FA20 - ARCH 511 - Graduate Core Design Studio I

ARCH 511 GRADUATE CORE ARCHITECTURAL DESIGN STUDIO I FALL 2020

CARLYE CORDING

Graduate Design Portfolio

ROBERT WARD

Graduate Design Portfolio

LAUREN OSTRZYZEK

Graduate Design Portfolio

Project One: Design and Iteration

Pages 1-2

Project Two: Solid/Void

Pages 3-4

Project Three A-Three B: Interior Space Defined

Pages 5-6

ARCH511 - GRADUATE DESIGN STUDIO I Carlye Cording Fall 2020

Project Three C: Experiential Drawing

Page 7

DESIGN AND ITERATION In this project, I began with three active yoga poses: the forward bend, the cat pose, and the extended side angle. In the drawings to the right, the motions to get into the pose are illustrated as well as multiview drawings of the poses. All three poses are connected by the movement and shape of the human back to get into these poses. The forward bend and cat pose were selected for the second portion of the project.

Next, an operative verb was selected to describe these poses. Continuing to focus on the movement of the back, I selected the verbs “arching” and “contracting” to describe the drawing together of the back. In the images below are diagrams of the verbs as well as study models. In the bottom right image is the final study model of the verb “contracting” where the edges of a slab have been squeezed together and either side are drawn together.

POSE 1: FORWARD BEND

Ardha Uttanasana

POSE 2: CAT POSE

Bitilasana

POSE 3: EXTENDED SIDE ANGLE

Utthita Parsvakonasana

STUDY MODEL ONE

Top: 2”x1”

STUDY MODEL TWO ARCHING

1.5” x 1.5”

Carlye Cording Graduate Design Studio I

To form into an arch (‘a curved structural member’)

CONTRACTING

To draw together; to reduce to smaller size by or as if by squeezing or forcing together.

STUDY MODEL OF “CONTRACTING”

3.5” x 3”

Page 1

DESIGN AND ITERATION Inspired by the vertebrae of the back, the enclosure space around the yogi was inspired by the spine’s form in a contracted back. When the back contracts and arches, the structural system of the back is in the spine and vertebrae. When straight, the vertebrae bodies are stacked on top of each other and the spinous processes create a “locking mechanism.” The enclosure space around the yogi mimics the structure of the vertebrae bodies and spinous processes in a contracted back.

FINAL MODEL: SIDE ELEVATION

ROOF PLAN

SIDE ELEVATION Carlye Cording Graduate Design Studio I

MULTIVIEW DRAWINGS FOR FORWARD BEND (Ardha Uttanasana)

MULTIVIEW DRAWINGS FOR CAT POSE

(Ardha Uttanasana)

FINAL MODEL: FRONT ELEVATION Page 2

SOLID AND VOID Starting with a 24’x24’x24’ cube composed of 2’ layers, four initial voids were cut into the solid. Inspired by how to capture sunlight and cast shadows within the voids, the voids include oblique lines creating a void which is flat on the bottom and angled upward at the top. Further influenced by the movement of the sun, the sides of the void also became oblique and created trapezoids. In the northern direction, where the sun does not pass, the entrance is narrow in the cube and expands as it approaches the center void. To the right is a hinged section oblique and an isometric of the cube prior to adaptation for inhabitation.

Next, the cube was adapted for human use. Looking at the idea of sun meditation, where one sits in the direct sunlight and meditates as the warmth of the sun hits the human body, the design was driven by the relationship between sunlight and meditation. The Eastern room was designated the morning meditation room, the Southern room for afternoon meditation, and the Western room for evening meditation.

Through this organization, the users of the room can meditate under the sun’s direct light. On page four are the multi-view drawings, section obliques, elevation obliques and model images of the cube adapted for human inhabitation.

CONCEPT “…As the sun’s rays gently touch your skin, allow yourself to feel the warmth and energy flow slowly through your body…Take a few moments to allow this warm and healing energy to reach your innermost being physically, emotionally, mentally, and spiritually.”

Excerpt from “Sun Meditation for Healing”

by Judy Fulop and Julie Lusk

ORGANIZATION DIAGRAM

3D Wireframe Sketchup Model Carlye Cording Graduate Design Studio I

HINGED SECTION OBLIQUE

ISOMETRIC

Cube and Voids Before Inhabitation

CIRCULATION DIAGRAM

3D Wireframe Sketchup Model

Cube and Voids Before Inhabitation

SUN PATH DIAGRAM

GEOMETRY DIAGRAM

Voids compiled onto a single horizontal plane Page 3

SOLID AND VOID

PLANS AND ELEVATIONS

SECTIONS Carlye Cording Graduate Design Studio I

SECTION OBLIQUE

ELEVATION OBLIQUE

Shadow Study; 4:45PM on March 6

FINAL MODEL Page 4

INTERIOR SPACE DEFINED In Project Three, the meditation studio from the previous project becomes more responsive to the relationship with sunlight. The concept from Project Two: Solid and Void is carried over into project three as well as the form of each of the rooms. Through analysis of the sun’s movement and how its rays change, the parti diagram was created. The diagram, which can be read in both plan and in section, shows how the sun moves from both East to West and from the horizon to the sky, creating a trapezoidal shape. This shape carries over in the design of the building. As seen in the images of the model below, the meditation spaces are all trapezoidal in plan and in section, with their roofs extending upwards towards the sky. The entry, which also follows the trapezoidal shape, is flipped and extending into the ground instead of the sky and has a flat roof.

Carvings in the walls and ceilings of the meditation rooms cast light into the rooms and the translucent entry creates a glowing effect. The center circulation area has higher walls on the Northwest side and lower walls on the Southeastern side, capturing sunlight and air to circulate within the rest of the building. Through these elements, the building continues to support the concept and emphasize the relationship between the sun and meditation.

ORTHOGRAPHIC VIEW (NORTH EAST)

Carlye Cording Graduate Design Studio I

CONCEPT DIAGRAM

PLAN VIEW OF BUILDING AND SITE

PARTI DIAGRAM

ORTHOGRAPHIC VIEW (SOUTH EAST)

Page 5

INTERIOR SPACE DEFINED The meditation studio is placed on a gently sloping hill which increases in elevation in the Northeast. The meditation spaces within the building are small and can only fit one to two people; however, larger meditation spaces, which act as an extension from the building in the landscape, can accomodate small groups for guided meditation spaces. A rectangular path acts as both a circulation route and as a route for walking meditation.

The building is accessed from the North, users then circulate to the respective circulation rooms, and exit the building by stepping out from the meditation spaces.

Furthermore, each meditation room is lifted slightly off the ground and to exit the building after meditation, one must step out of the building. The approach towards the building is an important view on the premise, as well as the views from each of the meditation rooms. The landscape acts, in many ways, as extensions of the building and serve as a place for meditation to occur.

ENTER

EXIT

EXIT

EXIT

SITE CONDITIONS

Carlye Cording Graduate Design Studio I

SUN PATH

MEDITATION SPACES

ACCESS

VIEWS

Page 6

INTERIOR SPACE DEFINED Each of the meditation rooms has the “om” symbol carved into its walls. The “om” is a sacred sound in meditation and refers to the soul, truth, and knowledge. As an imperishable and immutable sound, it is used as a tool for meditation. Through the carvings, this important element in meditation is visually represented and the light it cast evolves and moves as time passes. Although the entry shares its trapezoidal shape in plan, it is not used for meditation. It is differentiated from these spaces through its flat roof and grounded base as well as through its material. The carvings are absent from its walls, and instead it is made of a translucent stone, which captures the sunlight and makes the walls appear as if they are glowing.

In the floorplans, the simple furniture “slabs” are depicted and echo the geometry of the building. The diagonal line which forms the oblique walls are mirrored in the oblique line of the sleeping mat and on the table.

A simple rectangular stool is used for the table and two in the sun meditation room. In addition, the exterior trapezoidal meditation spaces are also included in the floorplans.

ROOM ORGANIZATION North/South Section

Carlye Cording Graduate Design Studio I

ROOM ORGANIZATION East/West section

ROOM ORGANIZATION Plan View

GEOMETRY OF PLAN

Page 7

INTERIOR SPACE DEFINED

NORTH ELEVATION

WEST ELEVATION

VIEW INTO SUN MEDITATION ROOM

VIEW INTO EATING MEDITATION ROOM

SOUTH ELEVATION

ORTHOGRAPHIC VIEW (SOUTH EAST)

Carlye Cording Graduate Design Studio I

EAST ELEVATION

ORTHOGRAPHIC VIEW (NORTH WEST)

VIEW INTO SLEEPING MEDITATION ROOM

ORTHOGRAPHIC VIEW (SOUTH WEST)

Page 8

EXPERIENTIAL DRAWING

SQUARE FOOTAGE

These experiential drawings, created using watercolor pencils, demonstrate the view into the three meditation rooms, the entry, and the view out from the sleeping meditation room at sunset. In the one point perspective vignettes, the sunlight cast through the carvings in the wall project the symbol of “om” on the floor of the rooms.

Entry: 42 ft2 Central Circulation Area: 64 ft2 Eastern Eating Meditation Room: 54 ft2 Capacity: 1 Person Southern Sun Meditation Room: 61.75 ft2 Capacity: 2 People VIEW INTO ENTRY

ENTRY

Western Sleep Meditation Room: 54.38 ft2 Capacity: 1 Person Exterior Eastern Guided Meditation Space: 165 ft2 Capacity: Small Group (5 People) Exterior Southern Guided Meditation Space: 165.75 ft2 Capacity: Small Group (5 People)

EATING MEDITATION

SLEEPING MEDITATION

Exterior Western Guided Meditation Space: 210 ft2 Capcaity: Small Group (5 People)

VIEW FROM SLEEPING MEDITATION ROOM

VIEW INTO EATING MEDITATION ROOM

SUN MEDITATION

VIEW INTO SLEEPING MEDITATION ROOM

CARVING OF “OM” SYMBOL ON MEDITATION ROOM WALLS VIEW INTO SUN MEDITATION ROOM

Carlye Cording Graduate Design Studio I

Page 9

Rob Ward ARCH 511 Portfolio Fall 2020

Project 1: Design and Iteration: Design Process This project was focused on iteration as a tool to inform design. I started by studying different yoga poses, and found myself drawn to the Tree pose. I thought about verbs that described the sensation of the pose, and realized that the word “stretch” is the main action being performed.

I sketched my body performing the tree pose, as well as visual depictions of the verb “stretch.”

Once I had an understanding of these motions, I began designing an outdoor yoga pavilion. It was an iterative process, and the design evolved greatly throughout the project. The main elements of the final design are upward motion, a variety of sensations, and being grounded firmly in the earth.

Project 1: Design and Iteration: Final Design

Project 2: Solids and Voids Project two was about the relationship between solids and voids in design. I started out with a 24x24x24” cube and began carving voids out of it, focusing on how they changed the appearance and structure of the cube. As the project moved forward, I connected the voids to create larger spaces. I also added new voids to add interest to the new structure. I then began thinking of the structure as a building and added a system of ramps to connect all of the voids.

Once I shifted to the mindset of creating a building, I started thinking about how the spaces I created would be used, and how circulation would flow throughout them.

First floor circulation

Second floor circulation

Project 2: Solids and Voids

Project 3: Interior Space Defined This project built on what I learned in project 2. I started by swapping the voids and solids, leaving me with a reverse of what I created prior. I then started thinking about expanding the building’s footprint and designing it as a functional space.

Spaces for relaxation, social gathering, and food and beverage have been added and the space began to take on a function.

I decided to create a winery building inspired by the upward motion of bubbles in a glass of champagne.

The space is vertically organized from private spaces on the lower level, until the public facing roof deck.

The concept of rising motion is also seen in the site. By perching the building on a plateau, visitors take an upward journey to get to the building.

Project 3: Interior Space Defined

Project 3: Interior Space Defined

Arch 511.01 Graduate Core Design Studio

Project 3C Final Presentation

Mental Health Journey Lauren Ostrzyzek

Concept and Parti

Parti Diagram

The Challenging Journey with Mental Health

Model Site Perspective

The way of travel through the space is faced with a lot of challenges through the means of getting to each of the voids, all of which represent the various frames of mind we enter when faced with a challenge in our lives. This journey is focused on overcoming your mental battles to reach the light at the very top which represents the “breath of fresh air” or a “sigh of relief” you feel when are finally able to conquer those mental challenges you are faced with.

Site Plan

Site Access Diagram

Model Top View

Exterior Elevations

East Elevation

South Elevation

West Elevation

North Elevation

Building Sections and Site Diagrams

Building/Site Section 1

Building/Site Section 2

Floor Plans

The open floor plans of the building allow for the free movement of the individual within the space. The structure gets more natural light as they progress through the structure and therefore come closer to conquering their mental battles that caused them to take on this journey. The light represents hope for a more positive outlook and future so the more there is the more the person is able to be influenced by. The major transition is when the individual asks for help and is then rewarded by entering the top level and can breathe fresh air and bathe in the light of a clear state of mind. Once they reflect on the past, they are able to fully accept what was and exit with an unclouded mind.

Parti Diagram

First Floor Plan Ground Floor Plan

Light Diagram

Experiential Drawing From the point of view of the person experiencing the journey through the space the onlooker is able to peer into the space and see them approaching the most difficult step. This part of the path through the structure which forces the individual to choose between remaining within the darkness of their thoughts or asking for help. By choosing to ascend the ladder, the person is choosing to take way of light and clarity of thought rather than continuing to endure dark thoughts and clouded judgement.

Precedents

Steven Holl - Grayscale Watercolor

Steven Holl - Auditorium Watercolor