WORK, etc.
TY L ER B O Y ET T 2011-2016
CONTENTS 4 THE AIR BENEATH THE STREETS ARCHITECTURE CENTER in HOUSTON, TEXAS
22 SHARDS SCULPTURE INSTALLATION in BRYAN, TEXAS
32 NEXUS CIRCULATION LINK in COLLEGE STATION, TEXAS
42 FIBER & OPTICS STUDENT CENTER in NANJING, CHINA
56 The HOUSE [on a] CORNER TYPOLOGICAL ITERATIONS of the M-SHAPED ROOF
THE AIR BENEATH THE STREETS ARCHITECTURE CENTER in HOUSTON, TEXAS
Texas A&M University Integrated Studio - Capstone Course Partner with Trent Kelley Fall 2014 - 14 weeks TO ADVANCE THE CITY OF HOUSTON & THE WAY THAT IT IS EXPERIENCED:
The sprawling, above ground, car-driven society will be transformed into a high-density, vertical expression for a man and architecture driven community. Designed to replicate the diversity found in the city, the building is a series of collaged, dependent spaces and shapes tied together by circulation and articulated elements such as promenade, scale, proportion, and convenience. Pushing this project is the overall desire to impact the social dimension of downtown Houston in a way that delays architectural dogmas and sustains curiosity. This is all expressed and executed underground. It is found in the air beneath the street.
Sam Houston Park - 1803-1905
M&M Building - 1930
Harris County Court House - 1910
City Hall and Market House - 1904
The PARADIGM Central Fire Station - 1895
Historic locations illustrated on the map often served as icons of the city between the late 19th century and the early 20th century. These monuments relate to the human scale, but are increasingly replaced with corporate cathedrals.
Gulf Building - 1929
Carnegie Library - 1904
You’re NOT WELCOME HERE
Though a part of the makeup of the city, these trophy objects of the corporation, fail to begin a conversation about the urban experience from the exterior of the buildings. Downtown becomes merely a field of interior objects, and shuns the pedestrian.
6
INVERTING the TYPOLOGY
In a critical move, the architecture of our solution celebrates the car in lieu of the person, and subverts the classical approach to Houstonian urbanism: The car occupies the monument, and the people the ground.
7
SIMPLIFIED MASS & VOID
To illustrate the to the reverse occupation of the void in the site, layers of acrylic glass compose the base for the obelisk. 8
FORMALIZING a CONCEPT
Utilizing the car as decoration for the building, creating a micro-city in the site, and exploring monolithic forms were all concepts illustrated through the progression of massing models. 9
CORNFIEID - INTENSIVE GREEN ROOF EXPOSED WATER TABLE WALKABLE FACADE LIGHT CANNONS DELIVERY ACCESS
PRIMARY FEATURES
A disparate arrangement of parts, the messiness and incoherence of the massing evokes a delayed sense of identification. For example, one does not immediately recognize or comprehend the purpose of a cornfield adjacent to a tower--in the midst of an urban environment.
10
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
SHADED ROOF PLAN
The majority of the site is exposed to large amounts of sunlight on the top & southern facade of the building.
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
+0.00 ft - GROUND FLOOR PLAN
Cornfield, service entry, subterranean street, parking entry PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
11
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
LONGITUDINAL SECTION BB Section through the primary functional space
12
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
A
1
B
5
3
B 6
7
4
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
2
1
AUDITORIUM
2
LOBBY / EXHIBITION SPACE
3
SERVICE LIFT
4
FOOD STORAGE
5
CAFE / BAR
6
EATING AREA
7 LIBRARY STACKS, LOWER 8
A
1
BC
5
3
9
C B 6
7
4
2
8
GALLERY
9
ACCESSIBLE ENTRY
1
AUDITORIUM
2
LOBBY / EXHIBITION SPACE
3
SERVICE LIFT
4
FOOD STORAGE
5
CAFE / BAR
6
EATING AREA
7 LIBRARY STACKS, LOWER 8
A
C
A
9
8
GALLERY
9
ACCESSIBLE ENTRY
C 9
-31.90 ft - BASE LEVEL PLAN Cafe and bar, theater exit, lower library stacks, gallery
1
B
B
6
10
A
1
AUDITORIUM
2
BOARDROOM
3
ADMIN OFFICES
4
LOBBY
5
PRINT ROOM / TECH CENTER
6
SERVICE LIFT
11
8 2
7 PARKING EXIT LEVEL
A
9
8
OBSERVATION JETTY
9
READING AREA
10 LIBRARY RECEPTION
12
11 LIBRARY STACKS, ARCHIVES 1 AUDITORIUM
BC
3
1
4
6
C B
7
10
3
ADMIN OFFICES
4
LOBBY
5
PRINT ROOM / TECH CENTER
6
SERVICE LIFT
11
8
5
12 GALLERY 2 BOARDROOM
2
7 PARKING EXIT LEVEL
A
3
4
OBSERVATION JETTY READING AREA
10 LIBRARY RECEPTION
12
11 LIBRARY STACKS, ARCHIVES
A C
8 9
C
7
12 GALLERY
2 5 12
B
1
7
5
B
10 13
3
9
6
11
A
A
5
ELECTRICAL ROOM
3
JANITOR'S CLOSET
4
COVERED PAVILION
5
FAN ROOM
6
BREAK ROOM
7
SERVICE LIFT
8
PARKING EXIT LEVEL (BELOW)
9
RETAIL STORAGE
11 SHAFT TRANSIT CORRIDOR 1 STORAGE
-16.83 ft - CIRCULATION LEVEL PLAN Theater entrance, administration offices, upper library stacks 12
1
7
4
10
8
13
3
STORAGE
2
10 ARCHITECTURE SUPPLY SHOP
2
BC
1
6
9 11
13 A
C B
12 LOUNGE AREA ROOM 2 ELECTRICAL 13 MIXED OFFICE SPACE CLOSET 3 JANITOR'S 4
COVERED PAVILION
5
FAN ROOM
6
BREAK ROOM
7
SERVICE LIFT
8
PARKING EXIT LEVEL (BELOW)
9
RETAIL STORAGE
LONGITUDINAL SECTION CC Section through parking obelisk and elevator core
14
1
B C
B C
6
3
4
7 10
BOARDROOM
4
LOBBY
5
PRINT ROOM / TECH CENTER
6
SERVICE LIFT
11
8 2
2
12 GALLERY 3 ADMIN OFFICES
5
7 PARKING EXIT LEVEL
A
8
OBSERVATION JETTY
9
READING AREA
10 LIBRARY RECEPTION
12
11 LIBRARY STACKS, ARCHIVES
C
3
A
4
C
7
12 GALLERY
2 5 12
B
5
1
7
B
10 13
3
9
6
A 11
A
2 12 1
7 4
10 13
8 3
STORAGE
2
ELECTRICAL ROOM
3
JANITOR'S CLOSET
4
COVERED PAVILION
5
FAN ROOM
6
BREAK ROOM
7
SERVICE LIFT
8
PARKING EXIT LEVEL (BELOW)
9
RETAIL STORAGE
10 ARCHITECTURE SUPPLY SHOP 1 STORAGE
5
B C
1
B C
9
6
11
A
11 SHAFT TRANSIT CORRIDOR 2 ELECTRICAL ROOM 12 LOUNGE AREA 3 JANITOR'S CLOSET 13 MIXED OFFICE SPACE 4 COVERED PAVILION 5
FAN ROOM
6
BREAK ROOM
7
SERVICE LIFT
8
PARKING EXIT LEVEL (BELOW)
9
RETAIL STORAGE
10 ARCHITECTURE SUPPLY SHOP 11 SHAFT TRANSIT CORRIDOR
C
C
8
4
12 LOUNGE AREA 13 MIXED OFFICE SPACE
A
-8.66 ft - SERVICE LEVEL PLAN Covered terrace (street access), mechanical equipment rooms, store, office space
1
B
A
3
B
1
SERVICE ENTRY
2
CORNFIELD
3
SERVICE LIFT
4
MECHANICAL DUCTS
5
CAR LIFT SYSTEM
A
4
1
B C
2
3
4
C
5
A
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
2
A
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
C
B C
5
+20.00 ft - TYPICAL TOWER LEVEL PLAN Five car-bay wide automated storage, typical for +10ft to +290ft 15
1
SERVICE ENTRY
2
CORNFIELD
3
SERVICE LIFT
4
MECHANICAL DUCTS
5
CAR LIFT SYSTEM
16 LATITUDINAL SECTION AA PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT DECKING GRAVEL WATERPROOF MEMBRANE FILTER FABSYSTEM INSULATION WATERPROOF MEMBRANE CONCRETE SLAB EMBEDDED STEEL TIE HANGER ALUMINUM FRAME STEEL MESH CEILING TILE
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
DOUBLE PANE GLAZING THERMAL BREAK CAST-in-PLACE CONCRETE ALUMINUM CAP ANCHOR BOLT ALUMINUM STUD MESH ACOUSTIC PANEL REBAR
MESH ACOUSTIC PANEL ALUMINUM STUD RUBBER BASE BOARD CARTON FORM STEEL REBAR DRAINAGE SYSTEM
WALL DETAILS
17
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
DECKING GRAVEL WATERPROOF MEMBRANE FILTER FABSYSTEM INSULATION WATERPROOF MEMBRANE CONCRETE SLAB REBAR THERMAL BREAK DOUBLE PANE GLAZING
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
STEEL CONNECTIONS in the TOWER
A connection node between 5 individual members, this joint is found where the bridge meets the base of the tower entrance.
PRE-CAST to SITE-CAST
The only precast member of concrete utilized, the truss spans roughly 65 ft and has a depth of 12 ft. The precast plate is set and pinned into the sitecast base and ledge.
18
3
1
ROTATING PNEUMATIC PLUNGER
2
TRANSLATING SCISSOR LIFT
3
CAR SHELVERS
2
1
ARCHITECTURE of CONVENIENCE
Condensing a traditional surface lot or parking structure down to a high-density vertical chamber not only minimizes the footprint, but offers a simple, convenient way to park in a city, forging a new relationship of the car to the building.
19
A PUNCTURED OBJECT
Irregular fenestrations and off-shooting circulation corridors, the building offers a wide variety of complex & dissimilar spaces.
20
SUBTERRANEAN STREET
A perspective from the top of the gallery space, a new urban walkway is proposed which traverses from street level to below, adding a new dimension to the human interaction of the Houston urban area.
21
MODEL as a DRAWING
Each contour of the building is etched on to pieces of layered acrylic glass, at once producing an affect akin to a hologram, and having qualities of both a two-dimensional drawing and physical model.
22
ICON of CONTRASTS
The incongruence of messy and clean form produce a definable, yet irreducible architecture.
SHARDS
SCULPTURE INSTALLATION in BRYAN, TEXAS Texas A&M University Digital Fabrication - ARCH 317 In collaboration with Cody Clancy, Misael Gonzalez, Jose De Leon, Tyler Townsend Fall 2014 - 12 weeks A study in material logic, the objective for this installation was to explore an object condition and a surface condition. As purely an aesthetic piece, the form could take a variety of shapes but geological formations and specifically minerals were studied to give rise to its form. Initially, scripting was used in the base formation of the messy geometry, but as an exercise in restraint due to budget & time limitations, the digital model was rebuilt piece by piece without a script, ensuring economy and feasibility.
MINERAL ECOLOGIES
Geological inspiration led to the idea of a surface logic that forms an object as one entity.
FORMAL DYNAMISM
The clumped, shingled layered formal nature of the sculpture piece will provide an illegibility of the digital process.
26
ELEVATIONS
PLAN VIEW
27
DIGITAL to BUILT
After the digital model was split into faces, each piece was packed and run through the RHINOCAM software to parallel cut the negatives of the panel shapes into the 4’ x 8’ x 4” EPS foam blanks.
PANELED
Counter top grade concrete was mixed with a charcoal dye to give each panel a dark gray color. Before each panel was cast, a releasing agent was sprayed into the mold, and mesh rebar was inlaid as the concrete was poured. After de-molding the pieces, acetone was sprayed on to remove the excess foam. Nineteen concrete panels were cast in total.
28
PANEL CONNECTIONS
Though originally a wood sub-structure was built and utilized for the majority of structural support for the concrete pieces, a few of the panels required anchor bolts and steel flanges for a stronger joint. The bolts had to be drilled in and ground down to an appropriate length.
29
BUNDLING / PAINTING
The inner shards were a completely separate process, in which 1”x 1” and 2”x 1” strips of wood were painted gold and bundled in a “carefully disorganized manner.”
TRANSPORT / DELIVERY
All nineteen panels, each weighing between 50-150 lbs were delivered on site at “ARTFILL” in Bryan, Texas. 30
ASSEMBLY
Heavy gauge wire was run through embedded eye-bolts in the panels to attach them to the wood substructure.
SHARD PLACEMENT
Achieving a largely analog effect, each bundle was placed by hand into and between the substructure and the concrete panels. 31
32
FIELD of OBJECTS
As only one piece of the larger “ARTFILL” site, Shards has a tendency to visually disrupt the congruency of the more tranquil sculptures at the site. The installation was removed after a period of 4 weeks.
NEXUS
CIRCULATION LINK on the CAMPUS of TEXAS A&M UNIVERSITY Texas A&M University 305 Studio Partner with Trent Kelley Fall 2013 - 9 weeks IMPOSITION OF A DIALOGUE NEXUS is to serve as a bridge between the Langford A, B, and C buildings. Functionally, its concept as the link is far superior to the remaining program, of which includes a cafÊ, exercise space, student organization offices, presentation spaces and a gallery. To architecturalize the space, new diagrammatical, indexical, and functional changes were implemented, destroying the aboriginal, replacing it with a pilgrim. Rather than being a sole means of connection, the pilgrim has instated connection, but connection through dialogue, as well as difference in purpose. This mass is sheared and allows the fragments to become separate entities with a singular purpose. Shearing separates the mass, but paradoxically mends it back together through the instillment of circulation—through the introduction of dialogue. This dialogue, however, is not between the fragments; it is lost as a link but found as a part of B and C. Though it is not its own, the identity of the mass is kept alive through the conversation of the buildings.
INDEXICAL MASSING
Carrying over concept as the only functional factor of the primary design stage, we began looking at diagrammatical options in design, for the rudimentary idea of the bridge alone is not sufficient to be deemed as Architecture. This led to indexically noting the existing condition—what we later called the “aboriginal mass,” an implied box confined by the Langford C and B footprints and elevations. This native’s purpose was successful in function, but failed to make an architectural statement.
36
BUILDING C PROPOSED CONNECTION
BUILDING B PROPOSED CONNECTION
ARCHITECTURE as a COMPONENT
Although the bar-typology of the link building is still intact, functionally and spatially Nexus loses its identity to the two peripheral buildings that it links to; it’s architecture becomes a component, rather than an autonomous object.
37
MATERIALITY MODEL 1/8”=1’
Copper veins run around the outside of the object.
SECTION PERSPECTIVE
Taken through the center of the mass, the long distances and spatial qualities are emphasized. 38
GRASSY KNOLL
LANGFORD B
LANGFORD A
LANGFORD C
+0.00 ft - GROUND FLOOR PLAN 1/32”=1’
A minimal impact to the context, the link building occupies the space in between Langford B & C, and then pierces Building A before erupting into the grassy knoll.
39
PERSPECTIVE from NORTHWEST
Distinctive icon from the street at the entrance to campus.
NIGHT AERIAL PERSPECTIVE
Side-lighted copper veins produce and emphasize a tech/component aesthetic. 40
+12.00 ft - OUTDOOR SECOND LEVEL
Presentation room, exercise space
+20.00 ft - UPPER LEVEL
Office space, gallery, connection to building C
LONG SECTION
41
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
K EDUCATIONAL PRODUCT
MIDPOINT
The tattooed skin peeks out as it passes in between from building C to building A.
EGRESS
As the bar passes through the Langford A building, it still embodies its unique identity through the skin and form. 42
FOCAL POINT
Though not a program heavy building, the purpose of creating a focal point to draw people into the Langford complex provides a recognizable identity for the project.
FIBER & OPTICS
STUDENT CENTER in NANJING, CHINA Southeast University Project 1 Spring 2014 - 7 Weeks A STUDY on the NATURE of TECTONICS
Adaptive reuse was poised as the largest task for a proposed student activity center. This intervention seeks to connect not only the two historic buildings near a bustling campus intersection, but mend the relationship between the student dormitories behind the canteen and the South gate, the largest entrance into the downtown campus. This proposal is a literal interpretation the warped and distorted urban fabric between three agents: historic buildings, the students, and the city. Architecturally, this results in an exterior plaza space bounded by the two historic buildings and the third new object, and covered by a walkable semi-permeable membrane.
BRIGHTNESS
A shadow study taking into account the existing high-rise buildings adjacent to the site informs the brightness of specific areas on the site Magenta represents the brightest area on the site.
CIRCULATION
In order to maintain a balance between the car and pedestrians, main circulation routes were mapped to inform where corridors through and around the site needed to remain.
ENTRY
Heavily informing the grid distortion, the primary access though the site, combined with the common circulation defines the focal point for design decisions.
46
VISUAL PERMEABILITY
Material choices for the student center deliberately emphasize a translucent, yet not transparent object. Openness and flow, with deliberate restraint, were foremost ideas in how circulation should work.
OBJECT IDENTITY
Set as a formal contrast with the existing traditional Chinese buildings, the unique apertures and armatures give genus loci to the center. 47
GRID DISTORTION
Initially, an aboriginal grid is outlined and stratified by the two historic buildings and their exterior fenestration. Taking into account the most sunlit areas, where the highest amount of pedestrian traffic would be, and the position of the entrance to the site, the grid was pinched. The “fabric’’ was then displaced and articulated according to the grid.; Massing for additional program in the form of the third object occupies the site underneath the fabric.
48
NEW URBAN IDENTITY
As an interface, the student center links the small historic buildings into the rectilinear mid to high rise surrounding context.
49
ENTANGLED OBJECT
The grid distortion that took place offered a formal opportunity to weave the stratified members of the shading skin through the site, creating a unified, yet uniquely figured shape
MAIN STREET ELEVATION
Set as a formal contrast with the existing traditional Chinese buildings, the unique apertures and armatures give genus loci to the center.
50
B A
A
B
+1.00 m - GROUND LEVEL PLAN
Student lounge space, coffee bar, renovated cafeteria space, entrance to cinema, covered plaza
LONGITUDINAL SECTION AA
Taken through the circulation shaft of the new object, the impact of the distorted fabric is understood especially inside the renovated canteen, as the cloth moves for a cinema space inside the existing structure.
51
B A
A
B
+5.00 m - SECOND LEVEL PLAN
Gallery space, student lounge, main cinema entrance, outdoor patio
WEST ELEVATION
A sheer, mesh face borders the street, denying entry and forcing the pedestrian to the main zones of activity in the North and south. 52
B A
A
B
+12.00 m - OBSERVATORY PLAN
Library and study space
LATITUDINAL SECTION BB
Cutting through the smaller historic building and the mesh covering, the upper and lower plaza space is revealed. 53
REDISCOVERED PLAZA
The extension of the urban plaza is facilitated through the mesh shading structure.
MESH to EXISTING WALL DETAIL
Designed to interface with the existing gray brick facade, the metal structure punctures the envelope as it passes from exterior to interior.
54
SECTION PERSPECTIVE
Tall, vertical spaces amplify a mixed use environment in contrast to the horizontally focused spaces in the existing historic buildings.
The HOUSE [on a] CORNER CONTROL OF QUALITIES
University of Illinois at Chicago 551 Studio Prof. Kelly Bair Fall 2015 - 4 Weeks TYPOLOGICAL EXPLORATION OF THE M-SHAPED ROOF The house produced here is a result from an interative process studying the effect of formal transformations on a basic “aboriginal mass of the M-Shaped roof profile. Simplification of the composition to two eerily similar yet distinct masses provides the basic framework for subversive two-and-one relationships found throughout the three-unit apartment. Discrete and compound massings are produced, corner conditions become “inside” or “outside”, and spatial types range from thin surfaces to thick intersections. A halftone application softens corners, re-structures edges in perspective, and re-figures the ground floor plan.
PROJECTIVE & NON-PROJECTIVE GEOMETRIES
Studying the drawing as its own artefact, manipulations to bring the profiles out of plane with one another allowed for greater distorations and variations of what was understood in three-dimensions versus two.
58
X
OFF T-000
X
OFF B-002
X
OFF B-001
X
OFF C-002
X
ON T-000
X
ON A-002
Typical
M-Shaped Typical
Y
M-Shaped Flat Contort
Y
Y
Bird’s Eye 2
Second Degree Mitosis
Clandestine Profiles
Bird’s Eye 2
M-Shaped Overlay and Lean
Twist M-Shaped and Skew
Smeared Feet M-Shaped
Bent Cruciform M-Shaped
ON-AXIS SHEDS
Beginning with the aboriginal M-shaped mass, each object represents individual forays into either heightened texturing or more discrete massing. Regardless of rotational orientation, as long as the aft and forward profiles remained in plane, these changes in massing and texture were easily understood.
59
M-Shaped
Bird’s Eye 2
M-Shaped
M-Shaped
1
2
3
60
ADDITION VIA INTERSECTION
Booleaned objects were studied to produce qualities meant to accentuate or confuse the relationship between corner and surface. Halftoning or rustication provides another means to accentuate or blur edges and corners. 61
3
4
+40'-0" roof peak
+24'-0" second floor
+12'-0" first floor
+0'-0" ground floor
+40'-0" roof peak
+24'-0" second floor +20'-6" mezz. level
+12'-0" first floor
+0'-0" ground floor
62