2
ADP:001
Asynchronous
Christopher Allen Weaver
•••
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ADP:001
Asynchronous
Christopher Allen Weaver Summer 2013 - Summer 2015 Breaking sequence and shifting out of place, the work here comes from mixed mental states, but together shows a critical shift in my connection to architecture. The works presented for Design A and Design C are essentially characterized by a lack of devotion as I struggled to find my drive to continue. However, juxtaposed between these two is some of the work from my second attempt at Design B, which was the full on return of my dedication and passion as I once again became obsessed with learning and designing. This dynamic sets the stage for the ADP collection as a whole, through which the full revolution will be seen.
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•••
INDEX 6
Adv. Design A: Florence
22
Adv. Design B: Tampa
40
Adv. Design C: St. Pete
62
Travel Photography
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8
Adv. Design A Florence, I t a l y Prof. Steve Cooke Summer 2013 As the birthplace of the Renaissance, Florence has been a popular location for students of art and architecture for centuries. Thus, it is fitting that when Professor Steve Cooke takes students to study in Italy, Florence is the prominent location of interest. Staying for three weeks in apartments in the heart of the historic city, students have the opportunity to experience a magical reminder of a world from a distant past. Descending the winding stairs from our residence, we come out onto cobbled streets, a short distance away from the renowned Palazzo Vecchio and Piazza della Signoria, the site of our project: the Brunelleschi Center for Art, Science, and Faith.
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Brunelleschi Center for Art, Science, and Faith AD A Prof. Steve Cooke Summer 2013
The project began with a story, there had been a great discovery, a chest of artifacts belonging to the Renaissance genius Filippo Brunelleschi has been found with the missive that they must be used to inspire a new generation of like-minded inquiry and education. Thus, a collaborative effort has been formed to build a center for art, science, and faith in honor of this great man. The site selected was the Piazza della Signoria, famously known for being one of the first examples of Brunelleschi’s experiments with drawing in perspective. The project will be home to a fellowship that hosts experts in the various fields, allowing for them to come together and work collaboratively, making great strides for mankind. These fellows would live on-site in residences that encourage the opportunity for commingling. The fellows will work in a large interconnected multipurpose work space, as well as smaller studies that overlook this grand space. The compound will also provide a moderately sized, comfortably private library with a well lit reading space. In order to bring the work done on site to the attention of the public there will be a 65 seat auditorium that is accessed through a welcoming gallery and exhibition space that displays the artifacts of the remaining artifacts of the chest, and the works and research of the fellows hosted on site. Furthermore, there is a series of small classrooms that will allow for workshops to be hosted by the staff and fellows. Lastly, beneath the compound lies a chapel that brings homage to the faith that Brunelleschi held dear. •••
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1.1. X1305221207
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-2
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1.2. Plans -2, -1, 0, 1
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1.3. Plans 2, 3, 4, 5
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1.4. Longitudinal Section
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1.5. Pancakes with Jelly
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1.6. Entrance Detail
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1.7. Exposed Model
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Adv. Design B T a m p a , F l o r i d a Prof. Levent Kara and Mark Weston Summer 2015 In the summer of 2015 professors Mark Weston and Levent Kara collaborated on an innovative studio that emphasized the use of digital tools as part of the design process. The work shown here was done as a two week charette that served as an introductory exercise kick-starting the course. Students were paired into teams and tasked to design a tower on the site of their selection within Downtown Tampa. The program was vaguely given as a hotel, however students were given the freedom to let it evolve as they saw fit. The work done on the project exhibited here was completed jointly by myself and Gadiel Marquez. This is Eyries Machina.
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Eyries Machina
AD B Prof. Levent Kara and Mark Weston Summer 2015
“The body conceived of as a machinic assemblage becomes a body that is multiple. Its function or meaning no longer depends on an interior truth or identity, but on the particular assemblages it forms with other bodies.” -Deleuze and Guattari Eyries Machina is a machinic assemblage that gives life to the space above the city. The project began through collaging the critical sections of significant works together into new sections; this tapped into the quality of space already present in these works allowing for a rapid development of pithy spatial conditions. From this, an intricate digital model was crafted by extruding forms off of these sections and intersecting them with one another. The complexity of this model far exceeded the scale of the project, yet allowed for a vast array of interesting elements that could be drawn from for the creation of the tower. The tower is located at 601 N Ashley Drive in Downtown Tampa, Florida. The site was selected based on it’s proximity to Curtis Hixon Park and the Franklin Street commercial corridor. Programmatically this project provides residential units, a hotel with views to the river, and a series of large scale work spaces that could support cinema and video games studios, addressing the growing prevalence of companies in this field and the current lack of infrastructure downtown to be able to support their needs. Thus, by crafting workspaces of a scale that meets the demands of these studios, this project becomes a hub of a new industry in the heart of the city. •••
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2.1. Section Collages (above and opposite)
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2.2. Exploratory Skin Collage
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2.3. Section Extrusion Model (above and opposite)
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2.4. Grasshopper Script for Structural Cage (above) and Exterior Rendering (opposite)
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2.5. Programmatic Diagram (left), Structural Diagram (middle), and Circulation Diagram (right)
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2.6. Perspectival Experience Study Overall (above) and Detail (opposite)
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2.7. Evening Rendering
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Adv. Design C St. Petersburg, F l o r i d a Dr. Vikas Mehta Spring 2014 St. Petersburg, Florida is the epitome of the Floridian lifestyle. Riding on an early boom as a retirement hotspot, St. Pete has been steadily stepping away from a reputation of a city for the elderly, and consistently proving how it is a cultural hub for contemporary lifestyles for all ages, ranging from college graduates, to retirees, to young families and all in between. Yet, despite its many successes, St. Pete still has its problems, economic hardship stifles development in the lowincome neighborhoods just south of Downtown, and the city is harshly divided by the imposing extensions of the Interstate that spur along the north and south edges of Downtown. Thus, for this course students were split into groups and tasked with investigating the city, and choosing a path for urban improvement.
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Urban Redevelopment - St. Pete, FL A.D. C Dr. Vikhas Mehta Spring 2014
Teamed up with Diana Sanclamente and Daniel Houghton, the initial task for this course was to dissect the city and understand the existing relationships between public green spaces and the water, giving critical insight into the city as traditionally within urban contexts there is a direct relationship between these assets and the level of activity within a space. As expected the main park along the bay is the most active part of the city, with the secondary avenue of activity intersecting with this strip. From here, we began to extrapolate this data and explore potential extensions of green and blue spaces. This exploration and various excursions into the city allowed for us to narrow in on several regions of focus for our city master-plan. The first of the three districts we began to develop ran perpendicular to the water, pulling activity from the Dali museum towards the second of our districts: the current site of the Tropicana field. The stadium is a drain on the surrounding area due to its need for large amounts of parking and the lack of activity on nongame nights. Thus, our plan calls to redevelop the area as a mixed-use, transit-oriented development. Pulling from the existing proposal for a new light-rail in the area, we connected the waterfront to this new development, and North towards the third focal zone of our plan. Just North of the stadium, near the junction of I-275 and I-175, lies a warehouse district, which we are developing into an arts commune due to its proximity to the existing Warehouse Arts District. This region became my area of focus, and the design was driven by the desire to create pockets of public space that could be used for communal work and events. These pockets are encased by live/work conditions, and a core of programs that shares the artists world with the city. •••
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3.1. Ecology Diagram Existing (above) and Potential (opposite)
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strengths connectivity to central; presence of booker creek; access to pinellas trail; adjacent to campbell park
opportunities connectivity to the dali; near proposed light rail; adjacent to growing warehouse arts district; proximity to schools
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weaknesses adjacent to interstate; removed from waterfront; surrounding context is directed away from the site; disconnected from existing social capital
threats adjacent to low income neighborhoods; the public could oppose the loss of a cultural icon; bypassed by 375, the main point of downtown access
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3.2. Existing Figure Ground and Land Use
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3.3. Proposed Figure Ground
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3.4. Proposed Land Use
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3.5. Area of Focus: Warehouse Art Commune
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3.6. Live/Work Row Home Units Leeching Off of Warehouses
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3.7. Booker Creek Moving Through Commune Courtyard
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3.5. Area of Focus: Figure Ground
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3.5. Area of Focus: Site Plan
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row-homes
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T r a v e l Photography Europe Summer 2013 Seattle Fall 2013 Puerto Rico Spring 2014 Documenting a space with a camera grants perspectives that would have been missed otherwise. Training the eye to become aware of things present in the world around us that would otherwise be missed. This perspective has its merits and flaws (being a single, static frame as opposed to a fluid experience), yet nonetheless one appreciated for its insight into framing space and light. The images presented here showcase the world seen through the camera lens during architectural trips to the aforementioned locales.
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4.1. X1306181215 Zurich
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4.2. X1306230633 Berlin
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4.3. X1306211733 Berlin
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3.4. X1306041211
4.4. X1401291324 Puerto Rico
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4.5. X1306041211 Venice
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4.6. X1310091501 Seattle
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4.7. X1310100942 Seattle
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4.8. X1305201126 Florence 3rd Place 2015 AIA Architectural Photography Contest
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I have known what the Greeks did not: uncertainty
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:ton did skeerG eht tahw nwonk evah I ytniatrecnu
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ADP:002
Convalescence
Christopher Allen Weaver
•••
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ADP:002
Convalescence
Christopher Allen Weaver Spring 2014 - Spring 2015 In the spring of 2014 I made the decision not to apply for thesis that Fall as I traditionally should have. My initial intention at that point was to attempt to pursue another degree in a different discipline. The ensuing work exhibited here is my journey from the point of nearly forsaking architecture to rediscovering the passion that it once ignited in me. The projects shown all served to educate me on the diverse ways in which I could find happiness as a designer, and for that I will always be grateful to the professors that helped steer me away from almost giving up on what is truly my greatest passion. Thank you all.
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•••
INDEX 6
The Urban Conga
10
Furniture Workshop
18
Thoughts, Deliberations, and Representations
40
Latin American Architecture
54
Urban Acupuncture
68
Japanese Architecture
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6
TheU r b a n
Conga Dr. Vikas Mehta Spring 2014
Under the guidance of Dr. Vikhas Mehta, a small group of students arranged an independent study collaborating with the brainchild of recent SACD graduates Ryan Swanson and Mark Perrett, The Urban Conga. Their initiative seeks to activate public spaces through the notion of play, bringing people together within their community in an effort to stimulate a greater awareness of and connectivity with the surrounding urban fabric. The core project that we worked involved hanging hand-painted swings in unused public spaces. The effort was met with difficulties as the legality of the activity was questionable, and we were asked to remove the swings in some occasions; however, despite the struggles, we had the opportunity of witnessing first hand the joy they brought.
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1.1. Hanging Swings Under I-275 Overpass (above and opposite)
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Fur niture
Wo r k s h o p Mike LeMieux Summer 2014 Serving as an opportunity to further explore the craft of making in a one-to-one scale, the furniture design workshop under shop guru Mike LeMieux presented students with the task of designing and building a piece of furniture frequently tackled by architects: a chair. The piece presented here is a stool, revolving around the notion of storytelling, seeking to provide a variety of levels of connectivity with the audience. The stool can be rotated onto its nose, changing its height, and bringing the speaker closer to the ground level in the case of a closely knit group. The formal aspects of the design were derived from an attempt to create an elegant composition of the space between these two positions, with the sweeping curves responding to the contours of the body and the movement involved in rotating the stool onto its front. The stool was crafted out of a single board of walnut with the grain of the wood carrying through the dovetail joint. The legs were fabricated from water-jet cut steel and welded together with internal connections hiding all hardware.
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2.1. Storytelling Stool — Upright Position
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2.2. Stool Details (above and opposite)
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2.3. Storytelling Stool —Rotational Sequence
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T D R
Thoughts, Deliberations, and Representations Prof. Stan Russell Fall 2014
Architects and the field of architecture have been influenced and inspired by different branches of thought and ways of thinking. Philosophical writings can often seem intimidating and unapporachable to architects and students of architecture wishing to make a foray into that sphere. The meaning of origianl texts without a thorough understanding of their contexts and precedents can be illusive and introductions to these works seldom refer to any significance regarding architecture and design. This course sought to introduce us to a select group of prominent thinkers, whose wotk has had or is beginning to have significant impact on the way that architects and designers approach their work. The readings will address a myriad of issues including: gender and subjectivity, common-sense order and virtuality, and quality of experience and abstraction. Upon reading these works we grappled with the subsequent thoughts and ideas in a forum of deliberations and representations, the latter of which are displayed in the following pages.
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Phantasmagoria - Deleuze and Guattari TDR Prof. Stan Russell Fall 2014
Phantasmagoria is a sequence of real or imaginary images like those seen in a dream and was an exploration into a process invoking an exchange between smooth and striated modes of thought. Inspired by a line from Deleuze and Guattari’s A Thousand Plateaus: Capitalism and Schizophrenia discussing the notion of laying one text over another and reading the two together as one; this endeavor seeks to explore this idea through visual information rather than text and consisted of the fusion of multiple images via overlays and adjustments. The images used were taken from several disposable cameras used during an excursion to a camping and music festival over the summer preceding the course. The mentality of the trip from the onset followed a very Kleistian mode of travel, which allowed for the development of a smooth space within which the cameras captured our experience. This seemed to me to be the perfect pool of images from which to draw for the development of these images. The manipulation itself was done on an instinctual basis, solely by adjusting the blending mode and opacity of each image. Following the completion of the initial task for class, I took the project one step further: instead of creating the images by overlaying different pre-existing photos onto one another, I discovered that disposable cameras could take double exposed images if you struck them on the bottom with a sharp blow, jarring the mechanism, shooting another image. In this way another series of photos have been taken over the course of the past year. This new series I feel further explores notions of automatism, with the physical act of striking the camera interjecting a new layer of information into the images, creating some striking compositions out of the movement of the camera. •••
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3.1. Initial Collaged Images (above and opposite)
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3.2. Double Exposures X1505092234 (top) and X1506071130 (bottom)
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3.3. Double Exposure X1503291826
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3.4. Double Exposure X1506071430 (above) and X1505091311 (opposite)
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3.4. Y1503172010
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Anagnorisis - Goodman TDR Prof. Stan Russell Fall 2014
This project once again was an exploration of a process of working. For this exercise I sat with a stack of copy paper and drew simple diagrams in quick succession. The diagrams tended to consist of simple clean lines, sometimes shaken jagged in the moment, frequently being affected by the nature of my surroundings (conversations of people nearby, music playing, level of activity, etc). Over time the diagrams also began to involve words and phrases, snippets of thoughts sparked by my surroundings or brought up from within by the meditative nature of the exercise. A lot of this exercise was an attempt to discover the relationship between symbols and descriptive systems, the intrinsic information conveyed by the lines and words, and looking to develop new layers of meaning based upon a recurring use of diagrammatic motifs. This intrinsic quality of discovery is what led to naming the project anagnorisis, a phase in ancient greek tragedy during which there is a critical recognition or discovery. The typical use of this word in reference to works of drama has an added value in relation to Goodman’s writing on symbols and their use in world making, as fiction innately is. Goodman writes of a multiplicity of worlds, all of which are dependent upon words and symbols, thus through seeking to create new symbols, with time a new world would be created, one in which these symbols hold the meaning to all understanding. •••
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3.6. Diagrammatic-Symbol Studies
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X1504270109 - Merleau-Ponty TDR Prof. Stan Russell Fall 2014
Merleau-Ponty’s writing discussed the subject of perception and phenomenology, yet in comparing it to the writing of Pallasmaa which discussed the hegemony of the eye, the ocularcentric nature of our current society, the thought occurred that Merleau-Ponty is merely propagating this state. Thus, this project to explore how sound could affect perception, and created a patchwork of songs mixed to explore a variety of auditory experiences. Once again, this exercise began a process through which many iterations were made even long after the class finished, the final, most developed, version can be accessed via the QR code below. •••
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The Beginner’s Mind - Shunryu Suzuki TDR Prof. Stan Russell Fall 2014
The final reading of the course was an excerpt from Zen Mind: Beginner’s Mind by Shunryu Suzuki. We were not given the task of representing this reading, we merely discussed it in class, however incidentally, several weeks before we did the reading, I had embarked on my first experiment with painting, and had felt a fitting title to it would be The Beginner’s Mind inspired by the words being scribbled on the cover of my sketchbook after being told to look into the book at some point. •••
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Latin American Architecture Prof. JosuĂŠ Robles Caraballo Fall 2014 Inspired by an impactful experience taking a similar course during his own education, Professor JosuĂŠ Robles Caraballo brought back this long lost course in an effort to enlighten students on the diverse and talented array of architects working in the Latin American subcontinent. Stepping beyond architecture, the course correlated the works within each country with an overview of the culture present, displaying its expression through music and art and highlighting critical conditions within each locale that have in turn influenced practice of architecture. For the course project, students were asked to design an annex for Casa Kalif by Alberto Kalach.
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Anexo de Casa Kalif
Latin American Architecture Prof. Josué Robles Caraballo Fall 2014
Casa Kalif by Alberto Kalach lies atop the crest of a large hill thirty minutes north of San Diego along the Pacific coast, a testament to the landscape, terracing across the sloping terrain opening up to views of the ocean. Kalach’s design is a sumptuous residence that provides the owners with everything they could desire out of a house, thus it has been assumed that the family is in need of a guest suite since the Mother-In-Law, or the couple already in residence, feels the need for privacy and separation from the main house. Therefore, this project was situated on its own, hidden by the slope from the main house, anchoring itself into the landscape through a series of tracks for glazed sliding doors that frame the landscape through their extension. Containing a single bedroom, a comfortable kitchen, an outdoor dining and living space, and a small altar space, the in-law suite embraces the landscape through formal and operable means. The sliding doors allow for the entire suite to be opened up to the fresh ocean breeze and a deck space that extends along the length of the tracks and projects out over the landscape pulling the guest towards the water. A kink in the plan opens up a slot through which the guests can seamlessly enter, arriving in a transitory space that bleeds into the kitchen and external dining and living spaces (which are defined from one another by shifts in the materiality of the floor). Passing through the kitchen the path compresses becoming more defined as it slightly slopes downward towards a garden space enclosed within the threshold of the building, yet inaccessible to the guest, which provides an end to the corridor. While gazing through to the minute garden, a door on the left leads into the solitary bedroom. •••
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4.1. Site Mapping Study & Existing House — photos by Yoshihiro Koitani
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1.1. Working Drawing
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4.2. Working Drawing
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4.3. Site Plan
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4.4. Floor Plan
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4.5. Longitudinal Section
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4.6. West Elevation Rendering
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Urban Acupuncture Prof. JosuĂŠ Robles Caraballo Spring 2015 Urban acupuncture seeks to pinpoint critical zones within a city and create a dramatic change on a grand scale through the implimentation of small scale interventions within these regions. For the work done in this course students investigated a portion of Ybor City in Tampa, FL, with the primary area of focus along 19th St from 6th to 13th Ave. We were tasked with devising a program and a project that would help invigorate the area. Through our efforts it quickly became apparent that the area was already being used rather well in very typical means for an area such as this, with active coffee shops, bars, markets, and restaurants. Thus, we set out to invigorate the context with atypical modes of interaction.
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Orbis Terrarum est Speculum Ludi Urban Acupuncture Prof. Josué Robles Caraballo Spring 2015
The world is a mirror of the game. This project was tackled by teams with the work displayed here being developed between myself and fellow student Trace Gainey. Our project sought to inspire alternative forms of interaction within the city through a nearly indecipherable game in which players could participate without even being knowledgeable of the game’s existence. The game began with a single directive: how can we make someone stop, sit, and look at a simple brick wall? From this beginning, we began to explore different areas within the city that we felt held a character of intrigue that we felt people should witness and become aware of. Our adventures led us to discover much about the area, and from this we found moments of value ranging from the solitary space of the Historic city that has graffiti on its walls in spite of the Bario’s constant vigilance, to a small inaccessible courtyard space just beyond the reach of the public, with various coffee shop corners, restaurant menus, and market mezzanines scattered in between. The game itself would be initiated through a media common to the area, a concert flyer with a diagrammatic map of the area and the spaces highlighted would be distributed throughout the area, handed out on late-nights, and left sitting inside coffee-shops, bars, and other local stores. This would serve to instigate people into taking note of their surroundings, and potentially make more people aware of the spaces around them. For the requisite coursework, we produced these mappings, a model capturing the spirit of these interactions and their potentialities, and a detailed development of an architectural installation that seeks to achieve the primordial question of our work: how can we make some one stop, sit, and look at this wall? •••
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5.1. Sequential Mapping of Game
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5.2. Interstitial Moment Model
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5.3. Diagram of Local Movement (above) and Looking At The Wall (opposite)
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5.4. Detail of Fins in Model (top) and Process Drawing for Fins (bottom) and Passing Through The Alley (opposite)
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5.5. Detail of Wall Connection (top) and Detail of Wood Meeting Steel (bottom)
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5.6. Profile of Dividing Fin
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Japanese Architecture Prof. Stan Russell Spring 2015 The contemporary Japanese built environment is a complex mixture of local, regional, and global influences and can hardly be placed in a certain category. Influences of globalization and mass media make the term “Japanese architecture” increasingly ambiguous in a contemporary context. Yet, there are still certain contributions to contemporary architectural theory and practice that have origins in Japan and are often referred to as “Japanese influence.” These contributions are most often associated with the traditional art and architecture of Japan, admired for its simplicity but also the result of a complex combination of influences. This course introduced students to many of the factors that have contributed to the development of architecture in Japan and also introduced some of the circumstances that have made it influential around the world.
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Bicycle Cart Tea House
Japanese Architecture Prof. Stan Russell Spring 2015
The course project began with an exercise in mitate, a Japanese practice commonly applied in tea houses whereby a found object becomes the centerpiece of a design and is utilized in an atypical manner. For this exercise, I created a skin system utilizing bicycle tire tubes placed in tension. From here, we were tasked with designing a tea house that applied the system we had developed with our mitate. By finding a program that was intimately linked to bicycles, the presence of the inner tubes became justified; thus, the idea arose for a tea house that could be pulled behind a bicycle. In doing this, the architecture became liberated from a static site, and found itself subject to an evolving context that shifts with the whims of the tea-cyclist. The tire tubes weave through the entire design integrated into many of the core premises: in light of the nomadic spirit of the project, the bike tires serve in tension to provide a form of suspension, coupled with simple dampers in order to allow for a smoother transport. The entry for the guest is laterally opposed to the entry for the host showcasing the separate paths that have brought them to this moment. The host, entering from the bike, is familiar with the entry sequence and as such has a more compressed ledge for removing their shoes; conversely, the guest, likely unfamiliar with the space, is given a slightly deeper ledge allowing a more graceful departure from everyday comfort. In this preparatory space, the guest sits facing away from the tea house, looking back at the world they’re leaving behind while they remove their shoes and hang them in a recessed slot on the interior of the side panel. Once ready, the guest will turn and be faced with tire tubes wrapping up forming an elastic threshold. Maintaining the legacy of 16th century Tea-Master Sen No Rikyu, the entry to the tea house is constricted forcing the individual to direct their attention inward, away from the distractions of contemporary
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life, as they’re posed with physical barriers that are typically nullified by our mainstream culture of commoditized comfort. Upon conquering this obstacle, the guest is presented with the main tea space, a space that at once pushes the bounds of physical comfort yet avoids fully repelling the body responding to its needs if not its whims, the space widens with the knees and elbows, giving breath to movement. Placed in this viscerally compressed space, the only thing left for guest and host to do is to address the moment, giving birth to an intimate communion between the host and the guest, transcending the barriers of conventional social interaction. With excess space a rarity, the interior is intricately designed, the necessity of wheel wells gave rise to a low ledge that contains compartments for packing away the utensils as well as a hot plate for heating the water. In response to the element of heat, the tea house submits, opening itself up through a localized ventilation shaft that lets the space breathe. Further to account for the general warmth from the proximity of two bodies, the space is open to the heavens with only a thin screen formed by the winding tire tubes that serves both for shading and to maintain visual isolation from the outside world. Within the central space, the floor shifts from the wood paneling of the ledge, to a dense foam wrapped in linen supported on hardboard for the seating area, to a wood panel in the center of the space that recesses in response to the tools of the tea ceremony. Running horizontally on both sides through the space recessed within the structural c-channel of the aluminum frame is a length of canvas painted with a heated energy, providing both a relief from the clean rigidity of the design and a subject for contemplation while in the meditative experience of the tea ceremony. Upon completion of the tea ceremony, the tools are returned to their compartments, host and guest part going their separate ways, and the tea-house continues on its ambulatory journey. •••
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6.1. Working Drawing
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6.2. X1503221138 — Inspiration for Art Alcove
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6.3. Top View of Tea Space
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6.4. Interior Alcove and Stove Detail (top) and General Interior View (opposite)
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6.5. Tea Cart Plan
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6.6. Tea Cart Section
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6.7. Japanese Tea Cart
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shatter the unity of thought only to invoke the cyclic return present as the nonknown in thought
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ot ylno thguoht fo ytinu eht rettahs eht sa tneserp nruter cilcyc eht ekovni thguoht ni nwonknon
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ADP:003 Of S h e e p Christopher Allen Weaver Gadiel Alejandro Marquez
•••
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ADP:003 Of S h e e p Christopher Allen Weaver Gadiel Alejandro Marquez Prof. Levent Kara & Mark Weston Summer 2015 An experiment both as a vertical studio, students from varying levels within the program, as well as a new digital curriculum, with the entire studio being focused on digitally produced graphics instead of the traditional skills of the hand preferred at SACD. While discovering new means of working through computer technologies, a respect remained for the value of drawing to rapidly express ideas for discussion as a team. The work presented in this book was the core project of the studio, which began with a trip in Seattle investigating a site on the threshold between Downtown and the suburbs.
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•••
INDEX 10
CDS_001: Abduction
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CDS_002: Infiltration
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X1506261157
1.0. Cross-Section Studies
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CDS_001: Abduction // Seattle, WA AD B Prof. Levent Kara and Mark Weston Summer 2015
“Hybridized android sheep haplessly pursue a tectonic flea across the surface of the moon. Their agile target continually evades capture, leaping along seeking to escape with it’s precious cargo, the seed of understanding, a nonknown truth the herd incessantly desires.” -Winston Nile Rumfoord Early volumetric investigation for a mixed use development nestled alongside the Northwest edge of Downtown Seattle, just South of Lower Queen Anne. The project serves as an annex to the SAM Olympic Sculpture Park which is directly adjacent to the Southeast. The buildings are elevated off the ground to preserve the urban flow from the water through the park, and to maximize the area available to the annex. A forest-like matrix of columns pierce through and support intricately faceted forms that create an architectural canyon programmatically consisting of two residential tower, an offices, and as-of-yet unspecified cultural spaces as well as a non-denominational sacred space: the theatre of the absurd, a concept developed at random that aims to capture the absurdist experience of the world through futurist scientific speculations. The theatre removes people from their personal experience of the world and for the duration fo their visit projects them as a witness into the life of a complete stranger, allowing them to experience first hand the reality of their existence. The personal injection of this program helped to spark an intrinsic creative spirit that encouraged the conceptual development of the formal conditions. The work presented in this section forms the foundation for the final work displayed in the successive section. •••
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1.1. SW Elevation on Moon
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1.2 Early Perspectives Captured During Lunar Excursion
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2.0. Museum Lobby - Bug’s Eye View
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CDS_002: Infiltration // Seattle, WA AD B Prof. Levent Kara and Mark Weston Summer 2015
From the foundation laid out in the previous section, the project was developed and refined through the rationalization of the structural system. Originally the columns were placed haphazardly in the midst of the creative fervor of the early design process. Transcending this and striving to create the necessary rigor, the columns were assigned to a grid of points at their origin and termination. The matrix maintains its energy through redirecting the vector of each column, giving angular movement to the forces as they travel from one point of the grid to another. During this process, columns were deleted in order to open up the plenum space between the landscape and the masses above; which in turn caused the remaining columns to thicken, compensating for the loads carried by their discarded counterparts. As the circulation cores rose up and granted access to the towering forms, a means of anchoring the structure was created; allowing for columns to reflect off of these data, projecting lines to the cantilevering extremities of each building. Tying everything together, the entire structure within the floor plates of each building combines with the encasing skin sysetm to form a structural girder that ties back to the columns and cores giving rigidity to the elevated spaces. As the nature of the upper buildings became more realized, the ground plane began to evolve as well. The act of lifting up all of the buildings created a vacuum which inhaled the nature of the neighboring Sculpture Park, allowing for a seamless continuation of the slicing and slanting patterns present within the adjacent landscape. This created a peeling and folding landscape that inherits much from Parent and Virilio’s theories of The Oblique Function, which seeks to activate visceral experiences with tilted surfaces. Throwing the body into conflict with gravity, the oblique causes
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2.1. Site Plan
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one to either exert force while climbing or accept force while descending the slope. Beneath the annex to the Sculpture Park, the landscape peels back to reveal programmatic assets within, providing retail and commercial space, as well as several bars and restaurants all helping to encourage urban activity. Furthermore, nestled amidst these programs are the access points granting entrance to the cores that transport people from the surface to the worlds above. The Southeasternmost of the upper buildings are residential towers due to their adjacency to the park and accessibility to the running paths and bike trails that roam along the waterfront. Centrally located facing the water is the Museum of Liminality. Dedicated to the exploration of the intangible space within a line, this museum would showcase an evolving display of investigations in mathematics, architectural drawing, contemporary art, and experimental music that all grapple with this theme. Northeast of the museum is a Class A Office tower, with sculpted interior public spaces that provide an intriguing respite from traditional working atmospheres. The two buildings located to the Northwest link together to form an Arts and Music School that harvests the spirit of the museum and provides a cutting edge facility for the cultivation of creativity. Remaining solitary at the extremity of the site, is the reflection space. Reached through an extensive pilgrimage, it provides a unique vantage point for looking back at the project as a whole. •••
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2.2. Parking Plan (bottom) and Ground Floor Plan (top)
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2.3. Detail of Entrance to Arts and Music School CP_002: Ground Floor Plan (1/32 inch scale)
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2.4. Detail of Spa and Entrance to Residential Towers CP_002: Ground Floor Plan (1/32 inch scale)
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2.5. O.S.P. Annex Landscape Plan (bottom) and Typical Level Plan (top)
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2.6. Detail of School Library and Studio/Jury Spaces CP_004: Typical Floor Plan (1/32 inch scale)
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2.6. Detail of Musuem Lobby/Administrative and Office Tower CP_004: Typical Floor Plan (1/32 inch scale)
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2.6. Detail of Residential Towers CP_004: Typical Floor Plan (1/32 inch scale)
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2.7. LS_001: Longitudinal Section
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2.8. Detail of LS_001: Longitudinal Section (1/32 inch scale)
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2.9. CS_001: South Cross-Section of Residential Towers
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2.10. CS_002: Mid-Site Cross-Section of Museum and Office Tower
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2.11. RR_001: Birds-Eye View
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2.12. RR_002: Site Progression From Sculpture Park
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2.13. RR_003: Sneaking Up On The Herd
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2.14. RR_004: Peeling and Folding
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2.15. RR_005: Oblique Function Within the Canyon
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2.16. RR_006: Museum Bridge
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2.17. VR_001: Museum Lobby
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