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A R C H I T E C T U R E P O R T F O L I O R O B E R T P I P E R - R O C H E

TABLE OF CONTENTS RESUME

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PERSONAL WORK Freehand Drawing Photography

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ACADEMIC PORTFOLIO The Inhabitable Wall The Building Analysis The Boathouse Torrey Pines Gliderport eCOhousing PROFESSIONAL PORTFOLIO Del Cerro Liquor Store Millenium Elevator Salami Remodel Carter Addition

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PERSONAL WORK FREEHAND DRAWING PHOTOGRAPHY

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FREEHAND DRAWING

Instructor | Thomas Doran Fall 2008 | September - December Boston Architectural College

FREEHAND DRAWING Drawing is the most fundamental skill required of any creative professional. As ideas are generated, whatever their inspiration, we require a method to communicate them visually. Whilst the final presentation of an architectural concept may be manifest in many different formats, its initial form is almost always that of a freehand drawing. This class aimed to provide me with the basic techniques that would allow me to effectively communicate my ideas. The first step was learning to draw what you see and not what you think. This was done through line contour drawings and positive/negative space drawings in which you draw the negative space to create the positive space. We then moved on to tone through push/pull drawings where you cover the page in a base tone. Using a kneaded eraser you can remove tone from the page to create highlights. Where lowlights were required you simply added more tone. Varying degrees of tone could be added or removed to create different effects. We then began a series figure drawing classes in which we attempted to combine some of the line drawing and tone skills we had learnt. This also taught how to draw the human form and the fundamentals of drawing quickly. The final part of the course was a brief introduction to perspective drawing. Again this utilized the fundamentals learnt from line drawing and in the use of tone.

Rendered perspective, graphite on bristol 30-second figure drawing, graphite on newsprint Brown paper bag, charcoal/graphite on bristol

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Push-pull, statue Boylston Street MA, charcoal on bristol

Figure-ground, willow tree Harvard University, charcoal on bristol

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PHOTOGRAPHY

Personal Collection Holga 120 Canon 400D

PHOTOGRAPHY Photography to me is a way of remembering, of documenting. Each photo I see instantly reminds me in detail of the time the photo was taken. Photography isn’t about perfectly focused pictures, or images contrasting blurred backgrounds and crisp foregrounds, or colour balance, it’s simply about capturing the feeling or the moment. I own a Holga CLR and a Canon 400D and enjoy working with a film and a digital camera. Some of the images taken with the Canon contained here were post produced to highlight a certain area or create a level of contrast. However, none of the prints from the Holga have been doctored as this would detract from the very purpose of using a Holga.

Skimboarding Seapoint, Dublin, Ireland Canon 400D, 55mm Sigma Lens

‘Willy’ Co. Wicklow, Ireland Canon 400D, 200mm Sigma Lens

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Sunrise South Boston, MA Holga CLR

Bronco at Tashmoo Martha’s Vineyard Canon 400D, 200mm Sigma Lens 16

ACADEMIC PORTFOLIO THE INHABITABLE WALL THE BUILDING ANALYSIS THE BOATHOUSE TORREY PINES GLIDERPORT ECOHOUSING

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THE INHABITABLE WALL

Masters’ A Instructor | Manuela Mariani Fall 2008 | October - November Boston Architectural College

THE INHABITABLE WALL This project was based upon creating an occupiable human space derived from a human action or movement. The movement chosen was a squat. The analysis phase of the project highlighted that the movement could be broken down into three stages, early, middle and bottom. Other features that were observed included the angular nature of the movement as measured in the study, the widening of the side profile of the body during descent, the lowering and rising of height, the presence of a heavy weight located above the body, the small amount of movement in the ankles and larger degree of movement in the hips and knees. The next phase of the project involved applying the features noted during our analysis of the human movement into the design and construction of a wall making consideration to human scale and occupation. This wall was to be located in our school studio space. The concepts derived from the squat can be seen within this final composition. The lintel and slats representing a weight supported by the human body, the angular relationship between the hip, knee and ankle joints and the orientation of the slats. The slats again allow for limited viewing between spaces and create spaces of visual interest. The lintel has been extended to cover the entryway. This will encourage pedestrians to move into and out of the spaces but not to loiter between them. It has also been offset growing in height toward the door to indicate movement toward the threshold. The slats have been extended up through the lintel to meet the structural roof framework overhead. They do not extend to the full height of the ceiling and therefore leave a shared connecting space between the areas. 22

Process Sketches

Plan, Sections & Elevations

Final Model 23

THE BUILDING ANALYSIS

Masters’ B-1 Instructor | Lee Peters Spring 2009 | January - March Boston Architectural College

THE BUILDING ANALYSIS This project was an analysis of the Schindler-Chace House by Rudolf Schindler. The project began with a detailed and thorough investigation of the house that provided me with the design concepts that I felt were the most important. My analysis identified that the house is a series of spaces that are a result of an interaction between internal structural and external landscaping elements. These interactions result in a hierarchy in program, which highlights the studio spaces as the most important. The next phase of the project involved taking the architectural concepts from the analysis and applying them to create a new series of spaces. Within my redeployment of Schindlers’ concepts I attempted to represent a simple pallet of materials, wood and concrete, in my design that echoed that of the original design. The size of the house has been reduced from a double residence to a single residence containing only two studios. These studios are offset from one another to aid creative privacy but their adjoining living rooms share a common visual axis that provides a sense of connection between the two structures. A common utilities knuckle is located at one end of the site, mirrored at the end of the exterior space by a large outdoor fireplace that formalizes the exterior gardens. The site is connected via a canopy that serves to link the four spaces together and define the various spaces as being part of a larger single space. A sense of hierarchy is created by the alternating ceiling heights, the importance of the studio space is reflected through the highest height. The living room spaces have the lowest ceiling height but helps to create a smaller and more intimate space and as they are adjacent to the studio space, it reaffirms the importance of the studio space. 26

Analytical plans & models

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Final model with plan and alternate views

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THE BOATHOUSE

AR801 Instructor | Adriana Cuellar Fall 2009 | November - December NewSchool of Architecture & Design

THE BOATHOUSE The ultimate goal of this project was to design a boathouse on the banks of the Charles River in Cambridge, MA. It began with thorough site analysis, from which guiding concepts that would direct the remainder of the design were derived, including relationship with the site, solar orientation, and the views from the site of the Boston and Kenmore skylines. The next step in the design process was the introduction of a basic program. It was to include indoor/outdoor public spaces, athletes’ changing/training spaces and storage spaces. I interpreted these as being public space, athletes’ space and utilities spaces. I wanted the public spaces to be outdoor as the idea of the boathouse is to engage with and experience the water. I created a long utilities core that ran parallel to the water line as part of the requirement was for boat storage, these are 64’ in length. This utilities core also served as a means of raising the floor level to the same height as the street making it easier to connect with. I developed two distinct entry paths, one to invite people to walk the full length of the boathouse down onto the lower deck and another that aims to invite people into the upper deck area. The athletes’ area is raised and cantilevered from the utilities section. This is to provide the athletes with a sense of place at the boathouse, they have a sense of elevated status. This athletes’ tower also provides shelter for the water level deck below. This athletes’ area contains a series of light wells to provide natural light to the space. Shades to hide the extremes of sun are also visible. I also created a deck that serves as a private outdoor space for the athletes’. 30

Banks of the Charles River, Cambridge MA

Process Models

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Final model with plans and alternate views 31

TORREY PINES GLIDERPORT

AR802 Instructor | Avery Caldwell Spring 2010 | March - May NewSchool of Architecture & Design

TORREY PINES GLIDERPORT The primary organizing principle of the gliderport design was preservation of the current wind paths so as to not interfere with established flight patterns and take off and landing zones. The ‘skin and structure’ is derived from the tension visible when witnessing a parachute in flight. In preserving the wind paths the building was located to the south of the site, close to where the current building is situated as it out of the prevailing northwesterly wind in relation to the flight paths and take of and landing zones. I also wanted to create a building that allowed the occupants to experience the wind at the site by allowing this northwesterly wind to penetrate and flow through what could be more accurately termed as a series of spaces as opposed to rooms. These spaces are largely open to the elements and oriented to maximize wind flow through them. In relating the building to the landscape I felt the building should mirror the contours of the topography. The roof lines also represent undulating and gently sloping curves, similar to those found in this landscape. It’s also situated on a naturally occurring shift in the topography that orients it to maximize this exposure toward the northwesterly winds. I also felt the building should have a small visual impact upon the site. People come here to view various forms of flight, not observe an outspoken building. With this in mind I’ve sunken a large portion of the building below grade, particularly the service/utility areas. The roof forms are also forms derived from witnessing a parachute in flight at the site. It’s a shape that’s organic to the area and provided the original inspiration for a tensile fabric canopy. The use of a tensile fabric structure allowed me to create a largely open design that attempts to integrate with the site. 34

Process Models

First floor, basement level and roof plan and views of final model 35

e COh o u s i n g

AR900 Instructor | Don Mirkovich Fall 2010 - Spring 2011 NewSchool of Architecture & Design

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CONCEPT GRAPHIC

Sustainable Design

Ecologically sensitive living as the social capital necessary for community design. Where community is a system of shared values and responsibilities, an ecologically sensitive lifestyle is one in which you aim to benefit or cause minimum damage to the environment and social capital as the connections within and between social networks that are believed to have intrinsic psychologically value. 38

PROBLEM STATEMENT

eCOhousing PROJECT

Cohousing development based on a community run farm consisting of 15,000ft2 of residential living space and 20,000ft2 of shared spaces for approximately fifty residents located on a 30-acre coastal site in Brittas Bay, Co. Wicklow, Ireland.

PROBLEM

Ireland as a country, is quite often romanticised about in terms of its people and culture. However, since the steady growth of the Irish economy from the 1950’s onward to the early 1990’s explosion termed the ‘Celtic Tiger’, there has been a marked change in communities and how people interact with one another. The essence of the word community has evolved throughout the 20th century with a resultant loss of social capital. This project is an architectural response to what could be deemed to be the changes that have occurred and the problems facing Irish society. It’s very much taking a macro problem facing Irish society and responding to it on a micro scale.

RESPONSE

The cohousing model by its very nature recreates the community or village mentality through shared resources and amenities. Many successful communities are founded on an ideal or a disposition like religion, poverty or even persecution. In this development an emphasis on leading ecologically sensitive lifestyles can act as that uniting ethos. The shared responsibility of operating and maintaining an agricultural farm further enhances these social ties and connections, individuals have to work and live together.

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All buildings are located on the site according to the two clear axes identified in my site analysis. A straight visual axis that connects the village nodal point running west to east, and the site boundary at the cliff edge at the south east. Between these two organising elements lies a relatively flat portion of the site where the community building are located. The building organisation was influenced by the elements that made traditional Irish villages successful, a centrally located plan that housed the amenities and created a ‘main street’ or avenue with outlying residential areas. The community buildings were divided into multiple units dependant on function so as to promote movement through this ‘main street’. This avenue serves to connect the development to the wider community to the area through providing access through to the beach and to the development itself. The site will have aproximately twenty acres of agricultural land that will be farmed in line with natural systems agricultural practices. The collective responsibility of operating and maintaining a farm will create many shared responsibilities for the residents of the site. These shared responsibilities will help to reinforce the connections and the sense of community.

LOCATION MAP & SITE PLAN

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The driving force behind the design was a reinterpretation and employment of the native and vernacular Ernhaus Style through modern building materials and methods. The Ernhaus style exhibits many features including, rectangular in plan with extension in length, rooms occupy full width of the building envelope, there’s no circulation space, mass support walls with timber frame roof construction, a 40-50 roof pitch, a centralised plan based around living spaces, openings placed on longer walls, not on gable ends, and one story. From the analysis of the Ernhaus typology through parti models and a study of modern reinterpretations of vernacular architecture, a vernacular language and a materials pallet were devised. The ‘language’ is represented on this page through a series of diagrams and consists of relatively simple gestures such as extruding or exaggerating a roofline or subtracting a portion of the building, that can combine to create visually interesting yet relatively simple architecture. The materials pallet consists of heavy timber framing, granite aggregate rammed earth mass walls and a zinc roof structure that reflect materials traditionally employed in the Irish vernacular.

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VERNACULAR LANGUAGE

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RESIDENTIAL UNIT The design process began by employing the vernacular style on a very small scale residential unit, circa 1,000ft2 . This is the upper limit of size that this style has traditionally been employed on and so it seemed more applicable and conducive to learning from it. The form went through many iterations but it was felt the classic pitched 40-50° roof was appropriate to the visual fabric of the region. The units are 1,200ft2, three bedroom, one and a half bath, with open living, kitchen, and dining area. The units are oriented up to 30° east of south to maximise solar gain and provide each unit with a view of the Irish sea. The residential units stretch out form the ends of this avenue and conform along the south east boundary of the site. The modern reinterpretation of materials includes granite aggregate rammed earth walls to reflect the traditional worked stone walls. It’s also has a white-yellow hue to it that is reminiscent of the white lime paint traditionally used. Douglas fir glulam structural members are used instead of light timber framing as it can span greater distances and carry larger loads and allows the design to be larger scale and more flexible. The old slate or thatch roofs will be replaced with standing seam zinc roofs as Ireland is now the larger exporter of zinc throughout Europe.

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COMMUNITY BUILDINGS The design of the larger, approximately 20,00ft2 community buildings followed on from the design of the residential unit. The information learned about the Ernhaus form and materiality were again applied here but on a much larger scale. The initial design began with simply exploding the traditional small, pitched form up in size to be able to accommodate the entire program in one volume by exaggerating the length on the longitudinal axis. This program included kitchen, living room, dining room, bar, recreation room, library, restrooms, mud room, pantry, mechanical room, gym, office, and childcare. This one large volume was then broken down into several smaller volumes as it would encourage movement through a designated and concentrated area of the site. The buildings could also be used to frame a courtyard space to be used by the residents. The gym, childcare and office components were separated into individual units. The main buildings were oriented within 30° of due south to maximise solar the potential for solar gain. The community buildings were also placed along the ‘visual axis’ as described in the site plan. The community building then began to speak more of the vernacular language previously established and became more and more playful with the expression of these forms. However, the culmination of these investigations, programmatically had some nice and effective relationships between spaces, but seemed ignorant of the vernacular style it was borne from. The task seemed to lie in maintaining these relationships with a simpler form that related more closely to the site. 49

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COMMUNITY BUILDINGS In maintaining the programmatic relationships and relating the building form more closely to its immediate context, a simple separation of the spaces achieved these. It broke the community building into a formal and informal building. The larger informal building houses the TV room, kitchen, recreation room, living room, utility room, pantry and mechanical room. The formal building houses the dining room, bar and library. The space framed between these two buildings frames the main courtyard or avenue space that serves as flexible space for the residents and can host social events or community events such as farmers markets.

The final design relates closely to the vernacular forms of the local context. The materiality is reflected in a more modern choice of materials, for example, granite slag from a local mine is used to form the granite aggregate mass walls that echo the mass walls employed in the vernacular tradition. Traditional stick framing is replaced with heavy timber glulam framing from second and third growth douglas fir forests, that use typically less wood as there’s less waste in such an engineered timber product. The traditional thatch roof is replaced with zinc, as Ireland is the largest exporter of zinc in Europe, the use of zinc reflects a local material and a reduced embodied energy content. The use of such materials is in line with the intentions of the community to lead ecologically sensitive lifestyles.

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The main source of heating for the building will be from a radiant underfloor heating system. Hot water for the system will be provided through roof mounted flat plate solar water heaters. For the days when there is insufficient daylight hours to meet the hot water requirement, a bio mass generator will provide the shortfall. The building aspires to be naturally ventilated when possible, as all spaces are less than twenty-five feet from an operable window. During the winter months there’s a heat recovery system in place to exchange the air and recapture some of the laden heat. The heat recovery system also has integrated earth pipes that preheat incoming air by absorbing heat energy stored within the ground. The building is designed using the principles of thermal mass, retaining heat that is generated within the building through the mass walls and slab floors. Highly efficient rigid insulation will help prevent this heat from escaping whilst prevent the exterior conditions from penetrating the building envelope. As the site is effectively off grid in terms of water and sewerage these are both important issues. All toilets will connect to a system of aquatron biodigesters, that will eventually break down waste into an odourless compost. The design will incorporate a 40,000 gallon storage tank below grade that will be fed by an integrated gutter system that services all the roofs of the project. This water can be used functions on site such as toilet flushing and irrigation and reduce demand on the aquifer that will provide the community with fresh water. 58

SYSTEMS INTEGRATION

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The structural system comprises masonry load bearing walls in the form of granite aggregate rammed earth and glulam structural trusses, rafters and columns to support the roof structure and second floor. The granite aggregate is known as Leinster granite and is a reusable slag by-product from a local mine. The water and the aggregate are stabilised with 8% portland cement and then tampered into forms. It’s expected to have a compression strength in excess of 3,000 psi. The walls are also reinforced with a continuous reinforced concrete bond beam and steel rebar. The mass bearing walls are between 28-34” in thickness depending on their height and can be integrated with steel and timber structural framing systems. The glulam members will be dougals fir products sourced from second and third growth forests. The project incorporates many sizes of glulam throughout the design. In the larger community building, the glulam columns will be 6 ¾” x 6”, all columns in the remaining buildings will be 5 1/8” x 6”. Beams sizes vary depending on spans and loads. For the larger community building, there will be 18” x 6 ¾” beams. The smaller community dining room will have beams 18” x 5 1/8”. For the smaller buildings a 12” x 5 1/8” beam will be employed. Connections between members are made with Simpson concealed joists ties. All members are spaced 10’ on centre and allow the use of 4” structural wood decking to support the second floor and roof structure.

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STRUCTURAL SYSTEM

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DETAILS

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PROFESSIONAL PORTFOLIO DEL CERRO LIQUIR STORE MILLENIUM ELEVATOR SALAMI REMODEL CARTER ADDITION

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DEL CERRO LIQUOR STORE

November - December 2010 Pablo Paredes AIA San Diego, CA

DEL CERRO LIQUOR STORE This tenant improvement project was one of the first projects I was involved with when I joined Paredes & Associates. It involved the reconfiguration of two units within a mall, a gym and a liquor store, and allocating more floor area to the liquor store to provide more seating area for the deli/restaurant, more sales floor space, reconfiguring the kitchen and car park plan. It also involved the reconfiguration of the gym toilets and changing rooms but this was completed under a separate permit. The project was in its later stages when I joined the firm. My role primarily revolved around drafting, redmark corrections, and trips to the site to confirm/take additional measurements and photographs. A sample floor plan that I drafted from the porject is included.

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MILLENIUM LABORATORIES

February - April 2011 Pablo Paredes AIA San Diego, CA

MILLENIUM LABORATORIES Millenium Laboratories were a repeat client with us. The projects included laboratory reconfiguration, design and installation of an annex and elevator that links their two buildings, a helipad and as built drawings of both buildings. I was with the firm from initial client meeting, through permitting for the laboratory reconfiguration and the annex/elevator and the as built drawings. My role included drafting, redmark corrections, site visits to confirm/take additional measurements and photographs, code research, and product research. A sample section through the elevator is included.

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SALAMI REMODEL

April - Present 2011 Pablo Paredes AIA San Diego, CA

SALAMI REMODEL This project is more correctly described as a demolition and new build but according to a caveat in the California Building Code obtaining a permit is considerably less bureaucratic if you retain fifty percent of the original exterior wall studs and as such it’s categorized as a remodel. For this project, I was with the firm through initial client meeting through design development when I left the firm in June of this year. My role included drafting, redmark corrections, site survey, as built drawings and conduction research at the City of San Diego building department for previous filed permits at the address. Included is a sample site plan and building elevations. .

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CARTER ADDITION

April - May 2011 Pablo Paredes AIA San Diego, CA

CARTER ADDITION This project was a 500ft addition to a two-bedroom house that included master bedroom, ensuite and walk in closet. Initially the contractor had provided a rough plan that wouldn’t allow for all three elements within the 500ft2 limit imposed by the California Building Code for a backyard addition. I experimented with alternate layouts that better made use of the additions’ footprint and managed to satisfy the program requirements of the client. 2

My role as project manager meant I was fully responsible for all aspects of the project under the guidance of my principal, Pablo Paredes AIA. It involved client meetings, taking site measurements and completing as built drawings of the residence, composing all new and demolition drawings required for submittal to the City of San Diego, code research, product research and liaising with the contractor and structural engineer. Although a small project, it allowed me to gain insight and experience into the early phases of a design project where I had usually been involved in the latter stages prior to this. Overall the project was an invaluable experience and taught me there can be a tough time balancing the wishes of the client, a design budget, a contractor and the local building department. Included here is some brief information about the site and the complete set of construction drawings that I drafted and were submitted to the City of San Diego for permitting. 82

Aerial site view and City of San Diego Assessors office parcel map 83

View of residence from the rear highlighting location of addition 84


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