Caite Canfield Portfolio Fall 2020

Portfolio Fall 2020

Georgia Institute of Technology M.Arch 3.5 Caite Canfield

Caite Canfield Architect, Artist, Designer, Jeweler Employment & Internships Contact caitecanfield@gatech.edu 706-633-9283 http://caitecanfield.wixsite.com/artportfolio

Education Georgia Institute of Technology Atlanta, GA Fall 2019 - Spring 2022 Master of Architecture Skidmore College Saratoga Springs, NY Fall 2015-May 2019 Bachelor Degree of Science in Visual Arts concentration in Jewelry and Metals, and secondary emphasis Sculpture Bachelor Degree of Arts in Mathematics Overall GPA: 3.58 Studio Arts College International (SACI) Florence, Italy (05/18/2017-06/28/17) Personally invited to the Late Spring study abroad session, completing two studio art courses: Ceramics (A) & Fresco (A+) Saint John’s International School Waterloo, 1410, Belgium (08/2013 - 06/06/2015) Graduated completing the International Baccalaureate Diploma (32 points); Higher Levels: Visual Arts, Physics, Language and Literature. Standard Levels: Mathematics, French, Economics.

American School of Doha Doha, Qatar (08/2008 - 06/2013) Antwerp International School Ekeren Antwerp, 2180, Belgium (01/2005 - 06/2008)

Languages/Skills/Clubs Fluent in French Proficient in Rhino, Grasshopper, InDesign, Photoshop, Illustrator, Lightroom, Premiere Pro and iMovie Proficient with power tools Proficient in Microsoft Office (Excel, Word, PowerPoint, Pages, Keynote) Travel: Grew up on 3 different continents Treasurer of EQiA (Equity in Architecture), Co-Founder & External Pr Chair ECO (Sustainable Studio Initiative)

Graduate Intern, Formations Studio - May 2020 - August 2020 Introduction to Design & the Built Environment GRA, Georgia Institute of Technology, August 2019 - May 2020 Hinman Library GRA, Georgia Institute of Technology, August 2019 - May 2020 Master Jeweler Apprentice, Tiffany & Co Jewelry Design and Innovation Workshop - May 2019-August 2019 Harvard University GSD 6 week Design Discovery Program in Architecture — June-July 2018 Intern, Precision & Detail Fabricator for WIESS Energy Hall, Houston Museum of Natural Science —June-August 2017 Paul Bernhard Exhibit Design & Consulting (PBE)

Leadership, Service & Community Engagement Experience Skidmore Varsity Volleyball Starting Athlete (Fall 2015-Spring 2019); Captain (Fall 2017-Spring 2019): 20 hours a week Two-time MVP Varsity Athlete, Communication, Leadership, Time Management Skill Development Service events involving Skidmore Volleyball team National Dames 1 Club, LIZARDS, Leuven, Belgium — 2014-2015

Recruited and selected for highest level non-professional regional club team.

Volunteer Middle School Volleyball Coach, St. Johns International School, Waterloo, Belgium — 2014-2015 Taught volleyball rules and techniques to Middle School students twice a week.

Pernik, Bulgaria, Mural Designer and Painting Coordinator, Young Life Brussels — 2014

Designed and led a group of 10 volunteer artists in painting mural for Young Life Brussels service trip to Bulgaria

Sichuan, China, Lead Artist & Designer for School Renovation, Honeywell Service Project — 2013 Designed, prepared, and led team of 14 painters in constructing 170ft mural

Scholarships & Awards Georgia Tech Architecture Graduate Ambassador - Spring 2020

Our Architecture Ambassadors are faculty-nominated undergraduate and graduate student representatives who embody the diversity, talent, and enthusiasm of our School.

T. Gordon Little Fellowship; Full-ride to Georgia Tech M.Arch 3.5

This Fellowship is to encourage highly qualified applicants who show evidence of exceptional academic performance and professional promise to pursue study at the Georgia Institute of Technology in the Master of Architecture Professional Degree Program.

John P Heins Outstanding Senior Thesis Exhibition Award - Spring 2019 Awarded to one senior Art Major at the Senior Show; Best in Show

Dorothy Dryfoos Olsan '41 Prize in Jewelry and Metalsmithing - Spring 2019

Established in memory of Dorothy Dryfoos Olsan '41, and awarded annually to a student who has demonstrated outstanding achievement in jewelry and metalsmithing.

The Eduardo Albanell Prize - Spring 2019

Awarded annually to a senior or junior art major or minorwho has demonstrated outstanding achievement in sculpture.

Stokes Entrepreneurial Artist Award — Summer 2018

Received $5,000 Scholarship to attend Harvard University’s GSD Design Discovery Program in Architecture. One out of 220 students accepted worldwide ages 20+.

Dean’s Honors List and Member of Thoroughbred Society — Spring 2018 Honorable Mention Award 120° Intercollegiate Regional Competition — April 2018 Accepted and received the honorable mention award second to Best in Show.

American Volleyball Coaches Association (AVCA) All-American: 2017 All-Liberty League First Team and AVCA All-New York Region Athlete — Fall 2017

Jules Maidoff Best Student Artwork Award, Studio Arts College International (SACI), Florence, Italy — 2017

Selected as the best student artist among all students attending the Late Spring Study Abroad program. Approximately 200 students attending.

ECIS AWARD (European Council of International Schools), St. Johns International School, Waterloo, Belgium — 2015

A student who has a positive attitude towards life and culture of their host country, able to converse in at least 2 languages, a contributing force in the school, has the ability to bring people together in a sense of community, thus furthering the cause of International Understanding.

Sister Mary John Shannon Prestigious Sportsmanship Scholarship, St. John’s International School, Waterloo Belgium — 2015

Presented to top athlete in the senior class for sportsmanship and participation in at least 2 varsity sports

Rita Greene Scholarship, St. Johns International School, Waterloo, Belgium — 2015

Scholarship to graduating student for creative potential and leadership qualities to pursue a career in the arts and acknowledgment of exceptional contribution to the visual arts at St. Johns International School.

Graduation Academic Award for Visual Arts, St. John’s International School, Waterloo Belgium — 2015 Senior award, Outstanding student in Visual Arts

Senior Class Female Athlete, St. John’s International School, Waterloo Belgium — 2015

Presented to top athlete in the senior class for sportsmanship and participation in at least 2 varsity sports

Light-Space-Matter Modulator Advanced Studio I - RECORDER

The Light-Space-Matter Modulator is a review of some basic design conventions and as provocation for design invention – reminders of the simultaneously material and ephemeral aspects of architecture.

Emphasize a dialog between generative processes and descriptive systems utilizing both physical and digital means of modelling The diagram illustrates the different profiles and views of the three-dimensional form.

The diagram above illustrates the three-dimensionality of the modulator through exploration of visual representation through Rhino, Illustrator and Photoshop. The form itself was initially made our of sheets of cardboard and was then 3D modeled in Rhino. This exersice was extremely valuable as it explored boolean operations, shape relationships, and the mathematics of the form made.

Infinity Drawings Advanced Studio I - RECORDER

As part of the RECORDER Studio, the term “Infinity Drawings� emerged and defined a drawing that broke the boundaries of the frame to explore the idea of infinity either beyond the edges of the frame or within the frame infinitely into the page.

Perform a series of operations that can be found in both illustrator and rhino, including but not limited to: Shear, Offset, Mirror, Scale, Reflect (x,y,z), Pattern, Repeat, Inverse, Overlap, Zoom, Stretch, Fold, Flatten, Unfold/Unroll

The Curio: DREAMS Advanced Studio I - RECORDER

DREAM INDEX

Anticipated Minded Transgression Dreams: experience a dream where you are performing a habit or task that you no longer do, may stir guilty feelings but are actually an indication of greater success at putting a stop to the undesired habit Auditory Dreams: a dream where you remember hearing something but no visuals, common for people blind at birth, can experience “exploding head syndrome” during the hypnagogic stage where they hear loud, uncomfortable sounds like knocking, banging, and explosive noises, solely an auditory dream expereince.

Cathartic Dreams: a dream which allows you to feel your true feelings, a dream that deals with emotions bubbling over to the point where you think you might lose control

The Curio chosen in this project within the Cabinet of Curiosity for the RECORDER studio was Dreams.

Goals: a project which embodies the highest aspirations of architecture by elevating the elemental, acknowledging the visceral, and promoting the poetic, preserving the past and accomodating the future.

Through the archiving and indexing of information, dreams can begin to come to life through fragmentation, layering, and overlaying transparencies. Mapping information to curves in grasshopper generated the DREAM Infinity Drawings linear, fragmented, curved, and circling back on itself.

Clairvoyant Dreams: clairvoyant dreams occur when psychic abilities and dreams are working in unison. “When having a clairvoyant dream, you can see things with your sixth sense.” imagery appears like a dream narrative Consolidation Dreams:these dreams provide you with relief and peace of mind for whatever feelings and experienced the central theme of the dream reveals. these dreams stem from anxiety and are the mind’s way of soothing the dreamer.

Censored Dreams: these visions are dream narratives involving pain experiences in your waking life, narratives appear in manageable symbols, painful experiences are somthing the subconsious is looking to work out.

Compensatory Dreams: the reactive dream is the reproduction of real-life trauma in the dreamscape, positive or negative, dreams are the result of real-world experiences which present in the opposite extreme in the dreamscape Cosmis-Dreams: the narrative is one in where you have a dream having life-changing implications, great dreams may show you meeting up with a god, goddess, or major dream archetype, images are so vivid and moving, they are impossible to forget.

Daily Processing Dreams: dream scenario involves real-life situations, characters, or settings, you can see real-world imagery as if you were awake to experience it, problem-solving dream where you address issues you couldn’t manage in your waking hours.

Daydreams: means of exploring the imagination and working out issues through the means of imagines rehearsals. Daydreams can help relieve anxiety; productive rehearsals Deja-vu Dreams: dreaming of a person, place, or thing, then you encounter the person, place, or thing you’ve seen in dreams. eerie sense, you see something you feel youve encountered in the past.

Emotional Dreams: the content of the dream will determine the emotion the narrative and imagery evoke, dreams allow the dreamer to oberve a scene and emerge from the dream without recalling having any emotional response whatsoever, other dreamers are highly emotional while evoking feelings of joy, happiness, deep sadness, or axiety.

External-Stimuli Dreams: dreams occur when some stimuli from your sleeping environment enters your dreams, any noise, TV show, music, or other environemntal stimuli, detects and integrates the stimuli into the dream scenario False Awakenings: relate to an incident where you believe you have gotten up and you are going about your daily routine, but you are sleeping. Sometimes called the “dream within a dream,” aware of dream content, second type is called a continuum, dozing off while in the midst of doing something, you then have a false awakening where you think you are awake and acting when you are actually still asleep Healing Dreams: these dreams have narratives corresponding to healing, visions might hint someone is ill, illness might be your own, or the dream may refer to someone else.

Incubation Dreams: dreams are often spontaneous and seem random, you can make dreams happen or cause them to occue with more frquency, dream incubation as a practice to have meaningful dreams, dreams were to contain messages in which the dreamer can gain insight Inspiration Dreams: dream marratives inspire a person with a creative mind, stir one to create something based on the dream imagery they see at night, artistic inspirations Lucid Dreams: aware of the fact you are experiencing a dream, full awareness of being asleep, dreamer has freedom, the individual manipulates scenarios to see how things work out, often allow you to see yourself in your full body form Mutual Dreams: occur when two or more people have a “shared dream” experience, occuring on their own or dream experimenters attempt to incubate and control the mutual dream experience.

Narrated Dreams: dreams with voices in the abckground or talking to the dreamer are narrated dreams, in a narrated dream you will be the observer standing outside of the dream watching the scene as if you’re watching television, your Higher Self wants you to concentrate on the message, the narration is to reiterate its importance.

Nightmares: dreams occur when you see terrifying imagery, the reasons for nightmares vary, nightmares are types of dreams where you experience our shadow, it’s the darker aspect of our personallity we avoid as much as possible, as if afraid to embrace it. But our shadow self is an important part of our wholeness as an individual, it is the basis for many of our personal positive characteristics. To expereince the shadow self is a chance to embrace it and to learn from it, acknowledging the shadow self from time to time keeps the shadow self in check.

Night Terrors: getting stuck between a sleep and waking state., the stress of the expereince causes a reaction where the individual screams, it seems impossible to control the dreamer, the person afflicted does not remember what has happened when they finally awaken Out-of-body dreams: events in which the person’s soul or astral body escaped the body, dream-like scenes where the astral body is free to roam around and act in the physical, allows a person to learn about the self.

Precognitive or Psychic Dreams: gaining information about a future event, psychic information, foreknowledge of events, the dreamer doesn’t realize a dream is precognitive until the events foretold occur Recurring Dreams: the same dream scenario or narrative experience happening with a varying degree of frequency, the recurring dream is an experinece believed to carry a message of extraordinary importance for the dreamer.

Sentient Dreams: people who have never had a visual experience will have sentient dreams, someone born blind will have dreams where they can hear and feel the stimuli in the dream narrative Sexual Dreams:dreams about sexual content, dreams of a sexual nature, common when exploring sexuality or wish fulfillment dreams.

Visual Dreams: some people never have a visual dream in their lifetime, broad category what the dreamer sees while sleeping Wish Fulfillment Dreams: in the dream realm, what we crave or long for, we can attempt to fulfill, the dreamer can experience things at a safe emotional distance, running a safe experiment in the dream arena, potential outcomes of various scenarios are something one can imagine. https://www.buildingbeautifulsouls.com/dream-interpretation-meanings/30-types-of-dreams-what-they-mean/#NarratedDreams

Recorder

FRAGMENTATION

Advanced Studio I - RECORDER

The Bellwood Quarry was chosen as the site for the Oneironaut. The site is predicted to become a landmark of Georgia and store 2.4 billion gallons

INFORMATIONAL MASSING

of water.

SITE

The area around the bellwood quarry is being developed into what will eventually be the city’s largest park. The Atlanta Beltline is illustrated in the diagram below and wraps all around the city center. The promenade and threshold conditions will connect to the Beltline and add to the overall experience.

ONEIRONAUTICS: refers to the ability to travel within a dream on a consious basis. Such a traveler in a dream may be called an oneironaut.

EIDETIC: relating to or denoting mental images having unusual vividness and detail, as if actually visible.

ALIGNMENT

Process Diagram

Primary: Entrance w/ Fountain & Grand Stair

Site Relevance

Future Situation

The quarry acts as an abyss embodying the idea of infinity that has been explored through initial project explorations and infinity drawings. The time context is also important given the futuristic and highly technological ideologies implemented in the oneironautics within the program.

There is an opportunity to pursue the science-fiction aspect of the project through technological advancements. Diving into others mindspaces and dreams involves a technology that is unknown today. The high-tech Oneironautics Facility could then explore the medical and technical aspects of dreams ultimately turning the experiential aspect of diving into dreams as a therapeutic tool worth studying. The imagination fueled spaces have potential to simulate the playback of memories and dreams, and recreate nature.

Geometric Order

Lighting System

Drawing inspiration from deconstructivists, and fragmented design, the bridge encorporates the mental fragmentation of images generated while dreaming and allows spaces to crash on each other in a similar manner. Freud and Piranessi’s discussions on fragmentation inspired the geometric order of the project as well as artistic styles of Lee Bul and Leabius Woods.

The lighting system of the project is unusual given the sundown to sunrise opening and closing times. The artificial lighting will play a large factor in the experience of exploring dreamscapes. The lighting will comprise of light beams, vapor trails, projections through fog, etc.

Kunst/Symbolic Form

Kern/Core Form

In this case, the physical bridge spaces above the quarry contradicting/ overlayed with the dreamscape architecture constructed as figments of the human imagination act as the synchronous phenomenon where two chaotic systems are coupled or one drives the other one. The symbolic form is crafted by the subliminal act of putting on the glasses and looking through the dream lenses to experience dreams in real time. This Kunst form is then created in the minds of the beholder.

The core systems at work include the frame that operates in tension and compression allowing the bridge to suspend in space above the abyss of the quarry.

Threshold Condition

Ritual of Use

The thresholds act as transition spaces in and out of your mind and the minds of others. The durable and epheral thresholds exist on the ends of the bridge and the cloud membrane. The processional entrance encourages the sensorium, retreat, and repose of the project, slowing the mind, ultimately allowing the mind to enter into an alternative world unknown and unexperienced, one of fictional playscapes, terrifying nightmares, self-reflections, historical studies, and exploration through the minds of the worlds’ greatest historians and visionaries.

The significant event within the project is the experiencing of dreams for a means of attaining wisdom and reshaping the perception of history and memory. The user experience time of day is solely comprised of the antithetical sundown to sunrise. The dreamscapes define the imaginative architecture ultimately generating an architecture comprised of experiences and culture. A cultural magnet destination. The sublime makes you aware of the physical/mortal world. The contrasting experiences of the physical, visceral, sublime, and dreamtime.

10,000 Artifacts

Atectonic System

The 10,000 artifacts will be comprised of 10,000+ dreams that have been stored in “lenses.” These lenses will be categorized in the Collection Hall and available for guests to select and insert into the lenses that make the dreams come to life. Allowing the experience to take place in real time. The lenses are categorized based on program specifications.

The construction systems of the Oneironaut can be defined as atectonic in the minds of Venturi and Semper. Atectonic represents the people’s understanding and shaping of a particular culture, local images, and the surrounding environment. In other words, a cultural and environmental milieux used to descibe a manner in which the expressive interaction of load and support in architecture is visually negated or obscured.

Technological Advancement Assumptions

Material System

The largest technological advancement assumption includes the ability for dreams to be collected as fragments of imagination from individuals alive or deceased such that they can be stored for re-experience from others. The ability for people to dive into dreams involves the technology such that dream, images, sounds, and emotional connections can be stored in “lenses” that when looking through the glass one can share the same experience as the original feelings when the brain created the initial dream.

The bridge is designed to be 3D steel welded bridge in midair, onsite, using the new cutting edge 3D robotics and AI technology. The bridge construction is outlined below.

Garden 4: Gathering (trees)

Secondary: The Collection Hall - Trading Post?

Denary: Exercising your sixth sense

10,000 Artifacts: Dream Trading Cards in card sleeves

Octonary: Fictional Playscapes Quarternary: Auditory Dreamscapes

Senary: Quiet Self Studies - dive into your own dreams, make your own trading card (walk on water?)

Nonary: Day dreaming

Quinary: The Shadow Self Garden 3: Isolation (stone)

Water Resevoir/Retention: Fountain & quary

Septenary: The Greatest Minds

Tertiary: Historic Visions of Futures to Come

Garden 2:

Garden 1: Contemplation (water garden)

DATA: Length (ft): Width (ft): # of Robots used Stainless steel required (lbs) Time to complete (months)

Ratios:

Robot/Feet Months/Feet Steel lbs/Feet Area/Robot (ft^2/robot) Area/Month (ft^2/month) Area/year (ft^2/year) Area/Steel (ft^2/lbs)

Calculations: Robots Months: Years: Steel (lbs):

Poche Spaces: WCs, stairs, workspace, equipment

MX3D Bridge Data The Oneironaut PATH 41 2394 6 44 4 1634.93 9920 4054618.54 6 2452.39

4R/41ft 6months/41ft 9920lbs/41ft

0.098 0.146 241.951 64.42857143 42.95238095 515.4285714 0.025979263

1634.93 2452.39 204.37 4054618.54

Total Area:

186199.621

The Oneironaut GARDENS Areas: Contemplation Visual Healing Isolation Gathering Total Area in Time (years): estimated

17700.4867 19994.3273 18745.0406 36547.7466 361.25

Recorder

Advanced Studio I - RECORDER

THE ONEIRONAUT SENSORIUM and RETREAT are the new defining words. Sensorium is a place where people go to share experiences and dreams through the lense of my project is an alternative experience used to gain information on memory, history, and the attenutation of wisdom. Retreat is a place to relax to get away from your immediate enviroment, i.e. to separate yourself from the world around you.

The Retreat idea ensues a tension between meditation and “the act of� retreating, which means to withdraw from the quotidien.

The GARDEN has now been introduced more in depth and was the missing piece throughout the exploration of this project thus far. The Garden is now the environment for repose while the collection is the science-fiction component filled with records, information, and imaginations, in recorded dreams. The Japanese Garden presents a nature in miniature where everything is manmade, similar to a movie-set or the setting that the mind creates in dreamscapes, the landscape becomes a nature filtered through human reason. The REPOSE comes into play here and is represented through the abyss of the Bellwood Quarry.

Recomposition Explorations: DURABLE, EPHEMERAL, AND THE TECHNOLOGICAL These photoshop composites were used as a design tool to dive into the abstract and gestural qualites desired within the design. The paint strokes and blurring add an ephemeral and temporal quality to the project that was less ordered and more fragmented. This call for fragmentation draws from Piranessi and Freud when referencing dreams. Taxonomy of fragments, system of locks, fittings and misfittings, coding and uncoding, archeology, discovery and rediscovery, all about broken pieces, floating. The Durable and Technological are explored through crisp lines as well as layering of information to add depth. This layering of information is continuing to be explored through these findings. The idea of infinity, the hanging universe, issue of simultaneous views, view or vision, suspension bridge as part of the spectacle, the approach.

Dreams experienced in time as the horizontal axis are marked and generate a sinusoidal curve that is echoed in the site representation below. The curved line shows the general flow of the re-experienced dreams.

The Oneironaut section is then added to accentuate the types of dreams and the suggested spaces defined on the bridge across the quarry.

The Quarry site section is added with the simple curved line to show the subtle suspension of the system in action.

Lastly, the curiosity cabinet is depicted here through the implementation of the dream collection/dream index hanging from the suspension bridge. The words and letters and collection hang into the “abyss” of the quarry and show the recurring theme of infinity throughout the project.

The y-axis dictates the archive over time and how dreams are recorder, re-experienced, then recorded re-experiences, and re-experienced recorded re-experinces. Hence, infinity.

∞

Ten seg ri ty: Advanced Studio I - RECORDER

Individual 90 degree rotation per modular tetrahedral tensegrity structure to ensure the bridge remains in structural integrity from crossed bracing system.

Tensional Integrity Floating Compression The structural principle is based on a system of isolated components under compression inside a network of continuous tension, and arranged in such a way that the compressed members (ususlaly bars or struts) do not touch each other while the prestressed tensioned members delineate the system spatially.

Constructed with simple design patterns such that the members are loaded in either pure compression or pure tension, which means that the structure will only fail if the cables yield or the rods buckle. This enables the material properties and cross-sectional geometry of each member to be optimized to the particular load it carries. Further, the preload or tensional prestresses allow cables to always be in tension, to maintain structural integrity. Lastly, mechanical stability, which allows the members to remain in tension/compression as stress on the structure increases. The structure also becomes stiffer as cable tension increases.

Joining members are added to complete modular units between the originals rotated units. These added members complete the rotational aspect of tensegrity that allows for the entire system to be structural and appear as though the compressive members are floating.

Design Variations

Tetrahedral Modular Unit and Assembly

Tetrahedral Modular Unit: Scaled with Axial Integrity

Tetrahedral Modular Unit- Scaled, Breaking Axis

Original Modular Unit Design

Tensile members - Traction Compressive Members - Compression

I-75

I-85

Northside Trail (Extension)

Northside Trail Eastside Trail (North section)

MIDTOWN

WEST MIDTOWN

WESTAIDE RESERVOIR PARK

Eastside Trail

BELLWOOD QUARRY

1 MILE RADIUS

DOWNTOWN

ATLANTA

Eastside Trail (South Section)

I-20

Westside Trail (South Section)

Southside Trail

Photohop composite/rendering showing the approach to the final design proposal: The Oneironaut. A suspension bridge across the Bellwood Quarry where individuals can come and experience dreams, archive dreams, re-experience dreams, archive re-experienced dreams, re-experience re-experienced dreams, etc. The outcome generates a new perception of memory and history where individuals will attain winsdom through experiences. esequam eosandit alictia coreped qui ad ut ped ea pro es dolupta dollupt atumquae prepuda nosand ia doluptur, oditi restorio. At ducipsam ent doluptas conseque cus nobitatibus, auditem uta alit utempore, sandebit qui cum esequibus audaeptam nisque velecae cum quam a eturionsed quas nullita comnis alibusci ilici cullign iminver ferferis doluptam

GC Prostho Museum Studies Media & Modelling III Description: Original plans, show the interior spaces, and illustrate clearly the grid that has been implemented for the chidori modular units. Through layering the plans in the isometric, the volumes of space emerge.

Plan: Level 000

Plan: Level 002

Plan: Level 001

Plan: Level 003

Isometric “Stacked Plans�

Longitudinal Section 001

North Elevation

Longitudinal Section 002

East Elevation

Description: These original plans, sections, and elevation drawings provide context for the interior spaces. Through stacking and layering these drawings a sense of threedimensional space is constructed.The thick poche highlight where the underlying structure is located as well as highlighting the lightness of the overall building showing the Chidori units extending far beyond the poche in multiple places in all the drawings.

Longitudinal Section 002 Plan 003 Plan 002 Plan 001 Plan 000 Longitudinal Section 001

Exploded Plan/Section/Elevation ISO

Compiled

Description: Although this drawing is very dense given all the lines and various lineweights, the three-dimesional architectural spaces are clear. The grid established from the Chidori is shown and lightens the drawing similar to the built form.

GC Prostho Museum Massing Generation Media & Modelling III

The condition for the building system of enclosure is derived from the an initial assumption of the building form. If the building design exploration began with an extruded rectangle and was then manipulated, the enclosure “skin� pushed and pulled at the corners to alter the form of the building.

Below are the plans, sections, and elevations that highlight the exterior form and the corners that indicate the assumption of manipulation.

Corner Moving Lienarly

Corner Moving Diagonally

Enclosure Derivation - Sample Derivation of Parametric Model Media & Modelling III

The grasshopper script logic is depicted below diagramatically. The original solid derived from the formal analysis above is referenced and deconstructed to allow for all the points to be referenced individually. Sliders are attached to the x, y, and z, components of each point that are used to generate the enclosure surfaces to close the volume from there the chidori grid can be trimmed away to fill the massing of the GC Prostho Museum.

001 - Brep Vertices used to cull points for x, y, and z, Move commands.

Shell Manipulation 1 - Using x, y, z, sliders the points can be manipulated independently

Form 1 - Only 2 points are manipulated and moving in the same direction.

Chidori Original Modular Unit Infill

002 - Brep Vertices used to cull points for x, y, and z, Move commands.

Shell Manipulation 2 - Using x, y, z, sliders the points can be manipulated independently

Form 2 - Only 2 points are manipulated, x axis push and pull.

Chidori Original Modular Unit Infill

003 - Brep Vertices used to cull points for x, y, and z, Move commands.

Design Variation 1 - Using x, y, z, sliders the points can be manipulated independently

Form 3 - Multiple points are manipulated, x, y, and z axes push and pull in one direction each (i.e. no diagonal motion).

Chidori Original Modular Unit Infill

Exterior Structure: Roof - Design Derivation Media & Modelling III

Final roof structure/enclosure design variations.

003

Roof adjustments and placing given changing corner points.

002

Finding original enclosure form through pushing and pulling points. Roof Structure corresponding.

The roof structure corresponds to the manipulated points that move to generate new forms. The center point corresponds to the midpoint of the edges on the top surface of the form. From there the roof structure will 001

adapt no matter what changes are made to the corners of the forms.

Grasshopper Media & Modelling III

1. Attractor Fields: construct aparametric model of attractor fieldsin Grasshopper and generatea setof three designvariationsusing the model.

Learn fundamental concepts of two-dimensional parametric geometries and operations and how to generate a two-dimensional arrangement of a parametric motif specified by a set of point and curve attractors.

2. Mathematical Surfaces: construct a parametric model of mathematical surfaces in Grasshopper and generatea set of three design variationsusing the model. Learn fundamental concepts of three-dimensional parametric geometries and operations and how to generate a three-dimensional parametric surface specified by a set of mathematical expressions..

3. Morphing Tiles: construct a parametric model of morphing tilings in Grasshopper and generatea set of three design variationsusing the model. Learn fundamental conceptsof parametric spatial transformations and how to generate a spatialarrangement of a three-dimensional parametric motifspecified bythe morphingrelations froma standard instance of themotif to the subdivisions of a complex surfacewith varying curvature.

Kendeda Braced Frame Studies & Implementations Integrated Building Systems I

BRACED FRAME STRUCTURE: FORCE CALCULATIONS

Working with four other team members, the Braced Frame team designed a braced frame tower to resist wind loads that were then tested at Georgia Tech’s Digital Fabrication Lab. The calculations of loads and implementation into the Kendeda Building if moved to Seattle are presented.

Loads on columns and braces

Buckling Calculations:

P1 & P7 - 4.15# P2 THROUGH P6 - 8.3#

Modulus of Elasticity for Basswood = approx. 10.1 GPa = approx. 1464881 #/sq. in.

Moment of Inertia for 1/2” by 1/4” diagonal bracing: (B(H^3))/12 = .25(.5^3))/12 = 0.0026 Moment of Inertia for 1” by 1/2” vertical bracing: (B(H^3))/12 = .5(1^3))/12 = 0.0417

C1 - P1/sin45 = 4.88# C2 - (P1+P2)/sin45 = 14.63# C3 - (P1+P2+P3)/sin45 = 24.39# C4 - (P1+P2+P3+P4)/sin45 = 34.14# C5 - (P1+P2+P3+P4+P5)/sin45 = 43.89# C6 - (P1+P2+P3+P4+P5+P6)/sin45 = 53.65#

Buckling for 1/2” by 1/4” diagonal bracing: Pcr = Pb = (Pi^2(E)(I))/(L^2) = (Pi^2(1,464,881)(0.0026))/(12.02^2) = 3,7590/144.48 = 260 # Buckling for 1” by 1/2” vertical bracing: Pcr = Pb = (Pi^2(E)(I))/(L^2) = (Pi^2(1,464,881)(0.0417))/(8.5^2) = 602,890/72.25 = 8344.5 #

Stress at M1

Therefore it is clear that the structure would fail elsewhere before either member experienced buckling, as seen in the lab test.

M1 - (4.15# x 60”) + (8.3# x 50”) + (8.3# x 40”) + (8.3# x 30”) + (8.3# x 20”) + (8.3# x 10”) = 1,494 psi 1494 psi/9.5” = 157.26 #

TEAM 1 | BRACED FRAME

INTEGRATED BUILDING SYSTEMS 1 | NOVEMBER 30th, 2020

BRACED FRAME STRUCTURE: PARTS AND COMPONENTS (1) Base Plate Floor [9.75” x 9.75”] (2) Base Plate Walls [9.5” x 10.5”] (2) Base Plate Walls [9.75” x 10.5”] 1/4 in. x 4 ft. x 8 ft. MDF White Vinyl (1-side) Panel (48) Gusset Plates [~2” x 1”] 1/8 in. Basswood

(28) Dowels [cut to 8.5” height per floor] 1/2 in. Square Wood Dowels

(64) Dowels [8.5” length] 1/2 in. Square Wood Dowels

(24) Dowels [12.02” from point-to-point, cut at 45 degree angle] 1/4 in. Square Wood Dowels

Cut materials prior to assembly

9.75” 67.63

9.7

TEAM 1 | BRACED FRAME

5”

” INTEGRATED BUILDING SYSTEMS 1 | NOVEMBER 30th, 2020

3

4

BRACED FRAME STRUCTURE: REVISED KENDEDA SECTION OBLIQUE

SECTION OBLIQUE PRESENTS THE ENTIRE BUILDING WITH THE PROPOSED STRUCTURAL BRACED FRAME MEMBERS IN RED. Braced frame proposal replaces the “X” frames with diagonal bracing. Inspiration was drawn from original tower design, build, and analysis. Braced frame tower utilized pairs of parallel, diagonal members in directions that perform in compression rather than tension. Most of the new bracing system is embedded in the exterior to unburden interior circulation as much as possible, however there was some conflict with fenestration as shown in elevation and section studies. More bracing units were added to compensate for Seattle’s increased siesmic risk coefficient.

TEAM 1 | BRACED FRAME

INTEGRATED BUILDING SYSTEMS 1 | NOVEMBER 30th, 2020

12

BRACED FRAME STRUCTURE: KENDEDA DETAILS

BRACED FRAME STRUCTURE: KENDEDA PLANS DRAWING OVERLAY: THROUGH EVALUATING WHERE THE EXISTING BRACED FRAME STRUCTURE IS LOCATED (X-BRACING & COLUMNS) ADDITIONAL BRACING IS PROPOSED AND POSITIONED ON THE PLANS TO ACCOUNT FOR THE 6.4 TIMES STRONGER SEISMIC FORCES IN SEATTLE.

S101

S103

Original Atlanta Kendeda L01

Original Atlanta Kendeda L03

3/4” THROUGH BOLTS 1/4” STEEL PLATE, ANGLED AT 90 DEGREES

S102

Original Atlanta Kendeda L01

Placement of bracing members was organized in such a manner as to preserve as much of the existing interior spaces and circulation as possible. The atrium and clerestory were particularly important as they are central to the design of the building. Additional columns and post were also required to support new bracing members.

1

2

3

4

5

6

7

SECTION PLAN SHOWING INTERSECTION OF PIPE, BRACKET AND SUPPORTING THROUGH BOLTS

TEAM 1 | BRACED FRAME 8

9

10

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15

K

© 2013 Lord Aeck Sargent LordAeckSargent.com Unless otherwise agreed to in writing,this document is the sole property of Lord Aeck Sargent and is to be returned upon demand. The information herein is confidential and may not be used nor divulged without the written permission of Lord Aeck Sargent

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REVISION:

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Uzun + Case, LLC 1230 Peachtree St. NE | Suite 2500 Atlanta, Georgia 30309 www.uzuncase.com | 678.553.5200 U+C Project No. | 16107

G

F

F1

OVERALL 3D VIEW FACING NORTHWEST SCALE:

A1

LEVEL 1 STEEL FRAMING - UPPER LEVEL 3D VIEW SCALE:

INTEGRATED BUILDING SYSTEMS 1 | NOVEMBER 30th, 2020

10

E

F9

OVERALL 3D VIEW FACING SOUTHEAST SCALE:

SCALE (U.N.O.)

3D VIEWS

SHEET TITLE

D

LOCATION

Georgia Tech BR 30-1603

JOB NAME SEAL

Ferst Drive, Atlanta, GA 30318

B

ISSUE DATE

02/26/2018 JOB. NO.

10688-00 A

DWG. NO.

1

2

3

S003 4

5

6

7

8

9

10

11

12

13

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FOR CONSTRUCTION

BIM 360://10688-00 Living Building Project/STRC_BR_301603.rvt

C

2/26/2018 9:22:56 AM

TEAM 1 | BRACED FRAME

3/4” THROUGH BOLT PATTERN

6” schedule 40 steel pipe was used to increase the strength of the bracing in the existing locations.

Additional 6” pipe bracing was added to increase the lateral forces in both the north-south and eastwest directions. The top end of the new bracing was notched so that it could saddle either side of the existing embedded bracket, equally. The top of the pipe was sleeved for additional thickness and then seam welded on all sides. A 10-gauge steel angle was added to the inside top corner so that the extra pressure from the heavier bracing would be supported.

In order to compensate for the significant increase is seismic forces caused by the relocation to Seattle, it was necessary to both increase the lateral load bearing capacity of the braced frame members as well as increase the number of said members.

By keeping the 1st and 2nd floor bracing plans as similar as possible, we ensure smooth and efficient transfer of seismic forces down to the foundation. The bracing plan for the 3rd “floor” is focused around the clerestory, as it is the most vulnerable to seismic forces both due to its height and position above the atrium.

6” SCHEDULE 40 STEEL PIPE; SLEEVED AND NOTCHED AROUND EXISTING INTEGRATED STEEL PIPE.

SECTION ELEVATION

INTEGRATED BUILDING SYSTEMS 1 | NOVEMBER 30th, 2020

13

Hover Station Core Studio II

The Opus Edge is a unique take on the one-legged building. Balancing the building on it’s small extended edge of the building, the building comes to life as if it was hovering or floating. Depicting motion as well as stillness structurally. Designed for technological advancement through virtual reality, the Opus Edge is a landmark that allows the greatest minds to explore research, process automation, additive manufacturing, drone studies, and VR/AR technological advancements.

Three stages: 1. Interior: The interior is fully operable such that the walls, plugs, gantry cranes, VR units, etc. can be moved to accomodate any needs.

2. Circulation: The entrance into the building is completely hidden such that you enter underneath the building between the interior spaces and the skin of the building. Then, the main entrance lies in the front of the building on the interior as seen in the diagram below.

3. Skin: The skin is a also operable, three dimensionally pushing and pulling out of the building as well as color and light adjustability.

The photoshop rendering provides site context to the building and shows how the building “floats” on it’s short edge. The changing lighting is shown as a glow while still seeing a glimpse into the inside of the building. Driving by this high-tech facility brings the viewers’ perspective into play and brings the photoshop to life.

Hover Station - The Opus Edge Core Studio II

Taking a dive into the interior of the building, the below diagram illustrates one orientation of technological equipment on the interior as well as the circulation inside the building. Accomodating all people and equipment, the stairs on one side and ramp on the other drive the interior spaces.

The interior building form exploration is shown through illustrating the grasshopper parametric commands as well as the general overall spaces of the building. The operable skin was then wrapped afterward around this interior structure.

Repurposed Billboard Core Studio II

The repurposed billboard program chosen was a plastic recycling facility such that plastic can be retrieved from the ocean, sorted, and then delivered via drone to the billboard to be processed and turned into 3D printing filament/coils/pucks. The spaces needed to recycle plastic is relatively small, and the design of the billboard includes one offset wall for the equipment to operate vertically. The large interior apce is left open to act as a staging area for packaging and unloading processed plastic pucks.

Photoshop Composite of drones delivering processed plastic pucks/coils after recycling.

Assemblage Core Studio II

An initial study of a built project began the studio. The Aula Delft Auditorium was the building explored through plan and section.

From this project, plans and sections of buildings from the entire cohort came together into one file to be broken, pieced together, a regenerated into a large 1200ft by 1200ft section sheets.

The Assemblage drawing began by printing and drawing on the sections of multiple buildings that spoke the same deisgn language - a language driven by a key word WRINKLING. From there, a physical paper collage was made (as shown below). That collage was then drawn and implemented in Rhino with an added abstracted site relevance and structural implication.

Collage, Printed sections taped, 10� x 10,� Fall 2019

Fabrication Core Studio II

The Assemblage drawing was then a starting point for a 3D print using Georgia Tech’s SLS 3D printing services. Embracing the wrinkling aspect of the section drawing, the “sail” was modelled and printed as a fabric/flowing element.

The next project was a step further where exploration of the Digital Fabrication lab at Georgia Tech was the driving force. Continuing to cimplify as embrace the sail, three sails off a base were designed to accentuate the materiality of the project as well as the fabrication equipment required.

The waterjet-cut steel was bolted to exaggerate the heavy, durable, dense material. The Laser-cut wood was the middle sail and was glued with a dowel armature for stability. Lastly, the thermoformed acrylic was molded over a CNC routed foam block with the fame profile as the wood and steel sails.

Thus, through the materiality of the sculpture, the design equipment and processes were explored.

Water jet cut 1/16� steel

Laser-cut wood veneer

Thermoformed Acrylic

Urban Culture Factory Core Studio II

A sequence of exploratory activities in the realm of abstraction involving photography, drawing and modelmaking with particular focus on exploring one of the three categories; point, line, and plane.

Three stages: 1. Photos: photograph the world around you searching for points and compose them in a compositionally considered arrangement.

2. Drawing Translations: Undergo a process of translation by selecting 3 photos from the group of 9. With soft pencil, using the iterative method, and using tracing paper in overlays to test visual and compositional ideas.

3. Model Translations: Final stage of translation from two-dimensional drawings to three-dimensional models. Particular emphasis on orderin geometries, scale relationships, interior and exterior spatial relationships, effects of light and shadow while maintaining the the critical dialogue of abstraction.

Point - Line - Plane Core Studio II

The Urban Culture Factory embraced the tower idea and the folding/wrinkling of the assemblage drawing. Plans, sections, and exploded axon are presented to illustrated the program rooms/specifications, as well as the interiority of the project.

Memory, Photoshop Composite of images taken on the “Grand Tour”, 8” x 10,” Spring 2020

Memory

Digital Journal III - 04/13/2020 Architecture has revealed itself in the exploration of my surrounding environments and my digital journal. Similar to Le Corbusier’s Five Points of Architecture, the five threads that I have dissected from the built environment conceptualize a reading of architecture that is utterly and uniquely mine. Just like the human body has five senses, the architecture I see has five threads that juxtapose and harmonize the human experience. Food has no taste without smell, eyes have no sight without light, but the beauty of the senses lies in the diversity from person to person.

I began to see a change in my methods for reading and analyzing buildings I selected. At first, I focused on creating a beautiful photograph knowing the “rule of thirds” and having contrasting colors, light, and shadows. Given my studio art background in sculpture, painting, jewelry, and metalsmithing, I focused on the smaller aspects of the architecture like windows, material choices, and even weathering in small places to show age. I soon discovered that the architecture as a whole was a sculpture and that the idea of scale is very different from person to person.

At first, I thought that looking through a camera lens changed my viewing of architecture because I saw the world through a picture plane. To my surprise, I began to see beautiful moments in architecture without thinking with a photographic mind and simple as an engager with the surrounding environment. My five threads emerged from my eyes, gravitating towards similar or contrasting elements from building

to building. Movement, Light/Shadow, Texture, Leading Lines, and Communication Design became my five senses of architecture.

I found the beauty of this discovery came from the memory I have attached to the architecture. I have titled my final composition “Memory” because I found myself returning to spaces in my mind while reviewing the photographs I had taken. Memories and our senses have a direct correlation. Within the built environment and through the digital journal exploration, I find myself shifting from an individual by which observes the environment, to a flaneur that engages with the architecture and brings the buildings to life. I become a crucial piece in the composition of architectural design. That is why, in my final palimpsest, I have included the human body in the foreground and background of the image, symbolizing the importance of human interaction from the start of architectural design to the end.

My surveying and synthesis have drastically changed my viewing and designing of architecture. Many of the best architects to walk the earth surveyed the built environment on a global scale, let alone a city scale.

This vast understanding of architecture through diversities in culture, climate, and periods allowed for more learning and further calibration of their senses when observing architecture.

Le Corbusier mastered this concept and realized that without the Five points of Architecture, something in his building would lack a vital element. He devised a framework of “values” from which all types of architecture could emerge. I believe that for Le Corbusier, these were the

dissected memories from buildings that he had studied similarly, the “Grand Tour,” for example. I, too, believe that through this study, I created my vital framework, and I find myself taking my memories of buildings seen in person, and class, with me into my design classes.

By learning about the history of architectural styles and movements, I started to focus on elements in architecture that I had never noticed before. For example, when visiting the Fox Theatre in the heart of Atlanta, before this class, I never would have noticed the renovation from an Islamic Mosque to a Theatre that is now subtly suggested through the design language. This design choice is a beautiful way of allowing an older memory of one architecture to be revisited to evoke the feeling of nostalgia.

I now find myself pondering why architects discuss “moments” in design rather than memories. It is quite a sad thought to think in moments rather than memories. Lori Robinson once wrote, “A moment lasts all of a second, but the memory lives on forever.” I hope someday when I am an architect, and I contribute a work to the built environment that I will design memories rather than moments.

Point - Line - Plane Structures I

A sequence of exploratory activities in the realm of abstraction involving photography, drawing and modelmaking with particular focus on exploring one of the three categories; point, line, and plane.

Roof Trusses @ 16"o.c.

1'-8"

6"x6" Southern pine column @ 12'-0" o.c.

0'-8"

10'-4"

12'-0"

16'-2"

4'-2"

6"x20" Southern pine support beam, spans 12'-0" column to column

5'-0"

Perspective View

20'-0"

10'-0"

5'-0"

2'-1 1/4" x 2'-1 1/4" x 8" concrete footer

40'-0"

Section Cut Conclusion: WReCK designed "The Jacket" for ultimate performance. The symmetricality of the butterfly truss results in a balanced high-performing structure. The elongated shape creates a uniform force distribution on the walls and columns of the pavillion. The cantilevering elements add five feet of extra shading on both sides while also balancing the lowered central members of the truss.

The butterfly truss design contains few instances that could result in failure. If a snow blizzard occured at Piedmont Park and the snow load piled and filled "The Jacket," the loads on the center of the truss would result in failure. Due to the geometry of the truss, the central members DG and GJ are the force members that carry the most loads at 7098#. The two zero force members are DE and JK and they add stiffness to the truss.

Proposal Submission: April 24, 2020 Construction start date: April 30, 2020 13

Isometric SE

Isometric SW 11

Load Analysis

Snow Load 25#/ft2 = 33.3#/ft

WSL= 25#/ft2 (16in/12in) = 33.3#/ft WSL = 33.3#/ft WDL+LL = (35#/ft2)(16in/12in) = 46.67#/ft WDL+LL = 46.67#/ft

Dead Load + Live Load 35#/ft2 = 46.67#/ft Next, changing the WDL+LL to be angled in line with the WSL: WDL+LL = (5/4)(46.67#/ft) = 59.50#/ft WDL+LL = 59.50#/ft WT = 59.50#/ft + 33.3#/ft = 92.8#/ft WT = 92.8#/ft

After finding the total distributing load over the entire truss to be 92.8#/ft, The final point load of FT is calculated: FT= (92.8#/ft)(40ft) = 3712# at the center FT= 3712#

3712#

The truss is supported by a structural beam and a load bearing wall, the reaction forces (FR ) at these supports can be found from FT.

1856#

1856# 232#

FR = 3712#/2 = 1856# FR = 1856#

232# 464#

696#

696#

464#

From FT , point loads can be distributed across the tributary areas of the truss system ilustrated by the dashed grey lines.

These loads are calculated to be 928# (center), 696#, 464#, 232# (end).

928# Dimensioned Butterfly Truss

1856#

1856#

3

40'-0"

20'-0"

2'-0" 5'-0"

5'-0"

5'-0"

5'-0"

3'-0"

2'-0"

4'-0"

10'-0"

Point - Line - Plane

Roof Trusses @ 16"o.c.

Structures FBD: I Completed Truss Analysis

pine column @ 12'-0" o.c.

10'-4"

12'-0"

16'-2"

1'-8"

4'-2"

A sequence of exploratory activities in the 6"x20" Southern pine realm of abstraction involving photography, support beam, spans 12'-0" drawing and modelmaking with particular fo-on the members of "The Jacket."

Above is the completed Free Body Diagram of all forces column to column cus onwritten exploring one of thethe three categories; The forces in blue highlight external forces from dead and live loads, snow loads, and reaction forces from the load bearing wall and beams.

Completed FBD: Truss Analysis point,written line, and plane.

6"x6" Southern The forces in red are zero force members (DE and JK).

0'-8"

Above is the completed Free Body Diagram of all forces on the members of "The Jacket."

The forces written in blue highlight the external forces from dead and live loads, snow loads, and reaction forces from the load bearing wall and beams.

2'-1 1/4" x 2'-1 1/4" The forces written in red are zero force members (DE and JK). x 8" concrete footer 232# 232#

4#

C

BC = 464#

CB

49

5#

1856#

696#

CE = 2320# BD = 39 6#

CD

C

15#

= 29

DF =

DG = 7

499

8#

E D

EF = 2320#

DF =

E

CE = 2320#

98#

098#

G

F

FG = 2320# FH = 699 7#

DG = 7

499

F

EF = 2320#

H

# 997

4

K

IJ =

I

GI = 2320#

7#

8# 499

JM

K

IK = 2320#

464#

= 29

15#

= 29

15#

N

M

5#

1856#

N

M

M

KM = 2320#

699

1856#

T

C C

T

C

DG FG

F

E

B

C x= 0

FH

1856#

A

D C

DG DF EF

E

ΣFx = DGx + FG + FGx = 0

ΣFx = EF + DFx - DGx = 0

+

_

_

+

+

MD = FG(2ft) + 1856#(5ft) + 464#(5ft) + 232#(10ft) FG(2ft) = 4640#ft FG = 2320# +

+

MF = DGx(2ft) + DGy(5ft) + 696#(5ft) + 464#(10ft) + 232#(15ft) + 1856#(10ft) 0 = -DGcos(11.31°)(2ft) + DGsin(11.31°)(5ft) - 6960#ft DG(0.98) = -6960#ft DG = -7098# 0 = 464# - DGy - FZy 0 = 464# - DGcos(11.31°) - FHcos(21.8°) FHcos(21.8°) = 464# - (7098#)cos(11.31°) FH = -6997# A

B

J T)

E

F

FG = 2320#(C) FH = 699 7#(T )

G

I

K H Due to Symmetry; DG is equal in magnitude and opposite in direction to GJ. FG is equal in magnitude and opposite in direction to GI. FH is equal in magnitude and opposite in direction to HI. 4

N

L

)

GJ = 7098#(T GI = 2320#(C)

HI =

)

7#(T

699

B

M

A

C

499

8#(C

)

G

D DE = 0# CE = 2320#(C)

IJ =

C E F I H Due to Symmetry; DF is equal in magnitude and opposite in direction to IJ. EF is equal in magnitude and opposite in direction to IK.

N

L

JK = 0#

IK = 2320#(C)

K

KM = 2320#(C)

M

BD = 396#(C

)

AC

= 291

E

(T)

G

)

JL = 396#(C

JM

= 291

A

E

F

G

B

AB = 394#(C

)

D

C

J

I H Due to Symmetry; AC is equal in magnitude and opposite in direction to MN. BC is equal in magnitude and opposite in direction to LM.

N

L

D

BC = 464#(T)

C

J F

B = 49

5#

D

)

5#(C

CD

M

A

7

ΣFy = -232# - ABy - ACy = 0 ABy = (495#)sin(38.66°)) - 232# ABsin(11.31°) = 154.4 AB = 394#

ΣFy = -232# - 464# - ACy - BDy - BC = 0 BC = - ((-495#)sin(38.66°)) - BDcos(11.31°) - 464# - 232# BC = -464#

_

B

AB AC ΣFx = ACx + ABx = 0 ACcos(38.66°) = ABcos(11.31°) (495#)cos(38.66°) = ABcos(11.31°) AB = 394#

BD

ΣFx = ACx + BDx = 0 ACcos(38.66°) = 386.35# AC = -495#

ΣFx = CE + BDx - CDx = 0 CDcos(21.8°) = 2320# - 394#cos(11.31°) CD = -2915# A

BC

ACx = ACcos(38.66°) ACy = ACsin(38.66°) BDx = BDcos(11.31°) = -77.27# BDy = -BDsin(11.31°) = 386.35#

Mc = 232#(5ft) + BDx(3ft)= 0 BDcos(11.31°)(3ft) = 1160#ft BD = 396#

C

)

8#(C

499

N

L

J G

C E F K I H Due to Symmetry; DE and JK are zero force members.

CE is equal in magnitude and opposite in direction to KM. J

EF = 2320#(C)

B

A

B AC

ΣFy = -232# - 464# - 696# + 1856# - BDy - CDy = 0 0 = 464# - BDy - CDy

+

464#

A

BD CD CE

C

Method of Sections: Cut 6 232#

232#

T

B

T

T

C

C

Method of Sections: Cut 5

1856#

+

A

C

C

C

BDx = BDcos(11.31°) BDy = -BDsin(11.31°) CDx = CDcos(21.8°) CDy = CDsin(21.8°)

+

D DF =

D DG = 7098#(

C

+

ΣFx = EF + DFx - DGx = 0 0 = 2320# + DFcos(21.8°) - 7098#cos(11.31°) DFcos(21.8°) = 4640 DF = 4998# A

464#

C x= 0

ΣFx = CE + DFx - DGx = 0 CE = 7098#cos(11.31°) - 4998#cos(21.8°) CE = 2320#

MD = EF(2ft) + 1856#(5ft) + 464#(5ft) + 232#(10ft) = 0 EF(2ft) = 4640#ft EF = 2320# _

+

+

C

DG DF

C

C

C

ΣFx = CE + BDx - CDx = 0

_

+

+

D CE DE

C

T

696#

B

232#

T

T

C

T

Method of Sections: Cut 4

1856#

ΣFy = -232# - 464# - 696# + 1856# - DFy - DGy = 0 0 = 464# - DFy - DGy

+

C

ΣFy = -232# - 464# - 696# + 1856# + 7098sin(11.31°) - 4998sin(21.8°) - ED = 0 ED = 0

ΣFy = -232# - 464# - 696# + 1856# - DGy - FHy = 0 0 = 464# - DGy - FHy

+

464#

C x= 0

1856# DGx = DGcos(11.31°) DGy = -DGsin(11.31°) DFx = DFcos(21.8°) DFy = -DFsin(21.8°)

DGx = DGcos(11.31°) DGy = -DGsin(11.31°) FHy = -FHcos(21.8°) FHx = FHsin(21.8°)

C

T

Method of Sections: Cut 3

696#

C

C

T 232#

464#

A D

C

C

C

Method of Sections: Cut 2

696#

C

T T

C 232#

B

C

IsometricC SW

T

C

C

T

Truss Calculations Method of Sections: Cut 1

C x= 0

Isometric SE

C

C

464#

9 =4

C

T

A

N

4#

C

232#

=

5 49

LN = 39

M L

KM = 2320# 6# JL = 39

J 98#

HI =

JM

696#

IK = 2320#

GJ = 70

H

# 998

6

G FG = 2320# FH = 699 7#

1856#

HI =

IJ =

I

GI = 2320#

928#

098#

8#

GJ = 70

232#

#

ML = 464#

AB = 39

15#

29 D=

6#

N

4#

LN = 39

L

JL = 39

J

GH = 5197#

#

928#

D

JK = 0#

6#

464#

95

AC =

BD = 39

464#

696#

Section Cut

GH = 5197#

A

=4

B BC = 464#

232# A C

DE = 0#

4#

5'-0"

JK = 0#

696#

AB = 39

10'-0"

40'-0"

DE = 0#

A

20'-0"

ML = 464#

5'-0"

464#

N

L

K

(T)

5#

LM = 464#(T)

N

M

= 49

L

J

E

G

F

N

M

K

I

)

LN = 394#(C

H Due to Symmetry; AB is equal in magnitude and opposite in direction to LN.

M

FH

GH

7

HI

5#(C

I

K

)

M

H

H Due to Symmetry; BD is equal in magnitude and opposite in direction to JL. CD is equal in magnitude and opposite in direction to JM.

ΣFy = FHy - HIy + GH= 0 GH = FHsin(21.8°) - HIsin(21.8°) GH = -6997#sin(21.8°) - 6997#sin(21.8°) GH = -5197# A

B C

5

6

D E

J F

G GH = 5197#(C)

H

I

K

N

L M

Shear and Moment Diagrams

Calculations: Shear Stress, Moment Stress, Footer, Deflection

56#

8,532#

Shear Stress:

#

VQ I(x) b

=

6,496 x (60x5) 4000 x 6

=

1,948,800 24,000

16” 1,856#

Area = 103,936 #-in

= 81.2 psi which is < 110 psi

Bending Stress: 6”

f(b) =

8,352#

16” 1,856#

16” 1,856#

Area = 74,240 #-in

928# Area = 14,848 #-in

Area = 14,848 #-in

-928#

Max (M) = 237,568 #-in

1’

2.

2.

1’

qnet = P/A = P/x2 x2 = 8,352 / 1,900 = 4.396 x = 2.1’ 8

M

w = 1,856# x (12�/16in) x (12in/1�) = 16,704 #-in

5 w L4 = 5 x 16,704 #-in x (429,981,696) in4 384 x 1,600 x 103 psi x 4000 psi 384 E I

= 14.61 in

2'-1 14 "

Southern pine support beam, spans 12'-0" column to column 12'-0"

Interior glass wall

2'-1 14 "

9

Roof Trusses @ 16"o.c.

West Elevation

12'-0"

12'-0"

6" thick load bearing wall

2'-1 1/4" x 2'-1 1/4" x 8" concrete footer 20'-0"

Plan View 10

1,856#

Area = 74,240 #-in

-4,640#

Area = 103,936 #-in

-6,496#

qnet = 2000 psi - 100 psi = 1,900 psi

max = (Table 8.2)

Area = 44,544 #-in

-2,784#

Base = (8/12) x (150 psi) = 100 psi

Table 5.2, E = 1,600 ksi = 1,600 x 103 psi

16” 1,856#

2,784# Area = 44,544 #-in

Soil bearing pressure = 2,000 psi

Beam Deflec�on:

16” 1,856#

4,640#

Since the point loads are equally spaced across the beam at each 16”, the the total force ac�ng on the beam is 1856 x 9 = 16,704#.

This load will result in a force of 8,532# on each end of the beam.

Footer Size:

16” 1,856#

8,532#

V

M = M = 237,568 = 593.92 psi 400 S I(x)/.5d which is < the allowable bending stress of Southern Yellow Pine of 1550 psi

16” 1,856#

6,496#

20”

f(v) =

16” 1,856#

10'-0"

6"x6" Southern pine column @ 12'-0" o.c.

South Elevation 12

Design-Build: Bench Design Build Studio Spring 2020

Georgia Tech proposed an independent study course to take the fallen trees on Tech’s campus and use them in an architectural installation on campus in the Student Center.

The Design-Build course was organized as a design competition for the best design of a bench for the proposed area on campus. Exploration of the bench base structure to hold the wood routed/sculpted seating surface was my task along with the joining of steel rebar around the base structure.

Design Proposal: “Blur Joints” - The blur

joints were designed as clips to wrap around the structural vertical ribs of the bench in an attempt to hide the interior structure, close the gaps between rebar, and generate a blurring/floating aesthetic.

Micromegas Media & Modelling I

Considering Daniel Libeskind’s “Micromegas” Drawing series, a three-dimensional playscape was generated to embody and resemble the drawing presented below.

Point - Line - Plane Core Studio I

A sequence of exploratory activities in the realm of abstraction involving photography, drawing and modelmaking with particular focus on exploring one of the three categories; point, line, and plane.

Three stages: 1. Photos: photograph the world around you searching for points and compose them in a compositionally considered arrangement.

2. Drawing Translations: Undergo a process of translation by selecting 3 photos from the group of 9. With soft pencil, using the iterative method, and using tracing paper in overlays to test visual and compositional ideas.

3. Model Translations: Final stage of translation from two-dimensional drawings to three-dimensional models. Particular emphasis on orderin geometries, scale relationships, interior and exterior spatial relationships, effects of light and shadow while maintaining the the critical dialogue of abstraction.

Painting as Site Core Studio I

A process of looking at an image of abstract art –in this case a Cubist painting, and experimenting with constructing a new visual order based on the painting. The goal of the exercise is to translate the spatial “workings” of a two dimensional painting image into a three-dimensional physical site –an architectural construct.

Three stages: 1. Analysis + Projection: Based on the painting’s size, make a reproduction, in color, of the painting that is the true to the proportions of the original. Explore the pictorial and compositional structure of the painting and construct speculative geometries and abstract compositions that derive from your reading of the painting’s spatial organization.

2. From Spatial Relief to Architectural Landscape: Translate the cubist drawing and white spatial relief into a constructed artifact (scale model) at a larger scale.

The painting now becomes a physical “site” –a horizontal landscape, represented in model form.

3. Orthogonal Drawings (2 Plan, 2 Section, 2 Elevation): Introducing the fundamentals of orthographic projection drawing with focus on the quality of line and line weights used to communicate architectural information.

Drawings 1/4” = 1ft.

Corner Park/Pocket Park Core Studio I

Exploring the limits and possibilities of creating and defining space through the means of architectural enclosure, using a given “kit of parts.” Beginning with a hypothetical urban infill condition: “a pocket park,” then transitioning to a corner park, the project calls for a calm “oasis” in a busy city, offering spaces of retreat, relaxtion, and recharging that can be used in different ways, by individuals and groups. Working with the “90 degree rule.”

Goals: 1. Particular emphasis will be given to the conditions, or architectural “events” of Threshold and Passage in the design of an overall spatial composition.

2. Consider Hinge and Joint beyond the physical element of construction in a building, and consider them in terms of the overall conceptual design of the project. How can hinge and joint be spatial conditions? How do they relate to, and possibly condition, the sequential, proportional, and hierarchical relationships of architectural space.

3. Adapt to changing conditions: pocket park (buildings on parallel sides), corner park (buildings on two adjacent sides).

Elevation A

Section A

Elevation B

Section B

E:A

S:A

S:B

Isometric Projection

Plan

E:B

House for a Musician Core Studio I

The kit-of-parts garden/pavilion project will be “repurposed” and transformed in this exercise.

The emphasis will be placed on the use of section in the design of a vertically oriented dwelling place –a “wall house”. The formal architectural issues based in abstraction that were explored in previous exercises (geometry/order, proportion/composition, movement/sequence/threshold, etc.) again guided the decision-making process.

Goals: 1. Merging 2 very different projects to create a cohesive living environment for a musician.

2. The “ground” becomes a vertical WALL. The WALL can be altered but must remain a structural entity that supports stairs and floors.

3. Performance and Practice; Writing (composing), Reading and Thinking; Relaxation and Contemplation; Entry or Entries; Dining and Cooking; Sleeping; Bathing and Hygiene; Yoga or other physical activity; Entertaining (indoors and outdoors)

SITE PLAN SCALE 1/32”=1’-0”

ISOMETRIC SCALE 1/8”=1’-0”

ELEVATION 1 SCALE 1/8”=1’-0”

SECTION ISOMETRIC SCALE 1/8”=1’-0”

ELEVATION 1 SCALE 1/8”=1’-0”

FLOOR PLAN - LOWER LEVEL SCALE 1/8”=1’-0”

SECTION A SCALE 1/8”=1’-0”

SECTION B SCALE 1/8”=1’-0” FLOOR PLAN - MAIN LEVEL SCALE 1/8”=1’-0”

SECTION C SCALE 1/8”=1’-0”

SECTION D SCALE 1/8”=1’-0”

FLOOR PLAN - UPPER LEVEL SCALE 1/8”=1’-0”

House for a Musician Core Studio I

The kit-of-parts garden/pavilion project will be “repurposed” and transformed in this exercise.

The emphasis will be placed on the use of section in the design of a vertically oriented dwelling place –a “wall house”. The formal architectural issues based in abstraction that were explored in previous exercises (geometry/order, proportion/composition, movement/sequence/threshold, etc.) again guided the decision-making process.

Goals: 1. Merging 2 very different projects to create a cohesive living environment for a musician.

2. The “ground” becomes a vertical WALL. The WALL can be altered but must remain a structural entity that supports stairs and floors.

3. Performance and Practice; Writing (composing), Reading and Thinking; Relaxation and Contemplation; Entry or Entries; Dining and Cooking; Sleeping; Bathing and Hygiene; Yoga or other physical activity; Entertaining (indoors and outdoors)

Georgia Tech Bus Shelter Construction Technology I

Goals: Design a prototype bus stop shelter for the Stinger service on the Georgia Tech campus. The design should provide shelter, shade and seating for waiting passengers. The prototype must exhibit the architectural and tectonic qualities of Frame Construction. Made from Wood (Heavy Timber), Steel, Glass or plastic sheet material, joining and connecting materials (plate steel, angles, welds, bolts, etc.). The shelter should not be larger than 120 sq. ft. and the height should not exceed 20 feet. Focus on how the structure touches the ground, what the surface of that ground is, and what kind of cladding/enclosure (roof or wall).

404 The

SWARM STOP

Tech Bridge

Bus Stop Site (120 sqft) GT Bookstore

1. Understanding the different types of material and structural frames used in construction.

2. Demonstrate ability to represent details of connection and joinery.

3. Understanding basic structural concepts of span, loading and bracing of frames.

A

B

C

The joinery of the 404 Swarm Stop primarily consists of steel angles and slotting of wood and metal into steel slots that are then covered in sidewalk pavement so that the joints are invisible and hide beneath the ground level. The cables are attached with cable ties to the steel reinforcing beams.

D E

Shelter

Shade

Seating

The shelter is upheld with a counterwight system. The seating

The location of the bus stop is surrounded by buildings and

The seating consists of a standing/leaning option against the

in the center of the building is the counterweight for the

trees and as a result does not receive excessive sunlight. The

arching, shoulder height walls, or a traditional bench style

shelter that extends beyond.

steel fins that counteract the glass shading act as blockage from

seating that is stepped so that people can sit with a backrest or

the street noise, wind.

atop the counterweight wooden system.

Form + Formwork Construction Technology I

Design an architectural monolithic object no larger than 12â&#x20AC;?x12â&#x20AC;?x12â&#x20AC;?. Construct the formwork with foamcore, masonite panel or thick chipboard. Ensure that the built formwork is strong enough to contain the weight of the Plaster of Paris (POP).

Goals: 1. Understanding the concept of formwork in the construction process associated with casting of a liquid material (concrete / plaster of paris).

2. Demonstrate both design and craft in modeling the negative of the shape intended for final casting with plaster of paris.

3. Understanding the importance of light in architecture and sculpture.

This exercise covers the following: 1. Concept of form + formwork analagous to sitecast concrete construction.

2. Designing the necessary formwork for a monolithic structure.

3. Creating drawings for the formwork, to scale and with dimensions.