ANDREW SMITH
PORTFOLIO
PARKING SPACE DWELLING STRATAGIES: HUMAN SCALE
6
JACKILIN HAH BLOOM BETTY KASSIS BRYONY ROBERTS EMILY WHITE
HOLLYWOOD BOYS & GIRLS CLUB FRAMEWORKS: SITE
14
BENJAMIN SMITH JOHN SOUTHERN ERICK CARCAMO SANDY YUM
DTLA CULINARY KITCHEN FORMWORKS: PROGRAM
30
MARY-ANN RAY JOHN SOUTHERN MIRA HENRY EMILY WHITE
10 HUDSON YARDS OPERATIONS: PROFILE
4 44
MAXI SPINA ALEXIS ROCHAS MARGRET GRIFFIN DAVID FREELAND
SCI-ARC CAMPUS 4 TYPOLOGIES: SPHERICAL
56
RUSSELL THOMSEN MAXI SPINA HERWIG BAUMGARTNER CASEY REHM
SFMOMA EXPANSION STUDY TECTONICS: FACADE MAXI SPINA RAMIRO DIAZ-GRANDOS
66 PALM SPRINGS RESIDENCE POSITIONS: TECHNOLOGY
74
DWAYNE OYLER TOM WISCOMBE RAMIRO DIAZ-GRANDOS DAVID RUY
CHAVEZ RAVINE OUTFIELD PARK TEXTURES: URBAN EVENT WILLY MULLER
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CONTENTS
PARKING SPACE DWELLING
BRIEF AND OBJECTIVE: This project serves as an introduction to the fundamental means and manners of working spatially and abstractly in relation to intimate human scale. Whatever the size of architectural intervention, there are fundamental aspects of space, form and experience that traverse all scales. A robust ability to manipulate form towards desired intent is the focus of this project. A series of exercises in various media both digital and physical introduce neccesary relationships between form, space, geometry, light, and effect.
7
EXPLODED ISOMETRIC (SOUTH EAST)
18'
8
STRATEGIES: SCALE > PARKING SPACE DWELLING > AXON LEFT: An exploded isometric drawing illustrating the interior within the skin.
SECTION
RIGHT: Section and plan drawings of the structure. BELOW: A chronological massing diagram of the structure. Followed below by a circulation diagram, and projected reference lines for the massing moves below that.
MASSING SEQUENCE
SPLIT BUILDABLE VOLUME
GROUND PLAN (+4’) E N TRY
CREATE TERRACE
S ITTIN G
LO U N G IN G
DESK
UPPER ACCESS
UPPER PLAN (+16’) CIRCULATION
9
LYI N G
REA C H I NG / STA ND I N G
PLAN DATUMS
STRATEGIES: SCALE > PARKING SPACE DWELLING > FINAL MODEL
11
12
STRATEGIES: SCALE> PARKING SPACE DWELLING > INTERIOR VIEWS
13
HOLLYWOOD BOYS AND GIRLS CLUB
BRIEF AND OBJECTIVE: This project is a continuation and expansion of the fundamental issues of architecture first introduced in the first and second studios of the first year core sequence. The emphasis of this project was on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. After studying overarching and/or contingent organizational strategies in significant architectural precedents, students will design a small institution on an urban site with intelligible organizational interrelationships of form, geometry, site conditions, context, and program. There will be a strong emphasis on the understanding of solid/void relationships, delineation, and choreographing movement through space.
The studio will begin with a phase of rigorous analysis of contemporary projects in order to cultivate expert comprehension and graphic communication of the systems germane to their respective organizational approaches. This approach will expand on the rigorous geometric studies from the previous year and expand each student's analytical and transformative design aptitudes. In situating the studio project in an urban context, students will also engage with urban planning and design issues. During the semester students will demonstrate cultural and methodological evidence of historical and contemporary disciplinary terminology and theoretical expansions including Diagram, Emergence, Morphogenesis, Parti, and Representation
14 14
Over the course of the semester each student will develop a coherent, publicly communicable concept which both visually and verbally illustrates the project's organizational relationships and qualities. Students will incorporate a variety of both analog and digital methods of production and visual communication, which will be held to the highest standard of craft consistent with work produced at SCI-Arc. In order to promote a fruitful intellectual culture within the studio, students are expected to integrate theories, concepts, and research methodologies learned in outside classes taken concurrently with this course, including, but not limited to History of Architecture, and Visual Studies.
1
SCI-ARC - 2015 LOCATION: 6000 W. HOLLYWOOD BLVD, LOS ANGELES, CA 90028 TYPE: EDUCATION, RECREATION SIZE: 98,000 SQFT HEIGHT: 3 STORIES (82’) PROGRAM: CLASSROOMS, SPORTS FIELDS
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FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > EXTERIOR VIEW
17
CASE STUDY: IGUALADA CEMETARY
RIGHT: Line drawing of the Igualada Cemetary by Einric Miralles and Carme Pinos. Hand traced from a series of high resolution scans obtained from the el croquis. BELOW: Sectional line drawing of the Igualada Cemetary. Hand traced from a series of high resolution scans.
TYPICAL SECTION (STAIRS)
Section of Stairs
25
’
50
TYPICAL SECTION (CRYPTS)
’
Section Through Crypts 18
FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > PRECEDENT STUDY
PLAN (ROOF)
10
0’
25’
50’
100’
19
PRECEDENT DIAGRAMMING
CONTRAST THRESHOLD
BREAKS IN REPETITVE NATURE
MATERIAL & MOVEMENT AB
A B
A
A
PRIMITIVE GEOMETRIES
A
- CONTEMPLATION SPACES
B
- RAILROAD SLEEPERS
ADDITIVE & SUBTRACTIVE
DEGREES OF CLOSURE
OPEN
INTERSTITAL
CLOSED
1
8
PUNCTUATING FORMAL MOMENTS
CONTEXT
CONSTRUCTION OF CURVATURES
67 ° 67 ° 61 °
114 °
91 °
89 °
LOCULI AGGREGATION
87 °
89 °
91 °
83 °
93 °
61 °
ADDITIVE & SUBTRACTIVE LATERAL & VERTICLE SPACES
PLAN APPLICATION TO TOPOGRAPHY
Space: Lateral/Vertical
20
FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > PRECEDENT DIAGRAMS
CONTRAST THRESHOLD
DENSITY OF SPACE
SHADOWS CHANGING CLOSURE
0%
100%
PROGRAM ELEVATION
MATERIAL PALETTE
STONE
1ST & 2ND DEGREE THRESHOLDS
RAILROAD SLEEPERS
- LOCULI
- VISITATION
- CHAPEL CONCRETE
RUSTED REBAR
FORM IN TOPOGRAPHY
ORGINIZATIONS OF LOCULI
FORM IN TOPOGRAPHY
B
A
CIRCULATION
SECTION & PLAN CONCURRENCE
- CONTEMPLATION SPACES
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ELEVATION CHANGE & CONNECTIONS
PROGRAM DISTRIBUTION GRAPH (BY AREA) PROGRAMMATIC SUM
INTERIOR EXTERIOR
PRIMARY
SECONDARY
Ou
tdo
or
Sp
ace
Fa
culty
OUTDOOR SPACE FACULTY
TERTIARY
PRIVATE
tor ana e/J Sto
rag
ice
her/
FACULTY/STAFF APTS
Off
Sta
ff A
s
pts
.
STORAGE/JANATOR OFFICES
ISOMETRIC PROGRAM MASSING
22
KITCHEN FOOD PREP
FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > PROGRAM STUDY
PROGRAM DISTRIBUTION PLANS
LEFT: Analitical program diagram for the boys and girld club. Program is divided into an analitical hierachy. Color is applied likewise so that quick connections and observations can be made during numerous studies.
LEVEL 1
LEVEL 2
Dance Room
Outdoor Classroom
RIGHT: A program study in isometric, plan, and section. Color makes it quickly apparent that in this study, outdoor spaces are large and OUTDOOR SPACE FACULTY located on the top of the structure, while private spaces are small and located in the interior of the first floor.
B
Ou
tdo
or
Sp
ace
cu Fa
lty
B
TERTIARY
PROGRAM DISTRIBUTION LEGEND
A
A
PRIVATE
.
Off
ice
s
pts ff A Sta
KITCHEN FOOD PREP
Te
p Pre od Fo hen Kitc
ach
er/
FACULTY/STAFF APTS.
tor ana e/J rag Sto
STORAGE/JANATOR OFFICES
BATHROOMS
GAMES ROOM
OUTDOOR CLASSROOM ms roo lass 2C
ot gL rkin Pa
PARKING LOT
om ssro Cla or tdo Ou
CLASSROOMS
om Ro
r ente gC rnin Lea
En
tra
nce
ENTRANCE
DANCE ROOM nce Da
LEARNING CENTER
s om Ro er Lock
HALLWAYS
WEIGHT ROOM
um asi mn Gy
LIBRARY STUDY CENTER
om Ro
CAREER CENTER ose urp lti P Mu
GYMNASIUM
OUTDOOR COURTYARD
MULTI-PURPOSE ROOM ARTS CENTER
PLAY FIELD
WOODSHOP
SWIMMING POOL OUTDOOR WORKSHOP
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SITE ANALYSIS (HOLLYWOOD AND VINE)
24
FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > SITE ANALYSIS
SITE ANALYS 25
N H O L L Y W O O D
B L V D.
UP
UP
UP
UP
2
UP
1
A R G Y L E
A V E.
UP
LEVEL 1z
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FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > PLANS
N H O L L Y W O O D
B L V D.
DN
UP DN
UP
UP
DN
2
DN
UP
UP
A V E.
1
A R G Y L E
DN
UP
LEVEL 2
27
SECTION 1 (SOUTH)
SECTION 2 (SOUTH)
2
28
FORMWORKS SITES... > HOLLYWOOD BOYS AND GIRLS CLUB > SECTIONS AND ELEVATIONS
HOLLYWOOD BLVD. ELEVATION (NORTH)
REAR ELEVATION (SOUTH)
1
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DTLA CULINARY KITCHEN
BRIEF AND OBJECTIVE: The fourth studio in this sequence works as a research laboratory for exploring programming as a means of generating organizational models and conceptual narratives for architecture. This demands on an understanding of how what we do see and determine as architects affects what we don’t see or don’t determine as architects and vice versa. Simply put, the formal choices an architect makes impact the range of behavioral outcomes a building affords. Primary to this study is an investigation into the relationship between architectural form and cultural action. Cultural action should be understood as the flows of people and the distribution of functional uses. By focusing on methods of organization, we engage in processes that can affect traditional systems of order and transform them into renewed models of spatial interaction.
In exploring the role of programming in architecture, students propose an organization for a culinary institute in downtown Los Angeles and its corresponding material form. The institute is focused on culinary production where students are taught the skills of the discipline in kitchens, labs and other specific spaces that are further explained in your program sheet. You will develop a program that includes instruction and related activities, such as a market, food storage and a restaurant.
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Programming - a thorough analysis of the quantitative and qualitative requirements of a building or site - has long been at the core of the architectural practice. Cultural values and traditions, politics and technology have historically all driven programmatic principles. By extension, the relationship between form and program has similarly evolved based on the context of the time. For modernism, the concept of functionalism and the universal space of the grid, in large part, structured the formal response to program. The nineteen sixties and seventies radicalized programming and its architectural response as the more traditional utopian values of certainty and order were replaced with unpredictability, multiplicity and subversion.
A
C
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FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > MORPHOLOGY LEFT: A series of sketches to describe the form and scale of our 4 micro-morphologies. RIGHT: A series of isometric construction digrams, each illustrating a different narritive of massing stratagies. Each of these diagrams were a part of a rigerous massing study in which students aggregated four simpe polycubes (micro-morphologies) into a series of macro-morphologies. Macro-morphologies were then critiqued for the interior orginization of their overall form.
x6
“L” x2 Totem x1
ap
Hinge Chamfer Bend
x1
“L” x5 Overlap Stack Hinge
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LEFT: One of the five macro-morphologies is chosen to develop throughout the semester. This macro-morphology serves as a diagram for the overall interior orginization explored later. RIGHT: An exploded isometric drawing illustrating the macro-morphology, its contained matrix, and various volumetric and surface conditions. Relevent tectonic information from this diagram will help the project develop further. RIGHT: A program distribution bar diagram for our culinary school, beside a formal diagram that illustrates the same information but including relative locational and volumetric decisions.
6
34
FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > PROGRAM MASSING STUDY
den (2,000 CFT) street kitchen (10,000 CFT)
hungry
trails (30,000 CFT) gardens (90,000 CFT) trails (30,000 CFT)
gardens (15,000 CFT) foyer (4,500 CFT)
classrooms (20,000 CFT) auditorium (36,000 CFT) snacking
shops/market (32,000 CFT) library (10,000 CFT) lockers (2,000 CFT)
library (70,000 CFT) classrooms (60,000 CFT) science lab (6,000 CFT)
kitchenettes (96,000 CFT) kitchenettes (105,000 CFT) binging science lab (6,000 CFT) TV Production (7,500 CFT) food storage (9,000 CFT) auditorium(40,000 CFT)
stuffed
dry storage (3,000 CFT) cold storage (3,000 CFT) frozen storage (3,000 CFT) facilities storage (3,000 CFT) bathrooms (8,000 CFT) administration (10,000 CFT)
street kitchen (36,000 CFT) foyer administration (10,000 CFT)
Total buiding interior (304,000 CFT)
Program Distribution by Type and Volume 1/32” = 1’-0”
Program Distribution by Micromorphology 1/32” = 1’-0”
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BELOW: An isometric diagram of the circulation paths within the matrix. RIGHT: Two isometric diagrams of the (top) exterior circulation, and (bottom) interior circulation.
CIRCULATION AND STATIC SPACE OVERLAY INTERIOR MATRIX
1/16� =
36
FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > CIRCULATION DIAGRAMS
FLOOR/CEILING
STATIC SPACE SURFACE/VOLUME DIAGRAM
STATIC SPACES
CATWALKS
Interior Catwalks
Exteri Exterior xte eri Circulation on 1/16 /16”” = 1 1’-0” ’-0”
Exterior Garden Spaces
ma m atrix) a trix i ) ELEVATOR
CIRCULATION SPACE SURFACE/VOLUME DIAGRAM Elevator
CATWALK SPACE
Interior Catwalk Spaces
EXTERIOR TERRACE
Interior nterior Circulation n 1/16” 1/1 / = 1’-0”
Exterior Gardens
37
ENTRY PLAN 1 (STREET RESTAURANT)
A
B UP
C
UP
UP
UP
UP
M A I N S T.
UP
[1] Entrance Plan 1/8” = 1’
O L Y M P I C B L V D.
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FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > PLANS
ENTRY PLAN 2 (SCHOOL ENTRANCE)
A
B
M A I N S T.
C
[2] Lower Mass and Landscape Plan 1/8” = 1’
O L Y M P I C B L V D.
39
SPLIT PLAN 3 (CLASSROOMS AND TERRACE) N
A
A
B
B C
UP
C
UP UP
UP
UP
UP
UP
M A I N S T.
M A I N S T.
UP
[3] Upper Mass and Landscape Plan 1/8” = 1’
O L Y M P I C B L V D.
[3] Upper Mass and Landscape Plan 1/8” = 1’
O L Y M P I C B L V D. N
40
1/8” = 1’
FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > PLANS O L Y M P I C B L V D.
O L Y M P I C B L V D.
TOP FLOOR PLAN(LIBRARY AND AUDITORIUM) N
A
A
B
B C
M A I N S T.
M A I N S T.
C
[4] Top Mass Plan 1/8” = 1’
O L Y M P I C B L V D.
[4] Top Mass Plan 1/8” = 1’
O L Y M P I C B L V D.
41
LONG SECTION A(STACKED CIRCULATION)
4
3 2
1
A
42
FRAMEWORKS: PROGRAMS > DTLA CULINARY KITCHEN > SECTIONS
SHORT SECTION B (SPLIT)
4
3
2
1
B
C
43
AAAV
10 HUDSON YARDS TOWER
BRIEF AND OBJECTIVE: The first studio of the third year core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile.Students consider the uses of precedent and antecedent in their work, while the main investigation examines the particular impact of the building envelope and its material and geometrical determinations on site and a Tall Building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. By studying the specificities of the Tall Building envelope students will be exposed to the tight dependency existing between serial determinations –of both geometric and material order- of the outermost surface, and the spaces it encloses, its surroundings and its iconographic performance in 3A Studio:
Throughout the semester we will thus attempt to situate processes of expression alongside the magnitudes that control the economies of towers in order to articulate design proposals, that while fulfilling the different performative criteria of the contemporary High-rise, they contest its presumed identity. Students will hence be expected to put forward a critical position –one that is supported by a sophisticated repertoire of formally and materially resolved techniquescalibrated against the problems and constraints of the contemporary Tall Building. Moving from the conceptual and the abstract to the physical realities of building, the work of the studio aims to productively embrace novelties and differences in the production of vertical organizations.
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Hardly any other building type has provided architects the possibility of technological innovation and seemingly endless aesthetic limits as much as the High Rise. Often characterized as the most magnificent architectural occurrence of the previous century, its presence in the contemporary city not only embodies the celebration of modern material technology and high visual impact, but it is also the intersection of strategies of densification via zoning law and code requirements; global and local real estate speculation, investment markets and politics.
1
2
3
4
5
E
D
C
B
SCI-ARC - 2016 LOCATION: 10th AVE, NEW YORK, NEW YORK TYPE: HIGH RISE TOWER WITH MARKET/RETAIL PODIUM SIZE: 1.7 MILLION SQUARE FEET HEIGHT: 65 STORIES (878’) TENANTS: L’OREAL COACH, SAP DESIGN FEATURES: NESTED ACCESS TO THE HIGHLINE ATRIUMS THAT ALLOW FOR INTERNAL TENANT CONNECTIONS GRAPHIC TECTONICS IN THE BUILDING SKIN FIGURAL PERFORMANCE IN THE SECTION AND ELEVATION UNDULATING TYPICAL PLANS WITH A RESPONSIVE CORE 13.5’ SLAB TO SLAB
46
10 Hudson Yards, New York, NY 10001
47
CASE STUDY: FLATIRON BUILDING
Humor, to be comprehensible to anybody, must be built upon a foundation with which he is familiar. If he can’t see the
foundation the superstructure is to him merely a freak -- like the Flatiron building without any visible means of support -- something that ought to be arrested. - Mark Twain 1905
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OPERATIONS: PROFILE > 10 HUDSON YARDS TOWER > PRECEDENT LEFT: Photographs of the Flatiron (Fuller) building under construction in New York City, New York in the year 1905. These photographs studied carefully in conjunction with plans and elevations provided by the National Registrar for Historic Places helped to reconstruct an accurate three dimensional model of the building, and its structure. RIGHT: An exploded isometric view of the Flatiron building, and its underlying supporting structure. BELOW: Elevation and plan reconstructions.
HIGH-RISE DEVELOPER RECIEVES PROFIT
MID-RISE COVERS THE COST OF CONSTRUCTION
LOWRISE COVERS THE COST OF TAXES
THe FLATIRON (FULLER) BUILDING
STATIC PLAN
MID-RISE PLAN
ENTRY PLAN
EXPLODED ISOMETRIC
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50
OPERATIONS: PROFILE >2015 10 HUDSON > FALL/3AYARDS > STUDIO TOWER > FIELD > SITE OPERATIONS AXON > 10 HUDSON YARDS TOWER > DETAILS
SITE ISOMETRIC (SOUTH EAST)
HIGHLINE ELEVATION (SOUTH)
ALU. INSET FLASHING FROSTED INSET GLASS STRUCTURAL FRAMING TINTED INTERIOR GLAZING EXTERIOR GLAZING AIR GAP
12" HVAC CLEARENCE 9" VOIDED CONCRETE SLAB CONCRETE SPANDREL BEAM TAPERED DROP CEILING 3' CONCRETE COLUMNS
TECTONIC MAKE-UP
10 Hudson Yards Tower prominently faces those walking North along the highline.
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Axon Detail
EXPLODED ISOMETRIC CHUNK (SOUTH EAST)
INTER-TENNANT OFFICE ATRIUM
Structural Framing STRUCTURAL FRAMING
InteriorGLAZING Fritted Glazing GRAPHIC, TINTED, INTERIOR
TOWER MASSING Facade Detail TYPICAL TOWER FORM
2 PROFILES TRANSFORM
PROFILES ROTATE 30°
PROFILES CONNECT
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Frosted Inset Glass FROSTED INSET GLASS
OPERATIONS: PROFILE > 10 HUDSON YARDS TOWER > ELEVATION
HIGHLINE ELEVATION (SOUTH)
The tower addresses its urban surroundings by 'unraveling' and straddeling the highline as it reaches the ground. A multi story mixed use shopping center connects the highline level to street-level.
S
Glazing EXTERIOR Exterior GLAZING
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2 A
AW 1
1 2
A
B
C D
D
C
TRANSITION PLAN (FLOOR 35)
PARALLEL PLAN 2 (FLOOR 27)
E
F
A
D
C
RETAIL PLAN (FLOOR 20
W.C
B
1/32” = 1’
A VENT.
4
W.C
OFFICE
MECH
TRASH
1
ELEV. LOBBY
11,600SQFT
5
OFFICE STAIR
STAIR
11,600SQFT MECH.
MECH.
2
VENT.
E
STORAGE
3 D
4
C
B
PARALLEL PLAN 1 (FLOOR 20)
5 PARALLEL PLAN 2 (FLOOR 27) 1/16” = 1’
A
54
Two typical rhomboidal floorplans emerge They flip in orientation every 20 floors.
OPERATIONS: PROFILE > 10 HUDSON YARDS TOWER > PLANS & ELEVATION
INTER-TENNANT OFFICE ATRIUM
OVERLAY PLAN
CENTER
CORE SKIN TRANSITION PLAN 1
PA
RA
LLE
LD
AT
UM
PARALLEL PLAN 1
TRANSITION PLAN 2
PARALLEL PLAN 2
TYPICAL CORE TO SKIN SEQUENCE *SEQUENCE REPEATS EVERY 20 FLOORS
e. ELEVATED PUBLIC CONCOURSE
y
^
OFFICE
MECHANICAL COVERED HIGHLINE SPACE
INTERSTITIAL ATRIUM SPACE
STREET LEVEL
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TOWER LOBBY
SCI-ARC IV
BRIEF AND OBJECTIVE: Our project is a proposal for the future campus of SCI-Arc. It is a seven story, 110,00 square foot facility, formed around the spherical building typology, and seated adjacent to our current building. The new facility would perform all of the functions of the current school and more. Our approach to this comprehensive design challenge began with a studio wide investigation into how porous aggregations of parts can be brought together, through cutting, breaking, and texture, to create a heterogenous whole. In our case, this part took the form of an elongated rectangular prism.
These parts were further aggregated about one another into larger groups. These groups were again accumulated into a large mass. This mass was finally cut, broken, and re-assembled into our first whole. The formal condition of this whole remained flexible in its tectonic as it began to receive spacial, and functional roles. The organization of this school stacks itself around a central, outdoor cavity, that helps to illuminate and ventilate the school.
56 56
Similar to architecture buildings of the past, the studio spaces find themselves perched on the upper most floors where they receive the right amount of diffused daylight from the skylights above. The central floors of the building contain the classrooms along the periphery, and labs/ shops in the internal spaces. Lastly, public spaces like the lecture hall, gallery, and admissions offices are located within the plinth about which the school balances. The entirety of this project can been seen as a relevant exploration into formal, and programmatic, benefits and setbacks of balancing parts within a whole to a whole of parts.
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ARTICULATION & TECTONICS II > SCI-ARC IV > ELEVATIONS TOP LEFT: Plan drawing of concourse level. a central atrium that spans the height of the school is surrounded by peripheral programs.
USABLE ROOF AREA FOR PHOTOVOLTIC PANELS
NORTH
2800 m2 x 1000W x 15% = 420,000W
0°
BOTTOM LEFT: Elevation drawing of the north facade. This side of the school faces E. 3rd St, and is the primary facade. BELOW: Elevation drawing of the east facade illustrating the two surface textures of the building massing.
JUNE 1
4PM
8AM 90° MAR & SEPT
90°
270°
NOON 80° 70°
50° JANUARY 1
40° 30° NOON 20° 10°
0° 180°
SOUTH
59
W (Watts)
8AM
4PM
132 128 124 120 116 112 108 104 100 96 92 88 84 80 76 72 68 64 60 56 52 48 44 40 36 32 28 24 20 16 12 8 4 0
0
60°
60
ARTICULATION & TECTONICS II > SCI-ARC IV > LONG SECTION BELOW: Section drawing cut through the length of the building. Floors begin to shift as they progress to the eastern edge of the building.
61
Tectonic Systems Chunk
A
B
Typical Floor Assembly • 6” reinforced concrete slab • W-20 wide flange beams • Gyp. drop ceiling
Interior Wall Assembly • 3” gyp. wall • 12” insulation • Structural studs
145
C
Exterior Facade Panels
D
Panel to Floor Assembly Detail
130
70%
140
F
70%
110
70%
Facade Apertures • Rain screen • Glazing Frame • Inset Glazing
45
E
June 16 // 8:30 am
DAYLIGHT
SHADE
Fiberglass Molded Panel Rain Screen
F
F
Weather-Proof Sealed Layer Fiberglass Molded Panel
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ARTICULATION & TECTONICS II > SCI-ARC IV > TECTONIC DIAGRAMS
B
A
C Steel Frame
D
ABOVE: A tectonic detail isometric drawing of the skin and supporting structure of the building envelope. This tectonic draws from the knowledge of analyizing the FRP system on Steel Panel the SFMOMA. CNCed formwork would allows Frame for the skin to be constructed in fiberglass panels that bolt to a steel lattice on the itnerior of the building. LEFT: A series of four program diagrams outlining the location of the program within the school.
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ARTICULATION & TECTONICS II > SCI-ARC IV > PHYSICAL MODEL
65
SFMOMA EXPANSION STUDY
COURSE DESCRIPTION: The seminar joint areas of investigation are Tectonics –understood as architecture’s material anatomy and its effects- and Performance –largely consisting of technical, technological and cultural environmental dimensions. The class focuses predominantly on the building envelope –particularly on its forms of articulation and means of producing apertures. The articulation of architecture’s outermost surface will be understood through the logics of panelization, material and pattern. Apertures will be understood through the logics of openings or fenestration, glazing, and enclosure. These combined constitute the economies and aesthetics of how architecture produces interior/exterior relations and affective qualities; embodies a crucial environmental role; etc.
Working in groups throughout the entire semester, students will use precedents as a vehicle to document the anatomy and tectonics of each followed by a speculative exercise on how to modify one element or sub-system towards shifting its effects or producing new ones altogether. In order to effectively modify the precedent, students will be required to have a thorough understanding of the economies and principles underlying it, so as to produce both technical knowledge and critical awareness of embedded cultural habits. The class will thus seek out an alternative understanding of the Tectonic –one that not only mirrors the realm of construction –materials, methods, sequences, tolerances, etc.but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and character; etc. Methodologically, the class frames its object of study through the possibilities of a sectional approach. The primary mode of design and representation is the cut-away axonometric drawing.
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The semester is structured into two distinct halves: 1. Precedent Modeling, 2. and Transformation. At the end of each phase a quiz or assignment will take place to assess each student’s comprehension of the principles at stake. The class will be split into two sections per instructor and Students will work in teams of four or five people of their choosing. A high degree of coordination is expected so as to best organize the labor division within each group. A high level of personal engagement and production are requirements for each group participant. It is intended that this class is a support course, so its scope will never compete in actual workload with the design studio. All modeling and drawing will be done using Rhino and Grasshopper.
SF MOMA EXTENSION CORNER (EXTERIOR ISOMETRIC)
15
5
15’
X
Precedent Study: SFMOMA Expansion Envelope System: Fiberglass Reinforced Panel (FRP)
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TECTONICS > SFMOMA EXPANSION STUDY > EXTERIOR ISOMETRIC & DETAILS
CONSTRUCTION PHOTOS
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SF MOMA EXTENSION CORNER (INTERIOR ISOMETRIC)
ecedent Study: SFMOMA Expansion velope System: Fiberglass Reinforced Panel (FRP)
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TECTONICS TONICS > SFMOMA EXPANSION STUDY > INTERIOR ISOMETRIC & DETAILS Corner Detail S24 x 121 Column
Cast Concrete & Fireproofing Column Encasement 12” x 12” Rolled Steel Truss 3/8” Steel Rebar Profiled Steel Decking W16 x 50 Beam
Window Sill
Stiffiner Rod
U Track
W30 x 132 Perimeter Beam
C Channel Metal Stud (42 x 150mm)
Laterial Stiffiners T Runner Grid Corner Truss Mounting Bracket
Cieling Tile
C Channel Metal Stud
Aluminum Stiffining Rods
(42 x 150mm)
Side FRP Panel
Stiffening Plate
Horizontal Keel
Mullion Wraps (to prevent spreading between panels)
Verticle Brace Frames
2’
West Facade Panel Detail Gloss Enamel
1’
Fiberglass
Fire Proofing
Silicon Weather-proofing
Thin Rigid Insulation
Parimeter Assembly Housing
Semi-Rigid Insulation
Metal Stud Wall
Gypsum Wall Board 3/8” Paint
15’
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5’
15’
X
15’
Y
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PALM SPRINGS RESIDENCE
BRIEF AND OBJECTIVE: The final studio in the core sequence introduces students to the independent thinking and integrative design through an open, yet defined framework. With one foot in core and one pointed towards thesis, the pedagogy is pased on culminating all previous core studios by charging the students with constructing a disciplinary position and formal agenda as it relates to advanced notions of precedent, tectonics, and representation. The thread that runs through these concepts will be an attitude toward technology gleaned from selected texts. The studio as a whole, works on the same project and site with different trajectories according to the guidance of each instructor. This provides an exparimental platform for students to teest ideas and their execution, with the crafting of a position having as much currency as the crafting of the project and its images.
If, in the broadest sense, a thesis is about adressing the question 'what is architecture?' then this studio is paring it down a bit byu providing a loose constellation of topics that includes precedent, tectonics, and representation, topics which have been thouroughly covered in the first three years of the corse studio education. The thread of technology is intended to compel a philosophical perspective towards all three into a coherent project. So the question might now be rephrased as: what are precedent, tectonics, and representation, in architecture, as undrestood through the philosophical lens of technology?
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If, in the broadest sense, a thesis is about adressing the question 'what is architecture?' then this studio is paring it down a bit byu providing a loose constellation of topics that includes precedent, tectonics, and representation, topics which have been thouroughly covered in the first three years of the corse studio education. The thread of technology is intended to compel a philosophical perspective towards all three into a coherent project. So the question might now be rephrased as: what are precedent, tectonics, and representation, in architecture, as undrestood through the philosophical lens of technology?
SCI-ARC - 2016 LOCATION: 491 W. VISTA CHINO RD, PALM SPRINGS, CA 92262 TYPE: SPECULATIVE RESIDENTIAL SIZE: 3,000 SQFT INTERIOR HEIGHT: 1 STORY (50’ BELOW GRADE) PROGRAM: LIVING SPACES, WATER STORAGE, SOLAR ARRAY
2
+14.40’
+1.50’
-8.00’
-26.50’
SLEEPING
76 -52.00’
BATH
KITCHEN
LIVING
PATIO
POSITIONS: TECHNOLOGY > PALM SPRINGS RESIDENCE > SHORT SECTION
ENTRY
A
B
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CASE STUDY: PAOLO SOLERI DOME HOUSE
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POSITIONS: TECHNOLOGY > PALM SPRINGS RESIDENCE > PRECEDENT
Dome House Architects: Date: Location: Materiality:
Paolo Soleri 1949 Cave Creek, Arizona, United States Aluminum frame solar dome set
atop submerged desert concrete structure
The site is a northwest-facing slope which drops to a wide arroyo with expansive views to Elephan Mountain and the broad New River Mesa to the north. The orientation of the main axis of the plan is slightly west of north, with a curious yet uninte tional alignment with Elephant Mountain. The house blends with the slope slightly below the crest of the hills to the south. What emerges from the slope is a glass dome on a desert stone base which escapes the slope altogether providing entrance into the structure. The layout of the plan gives the appearance of symmetry that is not perceptible on site. Convers ly, the interior of the space reveals a magical asymmetry of contrast: the cave-like and simulta neously sky-like qualities of the space. The cave-like level is compact and because of this assumes a flared-out geometry. A summer sleeping space opens to the east, with a large operabl window and skylight allowing view and ventilation to a large palo verde that is immediately adjacen An entry space opens to the west with a studio sleeping space completing the opposite side of the flared-out geometry. In the center is a small bathroom with a shower. Natural light from slot skylight above is allowed to project through a colored resin mural by Soleri to the coat closet beyond. The sink is a white porcelain oval set in a polished concrete shelf with glass shelves above. The wood-ply door to the bath is the sole interior door in the house. The slot skylight that aligns the main axis miters down to form a slot window for the dressing area and offers a focused view towards Elephant Mountain; it begins at a kite-shaped skylight above the flared walls that form the kitchen space. These walls are the only interior load-bearing structural features and are of desert concrete, a technique that Wright developed at Taliesin West and both Soleri and Mills had experience with. This was the primary material for all external walls and also for the roof, with random stones exposed in the ceiling plane. The walls that shape the kitchen are battered up to the north and support two integral concrete roof beams on either side of the slot skylight. These cantilever from the walls to the south, supporting the north edge of the dome hovering above. The same walls anchor in part the eleven-foot elbowed cantilever of reinforced concrete that is both kitchen counter and dining table. This powerful form exemplifies Soleri¶s infatuation with cantilevered structures while solving the functional problem of space in a compact plan, allowing a clear floor with secondary axial alignment to the fireplace defining the lower-level sitting area. -Excerp from ³A Dome in the Desert´ by Karissa Rosenfield
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N
EDGE OF OASIS
33°50’38.7” N
PALM SPRINGS, CALIFORNI MT SAN JACINTO
N
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POSITIONS: TECHNOLOGY > PALM SPRINGS RESIDENCE > SITE ANALYSIS
IA
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SOLAR COLLECTION CANOPY VAPORATOR
RESIDENCE
1
-11.40’
0’ -8.00’
-26.50’
-61.00’
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POSITIONS: TECHNOLOGY > PALM SPRINGS RESIDENCE > LONG SECTION
LANDSCAPE
A
B
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SOLAR COLLECTION CANOPY
CELESTIAL OCULUS
PRIMARY LIVING QUARTERS
NATURAL SWIMMING POOL
COLLECTION CISTERN
C
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POSITIONS: TECHNOLOGY > PALM SPRINGS RESIDENCE > SECTION AXON
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CHAVEZ RAVINE OUTFIELD PARK
BRIEF AND OBJECTIVE: For the first time in history there are more people inhabiting urban environments than rural ones. As a consequence, on the one side, the exponential growth of many metropolitan populations is reaching levels of unprecedented social complexity, and on the other side, the geographical environment in which societies are settled is every time more compromised, insecure and threatened: Cities like Tokio, Lagos, Manila, Rio de Janeiro, Hong Kong, Mumbai or Los Angeles, are starting to manage an unknown type of urban complexity, in which the grade and the type of metropolitan problems are far from the traditional urban topics that we have become used to in years past.
This project will focus on the scale of the city, based on the creation of new dispersed city centres that share centrality, while simultaniusly structuring the periphery. The city of Centripheries is a new model of equalizing the tensions between different parts of the metropolis, based on the creation of hubs where the urban acquires the same intensity of use as a building. We call these hubs the Perinodes, and this project will establish a hypothesis of conceptual work central to them: Can stadiums become the centers of gravitation in a compressed urban texture? Exert enough pressure to attract economy, talent, design, and services? How can we design everything that is not a field of play? The urban economy of these urban attractors does not end in the stands - it starts.
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This project will work on the discovery of the potential perinodes of Los Angeles, considering the large attractive stadiums of sufficient urban gravity to establish various design scenarios. It is about organizing extremely compact urban models around these sports centers that can be considered by density, infrastructures and services the true centers of an extended periphery:Centripheries. These Perinodes will be considered acupunctures of metropolitan scale, where the obsolescence of infrastructures and their expenditure in terms of territory and use, lead us towards a new potential reading: To understand the perinodes as if they were micro-cities, creating one, two, three new downtowns.
CHAVEZ RAVINE OUTFIELD PARK SCI-ARC - 2017 LOCATION: 1000 VIN SCULLY AVE, LOS ANGELES, CA 90012 TYPE: SPORTS, URBAN RENOVATION SIZE: 16 ACRE PARK, 800,000 SQFT INTERIOR HEIGHT: 11 STORIES (193â&#x20AC;&#x2122; ABOVE FIELD) PROGRAM: PARK, RESIDENTIAL, MIXED USE DESIGN FEATURES: PUBLIC PARK SPACES WITH INTIMATE VIEWS TO DODGER'S FIELD ROOFTOP SEATING WITH PANORAMIC VIEWS TO DODGERS FIELD UNDERGROUND PARKING DELAMINATING ARCHITECTURE THAT UNITES BUILDING TO GROUND MULTI-LEVEL CONCOURSES THAT CIRCULATE FANS AND RESIDENTS SUSTAINABLE URBAN DENSITY
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K
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"If Los Angeles is one of the world's leading cities in architecture, it is because it is an ecology that empathizes with the architecture, and it is up to the architects of the world to find out the reasonâ&#x20AC;? - Reyner Banham, Los Angeles: The Architecture Of Four Ecologies.
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TEXTURES URBAN: RENEWAL> CHAVEZ RAVINE OUTFIELD PARK > CONCEPT
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ROOF PLAN
LONGITUDINAL SECTION A (NORTH WEST)
TEXTURES URBAN: RENEWAL> CHAVEZ RAVINE OUTFIELD PARK > ROOF PLAN AND SECTION
The idea of the proposal was to create a linear park environment that allows the architecture to play as a central theme; a
place activated during a game, but where the community can gather at any time, during the season or not.
EXIT
EXIT
UPPER CONCOURSE
OFFICES RETAIL LOWER CONCOURSE
RETAIL
PARK OFFICES PARKING
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TEXTURES URBAN: RENEWAL> CHAVEZ RAVINE OUTFIELD PARK > ISOMETRIC STUDIES
Chavez Ravine Outfield Park is at the center of a prospective plan for the urbanization of the Chavez Ravine canyon that surrounds historic Dodgers Stadium. Focusing on the North East portion of the site, directly beyond the outfield, Chavez Ravine Outfield Park is a linear urban park, enclosed by mixed use, and residential housing structures. In this case, the building itself is defined by the formal extension of the existing dodgers stadium into the surrounding landscape, as to suggest that both the
stadium and the extension form a cohesive composition. The language of the extension itself is that of banding and debanding, where the architecture allows for landscape to transform to wall, wall to roof, roof to seating, and so on, seamlessly outward and into the surrounding urban form, and texture of downtown Los Angeles.
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TEXTURES URBAN: RENEWAL> CHAVEZ RAVINE OUTFIELD PARK > MODEL PHOTOS
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YEAR > SEMESTER > COURSE > TITLE > PROJECT > CONTENT
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