Rahul Subramanian
An exploration of Architecture at Georgia Tech
This book is a culmination of my work
from my Introduction to Design and the Built Environment class at Georgia Tech. Explored in this book are 26 Architectural Concepts in the context of architecture from Georgia Tech’s campus. These concepts are split into 3 sections: Visual, Experimental, and Underlying .
Visual:
Experimental:
Underlying:
• Geometry
• Process
• Context
• Grid
• Analysis
• Program
• Line
• Iteration
• Scale
• Plane
• Representation
• Environment
• Surface
• Part to Whole
• Arrangement
• Datum
• Dialogue
• Material
• Movement
• Mass/Void
• Transformation
• Light/Shadow
• Defamiliarization
• Color
• Fabrication • Structure
Geometry
Grid
Line
12 16 20
Material
Mass/Void
Light/Shadow
36 40 44
Plane
Surface
Datum
24 28 32
Color
Process
Analysis
48 54 58
Iteration
Representation
Part to Whole
62 66 70
Environment
Arrangement
Dialogue
88 92 96
Context
Program
Scale
76 80 84
Movement
Transformation
Defamiliarization
100 104 108
Fabrication
Structure
112 116
Sections: Visual Experimental Underlying
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Vis 10
sual 11
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Geom North Campus Parking Deck (Left)
Every architectural piece is built from basic elements like lines, shapes, and forms. These elemental pieces fall under the concept of Geometry.
In the picture on the left, there are basic shapes like squares and rectangles making up faces and windows of the parking deck. If you imagine looking at the parking deck from above, you could see a hexagonal shape made by the elevator/stair tower. Other geometries can be found in the triangles the staircases make as you move up the tower.
metry
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In the sketch to the right of the Habitat 67
apartment complex, one can see the geometries created by intersecting each modular home. Roofs turn into floors, walls are shared, creating porches and shading. Through all of these, the one thing that is constant is the basic rectangular shape that is repeated at different scales, extruded to create 3D forms, and cut out to create ports of entry. This basic geometry is evident in this structure, representing the intent of the architect to create a connected community.
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Gr
Interior View from Second floor of Architecture West (Left)
rid
)
The grid is an essential concept for any architectural piece. Be it to layout an urban landscape, create a facade, or construct a structural plane, the grid exists at multiple scales in architecture. In the picture to the left, the ceiling uses a visible grid-like pattern, casting gradual shadows throughout the day. Beyond this visible grid, the windows along the top, the arrangement of desks in the studio, the columns, and more are all laid out in line with one another following an underlying grid.
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To the right is one of my assignments in which
we were tasked with abstracting a building elevation into a basic grid. Taking from Piet Mondrian and his influence on architecture using the grid as a principle idea, the abstraction involved extending lines and reducing detail to capture the overall essence. This exercise along with the previous picture emphasizes the versatility and overall presence of the grid throughout architecture
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Composition with Large Red Plane, Yellow, Black, Gray, and Blue, 1921 - Piet Mondrian
Elevation from Lovell Beach House Rudolph Schindler
Grid Abstraction from Lovell Beach House
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Lin
Stairway in the Clough Undergraduate Learning Common
ne
ns (Left)
Lines are a fundamental part of any form. Every two dimensional image is built up using points that are connected by lines. Once another line is added, this two dimensional shape is transformed into a three dimensional form.
In the picture to the left, the architect has created a continuum throughout the height of the building using that line of concrete on the wall. Similarly, the contrast created between each surface and material highlights these lines, creating a feeling of interconnectedness and the breaking of thresholds.
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This exploration involves a heavy use of lines,
starting from two dimensions in the Mondrian grid adaptation from the Grid chapter and then moving to three dimensions (Right). There are some lines that break the orthogonal planar thresholds at various angles, creating complex forms and spaces. The main takeaway is that the lines are what built up this form.
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Pla J. Erskine Love Jr. Manufacturing Building (Left)
ane
A plane, at its essence, is a surface
created by the intersection of two axes. In architecture, a plane could be referred to as any surface, flat, or curved on a building. It could also represent a hidden plane, like the ground plane or the faces of the overall bounding box of a building. In the image to the left, there are many planes intersecting one another. The cut out windows that are part of the vertical brick wall, although not physically visible, lay on the same plane, representing this fluid concept.
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The pictures to the right are of a model created
to illustrate the idea of a continuous plane. The model is built from a single continuous strip of paper that is folded to create equilateral triangles. Looking at the model, one can distinguish each of the triangles themselves as planes. Similarly, one can also picture the entire flat surface in Fig 2. as a single plane. Overall the model before construction itself is a “continuous� plane.
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Fig 1.
Fig 2.
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Sur
Ford Environmental Science and Technology Building (Left)
Different from plane, surface is a concept
that is more directly related to what is visible. Surface can be referred to using the sensory experience one has when viewing or interacting with it. In a way surface can be simply defined as the combination of a plane and a texture. The example to the left illustrates the various surfaces and how they interact with one another to create a range of perceptions. Whether it be opaque or transparent, porous or solid, surface, reveals this plane’s condition.
rface
)
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In these examples to the right, one can see the
difference in surfaces of the planes that are created. In Fig 1., there is a contrast between the cardstock and the wooden dowel detailing that can speak to another concept such as solid/void and encompassing space. In Fig 2. the consistent material is clearly revealed, yet the shading created by the light sources create the illusion of a different surface material for some planes compared to others.
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Fig 1.
Fig 2.
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Dat Brittain Dining Hall (Left)
Datum can be defined as a unifying
element within a piece of architecture that is necessary in grounding the entire piece. Whether it be a horizontal ground or roof line, a vertical column, or lines of symmetry, the utilization of datum can be visibly clear or less obvious depending on the architect’s intent. In the image to the left, Brittain Dining Hall has a tall tower like structure split by a strong vertical symmetry line. Other datum lines can be pulled from the parallelism throughout the building.
tum
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In this grid model, the datum can be many things. The first thing that draws attention due to the visual hierarchy are the four corners with their wider dowel supports. The repetition in all four corners encompasses the entire piece, creating a framework for the model as a whole. The parallel planes made by the square lines at the base and the top of the model can also represent unifying elements that keep all of the “action� within the box.
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Mat Chair Material by Rising Roll Cafe (Left)
terial
Taking the actual texture out of surface
and expanding it beyond the use of it on planes gives us Material. The concept of material has numerous defiinitions and uses. It could simply refer to the “stuff� that something is made of. In architecture, this holds true, often reaching to fabrication, visual intent, and other sensory choices made by the architect. Here on the left we see a close-up shot of a chair weaving material. The strands themselves are made of a plastic compound that is extruded into flat fibres. This material is not only flexible to provide comfort and mold to the body of the user, but also has a porous and modern look to fit the aesthetic of the cafe.
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All around us are a multitude of materials,
each serving their own purpose to shape our environment. Materials can be natural, manmade, or a mciture of both to ground the built environment with the natural environment. In the pictures to the right, the bottom row of the Materials from around campus show various natural textures. The pictures above that shows how materials like wood ,clay, and nylon are manipulated to create usable materials. In my assignments, using a variety of materials revealed not only a different visual product but also the limitations on how that material can be used and transformed.
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Materials from around campus (below)
Materials from assignments (above)
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Mass Molecular Science and Engineering Building (Left)
s/Void
The concept of mass/void or solid/void is
at the heart of creating and defining spaces. Architectural design works in additive and subtractive processes to result in a complex form. These tranformations leave an intial form with solid extrusions and hollow voids. In the picture to the left, the subtraction from the overall bounding box is evident. The central form seems to serve as an infill, closing the void that is created by the two adjacent buildings, while preserving a cavity to create the sense of shelter. This allows for a recessed entry inviting the user to interact with the building.
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Here, in one of my sketches of Formosa 1140 by Lorcan O’Herlihy Architects, I explore how the overall rectangular geometry is manipulated to represent the interaction of mass and void.
Creating a subtraction at the center of the building compared to a subtraction of an entire side of the building conveys different ideas of space. The push and pull created by paneling on the face of the building also invites the user into the building, providing a unique experience throughout the structure.
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Light/ Arched Pathway under Brittain Dining Hall (Left)
/Shadow
The concept of light/shadow follow solid/
void closely in that both concepts reveal the presence or absence of space in some way. In addition to formal manipulations of architecture, the use of light/shadow paints on another layer to the experience of the building and its users. In the image to the left, one can see the highlights and shadows peering in from the entryways as you look down the arched pathway. Without the presence of light to illuminate these entryways, the depth effect and emphasis on this void would be absent.
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The images to the right are of charcoal drawings I constructed of my continuous plane model. In both drawings, I aim to represent the effect of direct and indirect lighting on a geometrically complex object. In Fig 1. you can see how the simple model is transformed into a structure that encompasses space in a more significant way using hard shadows. In Fig 2. the soft shadows created, exaggerated by the charcoal drawings help to highlight the geometries through contrast.
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Fig 1.
Fig 2.
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Co Entry Area at U.A. Whitaker Building (Left)
olor
Color is a concept that is closely tied in
with material in the realm of architecture. However, at times a solid color on a smooth surface can help elicit certain moods for the users based on hues and tints. Color can also create contrast and draw just the right amount of attention when properly used. In the Whitaker building to the left, the use of color is programatic and designates which portion of the building one is in. The orange color here is used well as an accent to match the furniture in the area and also conveys warmth; a good invitation to users.
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In this assignment, I applied an analagous color
scheme to color block a picture of my continuous plane model. The colors I chose are on the cusp of warm and cool colors creating the well contrasted range of shades. In using color, similar to the charcoal drawings, the overall form and geometry are highlighted.
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Experim 52
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Pro
View from Under Solar Panel Roof at Kendeda Building fo
ocess
or Innovative Sustainable Design (Left)
Beyond the physical architecture of a
building, the design process is what defines architecture as a profession and an art. Every process involves beginning with a design concept, taking into consideration context, developing multiple iterations, and finally the production of the project. The image to the left highlights one of the many environmentally beneficial features of the Kendeda Building for Sustainable Design. For a structure like the Kendeda Building, not only does the development of the building follow a structured process, but also the overall impact is one that is continuous and everlasting.
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The images to the right outline the design,
planning, iteration, and construction process. Beginning with various sketches of possible ideas, I move to model making. Picking a direction I like, I continue to expand the model and get closer to creating a final template for the model. Eventually, I end up with a model that is precise and reveals a clean construction. Along with precision, the design process helps answer the many questions that come with answering a design problem.
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Ana Crecine Residence Hall (Left)
Before embarking on the design process,
many architects may choose to conduct a close study of the context to understand their boundaries. Others who try to find deeper connections and read tropes throughout the history of architecture may also choose to disect these buildings in formal ways. This process is known as analysis. Analyses can be conducted in many ways and of many types, each done with the goal of revealing something that the users eye can’t see but can experience.
alysis
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A basic analysis of the Crecine
Residence Hall from the previous page could be that there is strong vertical symmetry that is complimented by the bottom heavy entrance that is different from the narrow circular form at the top. This circular top and curved faces can also be derived from the flat faces adjacent to this entryway, showing that there is a continuity in form, with a twist that the architect put in to create a new experience for the user.
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The drawings to the right show an
analysis of the Salk Institute by Louis Kahn. As explained by the text, there is a common theme of 3 throughout the building. Found in the number of floors, windows, staircase runs, and more. The juxtaposition between the left and right with the inverse poche emphasizes the occupiable space in the building.
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Itera Without Within Sculpture (Left)
ation
Iteration, on its own can be defined as
controlled repetition. In the context of architecture, iteration is an integral part of the design process. In order to find the correct solution to a design problem, iteration through numerous ideas allows for the creation of the best solution. In the sculpture to the left, there’s a visual representation of iteration. Following the literal definition, each segment follows a set of transformations, resulting in an interesting structure. Although most architectural projects may result in something containing repetitive structures, the iteration that is most importnt is that of finding various solutions to a design problem.
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The assignment to the right involved conducting various transformations to a base case organization of masses.
With iteration, the main focus is not the advanced development of a single idea, but rather the quantity of wildy different ideas. The result of this iterative process is a set of answers to the design problems, along with a single answer that is compound of all the best parts of each iteration
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Repres Georgia Tech Campus Map (Left)
Representation in architecture can
mean many things as most concepts do. Typical examples are a buildings drawings, renderings, models, or diagrams. Some forms of representation are designed to provide different amounts of information to satisfy a particular user’s needs. On the left is a form of representation that helps the avaerage person: a map of campus that provides directions. To the average person, a set of the buildings construction drawings is irrelevant. Yet to the contractors or inspectors, this is of greater value.
sentation
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The typical forms of representation for an
architectural building are section, elevation, floor plan, and axonometric view drawings. Yet for the assignments in this class that include models with no programmatical function, it seems fit to represent it in an artistic manner. The picture to the right is part of my assignment where I represent a model using a triadic color scheme. To the average reader, this illustration is of greater value in showing how many different cells are created by my grid model, as opposed to an axonometric drawing that could easily be replaced by a photgraph from the same angle.
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Part to Manufacturing Research Center (Left)
o Whole
A feature from analyses may reveal that
some architecture contain similar elements that are repeated in a certain manner. Be it repetitive shapes at different scales or clusters of a pattern repeated on walls, there is a part to whole relationship that exists between the element and the overall object. In the picture to the left, we can clearly see the repetition of the circular vents on the front facade. However, what makes this a part to whole relationship is the interpretation of the round towers following a similar “part” structure throughout the “whole” building.
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In this segment of the massing exploration, we were asked to represent the word “rotate” in terms of the base case.
After conducting the exploration, we can see how each of the elements can be broken down into “parts” that make up the “whole” composition. The composition is made up of the initial base case cluster which is simply duplicated and rotated.
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rlying 75
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Con View of Atlanta Skyline from Architecture East Building (Lef
The best architecture is that which
interacts with its surroundings. Be it through following a similar architectural element or scheme or by utilizing materials from the site, context must be addressed.
ntext t)
The image to the left is a glimpse into the context that Georgia Tech comes from. Situated in the heart of Atlanta, being a Tech school, the architecture on campus combines the nostalgia of old Atlanta with a new generation of innovation. Each building’s form does follow function and is unified through many common themes.
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The sketch to the right of the Rokko Housing
complex by Tadao Ando in Japan represents how the form is influenced by the steep hill the complex sits on. Instead of the architecture looking like it was simply “placed” at the site, the complex’s roofs follow a similar step structure, breaking up the slope of the hill into short horizontal segments. Part of the complex carves into the hill, clearly showing how the existing context and surroundings of the complex affects the building itself.
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Prog North Avenue Apartment Complex (Left)
A building that has a function of being a
sculptural piece contains spaces. However, a building that has a human function contains places. This distinction is what defines program in the context of architecture. At its root, the programming of a building is the answer to the question, “how do I use this room�. The image to the left reveals a lot about programming. There are areas designated for certain activites, such as volleyball courts, walking areas, picnic areas, etc. Beyond obvious programming, the split levels, the positions of streetlamps, and staircase locations all influence how people move around and interact with the space.
gram
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The images to the right are analyses of the
Artisan House by Morphogenesis Architects. In Fig 2., we can see the overall split of the home by area, leading into what each space’s function would be. In Fig 1. this similar organization is found in section, showing how the programming isn’t simply limited to the floor plan, but to any usable space. The main things to pay attention to are the circulation paths and furniture that reveal the actual function of a space.
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Fig 1.
Fig 2.
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Sca Ticket Booth by Russ Chandler Baseball Stadium (Left)
ale
When desiging a structure, an architect
may utilize models and drawings at various scales to visualize details at different levels. Scale can also tie into something like part to whole, where the repetition comes from repetition of an element at different sizes. The most important things about scale is that proportions are preserved and detail increases with at a larger scale. The shed to the left used as a ticket booth serves as an example of scale. Following a similar brick and massing pattern as the rest of buildings on campus, this ticket booth is a scaled down version of those buildings.
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In this next section of the massing exercise,
we were asked to conduct a transformation representing the word “expand�. Similar to the previous exercise, the base case is manipulated to create a product that is expanded. This transformation illustrates the idea of scale by preserving similar proportions from the base case to the product. Additionally, if we compare the level of detail at both scales, the larger scale is much more detailed than the small scale.
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Enviro Sunset by Stamps Recreation Field (Left)
Similar to context, environment represents
the physical site conditions that an architect must address to create a structure that interacts with both the natural and built environment. The image to the left illustrates one of natures beauties: an evening sunset. This natural event juxtaposed with the built environment works in harmony and doesn’t seem to be disruptive as the architecture itself is revealed by the sun. The presence of trees and grass right next to Stamps’ turf fields are, in a way, ironic yet is an example of merging the natural and built environment
onment
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The sketch to the right of the School in Paspels
by Valerio Olgiati in Switzerland represents how a structure is designed to draw the attention of passers by, but does not detract from the beauty of the nature around it. The material itself is sourced from the mountains in the area and the form follows the slope of the ground. The orientation of the windows create the illusion that the structure has sunken into the ground, tying the building directly to the Earth.
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Arrang
Atrium Space at Ford Environmental Science and Technolog
gement
gy Building (Left)
Arrangements are part of the genius of
architects in orienting pieces of a building to covey a specific intent or to answer a certain problem. Arrangements typically follow a logic of organizations: some examples are linear, radial, concentric, and clustered. Arrangement can also simply refer to the visual hierarchy created with various elements. The interior view to the left shows the choice of the architectt to highlight the open atrium space with a staircase that spans four floors creating the impression that the space is massive. Through arranging the staircase at the center with lofts at adjacent sides instead of the reverse, there is a new meaning that is conveyed.
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In the final iteration of the massing assignment,
we were asked to illustrate the transformations, “overlap” and “lift”. In each of these transformations the arrangements of the masses follow a logic, however are also derived from an underlying intent. For overlap, I chose to use multiple pieces to create a bridge like connection at the structural level. For lift, I chose to gradually create a stack of pieces to make a pyramid-like structure as opposed to a straight tower that has a consistent diameter throughout.
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Dial
Big Red Tumpkin Sculpture (Front) & Caddell Building (Back
The concept of dialogue in the context of architecture is the interaction of two different structures that results in a commentary of one by the other.
The image to the left shows the Big Red Tumpkin sculpture standing in front of the Caddell Building. Aside from the true intent of the sculptor, there is a similar grated pattern at the top of the sculpture to that of the Caddell Building’s pavilion front. Housing the school of building construction, the Caddell Building boasts the complex structures as a result of advanced construction technology. Similarly, it could be possible that the sculpture is a representation of a building construction technique that is taught at the school behind it.
logue
k)
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The image to the right is of a collage I
constructed using the Walden 7 apartment complex by Ricardo Bofill in Catalonia, Spain and the Chichen-Itza in Yucatan, Mexico. The Chichen-Itza, similar to Walden 7, reads more in the vertical direction, specifically by making use of the step-like structures and the actual steps themselves. I then used the horizontal slices that made up the vertical opening as the steps on the pyramid as they work in similar ways of a part to whole relationship. And finally, I used the solid massed slice as the overall staircase that represented movement through the piece; a choice in accordance with the exterior, when movement is represented at a greater extent in areas that look heavier.
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Move Van Leer Interdisciplinary Commons and Makerspace (Left)
ement
The idea of movement is one that turns a
static piece of architecture into an active structure. Architecture can be manipulated to move the eyes of the viewer, shape the user’s path through the building, and to create a continuous flow of space. An example of these can be seen in the image to the left of the Van Leer Interdisciplinary Commons. The curved pathway with the offset grating creates a directional movement to one’s eyes and to the user moving through the space. Additionally the recessed entry invites users, influencing their interaction with the building.
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In the sketch to the right of Frank Gehry’s
Guggenheim Museum Bilbao, there is a clear geometry that speaks for movement. The stretched edges and corners seem to be reaching out and away from the center of the building, grabbing at pedestrians walking by. Withing the museum itself, there are large curved pathways inviting users to explore every bend and corner of the museum.
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Transfo
Roger A. and Helen B. Krone Engineered Biosystems Building (
ormation
(Left)
Transformation is a technique used to
convert a common element into something new that carries its old properties under a new logic. In the image to the left, the metal siding that typically is flush with the plane it sits on, is offset from the building and spread apart leaving a grill-like pattern. These gratings are used as sun flaps to cool the building without air conditioning to save energy. Not only is breaking the traditional material constraints, it is also creating a new use for siding.
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The images to the right are part of the collage assignment in which I decompose the Walden 7 apartments and transform them into a new arrangement.
In my collage of the exterior I attempted to subvert the weight of mass around the top to give it an anti-gravitational feel. I did this by balancing the form with a smaller base than the mass above, and by moving the entrance to the top to further emphasize the contrast of mass and void in the building. This change transforms the initial condition of the building to create a new meaning.
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Defamil John & Joyce Caddell Building (Left)
liarization
Similar to transformation, defamiliarization
converts an old idea into something new, yet alters the intended meaning of an architectural element completely. A structural member may be used as a design element, a wall itself may act as a door, or even a staircase could lead up to nowhere but is built in a way to reveal a concept. The Caddell building, the image to the left, had an overall structure of the building was built to handle more than was actually used. Learning this, after a renovation by BLDGS architects Brian and David, some structural members were added overhanging off the roof as an experiential addition to cast shaows away from the building.
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This next collage was constructed from the
interior of the Walden 7 apartments where I used the walls as a tower-like structure, representing a type of defamiliarization. In my collage I wanted to emphasize the vertical movement, yet by breaking each threshold that is present at each floor of the building. The height is shown through the intersection of the side faces, whereas the movement is shown by asymmetrically placing the floors, connected by the yellow trim that moves from bottom to top. This shows a vertical connection, by how the floors may be connected through a two flight staircase, or simply through a contrast between the collage and the original image.
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Fabri Marcus Nanotechnology Research Center Building (Left)
ication
Fabrication today has a greater meaning and breadth of areas it encompasses than a couple decades ago. 3D printing, water jet cutting, automated robot welding, and many new technologies have revolutionized manufacturing and fabrication in architecture.
The image to the left shows custom metal paneling that follows a logic, but has a largre amount of variation for traditional fabrication to be efficient. New technologies allow for laser/water cutting metal into the exact pieces desired with high efficiencies.
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The sketches to the right represent various methods of fabrication that reveal the final structure in interesting and unique ways.
In the Peter Zumthor example, the chapel is constructed using timber framing which is then burned out to reveal the vaulted interior. In the Kantana Film Animation Studio project, there is a locally sourced brick used to construct the entire building. The bricks are laid like any traditional brick structure, yet break the typical material constraints by laying bricks at an angle.
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Stru Theta Chi Fraternity Undergoing Renovation (Left)
ucture
The structure of a building varies
case by case as it depends on numerous factors: Availability of materials, cost, location, temperature control, natural disaster likelihood, intended look, etc. In the image to the left, we can see the construction process of the Theta Chi fraternity renovation. This building’s structure lies in its iron framing, pour in concrete core, and mullion window glazing.
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Shown in these pictures are the process of building my grid model.
Here you can see how the structure is built from an intial face. Next, corner supports are added that help make the model stand on its own. After this, the bounding square is repeated on the other end of the supports creating and overall box with every edge built. In Fig 1. as part of making my process easier, I prefabricated a panel with hatching that I then place within the model, showing how small elements are combined to create components, which then are combined to create the overall model.
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Fig 1.
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All photographs of Georgia Tech’s campus were shot and edited by me!
Included pictures of models, digitalized drawings, sketches, etc. were all constructed by me for the course’s day-to-day lectures, assignments, and projects. A huge thanks to my instructor, Ryan Roark, and my TAs, Caite Canfield & Manushi Sheth!
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