Ryan Hernandez
TABLE OF CONTENTS Wrapping the Corner: Extension Gallery
2
Museum Addition
Sectioned Elevation: Between States of Expansion and Contraction
12
Wall Section
Ash Park
21
Cemetery
A House with Three Legs
26
Steel House
Big Box Fire Station No. 27
34
Fire Station
‘ Til Depth Do Us Part I
42
Research Studio: Individual Theater Study
‘ Til Depth Do Us Part II
48
Theater Complex
Terrazzo in Terrazzo
60
Material Study
Professional Work
64
Wrapping the Corner: Extension Gallery LOS ANGELES, CA ADDITION TO THE GETTY MUSEUM In Collaboration with Jade Narrido Critics: ELLIE ABRONS AND ADAM FURE
Architecture’s origin story, according to Gottfried Semper, begins with the hearth, the mound, the roof, and the enclosure. From these elements, trades were developed: the hearth brought about ceramics, the mound about brought masonry, the roof brought about carpentry, and the enclosure brought about weaving. Weaving and draping of textiles were the ultimate divider and decorator of space for Semper. The development of building materials and their aesthetic logic eventually stood in place of these carpets. This project explores materiality through the understanding of two systems colliding, building materials and their aesthetics. This museum addition proposal studies tectonics through ideas of the post-digital. Wrapping the Corner explores logics and aesthetics of digital imagery and surfaces, transforming conventional treatments of enclosure and structure. Digital elements such as points, pixels, and lines gain material thickness and explore thresholds between the digital and physical, or lack of thresholds. Two systems work together to reveal and conceal mass and thinness. System A, a series of fins, reveals thin authored profiles and thin vertical space while System B folds its edges inward to conceal large galleries on the interior. Each system explores two dimensional folding treatments of the corners, either uni-directional or multi-directional while exploring different scales of materiality. These enclosures function one way technically and perform another way aesthetically, exploring digital and physical tectonics of materials. Axonometric of Gallery
Ground Level Plan 1/32” = 1’-0”
System a
System b
1
1
4
1/16” = 1’-0” North-South Section
2
2
1
1
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
5
Second Level Plan 1/32” = 1’-0”
2
2
6
3/64” = 1’-0” West Elevation
2
2
1
1
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
7
Cropped Details Corner and Wall Edge
Gradient Layer Open Corner
Glass
4
3
Overlapping Fillets
5
2D Filleted Corner
Extended Fin
6
Sharp Corner Equal Fins
7
Detail of Authored ProďŹ les
8
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
9
Model Detail Mound
South Elevation Model View
10
11
SECTIONED ELEVATION: BETWEEN STATES OF CONTRACTION AND EXPANSION LOS ANGELES, CA Wall Section In Collaboration with DEVIN KOBA AND DEIVID JOHNSON Critics: NARINEH MIRZAEIAN
In this project, our team explored the role of poché in the wall assembly throughout the course of architecture and how it has evolved both technically and culturally. During the Baroque Era, the use of monolithic materials such as masonry produced a thick poché. The thickness provided structural stability and thermal insulation and allowed for a greater differentiation between interior and exterior conditions. In the early 20th century, technological advances in building techniques and mechanical systems allowed for the reduction of the wall to a thin poché. The thin poché was driven by efficiency, both in materiality and usable interior space. It also produced greater transparency for visibility and natural daylight to connect interior and exterior conditions. While thick and thin poché have benefits exclusive of one another, our precedent study, Novartis Fabrikstrasse 15 by Gehry Partners exhibits qualities of both. Novartis negotiates interior and exterior conditions through an even offset of organizational layers. Fabrikstrasse 15 demonstrates one interpretation of the open poché through the deployment of a consistent organization of tectonic layers producing two different experiences from the exterior and interior. This project explores how an envelope can utilize a variegated poché through expanding and collapsing tectonic layers to integrate the cosmetics of the elevation with the content of the section. Model Detail of Skywalk
Precedent Study Gehry Partners’ Novartis Poche
Material Poche
Conceptual Poche
Material Poche
Conceptual Poche
MATERIALLY THIN / CONCEPTUALLY THICK
14
Poche Variations Curated Tectonic Diagrams
Sun Screen Glazing Frame Primary Structure Floor
Sun Screen Glazing Frame Primary Structure Floor
Glazing Frame Floor Sun Screen Primary Structure
Sun Screen Glazing Frame Primary Structure Floor
Sun Screen Glazing Frame Primary Structure Floor
Glazing Frame Floor Sun Screen Primary pushes and Structure
a.
All layers converge into a super layer
b.
Tectonic layers flip at pinch point
c. Floor alters tectonic layers
a.
All layers converge into a super layer
b.
Tectonic layers flip at pinch point
c. Floor pushes and alters tectonic layers
Sun Screen Glazing Frame Open Gap Floor Primary Structure
Sun Screen Glazing Frame Primary Structure Open Gap Floor
Sun Screen Glazing Frame Open Gap Floor e. Structure intersects Primary withStructure floor
Sun Screen Glazing Frame Primary Structure Openlayers Gap f. Expanded Floor
Sun Screen Glazing Frame Open Gap/Truss Floor/Truss Primary Structure
Sun Screen Glazing Frame Open Gap/Truss Floor/Truss d. Space frame Primarybetween Structure primary and secondary
structures with floor
d. Space frame between primary and secondary structures with floor
e.
Structure intersects with floor
f.
Expanded layers
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
15
Primary Structure
Secondary Structure & Unitized Glazing
A
Siding
A
10'0"
B
B
9'0"
8'0"
A
8'0"
PrimaryPrimary Structure Primary Structure Structure Secondary Secondary Structure Secondary Structure StructureSiding Siding Siding & Unitized & Unitized Glazing & Unitized GlazingGlazing PrimaryPrimary Structure Primary Structure Structure Secondary Secondary Structure Secondary Structure StructureSiding Siding Siding & Unitized & Unitized Glazing & Unitized GlazingGlazing
A 16
A
A
A
A
A
B
B
B
B
B
B
A
A
A
Layer Organization Plan Parti Diagram
A
9'0"
A
10'0"
C
11'0"
C
12'0"
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
17
Sections 3/64” = 1’-0”
3
3
2
2
1
1
a A
A A
LEVEL 1
LEVEL 1
A’ A’
18
b
LEVEL 1
BB
SCALE : 0”1’=3/16” SCALE : 0”1’=3/16”
A’
SCALE : 0”1’=3/16”
LEVEL 1
LEVEL 1
B
LEVEL 1
B’ B’
c
SCALE : 0”1’=3/16” SCALE : 0”1’=3/16”
B’
SCALE : 0”1’=3/16”
LEVEL 1
LEVEL 1
CC
C
C’ C’
C’
LEVEL 1
SCALE : 0”1’=3/16” SCALE : 0”1’=3/16”
SCALE : 0”1’=3/16”
3/32” = 1’-0” Plans A
A
B
B
A
A
A
C
C
Floor
Air Gap
Level 3
Floor
Skywalk
Level 2
Floor
Air Gap
Level 1 a
b
c
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
19
Section Details 3/16” = 1’-0”
Gauge Titanium Siding
Metal Grating
mbined Structure
Secondary Structure
Primary Structure
itized Mullion Frame
Unitized Mullion Frame Welded Plate
rizontal Stiffener
Horizontal Stiffener
Welded Knife-Edge Plate
Concrete Slab
Concrete Slab
Concrete Slab
Steel Knife-Edge Plate
Steel Knife-Edge Plate
Steel Knife-Edge Plate
Skywalk Frame
Open Air Gap
Floor Slab Connection to Skywalk 3/16” - 1’-0”
Detail 01
20
Floor Slab Connection to Skywalk
Slab Connection to Separated Structure 3/16” - 1’-0”
Detail 02
Slab Connection to Separated Structure
Floor Slab Connection to 3/16” - 1’-0”
Physical Model Expanded Facade Section
Detail 01
Detail 02
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
21
ASH PARK NEW ORLEANS, LA CEMETERY Honorable Mention for AIA Chicago Award in Architecture Critic: GraNT GIBSON
Ash Park, a cemetery located in New Orleans, explores the relationship between aesthetics, perception, and physical material. The faceted and torquing geometry lends itself to a graphic hatching pattern which creates depth. The hatching is then deployed across corners to create illusions about a 3D object, obscuring and revealing figure edges. The triangulated forms are nested into one another to produce a field. The torso of the figures’ forms act as a canopy overhead while the legs remain thin, allowing gathering and passing space underneath. Directly beneath the forms, the viewer can experience the soft interior contrasting the hard edges of its exterior.
+ Each Figure is 20’ tall and has a volume of 115 cu. ft. + Each figure is constructed of poured in place concrete, requiring 50 gallons of water, 300 lbs. of cement, and 800 lbs. of aggregate (sand and human ash) + One human corpse produces five pounds of ash when cremated + Using the human ash as the fine aggregate, each figure contains the remains of sixty humans + 150,000 people die in New Orleans each year, on average + 208 figures can be expected to be built each month + 2,500 figures, consuming 10 acres, could be expected each year
View Looking Up at Figures
Plans
at 4’-0”
24
at 14’-0”
at 20’-0”
Section
20’-0”
20’-0”
Soft Interior
14’-0”
14’-0”
4’-0”
4’-0”
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
25
A House with Three Legs LOS ANGELES, CA STEEL HOUSE Critic: WONNE ICKx
A House With Three Legs sits on the site of the Eames House and uses the topography of the location for its sloping interior. The large aluminum clad roof datum that sits atop this slope rests on three structural legs. The roof is composed of a six foot deep structural truss with lateral bracing members running perpendicularly. Two of the three legs hold bathrooms for the house and the last legs allows vertical circulation up to the roof deck. The structural legs and roof allow mostly column-free areas for the display of the owner’s art collection, Robert Irwin’s acrylic columns.
Site Plan
’0”
+3 +
” 3’0
’0”
+2 +
” 2’0
’0”
+1 + 8” Bam
boo Deck
8” Bam
boo Deck
1” Metal
ing on
Bench
Handrail
ing
Roof Gard
en
1” Metal
Handrail
ing
Roof Gard
en
8” Bam
boo Deck
8” Bam
boo Deck
110'0"
110'0"
ing
3” HSS Structur Member al with LED Truss Light
3” HSS Structur Member al with LED Truss Light
ing
ing on
Bench
” 1’0
20'0" 20'0"
1
2
10'0"
4
10'0"
5
10'0"
10'0� B 20'0"
01
Fine Gravel for Water Drainage
10'0"
Entrance to Roof Deck
C
Sliding Glass Doors
03
+1'0"
28
6
10'0"
A
10'0"
3
1/8” = 1’-0” Ground Plan
7
8
9
10
11
12
110'0" 10'0"
10'0"
10'0"
10'0"
10'0"
02
10'0"
a
3-1/2” x 6-1/2” Robert Irwin Acrylic Columns
Swing Out Garage Doors
8” Cedar Wood Planks
01
Concrete Slab on Grade
02
b
03
+2'0"
+3'0"
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
29
1
2
10'0"
3
10'0"
4
5
10'0"
10'0"
6
10'0"
T/ PARAPET +17'-7" 1”
1” Bamboo Planks
Metal Handrail
T/ FINISHED ROOF DECK +13'-7"
CEILING +11'-0" B/TRUSS +6'-11"
3-1/2” x 6-1/2” Robert Irwin Acrylic
B/FACADE +6'-11" 00
3’0”Cedar Wood Panels 1” Bamboo Planks
3’0”Cedar Wood Pane T/ FINISHED FLOOR +0'-6"
30
1/8” = 1’-0” north-South Section
7
8
9
10
11
12
110'0" 10'0"
10'0"
10'0"
10'0"
10'0"
10'0"
2’2” 1/4” Metal Mesh
8’7”
14’8”
00
els
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
31
Section and Plan Details
Section Detail 01
Plan Detail 02
1
3
4
5 6
14 15 16
17
6” STEEL C-CHANNEL
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
2
18
METAL FLASHING 1/2” ALUMINUM PANEL ATTACHED TO STEEL I-BEAM WELDED TO 6”X6” HSS 4” RIGID INSULATION 1/2” PLYWOOD 6” X 6” HSS VAPOR BARRIER 3 4 7 1/2” GALVANIZED STEEL BLOCKING SLIDING DOUBLE GLAZED DOORS IN ALUMINUM FRAME
1
20
21
18 19 20 21 22 23 24 25 26 27 28 29 30
22
19
3
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
4
6
27 28
5 9
6
14 15 16
24
8 9 10
17
18
23 7
29
30
20 24
25
3
4
6
ATOMATED ROLLER SHADE 1/2” GALVANIZED STEEL BLOCKING ATTACHED TO 1/2” STEEL PLATE 1/8” DRIP SCREED CONCRETE SLAB ON GRADE 3”X3” HSS TRUSS DIAGONAL WITH LED LIGHT STRIP LED LIGHT STRIP BAMBOO DECKING ON ROOF PEDESTALS 1/8” WATER PROOF MEMBRANE SLOPED RIGID INSULATION 1/8” VAPOR BARRIER (2) 3/4” PLYWOOD 2” STEEL DECKING LATERAL BRACING TRUSS COMPOSED OF 3”X3” HSS 3”X3” HSS TRUSS DIAGONAL WITH LED LIGHT STRIP 1/4” METAL PERFORATED PANEL 3” STEEL C-CHANNEL WELDED TO TRUSS LED LIGHT STRIP METAL MESH ENDCAP 1” CEDAR WOOD PLANKS 5” CONCRETE SLAB WITH RADIANT HEATING 1” RIGID INSULATION STEEL GALVANIZED BOLTED FRAMING FOR ALUMINUM FACADE 2” STEEL C CHANNEL GAP FOR BRACE FRAMING 1 6” STEEL C-CHANNEL 4” METAL CHANNEL 2 METAL FLASHING
7
2
2
21
22
26
18 19 20 21 22 23 24 25 26 27 28 29 30
27 28
5 9
6
24
7 29
30
1/2” ALUMINUM PANEL ATTACHED TO STEEL I-BEAM WELDED TO 6”X6” HSS 4” RIGID INSULATION 1/2” PLYWOOD 6” X 6” HSS VAPOR BARRIER 1/2” GALVANIZED STEEL BLOCKING SLIDING DOUBLE GLAZED DOORS IN ALUMINUM FRAME ATOMATED ROLLER SHADE 1/2” GALVANIZED STEEL BLOCKING ATTACHED TO 1/2” STEEL PLATE 1/8” DRIP SCREED CONCRETE SLAB ON GRADE 3”X3” HSS TRUSS DIAGONAL WITH LED LIGHT STRIP LED LIGHT STRIP BAMBOO DECKING ON ROOF PEDESTALS 1/8” WATER PROOF MEMBRANE SLOPED RIGID INSULATION 1/8” VAPOR BARRIER (2) 3/4” PLYWOOD 2” STEEL DECKING LATERAL BRACING TRUSS COMPOSED OF 3”X3” HSS 3”X3” HSS TRUSS DIAGONAL WITH LED LIGHT STRIP 1/4” METAL PERFORATED PANEL 3” STEEL C-CHANNEL WELDED TO TRUSS LED LIGHT STRIP METAL MESH ENDCAP 1” CEDAR WOOD PLANKS 5” CONCRETE SLAB WITH RADIANT HEATING 1” RIGID INSULATION STEEL GALVANIZED BOLTED FRAMING FOR ALUMINUM FACADE 2” STEEL C CHANNEL GAP FOR BRACE FRAMING 4” METAL CHANNEL
8 9 10
19 11 12 13
11 12 13
02
01
8 9 10
32
23
24
25
26
1/8” = 1’-0” East-West Section
C
B
A
20'0" 10'0"
10'0
T/ PARAPET +15'-8"
T/ FINISHED ROOF DECK +12'-8"
2’2” CEILING +9'-8"
3-1/2” x 6-1/2” Robert Irwin Acrylic Columns
B/TRUSS +6'-11" B/FACADE +5'-8" 00
3’0”Cedar Wood Panels 11'6"
17'6"
00
T/ FINISHED FLOOR +0'-6"
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
33
Big Box Fire Station No. 27 LOS ANGELES, CA Fire Station Critic: Andrew Kovacs
The fire station stands as a temporary home for its employees, insisting upon cultivation of collectivity while allowing occasional privacy. The 99/1 arrangement of the apparatus bay and “other� lies within a single space enclosed by an unassuming shell. The interior arranges itself via various grains of wall organizations in addition to different types of walls, all absent of doors. From the interior, the roof is accessible via staircases where skylights are used as a tool for organizing zones and observing the production of the fire station. The single open box demands each team member to be seen, while it stands as a bold member of its context.
View of Roof
Diagrams Room Type
019
024
024
020
020
stcetihcrA eoC mulbnesoR CN ,notselrahC 1102 .tf.qs 005,81 roolF dn2 jkl
Rosenblum Coe Architects Charleston, NC 2011 18,500 sq.ft. 2nd Floor lkj
390 9 .ON NOITATS ERIF
019
9
020
020
020
093 093 FIRE STATION NO. 9 FIRE STATION NO. 9
018
019
Rosenblum Coe Architects Charleston, NC 2011 093 18,500 sq.ft. FIRE 2nd FloorSTATION NO. Rosenblum Coe Architects lkj Charleston, NC 2011 18,500 sq.ft. 2nd Floor lkj
018
022
021
024
022
021
022
019
019
022
022
021
024
O. 9
018
018
021
021
093 FIRE STATION NO. 9
Rosenblum Coe Architects Charleston, NC 2011 18,500 sq.ft. 2nd Floor lkj
018
019
024
022 008
008
008
008
008
008
008
008
008
022
022
022
021
019
ON NO. 9
019
022 024
hitects
021
022
021
022
024
008
Individual + Collective Rooms
Rosenblum Coe Architects Charleston, NC 2011 18,500 sq.ft. 2nd Floor lkj
Collective RoomsCN ,notselrahC 1102 .tf.qs 005,81 roolF dn2 jkl
9
Wall Organizations
stcetihcrA eoC mulbnesoR CN ,notselrahC 102 319 0 .tf.qs 005,81 .ON NOITATSroEolR F dInF2 stcetihcrA eoC mulbnesojkRl CN ,notselrahC 1102 .tf.qs 005,81 roolF dn2 jkl
Individual + Collective Rooms 008 008 008
018
019
093 FIRE STATION NO. 9
008
020
020
020
019
020
020 024
024
390 9 .ON NOITATS ERIF
018
Collective Rooms stcetihcrA eoC mulbnesoR 019
Individual Rooms
008
390 390 9 .ON NOITATS ERIF 9 .ON NOITATS ERIF
018
Individual Rooms
024
stcetihcrA eoC mulbnesoR CN ,notselrahC 1102 .tf.qs 005,81 roolF dn2 jkl
021
021
018
018
019
Interior View of Bedrooms
36
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
37
Wilcox Ave.
Ground Level Plan 1/64” = 1’-0”
Cole Ave.
Interior View of Offices
38
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
39
Wilcox Ave.
Roof Plan 1/64” = 1’-0”
Cole Ave.
View Through Skylights
40
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
41
‘TIL DEPTH DO US PART I UCLA Research Studio: On Photography Preliminary Study of individual Theater Optical Device: Photography Critic: Heather Roberge
The optical device of the camera appropriates varying depths of field to increase or decrease the reading of distance of the subject from the viewer. Subject position can be disguised and defined simultaneously, shifting the background into the foreground and vice versa through calibration of the focus. Through application of photographic operations of depth of field, the proscenium theater breaks to capture a constantly variegating sense of depth that produces fluctuating intimacy and expanded fields of view. The discontinuity and steep rake of the seats regulates the calibration of the distance between the audience and the stage, displacing the back of the audience towards the front, in closer proximity to the stage. The fractured trays dive back underneath the balconies, further exaggerating the performer’s sense of foreground and background. The shifted audience and stage breaks the two dimensionality of the picture plane of the arch and blends performance and audience. The steep rake dislocates the circulation to the exterior of the theater. Steep verticals and shallow horizontals requires a compressed and quickly rising circulation. Each lofty row of seats receives a staircase shrouded by a section of audience, contributing to the continuous reading of the audience from the stage view. Conventional stairs placed in shallow raking further hint at the discontinuity of the trays. The combination of transformations allow the calibration of contraction and expansion to manage the view of the audience and performers. Performer’s View of Audience
Raking Types Curved vs Linear
Back of Stage
Front of Stage
Back of Audience
tlin
Sigh
e
Curved vs. Linear Raking
Front of Stage
Proscenium Arch
Back of Stage
Audience Sightlines
Rake 1 e
tlin
h Sig
44
Original Proscenium Rake
Plan 4
3/32” = 1’- 0”
1/64” = 1’-0” Proscenium Theater Level three
Back Stage
Proscenium Arch + 0'-0"
Main Stage - 3'-0"
- 3'-0"
Main Audience
+ 56'-0"
+ 56'-0"
+ 36'-7"
+ 36'-7"
+ 38'-5"
Balcony
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth do us part i | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
45
Proscenium Raking Transformation
Audience and Stage Transformation
Audience and Stage Transformation
46
1/64” = 1’-0” Proscenium Theater Section
+ 88'-6" Top of Roof
+ 78'-4" Top of Catwalk + 72'-9" Top of Roof + 69'-0" Top of Balcony
+ 53'-9" Top of Balcony
+ 43'-3" Top of Back of Audience
+ 16'-0" Top of Back of Audience
+ 0'-0" Top of Stage + -3'-0" Top of Under Stage
Back Stage
Proscenium Arch
Main Stage Section 2
Main Audience
Balcony
3/32” = 1’- 0”
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth do us part i | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
47
‘TIL DEPTH DO US PART II MINNEAPOLIS, MN Theater Complex In Collaboration with Peter Boldt Recipient of the Chao Di Su Award Critic: Heather Roberge
The theater complex inherits the optical regimes of the photograph and the camera operated drone, distilled in the organization and formal language of two separate theaters, the proscenium and the thrust. The proscenium was derived from the photograph which produced one directional depth of field and the thrust was derived from the drone, which produced three dimensional depth of field. The joining of these two types of opposing visuality can be deployed to produce heightened readings and disruptions of depth by pairing together moments of perceived deep space and perceived big space. This project is the union of two theater types that present themselves to the site and to one another in ways that emphasize their distinct optic regimes. The alignment of the proscenium with the urban grid of Minneapolis and the dislocation of the thrust towards the Mississippi creates open territory between itself and the proscenium, creating a gap that can be appropriated as a lobby. This vertical alignment (proscenium, lobby, thrust) is mirrored by primary program inserted on the eastern edge of the site adjacent to the lobby, and defines the two primary circulation paths which divide the complex into four discrete components: 1-thrust 2-proscenium 3-restaurant and 4- services for theaters. Each part is organized by its own distinct grid. The grids overlap and signal two optical regimes colliding. For instance, where the regular grid of columns derived from the tectonic organization of the proscenium theater meets the radial grid of the thrust at the west entry, views extend to the park and lobby [pg 55]. One simultaneously deepens and compresses your FOV, while the oblique shortens and expands it. ‘Til Depth Do Us Part collides two types of visuality; on the one hand, the orthographic, which pushes objects in space forwards and backwards in your depth of field and a more three dimensional form of visuality which expands your field of vision by stitching multiple depths of field together. Site Plan
Bar Patio
East Entry West Entry
Cafe
South Entry
N
Structure Diagram Grid Re-Assembly
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
26'-1"
14'-10"
6'-0"
6'-0"
21'-6 1/2"
14'-10"
6'-7"
20'-8 1/2"
14'-10"
7'-2"
14'-10"
7'-9"
5'-7"
23'-0 1/2"
14'-10"
8'-4"
30'-1 1/2"
14'-10"
14'-6 1/2"
11'-2 1/2"
9'-6"
14'-10"
14'-9 1/2"
12'-1"
8'-11"
17'-6 1/2"
9'-7 1/2"
19'-4 1/2"
3'-5"
14'-10"
14'-10"
13'-11"
15'-0"
14'-8 1/2"
15'-0"
14'-9 1/2"
6'-10 1/2"
10'-7 1/2" 4'-2"
13'-11"
14'-10"
15'-0"
4'-3"
13'-10"
15'-0"
13'-8 1/2" 2'-0"
11 1/2"
11 1/2"
11 1/2"
15'-0"
14'-4"
15'-0"
14'-10"
2'-8 1/2"
3'-4 1/2"
11'-6"
4'-10"
14'-0 1/2"
14'-4"
14'-10"
50
11 1/2"
15'-0"
14'-10"
5'-6 1/2"
14'-10"
15'-0"
14'-9 1/2"
13'-1 1/2"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
14'-10"
1/64” = 1’-0” Ground Level Plan
E
34
33
32
35
40
31 36
01
Proscenium Stage
02 Proscenium Backstage 39
03 30
Proscenium Stage Office
04 Manager Office
30
05 Equipment storage 38
06 Proscenium Shop
37
22
E
21
23
07 Bathrooms
19
08 Cafe Kitchen
D
25
09 Street Cafe
29
D 26
24
20
28
27
C
C
A
A
19
17b
18
4
5
B
3
6
10
Cafe Seating
11
South Entrance
12
Restaurant Kitchen
13
Restaurant Bathrooms
14
Restaurant Bar
15
Restaurant Entrances
16
Restaurant
17
Public Elevator
18
West Entrance
19
Manager Office
20 Office
7
2
1 17a
15
14
14
8
21
Thrust Freight Elevator
22
Office
23
Green Room
24
Theater Manager Office
25
Conference ROom
26
Waiting Area
27
Proscenium Box Office
28 Storage
13 9 10
12
11
B
29
Entry Hall
30
Thrust Box Office
31
Theather Offices
32
Merchandise
33
North Cafe
34
Cafe Indoor Seating
35
Cafe Exterior Seating
36
Lobby
37
Thrust Theater Entrance
38 Thrust Shop 39
Thrust Backstage
40 Thrust Mainstage
N
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
51
Circulation Diagrams Exterior & Interior
Site Circulation
Site Circulation Site Circulation
52
Theater Circulation Theater Circulation Diagram Theater Circulation Diagram
1/64” = 1’-0” Level Two Plan
24
15 23
25 14
14
01
22
Backstage Balcony
02 Freight Elevator 13
03
Equipment Room
04 Proscenium Catwalk
21
05 Green Room 06 Kitchenette 07 Locker Room 08 Proscenium Entry/Exit Stairs
20 12
09 Proscenium Bathrooms
16
17
18 19
03
02
01
10
Proscenium Concessions
11
Lounge
12
Complex Bar
13
Lounge
14
Thrust Bathrooms
15
Thrust Concessions
16
Proscenium Rehearsal
17
Stage 2nd Floor Landing
18
Proscenium Theater
11
Entry 10
04
19
Public Lift
20 Thrust Ramp: 2nd Fl. to 3rd Fl. 21
Thrust Entry Ramp, 2nd Fl. Landing
09
05
08 06
07
22
Thrust Ramp: 2nd Fl. Theater to 3rd Fl. Tray
23
Thrust Internal Lobby
24
Thrust Audio/Visual Box
25
Lobby (below)
N
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
53
Perspectival Parting Views Into Lobby
Entry View
54
Lobby View
Entry View
Lobby View
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
55
AA B B
A
A
BB C C Section Perspective
Proscenium
56
Shared Circulation
Unrolled Circulation Path E
C A
A B
E D D C
B
CC DD
Lobby
DD E E
Shared Circulation
EE
Lobby
Thrust
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
57
Theater Complex Physical Model
Shared Lobby
Proscenium Audience
Thrust Audience
Thrust Stage
Shared Entry and Center Circulation Path
Proscenium Stage
Shared Lobby
58
Terrazzo in Terrazzo UCLA tech Seminar In Collaboration with Peter Boldt and Tessa Watson Critic: Erin Besler
These material studies explore the use of aggregate in terrazzo. Using various colors, scales and densities of glass, we tested hierarchies through use of terrazzo as the aggregate itself, exploring conventional methods of creation.
Paper Models
Material Studies
Cement + Glass + Pigment
Cement + Glass + Pigment
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
61
Professional Work
Museum des 20 Jahrhunderts Berlin, Germany Museum SO - IL
The Museum des 20 Jahrhunderts [M20] proposal explores the typology of a museum, rejecting the notion of it strictly as a container of sacred objects and instead as a place of public exchange in current complex cultures. The museum is organized around a series of large scale shifting structures which also contain circulation and light wells, allowing large column-free galleries and more interactive spaces.
Exterior
N
Site Plan
Site plan
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
65
Noah’s Ark Manhattan, New York Storefront for Art and Architecture Exhibition Sharing Models: Manhattanisms So - IL
“Sharing Models: Manhattanisms” explores the development of a culture of redefining the commons. For the exhibition, Manhattan was divided into 30 section cuts across New York City from the East River to the Hudson River. All 30 models were presented as an exquisite corpse at Storefront for Art and Architecture from July 15th – September 2nd, 2016.
Elevational View of Model
Top View of Model
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
67
Thick City PAvilion Pioneer Court Chicago, Illinois Chicago Ideas Week, Artist in Residence Program Port Urbanism
The Thick City Pavilion speaks to the layering of infrastructural strata in the city of Chicago. Through layering of foam and wood materials, this pavilion seeks to challenge the idea of Chicago as “flat” by reframing the public’s reading of the city.
The Big Shift 2015 Chicago Architecture Biennial Chicago Cultural Center Chicago, Illinois BOLD: Alternative Scenarios for Chicago Exhibition Port Urbanism
The Big Shift proposes to move Lake Shore Drive eastward, creating more acreage and revenue opportunities east of Chicago’s Grant Park. The expanded lakefront would connect the new development to the water through adjustments to Lake Shore Drive, for example, sinking portions underground as well as providing access and amenities. The original concept model remains part of the Art Institute’s permanent collection and a larger model was created for the 2015 Chicago Architecture Biennial.
Wrapping the Corner | Sectioned Elevation | Ash Park | A House With Three Legs | Big Box Fire Station No. 27 | ‘Til Depth Do Us Part I | ‘Til Depth Do Us Part II | Terrazzo | Professional Work |
Ryan Hernandez ryan.simonehernandez@gmail.com 773.550.6103 Los Angeles, CA