Timothy Howells - Graduate Portfolio

TIMOTHY HOWELLS

graduate architecture portfolio

01 03 17 25 31 37 45 53 57

Resume Savannah Market and Culinary School Excoriated Skeleton Tesla Headquarters Mar-kee(Z) INDEX_ically / Precedents of Domesticity From the Inside Out Involution Grandiose

01

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

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

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.

Thomas K. Garcia Law Office - Fullerton, CA Assistant - 2008-2011

Skills developed include file management, customer service, website design and professionalism in the work environment.

01 Resume

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 Microsoft OfďŹ ce Rhino Sketchup Revit AutoCAD Maya

Maxwell V-ray Pepakura Grasshopper InDesign Vasari Model Making Wood Working

Savannah, Georgia Spring 2014 Mix-Use Culinary Center

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.

03 Savannah Market and Culinary School

03

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.

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

1

2

4

Laminated Tinted Glass

feet

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

B

D

Wall Section Detail A

A) Perforated Stainless - steel sunshade panels B) Galvanized-steel tube frame C) Galvanized-steel-grate catwalk

F

D) Insulating Glass

E C

E) Operable out-swinging windows F) Extruded-aluminum unit frame

0

2

4

8 feet

Winter Winds TOPOGRAPHY

0

20

40

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

80

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

0

20

40

80

TOPOGRAPHY SITE ACCESSIBILITY

0

20

20

40

80

40

80

0

0

20

40

80

Pedestrian Vehicular

0

20

0

20

40

.

CORN ST

80

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

80

N ST.

ERCOR

80

BLDG. 8.5% Pedestrian Vehicular

BLDG. 8.5% Pedestrian Vehicular

40

Pedestrian Vehicular

ABER TOPOGRAPHY

Pedestrian Vehicular 40

20

ABwhich is the main road that leads to site AbercornCONDITION St. Site SOIL 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 of the site a total of 182,000 square feet.

Fine Sand north -and west 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 to around west.

This indicate that aand posible water AB 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 thewest site. of the site. northofand

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

1.

2.

3.

4.

5.

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

5 9

6

1

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 %

10

7

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.

3

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

2

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

3 1

3

B

2

B

B 3

UP

UP UP

3 2

1

4

2 1 5

2

1

4

2 5

3. Storage 4. Receiving Room 5. Restrooms

1/16” = 1’-0”

B

2

B

2

8. Restaurant Kitchen 9. Walk-in-Refrigerator 10. Market Prep. Room

B B

3

UP

UP

3

3

DN

UP

3 5

3

2

9

4 A

5

A

A

UP

UP

4

UP

A

10 8

7

A 1

UP

7

UP

7

UP

DN

6

6

UP

6

A

UP

8

DN

5

5

3

A

4

2

1

4

1

4

1

3

11

DN

7

3

DN

12

10

6

3 9 8

9 8

10

10

9

2

9

2

5

1

9

B B

Sub Level Plan (Market)

1/16” = 1’-0”

1.

2.

3.

4.

5.

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 Kitchen (Restaurant/ Exhibition) 2.

Restaurant 7.

Electrical Room 1/16” = 1’-0” 1. Room Teaching Kitchen 9. Walk-in-Refrigerator 7. Electrical Room Third Floor Plan 4. Receiving 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 10.

Atrium Storage 10. Atrium 1/16” = 1’-0” 5. Lecture Room &IRNSNXYWFYN[J 4KƻHJX 6. Mechanical Room 8YFKK 4KƻHJX (Culinary School)

B B

A

1/16” = 1’-0”

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)

1/16” = 1’-0”

B

3.

4.

5.

6.

1/16” = 1’-0”

Dish Washing Room Storage Lecture Room Mechanical Room

B

B

B 3

DN

1

4

3

2

9

2

5

5

5

3

A

A

8 4

10 8

A

A DN

7

1

UP

UP

8

DN

3

6

7

7

DN

11

DN

A

A

A

A 7

8

4

6

4

5

1

4

B

1. Main Entry Main Level Plan Third 2.Floor Plan (Restaurant/ Exhibition) Restaurant Roof(Culinary Plan School)

4

4

2

1/16” = 1’-0”

12 4

10

4

2

3 DN

DN

2

4

UP

1

1

2

5

9. Cultural Center 10. Atrium &IRNSNXYWFYN[J 4KƻHJX 8YFKK 4KƻHJX

9

4

4

4

B

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 Garden 8.

Cooling Towers 5. Lecture Room &IRNSNXYWFYN[J 4KƻHJX 6. Mechanical Room 8YFKK 4KƻHJX

B

Roof Plan

(Rooftop Garden) 1/16” = 1’-0”

1.

2.

3.

4.

B

Access Stairs Preparation Space Storage Vegetable Garden

5.

6.

7.

8.

Flower Garden Atrium Mechanical Room Cooling Towers

4

4

2 2 4

4 B

Main Level Plan (Restaurant/ Exhibition) 1/16” = 1’-0”

1.

2.

Roof Plan 3.

(Rooftop Garden) 4.

1/16” = 1’-0” 5.

Main Level Plan

B

1.

2.

3.

4.

5.

Main Entry Restaurant Storage Restaurant Dining Room Restaurant Patio Seating

(Restaurant/ Exhibition)

6. Mechanical Room 7. Electrical Room 8. Restrooms 9. Exhibition Floor/ Market 10. Atrium

1/16” = 1’-0”

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

7

8 8 1 5

6

9

1

5

3

9

3

4

10

5

9

4

A Section

1. Staff Offices 2. Administrative Offices 3. Entry 4. Market 5. Mechanical Space

6.

7.

8.

9.

10.

Dish-washing Room HVAC Unit Space Green Roof Fire Stairs Restaurant Staff Stair

0

5’

1/8” = 1’-0”

10’

20’

4

4

B

1.

2.

3.

4.

Roof Plan

(Rooftop Garden) 1/16” = 1’-0”

Access Stairs Preparation Space Storage Vegetable Garden

5.

6.

7.

8.

Flower Garden Atrium Mechanical Room Cooling Towers

8

Level 3 (Rooftop Garden)

8

7

7

1 5

35’ - 6”

6

1 7

1

9

2

20’ - 6”

3

5

6

10

5

0

5’

1/8” = 1’-0”

20’

6’ - 6”

4 5

9

10’

Level 1 (Main)

2

9

5

Level 2

1. Teaching Kitchens 2. Restaurant 3. Event Space 4. Market

5.

6.

7.

8.

0

5’

Walk-in-Refrigerator Storage 1/8” = 1’-0” Atrium Green Roof

Sub-Level

6 10’

-4’ - 0” 20’

0

B Section

Savannah, Georgia Fall 2012

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.

17 Excoriated Skeleton

17

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

0

10

30

70

1. Main Exhibition Floor 2. Gift Shop/ OfďŹ ces 3. Storage 4. Restrooms 5. Maintenance Room 6. Lower Island Space 7. Elevator

0

10

30

70

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.

25 Detroit, MI Spring 2013

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.

Tesla Headquarters

Tesla HEadquarter Building

25

Transforming_Formality

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.

27

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.

29

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.

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) 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.

Mar-kee(Z)

31

31

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.

featured on:

34

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.

35

Front Elevation

Side Elevation

25

Winter 2012 INDEXICALITY

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.

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.

Precedents of Domesticity

Critical Analysis of the Case Study Houses

37

37

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.

40

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

44

45 Atlanta, Georgia Winter 2015 Architecture School

The study of building typologies, those which embody functional and formal properties, can be used to deďŹ ne a building by drawing on our collective cultural understanding of traditional built form and to connect the meaning of buildings to that tradition. Building do not only have a "use" but convey a "message" through an experience. A connection therefore must exist between that of the building and the experience that is produced. This thesis investigates the architecture school as a building type and asks questions about the formal, spatial qualities of the building and the architectural principles housed within its walls. These positions currently represent a contradiction between architecture that limits itself to only a "use" and architecture that looks to explore an "experience" or a deeper purpose.

The notion of a building type, one that exists to provide a certain function, becomes predetermined in its purpose. The educational model of architecture has become this predisposed 'thing' that doesn't adapt with the changes we see around it. The characteristics of invention, creativity, and productivity that are extremely valued by architecture can be more readily engaged in an environment where spaces are as mutable and uid as the ideas that are generated. Rather than a rigid typology, dynamic and variable spatial qualities allow for a more comprehensive and holistic understanding of architecture and promises opportunities for innovation and exploration.

45

A Crital Analysis of Architectural Education - Towards a new Paradigm

From the Inside Out

From the Inside Out

Architecture today involves political, economic, social, technical, aesthetic, cultural, ethical, and ecological issues and to what extent are these relevant to education? Within the field and its education we find two polarized approaches to architecture as an art: formalist approach, and the life-world approach. The formalist approach is object oriented: the building as a separate, designed object that is an expressive form of art, culture, and experience. The life-world approach considers the building to be more than just an object, but rather an object whose meaning is dependent on internal factors including considerations of function and use. While both paradigms are important to the field, it is important to address their differences and similarities.

Architecture in its very nature has an ever evolving definition. The making of architecture involves political, social, economic, aesthetic, technical, ethical and ecological questions, all of which change and evolve to fit a certain paradigm . Architecture has no set definition, rather it has a set of principles that help guide it. To some architecture is an art, emphasizing on artistic and aesthetical qualities. To others, architecture is viewed from a life-world perspective, were architecture becomes a fundamental factor of human life, a cultural object whose meaning is dependent on its use. Architecture is broad; it is multi-disciplinary, and its ideas therefore must be comprehensive. Just as we struggle to define art, as the saying goes 'art is in the eye of the beholder', we struggle to define architecture in the same way. Architect Steven Holl once said, "while artists work from the real to the abstract, architects must work from the abstract to the real." This abstract realm that Holl describes continues to change as our culture, perception, and technology continues to progress.

The Beaux Arts and the Bauhaus have been the two models of which today's architecture pedagogy has been derived. As architecture adapts and changes in order to address the problems that continue to face architecture in the future, we find that architectures educational model must adapt as well. The image on the right represents the current state of architecture academia. It reflects the two models, Beaux Arts, and the Bauhaus. The image on the far right represents a change. The abstraction of the golden ratio that is placed over the existing model represents a harmonious relationship between different parts. The golden ratio is optimization; it signifies a connection to nature and its perfect proportions reveal a simplistic solution, an optimized solution. This new model, like the golden ratio seeks to simplify and harmonize the existing problem.

The hand-drawings began as an exploration of movement within and throughout an object. As external movements begin to collide with internal forces, the deďŹ ned object gets dissolved. This object "the building" becomes more holistic as it allows the movement of ideas to engage it. The initial object began as a rectilinear cube, representing a prototypical building form. As the external factors (i.e. context, changes in the ďŹ eld, new architectural questions, technology etc. ) begin to tear away at this preexisting object, the surface becomes uid and more permeable. This engagement is the foundation of a more comprehensive and integrated model of architecture. The physical model (bellow / opposite) was used to further explore this form, carving away the surface and creating connections within.

The design of the building began from within. The interior spaces were designed around a central atrium space that makes visual connections within interior spaces as well as connections beyond.

The atrium space and the other circulation spaces retain a more linear form because of its machine like qualities, remaining straight / factory-like because of its function of moving people from one point to another as quickly as possible. People propagate linearly while their emotions and thoughts are more dynamic in their movement. This dynamic movement effects the formal characteristics of the interior spaces as they become as fluid and malleable as the ideas and creativity that circulates within.

The exterior formal characteristics were designed as a separate object. Its logic was derived from the drawings and through the exploration of an objects relationship to a movement that flows through it. The initial object began as a rectilinear cube, representing a prototypical building form. As the external factors (i.e. context, changes in the field, new architectural questions, technology etc. ) begin to tear away at this preexisting "object" or the building, the surface becomes fluid and more permeable. The remnants of the initial object remains in the form of the ghosted translucent mesh (a perforated stainless steel facade screen) that wraps the building.

Level 3 Plan 0

10

20

40

Outdoor Pavilion

lab dn

up

13th Street gallery

studio / classroom

studio / classroom

Level 6 Plan 0

10

20

40

open to bellow

raised metal screen over water

studio / classroom

classroom

dn

lab gallery

studio / classroom

studio / classroom

gallery

Level 7 Plan 0

10

20

40

Main Entry

12th Street classroom

studio / classroom

up

Main Floor Plan 0

10

20

40

studio / classroom

Juniper Street

2

Figure 1: The reflection pool above the parking structure. The formal qualities of the site are in contrast to the building. The site is orthogonal, drawing lines from its context; intersecting with the building object, but not effecting its form. The reflection of the building emphasizes its importance and further highlights its stark contrast with the site. The walking paths that rise and lower (seen in figure 2) allow for access into the building. They are a perforated steel mesh material and fully retract under the water.

Peachtree St. NE

1

open to bellow lab

B

"You cannot teach a man anything.

You can only help him to discover it in himself."

Sub Level Plan 0 5

- Galileo

15

30

1 inch = 15 feet

3 1

4 2

printing center

6 6

7

"The student is not a vessel to be filled but a fire to kindled."

7

woodshop / fabrication lab

6

7

7

8

9

11

10

15 17

- Mestrius Plutarch

parking structure

16

12 13 14

18

southeast entry

7

Why is there an need for a NEW MODEL for architecture academia?

Architectural pedagogy has become stagnant. Schools rely on old techniques, old models in an attempt to push forward with so little progress.

Students of these schools aspire to achieve a sense of creative design and engagement, but often never taught or encouraged to use their creativity, or graduate before anything could come of it. The professors of these schools worry too much about the structure of the schools institutional hierarchies and cling to a rigid preexisting model.

Institutions appear to increasingly favor professionalism and practice, while adhering to self-imposed bureaucratic oversight, suffocating any possibility for the emergence of experimental practices and innovations. In science experiments and the testing of results lead to conclusions, whether good or bad we gain knowledge and a greater understanding of the world around us.

Architecture schools today take too few attempts to experiment, and without experimentation no innovative ideas will result.

4

Wall Section Detail

0

2

4

8

1 inch = 8 feet

�. Perforated �tainless �teel �unshade Panels 2. Galvanized Steel Tube Framing �. �xterior �oncrete �iber �ormed Panels 4. ��� unfaced Thermafiber Insulation �. �teel �� �eams at �2 feet �. Interior �hite �ibre �� Panels � �loss �. 4 inch �omposite metal deck for �oor slab 8. �aised �loor �ystem �. Ad�ustable feet for �oor system

4

7

4

��. �oncrete �loor �lab 11. OWSJ Floor Structure �2. �preader �eam ��. �ollow �ection �teel Perimeter �eam 14. Space Frame Lightweight Structure ��. �ire Protection �arrier ��. �idden L�� Lighting �ystem ��. �rop �eiling Panels �8. Transparent Plexiglass Interior �all Panels

lecture room

5

3

4

1

2

Longitudinal Section A 1. Entrance 2. Lecture Room �. �ffices 4. Gallery / Exhibition Space 5. Outdoor Space 6. Dedicated Media Room �. �ix �se � �tudio / �lassroom

2

0

5

1 inch = 10 feet

10

20

B

Level 8 Plan 0

10

20

40

A studio / classroom

Level 11 (Roof)

dn

studio / classroom

workspace

6 Level 10

storage up

7

7

studio / classroom

Level 9 studio / classroom

7

open to bellow

Level 8

Level 7

studio / classroom

Level 6

studio / classroom

lab

7

7

Level 5 up

4 dn studio / classroom

Level 4

studio / classroom

Level 4 Plan 0

15

30

7 Level 3

3

3 Level 2

1

4 Level 1

5

offices

exhibition space

Sub-Level 1

offices

offices

2 Sub-Level 2

0

5

1 inch = 10 feet

10

20

A

Transverse �ection �

up dn

1. Entrance 2. Lecture Room �. �ffices 4. Gallery / Exhibition Space �. �outheast �ntry 6. Dedicated Media Room �. �ix �se � �tudio / �lassroom

storgae

open to below

Level 2 Plan 0

15

30

53

Involution

Intricate Arch Prototype

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.

53

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.

Involution

Winter 2013 SCAD Architecture Building

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.

Designed with Paula Costa Model: Julia Alc창ntara Make up: Paula Murta Hair: Gabriel Leit찾o

57

Grandiose

Savannah, Georgia Spring 2015 Design Competition

Grandiose is a reflection of this extravagance, becoming affectively more grand, more important, and more pompous.

57

Diamonds have a long history as beautiful objects of desire. Becoming fashionable accessories for society's elite. As they have become more desirable, diamonds represent a vain superficial beauty.

Gradiose

gran·di·ose - affectedly grand or important; pompous. More complicated or elaborate than necessary; overblown.

TIMOTHY HOWELLS 714-356-5006 tajhowells@gmail.com www.tjhowells.com

About Timothy Howells is from Brea, California. He currently lives in Savannah GA where he earned his BFA in Architecture from Savannah College of Art and Design (SCAD) in May of 2014. He earned his Masters of Architecture degree (M. Arch) from SCAD in May 2105.

"As a designer I believe in bold concepts, innovative ideas, and forward-thinking, designs that evolve and respond to the advancing social, cultural, political, and technological conditions of our world."

TIMOTHY HOWELLS 714-356-5006 tajhowells@gmail.com www.tjhowells.com