SURAJ RADADIA PORTFOLIO
WORKS VOLUME DESTINY PROFESSOR : STEPHEN SZUTENBACH VALENCIA COLLEGE | SPRING 2016
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DESIGN IV
PAGES 1- 8
SYMBIOSIS PROFESSOR : STEPHEN SZUTENBACH UNIVERSITY OF CENTRAL FLORIDA |
FALL 2017
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DESIGN VII
PAGES 9 - 14
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PAGES 15 - 21
ABSOLUTE FORM PROFESSOR : JOEL SETZER UNIVERSITY OF CENTRAL FLORIDA
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SPRING 2018
DESIGN VIII
BEAM DROP PROFESSOR : JON LOTT HARVARD UNIVERSITY |
FALL 2020
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CORE III
PAGES 22 - 27
DESTINY DESIGN IV
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SZUTENBACH
DWELLING FOR A TYPOGRAPHER This project aims to create a harmony between the site and the dwelling of a typographer. The parameters of the site, an open prairie hill, informs the overall orientation of the dwelling by cutting the site along its longitudinal axis. The design of the building is based on the manipulation of the word Destiny through scale, trajectory, and void. The word Destiny is a very powerful and captivating word that prescribes the life of typography as a constantly evolving art. The void within each module produces a constant rhythmic expansion underground while in juxtaposition to the lightly broken terrace footprint left visible aboveground. This footprint frames the tower in the background to people walking on the public trail tangential to that of the hills perimeter.
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SECTION
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PENCIL + WATERCOLOR PAPER
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SPRING 2016
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VALENCIA COLLEGE
BOK TOWER GARDEN, FL
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KERNING AND TYPOGRAPY VOID Kerning is the process of adjusting the space between individual characters of a word to become visually pleasing. The goal is to dissect the scale of the anatomy of type (serif, apex, aperture, etc...) individually to each character as well as respect to the word as a whole. Then, to manipulate the void between each character to filter light and form a spatial quality. Through the process of dissecting the anatomy of type allows for the understanding of the interior of each void. By placing these voids within each module and extracting the mass, only then will each mass become inhabitable.
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TYPOGRAPHY VOID
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PROCESS
LIGHTBOX I Diffusion
LIGHTBOX II Reflection
TYPOGRAPHY VOID SECTIONS + LIGHTBOXS
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PROCESS
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DESTINY
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TRANSVERSE SECTIONS
DESTINY
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PENCIL + WATERCOLOR PAPER
DESTINY
DESTINY
DESTINY
DESTINY
DESTINY
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LIVING SPACE
FIRST
STUDIO SPACE
SECOND
TELESCOP
The rhythmic sequence of the expanding volumes allows the residen
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PLANS
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PENCIL + WATERCOLOR PAPER
MEDITATION SPACE
THIRD
PIC ENTRY
nt to experience each module to its individual scale and spatial quality.
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SYMBIOSIS DESIGN VII
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SZUTENBACH
Oakland, California’s income gap is fractured into two distinct incomes, lower and upper. The goal of this project is to improve the sociological state by integrating all economic incomes on the site; creating a social fabric to grow. The master plan for this project aims to blur the line between the two incomes and have these two independent systems become co-dependent by means of symbiosis.
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SITE MODEL
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FALL 2017
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UNIVERSITY OF CENTRAL FLORIDA
OAKLAND, CA
CULTURED BACTERIUM This project looks toward symbiosis through the process of bacterial growth of biosynthesis to derive the overall form of the structure. Biosynthesis is a multi-step, enzyme-catalyzed process where compounds modify, convert into more complex compounds, and join to form macromolecules. As the compounds are converting, it allows for them to integrate into select voids or stems into new sections of growth.
CELLS REPLICATE
CONTINUED GROWTH
DAY 1
RESULTANT OFFSPRING
GROWTH & REPRODUCTION
DAY 3
TRANSDUCTION
DAY 5
GENETIC TRANSFER
POLYMER
DAY 7
MOLECULAR STRUCTURE
PROGRESSION
PROCESS
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CULTURED BACTERIA
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MICROSCOPE (200X ZOOM)
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PETRI DISH
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AGAR
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TRILATERAL COMPOSITION This building aims to revitalize the immediate context that is comprised of five public schools (south-southwest), a community college (southeast), and residential towers (north) with essential public facilities. With these three existing developments, they become the three main nodes that anchor the thresholds of the building to the site. The thresholds placement become the immediate access point for the surrounding context to its corresponding public facility. The interior program is composed of a library, a health care facility, and public workshops that becomes the framework of the trilateral form.
FORM SEQUENCE
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SECTION MODEL
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FORM PROGRESSION
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CORE PROGRESSION
CORE PROGRESSION
OAKLAND LIBRARY - FIRST LEVEL RENDER Showing the undulating mezzanine level in the library and the shared space of the atrium.
PROGRAM LAYOUT
LIBRARY
HEALTH CARE FACILITY
WORKSHOPS
NON-DENOMINATIONAL SPACE
CIRCULATION
GROUND
STRUCTURE
ORGANIZATIONAL AXOS Interior articulation
LIBRARY RENDER
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ORGANIZATIONAL AXOS
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TRANSVERSE SECTION PERSPECTIVE The gesture mimics the process that derives the overall form, biosynthesis, where the bacteria stems from single cells into new sections of growth. Cutting transversely through the building shows that sequence of growth from the core to the ends of the programs on either side. Causing the center most point to become the densest, whereas the new sections are left open-ended; translating the density into distinct volumes. The central volume extends towards the three nodes while creating a relationship to the immediate program and engaging the central atrium through its overarching form.
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SECTION PERSPECTIVE
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2B
2C
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1B
1C
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5 1 2 3 4 5 6 7 8 9 10 11
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WORKSHOP TRIAGE HEALTH CLINIC RECEPTION RESTROOM CAFE WAITING AREA I PUBLIC LIBRARY LIBRARY MEZZANINE PRIVATE STUDY ROOM OPEN STUDY SPACE LIBRARY CHECK-OUT 5
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PLAZA LEVEL PLAN
MEZZANINE LEVEL RENDER Waiting Space II view of the central interior atrium joining the library.
PLAN
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MEZZANINE RENDER
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ABSOLUTE FORM DESIGN VIII
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SETZER
PLATONIC THEORY OF FORM This project was inspired by Plato’s, “Theory of Forms.” Plato defines form as the representation of all the true qualities of reality. A form is not the physical matter but the representation of all things physical and non-physical; answering the question, what is that? A form will remain constant through time but the ‘thing’ it is representing will always be in a constant change, a transcendence of time and space. Hypostatizing the theory through the means of a pure shape, a square. Allowing the pure shape to represent all physical and non-physical things instead of a single reality. The square extrudes along a singular axis to represent the formal basis of time. This framework allow for simple gestures of impressing, carving, and filtering to represent the spatial changes through time within the object. This form of representation will become the template of exploration for this project.
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THEORY OF FORM
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PENCIL + WATERCOLOR PAPER
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SPRING 2018
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UNIVERSITY OF CENTRAL FLORIDA
SPATIAL OVERLAY
PROCESS
LONGITUDINAL SECTION
SECTIONAL SEQUENCE
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ARCHEOLOGY, ARCHITECTURE & LANDSCAPE CONCEPTUAL AXONOMETRIC The project pivots to the interest of the occupant for the dwelling, archeology. The axonometric explores the field of archeology in relation to architecture through the development of ruins. The axonometric diagram utilizes the template from the theory of forms where a pure shape extrudes to represent the formal basis of time. The diagram portrays the duality of the ‘new’ that derelicts the ‘old’ over time and that negotiation within the layers. The excavation process exposes those layers as well as the voids from matter that was once there to tell the story.
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ARCHEOLOGY AXO DIAGRAM
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PENCIL + WATERCOLOR PAPER
DWELLING FOR AN ARCHEOLOGIST This project focuses on creating a dwelling in conjunction with archeology through the understanding of its form. Processual archeology which is one of three methods of excavation, bases its archeological data off the site and the immediate context. This method becomes the main influence for the dwellings placement and interior expression. The dwelling becomes an artifact on the site where the layers of voids are defined by each program and its relationship to the immediate surround.
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FORM
EXTERIOR/INTERIOR PARTITION
SECTIONAL SEQUENCE The section shows the constant undulating program on the right side in juxtaposition to the linear circulation space on the left side.
PROGRAM SPACE
STRUCTRAL MEMBER PROGRAM PARITION
CIRCULATION 10 0
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SITE PLAN
FORM COMPONENTS
The main influence for the dwelling’s placement was the south facade’s interaction with the water’s edge to capture the texture inside. The wildlife encompassing the site optimizes the privacy for the occupant and frames the dwelling.
SECTIONAL DIAGRAM
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SITE PLAN
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AXO DIAGRAM
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SPATIAL OVERLAP The layers of plexi-glass shows the spatial relationship of the different programs as a single system.
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CONSTANT VS. DYNAMIC The program (north) changes in a spatial sequence while the circulation (south) runs constant.
DUALITY OF INTERSECTION The render depicts the relationship of dwelling and context as well as the relationship of the interior and exterior.
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BEAM DROP CORE III
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LOTT
The provocation is based off of the sculptor by Chirs Burden, titled Beam Drop. Within the sculptor beams are dropped from a crane into a concrete pit, some beams dropped a random others at the authors choice. The beams are essential elements of construction and to some degree a critique on artists and designers in that they have not yet accepted randomness in work. Chris Burden calls on artists to embrace randomness within their works and not have a resolution in its inception. In a way, it is liberating any form of rationality that’s familiar to us. Burden challenges the conventional building construction methods used today. Whether one designs a program space with a definite assignment or a more flexible space from a stance of conservative or hyper-modernist, in the end, one would interpret the solution as some form of contrived necessity from the author [1]. The solution (artificial) to the building does not confront the differences, whether that be contextual, programmatic, or structural. The solution homogenizes the differences until it turns into the author’s ideology rather than a found solution that addresses the difference [2]. This conventional construction method assumed from the author’s idea and principles does not allow for randomness to play out. Randomness must be present where room for authorship is not. The re-simulation of the Chris Burden’s beam drop, gives the illusion of construction and the planning of the execution; the former being found the latter being contrived within this project. As the structures settle, the natural reaction unfolds an array of interaction and division in which the program spaces are “found” within, accepting the impurities and unpredictability’s[3].
1 Inside Architecture – Vittorio Gregotti (pg.11) 2 Inside Architecture – Vittorio Gregotti (pg.11) 3 From Object to Field – Field Conditions in Architecture and Urbanism – Stan Allen
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BEAM DROP
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FALL 2020
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HARVARD UNIVERSITY
ZONED
CLUSTERED
PROCESS
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PHYSICS ENGINE
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GRASSHOPPER
PERIPHERY
CENTRALLY LOADED
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BEAM REACTION Beam Reaction
DROP POINTS Beam Drop
BEAM DROP
MacDougal St.
The zones on which the beams are dropped here are mainly circulation spaces. The first zone runs around the periphery of the site and cuts through the middle creating this eight-figure to allow for an open plan.
Waverly Pl
Structure 12 0
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48
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BEAM DROP SIMULATION
SITE PLAN
Re-simulated the beam drop on the northwest corner of Washington Sq. Park
The site plan shows the building in relationship to the context with neighboring buildings, adjacent blocks, the park, the inner block.
MAS OFFICE The render depicts the relationship of office and context as well as the relationship of the interior in section.
STREET VIEW Street view into the lobby space and gallery 25
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A B C D E F G H I J K L
Lobby Café Infirmary Storage/Shaft Custodial Event Storage Custodial Trash/Recycling Bike Storage Freight Elevator Restroom (M) Restroom (W)
A B C D E F G H I J K L
Lobby Café Infirmary Storage/Shaft Custodial Event Storage Custodial Trash/Recycling Bike Storage Freight Elevator Restroom (M) Restroom (W)
Section B Ground Level
Ground Level 4 4
STREET LEVEL PLAN
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SECTION The section shows the caught moment within the perimeter, where the cut line jumps from interior and exterior, which is the reaction of the floor plates to the structure, context, and building.
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MAS OFFICE - EAST ELEVATION The east elevation from MacDougal St. hints at different lines of sight.
WEST
EAST
SOUTH
NORTH
UNROLLED ELEVATION
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