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
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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
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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.
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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
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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.
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Above: Field Exploration Diagrams
Above: Plan/Perspective Composition
SPRING 2015
Jacob Ricke
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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
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Above: Spatial Diagrams
Above: Floor Plan
SPRING 2016
Jacob Ricke
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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
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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
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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.
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Above: Brick Book Mould Exploration.
Above: (Top) Wood Brick Mould Assembly Composition Below: Brick Mould Exploration
FALL 2015
Jacob Ricke
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Above: Mock-Up Frame Construction
Above: Beam and Rack Mock-Up
FALL 2015
Jacob Ricke
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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.
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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.
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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.
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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.