Teaching/ Work Samples by Stephen Renard

Stephen Renard Architecture Portfolio

Carbon Valley

Amsterdam, Netherlands

Fall 2016-Fall 2017 Professor: Henriette Bier, Nimish Biloria

Project Description:

This MSc3 project proposal is the design of a Multi Function Startup and Tech Exhibition Center. The startup scene in Amsterdam (locally) and The Netherlands (nationally) is very strong and has been successful over the past few years. The strategic location allows for new startups to flourish, as well as support from the Dutch government has allowed startups to be more successful. Since more startups are likely to occur, they will need spaces to house their new startup companies. There

are multiple exhibition centers around

Amsterdam,

but they are relatively small and spread out

from the city center.

The main one is the RAI which is approximately 25 minutes (7km) from Amsterdam Centraal by either Public transport or direct driving. This is not exactly the best location to experience the city while at a conference. Amsterdam is a leading city for startups in Europe and worldwide. It has been named Europeâ&#x20AC;&#x2122;s West Coast Startup Capital and there are even some who say it is a good alternative to Silicon Valley. The reasons are numerous, of which a main driving factor is the government has multiple resources to help in the success of startups. This

presents the unique opportunity to propose an exhibition center specific to the tech industry

that would incorporate temporary/ semi permanent exhibition spaces and facilities to house startups

Marineterrein in Amsterdam. This could be a place for collaboration between mainstream tech companies, such as Microsoft, Apple, Google, Samsung, etc to house semi permanent exhibition spaces in one place. The startups could then collaborate with the companies and work together to enhance the tech industry. in the

Step One

Step Two

Step Three

prograM requireMents N

N 5 10 25

PUBLIC PATHWAYS 5 10 25

SEMI-PUBLIC PATHWAYS

MEETING 2

Listening

OFFICE 3

Meeting startup

Working research presenting

exhibition

eating

SPACES

CONNECTIONS

SPACES

CONNECTIONS

0 EXHIBITION 1 1 LECTURE HALL 1 2 CREATIVE SPACE 3 OFFICE SPACE 1 4 OFFICE SPACE 2 5 OFFICE SPACE 3 6 OFFICE SPACE 4 7 OFFICE SPACE 5 8 OFFICE SPACE 6 9 OFFICE SPACE 7 10 OFFICE SPACE 8 11 OFFICE SPACE 9 12 OFFICE SPACE 10 13 LAB SPACE 14 CAFÃ&#x2030; 15 KITCHEN

2000 600 200 100 100 100 100 100 100 100 100 100 100 300 200 100

1;2;13;14;16;20;27;30 0 0;13 16;21 16;21 17;22 17;22 18;23 18;23 19;24 19;24 20;25 20;25 0;2 0;15;28 14

16 CASUAL SPACE 1 17 CASUAL SPACE 2 18 CASUAL SPACE 3 19 CASUAL SPACE 4 20 CASUAL SPACE 5 21 MEETING 1 22 MEETING 2 23 MEETING 3 24 MEETING 4 25 MEETING 5 26 SERVER ROOM 27 Toilets 1 28 Toilets 2 29 Toilets 3 30 Atrium

75 75 75 75 75 50 50 50 50 50 100 50 50 50 400

0;3;4 30;5;6 30;7;8 30;9;10 0;11;12 3;4 5;6 7;8 9;10 11;12 30 0 14 30 0;17;18;19;26

Total

5675 SM

TOILETS 2

CASUAL SPACE 2 CAFE

TOILETS 3

KITCHEN

OFFICE 5 CASUAL SPACE 3

TOILETS 1

EXHIBITION 1

ATRIUM

MEETING 3

OFFICE 1 CASUAL SPACE 1

OFFICE 6

SERVER ROOM

MEETING 1

CASUAL SPACE 4 OFFICE 2

sitting

PUBLIC SPACES

CASUAL SPACE 5 OFFICE 9

SEMI-PUBLIC SPACES

creating

PRIVATE SPACES

Step One

OFFICE 4

LECTURE HALL 1

OFFICE 10 MEETING 5

LAB SPACE

CREATIVE SPACE

PUBLIC SPACES

OFFICE 8

SEMI-PUBLIC SPACES

OFFICE 7

PRIVATE SPACES

MEETING 4

Step Three

Step Two

Step Four

Step Five

Step Six

SERVER ROOM CREATIVE SPACE LAB SPACE EXHIBITION MEETING OFFICE CASUAL SPACE TOILETS ATRIUM PUBLIC SPACES

CAFE

PUBLIC PATHWAYS

PUBLIC SPACES

SEMI-PUBLIC SPACES

KITCHEN

SEMI-PUBLIC PATHWAYS

SEMI-PUBLIC SPACES

PRIVATE SPACES

LECTURE HALL

PRIVATE SPACES

Step One

Step Three

Step Two

The

structure of the building is derived from

lines

that

flow

relatively

form of the building.

parallel

Scripts

along

the

were written that

mimicked different ways nature formed structure, specifically how lines pull and push to create the strength necessary.

Where

needed, it is created.

first layer had one way

The

the structure is

the lines pulled and the second layer has a second way the lines pulled together.

The second layer is offset between 20 and 30 CM depending on how high the structure is. The third layer utilized a connecting script to start to interweave the first two.

50 CM

This

layer is offset between

from the first layer.

Each

and

layer was then

interconnected to the others and structure was formed around the lines.

Glass

is placed in between the exterior layer of

tubes in order to create a double skin affect.

The

multiple tubes allow for natural light to enter the building and create shadow affects that paint the interior with light and shadows.

Step Four

Step Five

Step Six

Step One

Step Two

Step Three

Step Four

Step Five

1CM CURVED GLASS WATER TIGHT BARRIER ALUMINUM FASTENER RUBBER BLOCK STAINLESS STEEL BOLT EPS FOAM EPOXY RESIN 3 MM CARBON FIBER COMPOSITE SILICON/RUBBER CUSHION EMBEDDED WOOD CONNECTOR STAINLESS STEEL BOLTS 3 MM CARBON FIBER COMPOSITE EPOXY RESIN EPS FOAM

CM 5

3 MM CARBON FIBER COMPOSITE EPS FOAM EPOXY RESIN EMBEDDED STAINLESS STEEL TUBE WELDED STAINLESS STEEL PLATE POURED CONCRETE FOOTING STEEL PLATE ANCHOR CURVED TEMPERED GLASS SILICONE JOINT RUBBER BLOCK ALUMINUM FASTENER WATER TIGHT BARRIER

CM 5

Step Six

Pop Op

College Station, Texas

Fall 2012 Professor: Gabriel Esquivel Partners: Ryan Taylor, Erin Templeton, Dylan Weiser, Erica Duran, Kara Kewetz, Patrick Scott, Kathy Xiao, Jorge Cruz, Roberto Jaimes, Lyly Huyen, Emily Knapp, Catlan Fearon Featured: SuckerPunchDaily

Project Description: This

project was inspired by

Op Art,

a twentieth century art movement and style in which artists

sought to create an impression of movement on an image surface by means of an optical illusion.

Passive

elements consisting of composite laminates were produced with the goal of creating

lightweight, semi-rigid, and nearly transparent pieces.

The incorporation of active materials comprised

a unique aspect of this project: the investigation of surface movement through controlled and

SMA wiring SMA wiring and Arduino.

repeatable deformation of the composite structure using the integration of composite materials with

technology.

Pop Op

utilizes

Key

CHANNEL 00

Copper Wire

CHANNEL 01

Copper to SMA connection Flap Cut Line

CHANNEL 03 CHANNEL 04

CHANNEL 05

CHANNEL 06

P4C1

P1 P3

CHANNEL 07

P4C2

CHANNEL 08

P4C3

CHANNEL 09

P4C4

CHANNEL 10

CHANNEL 11

P3C1

CHANNEL 12

P4C5

P9C1 P9C2 P9C3 P7C1 P7C2 P10C1 P10C2 P10C3 P10C4 P10C5 P10C6 P10C7 P8C7 P8C6 P8C5 P8C4 P8C3 P8C2 P8C1 P3C1 P3C2 P3C3 P4C1 P4C5 P4C3 P4C6 P4C2 P4C4

CHANNEL 02

CHANNEL 13

CHANNEL 14

P3C2 P4C6

CHANNEL 15

P3C3

P8C2 P8C1

F5 CH15

CH14

CH13

CH06

P8C3

CH12

CH01 CH11 CH02

P8C4

CH10

CH09 CH03

CH05

CH07

CH08

P8C5

F8 P8C6

Front Front

P8C7

P10

P7C2 P7C1 P10C3

Thermostats 4’x8’ Masonite

P10C6

P10C2

P11

P10C5

4’x8’ Masonite

Back Back

8 21 " 3 21 " 8 21 " 3 21 " 3"

Panel A Panel A

3 21 " 3 21 " 16'-6" 16'-0" 16'-6"

Panel B Panel B

16'-0"

8'-0" 8'-0" 8'-0"

8'-0"

P10C1

P9C3

P9C2

5'-1"

P9C1

P10C7

2 - 2”x4”s 8’ each 2 - 2”x4”s 8’ each Thermostats

5'-1"

P10C4

Panel A Panel A

Panel B Panel B

CH04

8'-0"

CH00

Cliff House

Las Vegas, Nevada

Spring 2012 Professors: Roland Snooks, Gabriel Esquivel Partners: Adrian Cortez, Zach Hoffman, Rafael Vazquez, Andrew Horne, Tyler Nagai, and Lyly Huyen. Featured: Kokkugia, Studio Roland Snooks, Sucker Punch Daily

Project Description:

The Cliff House is an experiment in composite fiber architecture operating in extreme conditions. The project is a collaboration between Kokkugia and the Mitchell Lab at Texas A&M that explored agent-based behavioral design methodologies operating across the scales of form, structure, and composite fiber. Designing through agent-based behavioral strategies encodes design intent within individual elements that interact at a local scale to give rise to the emergence of complex order at the macro-scale. Applying this methodology to a composite fiber house enables the local scale to be reduced to a sub-material level. This increase in the population of agents generates greater intricacy and intensive emergent affects. The geometry of the Cliff House is not discrete or reducible - instead, geometry negotiates complex behaviors such as structure and ornament, generating emergent characteristics that shift throughout the project.

Step One

Section AA

Step Two

Step Three

Step Four

Step Five

Step Six

The

site for the house was chosen to test the

capacity

composite

fabrication

extreme

structural situations to resist both wind and static loads.

Although an argument for composite fiber

construction is frequently premised on the desire for structural optimization, the use of composite material in the

Cliff House

is a negotiation of

structural necessity with more esoteric aesthetic, formal and tectonic intentions

- it is the expressive

nature of these formations that is of interest.

The

translucency of the composite material is

exploited to reveal the embedded networks and emergent hierarchies of structural strands.

The

composite skin registers the ripples of bifurcating and converging strands that blur the distinction between structure and ornament.

The

strands

shift from a networked surface to tentacles that etch their trajectories into the cliff-face.

These

tentacles, attach to the cliff partly out of

structural necessity but also from the desire for continuity and to blur the edge of the object

â&#x20AC;&#x201C;

a strategy for diffusing the object into its

environment. hybrid

There

The

between

relationship sets up a strange

rock

and

composite

strand.

is an ambiguity as to whether the strands

are growing through the existing cracks in the rocks, or whether the cracks have been made for the strands.

This condition is neither geological

nor synthetic; instead it sets up a tension between the two.

Plan Two

Physical Prototype

Professional Work Studio NYL

December 2019-Present Facade Designer | Computational Design Specialist

Description: During

my time at

Studio NYL, I

have learned standard and nonstandard buidling technologies,

sequencing, waterproofing, and best practices while researching emergent building technologies that impact the thermal performace on buildings as a whole. showing details in a

worked on multiple high end projects

storyboard, which we give to clients and contractors to show how the

www.studionyl.com

P 303.558.3145 F 303.440.8536

2995 Baseline Road #314 Boulder CO 80303

I also worked to automate tasks and help to build the computational design department and workflow. Studio NYL Structural Engineers

non standard detail could be sequenced and in a sense be “less scary” and result in a lower pricing.

2" FABREEKA TIM RF 2150 "DIVING BOARD" W/ HIGH TEMP UNDERLAYMENT

PEST SCREEN

SLOPE 1/8":12"

PLANTER LINER. TERMINATE ON 4"-6" VERT SURFACE (MIN) PER MANUF

1/2" NAIL BASE OVER 1 1/2" XPS INSULATION

SLOPE 1/4":12" 3"

SLOPE 1/8":12"

3/4"

8 1/2" CONC CURB MIN ARCH: STRONGLY RECOMMEND DRAINAGE LAYER HERE (OR BETTER YET PAVER PUCKS IF PAVERS ARE POSSIBLE) FOR DURABILITY & MAINTENANCE ACCESS

XPS INSULATION DRAINAGE BOARD HOT-RUBBERIZED ASPHALT WATERPROOFING MEMBRANE

MAX REACTION: 520lb @ 20" OC

MAX REACTION: 650lb @ 20" OC

(1) 350S-162-43 @ 20"OC (2) 250S200-54 @20"OC 2" FABREEKA TIM RF 2150 SPACER STEEL NETWORK VERTICLIP MAX REACTION: 520lb @ 20" OC

ALL ENVELOPE ANCHORS TO BE SET IN BED OF SEALANT & HAVE HEADS FULLY COVERED IN SEALANT UNO

4" MINERAL WOOL ALL FLATHEAD FLASHING FASTENERS TO BE SET IN BED OF SEALANT BETWEEN MTL FLASHING & BASE AIR BARRIER / WRB AND EITHER HAVE HEAD FULLY COVERED W/ FLASHING (SAM FLASHING OPTION SHOWN HERE) - TYP

PLANTER AT SLAB EDGE OVER WINDOW 3" = 1'-0"

NOTE: 1. ALL SUBFRAMING OUTSIDE THE WRB TO BE CORROSION RESISTANT (IE-STAINLESS STEEL, ALUMINUM, G200, OR APPROVED

y d by

number

Author Checker

PEST SCREEN

DETAILS

WEEP/DRIP HOLES

HAT CHANNEL COVER WITH SELF ADHERED WATER RESISTANT BARRIER

FRP PLATE DIVING BOARD 8"

MONARCH Z CLIP 2 1/4"

METAL PANEL FINISH PER ARCH

1/2"

4 1/2" 2 1/4"

TPO TERMINATION BAR

8" MAX

TRIPLE GLAZED IGU

4 1/16"

METAL FLASHING

EDGE OF INTERIOR FINISH PER PLAN DETAIL

3/4"

1 3/4"

1/8" ALUMINUM PLATE

HAT CHANNEL TRIPLE GLAZEDCOVER WITH SELF ADHERED SPANDREL IGU WATER RESISTANT BARRIER

HORIZONTAL SSG MULLION

FRP PLATE DIVING BOARD 8"

MONARCH Z CLIP

16 GA GALV. METAL

2 1/4"

METAL PANEL FINISH PER ARCH

SERRATED EDGE - HORIZONTAL 3" = 1'-0"

1/2"

4 1/2"

TPO TERMINATION BAR

TRIPLE GLAZED IGU

8" MAX

FRP OR GALV DOUBLE L 1 3/4"

4 1/16"

METAL FLASHING

EDGE OF INTERIOR FINISH PER PLAN DETAIL

CASCADIA CLIP OR SMART CI HORIZONTAL SSG MULLION

3/4"

1/8" ALUMINUM PLATE

TRIPLE GLAZED SPANDREL IGU

HORIZONTAL SSG MULLION

VARIES

www.studionyl.com

BEAM PER STRUCT

SERRATED EDGE - HORIZONTAL 3 3" = 1'-0"

SERRATED JAMB - GLASS TO OPAQUE TO GLASS - CORNER DART - OPTION 2 3" = 1'-0"

SERRATED EDGE - HEAD 3" = 1'-0"

FRP OR GALV DOUBLE L

TRIPLE GLAZED IGU

CASCADIA CLIP OR SMART CI

P 303.558.3145 F 303.440.8536

5'-10 1/2"

2995 Baseline Road #314 Boulder CO 80303

Studio NYL Structural Engineers

16 GA GALV. METAL

HORIZONTAL SSG MULLION

TRIPLE GLAZED SPANDREL IGU

VARIES

BEAM PER STRUCT

SPANDREL INSULATION

SERRATED JAMB - GLASS TO OPAQUE TO GLASS - CORNER DART - OPTION 2 3" = 1'-0"

SERRATED EDGE - HEAD 3" = 1'-0"

TRIPLE GLAZED IGU

TRIPLE GLAZED SPANDREL IGU

2 1/4"

1/2"

SPANDREL INSULATION

SLAB EDGE

2/25/2020 3:30:10 PM

VARIES

1'-6"

D 2" - TB

BACK EDGE OF MULLION

SERRATED EDGE - SILL 3" = 1'-0"

2 1/4"

1/2"

SERRATED JAMB - PLAN DETAIL

3:30:10 PM

ES VARI

SERRATED EDGE - SILL 3" = 1'-0"

11 1/2"

1/2"

11 3/4"

TERRA COTTA EXTRUSION 3 TERRA COTTA EXTRUSION 4-1

200 HIGH ST, BOSTON, MA 02110 857.300.2610 | SGA-ARCH.COM

PROJECT TEAM:

TERRA COTTA EXTRUSION 4 ATTACHMENT CLIP TERRA COTTA EXTRUSION 1-1 SCEWED CONTINUOUS VERTICAL Z MINERAL WOOL INSULATION - 4" SHOWN VISION GLAZING

VERTICAL JAMB MULLION - TYPE -TBD

FLANGE PLATE INTERIOR SEALANT

5'-0" 11 3/4" 5'-0" 11 3/4"

1/2"

11 1/2"

1/2"

11 1/2"

1/2"

11 3/4"

1/2"

11 1/2"

1/2"

11 1/2"

1/2"

11 1/2"

1/2"

11 3/4"

TERRA COTTA EXTRUSION 3 1/2"

11 3/4"

200 HIGH ST, BOSTON, MA 02110 857.300.2610 | SGA-ARCH.COM

PROJECT TEAM: 1

S-600

TERRA COTTA EXTRUSION 4-2 TERRA COTTA EXTRUSION 1-2

2 SKEWED CONTINUOUS VERTICAL Z-CHANNEL

SKEWED CONTINUOUS VERTICAL Z-CHANNEL TERRA COTTA EXTRUSION 3

TERRA COTTA EXTRUSION 4 ATTACHMENT CLIP

3'-6"

S-600

ATTACHMENT CLIP

TERRA COTTA EXTRUSION 1-1

TERRA COTTA EXTRUSION 1-1 SCEWED CONTINUOUS HORIZONTAL HAT CHANNEL VERTICAL Z

HORIZONTAL HAT CHANNEL

MINERAL WOOL INSULATION TERRA COTTA EXTRUSION - 4" SHOWN TERRA COTTA EXTRUSION

3/4" CLR

VISION GLAZING

TERRA COTTA ATTACHMENT CLIP

VERTICAL JAMB MULLION - TYPE -TBD

SCEWED CONTINUOUS VERTICAL Z

CASCADIA CLIP

MINERAL WOOL INSULATION - 4" SHOWN

2-STAGE WEATHER SEAL AIR/WEATHER BARRIER MEMBRANE

VISION GLAZING

TERRA COTTA ATTACHMENT CLIP VERTICAL JAMB MULLION - TYPE -TBD

SEAL / SIGNATURE

FLANGE PLATE

FLANGE PLATE INTERIOR SEALANT INTERIOR SEALANT 5/8" EXTERIOR GYPSUM BASED SHEATHING

CORNER JOINT

TERRA COTTA ELEVATION - 5' 1" = 1'-0"

TERRA © COTTA ELEVATION - 3' Spagnolo Gisness & Associates, Inc. 1" = 1'-0"

TERRA COTTA - PLAN DETAIL - 5' 3" = 1'-0"

5'-0"

PROJECT:

11 3/4" 5'-0" 11 3/4"

2'-0" 11 3/4"

1/2"

11 1/2"

1/2"

11 1/2"

3'-0" 1/2"

11 1/2"

1/2"

11 3/4"

1/2"

11 1/2"

11 3/4"

1/2"

11 1/2"

1/2"

11 1/2"

1/2"

11 1/2"

1/2"

11 3/4"

TERRA COTTA EXTRUSION 3 1/2"

11 3/4"

TERRA COTTA EXTRUSION 4-1

1'-0"

200 HIGH ST, BOSTON, MA 02110 857.300.2610 | SGA-ARCH.COM

PROJECT TEAM: 6

S-600

A COTTA EXTRUSION 1-1

TERRA COTTA EXTRUSION 2

REVISIONS: No. Date

CASCADIA CLIP

SUBMISSIONS: Date

VERTICAL JAMB MULLION - TYPE -TBD

3/4" CLR

GE PLATE

HORIZONTAL HAT CHANNEL

RIOR SEALANT

SKEWED CONTINUOUS VERTICAL Z-CHANNEL

5/8" EXTERIOR GYPSUM BASED SHEATHING

TERRA COTTA PANEL

SCALE As indicated DATE ISSUED PROJECT NO DRAWN BY Author CHECKED BY Checker

INTERIOR SEALANT

3/4" CLR

SHEET TITLE:

FACADE DETAILS

CORNER JOINT

TERRA COTTA - PLAN DETAIL - 1' 3" = 1'-0" TERRA COTTA ELEVATION - 2' 4 1" = 1'-0"

VISION GLAZING

TERRA COTTA EXTRUSION 1-1

HORIZONTAL HAT CHANNEL

TERRA COTTA EXTRUSION

TERRA COTTA EXTRUSION HORIZONTAL HAT CHANNEL

FLANGE PLATE

ATTACHMENT CLIP

MINERAL WOOL INSULATION - 4" SHOWN

HORIZONTAL HAT CHANNEL

TERRA COTTA EXTRUSION

TERRA COTTA ATTACHMENT CLIP

ZEE CHANNEL MINERAL WOOL INSULATION AIR/WEATHER BARRIER MEMBRANE 5/8" EXTERIOR GYPSUM BASED SHEATHING

TERRA COTTA VERTICAL JAMB MULLION ATTACHMENTSEAL CLIP - TYPE -TBD

TERRA COTTA ELEVATION - 1' 1" = 1'-0"

CASCADIA CLIP 2-STAGE WEATHER SEAL AIR/WEATHER BARRIER MEMBRANE

TERRACOTTA - HORIZONTAL JOINT 3" = 1'-0"

VISION GLAZING

VERTICAL JAMB MULLION - TYPE -TBD

INTERIOR SEALANT

FLANGE PLATE INTERIOR SEALANT

5/8" EXTERIOR GYPSUM BASED SHEATHING

MINERAL WOOL INSULATION - 4" SHOWN

/ SIGNATURE

5/8" EXTERIOR GYPSUM BASED SHEATHING

CFMF WALL

SCEWED CONTINUOUS VERTICAL Z

FLANGE PLATE

INTERIOR FINISH

CORNER FOLD

TERRA COTTA EXTRUSION 4

SCEWED CONTINUOUS VERTICAL Z

Issued For:

3'-6"

TERRA COTTA EXTRUSION

AIR/WEATHER BARRIER MEMBRANE

ATTACHMENT CLIP

VISION GLAZING TERRA COTTA ATTACHMENT CLIP

SKEWED CONTINUOUS VERTICAL Z-CHANNEL TERRA COTTA EXTRUSION 1-1

2-STAGE WEATHER SEAL

MINERAL WOOL INSULATION - 4" SHOWN

AIR/WEATHER BARRIER MEMBRANE

3/4" CLR

3'-6"

2-STAGE WEATHER SEAL

ICAL JAMB MULLION E -TBD

Description

SCEWED CONTINUOUS VERTICAL Z

CASCADIA CLIP

ATTACHMENT CLIP

SKEWED CONTINUOUS VERTICAL Z-CHANNEL

3/4"

WED CONTINUOUS ICAL Z

S-600

TERRA COTTA EXTRUSION 1-2

S-600 TERRA COTTA EXTRUSION 3

3'-6"

ATTACHMENT CLIP

TERRA COTTA EXTRUSION 4-2

S-600 2

TERRA COTTA EXTRUSION 1-2

3/4" CLR

CHMENT CLIP

VARIES

3'-6"

1'-0"

ZONTAL HAT CHANNEL

N GLAZING

11 3/4"

TERRA COTTA EXTRUSION 4-1

TAIL - 3'

RAL WOOL INSULATION SHOWN

1/2"

3'-0" 1/2"

3/4" CLR

1/2"

TERRA COTTA - PLAN DETAIL - 3' 3" = 1'-0" 3

TERRA COTTA ELEVATION - 5' 1" = 1'-0"

CORNER JOINT

TERRA COTTA ELEVATION - 3' 1" = 1'-0"

PROJECT:

TERRA COTTA - PLAN DETAIL - 5' 3" = 1'-0"

SECTION - I ANALYTICAL DIAGRAM - PLAN

SANCTIONED VS UNSANCTIONED SPACE CIRCULATION

ANALYTICAL DIAGRAM - SECTION

CONCEALED DEPTH

Student Work

CONCEPT STATEMENT: I FOCUSED ON CREATING SPACES THAT REPRESENT SANCTIONED VS UNSANCTIONED THROUGH ORTHOGONAL AND ANGULAR GEOMETRY. THE ORIENTATION OF THESE SPACES, SANCTIONED AND UNSANCTIONED ARE ORGANIZED IN A CLUSTERED FORMAT - CONGREGATING SPACES THAT CORRELATE WITH ONE-ANOTHER THAT GUIDE THE OCCUPANTS THROUGH THE DESIGNATED PATHWAYS. THE CLUTTERED ORDERING SYSTEM CREATES A LINEAR CIRCULATION.

Fall 2020 Studio II Students: Mohamad Zaina, Emanuil Sklianin, Long Vu

CU Denver

EMANUIL P. SKLIANIN ARCH - 3110 - 001 STEPHEN RENARD - FA20 SEPTEMBER 30TH, 2020

SECTION - II

MORPHOLOGY DIAGRAM - UNSANCTIONED SPACE

SUBTRACTED THE CORNERS FROM THE TETRAHEDRON IN ORDER TO CREATE OPENINNINGS FOR LIGHT AND PATHWAY

SECTION - III

Project Description:

MORPHOLOGY DIAGRAM - SANCTIONED SPACE

CARVED THE BOTTOM PORTION OF THE SANCTIONED SPACE TO RESPOND TO THE SURROUNDING LANDSCAPE

III II

SECTION - IV

This

is a second year studio at

CU Denver,

where the introduction to design process, concepts,

ordering systems, representation and narrative come together to formulate a midterm and final

SITE PLAN

project.

The approach was systematic in nature, step by step that added each week and eventually built

the entirety of the projects for the midterm and final.

The midterm was subtractive in nature and confined to certain constraints originating from a study of an interior space that each student spent large amounts of time in during COVID. The Final was additive in nature and originated from a journey or experience where they ended to create a sanctuary or place of refuge and healing.

1/16” = 1’0”

60ft

A C

ADDitive and SANCTUARY

An alley with attractive portal that representing the whole design concept of the sanctuary, a combination of compression and expansion spaces serving for different purposes.

SECTION A

Long Vu FA 2020 ARCH 3110 Prof. Stephen 12/02/2020

SECTION B

SECTION C 0

90 FT

ADDitive and SANCTUARY

PERSONAL DOMAIN SANCTUARY

SECTIONS/ ELEVATION

EMANUIL P. SKLIANIN ARCH - 3110 001 STEPHAN RENARD - FA20 DECEMBER 2ND, 2020

ENTRANCE DIAGRAM INTERIOR PERSPECTIVE

SECTION II

SECTION I

CONCEPT STATEMENT: MY DESIGN OF THE SANCTUARY TAKES INTO CONSIDERATION THE LOCAL COMMUNITY AND TRIES TO EVOKE A POSITIVE EMOTIONAL STATE. THE SANCTUARY CREATES SEGMENTS OF SPACES THAT ARE ISOLATED AND PRIVATE. THESE SPACES PROVIDE A REALM OF NATURAL LIGHT, A CONNECTION WITH NATURE OR A STATE OF SECLUSION FROM A TRIVIAL AGE.

PLAN I

INTERIOR PERSPECTIVE - B VIGNETTE

SECTION I

PLAN II

A ENTRANCE DIAGRAM

SECTION II N

ISOMETRIC EXPLODED PLAN

SOUTH-WEST ELEVATION 1/8IN = 1FT

INTERIOR PERSPECTIVE - A 9 12 VIGNETTE

0 3FT 6FT

1/8IN = 1FT

0 3FT

6FT

9FT

12FT

ARRAYED MODEL be fo re s i te m o di fic at i o n zones/ threshold

PLAN C

PUNCTURE thicker masses with thinner voids imply laxity of a material that penetrates through a uniform medium threshold

sequence/ RABBET hierarchy shows reliance of thin panels on a solid form

STORIES OF A STORY

PLAN B sequence

ARRAYED MODEL a f te r s i te m o d i fi cat i o n

DADO displays dependability of denser and thicker panels on a thin panel PLAN A circulation

hierarchy

PLAN ILLUSTRATIONS

DADO

insertion of denser and thicker extrusions through thin layered panels portrays connection dependability to bridge

LAYERING

30 Ft

stacked and repeated layers allow for more surfaces to be viewed at given viewpoints The plan is ometric por trays the ver t i c al i t y of t he bui l di ng and how t he spac e gradual ly whilst making ‘light’ be c omes more open as a us er ris es i n el evat i on. The pl an draw i ngs fur t her hel p est abl i sh a the space feel zones/ threshold clearer s ens e of the s pac e and its sc al e. PLAN C

In s p i re d by t h e m e t h o d s o f sto r y te l l i n g o f my gra n d p a re n t s , t h i s s p a c e i s d i v i d e d i n to t h re e m a i n z o n e s o f t h re s h o l d : atte n t i o n - g ra b b i n g e n t ra n c e, wi n d i n g s p a c e s , a n d c o n c l u d i n g g ra n d s p a c e. T h i s hy p o t h e t i c a l p u b l i c s p a c e i s b a s e d o n a p e rs o n a l d e fi n i t i o n o f a s a n c t u a r y – o n e t h at o ffe rs c o m fo r t , p r i va c y, a n d n o st a l g i a . T h e s p a c e i s m e a n t to t a ke t h e u s e r o n a j o u r n ey o f eve n t s fro m e i t h e r s i d e o f t h e a l l ey t h at i s p h e n o m e n a l l y t ra n s p a re n t t h ro u g h o u t by i t s re p e t i t i ve fo r m a n d e m b e d d e d j o i n e r y.

VIGNETTE A Int roduc t i on: t he grand and el e gant ent ranc e/exi t on ei t her si de of t he al l ey i s meant to grab t he attent i on of passersby .

order/grid

ARRAYED MODEL a fter site m odification

MOHAMAD Z AINA | STEPHEN RENARD | 12.02.20

INDIVIDUAL MODULE

ARRAYED MODEL

basswood m odel

isom et ric drawing

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sequence/

A R C H 3 1 1 0 . 0 0 1 | hierarchy FA . 2 0

ARRAYED MODEL af te r site m odific ation

MO HA MA D ZA I NA | STEPHEN RENA RD | 12.0 2.20

PLAN B

PLAN C

connection to bridge

zones/ threshold

ARRAYED MODEL after site m o dificatio n

zones/ threshold

PLAN C

PLAN A circulation

SECTION I

PLANsequence/ ILLUSTRATIONS hierarchy sequence/ hierarchy

PLAN B

SECTION II

VIGNETTE B

30 Ft

The plan isometric por trays the ver ticality of the building and how the spac e gradually be c omes more open as a user rises in elevation. The plan drawings fur ther help establish a clearer sense of the spac e and its scale. PLAN C

Body: the depiction and relation of solids, voids, and visual porosity is demonstrate d in this illustration to better explain the c onne ction and relationships of the forms to one another.

zones/ threshold

M OH AM AD Z AIN A | ST EPH EN R EN AR D | 1 2.02.20

connection to bridge

|||||| MOHAMAD ZAINA | STE PHE N RE NARD | 12.02.20

connection to bridge sequence/ hierarchy

PLAN B

PLAN A

circulation

PLAN PLANILLUSTRATIONS ILLUSTRATIONS

6 18

12 24

30 Ft 18

30 Ft

T h e p l a n i s o me t r i c p o r t rays t h e ve r t i c a l i t y o f t h e b u i l d i n g a n d h o w t h e s p a c e g ra d u a l l y Th e p lan is o metric p o r trays th e ver ticality o f th e b u ild in g an d h o w th e s p ac e grad u ally b e c o me s mo re o p e n a s a u s e r r i s e s i n e l evat i o n . T h e p l a n d ra w i n g s f u r t h e r h e l p e st a b l i s h a o mes cbl eeacre r s e n smo e ore f t hoepsen p a cas e a na d ui st sers cris a l e.es in elevatio n . Th e p lan d rawin gs fu r th er h elp estab lis h a

clearer s en s e o f th e s p ac e an d its s cale.

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A R C H 3 1 1 0 . 0 0 1 | FA . 2 0

PLAN B

A R C H 3 1 1 0 . 0 0 1 | FA . 2 0

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A R C H 3 1 1 0 . 0 0 1 | FA . 2 0

SECTION III

circulation

SECTION ILLUSTRATIONS VIGNETTE C

SECTION IV 18

connection Ft to 30bridge

T h e i s o me t r i c i l l u st rat i o n c l e a rl y d e p i c t s t h e t h re e l aye rs o f t h e s p a c e at C onc lusion: of the thre e zone s, the highe st spa c e se r ve s a s the c onc lusion to mo me n t s o f ex p a n s i o n a n d c o n t ra c t i o n s . T h e s e c t i o n d ra w i n g s h e l p c l a ri f y t h e ||||| s p a c e s a n d t h e i r re l atthis i o n s hstruc i p to oture. n e a n oItt his e r. m e a nt to show its privile ge d c ha ra c te r through its highe r

elevation a nd c om pa rative volum e.

A R C H 3 1 1 0 . 0 0 1 | FA . 2 0

M O H A M A D Z A I N A | ST E PH E N R E N A R D | 12 .0 2 .2 0

PLAN A

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A R C H 3 1 1 0 . 0 0 1 | FA . 2 0

M OHcirculation AM AD ZAI NA | STE P H E N R E NAR D | 1 2. 02. 20