effect that both natural and artificial light have on architecture. After these objects were folded we were assigned a partner to pick us random steps to follow to draft a random pattern map and fold into an object. Because each step had no relationship, the folded pieces did not stay shaped very well. From each shape we were to learn how each step should be related, and work together to form an object that has a pattern able to form a shape. Each shape was drafted and then folded. The next step was to learn the process of creating structural ribs. Four shapes were created from the lesson learned. Each shape was to have structural ribs added to at least one side to make the form completely rigid. The first three sets of images used structural ribs on both sides. The last set of images used one structural ridge to make the form completely rigid. The idea book drawing is of two of the four forms.
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To the right is a wall made of blocks that are dry stacked. Above is an hand drawn axon of the wall.
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FA C E C O N T O U R S ARCHITECTURE SCHOOL
This exercise was used to learn how to draw and interpret contour lines. First we started off with learning how to draw ground contours from a practice exercise, then we were partnered with someone to draw the contours of their face. To do this we had to measure the distances on this persons face from the distance between their eyes to the depths and on. After that we tried mutliple attempts to stack the contours to make study models. The final model that you see to the right is the final model that is made from extrapolating the contour lines. 030
To the top is the contours of my partners face. To the right is the hand cut foam core model at 1 1/2� = 1�
O P E R AT I V E C O N D I T I O N S ARCHITECTURE SCHOOL
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Each during this segment we recieved and operation and condition to adapt our form to. We began the first week with the operation of “notch” to display the condition of “entrance transition.”Each week stemmed off of the ideas from the week before, adding a new condition and operation, and taking away a block. The next week consisted of the operation “bend” and the condition “indoor sunlight.” The following was “inscribe” with the condition “connection to the earth.” A second week was taken to perfect the operation “inscribe.” The next week two sites were added together to make one large site with two constructs on it, with the operation of “fracture” to make the condition of “outdoor room.” Each week diagrams were drawn to correspond to the plans of each model, and by the third week section diagrams were added. Ink wash in various colors was used to create the shading of different regions in each diagram. Using the design ideas we discovered in the previous operative conditions we were to design a hut according to the parameters that Michael Pollan described he wanted in his personal writing hut from his book “A Place of My Own.” We picked a site in the Auburn University Arboretum to place our hut. The image above shows the topo map of where I decided to place my hut. The image to the right is of the actual site, where the front of the building facing.
The top is the site plan of the reading hut, and to the right is a detail of the entrance of the reading hut
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Hand drawn and painted with ink and pens
H A N D D R AW I N G
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Hand drawn render of the interior of Le Corbusier’s Palace of Assembly in Chandigarh, India
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