Architectural Portfolio Zechariah Simpson
ZSim1514@gmail.com (210) 849-5658
Fall 2019 - Spring 2023
Synopsis
The works showcased through this portfolio seek to demonstrate the skills I have crafted through my undergradutate education at Texas A&M’s Bachelors of Environmental Design program. During this time, I was dedicated to gaining a broad knowledge of the architectural discipline. I pursued understanding of fabrication, technical skills, graphic representation, creative problem solving, design principles, and the comprehension of architecture as an inherently critical practice. In one way or another, each project depicted helped me learn a pivotal skill that molded my interests in architecture and my education. I am forever adherent to maintaining a scholarly mindset, so I hope that my skills will continue to evolve along with my interests. Thank you for taking the time to look at the work that I have such a strong passion for.....
Table of Contents Travis Bryan Midtown Park: A Critical Cultural District pg. 1-14 Castiligon Fiorentino: Cadence in Culture, Community Center pg. 15-26 Los Angeles Highrise: Morphological Media, Mediatheque pg. 27-36 Texas A&M: Aplin Center College of Hospitality/Management and Hotel pg. 37-50
Travis Bryan Midtown Park: A Critical Cultural District In this investigation my peers and I were tasked with completing research on Bryan, Texas. This research lasted the majority of the semester and varied in focus and goals. For my partner and I, we decided to research the demographics and spatial configuration of the town along with its history. Our research question asked “To what extent has the racial and cultural presence dictated spatial exclusion throughout the history of Bryan, Texas.” Through the mapping of the data found in our research (See examples below) and critical thought we found that -
1
1950s Exclusion Urban Plan vs. Black Population Black Schools and White Schools c. 1950
Map of Brazos county showing Location of slave plantations in 1854
Legend
Future Elementary School c. 1950
Existing Elementary School c. 1950
Middle School c. 1950
High School c. 1950
Area services Blacks c. 1950
Future school service area c. 1950
Area services Whites c. 1950
5 Black people c. 1950 5 White people c. 1950
Area services Blacks c.1950
Future school service area c.1950 N
Area services Whites c. 1950
Middle School c. 1950
Slave Plantations c. 1854 Future Elementary School c. 1950
High School c. 1950
Existing Elementary School c. 1950
5 Black people c. 1950
Black Businesses
5 White people c. 1950
MLK Drive
N
0
2,500
there was a lack of historical and spatial inclusion for minorities, thus our proposal to remedy such an issue was a cultural district. This cultural center would contain a plethora of programmatic elements that sought to create a new urban condition in the city of Bryan while simultaenously addressing the lack of inclusion. Included in the proposal is a library/cafe, exhibiton space, auditorium, sculpture garden, and classrooms/meeting rooms. These programs and their corresponding functions all serve to educate the whole community on its rich past and create and even richer future, together!
2
INCLUSION AND DIVERSITY Creating an environment that utilizes systems to actively enable all groups to interact.
GROUND CONDITIONS
FLEXIBLE SPACES
INTERACTIVE LEARNING
INCLUSIVE DESIGN
COMMUNITY INVOLVEMENT
CIRCULATION NETWORKS
AUDIENCES
TYPE OF PROJECT- CULTURAL CENTER Due to modes of Segregation established in the past, the city of Bryan as an urban area has developed and expanded without remedying the issue of Spatial Exclusion of minority groups. As a result, there has been much ignorance surrounding such cultural presence throughout the city’s history. Implementing a Cultural Center presents an alternative to the status quo by educating and connecting the community at large.
CHARACTERISTICS OF SITEInterconnection through an interactive site that acts as a hub of both education and community involvement for different groups to learn and interact with each other. Various scenic locations of multiple scales are placed across the site in relation with the main structures.
MATERIALS-
Zinc Plating
Concrete
Glass
Wood Decking
Wood Panelling
Steel
TYPOLOGYCultural center- The Cultural Centre is a new building and institution typology developed during the post-war European welfare state governance, where culture was regarded as a social instrument with the same standing as sanitation or education.
Sequential network of spaces-
Cultural center- Gallery/ Educational spaces, terraces Convention center- Indoor presentation space/ Meeting rooms / Auditorium Outdoor interactive landscape- sculptures, memorials, gardens, observation tower, parking space, ground conditions (textured pavement, gravel) Systems of circulation- tunneling/ bridge systems that serve to weave and stitch together the different areas both within the site and its surroundings
3
FOLDING DIAGRAM BUILDING ZONES / FOOTPRINTS 1.
2.
3.
1.
2.
3.
TRIANGULAR
3.
2.
1.
PRIMARY FOLD
SECONDARY FOLD
As a folding strategy the, “rule of thirds” allows elements within a composition to potentially appear more harmonious, balanced, and follow a system of distribution that coincide with a number of geometrically determined points. This method of folding triangular geometries was a result of our investigation into patterns, where we developed a composition that would take into consideration the use of undulations as surfaces to dictate both ground conditions of our site and influence building geometry. The structures themsleves, experience a seemless act of continuity through the manipulation of surfaces.
FINAL
ADDITIONAL ZONES / SITE FOLDS This investigation following the strategies of fold and pattern had the intent of composing a series of surfaces which become both structure and ground conditions. The notion of scenic sprawl and promenade through a main thoroughfare and branching paths can be established. The patterns serve to differentiate the paths in their elevations spaces, in their general use, essentially a type of zoning defining system.
4
The Site Plan and Site Axonometric drawings help to show the exact location of each piece of program on the whole site, and the spatial relationships between them. They also give a futher glimpse into the materiality (being zinc plating, wood, steel, and concrete) and formal nature of the proposal, being derived from a series of precedent projects we sought to emulate. The form however was based on a framework of the two strategies “pattern and fold” shown in the previous diagram.
1
4
7 3
6
5
2
8
0 32
Site plan
1
Sculpture Garden
5
2
Cafe/Library
6
Exhibition space/Green roofspace
3
Classrooms/Conference rooms
7
Gender Inclusive Bathrooms
4
Theater
8
Observation tower
96
224
Boat Dock and rentals
416
5
Exploded Axonometric view
0 32
96
224
416
Site Axonometric 6
In addition to the macro scale, each piece of program had its own floorplan and included context. These last drawings include floorplans but also two sections which serves to display the unique volumetric properties of the proposal as a result of its folding strategy.
1
Cafe
2
Gender Inclusive Bathrooms
3
Library
1
3
2
0
8
24
42
90
Cafe and Library Plan 7
1
Main Foyer
2
Public study space
3
Private meeting room
4 Gender Inclusive Bathrooms
4
1
3
2
0
8
24
42
90
Classrooms and Conference Building Plan 8
1
Ticket/Admin kiosk
2
Theater
3 Gender Inclusive Bathrooms 4 Stage/screen area
4
3
2
1
0
8
24
42
90
Theater Plan 9
1
Main Entry
2 Exhibition space (glass floor) 3 Exhibition Space 4
Hallway
1
3 2
4
0
8
24
42
90
Exhibiton Space Plan 10
Depicted in the site section below is the Theater, Education Building, and Library/Cafe. The drawing speaks to how the folding geometry creates inherently unique sectional qualities as the undulations span across the site from one side, crossing the lake to the other. This literally reinforces the conceptional notion of bridging the community.
0 16
48
112
160A SECTION
Site Section A 11
This sectional perspective illustrates the underground exhibition space at night, where artwork could be displayed from local artisans which focus on combating historical injustice. The many columns that hold the artwork serve to suspend the glass floor of the space over water of the lake, and also act as a structural framework. Above this space on the plaza level is an inhabitable green space on the roof of this building for public use and enjoyment.
0
4
12
28
52
Exhibition Space Sectional Perspective 12
0
8
24
42
90
Site Elevation A 13
Overall, this project taught me how to develop a large civil project in an urban context. The process and level of production, and especially the amount of deliverables my partner and I needed to produce made it that much more rewarding. I was responsible for the about half of the mapping and research we conducted leading up to the project, the Site Plan/Axonometric, along with each floor plan.
0
8
24
42
90
Site Elevation B 14
Castiligon Fiorentino: Cadence in Culture, Community Center For this semester a portion of my peers and I were given the opportunity to study abroad in small town of Castiligon Fiorentino located in Tuscany, Italy. This experience was not only rich in knowledge pertaining to architecture, but also that of history and culture. Through our travels, my group and I realized that there was a particular cadence or rhythm to Italian life. This was evident in their daily life, melodic language, and even the rooflines which cascaded up and down the beautiful hillsides of Tuscany. The photo below is a great example of this quality.
15
Due to the importance of cadence to the culture in Italy. We sought to implement this into the project in a literal and spatial way. As a result, We took pictures of the rooflines throughout the small Tuscan town, and then used them as regulating lines and footprints in a grid for the development of a community center for the town.
16
My group was tasked with designing the cultural center for the town with programmatic conditions being that the center contain an exhibit, library, cafe, jazz bar, visitors center, and a large multi-use space. The formal design of the project along with precedents was centered is further explained below.
CADENCE IN CULTURE English:
Italiano:
Italian culture is rooted in rich traditions and vivid
La cultura italiana è radicata in ricche tradizioni e
social interactions. The small Tuscan town of Castiglion
vivaci interazioni sociali. Il paese toscano di Castiglion
Fiorentino is an excellent case study of this sentiment,
Fiorentino è un eccellente caso di studio di questo
demonstrated through a characteristically cadent
sentimento, dimostrato attraverso uno stile di vita
lifestyle, be it a daily stroll through town, the church bells
tipicamente cadenzato, che si tratti di una passeggiata
that ring in each hour of the day, or the midday “riposo”
quotidiana per il paese, delle campane delle chiese
taken by local businesses to be with family or have a
che suonano a ogni ora del giorno, o del riposo di
break. Chief among these is the weekly local market
mezzogiorno preso dalle imprese locali per stare
that takes place in the town’s Piazza Garibaldi, where
con la famiglia o fare una pausa. Il principale tra
vendors gather every Friday morning to sell locally-
questi è il mercato locale settimanale che si svolge
sourced food, clothing, and other goods. However, this
in Piazza Garibaldi, dove i venditori si riuniscono ogni
rhythm isn’t just exclusive to the town’s daily culture.
venerdì mattina per vendere cibo, vestiti e altri beni
An investigative look at the town’s architecture reveals
di provenienza locale. Tuttavia, questo ritmo non è
physical patterns that reflect a similar cadence—
solo esclusivo della cultura quotidiana della città. Uno
adjacent buildings’ roofs stair step up and down from one
sguardo investigativo all’architettura della città rivela
another, while chimneys, towers, church steeples and
schemi fisici che riflettono una cadenza simile: le scale
cypress trees vertically punctuate their profile. These
dei tetti degli edifici adiacenti salgono e scendono l’una
two distinct patterns, cultural and physical, became
dall’altra, mentre camini, torri, campanili di chiese
the driving influence behind Castiglion Fiorentino’s
e cipressi ne punteggiano verticalmente il profilo.
new cultural center located directly adjacent to Piazza
Questi due modelli distinti, culturale e fisico, divennero
Garibaldi. A cafe, jazz bar, visitor center, exhibition
l’influenza trainante dietro il nuovo centro culturale di
space, library, and outdoor gathering space populate
Castiglion Fiorentino situato direttamente adiacente
the site, with building massing and circulation patterns
a Piazza Garibaldi. Un caffè, un jazz bar, un centro
derived from studies of rooflines throughout Castiglion
visitatori, uno spazio espositivo, una biblioteca e uno
Fiorentino. In addition, the project incorporates outdoor
spazio di ritrovo all’aperto popolano il sito, con schemi
space fit for occupation by market stalls and public
di volumetria e circolazione degli edifici derivati dagli
events. This design pulls in not only the economic
studi sulle linee del tetto di Castiglion Fiorentino.
opportunities from the adjacent piazza, but also the
Inoltre, il progetto incorpora uno spazio esterno adatto
social interactions that define Castiglion Fiorentino’s
all’occupazione di bancarelle ed eventi pubblici. Questo
cultural cadence.
progetto attira non solo le opportunità economiche
CULTURAL CENTER IN CASTIGLION FIORENTINO, ITALY BY ZACHARY MARTINEZ, SHAELYN PARKER, ZECHARIAH SIMPSON SPRING 2022 CARC 301
PIAZZA GRANDE LOGGIA (1572), GIORGIO VASARI Piazza Grande is located in the heart of the city of Arezzo. This elongated loggia is an important structural and circulatory element for events occupying the Piazza space. This structure extends and interacts with the piazza to encourage the visitors to freely enter the weekly market and progress through the spaces. A fantastic opportunity that the loggia offers, is Transposed roofline diagrams
how it serves as an extension of the market itself. Vendors utilize the free space under the structure a place to set up their booths. This loggia’s interaction with the adjacent piazza, and its relationship with the market in town was a major influence on the loggia in the current proposal.
Derived building forms
CANYON PRESERVE (2020), LAKE FLATO The Canyon Preserve project by Lake Flato is inspired by the surrounding vegetation, sloping hillsides and highlighted viewpoints. The proposed cultural center draws inspiration from structure and the use of materials to accentuate those standalone moments. The overhang
dalla piazza adiacente, ma anche le interazioni sociali
that pierces the building is supported by stylistic steel columns and beams and is translated
che definiscono la cadenza culturale di Castiglion
into the concept for the loggia in the new proposal. The use of the stone and the contrast to
Fiorentino.
the steel elements was a visual appeal that could be exploited in the proposal’s materiality.
BRADBURY BUILDING (1893), GEORGE WYMAN Final building massing
This particular project hearkens back to a Beaux Arts style of architecture, integrating a steel framing system that spans multiple floor levels. It creates a massive atrium space along with open floor plans and a sense of expansion. This creates a primary hierarchical moment in the structure, pierced by natural daylight entering from a skylight above. The user experiences the space beginning at the ground level in a more dense and heavy architectural design as a result of the thick, load-bearing brick walls with neutral-colored brick to accentuate the height of the space while also grounding it. The focus was to utilize this same language of thin structural elements of steel in combination with glazing to emphasize verticality and
Roofline Study Diagrams
generate open interior spaces.
17
Site Floor Circulation First
N 0’ 10’
20’
40’
80’
18
These floor plans help to show the different pieces of program through the northern building, and the southern building. We can clearly see the public piazza where the weekly market and other events can take place, located in the center right of the site, situated between the north/south masses. We also notice the small amount of green space seen as a refuge toward the western part of the site. The northern mass has the exhibition space and visitors center and the southern contains the cafe/jazz bar. T
L
First Floor First Floor
N 0’ 10’
20’
40’
80’
19
The second floors of either building include terraces and generous views of the valley below. The nothern building has a library space and study rooms, while the southern mass includes seating area on its terrace to host a rooftop bar space.
T
L
SecondFloor Floor Second
N 0’ 10’
20’
40’
80’
20
South Elevation South Elevation
0’
10’
20’
40’
80’
21
Cafe/Jazz Bar : Longitudinal Section
Longitudinal Section
0’
10’
20’
40’
80’
22
Longitudinal Section
0’
10’
20’
40’
80’
Exhibition Space and Library: Longitudinal Section 23
Loggia and Piazza 24
Mural wall
Upstairs of Atrium
25
This particular project helped me to understand what it meant to be immersed in a different urban environment and allowed me to learn a wealth of knowledge in terms of how european modes of urban planning and culture can impact design. I was responsible for all the Floorplans, Elevations, Exhibition Space/Library Sections, and assisted one of my group members in doing the renders for the project.
Jazz Bar 26
Los Angeles Highrise: Morphological Media, Mediatheque During my final semester of undergraduate education, our studio considered the conditions of designing a highrise in downtown LA. Each group generated a proposal that addressed a series of societal issues such as climate change, data injustice, equitable housing, and many others while serving as a headquarters for AI4ALL. The highrise would include several universal programs in addition to apartments, artist residencies, dorms, offices, labs, collaborative work areas, and many other public spaces.
27
My group and I wanted to design a mediatheque. A digital library and media center where culture, knowledge, and learning intersected. At this juncture, both present and future technologies could be made accessible to large swaths of the populace in a new and meaningful way architecturally. Our goal was to draw upon certain notions of how the library and museum functioned in antiquity and morph this into a 21st century experience in both form and function.
Elevations
28
The tower implemented a series of moves incorporating the formal or spatial utilization of draping, folding surfaces, generating mass varying in thickness and thinness. The form is predicated on the idea of morphology, drawing influence from how media has changed in form over time, so does the formal and spatial organization of our building. Architectural objects such as the dome, space frame, and column are redefined from their traditional notions in their shape but then serve as an object of media dissemination for information. This is accomplished through virtual reality chambers, the articulated space frame, and habitable columns which project art or convey knowledge in relation to users needs in collaboration with each other and AI.
Space Frame
Column
VR Chamber
29
To demonstrate a sense of scale and provide orientation, here is a render that highlights our proposal in pink and shows how our tower was required to dwarf most of its context exceeding a height of 110m tall. There is also a satellite image of the skyscraper embedded into our supposed site adjacent to Pershing Park, only a short walk away from US Bank.
US Bank
Pershing Park 30
These subsequent line drawings highlight the integral spaces in our mediatheque in relation to our design intent. In both section and plan, we see the relationships of thick vs. thin, habitable vs. non habitable mass, and redefinition of tradtional architectural typologies.
Section
AI4ALL Headquarters
Penthouse Restaurant
Makerspace/Workshops
Mediatheque Lobby 31
This is Morphological Media’s ground level. It is a plaza that reflects the hypostyle halls of old with amorphous columns of various scales and functions. Their spatial configuration brings in guests from the site flows of Pershing Park, and leads people deeper in this hub learning and collaboration.
Ground Plan
32
On this floor plan we see the actual mediatheque in the tower located in the middle segment of the structure. We get a glimpse as how the space frame segments become thicker poche and we can see spaces in which the VR chambers are located. We can also see the central circulation core represented in the middle of the tower.
Mediatheque Plan
33
Our last floorplan illustrates the offices of the AI4ALL Headquarters toward the top of our tower. Here we see a combination of conference rooms, collaborative workspace, and open office space.
AI4ALL Plan
34
In addition to the line drawings that show how the mass of the building is formally articulated, our section chunk and elevation perspective give light to how our building serves as one giant media canvas inside and out.
Elevation Perspective/Section Chunk
35
One of the most beneficial aspects of this project is that I was able to learn how to fabricate a model with a 3D printer for the first time. This gave some notion of assembly to our process and was very rewarding for our group especially when we documented our model through these photos. I completed all renders, assisted with the sections, and helped fabricate our model.
3D Printed Model
36
Texas A&M: Aplin Center College of Hospitality/Management and Hotel This project from my senior year design studio tasked my four person group with designing a proposal for a Higher Education building and a three star Hotel on Lot 61, in Texas A&M’s West Campus. The project was to fully integrate a mass timber structural system and an HVAC system with a Boiler, Chiller, AHU, and Cooling Tower. It was crucial for the team to focus on the student and guest experience in terms of comfort, circulation, necessities, and other amenities.
College of Hospitality/ Managment
Hotel
37
This Site Plan shows some of the important programmatic elements, and how people circulate around the site. It does a great job at showing the landscaping, drop off for the hotel, generous parking for guests, bike racks, and bus stops located at the terraced burms on either side of the site.
AIRS
E ST
FIR
Management office 150 sf
Fire Stairs 400 sf
Admin office 150 sf Management office 150 sf
LOCK
ER RO
OM
Womens locker room 400 sf
THER
'S RO
OM
LEC
OM
Telecom room 150 sf Breaker room 150 sf
O
ER
UR
CT
LE
Employee break room 300 sf
Mens locker room 400 sf
LOBBY MO
Laundry storage
TU
RE
500 sf
RO
RO
OM
OM RE
LE
UR
LE
CTU
CT
E
RO
3000 sf
O
LECT
URE
Sprinkler control room 200 sf
Cafe (seating) M
Electrical room 200 sf
Laundry room 1000 sf
Cafe Storage 100 sf
Cafe service
ROOM
E ROO
Fire Stairs 250 sf
D AU
ATRIUM
M
Commons Area 3000 sf
M
RIU
ITO
RESTROOM
LECTUR
REST
ROO
M
Elevator Control Room 100 sf
1000 sf
Elevator Control Room 150 sf
LECTURE ROOM
Bar 3000 sf
NT
VE
E-E
OM
Restaurant Freezer/storage 500 sf
CE SPA
om tro es sf s R 00 en 15
PR
RE RO
LECTU
Boiler/Chiller Room
RS
AI
al
g rnin ea
E ST
s ce pa
Family Restroom 150 sf
FIR
S
M
Family Restroom 150 sf
Restaurant Kitchen 2000 sf
LOBBY
L
rm Info
LECT
URE
M
LECTURE ROOM
Janitors Closet 120 sf
LECT
FIRE
Lobby storage 500 sf
ROO
ST
Front desk
RO URE
AI
RS
OM
Fire Stairs 400 sf
EA
L AR
EC EL
ATRIUM
NA
TIO
EA
CR
RE
IC
TR AL
E ROOM
OM RO
Info rmal
Conveniences 200 sf
Lobby 3000 sf
Rest ns sf me Wo 2000
Restaurant (dining) 5000 sf
LECTUR
Lear
ning
MP
Spac es
RA
M R. ROO
g Sp
in arn
CNT
BR
EC
TR. INK . CN
ELE
VAT
OR
SPR
TEL
s ace
RO
OM
OM
RO
OM
EA KE R RO
OM
PH EN O RO ER TOVO O GY M ST LT O AIC RA GE
Mother's Room 150 sf
m roo
l Le
rma Info
N BASS DESIGN STUDIOS ZOE BROWN ZECHARIAH SIMPSON VALERIE ANDRADE MADISON STEPHENS
SITE PLAN Site Plan
38
This render gives a glimpse into the guest/student experience into how it may be like walking up to the hotel from John Kimbrough Blvd onto the site. One can see the overhang of the building creating a concourse that forms the pick-up and drop-off point for guests, the hotel guest rooms with their balconies, and a skybridge connecting the Hotel and College. The following pages contain floorplans that better show the important spaces in the hotel like the lobby, restaurant, cafe, bar, common area, study space, exhibition space, gym, pool terrace area, guest rooms, mechanical rooms, admin offices, and housekeeping .
Hotel approach 39
Management office 150 sf
Fire Stairs 400 sf
Admin office 150 sf
Electrical room 1000 sf
Management office 150 sf
Mens locker room 400 sf Womens locker room 400 sf
Telecom room 150 sf Breaker room 150 sf
Laundry storage 500 sf
Sprinkler control room 200 sf
Cafe (seating) 3000 sf
Laundry room 1000 sf
Cafe Storage 100 sf
Cafe service Elevator Control Room 100 sf
Fire Stairs 250 sf Commons Area 3000 sf
Boiler/Chiller Room 1000 sf
Elevator Control Room 150 sf
Bar 3000 sf Restaurant Freezer/storage 500 sf
om tro es sf s R 00 en 15 M
Family Restroom 150 sf Family Restroom 150 sf
Lobby storage 500 sf Janitors Closet 120 sf
Front desk Fire Stairs 400 sf
BASS DESIGN STUDIOS ZECHARIAH SIMPSON MADISON STEPHENS
Mother's Room 150 sf
Conveniences 200 sf
Restaurant Kitchen 2000 sf
oom
tr Res ns sf me Wo 2000
Lobby 3000 sf
1stFloor Floor 1st
Restaurant (dining) 5000 sf
N 40
5
6
7
8
9
10
4
11 12
3
13
2
14 15
1
16 17 A
18 B 19 Yoga/meditation room
C
200 sf
D
20
Gym 600 sf
E 21
Mens locker room
F
300 sf
Womens locker room
G
300 sf
22 Ice maker room 250 sf
Elevator Control Room 250 sf
23
Study area
AHU room
3000 sf
1000 sf
23.5
24
25
Conference room 1500 sf
G F
26 Exhibition space
E
2000 sf
27
D C
28
B 29 A 30
31 32 48
33 47
34 46
35 45 42
36 41
40
39
38
37
N BASS DESIGN STUDIOS ZECHARIAH SIMPSON MADISON STEPHENS
2ndFloor Floor 2nd
41
5
6
7
8
9
10
4
11 12
3
13
2
14 15
1
16 17 A
18 B 19 C D
20 E 21
F G
22
23 Elevator control room 250 sf
Ice maker room 250 sf
Pool area/Terrace 6500 sf
Pump room
23.5
1000 sf
Janitors closet/ Elevator control room 250 sf
G F
26
E
27
D C
28
B 29 A 30
31 32 48
33 47
34 46
35 45 42
BASS DESIGN STUDIOS ZECHARIAH SIMPSON MADISON STEPHENS
36 41
40
39
38
37
3rd Floor 3rd Floor
N 42
As stated previously, a crucial part of the integrated studio meant that we had to integrate mass timber into our project, follow building code, fire code, and determine the placement/makeup of our HVAC system. To aid us in this endeavor we used the architects studio companion and consulted our structural engineering professor and building systems professor. These bones models and MEP plan help to represent the integrated nature of the studio.
STRUCTURE KEY LATERAL BRACING SHEAR WALLS FOUNDATION BEAMS/PIERS
STRUCTURE BONES MODEL
43
SYSTEMS KEY AHU/DUCT PIPES/CHILLER/BOILER PHOTOVOLTAICS
SYSTEMS BONES MODEL
COOLING TOWER
44
MEP Plan
PROGRAM KEY 1. FIRE STAIRS 2. STORAGE 3. LOBBY 4. JANITORS CLOSET 5. RESTAURANT 6. RESTROOM/BATHROOMS 7. BAR 8. BOILER/CHILLER ROOM 9. ELEVATORS/CONTROL ROOMS 10. COMMONS AREA 11. CAFE 12. LAUNDRY ROOM 13. ELECTRICAL 14. SPRINKLER CONTROL 15. BREAKER ROOM 16. TELECOM ROOM 17. EMPLOYEE BREAK ROOM 18. LOCKER ROOM 19. MANAGEMENT OFFICE 20. ADMIN OFFICE 21. MOTHERS ROOM
19
1
20
13
19
17
18
16 18
15 2 12
14
2
11
9
8
1
9
10 7
2
6 4
1
2
SYSTEMS KEY
5
21
3
DUCTS
6
5
CHASES CHILLERS
5
BOILERS
BASS DESIGN STUDIOS ZECHARIAH SIMPSON MADISON STEPHENS
N
1st 1stFloor Floor
0'
8'
16'
32'
64'
45
This last drawing serves to show the facade facing the courtyard and how large the spaces are for the interiors volumetrically. These are followed by some Enscape renders that highlight what our team considered important to the overall design of the project. These were things such as: plentiful opportunities of using daylighting to fill spaces through generous but controlled amount of glazing with skylights, exposing the materials of mass timber and concrete through the project, access to outdoors, views of the outdoors, and circulation of guests.
Roof parapet 85' - 0"
Roof 80' - 0"
5th Floor 64' - 0"
4th Floor 48' - 0"
3rd Floor 32' - 0"
2nd Floor 16' - 0"
1st Floor 0' - 0"
---
BASS DESIGN STUDIOS ZECHARIAH SIMPSON MADISON STEPHENS
Longitudinal Section HOTEL LONGITUDINAL SECTION
0'
8'
16'
32'
64'
46
Exterior Concourse
Lobby
47
Restaurant 48
Cafe
Guest Room
49
This particular proposal remains the most practical and realistic of all that I have done through my undergraduate experience. This project helped me learn a great deal about using Revit to generate projects and also allowed me to think about a project across multiple scales, from the large site to details for structure. I was responsible for the entire Revit model, bones models, all the floorplans (regular, MEP, and structural), the site plan, section, elevations, and renders through Enscape.
Aerial view 50
Thank You!