TIMOTHY HOWELLS
graduate architecture portfolio
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Table of
CONTENTS
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Resume Savannah Market and Culinary School Excoriated Skeleton Tesla Headquarters Mar-kee(Z) INDEX_ically / Precedents of Domesticity Involution
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resume Timothy Howells
714-356-5006 tajhowells@gmail.com www.tjhowells.com
EDUCATION
M. Arch - Masters of Architecture 2015 Savannah College of Art and Design, Savannah GA B.F.A. - Architecture 2014 Savannah College of Art and Design, Savannah, GA
AWARDS Dean’s List 2012 2013
Savannah College of Art and Design
WORK EXPERIENCE
Public Kitchen and Bar, Savannah, GA Host / Server - 2014
Greet guests and provide professional customer service. Responsibilities included hospitality and guest services.
Don Schweitzer Architects - Brea, CA Summer Internship - 2011
Design development and attendance to city architectural board meetings. Skills developed include on-site managing assistance and communication with contractors and engineers.
National Architectural Accredidation Board 2012 2014 Savannah College of Art and Design
Outstanding Student of the Year 2011 American Society of Engineers and Architects Fullerton College, CA
Assistant - 2008-2011 alism in the work environment.
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COMMUNITY Community Service 2004 - 2011
St. Josephs Church, Placentia, CA Since 2004 I have been an aide in a special needs class in Placentia. Worked with children with various special needs conditions, mostly autism, and watched them succeed.
MISCELLANEOUS
Architecture Club President 2010 - 2011 Fullerton College
Fullerton Chapter President 2010 - 2011 American Society of Engineers and Architects
Academic Scholarship 2011 - 2014 Savannah College of Art and Design
Artistic Scholarship 2011 - 2014 Savannah College of Art and Design
SCAD AIAS Member
SCAD (L)ab_Normal Member
SKILLS Illustrator
Photoshop Rhino Sketchup Revit AutoCAD Maya
Maxwell V-ray Pepakura Grasshopper InDesign Vasari Model Making Wood Working
Surrounded by strip malls, low-income housing, and large parking lots, the area embodies the typical American suburbia. The goal of the project is to invigorate this part Southside Savannah, giving it a greater sense of community and creating a place where everyone can enjoy and want to spend an extended amount of time. The proposed program will focus on the educational aspect of the entire culinary process while still creating an inviting public space composed of a market, restaurant, and public gardens. In areas like Southside Savannah and all across Amer ca it is important to raise awareness about the critical importance of food education as a means of reducing obesity, diet-related diseases, and creating a healthier self.
Savannah Market & Cuinary School
Savannah, Georgia Spring 2014 Mix-Use Culinary Center
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Savannah Market & culinary school
PROCESS From the early conceptual site construct and the idea of views, movement, and circulation around the isolated site were derived. This idea was the basis for the berm, which would help draw attention to the site becoming both a literal and ďŹ gurative introduction to the building. The berm also helps remove the site from the surrounding context by denying views from the site towards busy Abercorn and the parking lots beyond. Right: Early design sketches illustrate the burmed hill with building mass. The drawings illustrates a levitated mass above a transparent box. The solid mass would later chance to an operable mesh that allows for a similar feel, yet one that allows greater function.
Summer Winds Winter Winds TOPOGRAPHY
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The topography on the site as a whole slopes from east to west. This would indicate that a posible water collection unit would best be placed on the far west side of the site. TOPOGRAPHY
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TOPOGRAPHY The topography on the site as a whole slopes from east to west. This would indicate that a posible water collection unit would best be placed on the far west side of the site. 0
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The topography on the site as a whole slopes from SOIL CONDITION SITE ACCESSIBILITY east to west. This would indicate that a posible water collection unit Urban would Land best be placed on the far west CUC (Chipley Complex) Abercorn St. which is the main road that leads to site side of- Fine the site. Sand wraps around the site on the south and southwest Pedestrian OKC Urban Land access Complex) sides (Ogeechee of the site. Two smaller roads are to the TOPOGRAPHY Vehicular . Sandy north -and westClay of N theST site. The AB topography ERCORon the site as a whole slopes from east to west. This would indicate that a posible water collection unit would best be placed on the far west Pedestrian side of the site. Vehicular SITE ACCESSIBILITY
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BLDG. 8.5% Pedestrian Vehicular
BLDG. 8.5% Pedestrian Vehicular
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Pedestrian Vehicular
ABER TOPOGRAPHY
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ABwhich is the main road that leads to site Abercorn St. Site SOIL CONDITION wraps around the site on the south% and southwest BUILDING COVERAGE 91.5% CUC Urban Complex) sides (Chipley of the site. Two Land smaller access roads are to the The size ofwest the site a total of 182,000 square feet. -and Fine Sand north of theissite. My building massUrban is just Land over 14,000 square feet. This OKC (Ogeechee Complex) SITE ACCESSIBILITY is 8.5% of the Clay total site. - Sandy Site Abercorn St. which is the main road that leads to site 91.5% wraps around the site on the south and southwest sides of the site. Two smaller access roads are to the SOIL north andCONDITION west of the site.
CUC (Chipley Urban Land Complex) - Fine SandCOVERAGE % BUILDING OKC (Ogeechee Urban Land Complex) The size of theClay site is a total of 182,000 square feet. - Sandy My building massSite is just over 14,000 square feet. This SOIL CONDITION 91.5% is 8.5% of the total site. BLDG. CUC (Chipley Urban Land Complex) 8.5% - Fine Sand OKC (Ogeechee UrbanSite Land Complex) - Sandy Clay 91.5% BLDG.
8.5%
BUILDING COVERAGE %
Winter Winds
SITE ACCESSIBILITY TOPOGRAPHY
Pedestrian
Vehicular The topography on isthe as road a whole slopes .site ST Abercorn St.Cwhich the main that leads tofrom site ORN ER east AB to around west. This indicate that aand posible water wraps thewould site on the south southwest collection unit would best be access placed roads on theare fartowest sides of the site. Two smaller the side of the site. north and west of the site.
Winter Winds
The topography on the site as a whole slopes from east to west. This would indicate that a posible water collection unit would best be placed on the far west side of the site.
Abercorn St. which is the main road that leads to site The topography on the site as a whole slopes from wraps around the site on the south and southwest east to west. This would indicate that a posible water sides of the site. Two smaller access roads are to the collection unit would best be placed on the far west TOPOGRAPHY north and west of the site. SITE ACCESSIBILITY side of the site. The topography on the site as a whole slopes from Abercorn St. which is the main road that leads to site east to west. This would indicate that a posible water wraps around the site on the south and southwest collection unit would best be placed on the far west sides of the site. Two smaller access roads are to the side of the site. north and west of the site.
SOIL CONDITION SITE ACCESSIBILITY
Site Plan
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Main Parking Lot (83) Private Lot (19) Berm (planted) Public Vegetable Garden Water Feature (Run-off)
CUC (Chipley Urban Land Complex) Abercorn St.Sand which is the main road that leads to site - Fine wraps(Ogeechee around theUrban site on theComplex) south and southwest OKC Land sidesSITE the site. Two smaller access roads are to the ACCESSIBILITY -ofSandy Clay SOIL CONDITION north and west of the site. St. which is the main road that leads to site CUCAbercorn (Chipley Urban Land Complex) wraps - Fine around Sand the site on the south and southwest of the site. Two smaller access roads are to the OKCsides (Ogeechee Urban Land Complex) north andClay west of the site. - Sandy
BUILDING COVERAGE % SOIL CONDITION The size of theUrban site isLand a total of 182,000 square feet. CUC (Chipley Complex) My building - Fine mass Sand is just over 14,000 square feet. This is 8.5% of theCONDITION total site. Land Complex) OKC (Ogeechee Urban SOIL BUILDING COVERAGE - Sandy Clay 4 % CUC (Chipley Urban Land Complex) 4 The size of- Fine the site is a total of 182,000 square feet. Sand My building mass is just over Land 14,000 square feet. This OKC (Ogeechee Urban Complex) 8 is 8.5% of -the total Clay site. Sandy
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BUILDING COVERAGE % 2 is a total of 182,000 square feet. The size of the site My building mass is just over 14,000 square feet. This is 8.5% of the total site. BUILDING COVERAGE %
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The size of the site is a total of 182,000 square feet. My building mass is just over 14,000 square feet. This is 8.5% of the total site.
The size of the site is a total of 182,000 square feet. My building mass is just over 14,000 square feet. This is 8.5% of the total site.
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BUILDING COVERAGE % The size of the site is a total of 182,000 square feet. My building mass is just over 14,000 square feet. This is 8.5% of the total site.
6. Outdoor Market Space 7. Outdoor Event Space 8. Trash Area 9. Grass Area 10. Run-off Collection Tank (Below Grade)
Abercorn Street
Site Perspective
The structure was modeled around the atrium. A box truss was used to cantilever over the entrance to create that levitated quality. The exploded diagram (right) helps indicate where the skin would be applied. The section detail (far right) further illustrates this connection. The perforated steel skin is operable, allowing for passive heating and cooling capabilities.
Green Roof Detail 0
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Laminated Tinted Glass
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Steel Sheet Capping Concrete Parapet W 12X35 Beam W 18X130 Beam
Thermoplastic Flashing Membrane Aluminum Edge Gravel Guard Gravel Irrigation Drip Line Drainage Media M3 Growth Media Root Barrier Insulation
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A) Perforated Stainless - steel sunshade panels B) Galvanized-steel tube frame C) Galvanized-steel-grate catwalk
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E) Operable out-swinging windows F) Extruded-aluminum unit frame
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Left - The berm becomes a ďŹ gurative entry to building as seen from Abercorn street and a literal entrance with the use of a ramp that leads from the parking lot to the entrance. The perforated skin that wraps around the 3rd level provides sun shading at optimum times and is also operable, allowing for passive heating and cooling aspects. The atrium (left) becomes a sourceB of circulation and a way to reect light down to the market at the sub level. UP
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Market Floor Outdoor Market Space Storage Receiving Room Restrooms
6. Mechanical Room 7. Electrical Room 8. Restaurant Kitchen 9. Walk-in-Refrigerator 10. Market Prep. Room
1. Market 6. Mechanical Room B Floor Sub Level Plan (Market) 2. Outdoor Market Space 6. Mechanical 7. Electrical Room 1. Main Entry Room Main Level Plan B 3. Storage 8. Restaurant (Restaurant/ Exhibition) 2. Restaurant 7. Electrical Room 7.Kitchen 1/16” = 1’-0” 1. Teaching Kitchen Electrical Room Third Floor Plan 4. Receiving Room 9. Walk-in-Refrigerator 3. Storage 8. Restrooms 1/16” = 1’-0”
2. Dining Room Restrooms 5. Restrooms 10. Market Prep.8. Room 4. Restaurant Dining 9. Room Exhibition Floor/ Market 3. Room Dish Washing 9. Cultural Center 5. Restaurant Patio4.Seating Storage 10. Atrium 10. Atrium 1/16” = 1’-0” 5. Lecture Room &IRNSNXYWFYN[J 4KƻHJX 6. Mechanical Room 8YFKK 4KƻHJX (Culinary School)
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Dining Room 9. Walk-in-Refrigerator 8. Restrooms 4. Receiving2.Room 3. Dish Washing Room Cultural Center 5. Restrooms 10. Market Prep.9.Room 4. Storage 10. Atrium 5. Lecture Room &IRNSNXYWFYN[J 4KƻHJX 6. Mechanical Room 8YFKK 4KƻHJX
(Culinary School)
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Dining Room Dish Washing Room Storage Lecture Room Mechanical Room
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6. Mechanical Room B Kitchen 1. Teaching Electrical Room 7.Stairs Electrical Room 5. 7.Flower 1. Access Garden 2. Dining Room 8. Restrooms 8. Restrooms (Rooftop Garden)3. Storage 2. Preparation Space 6. Atrium 3. Dish Washing Room 9. Cultural Center 4. Restaurant Dining Room 9. Exhibition Floor/7. Market 1/16” = 1’-0” 3. Storage Mechanical 4. Storage 10. Atrium Room 1/16” = 1’-0” 5. Restaurant Patio Seating 10. Atrium 4. Vegetable 8. &IRNSNXYWFYN[J 4KƻHJX Cooling Towers 5. Lecture Room Garden 6. Mechanical Room
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Flower Garden Atrium Mechanical Room Cooling Towers
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Main Entry Restaurant Storage Restaurant Dining Room Restaurant Patio Seating
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6. Mechanical Room 7. Electrical Room 8. Restrooms 9. Exhibition Floor/ Market 10. Atrium
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Main Entry 6. Mechanical Room Restaurant 7. Electrical Room B 1. Access Stairs Storage 8. Restrooms 5. Flower Garden 2. Preparation Space Floor/ 6. Market Atrium Restaurant Dining Room 9. Exhibition 3. Storage10. Atrium 7. Mechanical Room Restaurant Patio Seating 4. Vegetable Garden 8. Cooling Towers
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1. Staff Offices 2. Administrative Offices 3. Entry 4. Market 5. Mechanical Space
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Dish-washing Room HVAC Unit Space Green Roof Fire Stairs Restaurant Staff Stair
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Flower Garden Atrium Mechanical Room Cooling Towers
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B Section
The challenge of this project was to create a new visitors’ center for the Fort Pulaski Nation Monument near Tybee Island, Georgia. The new visitors’ center will blend two architectural typologies creating a bridge-pavilion, providing access from the US Route 80 to Cockspur Island and Fort Pulaski. The new connector will provide an interactive public space and a contemporary architectural presence on the site. Providing both vehicular and pedestrian access to Fort Pulaski, the bridge-pavilion will allow for visitors to experience a variety of surface dynamics as you proceed through the bridge. Two
major systems converge and play off each other. The first system is the main surface volume. This surface skin makes up the bridge structure, the paths, and the main building envelope. This fluid surface volume was derived from water conditions and movement; these forms provide a sense of movement that encourages directionality through the bridge. The second system is an skeletal structure that is revealed as the surface is peeled away. As the systems separate each develop their own geometric logic and formal-spatial characteristics.
Excoriated Skeleton
Savannah, Georgia Fall 2012
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Excoriated Skeleton Bridge and Pavilion
Previous page: Hand drawn ďŹ gural drawings that were used to help derive a formal quality. The drawing were also a study of ďŹ gure / ground, path, and movement. Far right: Site transformation diagrams. Through an understanding of the rivers edge, movement, and connections these diagrams helped to further expand on those concepts.
Longitudinal Section
Transverse Section
Upper Level Floor Plan 1. Main Exhibition Floor 2. Cafe 3. Storage 4. Kitchen for Cafe 5. Indoor Dinning Area 6. Lower Island Space 7. Elevator 8. Outdoor Seating
Lower Level Floor Plan
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1. Main Exhibition Floor 2. Gift Shop/ OfďŹ ces 3. Storage 4. Restrooms 5. Maintenance Room 6. Lower Island Space 7. Elevator
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Two major systems converge and play off each other. The ďŹ rst system is the main surface volume. This surface skin makes up the bridge structure, the paths, and the main building envelope. This uid surface volume was derived from water conditions and movement; these forms provide a sense of movement that encourages directionality through the bridge. The second system is an skeletal structure that is revealed as the surface is peeled away. As the systems separate each develop their own geometric logic and formal-spatial characteristics.
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Transforming_Formality
Tesla HEadquarter Building
Transforming Formality
Tesla is an automotive company that is looking to revolutionize the way people use transportation. Committed to bringing an advancement in electric mobility to the world, the company is looking to get their name heard. A new Flagship headquarter building located in "Motor City" Detroit will look to revitalize the city while incorporating a new "spark" of innovation. Incorporating this idea, the new building will emerge from the shadows of Detroit's past and bring the car into the future.
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Detroit, MI Spring 2013
The Design The design language for the building was derived from the form of the Tesla model S. Curves and formal features of the car were extruded, pulled, and extracted from to create the underlying structural system and the overlying skin as well. The transformation began with two rectilinear glass forms that function as show space. These forms are pulled and twisted through the use of an indexical process and the forms derived from the car. The building pulls away from the existing Michigan Central Train Depot, emerging from the old technology of the past to bring us the future of transportation. Breaking from the formal convention of the typical automotive factory, the new Tesla building really displays a transformation into the future of the automotive industry.
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The structural system shown above is made from a steel tube structure. This fluid system of underlying steel members are what allow the surface to move and flow in such a elegant way. A concrete paneling system creates the surface condition, painted with a gloss white finish which further portrays movement and fluidity.
The interior rendering (right) shows the car elevator that move cars from the mechanic room and the parking below up to the showroom oor(s). The perspective (below) shows the contrast between the old central station and the new Tesla headquarters building as the new structure emerges from the shadows of Detroit's past to bring the car into the future.
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A portable Tesla showroom was designed during a class charrette that would be used to showcase the cars around the country. The design was based on the dimensions of a semi-truck shipping container. The front piece slides out from the back to extend the space. Used to display the model S and conduct possible transactions in the ofďŹ ce room.
Mahr-kee(z) creates a center in an asymmetrical space by utilizing the existing rectangular columns. A new faceted surface encases the columns and propagates into owering canopies. In addition to the dynamic folding and pleating of the column-canopies, ornamentation is achieved by an aperture pattern that follows the geometric logic of the faceted surface. The aperture pattern is strategically placed to alleviate visual weight and generate lighting effects as it twists from the base to the capital. This project is part of continuing research addressing contemporary ornamentation and isomorphic transformation of architectonic elements.
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Mar-quee [mahr-kee]: an ornamental canopy, often identiďŹ ed by a surrounding a cache of light bulbs, signaling entrance to a theatrical event. Mar-quise [mahr-keez]: a gem cut, yielding a low pointed oval with many facets.
Mahr-kee(Z)
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Mahr-kee(z) installation
(L)ABnormal
Mahr-kee(z) was a installation project produced in collaboration with (L)ABnormal. The project was built on site at a gallery for the ďŹ rst issue release of MESH magazine.
Lead Designer and Project Manager
Assisted by: Hunter Pope, Tessa Watson and Xavior Ramirez.
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This installation was created for the launch of the inaugural issue of Mesh Magazine - an independent publication that showcases the work of artists and designers, erasing disciplinary boundaries through digital design and fabrication.
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Front Elevation
Side Elevation
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Critical Analysis of the Case Study Houses Winter 2012 INDEXICALITY
We began by researching the organizational principles and design strategies found in a selection of houses by Richard Neutra and the case study program. Formal analysis of these houses led to a critical understanding of the ideas behind a particular piece of architecture and/or the motivating factors influencing an architect’s body of work. The reading of “Mathematics of the Ideal Villa” led to further discussions and understanding of formal analysis and organizational principles.
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The focus of the studio was to understand precedents of domesticity and analyze the specific changes that occurred throughout the 20th century. This problem not only spoke of the characteristics that defined a modern space, but also how to construct architecture outside the traditions of classicism and modernism. We obtained a better understanding of these traditions through researching Le Corbusier, Mies van der Rohe, the New York 5, Robert Venturi, and various Dutch architects including Rem Koolhaas.
Precedents of Domesticity
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Precedents of Domesticity
The “big idea” of the project is the stretching and the delamination of the ground and how it affects the spatial relationships of the orthogonal forms that it intersects. After multiple transformations the final concept displays a directional movement that resulted from the curvilinear lines that ultimately became the ground. This “movement” separates, pulls, and slits up the figures to create the resulting dynamic and fragmented unit. The action of separating and pulling of forms creates three major systems. The first system is the original groups of boxes and el-forms that relate and reflect upon the study house by Neutra. These orthogonal spaces are what gets divided by the new fluid and intruding movement. This system accounts for the majority of the public spaces. It’s centralized and these spaces are larger and more easily traversed. The second system are the forms that run through the plan, cutting and fragmenting the figures. This system is represented by curved planar forms that flow between and through the first system, and also include the ground as it delaminates and flows within the forms in which it dissects. This system creates movement throughout the unit and an overall coherency between the figures. These dissecting forms delaminate from the forms of the first system and begin to form newer spaces and forms. These new spaces are the third system.
System three are the figures that are the result of the fluid lines that dissect the plan. These flow through the plan and begin to take form at the outer edges of the orthogonal figures. It is these forms that cause the structure to look like it is being “stretched” because they create two points at opposite sides of the plan, and fragment the plan while doing so. These forms also more faceted because of the transformations that took place to create them. These spaces are intended to be the private areas of the home. They are pulled away from the center of the home, allowing for more privacy. Both transparent and translucent skins were applied to the structure. There are no opaque materials because an opaque skin would break up the fluidity and the ground already creates an opaque border around most of the structure. The flowing forms that delaminate from the ground all have a translucent skin that allows some light to pass, but still provides privacy. They appear to come off of the ground and are a good transition from the opaque ground to the transparency of the majority of the public spaces located in the central area of the plan. Throughout the course of this quarter I learned how expansive architecture is and what constitutes architecture. I learned a whole other side to the creation and formation of spaces by doing our indexical diagrams. These processes were completely new to me, and I had to really suspend my disbelieve because I like orthogonal geometry and architecture, so creating curves was a good experience and I’m glad that I did it.
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Indexical Sequence I began transformation by first trying to really understand the basic spatial relationships and organizational relationships among both the figures and the voids they create. I noticed the way the plan rotates around the hearth, and how the figures really expand in four main directions away from the center. While analyzing these figures I noted the clustered figures that expand outward, along with the central room, creates 3 main el-forms within the plan. This idea is displayed in my first diagram were I just broke the plan down into its simplest forms. In my second diagram, I took the interior rooms and other figures within the plan and shifted them outward, creating overlaps and other spatial relationships. In this diagram I was solely focused on the movement in the horizontal and vertical directions. In my third diagram I began to transition into the radial and the rotational aspect of the plan. With the figures I created in the last diagram I began to rotate the slightly in the clockwise motion and used the hearth as my center point for my rotation.
In my fourth diagram my transformations really begin to become dynamic. I focused on the larger spaces, the figures that the smaller “shifted” figures created, and I took them as a whole and rotated them around the same central point “hearth” as I previously did. In this stage I also overlaid an artistic depiction of wavy lines that created a flowing feeling and a greater feeling of movement. These lines really help depict the motion that I envisioned in the spaces and how they flow, shift, and relate within the plan and between themselves. The lines flow in the horizontal direction because that’s the axis were a majority of the shifting and expansion takes place. After a few more transformations to the plan with more rotations and overlaps, I was ready to identify the true relationships regarding figure-field. I first identified two clear axis lines, much like the original plan had; in the horizontal and the vertical direction. So I used this same axis, and began to form my figures. My goal was to make the plan look like it was exploding from the center and expanding into the space beyond, so I took this idea and expanded upon it. The forms and spaces in the middle are more rectangular “bar” shapes that represent the original plan, keeping with the geometric, rectangular rooms, and as the figures shifted outward they appear as they are being stretched and pulled to a point. This is very evident along my horizontal axis, as each side comes to points at the ends, implying that the figures point, or extend far beyond the spaces they create. The same can be said for the vertical axis, except these forms take on the ideas of the original plan in the way that the “larger” figures stay mostly intact, but are still shifted and pulled away from the center.
Formal Diagrams of the Kaufmann House
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Involution
Intricate Arch Prototype Winter 2013 SCAD Architecture Building
This surface logic redefines the classical conventions of ornament and rustication – sources for innovative ideas about form and materiality. The historical and class cal conceptions of structure and ornament were examined and reconfigured to understand the role of architecture’s characteristic devices in contemporary building design.
Involution
A series of transformations upon the arch were induced, transforming the symmetrical mass into a nuanced, sculptural surface. Starting with the reorientation of the span’s symmetrical base, the movement incurred by this shift lends itself to an interactive topological span. Each act upon the strictly ruled archetype would subtly disassemble the form as we once recognized it.
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Involution is a series of diverse topological effects. Physically, the nuanced panelized surface creates inward curvature and penetration for enclosure and procession. Conceptually, the arch is reevaluated by looking both inward toward architecture’s history and outward toward the future of design.
part of class project for ELDS at Savannah College of Art and Design
Far left: transverse section, left: arial plan view, below: longitudinal section.
TIMOTHY HOWELLS 714-356-5006 tajhowells@gmail.com www.tjhowells.com