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The relationships between the proximity of the elements and their orientation provide information for the form The resultant relationships between spaces found in the figure correlate to the material study at its connection points The organization is differentially combining horizontal and vertical elements The building sits bother under and above ground on the site It's most important formal elements are the horizontal protuberances connecting to the vertical vortex center The center chasm opens to the sky, while the rock climbing wall traverses sectors of the interior The wall punctures the building at a moment in the open meeting area for the recreation center bureaucracy The puncture becomes an area for small scale bouldering and exposure to the outdoors The interior walls have many windows, while the exterior skin has only a few large glass walls that resemble the shape, probably too literally like a stretching hole The Alien Octopi is powerful and difficult to follow as architecture During the process, the application of geometry in terms of architecture's history became insurmountably crucial Decisive correlations relating to the limitations of the material porosity as well as the more obvious geometries may prove more in generating a singular form, rather than resulting from a fragmented collage
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The Qualities of Art Anthology for the Broad Collection contain Properties applicable to space and materiality. The collection suggests an interest in time scale referring to the degradation of a material or object [physical characteristic change] as well as an interest in the perception of time in terms of an individual life span and the limitless-ness of beyond our perception of time. Conceptually, the connection of these qualities to architecture exist in two forms as well. First, the evolution of information within the exhibit change over time and so does the technologies. When the collectors chose to host Bill Viola, for example, the architecture might assume various belief systems including a bold statement about the role that art plays in a political arena. It also can adapt a belief that both historic space and technological space
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are equally valid based on the artist’s own experience and application of these experiences in the work itself. The best example that I can relate it to is his installations of water- light projection within a Renaissance context. First, I studied the basic plans for generic cathedrals from that time and through lessons of phenomenology relate the emotional cue of the historic space to a more modern procession. I was interested in the phenomenon of sound used in Viola’s work to produce the emotions required for his art. Awknowledgably, the museum does not require the same emotion, and the architecture should leave the deep emotions to the art, however, the space can use the same analysis to consider the flow of humans from one point to another throughout the building by using an awareness of two well known methods of architectural history. The first, like I mention before,
is the Renaissance[including Gothic, Classical, and Baroque- regarding the point I am making- with the emphasis on the Renaissance because it is directly related to the artist, but without the other sub-genres the phenomenological architectural discussions become less advantagous] and the second, is Modernism. In the case of Modernism, the function of Le Corbusier’s Method [as ‘’Method Acting” only applied to architecture through his 5 principles] conceptually compresses the air and uses wall systems and ribbon windows to provide a type of human reaction that differed from the Renaissance. [Let’s call this R for ease of repetitious terminology justified by the variability of the subject] R provided an experience of centers where the main cathedral space provided a general sense of ‘centering,’ or in other terms, a feeling of balance perceived most strongly when
the perciever is physically drawn to the center of the room. Potentially, we can extrapolate this cue to the blobistic forms of Greg Lynn, but for this case it is unnecessary] Conversely, the lessons from the 5 pt method are exemplified in the Villa Savoy. The applicable lessons are relative to the framework where the slabs compress the flux of air circulation outward rather than centralized. The human reacts to the plane radially in plan only, or in other words, when viewed from above, the curvature of the walls and the volumetric relationship between contained units relative to an outward flow toward the window away from any obstructing wall. By limiting the slabs to single horizons, the human is provided with an interactive pseudo-social experiment of variation of wall orders
without distraction from variation in the vertical plane. The forces outward are ordered and regulated by the walls. Post analysis of the two systems juxtaposed create a greater understanding of how someone like Alvaro Siza or Masaharu Takasaki starts to delineate their space. At the start of the semester we studied circulation through precedent to understand a successful building in plan and section. The procession begins from the entree whose ceiling plane intersects as a composed sequence of intersecting waves represented geometrically by the volumetric intersection of two ovular solids. This Boolean technique provided amplitudinal [term created to describe the phenomenon of reverberated
volumetric space relative to the human sensory organs and their placement in context] relationships from the person to the space itself and allows both comfort and un-comfort relative to the person’s own understanding and belief of comfort. The composition can be described by music despite its frozen time because the architecture thinks about the humans progression- not necessarily the architecture being like music. In other words, the resonant cues resulting from a scalar human perspective provide an idea through historic method a certain type of motor response to a space. I learned that air is as much a material as the wall and our perception.
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Cartoon Plans
VII
Quadra g e
Moss Project 2 | useu Cou
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How does the concept of quadrangle influence a process of aggrigation? How does the building change as the process goes through a feedback loop between Physical and Digital? Objects Aggrigated Manipulated and Masked Scanned and Contoured The Quadrangle of obscured objects becomes a conversation between the programs of the neighboring Schools and office A food court for Venders and a variety of types of spaces help to activate this project merging the needs of an expanding art program and the food desires of the businesses nearby
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Various patterns
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Outsourced hand painted tiles
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Digital Plan for Model
Digital Screenshot
Actual foam model post milling
Renderings
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Hou e3 C
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House ConstruCtion metHods Having
to do witH integrating wood and
briCk in a industrial style at tHe sCale and funCtion of a House.
tHe
idea blends inside and outside spaCes witH industrial doors to suit tHe lives of painter’s need for ventillation and ligHt.
merging tHe wrap los angeles
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building in revit was an exerCise on tHinking and building ConstruCtion simolaneously. tHe goal was to maintain a variety of CirCulation types by oversCaling tHe parts to begin witH and adapting tHem as otHer problems needed spaCe.
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Door Schedule
sHeet set title
drawing #
Assembly Code C1020 C1020
general
B2030400
intro Contents 3d view | basement 3d view | first floor 3d view | seCond floor 3d view | tHird floor 3d view | axon 3d view | axon door and window sCHedule navigate la site plan tax aCCessor
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map
00 10 10 g 0.10 g 0.11 g 0.12 g 0.13 g 0.14 g 0.15 a 4.01 a 4.02
B2030410
B2030400
B2030410 B2030410 B2030400
arCHiteCtural B2030410
Control plan site plan basement floor plan first floor plan seCond floor plan tHird floor plan roof plan
nortH elevation soutH elevation east elevation west elevation building seCtion building seCtion building seCtion door and window sCHedule wall types and sCHedules stair plan entry
a 0.90 a 0.91 a 1.001 a 1.01 a 1.02 a 1.03 a.1.04 a 2.01 a 2.02 a 2.03 a 2.04 a 3.01 a 3.02 a 3.03 a 4.01 a 4.02 a 7.02
B2030410 B2030900
B2030410 B2030400
Assembly Name
Family
Height
Single-Flus 8' - 0" h Single-Flus 8' - 0" h 600_Servic 7' - 9" e_Overhea d_Door OverheadRolling Door-Openi ng Door-Openi ng Door-Openi ng Door-Openi ng Door-Openi ng Door-Openi ng Door-Openi ng 780_Servic e_Overhea d_Door
Width
Door Schedule Keynote
Type
Count
4' - 0"
08 14 00.A1 48" x 96"
1
4' - 0"
08 14 00.A1 48" x 96"
1
6' - 4"
08 36 00
ByType 2600 Service8'
1
10' - 0"
8' - 0"
1
7' - 0"
3' - 0"
08 33 8' x 10' 00.G2 Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
7' - 0"
3' - 0"
Division 08 36" x 84"
1
16' - 0"
16' - 0"
08 36 00
ByType
1
8' - 0"
8' x 10'
1
10x10
1
6' - 4"
08 33 00.G2 08 33 00.G2 08 36 00
ByType 2600 Service8'
1
12' - 0"
08 33 00
12' x 12
1
12' - 0"
08 33 00
12' x 12
1
12' - 0"
08 14 73
144" x 96" 1 with Screen
Overhead- 10' - 0" Rolling Overhead- 10' - 0" Rolling 600_Servic 7' - 9" e_Overhea d_Door Overhead- 12' - 0" Rolling Overhead- 12' - 0" Rolling Door-Slidin 8' - 0" g-Durather m-Lift_RollOXXO-Woo d
Overhead- 10' - 0" Rolling 600_Servic 7' - 9" e_Overhea d_Door
10' - 0"
8' - 0" 6' - 4"
08 33 00.G2 08 36 00
8' x 10'
1
ByType 2600 Service8'
1
B2030400
600_Servic 7' - 9" e_Overhea d_Door
6' - 4"
08 36 00
ByType 2600 Service8'
1
B2030400
600_Servic 7' - 9" e_Overhea d_Door
6' - 4"
08 36 00
ByType 2600 Service8'
1
B2030400
600_Servic 7' - 9" e_Overhea d_Door
6' - 4"
08 36 00
ByType 2600 Service8'
1
Description
Assembly Code
Assembly Name
Overhead Door as Specified in 08 36 00
B2030400
seCond floor refleCted Ceiling plan tHird floor refleCted Ceiling plan
Width
Designer_S 6' - 9 1/2" eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
5' - 6 1/4"
08 14 00
Designer_S 1 eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
Out-Swing French Active / Passive Units
Designer_S 6' - 9 1/2" eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
5' - 6 1/4"
08 14 00
Designer_S 1 eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
Out-Swing French Active / Passive Units
B2030900
Door-Slidin 8' - 0" g-Durather m-Lift_RollOXXO-Woo d
B2030410
OverheadRolling OverheadRolling OverheadRolling OverheadRolling Designer_S eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
Keynote
Type
Count
OXXO, Center operating rolling panel wood door with 1" insulated glazing Contact manufactur er for customized needs.
Overhead Door as Specified in 08 36 00 Overhead Door as Specified in 08 36 00 Overhead Door as Specified in 08 36 00 Overhead Door as Specified in 08 36 00
B2030410 B2030410 B2030410
B2030410
9' - 0"
08 14 00
9'Garage
08 14 73
108" x 96" 1 with Screen
1 XXO, Left operating rolling panel wood door with 1" insulated glazing Contact manufactur er for customized needs.
12' - 0"
08 14 73
144" x 96" 1 with Screen
OXXO, Center operating rolling panel wood door with 1" insulated glazing Contact manufactur er for customized needs.
12' - 0"
12' - 0"
08 33 00
12' x 12
1
10' - 0"
10' - 0"
10x10
1
10' - 0"
10' - 0"
10' - 0"
8' - 0"
6' - 9 1/2"
5' - 6 1/4"
08 33 00.G2 08 33 00.G2 08 33 00.G2 08 14 00
Designer_S 6' - 9 1/2" eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
5' - 6 1/4"
OverheadRolling
12' - 0"
12' - 0"
10x10
1
8' x 10'
1
Designer_S 1 eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
Out-Swing French Active / Passive Units
08 14 00
Designer_S 1 eries-Clad_ Wood-OutSwing_Fren ch-Double_ Active-Pass ive_Units
Out-Swing French Active / Passive Units
08 33 00
12' x 12
1
Window Schedule
B2020100 B2020100 B2020100
C 1.02 C 1.03 B2020100 B2020100 B2020100 B2020100 B2020100 B2020100 B2020100 B2020100 B2020100 B2020100
Assembly Name
Description
9' - 0"
Overhead Door as Specified in 08 36 00
Assembly Code
Ceiling plan
Height
Single-Flus 12' - 0" h Door-Slidin 8' - 0" g-Durather m-Lift_RollXXO-Wood
B2030900
Overhead Door as Specified in 08 36 00
Family
Head Height 14' - 7 3/8" 14' - 7 3/8" 14' - 7 3/8" 4' - 0" 4' - 0" 10' - 0" 9' - 0" 9' - 0" 1' - 0" 1' - 0" 1' - 0" 1' - 0" 5' - 1 3/16" 5' - 1 3/16" 5' - 1 3/16" 11' - 1 3/16" 5' - 0" 5' - 0"
Count 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Width 3' - 0" 3' - 0" 3' - 0" 0' - 0" 0' - 0" 0' - 0" 0' - 0" 0' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0"
Type 36" x 48" 36" x 48" 36" x 48" 3x24 3x24 3x24 3x24 3x24 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72" 36" x 72"
Solar Heat Gain Coefficient 0.78 0.78 0.78
0.78 0.78 0.78 0.78 0.78 0.78 0.78 0.78 0.78 0.78
The pieces assembled under the vacuum have limitations as well A corner with a vertical distance greater than about three inches stretches the plastic to its breaking point and will rupture the suction If the material changes directions or does not slope downward from the center toward the ground, it requires air holes, however, this project did not need them Also, cutting the material after it has completely cooled requires a lot of brute force or machining, but can be avoided by cutting the
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material during the 'butter frame,' which exists between the moment where the plastic has covered the form and the machine is no longer required to pull and the limit before the plastic hardens If cut too early, it will also leak The modules get cut out and the edges sanded The digital model provided two inch tabs along the edges of each, allowing for connection points as well as rigidity The assembly occurred section by section where the pieces were clamped, adjusted,
drilled, and bolted The structure required the use of a makeshift lift, a steal cage, which elevated the form, and provided the skinny viewport to the sky to measure, build and assemble the base The base is a hollow steel tube welded to flat steel pieces stemming from the center The stems built at two levels, the bottom and then at three feet deep, match the radius of the structure and hold the plastic solid at all connection points
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Thank you for your time viewing my Portfolio Feel free to contact me regarding work
Many thanks to Sci-Arc faculty and staff for all of their guidance and assistance 2015
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