Zach Cloud Architecture Portfolio by Zachary Cloud

Zach Cloud Architecture Portfolio

Table of Contents Page 1 -

Barcelona Youth Factory Page 7 -

Light and Shadow Page 9 -

Wunderkammer - Museum in a Box Page 13 -

Below the Surface

The meaning resides in one's own experience, making the everyday the exceptional. -Samuel Mockbee

Barcelona Youth Factory Spring 2013 - Barcelona, Spain Professor: Suzanne Strum This study abroad design studio based in a area within the heart of downtown Barcelona, focused on a bare site in which we, the students, were to design a youth factory within the site. A youth factory in Spain, is similar to the YMCA in American terms. In other words, we were to design a place for people of all ages to come and enjoy both cultural and social experiences. My first thought about designing a youth factory was to help it be architecturally relevant, in connection with cultural and social awareness. I wanted to design a place where no age group would be isolated, whether it be toddlers to the elderly, everyone can come to enjoy colorful and vibrant relief in a mainly older Barcelona urban fabric.

Plaça de Gaudí

la Sagrada Família

Passatge de Centelles

de Vi

Site Context

atge Pass

Mercat de la Sagrada Família Plaça de la Sagrada Família

laret

Col•legi Nuestra Señora del Rosario Carrer de Mallorca

P as s atge de M aiol

Avin

gud

iag

Car re r de L e pant

Passatge de Gaiolà

I I

P a s s atge de la F ont

L’Eixample Blocks ona

Col•legi La Immaculada M

Car re r de L os Cas tille jos

Car re r de la M ar ina

Carrer de València

C la ol• Im leg m iM ac a ul ris ad te a s

Site Area

P as s atge d'U ts e t

Passatge de Bofill

Carrer

ats amor

dels En

Carrer d'Aragó P bl d laça o e Ne ru da

Ja ue d rdi l d e ns e Pe dr ol

Carrer de la Diputació

Avin

Metro Monumental

Dia

nal

Passatge de Pagès

Collège Ferdinand de Lesseps PR

els Encants Vells

Ca r re r de P adilla

la Monumental

Passatge de Bocabella

el Clot

Ca r re r de Car tage na

Car re r de S ar de ny a

Car re r de S icília

Car re r de N àpols

Jardins de Clotilde Cerdà

Other Pro L’Eixample Projects

Ca r re r de la Inde pe ndè ncia

Carrer del Consell de Cent

Ja rd d in Ca el s rli t

Passatge de Tasso

Pl Hi deaça sp an ita t

Car re r de l Dos de M aig

Car re r de R oge r de F lor

Park, Public, and Youth Space(s)

Plaça de les Glòries

Gran Via de les Corts Catalanes

Gran Via de les Corts Catalanes I

Elevation: Left (Southwest) Final Pin-Up 16-4-13 Zach Cloud

e er d Carr

ibe

rre

Ca r re r de L e pa nt

Car re r de N àpols

Carrer d'Ausiàs Marc

CIE

el Fort Pienc

Car re r de L os Ca s tille jos

Car re r de la M ar ina

Car re r de R oge r de F lor

Carrer de Casp

Col•legi Sagrado Corazón I

Rib

Parc del Bosquet dels Encants

òr

Gl I

òr

Teatre Nacional de Catalunya

Carrer d'Ausiàs Marc

Carrer de Bolívia

SCALE - 1:4000

We were given a set of very strict program requirements along with site needs. The building was to not exceed two stories, and the building was to add up to exactly 1,800 square meters. The building was to include a theater, bar, classrooms, a dance room, a media room, gathering spaces, a gallery, a fitness area, and locker rooms. With the strict limiations of space and site, I decided to make the theater multi-functioning. WIth the theater on the first floor, I allowed the roof of the theater to become the entry way into the site and building, being able to see both stories, while still maintaining a sense of awe and wonder due to the size and scale of the relationship between the building and site. Color was another important aspect to this youth factory. With the building being mainly composed of concrete and large glass panels, order needed to be present. I ordered the building according to color, using colored glass panels to connect both stories together.

Elevation: Left (Southwest)

Space Element: Suspended Stair

As stated above, the verticality of the buliding is coordianated by the use of four separate colors: red, yellow, blue, and green. If you look to the above plan, you will see four separate open spaces scattered within the building. Each of these corresponds to a certain color and vertical arrangement (see right). To the left, is an example of one of these color coordinated vertical spaces with a suspended stairway. If you look closely, the above triangular windwow is meant to allow the flow of natural light with the tinted window helping to further color coordinate the spaces. Overall, this project taught me the importance of order and consciousness within a site. Every aspect of a building must be painstakingly analyzed and addressed to ensure that every inhabitant experiences the best qualities of the building. In this instance, the juxtaposition between vertical colored spaces and open floor plans bring out the most of the architectural experience of this structure.

ment: Suspended Stair 4-13 Zach Cloud

SCALE - 1:50

Light and Shadow

Fall 2012 - Architectural Drawing Professor: Kyle Veldhouse

This Architectral Drawing project helped me to take a closer look at the subtle effects light has on different surfaces, and how these subtleties can be recorded visually with white charcoal and black paper. Upon the beginning of this project, I immediately remembered a photograph I once saw of a column at Le Corbusier's Villa Savoye. This photo was an excellent example of the multiple scales light has on surfaces, especially complex geometric forms. I began to sketch and noticed the balance of dark and light, and the importance of visual differenentiation amongst the two. With the vibrantly white column pressed against its own casted shadow and shadows in the background, lineweight, shading, and the understanding of light are all crucial in the success of this drawing.

Another drawing of mine focuses on the aspect of drawing around a specific focal point, or one point perspectives. This example to the right is a drawing of a hallway within Frank Gehry's Weisman Art Museum on the University of Minnesota - Twin Cities campus. I chose this building for a one point perspective drawing because I felt that it's interior has copius amounts of natrual light all reflecting on juxtaposed geometric forms, with hallways and open spaces below. In the drawing to the right, I focused on a large natural light coming in from the upper right-hand corner. The sensibility of the light acting on the hallway below is not easily captured, however with the identity of light sources and dark areas, the gap between the two can eventually be met. These drawing projects allowed me to examine the necessary subtleties not only within drawing, but design as well. Light and shadow are constantly playing on one another, but being able to capture that through visual means, requires much more than linework and shading, but a deeper understanding of the world around us.

A Hat Inspired by Costume and Fashion Designer Jack Edwards “I think most of the creativity is not in the design, but the construction.” - Jack Edwards 3 Fundamental Elements of Jack Edwards’ Designs:

Wunderkammer - Museum in a Box

Open

- Color Fall 2013 - Architecture Studio: MN Made Focus on the visual color schemes and

Professor: Dzenita Hadziomerovic

elements that helped stimulate feelins of awe and beauty in his designs.

- Texture This workshop was largely focused around the idea of a "Wunderkammer", which German The neat andisdetailed part of his designs that helped strengthen for "box of wonder". Ideally, I was to choose a designer who greatly impacted design in Minnesota andthe overall costume extensive and eccentric create a "museum in a box", reflecting their design aspects and ideas, along withdesign somethrough basic history textural ideas. and information about the function of the box.

Open

Scale

My designer was Jack Edwards, a famous costume/fashion designer who - worked as the Lead Costume Designer at the Guthrie Theater through the 1970's and 1980's. Upon studying this elements of a Exaggerating certain designer, I gradually began thinking about connections between fashion and architecture, and the the audience’s costume can enhance manipulation of materials immediately came to mind. connection with the character and the

Unfold

sense of fantasy typically found in theater

productions.between The idea I designed was to create a hat that originally was a box. The connection a fashion designer manipulating raw materials into brilliant costumes and an architect manipulating The Box construction materials into amazing designs, was the idea behind this project. Originally, the box would appear ordinary; a simple four sided box with a top, almost resembling a present. When the individual lifts the lid, all four sides expand, opening the inner box up to be unfolded, manipulated, and 1) Remove lid 2) Unfold side folds outward ultimately, worn.

Connect

3) Pull flaps on outer panels 4) Snap/push connecting folds together to form 2-D plane 5) Locate opening and place on your head and enjoy! Wear

Each panel represents one of the following:

-Folding -Slicing -Layering -Tearing

(A)

(A) (B) (C) (D)

(B)

Experience the box in 2-D and 3-D by unfolding it and wearing it! By: Zach Cloud

(C)

(D)

ARCH 3250 - MN Made: Past, Present, and Future

10-18 -13

Upon the construction of the former box into a hat, the individual can physically inhabit the "museum in a box" and wear it as both an idea of architecture, and a fashion accessory. By combining two different disciplines and their ideas, I was able to discover the value of reflecting on different design practices to influence my own practices. The combination of architecture and fashion ultimately led to the creation that actively reflects the work of Jack Edwards, and his influence on design. This project taught me about the vitality of craft and meaning behind a project. If this box was simply left on a desk somewhere, hardly anyone would really know what it's purpose was. But with previous knowledge of Jack Edwards, a clever connection can be made between fashion and wearable architecture.

Below the Surface

Spring 2012 - Design Fundamentals 2 Professor: Adam Jarvi

For this Design Fundamentals II project, we were to re-examine an aspect of a previous project and combine certain elements to form a large, subterranean structure that acted heavily on the relationship between the inhabitant and the senses. The combination of ideal spaces along with the analysis of natural light being the only light source, a structure was created that revolved around free-flowing, non-directional pathways all revolving around a large central area, which has the largest access to natural light.

Scale, materiality, and light all played a role in the design of this subterranean structure. Light had to play the biggest role, because artificial lighting was prohibited, meaning that the design had to have repetitive contact with the surface, allowing light to flow in so inhabitants can see, feel, and touch different aspects of the structure. In the previous page's lineweight drawing of the structure, you can see the different surface access points all are designed to light up vertical elements within the structure. Take notice of the two photos to the right, showing the constant change in scale, height, and materiality. These are not random changes, but changes made to isolate spaces and coordinate them in accordance to their source of natural light. Inhabitants are able to maneuver throughout the structure according to the aformentioned characteristics: materiality, scale, and natural light. If someone wants to exit the structure, simply find a light source, and go up. If someone wants to return to their favorite space, look for the materials on the wall or floor, and follow them. The sensory aspeccts of this structure help to define this structure both visually and architecturally.

This project taught me the importance of catering to the senses. With this structure having limits like no artificial light and being below ground, there are certain aspects of inhabitants that have to be taken into consideration. You must think in the first person of someone in your structure. What do they feel? What do they see? Where do they move? Questions like this must be thought of when designing any building, regardless if it only has natural light. The inhabitant is one of the most important things to take into consideration in design. You aren't experiencing the building. You can't give your feelings about the structure. The inhabitant can do all of the previous things, and therefore, determine the success, or failure of your structure.