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Adam Wells Architecture Portfolio


Index

Resume Academic Professional


Adam Wells

adamwells11@gmail.com : +1 (281)-770-0697

Work Experience

Education

Upchurch Architects Brenham, Texas Fall 2016 - Present Architecture intern

Texas A&M University College Station, Texas Bachelor of Environmental Design : 2016

Studio Teaching Assistant to Gabriel Esquivel College Station, Texas Spring 2016 T4T Lab liaison Blurred Bodies Installation : Studio Roland Snooks Austin, Texas November 2015 Fabrication team

AteljĂŠ Sotamaa : Kivi Sotamaa Helsinki, Finland Spring 2015 Architecture intern

Publications / Awards

The Machine and The Author : Architectural Essay Axiom Magazine 2016 The Cow in the Node Texas A&M Architecture Best Integrated Studio Project Drawing Without Paper Texas Architect : Raw and Synthetic : March 2015

Skills

Rhino : AutoCAD : Maya : Grasshopper : Zbrush : Revit Geomagic : Maxwell : Keyshot : Adobe Creative Suite SketchUp : 3D Printing : CNC Milling : Digital Fabrication


Academic

Professional


Digital Runification

T4T Lab / Arch Design V Spring 2016 Director: Adam Fure Studio Liaison: Gabriel Esquivel Team: Adam Wells, Christian Stiles, Luis Munoz, Kendall Slaughter Our project evolves from a series of manipulations of physical and digital mediums, while centering around the idea of the “ruin� and through what processes can a ruin exist in digital space. The objects assert two main points, the denial of the aesthetic project and the emphasis on process as creator rather than a means to an end. The initial digital models went through a process of 3D printing, physical sculpting, 3D scanning, and finally CNC milling. Each step represents the creation of new objects through a restructuring of data, material, and formal qualities. These object can then be viewed as a collective, as opposed to preliminary trials. Although complexity is achieved in our design, we used simple operations and the translation between mediums rather than typical digital sculpting or scripting methods. Our procedural post digital approach looks for a new direction in the design of complex objects.


3D prints


CNC model process


Final CNC Model


We also borrow ideas from Object Oriented Onticology. We define pivotal moments in the process as translation from the digital world to the physical world, and vice versa. The typical notion of a linear process is ruined, leading to a collective of objects, each able to stand as its own autonomous entity. The final drawings follows this logic, using a process we’ve termed the decollective. A new object formed from the collective is created through a digital tear. The image to the left is composed of the initial polygon data structure of the digital models, images of 3D prints and CNC models, as well as the data structure of photogrammed models and the final render. The final images are all variations of the collective becoming objects themselves. They assert no sense of origin, context, or orientation.


Drawing Without Paper Drawing without Paper

T4T Lab / Arch The Design Spring 2014 Poro-Ecologics: RawI and Synthetic Director: Bruno Juricic T4T Lab 2014 Studio Liaison: Gabriel Esquivel Director: Bruno Juricic Team: Drew Busmire, Studio Liaison: Gabriel Adam EsquivelWells, Justin Zumel, Kathleen Sobzak Team: Drew Busmire, Adam Wells, Justin Zumel, Kathleen Sobzak Drawing without Paper began with the desire to remove anthopocentrism in architecture means ofPaper the Eisenmanian challenge of scale. to Theremove progression of the Drawing by without began with the desire project led to the distinction of the Proto-Synthetic and Synthetic. From this, we then anthopocentrism in architecture by means of the Eisenmanian frame the discussion around two categories terms of Eisenman’s challenge of scale. Thethese progression ofinthe project led toargument the of Arrows, Eros and other Errors which discusses recursivity, discontinuity and we distinction of the Proto-Synthetic and Synthetic. From this, self-similarity. a result of the architecturalization the proto-synthetic then frameAsthe discussion around theseof two categories toin terms synthetic we produced the scientific image and the estranged object Errors of desire.which of Eisenman’s argument of Arrows, Eros and other

discusses recursivity, discontinuity and self-similarity. The relies of different mediumsof including, text, image, drawing As project a result ofon thea variety architecturalization the proto-synthetic to and video that are dependent on each other in order to form the true object of desire. synthetic we produced the scientific image and the estranged When at the image on the following page, it is not one singular image, but objectweoflook desire. rather a combination of many digitally manipulated images layered and collaged. We perceive this as relies one image its origin of cannot be traced. The project onand a variety different mediums including,

text, image, drawing and video that are dependent on each other in order to form the true object of desire. When we look at the image on the following page, it is not one singular image, but rather a combination of many digitally manipulated images layered and collaged. We perceive this as one image and its origin cannot be traced.


The studio is framed in these terms “raw” and “synthetic”. Through this project we view the raw as a direction rather than a destination. When looking at the 3D prints (pictured below) we instead view them as 3D drawings, since they are a collection of 2D lines that have been layered on top of one another. These 3D drawings move towards the raw but never reach a pure raw state, ending at what we call proto-synthetic. The CNC model (pictured left) works in a different manner. The origin of the model is a single block of foam, and through a series of steps that corrode this object, the creation becomes a proto-synthetic representation of its former state. From this we understand that the proto-synthetic was self-manifested and omnipresent from the synthetic.


The project attempts to step away from the traditional notion of rendering and view rendering engines instead as drawing machines. With this, we argue that the rendering can be controlled to such a degree that we can surpass authorship, in the typical Eisenman sense, and create a drawing. When viewing the section of the object (pictured left) the poche is implemented as a mediator forming neither ground nor figure. It is intentionally left as black and white to blend the proto-synthetic drawing with the synthetic rendering. The exhibition layout (pictured left) is grafted and arranged to create a collage of renders that disrupts the reality of the object. The image produced is no longer a rendering, and moves closer to the realm of a painting or a drawing.


The Cow in the Node Arch Design IV Fall 2015 Director: Craig Babe Team: Adam Wells, Braden Scott

The project is a design proposal for a welcome center and student dormitories for Long Acres Ranch located in Richmond, Texas. Long Acres Ranch is currently going through a large scale transformation and rebranding from a traditional cattle ranch to an ecotourism destination for Houstonians searching for an escape from the city. The proposal lays out a main building that is treated as a transitional space between the city and nature. The driver of the project became the creation of a single surface roof that we view as a secondary landscape floating above the environment. The roof becomes a wild organism that is bound by its spatial requirements, but a boundless ecology left to grow untamed. This undulating environment begins to inform the series of free standing walls used to delineate programmatic space within the building. The walls then dictate the placement of the slanting columnsthat move around the figural wall system. This hierarchical scheme creates gestural pathways guiding visitors through the space, an idea borrowed from the history of the site where the cattle began to delineate pathways in the land through deterioration.


Cattle pathways on site

Cattle postures


The visitor’s center is layed out with a free plan that points towards a central meeting location and radiates out into the site. The cleint asked that we look at the building as a way of transitioning patrons from the city into the immense landscape. Through our plan, views and movement of visitors are always flowing outward into the natural environemnt, never containing them within a space that disconnects the inside from the outside. Pathways between the dormitories and the building are undefined, leaving visitor’s to freely walk through the landscape for exploration. Through time it is expected that the ground and grass will begin to slightly deteriorate leaving common pathways marked by the movement of the visitors, mimicking the cattle that once roamed the pasture before.


The student dormitories look at the cow as a three-dimensional object, attempting to recognize inherent qualities in the cow itself that can be applied to architecture such as structure, organization of space, skin condition, ground condition, and posturing. Through the shift and abstraction from organism to architecture, the building becomes an icon that architecturalizes specific qualities such as fur, organs and vertebrae. The buildings are then placed with specific clustering and directionality in reference to a congregation of cows in a landscape. The topography is shifted around these groupings informing circulation. The visitors become themselves residences of the pasture seeking points of congregation.


The main building’s roof structure is composed of a waffle grid of bending glulam beams. The slanted columns then follow this standard grid system while creating their own organization in plan. The panels for the roof and the cow are made from very thin plywood sheets that can be bent or distorted slightly to follow the form of either building. We made specific design decisions in an effort for a large portion of the project to be fabricated off site, resulting in a more economical design. This fabrication off site would also be a benefit as access to electricty could be very limited, and could help reduce material waste.


The Knot

Arch Design III Fall 2014 Director: Sarah Deyong Team: Adam Wells, Stefani Johnson The Knot is a project that focuses on the emerging artistic community on the outskirts of downtown San Antonio Texas, while also attempting to bring together two neighborhoods with different economical classifications that are divided by the San Antonio River. The Knot is based on a collection of pathways, or “threads”, that sprawl across the entirety of the site. These threads all converge at the center of the site where the circulation leads into the new museum and cafe. The pathways are also used for spatial division, splitting up the larger portion of the site to create smaller pockets where the community can interact on basketball courts, a baseball diamond or a pool. Scale had a large role in the development of the path system and the building’s materiality. Looking at the contours of topography maps and transportation networks around the site, we were interested in representing the same kind of figural relationships in our project. The building’s mesh form can be seen as its own network on a smaller scale. The crisscrossing lines create a web like structure with a high level of intensity and detail. The path system can also be seen as a network of figures interacting with the building, streets and site contours.


Reticulate

Digital Fabrication Fall 2014 Director: Gabriel Esquivel Project Team: Adam Wells, Ricardo Gonzales, Christian Stiles, Matt West, Justin Zumel Reticulate is a digital fabrication project that focuses on the interaction between various networks of lines distinguishing the surfaces of two faceted objects. These linear networks all have different objectives and once they are super imposed on the object, each system informs or is informed by a separate system. These lines inevitably create a hierarchy that highlights the form of the object over everything, but still allows for the other linear organizations to fight for the attention of the viewer. This surface forces the viewer to acknowledge the individual characteristics of each network while still viewing the objects as a whole. Light and shadow also play a role, as the light streams through the large gashes in the object and casts shadows that begin to distort or emphasize certain lines.


Panels for Construction


Black & White Comme Des Garçon Stores Arch Design I Fall 2013 Director: Gabriel Esquivel

The purpose of this project was to create two buildings, one black and one white, that begin to step away from subject-oriented architecture and explore the ideas associated with object-oriented design. Each object explored different paths to reach its final form. The white object’s focus was on the analog process, examining “index” as a vehicle for design, while the black object became the digital actualization of the object of fashion. The black object looks directly at the fashion of the Comme des Garçon brand, diagramming various couture forms and adjusting their spatial characteristics computationally. These digital diagrams resulted in the production of the monolith, whose nature is emphasized when compared with the sprawling white object. The building sits in the corner of the site displaying its autonomy through indifference to relationships and surroundings.


The white object began by analyzing the Case Study Housing Program, specifically Case House #28. Viewing the diagram as a point of departure, the object began to take shape by using compression as an agent to disrupt symmetry and bending individual bars. Through physical prototyping and various iterations, this new diagram began to take a three-dimensional form. The white object became the object in the field, sprawling across the site and standing on a slopping plinth. The active white building is a stark contrast to the passive black object, creating a distinct relationship between the two forms and their independence from one another and the city.


Professional


Atelier House Competition Entry AteljĂŠ Sotamaa Role: Drawings, documentation

Atelier House is a manufactured building, designed to meet each individual client’s needs. There are over forty variations of the design that can be used to create a unique home for everyone. Instead of the typical one time rigid design, the Atelier House strategy has an emphasis on community where collections of various designs can come together in a single housing development. The houses are designed specifically to be manufactured off site and then shipped and constructed. With this model, it makes it easy for Atelje Sotamaa to alter any plan before sending it to be constructed. The designs themselves value the privacy of each home owner while simultaneously creating a connection to the environment and community. A community of Atelier Houses displays nuanced differences that make each home unique, rather than monotonous repetition.


Top Panel

Waffle

Space Frame

Bottom Panels


Westwood House AteljĂŠ Sotamaa Role: Designer, scripting, drawings

The Westwood house is a renovation project located in Los Angeles, California. The clients are asking for an addition to the existing structure that would create a second story and a redesign of the current plan. The new design for the renovation is centered around a single surface landscape roof. The roof has a very simplistic outside, while the underside of the system is composed of triangulated stalactites that create an intricate environment which runs throughout the entire house. The scheme of the roof relies on a script which takes the grid layout of a space frame and uses various lengths within a certain range to create the triangulated hanging panels. The panels vary in scale. The entrances of the front and back of the house more articulated while the main rooms have larger moves. The panels are also intended to be fabricated off site, numbered, and delivered for ease of construction.


Painted Formations AteljĂŠ Sotamaa Role: Patterns and texturing, renders

This project looks to take existing models and objects Atelje Sotamaa has designed in the past and reinterpret them for a future exhibition. Initially, the physical models of each object are 3D scanned and retopologized to create a clean mesh. These digitized models are then patterned and textured in order to create a series of new objects that can be 3D printed. The patterns are chosen and applied to specifically highlight areas of curvature around each object to emphasize movement.


Skeleton House

Summer 2015 “A House For...� OpenGap Competition Entry Skeleton House derives its form from a series of lo fi elements. These lo fi elements are building blocks, seen as autonomous parts that are layered and combined in the creation of a new machine. The design therefore places less emphasis on the whole, and privileges the relationships between its parts. By using the building blocks in different configurations, three distinct objects develop independently. Binding agents are used to create a string of spatial objects that demarcate the program of the house. The lack of a defined enclosure around the house blurs the line between interior and exterior. An attempt to find an edge is further disrupted due to the change of materiality in each object. The interior and exterior panels of the house can be seen as a case. At specific moments, the case is removed and the wires and piping becomes exposed. Although these elements follow the same logic of the panels, there is no longer a defined form. An intricate 2D pattern is applied to the panels. This pattern creates a different complexity than the layering of 3D geometry. At some moments a seamless connection of the pattern and layering unifies the 2D and 3D elements, while at other moments the pattern dies and the 3D elements travel autonomously. Skeleton house represents the complexity of part to part relationships and the aesthetics of the machine.


Adam Wells Portfolio  

Architecture portfolio January 2017

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