SETH GOODMAN Bachelor of Architecture • Rice University
2005-2011
SETH GOODMAN Bachelor of Architecture • Rice University goodman.seth.b@gmail.com +1 512 228 7712 1009 Corsaire Cove, Austin Texas 78734
2005-2011
A Main Street Metro Rail
Site Plan
1’’ = 100’
THE GREAT EQUALIZER S PRI NG 2 0 1 1 MANNAFOLD FALL 2 0 1 0 PRECEPTORSHIP 2 0 0 9 -2 0 1 0 ELMS AT THE VILLAGE SPRI NG 2 0 0 9 IMCH-MUSIC CENTER FALL 2 0 0 8 RESOURCE ACADEMY SPRI NG 2 0 0 8 SLABSPACE FALL 2 0 0 7 TRANSIT CENTER pierre david • john casbarian
troy schaum
nbbj seattle
william t. cannady
carlos jiménez • michael morrow
dawn finley
christopher hight • michael robinson
gordon wittenberg • michael morrow
SPRI NG 2 0 0 7
DOWNTOWN AQUARIUM FALL GREENHOUSE PAVILION FALL MOTORCYCLE MUSEUM douglas oliver • james ray
2006
douglas oliver • james ray
2006
nonya grenader • danny samuels
SPRI NG 2 0 0 6
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The design for this hotel in the southern suburbs of Paris was the result of a rigorous iterative process. Each step involved minimal changes from the last so as to render each change clear and deliberate. The hotel was to accommodate five ‘stars’ or classes of guest rather than catering to a 5 single market In the first phase many paper ‘figuras’ were produced to explore the spacial relationships between these different visitors. The hotel figura was not necessarily meant to literally represent the design. I used my explorations to develop situations where each star had a separate 10 space but by twisting and shearing these spaces, each was given a view of the other. In the second phase, a series of site ‘figura’ were used to show the project‘s response to the site that I selected. Finally, the design was developed through many sections and excluded plan drawings entirely. final
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The hotel’s design is based on the premise that architecture is not an effective agent of social mobility on its own. Instead, this project seeks to encourage a political solution by increasing the legibility of social inequality in architecture. It is not a proposal for a permanent way of life but rather a filter which proposes alternative societies to those who pass through it. Additionally, by selecting this particular site and affording certain views through the building to the public, the project seeks to reclaim the large adjacent cemetery as a space for the living. Parisian cemeteries represent some of the best examples of French landscape design and are not only used for mourning, but the surroundings of this particular cemetery have discouraged its use as a park space.
THE GREAT EQUALIZER SPRING 2011 pierre david • john casbarian
clockwise from top: two views of the final site figura; folding diagram for site figura; diagram showing the five stars and their respective consumption of private and shared space and star color key; final site figura opposite page clockwise from top left: hotel ‘star’ figura iterations; site figura iterations; site plan
e pac on s m m roo com one star
two star three star four star five star
section AA
section CC
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section EE
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final
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section 22
section 44
section 66
Performative skin systems were the focus of this studio. The program called for forty thousand square feet of garden growing surface to be incorporated into the design of a restaurant, bar, and cafe which would serve the produce. The rest of the large site would complement the bayou park across the street by providing an additional outdoor music venue for the festivals held there. Office space was also included in the program to serve the non-profits responsible for overseeing and promoting the park’s development. In approaching the requirement for a performative skin, I wanted to attempt something more radical than a high-tech greenhouse and began to define “performative” in spacial and experiential terms as well as thermal and climatic. I designed a system which would accommodate both plants and people on top of it while acting as a filter for the spaces below. The skin, which resembles stacked egg crates which have been molded to a specific shell form, serves as a three dimensional corrugation that allows light and breeze to pass through while creating depth in individual divots in which to pot plants. A modified raised floor system can be added to allow human occupants to traverse the roof and inhabit sloped areas which in one instance form the auditorium. The repeated eye-shaped courtyards provide structural support by extending to the ground. They also create pockets of sunlight below, and a surface for growing plants that, because of its shape and southward orientation, provides shading during the summer while gathering direct sunlight during the winter. These pieces create a repetitive field underneath (inspired by the Cordoba mosque or the Kapalicarsi market in Istanbul) that hosts farmers’ markets, semi-outdoor dining, and educational and fund raising activities associated with the non-profit offices.
MANNAFOLD troy schaum
FALL 2010
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Sketch 1 shows the first concept for the shape of the courtyards. They are intended to respond to the geometry of the sun’s movements in Houston so as to provide a surface for plants that is shaded during the withering heat of summer yet receives full sun during the winter. Drawing 12 is the final solution showing sun paths and shadow studies for different times. Sketch 3 shows that these courtyards take advantage of prevailing winds to create pressure differences that help ventilate the space beneath. Sections 4 (early), 5 (intermediate), and 6 (final) show how the shape evolved to create more inhabitable space and the optimum angle for growing while providing shade. Rendering 7 shows an early aggregation of the courtyards. The unique corregation pattern of the outer skin is porous while creating thickness that hosts growing plants and walkways for people. Because it acts as a giant brise soleil, the glass partitions underneath that divide air conditioned program from the rest of the space can be ultra-clear without incurring massive solar heat gain. As shown in the sections, air conditioning and other services are provided from the plenum space and garage below. Sketch 8 is the first indication of the corregation geometry in plan. Rendering 10 is the earliest digital image of the skin. The curvature became steeper and thus more sturcturally sound in 11. The horizontal plates between courses were removed in 9 to allow greater openness.
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skin system piece taxonomy
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11
June 21
December 21 8:00 am
10:00 am
12:00 pm
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12
1”
connector pieces
c p
torus 1” for transferring cable direction
t t c d
1”
1”
9
6.4”
6.4” 5.25”
18”
18”
8
6.4”
6.75”
3”
3”
7
1”
1.3”
1.3”
1”
embedded casings for tension cables
variable thickness to accomodate cables while reducing mass
6.4”
tongue1”& groove
18”
1”
typical block
.5”
embedded casings for 11.6” tension cables 18”
variable thickness to accomodate cables while reducing mass
6.4”
tongue & groove
6.4”
18”
5.25”
1.25” .5”
11.6” 18”
6.75”
typical block
1.25”
drainage hole
d h
cable holes
c
skin system piece taxonomy
soil
gravel
gravel
drainage
draina
cloth
cloth
.2 ”
11.2”
11.2”
rubber cloche greenh
11.6”
11.6”
cable holes
cable holes
14” max
drainage hole
31.3”
different soils to suit crops
4”
drainage hole
4”
6.75”
6.75”
3”
31.3”
variable thickness to accomodate cables while reducing mass
variable thickness to accomodate cables while reducing mass
19.9”
4” variable
18”
4” variable
3”
18”
plant transp
soil
cloche greenhouse
22
22
.2 ”
torus for transferring cable direction
14” max
6.4” 5.25”
6.4”
18”
18”
6.4”
torus 1” for transferring cable direction
1”
1.3” 1”
embedded casings for tension cables
6.4”
embedded casings for 11.6” tension cables 18”
11.6” 18”
1” 1”
1”
planting fill
connector pieces
6.4”
tongue1”& groove
.5”
6.4”
tongue & groove
1.3”
1.25” .5”
connector pieces
5.25”
1.25”
typical block
1”
typical block
19.9”
differe to suit
transparent seal
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age
36”
raised platform infill
anti-slip pad
anti-slip pad
bracing or tension members
bracing or tension members
assembly
assembly
typical block
typical block
connector
connector
tension cables
tension cables
metal frame with cement 5-axis water infill jet cuts unique pieces
5-axis water jet cuts unique pieces
36”
33”
4” 5”
variable 7.2”
variable
.25” 14.3”
acrylic
.5”
variable
.5” .25”
33”
variable
4”
metal frame with cement infill
33”
5”
rubber gasket
14.3”
acrylic ent soils t crops
2.5”
33”
egasket house
2.5”
raised platform infill
1.5”
adjustable height
7.2”
ting fill parent seal
adjustable height
1.5”
After developing the shape of the corrugated skin, I designed a system of parts from which to construct it. The basic unit is a precast concrete block. These are held together by tension cables run through tubes cast in the blocks and metal connectors positioned at the corners. The cables anchor the assembly to the ground a create a kind of truss inside the blocks. Various infills such as the planters and walkable platforms are also detailed. Transparent acrylic seals can be wedged between blocks to separate air conditioned space from the outside.
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3 1. sketch from first day of project 2. courtyards as aggregated pods 3. pods with hard and soft edges
4. inner skin pulled away from planted shell 5. roof concept with different surfaces 6. concept for a grid cells with variations
9 7. first sketch of cells in a grid 8. penultimate roof plan 9. final roof plan
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1. office 2. break area 3. bar + lounge 4. dining room
5. cafe 6. kitchen 7. walk-in cooler 8. office
9. restroom 10. auditorium 11. farmers’ market pads
12. loading 13. garage access
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0
10’ 20’
40’
80’
final ground floor plan
mock-ups + models To create a half sized mock-up of the metal connector piece, I decided to use translucent resin to expose the interior intricacies. The mold was made using a powder type 3D printer which uses inkjet heads to print thin layers of binder onto layers of powder. The powder mold was then coated in liquid rubber and release fluid to prevent the resin from penetrating the mold. Because of the geometry of the piece, the mold had to be destroyed to remove the finished mock-up.
To create a half sized mock-up of the concrete block that forms the shell/skin, I first had to make the mold. I used a 3-axis CNC router to shape blue insulation foam. Because of the depth restrictions of the router and material, multiple pieces had to be stacked and glued. I sanded the pieces to remove the ribs that result from the routing process and coated the mold in liquid rubber and release fluid. A cement patching product know as rockite (used for a smoother more even result) was poured into the concave half of the mold. The other piece was pushed down into the concrete forcing it up to fill the mold. The correct volume was calculated using the computer model.
Cellular plastic sheets make a serviceable approximation of the texture of the plastic 3D print segment model on the next page. Layers were laser cut to make the ‘topography’ of the outer shell. A light box helps to reflect worm’s eye views and when illuminated highlights the openings and reveals differences in thickness. The quick approximation allowed the overall design to be evaluated and for another iteration to be made based on that evaluation.
I realized a detailed portion of my digital model via a rapid prototype machine. The prototyper lays down molten ABS plastic and a support material that acts as a temporary scaffolding where there are voids in the piece. The finished print is immersed in an alkaline bath that dissolves the support material leaving only the plastic. Due to the size restrictions of the print bed, this model was completed in two runs of thirty hours each. A small test piece was made beforehand to confirm that the final result would not be too fragile. The lower right hand picture is a digital rendering of the piece shown for comparison.
PRECEPTORSHIP nbbj seattle
2009-2010 During my year at NBBJ, I was privileged to be able to focus almost exclusively on a single project: the new courthouse for the San Joaquin County Superior Court of California in Stockton. My time on the project spanned from the beginning of schematic design until the middle of design development. The majority of my work consisted of modelling in Revit the court sets and vertical circulation, creating physical models for study and presentation, and attending meetings with, and helping to respond to, input from consultants. The opportunity to participate as a member of a project team afforded me experience with professional working relationships and a perspective of the evolving life of a project and the unexpected challenges that it can face.
sectional perspective of the entire digital model of the Stockton project; represents the work of the entire project team
Accessibility to the raised judge’s bench and the clerk and witness stands proved to be one of the greatest challenges in designing the courtroom. A full scale mock-up was constructed and modified to illicit feedback from the client group and evaluate the design as it evolved. The mock-up also included the raised back corridor where ramps and stairs required tight tolerances to comply with code. The clerestory windows intended to bring daylight into the center courtrooms were built as well to evaluate whether they would prove distracting to the jury. When I first began work on the courthouse, much study had already been done on the configuration of the courtroom. While sight lines between the various parties involved in a court session are paramount, the judicial officers also desired that the form of the courtroom express the gravitas of the space and its function. Working under the direction of the principals and drafting from
their sketches, I helped create numerous iterations of the courtroom. I modelled each iteration in Revit, created a document set for the construction of a courtroom mock-up, rendered images for client meetings, and produced a short animation.
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clockwise from top right: plan from the courtroom mock-up set [Revit]; views of the constructed mock-up in various stages [photography by others]; two elevations of the judicial bench opposite top: screen shot of an animation of the courtroom design [3D Studio Max] opposite bottom: axonometric projection showing a mock-up to be built within an existing room
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Court Security Operations Dept Program 2,628 SF Actual 2,603 SF
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Dept Program 888 SF Actual 904 SF
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Dept Program 6,769 SF Actual 6,429 SF
Dept Program 450 SF Actual 405 SF
Staff Showers
Dept Program 192 SF Actual 215 SF
Dept Program 288 SF Actual 341 SF
Circulation
Dept Program 1,274 SF Actual 1,279 SF
Circulation
Mech. Shaft
Mech. Shaft
Court Operations Clerks
Food Concession
Generator
2 A3.05
Dept Program 1,547 SF Actual 1,615 SF
Traffic Division Dept Program 3,157 SF Actual 3,159 SF
Mail Room
Staff Tlt.
Court Admin
Housekeeping
Dept Program 9,013 SF Actual 9,130 SF
Traffic Counter
Facilities Manager
Dept Program 480 SF Actual 467 SF
Break Room
Dept Program 180 SF Actual 546 SF
Dept Program 1,625 SF Actual 1,566 SF
Dept Program 195 SF Actual 195 SF
Elec
Main Elec. Rm.
Self Help Center
IDF
Elec
Elev Vest
Storage
IDF
Elec.
Judge and Staff Parking Ramp to B2
Dept Program 3,505 SF Actual 3,508 SF
IDF
Criminal Counter
Mech
Dept Program 1,995 SF Actual 1,852 SF
0'
0'
0'
Loading Dock
4'
4'
4'
Dept Program 1,600 SF Actual 2,023 SF
Elev Vest
Mech. Shaft
Circulation Exit from SW Tower Stair
8'
8'
8'
Transformer/ Switchgear 12'x20' Hatch to B2
Criminal Division
Public Restroom
Dept Program 4,557 SF Actual 5,262 SF
Dept Program 480 SF Actual 480 SF
N
N
SCALE: 1/8" = 1'-0"
InCustody Bus Entry Ramp Down 7.2%
Ramp Down 15%
Exit from B2
Dept Program 180 SF Actual 519 SF
32'
Ramp Down 7.5%
Break Room
Mech. Shaft to B2
SCALE: 1/8" = 1'-0"
N
SCALE: 1/8" = 1'-0"
Trash/Recycling Bay 3 (12x32)
32'
32'
Loading Bay 2 (12x32)
16'
16'
16'
Loading Bay 1 (12x40)
282 SF
Office 14240 SF
UP
COURT PLANNER: Jay Farbstein
1099 SF
223 YALE AVENUE NORTH SEATTLE, WASHINGTON 98109 PHONE 206 223 5555 FAX 206 223 5000
1085 SF
Holding
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LANDSCAPE ARCHITECT: Burton & Company
Courtroom
CONSTRUCTION MANAGER: Turner
Courtroom
CIVIL ENGINEER: Psomas
525 SF
LOW VOLTAGE / AV: AVS
469 SF
Seating
MEP: IBE Consulting Engineers
Holding
STRUCTURAL ENGINEER: Thornton Tomasetti
514 SF
SURVEY: Psomas
opposite page top to bottom: plan showing the relationship between the earlier blocking diagrams and a more developed floor plan (this was used to perform modified BOMA calculations for the client); 11th floor plan showing room numbers; floor finish plan
Seating
LIGHTING: NBBJ Lighting
top: blocking diagrams showing rough programmatic layouts on various floors in early schematic design bottom: diagram of different zones used in plumbing occupancy calculations underlaid with a revised plan
ELEVATOR: Lerch Bates
UP
7304 SF
BLAST: Eve Hinman
NEW STOCKTON COURTHOUSE
50% Schematic Design
COURT PLANNER: Jay Farbstein
223 YALE AVENUE NORTH SEATTLE, WASHINGTON 98109 PHONE 206 223 5555 FAX 206 223 5000
100360.00
01/25/2010
LANDSCAPE ARCHITECT: Burton & Company
CONSTRUCTION MANAGER: Turner DESCRIPTION DATE
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SURVEY: Psomas
LIGHTING: NBBJ Lighting
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BLAST: Eve Hinman
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SURVEY: Psomas
LIGHTING: NBBJ Lighting
ELEVATOR: Lerch Bates
BLAST: Eve Hinman
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BIM softwares allow large amounts of information to be integrated with the drawings. In order to be effectively used, designers must create objects that are imbedded with this information. Using the parametric features of the software, one master element can be easily modified for many situations. Two examples of such elements that I made can be seen along with the process that The visibility of the individual labels can be toggled and either created them. Room tags in Revit can display various data the small or large set of labels can be used that are useful both in documentation and while designing. Since not all information is needed at any given time, I designed a tag that allows users to quickly toggle which parameters are displayed.
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A formula associated with each label adjusts its spacing based on which other labels are toggled on
Hide Big 0' - 0 5/8"
C 0' - 0 15/32"
Room name Room name Use Group 300 Use 150 Group 101 SF 300 101SF 150
B 0' - 0 5/16" D 0' - 0 15/32"
D2 0' - 0 1/4"
C2 0' - 0 1/4"
B2 0' - 0 5/32"
A2 0' - 0 3/32"
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Room tag contains labels corresponding to many parameter values given in the project
A 0' - 0 5/32"
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Many different types of tags can be easily created, and changed frequently without creating gaps, by simply checking the information to be displayed
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An array of lines displays the correct number of seats spaced according to the seat size parameter
The calculated values can be displayed as a number using a specially created revit furniture tag and can also be tallied in schedules
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Bench is created and stretched to a certain width
Over the course of the project, the size and shape of the spectator gallery changed multiple times; specialized courtrooms featured different galleries and had different seating requirements. Additionally, seating capacity is calculated differently in several circumstances. (for example, plumbing versus egress requirements) I created a spectator bench family in Revit which automatically calculates its seating capacity and graphically indicates each individual seat in order to facilitate iteration of the courtroom design.
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Seating capacity is calculated based on the width and a variable seat size parameter then rounded to the nearest whole seat
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STAIR 2 - LEVEL 5-11 SCALE: 1/4" = 1'-0"
7/15/2010 5:01:24 PM D:\sgoodman\Revit Local Files\100360_00\Stockton-Core-sgoodman\Stockton-Core-SGoodman.rvt
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left: 3D view of a stair transfer that I worked to solve [Revit] middle: portion of a sheet from the 50% DD set showing enlarged plans and sections of a stair [Revit] right: exhibits from a series showing lines of sight between key locations for people of various height [Revit and Illustrator] 2 A7.13
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COURT PLANNER: Jay Farbstein Pacific Palisades, CA CONSTRUCTION MANAGER: Turner Sacramento, CA
5 A7.12
CIVIL ENGINEER: Psomas Roseville, CA LANDSCAPE ARCHITECT: Burton & Company Santa Monica, CA
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STRUCTURAL ENGINEER: Thornton Tomasetti Los Angeles, CA MEP: IBE Consulting Engineers Sherman Oaks, CA LOW VOLTAGE / AV: AVS Diamond Bar, CA
DN
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ELEVATOR: Lerch Bates Bothell, WA
3.7
LIGHTING: NBBJ Lighting Seattle, WA
B
SURVEY: Psomas Roseville, CA
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STAIR 2 - LEVEL 3
LIFE SAFETY: Schirmer Engineering Torrance, CA
SCALE: 1/4" = 1'-0"
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5 A7.12
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BLAST: Eve Hinman San Francisco, CA
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New Stockton Courthouse
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180 E. Weber Ave.
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50 % DESIGN DEVELOPMENT
3.7
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STAIR 2 - LEVEL 2 SCALE: 1/4" = 1'-0"
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Juror Sightline
Much of my time at NBBJ was spent drafting SCALE: 1/8" = 1'-0" from the sketches of senior designers and checking the results for code compliance and square footage. Towards the end of my time I had the opportunity to try to solve some stair transfers on my own. While I was not always successful, I learned much about juggling structural, mechanical, and code requirements and was able STAIR PLANS, SECTIONS, AND to more fully utilize the benefits of 3D modelling DETAILS in design. In addition, I worked to create sheets AOC for the submission sets as well as other exhibits to A7.12 New Stockton Courthouse support client needs and design analysis.
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During my year at NBBJ I spent significant time in the model shop creating many different kinds of models with various quality and scheduling requirements. With the guidance of the shop staff, I learned much about the craft of model making. By the end of my time I was building models almost entirely myself such as the Stockton, Sacramento, and Redding site models.
above: southwest view of a working model for the Stockton courthouse [walnut, satellite image on chipboard, and printed photo paper on acrylic] below: model of the Stockton courthouse entry lobby used to study different escalator configurations [laser cut acrylic and foam core] opposite spread clockwise from upper left: site model for an RFP for a courthouse project in Sacramento, California [cherry and satellite image on paper]; interview model for a prospective courthouse in Redding California [basswood and satellite image on chipboard]; rapid prototype of a courtroom option; concept models by others set in a site model which I built in Revit and produced using a 3D printer.
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1. 2. 3. 4. 5. 6. 7. 8. 9.
living/dining kitchen bedroom study game room laundry HVAC/hot water electrical garbage
precast coping weep hole 7-5/8”x4” CMU wall #7 rebar @ 12” O.C. flashing steel angle masonry ties @ 24” O.C. 2” ridgid foam insulation 1/2” board steel stud wall 1/2” gypboard tile 2” air gap 8”x3-1/4” steel tube weep hole awning window custom sliding mirror
cast stone sill granite counter
moisture barrier sprayed insulation (noise dampening)
clockwise from top left: typical floor with model underlay; wall section; pencil and ink facade and plan study; reflected lighting plan
7” concrete slab 8-5/7”x6” CMU cieling ties furring @ 12” O.C. 1/2” gypboard
flashing counter flashing blocking membrane roof ballast
This was a comprehensive studio which included guest lectures and feedback from structural, mechanical, and facade engineers as well as two Houston developers. The program called for a four unit condominium building designed with wealthy retirees in mind. The building is sighted near Rice University in Houston. The basic footprint of the building was given and students were encouraged to emulate the style of a modern master (in my case Louis Kahn). clockwise from top: north elevation; south (street) elevation; photo of model from courtyard (north) side; model photo of kitchen and dining room
ELMS AT THE VILLAGE SPRING 2009 william t. cannady
2 4 2 0
B 4
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whole spread - top from left: section AA; section BB; street elevation. bottom from left: basement plan; ground floor; mezzanine level; top floor
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1. 2. 3. 4. 5. 6. 7.
Library Restroom Mechanical Lightwell Lobby Exhibition Space Gift Shop
8. Loading 9. Courtyard 10. Cafe 11. Office Suite 12. Multipurpose Space 13. Performance
This project sits on an infill site in Houston’s midtown and was designed to house a “music interpretation center” where music would be performed and discussed. The program includes a performance space with an emphasis on its flexibility, an exhibition space, a multipurpose space which can host a lecture, a small cafe, a gift shop, a music library, and a courtyard. Additionally, the final design was to include HVAC, structure, and plumbing systems. With this project, I was intrigued by the surrounding neighborhood, an oasis of eclectic businesses in an otherwise fairly barren part of the city, and the requirement for a courtyard. I drew inspiration from the biergartens of central Texas that I know well and where I have enjoyed many different genres of music. The courtyard is on a low wooden deck and has a canopy of lights overhead as many Texas biergartens do. I designed the cafe and courtyard to operate somewhat independently of the rest of the project and to act as a kind of lure or gateway to encourage people to explore the center.
IMCH-MUSIC CENTER FALL 2008 carlos jiménez • michael morrow
Wall
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The courtyard and cafe are accessible from the street yet are not fully exposed to it. From there you can see into the lobby and exhibition space and may investigate it if you wish. While performances would be held in the courtyard and exhibition spaces, the more formal performance space is above on the third floor, where it can also spill over into the multipurpose space. On a mezzanine level in between are the administrative suite, a restroom and a balcony which overlooks the spaces below. The performance space has a thickened wall covered by a metal mesh behind which can be put equipment for performances such as acoustic panels, speakers, smoke machines, colored lights, etc.
left to right: framing diagram; study model; water systems diagram; HVAC diagram; detail wall section. opposite page: model photosâ&#x20AC;&#x2122; location on axonometric projection: 1. main performance space 2. mezzanine overlooking courtyard 3&4. courtyard as seen from exhibition space 5. street view 6. street view at night
Main Street Metro Rail Main St. streetcarSite Plan
1’’ = 100’
This semester’s problem was to design a vocational high school specializing in training students for “green collar” jobs on a three block site in mid-town Houston. I chose to focus on soil and water resources which are waning in both availability and quality. I proposed a curriculum that combined agriculture, municipal water and sewage treatment, and the rehabilitation of polluted land. I attempted to integrate some of the proposed solutions to these problems (such as an infrastructure of urban agriculture that simultaneously filters waste and grows food) into the school as both functioning systems and laboratory space for the students. As can be seen by comparing the earlier designs to the left with the final project on the facing page, the geometry of these spaces changed radically throughout the semester and the constant re-designs ultimately worked to my disadvantage. The final result is a terracing, mostly exterior, serpentine element which is the above mentioned system-laboratory that attaches to, and punctures through, an otherwise regular building with two courtyards. Two thickened bands accommodate larger program elements. Pods of classrooms along the serpentine element house vocational classes while the rest of the building hosts more traditional classes. clockwise from top left: site plan; early model; later model from two views; sketch of regular classrooms hosting aggregated vocational classrooms (yellow); longitudinal section
clockwise from top left: rendering of courtyard from library; top floor plan; ground floor plan; cross section; longitudinal section
RESOURCE ACADEMY SPRING 2008 dawn finley
This project had two phases. The objective of the first was to generate a novel organizational logic which could serve as a new architectural type. This type was then diagrammed. Variations could be generated by deforming the original diagram. For the second phase these developments were used to design a “resort community” on an abandoned amusement park. The site is organized as a field of parallel strips. The strips can fold upwards to create buildings, bend back on themselves to form cantilevered balconies, and dip down to make depressions in the landscape. Each individual strip responds to the shape of its immediate neighbors so that gradual variations from one strip to the next create movement in the buildings and landscape. Occasionally this continuity is broken to create shears that, coupled with collisions of separate buildings, create moments of increased interest and interaction that host various community program. The buildings’ structure is a series of trusses that each contain in its shape two different sections—one for the strip on either side. The trusses are spanned by the outer skin. The slabs undulate in plan semi-autonomously from the skin and periodically penetrate it to create balconies. A second skin which defines the air conditioned envelope of the units sits behind the outer skin.
*
main walkways
retail
top: site diagrams with various planning aspects1. general layout and density; 2. vehicular access; 3. pedestrian access and non-residential program middle: diagram of water management strategy bottom: rendering of a typical building and reservoir opposite page top: illustration showing progressively more layers middle: sectional rendering bottom: 5 plan views showing the diagrammatic â&#x20AC;&#x153;bonesâ&#x20AC;? of the type deformed in various ways with the results shown above
main car thouroughfares alleys
metro-rail
community space
parking
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SLABSPACE
christopher hight â&#x20AC;˘ michael robinson
FALL 2007
B
A
A
B
clockwise from top left: plan; conceptual rendering of different levels of the plaza; rendering from between the two bridges; section BB; study models for station shelter
This project is an intermodal transit center sited just north of Houstonâ&#x20AC;&#x2122;s downtown near a section of the bayou system that the city is developing into park space. Creating a major public landscape element was a requirement. Commuter rail, street car, rapid bus, city bus, intercity bus, and parking were to be accommodated. An existing heavy rail line could not be moved. The central focus of the design is a large terracing plaza that connects the bayou park to the city. It integrates the need to cross either under or over the railroad with recreation spaces and small food kiosks. Each level of the terrace has a unique program and material palette. Both the rail and a street bridge cross the lowest level of the plaza. A ramp between the two bridges conveys pedestrians to the transit stations on either side. One side serves municipal transport and the other accommodates intercity transit. A large sawtooth roof covers the transit spaces and is designed to permit solar panels to be mounted on its south-facing slopes.
Amtrak and Commuter Rail MetroRail Bus Rapid Transit Local Buses Regional Buses and Taxi Through Traffic (Main Street)
TRANSIT CENTER SPRING 2007 gordon wittenberg â&#x20AC;˘ michael morrow
clockwise from top left: birdâ&#x20AC;&#x2122;s eye rendering; circulation diagram; site plan highlighting topography; portion of section AA; section BB
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[ground level: see opposite page]
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clockwise from top left: plan at -6 meters (entrance); -3 m; +5 m; sketch showing 3 pronged service core and tanks; earlier sketch showing the beginnings of that concept; site model showing buildingâ&#x20AC;&#x2122;s relation to bayou and downtown
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f
The program for this project was a public aquarium in downtown Houston with the mission of educating visitors about Texasâ&#x20AC;&#x2122; marine ecosystems and the threats they face. The building was to include four large tanks (one for each major ecosystem in Texas), an open air dolphin tank, an aviary, numerous smaller tanks and the required mechanical, service, and administrative spaces. I attempted to choreograph the order in which visitors experience the exhibits in order to maximize their pedagogical impact. The outside walls are clad in cor-ten steel which encompasses the building like a folding ribbon. The building is iconic when viewed from afar but mysterious and somewhat forboding on approach. The front wall actually leans over visitors as they descend six meters to the entrance, effectively severing them from the world above and immersing them in the underwater world. They enter a large atrium lit from above by the buildingâ&#x20AC;&#x2122;s lone window (which looks into the aviary). Starting at the deep sea tank, the ecosystem farthest from human influence, visitors make their way through the coral reef, swamp, and barrier island displays following an ever widening trail left by humanity. They are then reintroduced to the city on the xeriscaped green roof which proposes a gentler solution to floodwater management than the paved bayou below. Finally the visitors descend through the aviary before exiting. The aquarium exhibits are sandwiched between the mechanical systems below and veterinary spaces above. The two service areas are linked by a three pronged service core in which the ancillary tanks are embedded. clockwise from top: ground level plan; detail of cor-ten panels; ramp descending to the entrance; sketch showing tanks around a central element
b
4 a
c 2 d a. deep sea tank b. coral reef c. wetlands d. bay ecosystems e. dolphins f. aviary
e f
1. pump room 2. feeding / veterinary 3. auditorium 4. loading 5. access to tunnels
DOWNTOWN AQUARIUM FALL 2006 douglas oliver â&#x20AC;˘ james ray
1. 2. 3. 4. 5. 6.
spread: early storyboard showing pre-design intent linked with the corresponding final spaces in the sections and model.
deep sea tank
entrance
pump room feeding/veterinary auditorium loading tunnel system access offices
coral reef
wetlands
lobby
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bay ecosystems lobby
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The assignment was to design a research and display pavilion for the study of wetlands ecosystems and the promotion of conservation. The primary purpose of this building is to allow the public to view research being conducted and not the research itself. It was to be engaging, accessible, and demonstrative. The three part program included a greenhouse, laboratory, and visitorâ&#x20AC;&#x2122;s area. Rainwater collection and natural ventilation and shading for all areas was also required. The greenhouse was to be sited in Houston, and I conjectured that the pavilion would exist in a public park.
The crystalline greenhouse serves to spark curiosity from afar as well as to question the standard greenhouse shape. It is sheltered from full sun by both the enclosed laboratory and the shading structure over the visitorsâ&#x20AC;&#x2122; area. The inward slanting roof collects water while drawing visitors in and focusing visual attention on the contents of the greenhouse. On the southern side it also takes advantage of the Venturi wind effect to funnel prevailing breezes during the summer months into the greenhouse and through the operable louvers on the lab.
GREENHOUSE PAVILION FALL 2006 douglas oliver â&#x20AC;˘ james ray
opposite page-clockwise from top: site plan; model detail of shading structure over reservior; model detail of greenhouse structure; model photo showing operable louvers of the lab
clockwise from top right: plan (ink on vellum); section; intermediate study model; early study model; concept sketch
The assignment was to design a gallery for a private collection of motorcycles and associated archives. The elongated site is an infill lot with street access on either end, one a level higher than the other. Ramps were required in lieu of an elevator to allow movement of the motorcycles. The building is separated into two zones: on the southern end is a triple height space which serves as the main entry and accommodates small gatherings. From the second floor a ramp penetrates the middle of the space in a dramatic move meant to be the focal point of the design. It allows one to be in the void rather than to simply observe it, and from that location, most of the collection can be seen. The rest of the building houses the program on three levels and is lit mostly by light diffusing from the atrium.
clockwise from top: model photograph showing longitudinal section; top floor plan (ink on vellum); cross section; north elevation; model photo of south elevation
clockwise from top: early study model; view of the atrium from outside; view of atrium and ramps from above skylight; axonometric projection (ink on vellum)
MOTORCYCLE MUSEUM SPRING 2006 nonya grenader â&#x20AC;˘ danny samuels