THESIS PROCESS BOOK Ricardo Hernandez-Perez
DESIGN PROPOSAL PROBLEM Can introverts and extroverts to cohabit in the workplace without infringing either of our ways of working? SOLUTION Solitude has long been associated with creativity and transcendence. The Intrinsic-driven Model, developed by the author and displayed below, will address collaboration as a spontaneously driven activity, not forced, and solitary spaces as components of the creative process; thus creating a balance in the introvert-extrovert spectrum. SETTING The Intrinsic-Driven Model will be implemented in an incubator/coworking work.learn campus that provides flexible and customizable work spaces. Beyond acting as a collaborative hub for individuals, the campus will consist of learning facilities that support artistic work and provide workshops for learning. Mentors will range from local firms to academicians. In addition, the campus will provide apartments for traveling guests. BUILDING SELECTION Intermediate Terminal Warehouse No. 3 3103 East Main Street Richmond, VA Building has 33,000 sq.ft. and 3 floors This project will occupy 19,500 sqft. across all floors
INTRINSICALLY-DRIVEN MODEL
1. Individuality Enablers
2. Spontaneous Encounters FOCUS
3. Flexible Work Philosophy
1. Individuality
2. Spontaneity
3. Flexibility
Individuality will occur by providing areas that adapt to various personality types. Besides allocating for a level of customization, these areas should consider aspects such as noise level and solitary vs. open spaces.
Collaboration cannot be forced. Therefore, areas that support these types of activities become essential. In a generalized description, spontaneous encounters will support three of the four components of knowledge work: Collaboration, Learning, and Social Activity
A work philosophy that understand individual work styles is imperative, especially in creative companies. The transformation of the workplace from a eight hour per day location to a place where you go to exchange ideas allows for a more proactive workforce.
[ ] CHPT. 2 pg. 4
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DESIGN My process approach is characterized by a mixture of medium exploration, sketches, and digital diagrams/ drawings. The goal is to explore the idea using as many methods as possible to allow for unexpected discoveries to manifest.
FORM STUDIES At the beginning of the project I thought of the building as a simple cube and began drawing forms that carved out parts of the cube. This approach allowed me to arbitrarily study forms and volumes without any preconceived ideas. Moreover, the series became a good point of reference for inspiration later in the project.
LANDSCAPE STUDIES After developing a metaphor between my space and a city, I began thinking of a city as an ecosystem which lead me to explore the oceanic landscape. Upon doing so I began to develop an early strategy in the organization of the building. Moreover, the landscape of the ocean became a great inspiration for the forms that would take place within the space.
VIEW STUDIES In order to further explore the relationship of the building to the site I began to develop an organizing principle that related to the spectacular view from the building. Despite my early acknowledgment of the this feature, I lacked a specific study that analyzed in detail the best viewing angles from the site. Therefore, I chose the farthest corner of the building as my X and Y axis, X being the wall facing Main Street and Y pointing towards the river. Upon that I drew the angles in increments of 1o and after taking into account my site visit decided that angle 120 was the direction that provided the best view of the skyline. This became my organizing principle for the forms found in the canyon.
MASSING DIAGRAMS In the early stages of the process I divided the building in two areas, the side that faced the best view and the side opposite to it. The preliminary divisions took into account the slope of the terrain and the existing grid divisions within the building to explore organizing principles. The existing elevator was a great factor in this division, ultimately forming the boundary between employee and the support/client spaces of the building.
CANYON DEVELOPMENT The early development of the canyon was greatly influenced by the oceanic trench inspiration. Because of the lack of good quality underwater images I decided to explore land formations that mimic those underwater. Therefore, I picked the canyon, which most closely resembles an oceanic trench. The view of the city also influenced the development of the canyon’s position within the plan.
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After exploring the organizing principles that affected the plan of the building, I began studying the connection of the plan to the elevations and volumes within the space. Therefore, I made a water color of the gird of the wall facing the view and gave each color a certain length that created the diagrams below. I enjoyed the idea of movement and of shapes acting with the building’s grid that also acknowledged the PRODUCED BY AN AUTODESK STUDENT PRODUCT view. This began to categorize the view as the magnetic force attracting the extruded PRODUCED BY spaces within the building.
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CANYON MODEL The canyon model explores the early programmatic aspects of the process. The white boundary divides what I had designated as the employee side from the support/client spaces. The canyon, on the left, begins to study possible gradations within the landscape and is positions towards the view. The client/support side is positioned to the left with a more solid structure and enclosed structure.
MAGNETISM MODEL Upon exploring the canyon and using the elevation diagrams as a guide, I began to study the shapes that would extrude towards the view. I began thinking of pulling objects and how the become thinner as the are pulled. This led to the concept model below. The model to the left explores the idea of staggering the offices so they each enjoy the view and the relationship between them across all three floors.
PULL MODEL The pull model is a further and more refined exploration of the movement concept model. It spans all three floors and begins exploring the relationship between the extrusions and different ways of creating privacy within them. Since the early inspiration of the project was the ocean landscape I wanted to incorporate the idea of light remaining on the surface and materials getting darker the closer you get to the ground.
WAX MODEL The final model involved a wax form positioned within the framework of the building. Since I already had a specific view on the forms I wanted to see within the space I wanted to give myself the opportunity to use a material that allowed for unexpected opportunities. The wax, mixed with ice, created numerous voids and shapes that inspired new moments and opportunities.
SPACE PLANNING Once I had explored all of the conceptual aspects of the projects, I began applying my discoveries into the programmatic spaces. The space planning has spanned numerous versions of the canyon, from symmetric to more asymmetric approaches. Before approaching the computer I prefer to use trace since it allows for faster documentation and flexibility in terms of time.
3-D STUDIES Once the plan was developed to a certain point I began to implement my approaches into Revit. This allowed me to start thinking in 3D and begin developing the space in elevation. The 3D studies have allowed me to explore the connections between floors, between rooms, and study the circulation within the building.
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Ricardo Hernandez-Perez hernandezpra@gmail.com 757.817.2005