DoArch Portfolio 2016

The Department of Architecture (DoARCH) at South Dakota State University was founded in 2010 to provide the region with a continuous supply of well-trained professionals, to study and advocate for South Dakota communities, and to strengthen the collaborative practical connection between design & the building arts.

Architecture is a way of seeing, advocating for, and shaping our environment. It is a curiously pragmatic practice. It is a long-standing intellectual discipline. It is a legally responsible profession. It is a means of translating productive and intellectual action through technology. In practice, we use one sort of technology (graphics) to direct the outcomes of another sort of technology (building arts) and the collection of our constructions forms another technology (urbanism).

Content

05 Cassie Pospishil 21 Cody Blevins 53 Emily Ingemansen 73 Franklin Parker 95 Guillermo Gonzalez Cebrian 119 Jacob Ricke 157 Megan Welbig 179 Sharon Sanchez OrdoĂąez 203 Svavar Magnusson

DoArch Portfolio 2016 Department of Architecture South Dakota State University

This book is a collection of individual student portfolios made for Arch 401 in the fall of 2016.

Arch 401 is a student-driven course in which the instructor guides each student through the compilation, editing, and stylization of a portfolio of their work. Each portfolio is built as a capstone reflection of performance in prior architectural studios, workshops, and media courses.

Instructor of Record Fang Xu Book Coordination Federico Garcia Lammers, Assistant Professor Mahmoud Sadek, Undergraduate student

Cassie Pospishil

Lamella Structure

SPRING 2016

A study of the lamella component and the process of construction. Materials include cedar wood, screws, and centering. Constructed spring of 2016. Currently on display at McRory Gardens, located in Brookings, South Dakota.

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Above: Close up of Lamella Structure

Right Below: Process, in order from upper left to lower right 1. Measure radius and draw curve onto lamella.

2. Cut angles and curves of lamella.

3.Mark guidelines.

4. Assemble ‘Y’ modules.

5. Connect modules.

6. Place connected modules onto centering.

7. Continue assembly process. Add anchor piece to base.

8. Completed structure.

Above: Completed Lamella Structure, located in McRory Gardens

SPRING 2016

Cassie Pospishil

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Below: Project Themes, from right to left: Continuous,Repetitive, Static, Intersecting.

Nine Square Grid Study For ages, architects struggled with the nine square problem, whether it be to enforce the grid or completely destroy it. The goal of this project aimed to break the grid by off-setting the elements from the nine square grid using a complicated overlaid grid.

The project is created mainly in plan, then was later extruded into the third dimension through use of vertical elements: pedestal, walls, tables, and columns.

Right: Final model, plan view Left: Translation from plan to the third dimension.

Below: From Left to Right: South Elevation, East Elevation, East Section.

Cassie Pospishil

Genus Mould The goal of the project was to make a reusable mould that would be used to mass produce concrete bricks. Later on, these bricks were suspended on a full scale mock-up of a W beam that will be used to continue the Design Build project in Webster, SD.

FALL 2015

The W beam mock-up was a collaborative effort among the entire studio; authorship of the L brick mould design is shared between Ji Cao and Cassie Pospishil.

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Above: Six casting brick moulds.

Below: Two casting brick moulds.

Above: Movement of mould, L- Brick produced.

FALL 2015

Cassie Pospishil

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Above: Chronology of the mould making and brick stacking process. Photos credited to Ji Cao and Cassie Pospishl.

FALL 2015

Cassie Pospishil

Stacking Method After several iterations of brick stacking, the final wall pattern (right) was achieved.

The interlocking pattern utilizes the strengths of the L brick to create a sturdy wall that creates an interesting zig-zag wall.

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Above: Stacking Roman bricks onto the mock-up.

Photography credited to Federico Garcia-Lammers.

Right: Full scale mock up with the L brick wall.

Photos credited to the studio collaboration.

Cassie Pospishil

SPRING 2015

Vertical Space

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Above: Stacking Diagram of each floor mass.

Above: Slicing method of each major section.

Below: Massing study from a scene in North to Northwest.

SPRING 2015

Cassie Pospishil

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Above: East and West Elevation.

Above: East and West Section Right: Floor Plans

Cody Blevins

A collaborative studio which aimed to design and carryout the installation of a public feature in Webster, SD. The projects focus is on a 60’ pre-cast concrete bridge girder, provided by local concrete specialists, Gage Brothers Concrete. The beam overhangs a slight decline which is suspended by concrete footings which are encased by a brick wrapping.

FALL 2015

Personal contributions to the project was to coordinate design and manufacture specialized bricks as well as provide a structural frame from which will be suspended by the beam.

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Left: Charcoal underlay of Skinning exercise Right: Skinning the Jack process of drawing

Cody Blevins

REFLECTION

TOTYPING

S

PU E GENUS LU

FALL 2015

FORM & SHAP

OLD PRO E VISIT MOM IT S R TE S B E W

1

2

3

4

5 6 7

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Above: Time line for Webster installation.

S:\2010-Gage-Drafting-Standards\Drafting Standards Binder\11-Bridge Girders\TYPE-54.dwg, 2/2/2015 3:51:16 PM

REFLECTION TEAM COLLA BORATION F

13

14

15 ULL SCALE M

12

OCK UP STA

11

RT WEBSTER

10 9

Cody Blevins

WK 5

WK 7

FALL 2015

WK 4

This work belongs to the previous project installed in Webster, SD. As a collaborative effort, the relationship between mold making and casting started to develope an intimate complexity amid the raw materials. This process was refined through iteration. This was repeated until a balance of inward and outward forces could be met.

The molds are intended to each create a specific brick family.

They are optimized with interchangeable face conditions to yield a greater number of configurations giving the molds a greater complexity.

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Above: Final brick set with process sequence Below: Mold catalog Partner: Jacob Ricke

Above: Exploded mold axonometric collage

Cody Blevins

SPRING 2015

The Farmer of the year project is a testament to the agricultural core of South Dakota.

The project was to be completed in conjunction to the annual Hobo Day parade the homecoming of South Dakota State University. The iconic campanile of SDSU has broadened its volume to house the Farmer while hosting a series of overlapping public spaces. Movement through such buildings can be designed in a sequential and cinematic way, taking advantage of vistas and superimposed uses. Eminently challenging the assumed or traditional function of elements like stairs, corridors and offices will result in combined programs that create a flexible and inventive architecture. North/ South - ward extrusions, giving its open broad sides to the campus major (East) as well as the Alumni Center and President’s house to the West. The threshold separating this Western connection being Medary Ave. The site of the Hobo Day Parade.

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Right: WK 5 Massing models Left: WK 14 Campanile model at 1/8th” : 1’

S01

S01 Floor 8 75ft 8 1/2in

Floor 6 53ft 1 1/2in

Floor 1 6ft 1 1/4in

S03

Floor 8 75ft 8 1/2in

Floor 6 53ft 1 1/2in

Floor 1 6ft 1 1/4in

S03

Floor 12 115ft 3 3/4in

Floor 11 105ft 2 1/4in

Floor 12 115ft 3 3/4in Floor 10 91ft 2 1/2in Floor 11 Floor 9 105ft 2 1/4in 84ft 2 1/2in

Floor 8 75ft 8 1/2in Floor 10 91ft 2 1/2in Floor 7 68ft 2 3/4in Floor 9 84ft 2 1/2in

Floor 8 75ft 8 1/2in Floor 6 53ft 1 1/2in Floor 7 68ft 2 3/4in Floor 5 45ft 4 1/2in Floor 4 39ft 3/4in Floor 6 53ft 1 1/2in Floor 3 30ft 3in Floor 5 45ft 4 1/2in Floor 2 22ft 5in Floor 4 39ft 3/4in

Floor 3 30ft 3in

Floor Floor12 0ft 0in 22ft 5in

South elevation

East elevation

S03

East elevation

S03

N 8’

0’

4’

8’

16’

Floor 1 0ft 0in

South elevation

N 8’

0’

4’

8’

16’

Above: WK 14 Campanile elevations & section Below: Taxonometric tractor draft

SPRING 2016

Cody Blevins

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Right: Site Sections

Right: Horizontal site plan and crop perspective

Public space

Farmer Space

Shared space

January

February Topography survey

March

Corn

Soil analysis Planting

April

June

Summer crop studies Soil/plant development

Secondary crop

May

July

August

September

October

November

December

Post harvest soil analysis

Hobo week Halloween Hobo Day Anual traditions - moved to site Pep fest - Tail gating Hobo Day royalty speech on campanile Parade Ag. field studies Corn harvest Secondary crop harvest Food Beer fest from crop yield Games Thanksgiving Music

Commencement - welcoming

Cody Blevins

FALL 2016

The 9 square grid project acted as a pavilion to occupy four spacial conditions - continuous, static, and repetitive space, with the fourth open to interpretation.

The project conceptualized; removed from material, to set up spacial sequences in the parameters which begin to establish themselves with the grid.

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Above: Model progress at WK 12

Manipulating grids through multiple iterations started as a means to better understanding the relationships between primary, secondary, and nested grid types.

The selected grid was then laid as the initial plan to the pavilion.

Above: WK 14 final model at 1/8� : 1’ Below: WK 2 grid manipulations

Cody Blevins

FALL 2016

The selected grid naturally works as a tripartite system similar to a basilica plan. This was reinforced by a rear centrally located courtyard. The courtyard was accessed only after having circulated the entire structure. Narrow volumes of continuous space lead the occupant along the perimeter of the structure, exposing its outer corridors to different degrees of ambulation. To the West, the journey is interrupted by a series of static spaces, slowing the progression. To the East, offset, repeating partitions are split by an array of pedestals , reinforcing the continuum to the courtyard.

These corridors are flanked in opposing corners, placed at the end of continuing views to promote movement through these avenues.

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P r o p o r t i o n s o f 3

3x3

building

grid

P r o p o r t i o n s o f 4

4x4

nested

grid

P r o p o r t i o n s o f 5

5x5

structural

grid

Left: Parts catalog Right: Floor plates

Above: Axonometric plan

Cody Blevins

A Reyner Banham precedent archive sits over the Santa Monica Blvd. Freeway, the freeway which starkly separates the predominantly African American middle working class from the notorious project ridden districts of South Central L.A. The Archive itself sits in an array of 21 additional archives which cantilever over freeway. A serpentine of freeways encapsulate an overtly obvious oversized billboard to educate patrons of the harsh reality of oppression and class segregation taking place while “the promise of the 50’s” unfolded.

SPRING 2016

The billboard’s 3 facades are built of 2’x2’ rotating tiles depicting the story of L.A’s past. This lends the opportunity for a dramatic change in scale in viewing side to side as well as from the archive to the freeway itself. The archive is not to depict a bias but merely reiterate the past of the iconic city.

The freeway circulation is comprised of a parametrically created space frame for structural durability. The frame is sheathed in reflective panels to continually reflect the severity of the billboard’s depictions. The only break in the progression down the archive from the time line of oppression is on the smaller, nested spiral connecting the larger spans to each other. Perpendicularly as you cross over the highway the reflections intensify, exploiting the California sun to instigate a constant orientation inward, to the billboard.

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Above: Rear circulation model detail

50’

50’

50’ 17.5’ 15’

55’

15’

47.5’

50’

50’ 27.5’ 15’

55’

15’

37.5’

50’

50’

S MAIN ST (85’ ROW)

S BROADWAY (85’ ROW)

50’

50’

50’ 32.5’

15’

55’

15’

32.5’

50’ 27.5’

W 17TH ST (60’ ROW)

SANTA MONICA FWY

W 18TH ST (60’ ROW)

Above: Site plan at Regional scale Below: Enlarged site plan

155’ FREEWAY WIDTH

50’ 57.5’

S HILL ST (85’ ROW)

S. GRAND AV (85’ ROW)

S OLIVE ST (85’ ROW)

E

N

Cody Blevins

In-SituWation; Adj A situation in which Segregation is imposed throughout Los Angeles, modulated by a network of freeways.

Freeway

Segregation

SPRING 2016

In-situ

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Above: Transition from previous grid exercise

Above: Narrative comic sequence

SPRING 2016

Cody Blevins

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Above: WK 11 sectional program collage iterations

Left: Modeled archive billboard Below: WK15 model at 1/8� : 1’

SPRING 2016

Cody Blevins

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Above: Archive elevation perspective collage

78.5’

Level 15

70.5’

Level 13

62.5’

Level 11

58.5’

Level 9

50.5’

Top of freeway

42.5’

Lecture plinth

24’

Top of freeway

0’

Ground level

FALL 2016

Cody Blevins

TEU

Port shipping container capacity

<1M 1 -3M 3-6M 6-12M >12M

North-South Pendulum Connector Polar Routes Transoceanic Pendulum Connector Circum Equatorial Route 44

Designated pre-deployment storage Main Transshipment Market

<1000 <20,000>20,000>100,000 <5,500,000

Road Freight 1 Day Diameter at 500 miles/8 hrs 2 Days Rail Freight 1 Day Diameter at 720 miles/12 hrs 2 Days

The cross laminated timber shelter is deployed as a temporary intermodal housing solution for displaced populations. The shelters consist of 3 materials – wood, steel, and a composite plastic.

CLT is the primary structure/mass of the shelter.

The panels are pre-fabricated and easily cut to dimension using a standard milling process. The panels are milled using a 5-axis CNC bed rendering virtually 0 wasted material. The specific dimensions of the panels are native to globally standardized freight dimensions. This strategy allows the shelter’s deployment to be streamlined through pre-established shipping routes in respect to land and sea.

0 Desity map of global shipping routes

500

1000

1” : 1000 miles

UNITED KINGDOM

Main shipping routes

BELGIUM

Very high intensity

GERMANY

Cody Blevins

Lower intensity

12,200,00 People in need of humanitarian assistance inside Syria 7,632,500 Syrian Internally Displaced People 4,087,139 Syrian Refugees

FRANCE

SWITZERLAND

Displacement routes

Thousands 20’ containers or equivalent 2,100 to 3,180 1,200 to 2,100 600 to 1,200 300 to 600 40 to 300

Corsica

Sardinia

PORTUGAL

SPAIN Balearic Islands (Spain)

One 20’ container is equal to 1,170 cubic feet

FALL 2016

Hungary 2,000 daily arrivals in August Serbia 2,000-2,500 daily arrivals in August Macedonia 2,000-2,500 daily arrivals in August Greece 3,000 daily arrivals in August

TUNISIA

MOROCCO

ALGERIA

Sources: REMPEC; ; Beilstein, M;, Bournay, E., Environment and Security in the Mediterranean: Desertification, ENVSEC, 2009.

European Commisioon, Reuters, BBC

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4 panel

49 sq ft

15 units per TEU

5 panel

80 sq ft

10 units per TEU

6 panel

122 sq ft

10 units per TEU

7 panel

170 sq ft

8 units per TEU

8 panel

226 sq ft

7 units per TEU

POLAND

UKRAINE

SLOVENIA

MOLDOVA

HUNGARY

AUSTRIA

RUSSIA CROATIA

SERBIA

ROMANIA

BOSNIA AND HERZEGOVINA

ITALY

MONTENEGRO

GEORGIA

BULGARIA MACEDONIA ALBANIA

ARMENIA

GREECE

TURKEY

SYRIA

IRAN

MALTA LEBANON

IRAQ

JORDAN ISRAEL

LIBYA

EGYPT SAUDI ARABIA

SUDAN

0

150

300 mi

Turkey 1,939,000 Refugees Lebanon 1,114,000 Refugees Jordan 629,200 Refugees Syria

Iraq 248,503 Refugees Egypt 132,375 Refugees Libya 24,055 Refugees

FALL 2016

Cody Blevins

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FALL 2016

Cody Blevins

50

FALL 2016

Emily Ingemansen

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Above: â&#x20AC;&#x153;600 Models: Brookings Armoryâ&#x20AC;? exhibition Collaboration of 32 students; 20 models each

SUMMER 2016

Emily Ingemansen

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Vacuum Seal Shop Media: Vacuum sealer, polystyrene, laser cutter, acrylic Above: Process models

Vacuum Seal Shop Partner: Aspen Greene Above: Final movable mold and polystyrene seals

SUMMER 2016

Emily Ingemansen

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Telfair Academy Arcade Rare Book Restoration Above: Site elevation and section Media: Rhinoceros 5, Adobe Illustrator

Telfair Academy Arcade Rare Book Restoration Above: Floor plans

SUMMER 2016

Emily Ingemansen

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Telfair Academy Arcade Rare Book Restoration Above: Program study of arcade, reading room, gallery, and stairs

Telfair Academy Arcade Rare Book Restoration Above: Model photos and program diagrams of the arcade, reading room, gallery, and stairs

SUMMER 2015

Emily Ingemansen

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The Surface, The Index, & The Armature Above: Process photos

The Surface, The Index, & The Armature Above: Final relief and predecessors Media: Paper, charcoal, and bristol

FALL 2015

Emily Ingemansen

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Modeling Central Park Media: chip board, blue foam, wood, laser cutter, CNC router, Rhinoceros 5, Adobe Illustrator

Modeling Central Park Section includes area between Amsterdam Avenue and Park Avenue and between 78th Street and 87th Street

Emily Ingemansen

SUMMER 2016

SITES VISITED Loyola Law School Chiat Day Building Gehry Residence Norton Residence Edgemar Development Walt Disney Concert Hall Kenmore Apartments Danziger Studio & Residence Gemini G.E.L. Penthouse on Roxbury Hillcrest Apartments Indiana Avenue Studios Spiller Residence Lou Ruvo Center for Brain Health Gehry Partners Office Team Disney Administration Building Broad Residence St. Ives Residence California Museum of Science and Industry Frances Howard Goldwyn Hollywood Regional Library

Equipment: Apple iPhone 6s Plus camera, Reticam tripod mount with hand grip, Camkix wireless Bluetooth camera shutter remote control

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AIA South Dakota Enrichment Award Frank Gehry Travel Study Above: 2015 Chicago trip; Jay Pritzker Pavilion

AIA South Dakota Enrichment Award Above: Lou Ruvo Center for Brain Health and Loyola Law School

SUMMER 2016

Emily Ingemansen

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AIA South Dakota Enrichment Award; Above: Edgemar Development, Frances Howard Goldwyn Hollywood Regional Library, Chiat Day Building, Loyola Law School

AIA South Dakota Enrichment Award Above: Walt Disney Concert Hall, Norton Residence.

Gehry Residence, Lou Ruvo Center for Brain Health

FALL 2014 - FALL 2015

Emily Ingemansen

70

Ceramics Above: porcelain making process (Photo credit to Jeannie French)

Ceramics Media: stoneware/earthenware clay and porcelain

Franklin Parker

THE NINE SQUARE GRID PROJECT

SPRING 2015

John Hejdukâ&#x20AC;&#x2122;s Nine Square Grid project takes precedence in the challenge to design based on a series of superimposed grids. Through the process of super imposition, these grids begin to express programs and spaces. The series of spaces required to design are circulation, repetitive, unique, and static. All of the walls are temporary to change and adapt to different exhibits. Colors indicate connections through spaces, and color reveals connections beyond identifying spaces, and expresses the grid relationship.

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Above: Plan drawing of Nine square Grid Project.

SPRING 2015

Franklin Parker

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Above: Exploded isometric drawing.

Above: Physical model.

Franklin Parker

ACTIVE PHYTO-REMEDIATION SYSTEM

SUMMER 2016

The building shop focused on working with and experimenting with plastics. In the resulting tests and research, I used SOM and Case Researchâ&#x20AC;&#x2122;s active phyto remediation wall as precedence. Phytoremediation is the process in which plants use their roots and leaves in order to filter the pollutants in the air and ground.

The cleansing is forced by an active hydroponic plant system with built in air flow. Fans pull in dirty air to force filter pollutants. Plants are watered every four hours, and are exposed to normal day cycles for proper light.

Feeding and water occurs in a closed system, where the water is constantly re-used. Such a plant system, with enough testing, can act as an active filtration system, which could increase the efficiency of other active air filter machines.

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Above: Render of the model used for the prototype.

Above: System prototype process photos.

Franklin Parker

FARMER OF THE YEAR

SPRING 2014

Every year South Dakota State University chooses a farmer to honor with the title farmer of the year. The scenario sets the stage for a show of the farmer’s amazing work to integrate itself within the layout of campus. Each of these scenarios exist for the whole process of growing corn. The challenge was to design the farmer’s residence inside of the campanile, a site for him to grow corn, and a garage for the farmer to store their equipment. Then once a year during the college’s home game celebration ‘Hobo Days’ the farmer will harvest the field during the parade sequence.

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Above: Section of the farmer’s residence.

N

Above: Section of the farmerâ&#x20AC;&#x2122;s residence.

Right: Floor plans of the residence.

SPRING 2014

Franklin Parker

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Above: Split Section of the site showing South face.

Below: Iterations of the site corn row layouts.

Above: Split Section of the site showing the North face.

Below: Iterations of the siteâ&#x20AC;&#x2122;s corn row layouts.

SPRING 2014

Franklin Parker

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Above: Iterative physical models.

Above: Site plan and farmerâ&#x20AC;&#x2122;s harvest path.

Franklin Parker

BRIGGS LIBRARY ADDITION

The site is in Brookings South Dakota, at South Dakota State University. Briggs Library sits on the North side of campus where students come to study. The current program was shifted to create a place for researchers to weave their traces into the library. Between these traces, grows niches for places of study and separation from circulation of book browsers. This process became the genesis of the research center.

SPRING 2016

Reading

Thinking

Archiving

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Above: Floor plans.

Above: Section perspective series.

FALL 2015

Franklin Parker

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Above: 3-D Powder Print Section

Franklin Parker

DIGITAL SIMULATION OF THE SPANISH PAVILION This project focuses on the study of existing components and systems. In the Spanish Pavilion example designed

by FOA, the components can be formed so no geometry is repeated. The study shows construction steps, assembly, and rain water flow analysis. Exported models come from Rhino, but other plug-ins were explored including grasshopper, Diva4Rhino, eVerain, and Revit.

FALL 2016

Using this as precedence, the project was used for study in order to perform a number of digital simulations and work flows.

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Above: Isometric View

Above: Assembly process.

FALL 2016

Franklin Parker

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Above: Exploded axonometric assembly drawing.

Rain Flow Trail

Above: Three different iterations of the wall angled in grasshopper then tested water flow.

Guillermo Gonzalez-Cebrian

THE REYNER BANHAM ARCHIVE LOS ANGELES

SPRING 2016

The project consisted of an archive for the educator and architectural historian Reyner Banham. The archive was designed as a cantilevered structure over the Santa Monica Freeway in Los Angeles. Reyner Banham (1922-88) was a prolific English writer and architectural critic, trained under the noted historian Nikolaus Pevsner at the Courtauld Institute of Art in London. He befriended the influential British Independent Group, was a strict modernist who rejected historicism of any kind, and drew lessons from the machine age spirit in modern architecture.

The proposal needed to house a gallery and active repository for Banham’s works. The project started by researching about the different stages of Banham’s career, since he had different scopes of interest throughout his career, which can be clearly seen on his writings. After going through his writings, the field that interested me the most was his very first book, Theory and Design in the First Machine Age, in which he discusses about Modernism, its development, and most influential exponents. This field of study defined my “ecology”, of equal interest for me as for Professor Banham, which drove and supported my vision for the archive building.

My ecology was based on the First Machine Age, mainly on the first years of the 20th century. With that said, the works of architects such as Walter Groupius, Peter Behrens, Bruno Taut, Hermann Muthesius, as well as the work by the Deutsche Werkbund and The Bauhaus, served as inspiration for this project. With that said, the project used those precedents, not only for the visual aspects of the design, but also to the selection of material.

Concrete, black steel and glass became the most important materials of the project. The archive was conceived as a place occupied by four characters: The Scholar, a visitor, uses the archive as a place for writing and study, and has a fantasy with the past. The Craftsman (also an artist), who, in Los Angeles, is concerned with “finishing in high style”. The Tourist, or consumer, is interested in casually inspecting the building and the city. The Caretaker, also an archivist, lives in, tends to, and curates the archive.

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Left: Four Occupants Collages. From Top to Bottom: The Tourist, The Historian, The Craftsman, and The Caretaker.

Above: Photograph of the archive model.

Guillermo Gonzalez-Cebrian

SPRING 2016

THE REYNER BANHAM ARCHIVE LOS ANGELES

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SECTION 05

SECTION 04

SECTION 03

SECTION 02

SECTION 01

Santa Monica Freeway

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

Building Parameters & Site The project occupies one of 14 total vertical â&#x20AC;&#x153;lotsâ&#x20AC;? (one per each student of the class). The lots sit in a continuous line along West 17th Street in Los Angeles. Access to the archive is from the ground plane. The archive has one public stair core that must connect grade with the bridge level, all interior archive levels, and the roof.

Gallery

SECTION 04

SECTION 05

Scholar

Open

SECTION 02

SECTION 01

Craftsman

SECTION 03

Residential

0ft

12ft

24ft

48ft

Guillermo Gonzalez-Cebrian

THE REYNER BANHAM ARCHIVE LOS ANGELES

Lecture Room, Study Room, Open, Assembly Room, Residence.

FOURTH LEVEL

Exhibition Room, Library, Void, Shop, Residence.

SPRING 2016

THIRD LEVEL

Exhibition Room, Library,Void, Shop, Residence.

SECOND LEVEL

Exhibition Room, Study Room, Open, Assembly Room, Lobby.

FIRST LEVEL

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Above: Exploded Axonometric of the archive.

Right: Site plan with close-up of the archive.

Guillermo Gonzalez-Cebrian

SPECIES OF SPACE Gardening

FALL 2014

â&#x20AC;&#x153;Gardens have had a strange fate. Their history has almost always anticipated the history of cities.â&#x20AC;?

The Pleasure of Architecture, 1978 / Bernard Tschumi.

The first part of the project consisted in a study of Italian Renaissance gardens. It started with the exploration of their meanings, measuring the garden situation, and specifying a drawn and modeled description thorough enough to make the garden dissolve away in order to reveal a beautiful narrative of form, space, and sequence that transcends the artifact from which we began. These gardens are pure formal, spatial, and sequential plays.

They are superfluous, unprogrammed, tectonic spaces with thick layers of spatial sequence and narrative potential. Some call them models of cities or earthly diagrams of paradise. The Italian Renaissance garden that was assigned to me was Villa Marlia.

Any architectural sequence includes or implies at least three relations. First, an internal relation, which deals with the method of work; then two external relations one dealing with the juxtaposition of actual spaces, the other with the program (occurrence of events).

Sequences - Bernard Tschumi.

The exploration of the different aspects of Villa Marlia, were shown in a set of drawings, string modeling, as well as paper modeling through different iterations and progressional moves on a single piece of paper.

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Left: Set of Drawings of Villa Marlia.

Right: Set of string and paper models of Villa Marlia.

Guillermo Gonzalez-Cebrian

SPECIES OF SPACE Boxing

FALL 2014

“Perhaps the most important characteristic of the grid consists in its capacity to act as a ‘frame of reference’ for making design decisions. A frame of reference suggests the designation of some system, or set of physical limits from which something else originates and evolves...The imposition of the grid generates a descriptive ‘mapping of space that offers clues about its potential transformation and development.”

“The Grid: Form and Process in Architectural Design” / Richard Scherr.

After working with the organization of elements and operations primarily through cataloguing and modelling, the focus shifted into the organization of space within a grid of nine equal squares. The explorations were carried out through modelling in foam, chipboard, and wire as well as drafting. In the end, creating a graphical and modeled description of the way that space is structured within the generic form/space modulations of the box.

“All grids are fields, but not all fields are grids.”

“From Object to Field” / Stan Allen After looking at the grid as a frame of reference, the project looked back at gardening space in order to reevaluate its spaces.

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Left: Different explorations drawings of boxing space using the grid as a reference.

Right:3 x 3 x 3 Boxing space models.

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

Guillermo Gonzalez-Cebrian

SPECIES OF SPACE Situating In Gardening Space I worked with existing spaces to determine their operation and in Boxing Space I defined types of spaces and relationships of spaces using the grid as a reference. In Situating Space, the spaces studied became more specific giving them context, situation, and surroundings. Exploring issues of the part to whole relationship by taking into account how space relates to a defined site.

FALL 2014

After exploring and studying concepts such as sequence, hierarchy, proportion, grid, field, local conditions, and developing a language, I translated them and developed ideas through the parameters given, keeping in mind the following questions: - How are the spatial principles of hierarchy a n d organization that I previously studied being translated into the proportions of the project cube?

- How does one enter the spaces of the project cube from the site?

- What experience am I beginning to create through the sequencing of spaces on the site?

- How do materials and structure play a role in making this sequence?

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Left: Exploded Axon Drawing based on model.

Right: Different iterations of Situating space physical models, as well as a digital model.

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

Guillermo Gonzalez-Cebrian

NINE SQUARE GRID The Nine Square Grid project is one of the best known and most widely acknowledged studio assignment. The simplicity of its format belies the complexity of combinations and fundamental ideas that can be explore. John Hejduk (19292000), one of he most highly regarded architects and educators of the 20th century is often credited with introducing (or at least re-establishing) this assignment.

SPRING 2016

The project explores spatial organization using a nine-square grid module. Conditions of complex grids, interior and exterior space, transparency and opacity, continuity, color, and program will be assigned. Drawings, diagrams, and a working model will represent the finalized project.

The project was evaluated in the ability with the given design assignments, which were measured by the skill in describing and controlling the architectural conditions of the project, the clarity and communication of drawings and models, and demonstration of the capacity to learn and improve based on the constraints and language of the project.

The use of ordering systems are common in virtually every work of architecture. The project is largely designed to challenge the ability to control various grids for the purposes of formal and spatial alignment, organization, and structure.

Adding and subtracting elements that intentionally break the grid must also be understood in terms of hierarchy. The project uses a hypothetical site.

Four basic drawing types were required: plan, section, elevation, and axonometric. Drawing style was based largely on the course textbook LeCorbusier Redrawn: The Houses, by Steven Park.

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Left: 2D Grid Explorations.

Right: 3D Grid Explorations

Guillermo Gonzalez-Cebrian

NINE SQUARE GRID

SPRING 2016

The nine square grid problem is used as a pedagogical tool in the introduction of architecture to new students.

Working within the problem the student begins to discover and understand the elements of architecture. Grid, frame, post, beam, panel, center, periphery, field, edge, line, plane, volume, extension, compression, tension, shear, etc. The student begins to probe the meaning of plan, section, elevation and details. The student studies and draws his scheme in plan and in axonometric, and searches out the three dimensional implications in the model.

An understanding of the elements is revealed an idea of fabrication emerges.

-John Hejduk, from Mask of Medusa.

110

Above: Axonometric Drawing of the Nine Square Grid.

Right: Plan, Elevations and Section Drawings of the Nine Square Grid.

Guillermo Gonzalez-Cebrian

THE BIG SIOUX RIVERFRONT TOWER

FALL 2016

The 12-week building project was to complete the architectural schematic design of a mid- to high-rise condominium complex incorporating street-level retail space, parking garage, amenities, and multiple types of condominium units (One-Bedroom Units, TwoBedroom Units, and Three-Bedroom Penthouses). The buildable site area is 32,000 sf. Following the pre-design urban analysis, the first stage of design was titled as “site design and massing study”.

For the design stage, I conceived the master plan of the development and basic building masses given urban design considerations.

• Urbanscape: improve the visual and behavioral experiential qualities of the city environment.

• Access: Appropriate layout for vehicles and pedestrians to reach the property.

• Entrances: Appropriate placement of (1) Main Entrance + (2) Service Entrance(s) for garbage removal and goods delivery.

• Parking: Appropriate arrangement of Outdoor Parking + Indoor Parking (underground or 2nd floor) • Buildability: The building form should not significantly increase the risk and cost of structural engineering.

• Usability: The building form should have potential affordance for functional spaces as stated in the Spatial Program.

Total square footage should be below 100,000 sf. (F.A.R. < 3); Total building height<200’ (or less than 18 floors above the ground); other design restrictions per codes and ordinances.

Residential units deliverable: 15-18 one-bedroom units (15000 sf. @ Approximately 800 sf. each) 12-15 two-bedroom units (10000 sf. @ Approximately 1000 sf. each) 4 three-bedroom units (6000 sf. @ Approximately 1500 sf. each)

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Left: Concept development process.

Right: Model Photograph.

Guillermo Gonzalez-Cebrian

THE BIG SIOUX RIVERFRONT TOWER

Retail 3924 SF

Fire Stair 565 SF

UP

UP

Restaurant 834 SF

Restaurant 834 SF Parking 12031 SF Restaurant 834 SF

CONDO LOBBY 1926 SF

FALL 2016

UP

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LEVEL 1

GROUND LEVEL

LEVEL 9

AMENITIES LEVEL

Above: Floor Plans.

E 8th St

N Main Ave S Phillips Ave

E 9th St

Riv

er

Ro

ad

E 10th St

S 2nd Ave

S 1st Ave

S Mall Ave

S Phillips Ave

Above: Site Plan.

Below: Axonometric with interior view.

Guillermo Gonzalez-Cebrian

FALL 2016

THE BIG SIOUX RIVERFRONT TOWER

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Above: West and East Elevation of the Tower.

The Big Sioux Riverfront Tower is a High-Rise Condominium with 32 apartments, having 16 one-bedroom units, 12 two-bedroom units, 4 three-bedroom units, and a penthouse at the top. In the first floor, the tower has retail space, restaurants, and lobby. The parking garage consists of two levels, having a total of 55 parking spots.

Accommodating the amenities for the residents, the mezzanine level features interior spaces, as well as an exterior patio. The tower focuses on not only having great views for their residents, but also to be an eye-catching building for the people from the other side of the building by its position and its rotation at the top.

Above: Transversal and Cross Section of the Tower

Jacob Ricke

Situating Space This project explores the definition of different types of space and the relationships between them.

FALL 2014

We started by working with square models to develop an understanding of how simple arrangements of masses, planes, and frames can create space. By arranging multiple square models to create a remix model, an investigation of how parts can come together to build further spatial relationships was made.

The last component of the project took these square spatial models and re imagined them within an arbitrary site to form combinations of our spatial models to a site with topography.

The spatial implications of the models became more complex as the project developed, creating spaces that we began to imagine sequence and program through. I used form to drive the sequence of the model by forcing it through a space by narrowing of space followed by a relief in order to drive sequence. Framing was used to connect spaces with a physical but not visual separation.

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Above: Study Models of Masses, Planes, and Voids.

Background: Spatial Remix Model

FALL 2014

Jacob Ricke

122

Above: Situating Space Model

Above: Analog Longitudinal Section Drawing Middle: Analog Plan Drawing Below: Analog Transverse Section Drawing

Jacob Ricke

Farmer Of The Year

SPRING 2015

Situated on SDSUâ&#x20AC;&#x2122;s campus, a project for the winner of South Dakota Farmer of The Year was designed.

This project combined both a horizontal and vertical component to create a field condition surrounding the iconic SDSU Campanile, which was redesigned to accommodate for the Farmerâ&#x20AC;&#x2122;s living space.

We started by developing program within the green space surrounding the Campanile. Taking into consideration the planting, harvesting, fully grown field, and partially harvested field programs of the land, this section of the project was done to design space to allow for public interaction and gathering around the private residence. The field condition created contains both small intimate spaces for gathering as well as large open areas for event space between the rows within the planted field.

The final portion of the project was to design a residential space within the existing Campanile. My building design left the existing form of the Campanile with little exterior intervention while renovating the inside to create private residence for the Farmer of The Year. The building design divides the Campanile into two parts, with the living space on the top portion and public circulation at the bottom. The two programs intersect at the center of the building to form a public observation area, with the Campanile being the highest point in the city.

124

Above: Field Exploration Diagrams

Above: Plan/Perspective Composition

SPRING 2015

Jacob Ricke

126

Above: (Top Left) Harvest Plan. (Top Right) Planting Plan.

(Bottom Left) Full Field Plan.

(Bottom Right) Dormant Field Plan.

Left: Building Elevation.

Right: Building Section

Jacob Ricke

Nine Square Grid This studio project focused on the program and spatial organization of a building based on a Nine Square Grid System. The mission of the project was the clearly organize the space within a building and its site.

There was a requirement to use a grid, a paint scheme, panels, pedestals, walls, and doors in order to for a system within the elements to create organization and program while considering each element a formal move within the system.

SPRING 2016

My project developed into a system of interaction between simple elements to produce a rich program and space. The grid of my building developed a hierarchy for circulation and was extended both vertically and horizontally to connect the elements that run consistently throughout. In the center, the elements overlap to create a hierarchy of space with an interior space, interior courtyard, and through to the exterior.

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Above: Final Model Image

SPRING 2016

Jacob Ricke

130

Above: Spatial Diagrams

Above: Floor Plan

SPRING 2016

Jacob Ricke

132

Above: Axonometric Drawing

Above: Final Model Image

Jacob Ricke

The Reyner Banham Archive

SPRING 2016

This project is a dedication to the architectural historian Reyner Banham. The site is located over the Santa Monica Freeway in Los Angeles, a city that Reyner studied throughout his career and was perpetually fascinated by.

It is designed to house four characters that I developed based on Reynerâ&#x20AC;&#x2122;s interests; the Caretaker, the Craftsman, the Scholar, and the Tourist. The form of the building is design to reference historical landmarks within the city that were important to Banham. This relationship forms the space within the build where an interaction between the four character takes place. The Caretaker lives within the building and maintains the archive, the Scholar gives lectures and studies material related to Banham, the Craftsman builds and displays his work inside the archive, and the Tourist visits the archive to learn about Reyner Banham and observe the work of the others.

134 Above: Final Model Image

Jacob Ricke

TUR E

EC

DRAFT T F A CR DESIGN DEMONSTRATE INSPIRE

FEEL

SPRING 2016

L

DRILL

CUT FINISH

A D M I R E

LISTEN

ENTER OBSERVE

CIRCULATE

SLEEPP

LIVE EAT

L A Y

M A N A G E

VISIT ENTER GUIDE Level 01

DISP

LAY

OBS

ERV

OVERLOOK

E

CIRCULATE

STORE

CIRCULATE

CURATE

COLLECT

Level 02

READ

T A W

C

H

DISPLAYDISPLAY

LEARN

RELAX

DRAW

ABSORB

CIRCULATE

WRITE

CIRCULATE STUDY

RESEARCH CREATE Level 03

IE

V

GATHE

OBSERVE DISPLAY REST CONNECT

W OVERLOOK LEARN M WATCH

TALK G VISIT

IN

CIRCULATE

LE

CIRCULATE

SHARE

R

Level 04

Caretaker

136

Scholar Craftsman

Tourist

Above: Diagrammatic program Drawings

Above: Final Model Stair Detail Image

Jacob Ricke

Webster City Project Webster, SD

In a collaboration project with the community of Webster, South Dakota this studio project was a combination of exploration of the workflow involved in the casting process of brick and the design of a public space. The site is located near the Athletic Track in Webster, SD and next to a former WPA building foundation.

In the beginning of the project, we explored the methods of fabricating pre-cast concrete. I began this investigation by using unconventional mould techniques to push the bounds of which bricks can be created. After the initial tests the moulds became more functional and productive, with the goal of rapid reproduction and re-use of the mould to create uniform bricks for the design of a screen wall. The wall component of the project connects the brick production to the public space where a screen wall will be part of the design.

FALL 2015

The class then finalized the design of the public space. A large pre-cast concrete beam rests upon two small foundations, elevated just a few feet off of the ground on one end and separating to a greater distance at the other because of the slope of the site. Our design is to construct a suspended brick screen wall that drapes the foundation columns to give the effect of a massive floating beam. Seating and display will also be placed around the beam.

Project Partner: Cody Blevins. Together we produced mould designs, contributed to the overall project design, and fabricated the metal rack that hangs from the beam to support the bricks.

138

Above: Brick Book Mould Exploration.

Above: (Top) Wood Brick Mould Assembly Composition Below: Brick Mould Exploration

FALL 2015

Jacob Ricke

140

Above: Mock-Up Frame Construction

Above: Beam and Rack Mock-Up

FALL 2015

Jacob Ricke

142

Above: Installation Images (Credit: Arch 351 Class)

Above: Beam Placed in Site (Credit: Arch 351 Class)

Jacob Ricke

Archaeology of Section By studying historical sections as precedence for this building project, we gathered examples of the ways in which sections are drawn with different graphic techniques and gathered components of the sections to superimpose into our building sections.

FALL 2016

The site of this project is located in Minneapolis, Minnesota adjacent to the First Avenue Nightclub. After site context studies, I found that this area of the city is at the crossroads of many entertainment venues. The building developed into a space that allows for public program, open at the ground level, and with private space elevated off the street. By connecting to the First Avenue Nightclub, the building provides a private connection to allow performers from the infamous nightclub to reside in the building temporarily in a private residence at the top of the building.

The project drew many components from the Cenotaph to Sir Isaac Newton by Etienne Boulle. The experiential driven sections of his project and the massive interior space driving the overall form were superposed into my section to create the elevated interior public space.

This heavy space floats above the public space at the ground level and below the private residential space above it, with a small reveal pulling it away from the modular system of housing. Circulation of the building separates the interior space from the envelope to leave an ambiguous perception of what is behind, just the same as the effect of the section drawings used to create this project.

The graphic technique of using charcoal to layer with the printed digital drawings to create the affects of surface, light, and depth to portray the experience within the spaces. The central space within the building is connected with the spaces around it through the graphic device, bleeding out into the building and city it lies within.

144

Above & Right: Precedent Section in charcoal

FALL 2016

Jacob Ricke

146

Above: Model in Minneapolis Site

Performer

Resident

Concert Go-er

Above: Character Sequence Storyboards

Jacob Ricke

Private Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Circulation Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Circulation

Circulation

Circulation

Circulation

Circulation

Public Private

FALL 2016

Public

Section D - Jacob Ricke 1/16” = 1’ - 0”

Private Typ. Unit

Typ. Unit

Typ. Unit

Typ. Unit

Circulation

Circulation Typ. Unit

Typ. Unit

Circulation

Circulation

Circulation

Circulation

Circulation

Circulation

Public Private

Restroom B

Service

Circulation

Circulation

Circulation

Section E - Jacob Ricke 1/16” = 1’ - 0”

148

Above: Building Sections.

Above: Section Model Image

FALL 2016

Jacob Ricke

150

Above: In-progress longitudinal Building Section

Above: Final Longitudinal Building Section

Jacob Ricke

DIESTE WALL Building Shop

This building shop investigated the process of constructing a curved brick wall based on the work of Eladio Dieste. As a class, we explored the geometries of a Ruled Surface wall with a Catenary Curve as the geometry for the beginning of the wall at the base and a straight line at the top.

SPRING 2016

After drawing the wall geometries, we printed 3D models of the wall to determine which ratio of height to base diameter would provide for the most structurally sound wall.

Diesteâ&#x20AC;&#x2122;s Ruled Surface walls often consisted of a double curved wall that we were able to explore it digitally. However, because of spatial and time restraints, we decided to build a single curved wall with one un-reinforced layer of brick.

A wooden frame scaffolding with strings spanning from the top to the base was built to define the curves and undulations of the wall that was to be built.

We constructed the wall with nominal brick and masonry mortar following the strings of the scaffolding. Each student was required to participate in the brick laying, mortar mixing, brick cutting, and surface cleaning throughout the project.

152

Above: Ruled Surface Geometry Analog Drawings

SPRING 2016

Jacob Ricke

1 5 4

Above: Wall Construction Process Images (Credit: Arch 331 Class)

Right: Completed Wall Image (Credit: Federico Garcia Lammars)

Megan Welbig

SANDBOX The intent of this project was to study surfaces, how to create them with different materials and methods, and finally how to document these explorations effectively.

This project began by taking photos of an interior space and using different operations such as pushing, pinching, cutting, rolling, etc. in order to create a three dimensional ventilated drawing. Paper and push pins were used for this.

FALL 2014

Next, a 4” x 4” square was selected from one ventilated drawing. The inverse of this select was then recreated using a 20” x 20” x 10” box of sand that was manipulated with water. The goal of this recreation was to make the sand have the same appearance as the surface of the ventilated drawing.

Then, by using a 1”x1” and a 2”x 2” string grid system created on the top of the box, points for measure were provided. These measurements were then used to create a drafted version of the surface.

158

Surface created in Sand

1” x 1” Grid used for Measure

221 point drawing from 1” x 1” grid

441 point drawing from 2” x 2” grid

Megan Welbig

GARDENING SPACE This project began by selecting and Italian Renaissance garden. The selected garden for this project was Villa Carlotta located just off of Lake Como.

FALL 2014

From there the goal of this project was to figure out the spacial sequences and narratives of form, space, and sequence of the garden through the use of string models, paper models, and drawings.

160

Drawings of Garden

Garden with Selected Sections

FALL 2014

Megan Welbig

162

Vertical Movement throughout the Garden

Primary and Secondary Terraces

Movement through Garden

Density of Stairs

Moments of Pause

Primary, Secondary, and Tertiary Axis

Density of Vegetation

Megan Welbig

BOXING SPACE

FALL 2014

This project was a study of how to create space through the constraints of a 3” x 3” x 3” cube. Once many iterations of creating space were done, the study was furthered by arranging a select few of the iterations into what was referred to a Spacial Remix Model containing three Levels. From there drawings of the Spacial Remix Model were done.

164

Spatial Grid Drawing

The Twenty 3â&#x20AC;? x 3â&#x20AC;? cube study models were constructed from Blue Foam, Chipboard, and Wire. These models were used to create and study space.

The spaces studied in this exercise are: Rotated, Mirrored, Axial, Repeated, Implied, Static, Dynamic, Shifted, and Nested Space.

FALL 2014

Megan Welbig

166

Spatial Remix Model Drawing

Section Oblique Drawing

Megan Welbig

NINE SQUARE GRID The Nine Square Grid project began by setting a 3 x 3 grid within a 5 x 5 site. From there an irregular grid was placed on top of the 3 x 3 grid and expanded out to the edge of the 5 x 5 site.

Once this irregular grid was in position, it was used to create panels, pedestals, and exterior wall conditions in order to satisfy the required programs.

SPRING 2016

The programs are Continuous Space, Static Space, Repetitive Space, and the “Spreading of Components”. Once the panels and pedestals were in place and satisfying the four programmatic spaces, colour was added in order to further express these four types of space. Three colours were used: Yellow, Green, and Orange.

Yellow: to call out a minor grid within the irregular grid, not necessarily chosen to further any specific program.

Green: to call out the fourth program of the “Spreading of Components”.

Orange: to call out the panels and pedestals that made up the repeated space.

168

Preliminary Sketch Ideas

SPRING 2016

Megan Welbig

170

Photos of the Final Model

Axonometric Drawing

Megan Welbig

Static

Repeated

Spreading

SPRING 2016

Continuous

172

Plan Drawing and Four Programatic Diagrams

Full Color Elevations and Section Drawing

Megan Welbig

BROOKINGS ARMORY This project was a brief two week investigation into the manipulation of urban space. The Brookings SD Armory is an existing building located on the south end of Brookings Main Street.

This investigation was done through massing models.

The goal was to incorporate the existing building, in some manor, while also providing design ideas for new urban space in the downtown area.

FALL 2016

These models where then exhibited in the existing armory for the public.

Source: www.delcampe.net

174

Armory Massing Models

FALL 2016

Megan Welbig

Source: www.doarchbrookingsarmory2016.wordpress.com

176

Exhibition at Armory

Sharon Nicole Sanchez OrdoĂąez

THE 9 SQUARE GRID One of the best ways for doing architecture.

Being used for a long time because of its incredible way for allowing architecture to happen. With the use of a simple grid spaces are created, masses are placed, different levels defined, among other things.

SPRING 2016

The idea of this project is to brake the common grid by overlaying other different grids and start to define and place the spaces, masses, or levels in this superimposed grid.

180

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

Ph A b o tvoe : oBf rtihe ef d3exs3c g r irpi d t i omnoodfe D l rawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

SPRING 2016

Sharon Nicole Sanchez Ordoñez

182

n so/ R f eDpr ea twi ti n mtaegr e , cetticn. g s p a c e Above: B S trai et ifc d/ Ce os cnrt i p n tui o u i vge, / I n se Below: Brief description of Drawing, Image, etc.

Above: B s c r( P i pi n t iko: n , :IPmeadgees, t e P rl ai enf vdi e w P aonf eDl sr/aYweilnl ogw a tl sc).

Below: Brief description of Drawing, Image, etc.

Sharon Nicole Sanchez Ordoñez

SPRING 2016

REYNER BANHAM LOVES LOS ANGELES; WITH THE MEGA PONTE

This project studies the city of Los Angeles,a great inspiration for many architects but for this project we use Reyner Banham´s opinion and experience to design a building inspired in LA and Banham´s ecologies.

With the help of the 3x3 grid, we took a few elements, like columns, spaces, pedestals, and panels, to design a cantilever building, which main support its a huge concrete column that allows the building to hang over a highway in LA

184

SPRING 2016

Sharon Nicole Sanchez OrdoĂąez

186

Above: Transversal section cut Below: Four different section cuts to show the different characters that can move around the building

TOURIST

SCHOLAR

CRAFTSMAN

Above: Transversal Elevation

CARETAKER

Sharon Nicole Sanchez OrdoĂąez

FARMER OF THE CAMPANILE

FALL 2015

The idea of the project is to make a vertical study of the South Dakota Sate University Campanile, which is the tallest building in Brookings, South Dakota. Inspired by the masses, movements, sequences, and elements of a film, we designed our own campanile.

188

Sharon Nicole Sanchez OrdoĂąez

SPRING 2015

Starting with a study of a film, we started to divide the film in different sections, then define different masses, progressions, activities, and elements.

Allowing to overlapped each frame and creating and interesting grid that inspired the grid Campanile

190

Above: Iterations for the grided Campanile

Below(Left to right) Section/North Elevation/Section cuts in 3 different levels

Sharon Nicole Sanchez Ordoñez

Fa A lLl L2 2 00 11 55

PRECASTING THE FLOATING BEAM

192

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

The goal of the next project is to elaborate a floating beam that will be placed in the community of Webster, South Dakota. To make use of a public space for the school and the community, The beam was going to be supported by two columns and will be used for different recreational activities.

The Floating Beam was a collaborative support, work, and ideas among the entire Fall 2015 studio.

Photo: Theodore LaCoursiere Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

FALL 2015

Sharon Nicole Sanchez OrdoĂąez

Thinking on a mold that could be unfold, re-used, and that could produced many casts in one time. Inspired by the architect Solano Benitez bricks, we created the square Benitez mold.

194

Above: Production photographs of the unfolded mould

Above: Photograph of unfolded mould

Sharon Nicole Sanchez Ordoñez

FALL 2015

THE MOULD

196

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

THE BRICK

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

Sharon Nicole Sanchez OrdoĂąez

THE DIESTE WALL The design and the physical construction of a curved wall, was the main idea of this project that took 14 weeks to be completed.

Inspired on the famous architect and engineer, Eladio Dieste. The goal of the Dieste Wall was to be able to construct a curved wall by using specific parameters and materials.

Starting with understanding the logic of the wall by drawings and 3D models. Also, the elaboration and test of the scaffold to be able to built the physical wall.

198

A b o v e : B r i e f d e s c r i p t i o n o f D r a w i n g , I m a g e , Peitcct.u r e C r e d i t s B e l o w : B r i e f d e s c r i p t i o n o f D r a w i n g , I m a g e , e tEcm . ily Heezen

Sharon Nicole Sanchez OrdoĂąez

SPRING 2016

TESTING THE DIESTE WALL

WEEK 8:After modeling the wall in Rhino, and testing different thickness and heights of the wall, a 3d model was made, using the powder press

WEEK 9:Understanding how the scaffold for the Dieste Wall works, by simulating one with the use of nylon and wood.

200

CONSTRUCTING THE DIESTE WALL

WEEK 11:Scaffold physical construction

WEEK 12:Construction time!

WEEK 13:Wall starts to take the shape and keeps going higher

Svavar Magnusson

FALL 2012

Depuy Wall Panel

204

Above: Brief description of Drawing, Image, etc.

Below: Brief description of Drawing, Image, etc.

FALL 2012

Svavar Magnusson

206

Above: Image of the connection between each module.

Below: Image of the structure meeting the ground.

Svavar Magnusson

SPRING 2016

LAMELLA ARCH

208

SPRING 2013

Svavar Magnusson

210

Above: Outline of sand model.

Below: Stippling drawing of sand shadow.

Above: Sand height at each point make up the grid.

Below: All drawings combined.

SANDBOX PROJECT

Above: Stippling drawing.

FALL 2016

Svavar Magnusson

PONTE VECCHIO

212

Above: Map of Florence, Italy.

Above: Images of the centering and scaffolding model.

Below: Scaffolding sits on top of the centering.

FALL 2016

Svavar Magnusson

214

The Department of Architecture (DoARCH) at South Dakota State University was founded in 2010 to provide the region with a continuous supply of well-trained professionals, to study and advocate for South Dakota communities, and to strengthen the collaborative practical connection between design & the building arts.

Architecture is a way of seeing, advocating for, and shaping our environment. It is a curiously pragmatic practice. It is a long-standing intellectual discipline. It is a legally responsible profession. It is a means of translating productive and intellectual action through technology. In practice, we use one sort of technology (graphics) to direct the outcomes of another sort of technology (building arts) and the collection of our constructions forms another technology (urbanism).

This book is a collection of individual student portfolios made for Arch 401 in the fall of 2016.

Arch 401 is a student-driven course in which the instructor guides each student through the compilation, editing, and stylization of a portfolio of their work. The subject matter of the portfolio is built as a capstone reflection of performance in prior architectural studios, workshops, and media courses. This book is a collection of all the student portfolios form this course.