Undergrad portfolio

Page 1

WORK, WORK,

etc. etc.

Ty l er B o y ett 2011-2014


COntents


4 the air beneath the streets Architecture center in houston, texas

29 FIber & optics Student Center in Nanjing, CHina

40 shards Sculpture installation in Bryan, Texas

50 Dawn brutalist facelift in karosta, Latvia

54 TENACITY Geometric, formal, and architectural explorations

60 Hard & Soft Art & culture center in Nanjing, China

72 shade Study of walnut plywood forms

76 NExus Student link on the Campus of Texas A&M


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 1/16� = 1’ model

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 1/32� = 1’ models

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

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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


-32.00 ft - FOUNDATION PLAN Both site-cast concrete and steel structural systems are utilized. A masonry slurry wall bounds the site and the foundation is submerged 32 ft below street level.

- 10.00 ft - FRAMING PLAN The parking obelisk, constructed in steel, employs a belted-truss system, which ties the floor joists into the truss members wrapping around the tower.

+0.00 ft - FRAMING PLAN A one-way slab construction is utilized for the floor plates of the submerged building, with shear bearing wall providing the main form and structure for the occupiable space.

16


STRUCTURAL BONES MODEL 1/16”=1’ Illustrates the main structural members, both concrete and steel 17


PROJECTIONS from a BODY

Primarily used as a node for circulation, the section model cuts though a “finger-like� projection from the main body of the mass, which, aside from offering interesting spaces, provides more surface areas for sunlight penetration.

18


WALLS & BEAMS

A simple structure is purposed for the irregular form. With the exception of a pre-cast concrete truss, the entirety of the building situated underground is a cast-in-place system.

19


20 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

21

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.

22


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.

23


A Punctured Object

Irregular fenestrations and off-shooting circulation corridors, the building offers a wide variety of complex & dissimilar spaces.

24


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.

25


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.

26


ICON of COntrasts

The incongruence of messy and clean form produce a definable, yet irreducible architecture.


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.

30


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. 31


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.

32


NEW URBAN IDENTITY

As an interface, the student center links the small historic buildings into the rectilinear mid to high rise surrounding context.

33


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.

34


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.

35


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. 36


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. 37


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.

38


SECTION PERSPECTIVE

Tall, vertical spaces amplify a mixed use environment in contrast to the horizontally focused spaces in the existing historic buildings.


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.

42


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.

43


ELEVATIONS

PLAN VIEW

44


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.

45


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. 46


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. 47


48


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.


dawn

brutalist facelift in Karosta, Latvia Homemade Dessert Open Competition Partner with Matt Michalak & Trent Kelley Winter 2013 - 2 weeks Dawn is hope. Dawn is coming. Dawn glorifies a new day.

The purpose of Dawn is to capture each of these ideas not only in the face of a building but even more so in the heart of community. The burgeoning cultural center of Karosta, Latvia is in dire need of revitalizing its soviet-era housing units, and a small external-only intervention was proposed by the design brief. On her wedding day, a bride—face veiled to conceal beauty beneath—is glorified by the anticipation and progression of an eminent unveiling.


A WEDDING VEIL

Designed to replicate this augmenting event, Dawn covers the buildings with a steel sheet which becomes a veil with the introduction of perforations resembling Latvian stitching patterns, giving cultural weight. Like a cloth in motion, the sheet folds, distorting both`interstitial spaces to produce cognitive and relaxing exterior conditions. A new color maintains the integrity of the old face, while changing and revitalizing the building’s character.


LATVIAN HERITAGE

The unadorned bloc concrete facade, carrying a historically negative stigma, will be altered to sport a more benign cultural identity: a Latvian stitching pattern commonly found on woven fabrics.

GRADATION and HALF-TONING

For practical application to the facade, the pattern is graded and then half-toned to achieve a variation in the skin perforation diameter. 52


CONTEXT as FORM GENERATOR

The footpaths of the park adjacent to the apartments are traced and their shapes rearranged to form the tessellated surface of the aluminum veil.

ELEVATIONS

Each newly adorned apartment bloc holds a unique identity, between the combination of the articulated veil and bright color


tenacity

GEOMETRIC, FORMAL AND ARCHITECTURAL EXPlorations Texas A&M University ARCH 106 Spring 2012 - 14 weeks “TENACIOUS� as a PROGENITOR for DESIGN The objective for this studio was to develop a formal and visual language as it pertained to one word: tenacious. Holding fast, or not easily stopped or pulled apart; this was the verbal definition of where I began with this series of projects. There was a slow build up in the output for the process: the series first began with explorations in only two dimensions, and using only positive and negative space. The next step was to use rudimentary three-dimensional forms to realize depth and a similar affect to what the black and white drawing achieved. A gray scale rendering of the cube was then done simultaneously as we strove to architecturalize our new-found form language. A simple residential brief was assigned to allow for design opportunities to converge with the formal nature of the project.



BLACK & WHITE

Using only a finite number of specific shapes placed within a grid, the word must be evoked. To represent tenacity, the combating positive and negative space is locked in combat, vying for dominance in the composition, yet neither achieves victory.

ITERATIVE PROCESSES

This similar struggle between forces will carry out through the next 3 projects.

56


THE CUBE

Building upon the interpretation of tenacious begun in the black and white composition, the cube defines tenacity by utilizing three-dimensional forms which create a deep, cavernous interior.

NARRATIVE SPACE

Strong, triangulinear forms are imposed upon one another, pushing and fighting for a presence within the space. While not safe by any means, the cube calls to the intrepid adventurer, willing him to wander the depths of its form.

57


GRAY SCALE DRAWING

As a representation of the cube, the gray scale interprets the mood of the cube into two dimensions using value.

DRAWING OUT the NARRATIVE

The rendering depicts a stolen glance into the journey of a lone adventurer seeking out the depths of a cavern. Dark and treacherous, there are not many who would be brave enough to travel into the deep and mysterious fissure.

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LIVING CONDITION

As the final representation of the word tenacious, the living space located in Bryan contains a tension balanced by the opposing forces of the built and natural.

FORMAL JOUSTING

The structure’s strong angular lines and form thrust into the site, imposing itself into the space. Yet, the natural environment pushes back with equal force in the rugged pseudo-canyon that envelopes the built structure.


hard & soft

ART & culture center in Nanjing, China Southeast University Project 2 Spring 2014 7 Weeks The purpose of the brief for an Art & Culture Center in Nanjing was to analyze the site conditions that were pre-existent and implement a solution that responded to the specific urban fabric. A very specific program was given, as the main function of the project is to house a large, 500 seat theater. Working through both internally complex program requirements and an externally extensive condition, a formal, as well as programmatic dialogue was established. Contrasting hardness in form was the first idea behind the aesthetic of the project. A soft underbelly set against a hard upper carapace works to produce an inviting interior/exterior space underneath the building and a striking formal identity with the hard-edged geometry. This formal gesture gives rise to covered urban plazas on the ground level, and ample program space on the upper levels, removed from the chaotic urban fabric.



BIFURCATED SITE

A small creek separates the site for the cultural center, clearly delineating two urban zones.

TUNED to an AUDIENCE

Each piece of the site then responds to the unique urban condition to which it is adjacent.

CIRCULATION GRID

Based on circulation corridors and the existing urban fabric, a grid is created and in filled for program massing.

SEPARATE but UNEQUAL

The larger mass caters to the urban space that is the intersection of 2 main expressways. The small mass caters to the quiet, more pedestrian urban nature

62


BUILDING COMPONENT ISOMETRIC

A steel framework provides the base into which the wooden and ceramic cladding attach. Although two different cladding systems and formal ideologies, a singular system of steel is utilized for the main structure.

SITE PLAN 1:500 SCALE

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BUILDING as URBAN THEATER

Though distinct from the urban surface of the street, the ground on the site lifts pedestrians and theater-goers alike to a pedestal above the energy at street level. This perspective is of the plaza designed for the larger scale urban environment. Wider, and with a point of refuge in the theater, this public plaza accommodates for the faster paced urban tempo.

NORTH ELEVATION

The hard object lifting up to reveal a soft, figural interior is meant to invite the pedestrian inside the center. 64


SKIN TECTONICS

The hard outer carapace collides with the soft wood underbelly at jagged seams along the periphery of the object.

EAST ELEVATION

The soft exposed belly of the center opens up to the plaza as a way to draw the public on to the podium and be a place of observation of the city. 65


B A

B

A

+1.00 m - PEDESTAL BASE PLAN

Storage, mechanical rooms, office space, security

LONGITUDINAL SECTION AA

Taken through the main auditorium space; the space itself is suspended above the ground, allowing for a quieter experience. 66


B A

B

A

+5.35 m - PUBLIC THEATER ENTRANCE

Main lobby space, cafe, book store, covered public plaza

SOUTH ELEVATION

More of the timber is exposed to the smaller urban scale, giving a sense of intimacy and warmth. 67


B A

B

A

+10.66 m - AUDITORIUM LEVEL

Main auditoriums, rehearsal rooms, back of stage, actor circulation

LATITUDINAL SECTION BB

A series of rehearsal spaces is depicted in the section through an arm off the larger mass. 68


B A

B

A

+15.54 m - UPPER MEZZANINE

Upper auditorium seating, VIP lounge

WEST ELEVATION

A hard face is turned towards adjacent high-rise buildings that the project borders on the north side of the street, and a welcoming wooden plaza belongs on the south side of the street. 69


INTERLOCKING SPACES With the theater nestled above the main entrance, the program can wrap up and around this central node in the building.

LARGE THEATER SECTION MODEL

The ground rises up to meet the main object as it hits the ground, offering a special ground condition. 70


BUILDING as a PLAZA

A place of gathering facing the smaller urban setting.

SMALL THEATER SECTION MODEL

Similar in formal qualities to the large auditorium, it houses a smaller venue for more intimate performances.


SHADE

Study of Walnut Plywood Forms

Independent Project Spring 2013 Initially the objective for this project was to replicate a product I was interested in, namely wooden framed sunglasses. The result was a study in thin veneer plywood form-work. The plys were cut from 1/16� walnut veneer and then placed in a form for a glue up, similar to skateboard construction. For the hardware of the temple connections, metal brackets are embedded into the rim and held in place with epoxy. Polyurethane and finishing wax were used to finish the piece.



CONSTRUCTION AXON

After the plys were cut from the walnut veneer, alignment in the glue up became the next problem. After the fame pieces were dried, it was critical to sand the parts to give them clean, seamless shapes.

74



nexus

STUDENt 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.

78


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.

79


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. 80


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.

81


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. 82


+12.00 ft - OUTDOOR SECOND LEVEL

Presentation room, exercise space

+20.00 ft - UPPER LEVEL

Office space, gallery, connection to building C

LONG SECTION

83

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

K EDUCATIONAL PRODUCT


GALLERY

A large north-facing aperture douses the space with diffused light.

CIRCULATION SHAFT

Large amounts of glazing fill the series of ramps with an adequate amount of light.

COURTYARD

A terraced block which houses program exists as an extension of the second level out of doors.

84


CROSS SECTION PERSPECTIVE

The existing function of the bridge between the Langford complex is maintained,and new program occupies the space above and below. 85


OUTDOOR LEVEL

Although a darker space, this area remains well ventilated from the South-North breeze.

TOP LEVEL

Large amounts of light provide good working environments for teachers and students alike.

ENTRY LEVEL

The open plan is evident at the point of entry, with ample wall space for pin-ups and reviews.

86


PRESENTATION ROOM

The wedged between both masses, the space provides an overlook into the courtyard of student activity. 87


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. 88


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.


TY LER BO Y ET TY TYLER L ER BO BOY YET ETTTT

www.tylerboyett.com | 281.743.4862 | tyler.boyett@yahoo.com www.tylerboyett.com www.tylerboyett.com | | 281.743.4862 281.743.4862 | | tyler.boyett@yahoo.com tyler.boyett@yahoo.com

architect | designer architect architect || designer designer

EDU C A TI O N Although my undergraduate studies at A&M have been dominated by the beast that ED EDUUC CA ATI TIO ON N is architecture studio, it has been my peripheral studies and activities in art, graphic

2011-2015 | Texas A&M University | College of Architecture (Honors) | College Station, TX design, business,| |College and teaching that have pushed me into a deeper 2011-2015 A&M of (Honors) | |College Station, TX 2011-2015| |Texas Texas A&MUniversity University College ofArchitecture Architecture College Station, TX desire for pursuing Bachelor of Science in Environmental Design(Honors) | Graduate May 2015 (expected) architecture in graduate school. Bachelor of Science in Environmental Design | Graduate May 2015 (expected) Bachelor of Science in Environmental Graduate May 2015 (expected) Minor in Art and Business | 3.80 GPR |Design Dean’s |List Fall 2014, Fall 2013, Spring 2012 Minor Minorin inArt Artand andBusiness Business| |3.80 3.80GPR GPR| |Dean’s Dean’sList ListFall Fall2014, 2014,Fall Fall2013, 2013,Spring Spring2012 2012 My definition of architecture was straightforward before I started school. Nearing the Feb-Jun 2014 | Southeast University | College of Architecture | Nanjing, China Feb-Jun 2014 | Southeast University | College of Architecture | Nanjing, China Feb-Jun 2014 |Study Southeast University | College of Architecture | Nanjing, completion of undergrad, I’ve definitively learnedChina what architecture is not. To some, abroad | Spring semester student Study abroad | Spring semester student Study abroad | Spring semester student architecture is complex space; for its own sake; a socially responsible building; putting

inert matter into use; something that delights and confuses the senses. I find it amusing

EM P L O Y M E NT that rarely can practitioners and educators succinctly or uniformly define architecture. EMP EM PLLO OYYM MEENT NT

May 2014 | NZRM, LLC. | International Project Intern | Nanjing, China There delight in this tension of| |Nanjing, disagreement; Architecture requires the marriage May LLC. International Project Intern China May2014 2014| |NZRM, NZRM, LLC.| |is International Project Intern Nanjing, China Established a corporate presence in the United States for anand international lumber export company of so many disparate agents. AtUnited once it is simple complex, art and science. It’s Established a corporate presence in the States for an international lumber export company Established a corporate presence in the United States for an international lumber export company Legal Entity Formation Research | Cross-Cultural Communication promiscuous: photography, graphic design, mathematics, programming, materials Legal Entity Formation Research | Cross-Cultural Communication Legal Entity Formation Research | Cross-Cultural Communication science, sociology, psychology, to name May-Sept 2013 | PACT Designphysics, Studio | Architectural Intern | Bryan, TX a few of Architecture’s lovers. May-Sept | |PACT Studio | Architectural Intern | |Bryan, TX May-Sept2013 2013Engaged PACTDesign Design Studio Architectural Bryan, TXcommercial renovations to high-end single family housing with projects of|various scopes,Intern from low budget Engaged with projects of various scopes, from low budget commercial totohigh-end Engaged with projects of various scopes, from low budget commercial high-end singlefamily familyhousing housing Moving forward from| my undergraduate I desirerenovations to look critically andsingle do Drafting | Materials Testing Design-Build | Client studies, Correspondence |renovations Web Development Drafting | Materials Testing | Design-Build | Client Correspondence | Web Development efficiently. This, Testing without| Design-Build a doubt, is best achieved through a| Web synergistic approach by Drafting | Materials | Client Correspondence Development May-Sept 2012 | Carolina Creek Christian Camp | Youth Counselor | Riverside, TX reachingCreek out to so many of these agents and |embracing a cross-disciplinary career. I May-Sept 2012 | Carolina Christian Camp | Youth Counselor Riverside, TX May-Sept 2012Responsible | Carolina Creek Christian Camp | Youthwell-being Counselor Riverside, TX for the spiritual and physical of |K-5th Grade children at athrough week-long over-night camp hope thatfor bythe embracing a wide variety of subjects and acutely acting them will summer camp Responsible spiritual and physical well-being ofofK-5th Grade children Responsible for the spiritual and physical well-being K-5th Grade childrenat ataaweek-long week-longover-night over-nightsummer summer camp Lesson Planning | Team-Building | Time Management | Parenting yield the greatest benefit to architecture’s biggest client--humanity. Lesson LessonPlanning Planning| |Team-Building Team-Building| |Time TimeManagement Management| |Parenting Parenting Jun-Jul 2011 | Hope Rehab Katy | Free-Lance Web Developer | Katy, TX Jun-Jul Rehab | |Free-Lance Web Developer | |Katy, TX Jun-Jul2011 2011| |Hope Hope RehabaKaty Katy Free-Lance Webphysical Developer Katy, TX which could be self-maintained Developed web-presence for local therapy practice, Developed a web-presence for local physical therapy practice, which Developed a web-presence for local physical therapy practice, whichcould couldbe beself-maintained self-maintained www.hoperehabkaty.com | Joomla CMS www.hoperehabkaty.com | Joomla CMS www.hoperehabkaty.com | Joomla CMS Oct-Apr 2011 | TLD Architects | Architectural Intern | Houston, TX Oct-Apr Architects | |Architectural Intern TX Oct-Apr2011 2011| |TLD TLDthe Architects Architectural Intern| |Houston, Houston, TX system for old project drawings Led development and implementation of an archival Led the development and implementation ofofan archival system Led the development and implementation an archival systemfor forold oldproject projectdrawings drawings Drafting | Project Tabulation Drafting | Project Tabulation Drafting | Project Tabulation

A W A R DS A AW WA ARRDS DS

Apr 2013 | Top Lower-Level Portfolio | Honorable Mention | Texas A&M Univerisity Apr Portfolio | Honorable Mention | Texas A&M Univerisity Apr2013 2013| |Top TopLower-Level Lower-Levelsecond Portfolio Texas Univerisity One-of-four year| Honorable architectureMention students| for topA&M undergraduate work One-of-four One-of-foursecond secondyear yeararchitecture architecturestudents studentsfor fortop topundergraduate undergraduatework work Dec 2011 | Outstanding Freshman Portfolio | Top Prize | Texas A&M Univerisity Dec Freshman Portfolio | |Top | |Texas A&M Univerisity Dec2011 2011| |Outstanding Outstanding Freshman Portfolio TopPrize Prize Texas A&M Univerisity One-of-three first year architecture students for first studio work One-of-three first year architecture students for first studio One-of-three first year architecture students for first studiowork work Oct 2010 | Eagle Scout Award | Boy Scouts of America | Katy, TX Oct 2010 | Eagle Scout Award | Boy Scouts of America | Katy, TX Oct 2010 | Eagle Scout Award | Boy Scoutsand of America | Katy, Final project saw the design construction of TX a split-rail fence in Stephen F. Austin State Park Final Finalproject projectsaw sawthe thedesign designand andconstruction constructionofofaasplit-rail split-railfence fenceininStephen StephenF.F.Austin AustinState StatePark Park


TY LER BO Y ET T www.tylerboyett.com | 281.743.4862 | tyler.boyett@yahoo.com

architect | designer

E DU C A TI O N 2011-2015 | Texas A&M University | College of Architecture (Honors) | College Station, TX Bachelor of Science in Environmental Design | Graduate May 2015 (expected) Minor in Art and Business | 3.80 GPR | Dean’s List Fall 2014, Fall 2013, Spring 2012 Feb-Jun 2014 | Southeast University | College of Architecture | Nanjing, China Study abroad | Spring semester student

E M P L O Y M EN T May 2014 | NZRM, LLC. | International Project Intern | Nanjing, China Established a corporate presence in the United States for an international lumber export company Legal Entity Formation Research | Cross-Cultural Communication May-Sept 2013 | PACT Design Studio | Architectural Intern | Bryan, TX Engaged with projects of various scopes, from low budget commercial renovations to high-end single family housing Drafting | Materials Testing | Design-Build | Client Correspondence | Web Development May-Sept 2012 | Carolina Creek Christian Camp | Youth Counselor | Riverside, TX Responsible for the spiritual and physical well-being of K-5th Grade children at a week-long over-night summer camp Lesson Planning | Team-Building | Time Management | Parenting Jun-Jul 2011 | Hope Rehab Katy | Free-Lance Web Developer | Katy, TX Developed a web-presence for local physical therapy practice, which could be self-maintained www.hoperehabkaty.com | Joomla CMS Oct-Apr 2011 | TLD Architects | Architectural Intern | Houston, TX Led the development and implementation of an archival system for old project drawings Drafting | Project Tabulation

A W A R DS Apr 2013 | Top Lower-Level Portfolio | Honorable Mention | Texas A&M Univerisity One-of-four second year architecture students for top undergraduate work Dec 2011 | Outstanding Freshman Portfolio | Top Prize | Texas A&M Univerisity One-of-three first year architecture students for first studio work Oct 2010 | Eagle Scout Award | Boy Scouts of America | Katy, TX Final project saw the design and construction of a split-rail fence in Stephen F. Austin State Park

I N V O L V E MEN T 2014-2015 | Marketing Consultant/Member | AIAS | Texas A&M Univerisity Assisted in weekly poster design for various organization events 2012-2015 | Bible Study Leader | Baptist Student Ministry | College Station, TX Co-led inductive bible studies for national and international students

SKILLS 3D Modeling | Maya | Rhino | SketchUp | 3DS Max | Keyshot | Revit 2D Drawing | AutoCad | Photoshop | Illustrator | InDesign | Flash Reality | Woodshop | Film Processing | Oil Painting | Concrete | Mandarin (limited)


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