Sydney Farris Architecture & Design Portfolio 2019 by Sydney Farris

SYDNEY FARRIS ARCHITECTURE + DESIGN SELECTED WORKS

sydfarris@gmail.com 972 822 6283

III

CAPITOLIUM

FAIR PARK

BUILDING TRANSLATIONS

CAPITOLIUM

ROUGH + SATURATED

SENSES FENCES

ROUGH + SATURATED

LANGFORD INFILL

SAGRADA FAMILIA

LANGFORD INFILL

CRITTER

ACADEMIC EXPERIENCE University of Michigan

09.18 —

Master of Architecture Candidate Texas A&M University

08.14 — 05.18

Bachelor of Environmental Design; Introduction to formal, theoretical, sustainable, and historical principals of architecture; the emergence of leadership; and mastery of multiple forms of traditional and digital fabrication Barcelona Architecture Center

08.16 — 12.16

Study abroad; Exposure to novel principals in a new vernacular, while being immersed in the local culture of an infrastructurally progessive city

PROFESSIONAL EXPERIENCE Gensler, Dallas

05.18 — 08.18

Experience in a large firm, doing construction administration; fabrication and presentation for professional use Linear! Architecture

05.17 — 08.17

Introduction to programming and project management primarily through restaurants/retail The Arkitex Studio, Inc.

05.16 — 08.16

Introduction to professional and technical principals of architecture primarily through educational facilities College of Architecture Archives

01.18 — 05.18

Archival assistant; reboxing and recording inventory in a running spreadsheet, uploading historic documents to university website, cleaning archival space CRS Center

01.16 — 05.16

Clerical and archival work; documentation of existing conditions of university projects, compiling and summarizing data for clients TAMU Woodshop

08.15 — 12.15

Cleaning and operation of laser cutters and woodshop equipment for students, selling materials to students, clerical duties The Battalion

01.14 — 05.17

Graphic artist and page editor; communication with photographers, writers, editors and weekly attendance of budget meetings

SKILLS Microsoft Office

Adobe Suite

Autodesk

McNeel

Other

Traditional media

Word Excel PowerPoint

Illustrator Indesign Photoshop After Effects

Autocad Revit Maya Recap

Rhinoceros Grasshopper

Sketchup ZBrush Keyshot Photogrammetry

Hand Sketching, Drawing OIl, Acrylic Painting Photography

I .oidutS

I Studio.

CAPITOLIUM Fall 2019 CRITIC: Steven Mankouche Located in Highland Park, MI (commonly referred to as “Detroit’s Detroit”), this proposal for a new city hall responds to the promt to explore as well as reimagine the use of ornament in architecture. It does so by scaling typography and calligraphy — typically part of a fine-grain layer of complexity on the building facade — to be larger than the architecture itself, thereby distorting the trope to create the opposite affect. The project begins by projecting supergraphics onto a traditional form and evolves to explore material systems.

1915

1951

1967

1973

1999

2014

1915 ROADS

CURRENT STREETS

CURRENT STRUCTURES

FLOOR 1 1” = 16’ ASSEMBLY BUILDING DEPARTMENT WATER DEPARTMENT POLIE DEPARTMENT SERVICE

FORMAL APPROACH FROM WOODWARD AVENUE

ROUGH + SATURATED Spring 2018 TEAM Maria Fuentes Ozzie Carrion Ashleigh Fulcher CRITICS: Nathan Hume Gabriel Esquivel The project developed into a way of observing qualitative tropes within an architectural perception of the estranged and the familiar. This studio is mainly an exploration of the both/and; the rough and saturated. The program, a building for the entomology department, is located North of Texas A&Mâ&#x20AC;&#x2122;s West Campus, on university-owned agricultural land. The project introduces a new culture to the context, while using a familiar, banal program related to animal and food sciences, in our case, a new building for the entomology department. We were interested in the intersection of subject/object + nature/culture, by determining the relationships of objects that become familiarized through four tiers of exhaustion: movement, geometry, space, and texture. The mereology of the familiar canonizes the creation of categorical elements. Through our project, weâ&#x20AC;&#x2122;ve utilized postural catalysts such as embedding, imposition, and hovering. With these catalysts, we can use the four tiers of exhaustion to evaluate relationships according to degree.

Individual preliminary explorations prior to final project

Taxonomy of pieces

Intermediate drawings of early ensembles

Cutaway of final model

Through posturing the ground and the ensemble, they are exhausted of their original character.

At the micro level, these same figures, the hot dogs, can be seen as the smallest member of the categorization; becoming a successful field object that aids in creating inner-outer-inner moments.

In this composition, the hot dogs are the autopoietic machine which occupies the anchored, designed objects, producing more of themselves. The relationship between the hot dogs at the micro scale catalyze the autopoetic machine, as the program is introduced as a new part of the machine, the entirety shifts to become allopoetic, necessary to be represented by the drawings, plans, and section.

LANGFORD INFILL Fall 2017 COLLABORATOR: Madison Green CRITIC: Michael O’Brien Beyond accommodating excess studio and office spaces and creating a new home for the Technical Reference Center, Langford D presents an opportunity to rethink the way we learn, research, and interact. Our interior design emphasizes circulation and communication through ramps and half-level floors. How should an architecture education building represent itself to a modern campus? Many structures have come and gone with barely a trace of their existence. Our form should echo its surroundings to preserve buildings’ presence after they’re demolished. This design’s interior (rather than exterior) pays respect to the brutalism of Langford A in a schematic, rather than cosmetic way. While the concrete structure imitates the surrounding context of the Langford Complex the form must dance around existing pedestrian paths and between existing facades in a way its neighbors never had to. Primary circulation occurs at the nexus of Langfords A, B, and C with studios, offices, and assembly spaces breaking off to the West side of the building, while lounge, gallery, and TRC-related spaces are contained in the East wing.

Texas A&M Campus College of Architecture (Main) Langford A Langford B Langford C Available interstitial site

Longitudinal Section

G H

+ 63'-0"

B17

B14

B17

B14

B16

B13

G11

B15

G10

G11

B11

G10

G11

G10

B11

G10

B11

B14

G10

G11

B11

+ 66'-0" + 69'-0"

B13

B11

+ 63'-0"

3 4 5

G10

B12

B20

+ 69'-0"

B20

B14

B17

B13

+ 66'-0" G4

B19

DOWN

TO EXISTING FIRE STAIR

G H

B10

G10

G11

B11

G11

G10

B11

G10

G11

G10

B12

B18

B12

B11

B19 B14

B14

B19 G4

B13

B16

B13

B12

B19

B14

B15

3 4 5

B13

B19

TO EXISTING FIRE STAIR

Grand entry from parking lot

Studios

Atrium

Transverse Section

Architectural Detail: Auditorium’s back entrance

3” Topping slab 4” R-30 XPS

1” Stone tile Grout EPDM 2” Joist slab Joist Steel angle Hot channel

2” Topping slab 16” square column 40” wide girder, shored Shear studs Top chord of truss Gusset plate Structural Detail: Pan-joist system meets wide flange truss

W-24 W-8 Truss members

Auditorium Section

T4T LAB: CRITTER Spring 2016 COLLABORATORS: Juan Arriaza Stefani Johnson Madison Haynes CRITICS: Adam Fure Gabriel Esquivel We reconfigured, distorted, and extruded elements of Liebskind’s Jewish Museum’s and Ronchamp’s plans to produce 3D manifestations of its main organizational principles. After individually sweeping, extruding, lofting, and “booleaning” shapes and forms derived from the original plan, the group members compiled their work into an index of these new primitives (or “chunks”) from which new compositions were built. Through the process of combining and distorting chunks, elements which once functioned as parts of a plan began to lose their definition and take on a new autonomy.

In computing, from least to most physical, there are four layers of information: application, transport, internet, and link; where the application is the interface we actually engage in and the link is the physical medium of transport. The more raw scripting languages become, the further they move from our understanding. We are more able to interface with the entirely hypothetical â&#x20AC;&#x153;crittersâ&#x20AC;? than with the original drawing, or data.

The process of deriving and categorizing “chunks” has been repeated so many times that the final products have logical depth, meaning a large amount of data has been discarded to reach the final — a conventional design process with an unconventional product. In this way, the project redefines abstraction by unfolding

MONOLITHIC VALLEY Spring 2017 CRITIC:Craig Babe The architectural development of “West Campus” (relative to Main Campus) has been haphazard and inconsistent Academically, it is occupied by the business school, biomedical and veterinary sciences, plant and animal sciences and several research facilities. Socially, it is largely considered nonfunctional; the lack of well-designed public spaces combined with its separation from Main Campus by a major road prevents integration with the campus community. The selected site sits on Texas A&M’s guiding axis, extending along New Main and Old Main. This guide is critical to the organization of Main Campus but is not respected at present on West Campus. This pavilion will serve as overflow for the AgCafe and as a multifunctional student center with conditioned and unconditioned spaces. It reflects the material of the existing construction without giving in to its rigidity by using concrete “fins” to shade and direct foot traffic. The second level opens onto a green roof, which provides a scenic view of some of Main Campus’s icons. The existing landscaping is redesigned to provide clear and spacious promenades.

South Elevation

North Elevation

Parking

Built Context

Campus Axes

Wind Patterns

Topography

II .lanoisseforP

II Professional.

REVITALIZING FAIR PARK Summer 2018 COLLABORATORS: Rayce Belton Jordan Hall Audrey Hickman Amber Morris Kazem Namazi E s t h e r Ta n g Natalie Watson In October of every year, literal millions of people flock to the annual State Fair of Texas. For the remainder of the year, the nearly300-acre park is almost totally empty. For Gensler Dallas’s annual intern project (worked on simultaneously with work responsibilities), we were asked to come up with a long-term strategy to energize the park yearround and reintegrate it back into the surrounding communities. Eventually we proposed, through various operations: (1) linking Fair Park to the adjacent neighborhood of Deep Ellum, a formerly “rough,” now vibrantly gentrified, destination within the city and (2) developing the currently barren northern perimeter of the park which is adjacent to the neighborhood of Jubilee.

Deep Ellum Scope

Jubilee Scope

III noitacirbaF / latigiD

III Digital / Fabrication

BUILDING TRANSLATIONS CRITICS: Adam Fure Drew Bradford TEAM: S o Yo u n g L e e Sonham Llamo

tical connection

SENSES FENCES

1Unit size and rotations 60

120mm 15

TEAM: S o Yo u n g L e e Sonham Llamo Tr i s t a n S n y d e r CRITICS: A s a Pe l l e r Laida Aguirre

105mm

Lateral connection

An introduction to Taubmanâ&#x20AC;&#x2122;s Kuka robot resources through the design of a single printable unit as part of a fence. Prototypes were extruded in plastic with the final studentselected project printed in clay. Lateral connection

Veritical connection 6 Units

PHOTOGRAMMETRY: SAGRADA FAMILIA SPRING 2017 PERSONAL RESEARCH, SCHOLARSHIP SUMBISSION Photogrammetry uses data from photographs to automatically construct a digital model of an object or environment. These photogrammetric renderings are an attempt to give people a glimpse at the beauty of this ongoing 150-year-long feat of art and engineering. 1. Approximately 500 photos were taken of the less-often-modeled interior of Sagrada Familia. 2. These images were processed in Agisoft Photoscan by generating a point cloud, a dense point cloud, and finally a mesh and texture map. “Mesh” refers to a collection of vertices, edges and faces which make up a 3D object. A “texture map” is the texture or color information for a mesh.

Orthophotos

Reflected Ceiling Plan

VI .aideM lanoitidarT

IV Traditional Media.

“Space in Figure I” Oil on canvas, 2017 Model: Maria Fuentes

“Space in Figure II” Oil on canvas, 2017 Model: self

Acrylic Brayn-College Station, TX From life

Charcoal Studies From life

Roof patio in Barcelona, Spain From photograph

View down New York Ave. from Carnegie Libary — Washington D.C. From life

Ciutat Vella Ââ&#x20AC;&#x201D; Barcelona, Spain From photograph

Somewhere in Utrecht, The Netherlands From photograph