Issuu

2019 - 2021

CAITE CANFIELD COMPLETE WORKS

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

For my friends, family, and heroes along the way.

2019-2022

Spring 2022 Age: 24

Fall 2021 Age: 24

Spring 2021 Age: 23

Fall 2020 Age: 23

Summer 2020 Age 23

Spring 2020 Age: 23

Fall 2019 Age: 23

Academic: Masters Design & Research Studio II - Michael Murphy + Jade Yang Parametric Design - Daniel Baerlecken Clay Additive Manufacturing - Logman Arja History of Urban Form - Richard Dagenhart Design & Research Studio I - Daniel Baerlecken The Left Hand of Darkness - Theory of Architecture II - Mark Cottle Integrated Building Systems III - Michael Gamble + Russell Gentry Practice of Architecture - Stuart Romm + Ennis Parker Portman Prize Studio - Jude LeBlanc Design Scripting - Kurt Hong Integrated Building Systems II - Scott Marble Material Diversions - Debora Mesa Advanced Studio I - Michael Gamble Media & Modeling III - James Park Integrated Building Systems I - Scott Marble Theory of Architecture I - Sonit Bafna Core Studio III - Keith Kaseman Media & Modelling II - Keith Kaseman Core Studio II - David Baerlecken Media & Modelling I - Harris Dimitropolous Structures I - Taylor Patelka History of Architecture II - Marisabel Marat Core Studio I - Charles Rudolph Making Money/Arch - James Cramer Environmental Systems I - Dagmar Epstien History of Arch I - Danielle Wilkens

About Caite About Caite: One thing about me that may surprise you is that I am a true third culture kid! I was born in the US and have had the amazing opportunity to travel the world. I have spent the majority of my life in Europe and also lived in the Middle East for five years. I collect snow globes from every new place I visit. I now have 103 snow globes!

After repatriating to the US for college, I attended Skidmore College in Upstate New York and received a Bachelor’s Degree of Art in Mathematics and a Bachelor’s Degree of Science in Studio Art. I was a starting player, and captain, on the Skidmore Varsity NCAA Volleyball team and received national recognition as an All-American Athlete after previously playing for the National Women’s Dames 1 Flemish Club team in Belgium.

Currently, I am in my final year of my Masters in Architecture (M.Arch) program at the Georgia Institute of Technology upon receiving the T. Gordon Little Fellowship. I am Co-Founder and Head of External Affairs at the sustainable studio ECO, Graduate Ambassador, and GTA for University Recruiting for the GT School of Design.

01/2022 - 05/2022

Design + Research Studio II - Michael Murphy Parametric Design - Daniel Baerlecken Clay Additive Manufacturing - Logman Arja History of Urban Form - Richard Dagenhart

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

DESIGN & RESEEARCH STUDIO II Zoo ATL Habitat Reaserch DESIGN & RESEARCH STUDIO II Michael Murphy/Jade Yang Our first investigations in Design & Research II Studio involved visiting the Atlanta Zoo and

Multiple mappings were made after visiting the zoo. We actually received a plan drawing

researching their gorilla habitats. In preparation for the rest of the semester researching

made in excel to begin our mappings! HA! See below! These mappings include human &

Rwanda and Rwandan architecture, this exercise was an attempt to understand the care

gorilla circulation, landscape, treescape, sightlines, and more.

required for gorillas in captivity as well as understanding their everyday needs and habits. Mountain Gorillas are endangered and home to the Volcanoes National park in Rwanda. We were fortunate enough to travel and trek to see the gorillas in their natural habitat when we visited Rwanda! It was quite a drastic change to see animals in captivity struggling with COVID-19 and then see gorillas in their home in Rwanda. One key factor considered was COVID-19 and how it was handled by multiple habitats across America. Gorillas and humans share 98% similar DNA and thus react to respiratory illnesses similarly. Understanding the habitats at Zoo ATL shed light on many architectural issues regarding animal safety from airborne illnesses. Many of these issues resulted in a lack of natural ventilation, quarantine spaces, cleaning challenges, and lack of space for PPE.

Assigment 1B

ZOO ATLANTA

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis Zoo Atlanta Building Plan - Provided by Jodi - Drawn in Excel

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Site Plan 1/32” = 1’0”

Habitat Features - Rocks + Trees

Site Plan 1/32” = 1’0”

Gorilla Runarounds

Yard 01

Yard 05

Site Plan 1/32” = 1’0”

Yard 02

Yard 04

Transfers + Public Viewing

Yard 03

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Site Plan 1/32” = 1’0”

Habitat Features - Rocks + Trees

Site Plan 1/32” = 1’0”

Gorilla Runarounds

Site Plan 1/32” = 1’0”

Transfers + Public Viewing

Site Plan 1/32” = 1’0”

Building Plan 1/16” = 1’0”

Covid-19 Considerations

YARD 04 18,583 sf

Door Distinctions

Building Plan 1/16” = 1’0”

YARD 01 30,486 sf

Building Plan 1/16” = 1’0”

Gorilla Circulation

YARD 05 5,842 sf

Building Plan 1/16” = 1’0”

Interior Spaces

Site Plan 1/32” = 1’0”

Building Plan 1/16” = 1’0”

33 26

tr. d

elec

kitchen

Door Distinctions

office

Building Plan 1/16” = 1’0”

Gorilla Circulation

3 9

sqz n

YARD 05 5,842 sf

Building Plan 1/16” = 1’0”

Interior Spaces

SITE CONTOURS, 12’ MOTES, AND INTERIOR SPACES ARE ILLUSTRATED ABOVE. KEY SITE FEATURES HIGHLIGHT THE DRASTIC CHANGE IN TOPOGRAPHY AS WELL AS THE DOUBLE MOTE SYSTEM BETWEEN YARDS. FUN FACT! ZOO ATLANTA HAD A FEMALE GORILLA NAMED OLYMPIA WHO JUMPED OVER A MOTE IN YARD 5! KEY BUILDING FEATURES CALLS OUT DOOR NUMBERS, DAY/NIGHT ROOMS, SQUEEZE ROOMS, AND TRANSFER ROOMS.

lift

mech

YARD 04 18,583 sf

Building Plan 1/16” = 1’0”

YARD 01 30,486 sf

25 53

tr. b

sqz. b 31

sqz. d

Covid-19 Considerations

Zoo Atlanta Gorilla habitat “lens” analysis above.

Motes + Contours

YARD 02 3,977 sf

YARD 03 16,491 sf

The western lowland gorilla habitat at zoo atlanta consists of 1.8 acres separated into five separate habitats, one of which is not visible to guests. Double moats separate these habitats and groups. Habitats 1 & 4 are primarily occupied by bachelor groups, 3 & 5 by family groups, and habitat 2 is designed for geriatric groups given its close proximity to the building and smaller scale. Gorillas are frequently rotated through the 5 habitats to change their environment.

Zoo Atlanta Gorilla habitat “lens” analysis above.

Motes + Contours

YARD 02 3,977 sf

YARD 03 16,491 sf

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Site Plan 1/32” = 1’0”

Habitat Features - Rocks + Trees

Site Plan 1/32” = 1’0”

Gorilla Runarounds

Yard 01

Yard 05

Site Plan 1/32” = 1’0”

Yard 02

Yard 04

Transfers + Public Viewing

Yard 03

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Site Plan 1/32” = 1’0”

Habitat Features - Rocks + Trees

Site Plan 1/32” = 1’0”

Gorilla Runarounds

Yard 01

Site Plan 1/32” = 1’0”

Yard 02

Yard 05

Transfers + Public Viewing

Yard 03

Yard 04

Site Plan 1/32” = 1’0”

Building Plan 1/16” = 1’0”

33 26

tr. d

elec

kitchen

Door Distinctions

office

Building Plan 1/16” = 1’0”

Gorilla Circulation

3 9

sqz n

YARD 05 5,842 sf

Building Plan 1/16” = 1’0”

Interior Spaces

Site Plan 1/32” = 1’0”

Building Plan 1/16” = 1’0”

33 26

tr. d

elec

ground hydraulic door

Door Distinctions

Building Plan 1/16” = 1’0”

keeper access door

office

Building Plan 1/16” = 1’0”

Gorilla Circulation

3 9

sqz n

YARD 05 5,842 sf

Building Plan 1/16” = 1’0”

Interior Spaces

GORILLA RUNAROUNDS ARE SHOWN IN THE SITE MAP. THIS IS A VERY IMPORTANT DESIGN FEATURE FOR GORILLAS ESPECIALLY BACHELORS THAT HAVE MORE ENERGY AND CHASE EACH OTHER. MAKING THE SPACE FEEL LARGER AS WELL AS SHELTER GORILLAS THAT DESIRE A PRIVATE AREA OUT OF SIGHT FROM ANOTHER GORILLA. BUILDING PLAN HIGHLIGHTS THE TRANSFERS IN AND OUT OF THE BUILDING, AS WELL AS THE GORILLS AND KEEPER DOORS.

lift

mech

YARD 04 18,583 sf

kitchen

overhead mesh door

YARD 01 30,486 sf

25 53

tr. b

sqz. b 31

sqz. d

Covid-19 Considerations

Zoo Atlanta Gorilla habitat “lens” analysis above.

Motes + Contours

YARD 02 3,977 sf

YARD 03 16,491 sf

HABITAT FEATURES AND GORILLA CIRCULATION ARE ILLUSTRATED ABOVE WITH THE ADDED LENSES. SITE/HABITAT FEATURES INCLUDE FALLEN TREES, ROCKS, LARGE TREES, BUSHES, ROCKS AROUND BUILDING, AND A TREE-LIKE PLAY STRUCTURE FOR GORILLA ENRICHMENT. BUILDING LENS HIGHLIGHTS THE GORILLA CIRCULATION THROUGH THE OVERHEAD CHUTE SYSTEM AS WELL AS THE DAY/NIGHT ROOMS.

lift

mech

YARD 04 18,583 sf

Building Plan 1/16” = 1’0”

YARD 01 30,486 sf

25 53

tr. b

sqz. b 31

sqz. d

Covid-19 Considerations

Zoo Atlanta Gorilla habitat “lens” analysis above.

Motes + Contours

YARD 02 3,977 sf

YARD 03 16,491 sf

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Caite Canfield, Chastain Clark, Will Reynolds

Encyclopedia of Gorilla Locomotion + COVID-19 Analysis

ZOO ATLANTA

Assigment 1B

Site Plan 1/32” = 1’0”

Habitat Features - Rocks + Trees

Site Plan 1/32” = 1’0”

Gorilla Runarounds

Yard 01

Site Plan 1/32” = 1’0”

Yard 02

Yard 05

Transfers + Public Viewing

Yard 03

Yard 04

Site Plan 1/32” = 1’0”

Building Plan 1/16” = 1’0”

33 26

tr. d

elec

ground hydraulic door

Door Distinctions

Building Plan 1/16” = 1’0”

keeper access door

office

Building Plan 1/16” = 1’0”

Gorilla Circulation

3 9

sqz n

YARD 05 5,842 sf

Building Plan 1/16” = 1’0”

Interior Spaces

SITE SECTION SHOWN ABOVE WITH TRANSFERS IN AND OUT OF THE BUILDING FOR HUMANS AND GORILLAS. THE CHUTES ARE SHOWN ABOVE AND THE DRAINAGE TROUGHS ARE CUT THROUGH.

Zoo Atlanta Gorilla habitat “lens” analysis above.

LASTLY, PUBLIC VIEWING ALSO PLAYS A MAJOR FACTOR IN HABITAT DESIGN. THE 5 PRIMARY VIEWING AREAS ARE ILLUSTRATED ABOVE. THE ONLY YARD THAT IS NOT VISIBLE TO THE PUBLIC IS YARD 5. IN THE BUILDING PLAN SOME COVID-19 CONSIDERATIONS ARE CALLED OUT SUCH AS THE SKYLIGHTS, DRAINAGE TROUGHS, AND ADAPTED KEEPER PPE STORAGE/LOCKER SPACE.

lift

mech

YARD 04 18,583 sf

kitchen

overhead mesh door

YARD 01 30,486 sf

25 53

tr. b

sqz. b 31

sqz. d

Covid-19 Considerations

Zoo Atlanta Gorilla habitat “lens” analysis above.

Motes + Contours

YARD 02 3,977 sf

YARD 03 16,491 sf

Land

People Culture

Masterplan Design The Ellen DeGeneres Campus of the Dian Fossey Gorilla Fund

Caite Canfield, Chastain Clark

DESIGN & RESEEARCH STUDIO II Diane Fossey Campus Phase II Expansion ARCH 6050: DESIGN AND RESEARCH STUDIO 2 Michael Murphy/Jade Yang Advanced architectural design emphasizing innovation through applied research. Emerging

pavillions and “porches” are very important in circulation considerations given the lack of air

methods of design generation/evaluation. Changing topics: healthcare, fabrication,

conditioning and the beautiful weather.

urbanism, ecology, building performance, cultural institutions. The Ellen Degeneres Campus for the Diane Fossey Fund is a newly opened MASS Design Group Porject cenetered around locally fabricated buildings in support of Diane Fossey and her efforts to save the mountain gorillas. We were tasked with teaming up to masterplan an expansion in the land next to the existing site. Looking at precedents architecture projects to inform our decision making regarding program, placement, and design style choices, Chastain Clark and I creating a masterplan for the Fossy Phase II expansion centered around agroforestry, health, wellness, and education. We created a legend comparing precedent projects to determine some key factors to consider within out designs that we each then carried forward to our final projects. Outdoor

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

ntral rtyard

n System

/Circular acular

ural lation

Material Duality: Durable X Ephemeral

Building Clusters

Central Courtyard

Terraced Section

Passive Solar

Screen System

Extended Overhangs

Exterior Circulation

Ellipse/Circular Vernacular

Personal/Subsistence garden plots

Agroforestry

Natural Ventilation

010

011

012

003

002 009 001

004

005 006

008

Grow

010

Farm

Harvest

011

012

Clean

007 003

Prepare

002 009 001

Cook

004

005

Eat 006

008

Live

Repeat

007

001

Lawn

002

Clean, Cook, Consume

003

Seed Storage

004

Germination Station

005

Transplant Laboratory

006

Canopy Walk

007

Plant Plots

008

Harvest

009

Research Housing

010

Student Housing

011

Enter

012

Car Park

001

Lawn

002

Clean, Cook, Consume

003

Seed Storage

004

Germination Station

005

Transplant Laboratory

006

Canopy Walk

007

Plant Plots

008

Harvest

009

Research Housing

010

Student Housing

011

Enter

012

Car Park

5mins B

40 yrs

Forest Bathing

Sun Bathing

Nourishment

Tendriles

•

Larger Trees Wrapping Exterior

•

Dense Canopy as Barrier Wall and Canopy Walk

•

Open Grass areas for gathering

•

Sightlines/Shade - Open/Closed

Circulation

Forest Bathing

DESIGN & RESEEARCH STUDIO II Final Project: Healthpost in a Model Village ARCH 6050: DESIGN AND RESEARCH STUDIO 2 Michael Murphy/Jade Yang We travelled to RWANDA! What a life-changing experience! Travelling the capital city of

density housing, aquaponic farming, agricultural plots, public markets, bamboo/briquettte

Kigali to visiting the rural areas of the country and trekking with the gorillas made for an

processing facilities, healthpost, schools, and library.

unforgettable experience. International architecture in rural Africa is nothing like I have ever experienced before and have a new found passion for design. This semester really opened

For my final project, as part of a model village masterplanning assignment, I chose to dive

my eyes to how architecture can truly change people’s lives for the better and impact health

into healthcare for the first time and design a “healthpost.” A Healthpost is a term used in

and wellness directly.

Rwanda for an outpatient health centered focused on maternal, child, and malaria care. I decided to divide the program into 3 smaller buildings at the center of the village to allow

The Volcanoes National Park boundary had been pushed back over the past 35 years due to sprawl development and created a “gorilla conflict area.”This conflict area was causing problems between gorilla families and resulting in a fight for resources and territory. The gorillas are a huge source of revenue for the country of Rwanda and thus the government has made the decision to push the park boundary back to where it used to be ultimately into where communities have settled resulting the people being displaced. As a studio we have been tasked with addressing this problem by attempting to densify a new area of Rwanda that is away from the park boundary. A model village including low,medium, and high

easy access to everyone.

healthpost Definition

“Health posts are intermediary primary care facilities located at the community level. They provide comprehensive primary care services to communities, and are located at a reasonable walking distance from people’s homes. They also serve as an interface between health centres and community health workers. The community health workers provide selected health services – mainly related to maternal and child health and malaria – on a voluntary basis in each of the 14,837 villages (the lowest administrative entity of the country) and in health centres, which operate in each of the 416 upper administrative levels of Rwanda.”

Positive results from the health post initiative include increased access to health services. This provides an opportunity for the health post programme to be scaled up nationwide using a phased approach. It will also ensure that ultimately, all Rwandans are within 25-minute walking distance of these essential services. Access to primary care services is of critical importance to significantly impact health outcomes for rural communities in Rwanda, and the Government aims to expand this access by opening 1548 new Health Posts across the country under it’s Vision 2020 goals

“Health Posts are a crucial part of the health system that can allow people in hard-to-reach areas to access primary health care and referral to higher level of care when needed. Rwanda will achieve universal health coverage faster by using such a community-based approach, especially considering that most people live in rural areas,” said Dr Brian Chirombo, WHO Representative in Rwanda.

Boundary Definition:

Traditional Use: is to separate one thing from another

Based on Etymology: to make a boundary is to bind one thing to another

Blurred Boundary zone: to make a boundary is to bind one thing to another

bound·a·ry /ˈbound(ə)rē/ noun 1. a line that marks the limits of an area; a dividing line

Etymology: Boundary = Bound = Bind

Precedents East Africa

Health Services/Hospitals/Healthposts

maternity village

child care center

MASS Design Group

Equipo de Arquitectura

Butaro, Burera District, Rwanda

Kasungu, Kasungu District, Malawi

Villeta, Paraguay

butaro

program division Healthpost

driving factors: functional, flexible, comfortable, hygenic, cost effective, adaptable to different conditions of orientation, topography and program required, and offered in different sizes according to financial capacity, social context, needs for health case services to be offered and land size

general/emergency services

maternity ward

childrens wellness center

byihutirwa

ubuzima bwiza

kwita ku mwana

Emergency/Urgent/Non-urgent - UNPLANNED

Maternity Care/Prenatal/Postnatal/Neonatal

General Wellness/Pediatric/Nursery/Nutrition/Rehab/Geriatric

construction materiality

scale considerations Rwanda 600 family village Health Post Program Sizes

Lo-Fab Focused

general/emergency services Given: • 4.6 average family size = 2760 people • Rounded to 5 average family size given rural setting = 3000 people If there are approximately 600 families in our area, then there are 3000 people total to take into consideration. Given: • 60% of Rwanda national population is 16 - 65yrs old If 60% of Rwanda national population is under 16 - 65yrs old, then there are 1800 adults in our area. Given: • 38% Rwanda national childrens population is malnourished If children and women of child bearing age are assumed to visit the other facilities, then there are 1050 people in our area that might need general/emergency care. Assuming top 10 causes of morbidity for children in Rwanda: • Acute Respiratory Infections (ARI) = 22.5% = 405 Recovery + Frequency = Estimated 10 days • Malaria = 22.3% = 401.4 Recovery + Frequency = Estimated 14 days • Tuberculosis = 17% = 306 Recovery + Frequency = Estimated 180 days • Eye Disease = 5.% = 90 Recovery + Frequency = Estimated 180 days • Intestinal parasites = 5% = 90 Recovery + Frequency = Estimated 60 days • Tooth and gum disease = 4.6% = 82.8 Recovery + Frequency = Estimated 10 days • Skin Infections = 3.3% = 59.4 Recovery + Frequency = Estimated 3 days • Gastro-intestinal disease = 3.1% = 55.8 Recovery + Frequency = Estimated 5 days • Urinary tract infections = 2.2% = 39.6 Recovery + Frequency = Estimated 7 days • Pneumopathies = 1.7% = 30.6 Recovery + Frequency = Estimated 42 days • Other = 30.5% = 549 Recovery + Frequency = Estimated 7 days Total Population = 1050 Total time required for care for top 10 causes of morbidity on average: 518 Total days ages 0 - 15yrs old = 17885 Averaging 596.16667 months total time needed to visit a facility for one of the morbidity causes listed above.

maternity ward Given: • 4.6 average family size = 2760 people • Rounded to 5 average family size given rural setting = 3000 people If there are approximately 600 families in our area, then there are 3000 people total to take into consideration. Given: • 51% of Rwanda national population is female If 51% of Rwanda national population is female, then there are 1530 women in our area. Given: • 19.2% Rwanda national population female of child bearing age (age 15-49) If 19.2% of women nationally are of child bearing age, then there are 293.76 women of child bearing age. Assuming: • 6 months prenatal care • 2 months post natal care • 6 months neonatal care • 2 months teaching/learning family planning, birth management, nutrition Averaging 16 months total time needed to visit a facility for one pregnancy. If 16 months is needed for one pregnancy, and the average woman has 4.1 children, then 68.8 months are needed for total maternity care at a facility in a woman’s lifetime in Rwanda. Equivalent to 5.7 years visiting ward per woman averaging 4.3 children.

To calculate total number of women in facility at any given time:

To calculate total number of people in facility at any given time:

childrens wellness center Given: • 4.6 average family size = 2760 people • Rounded to 5 average family size given rural setting = 3000 people If there are approximately 600 families in our area, then there are 3000 people total to take into consideration. Given: • 40% of Rwanda national population is under 15 If 40% of Rwanda national population is under 15, then there are 1200 children in our area. Given: • 38% Rwanda national childrens population is malnourished If 38% of children nationally are malnourished, then there are 456 children malnourished in our area. Assuming top 10 causes of morbidity for children in Rwanda: • Acute Respiratory Infections (ARI) = 23.9% = 108.984 Recovery + Frequency = Estimated 10 days • Gastro-intestinal diseaase = 16.2% = 73.872 Recovery + Frequency = Estimated 14 days • Malaria = 11.7% = 53.352 Recovery + Frequency = Estimated 14 days • Eye Infection = 10.3% = 46.968 Recovery + Frequency = Estimated 10 days • Gynecological Problems = 7.7% = 35.112 Recovery + Frequency = Estimated 14 days • Tooth and Gum Disease = 6.2% = 28.272 Recovery + Frequency = Estimated 14 days • Intestinal Parasites = 5.6% = 25.536 Recovery + Frequency = Estimated 30 days • Pneumopathies = 5.3% = 24.168 Recovery + Frequency = Estimated 5 days • Skin Infections = 3.2% = 14.592 Recovery + Frequency = Estimated 3 days • Neonatal Illness = 2.9% = 13.224 Recovery + Frequency = Estimated 28 days • Other = 7.0% = 31.92 Recovery + Frequency = Estimated 3 days Total Children = 456 Total time required for care for top 10 causes of morbidity on average: 117 Total days ages 0 - 15yrs old = 5475 Averaging 9.75 months total time needed to visit a facility for one of the morbidity causes listed above.

Rammed Earth Photograph from Rwanda Institute for Conservation Agriculture (RICA) Gashora, Bugesera District, Rwanda - MASS Design Group

Hand-Woven Panels + Design Elements Photograph from Rwanda Institute for Conservation Agriculture (RICA) Gashora, Bugesera District, Rwanda - MASS Design Group

Locally Sourced + Carved Volcanic Stone Photograph from Butaro Hospital Burera District, Rwanda - MASS Design Group

To calculate total number of children in facility at any given time:

(Total days in center per person)*(total # of people in the village)

(Total years in ward per woman)*(total # of women of child bearing age in village)

(Total days in center per child for recovery)*(total # of children in the village)

(Days total for children aged 0 - 15yrs)

(Years of bearing age total)

(Days total for children aged 0 - 15yrs)

= 518 days*1050/17885 days

= 1684.224 women years/34 years

= 117 days*456/5475 days

= 30.41096 people at any given time

= 4.94776 women at ward at any given time

= 9.74466 children at any given time

Approximately 30 people requiring care at any given time on average in general/emergency services.

Locally Fabricated Clay Bricks Photograph from African Leadership University (ALU) Kigali, Rwanda - MASS Design Group

Approximately 5 women requiring care at any given time on average in maternity ward.

Approximately 10 children at care center at any given time in childrens wellness center.

Clay Rainscreen Tiles Photograph from Norrsken Kigali House Kigali, Gasabo District, Rwanda - MASS Design Group

Glass Panels + Windows Photograph from Ellen DeGeneres Campus of the Dian Fossey Gorilla Fund Kinigi, Musanze District, Rwanda - MASS Design Group

Timber Structural Support with Steel Connection Details Photograph from Rwanda Institute for Conservation Agriculture (RICA) Gashora, Bugesera District, Rwanda - MASS Design Group

byihutirwa Urgent/Emergency General Care

“The doctor of the future will no longer treat the human frame with drugs, but rather will cure and prevent disease with nutrition.” — Thomas A. Edison

ubuzima bwiza Cradle to Life Maternity Care

“Experiences have clearly shown that an approach which ‘de-medicalizes’ birth, restores dignity and humanity to the process of childbirth, and returns control to the mother is also the safest approach.” - Michel Odent

kabeho mwana “The Living Child”

Pediatric/Nursery/Play

“To be alive in this beautiful, self-organizing universe -- to participate in the dance of life with senses to perceive it, lungs that breathe it, organs that draw nourishment from it -- is a wonder beyond words. The web of life both cradles us and calls us to weave it further.” — Joanna Macy

Design Inspiration M.C. Escher was a Dutch artist who made mathematically inspired woodcuts and prints. His work included operations such as reflection, symmetry, perspective, and tessellation. The basis of his work is to create one geometric shape that repeats along a surface. The voids of the shape then create a translation of the original shape. His design often have multiple axes of symmetry and rotation, allowing the pattern to appear to have multiple images within the pattern

M.C. Escher Patterns

PARAMETRIC DESIGN - VIRTUAL + ACTUAL PRODUCTION TETRA - Outdoor Beltline Furniture ARCH 4833 - DB / ARCH 8833 – DB SPECIAL TOPICS: ARCHITECTURAL TECHNOLOGY Daniel Baerlecken This seminar foregrounds research into the application of experimental design techniques

Inspired by the parametric qualities of artist and mathematician M.C.Escher, our project

with material constraints using digital fabrication. The operation of designing and the

takes it’s derivation from many of his works. Devising a piece of furniture that is made of

operation of making are seen as intertwined and students within the seminar will create

multiples of a sinlge module, the “whole” becomes something new entirely.

a methodology for embedding their design logic into crafting virtual and actual textile artefacts.

The final piece will be cast and entered into the Beltline Arts Competition!

The seminar provides a specific introduction to methods of digital modeling and fabrication in order to foster a better understanding of how digital methods apply to design by exploring possibilities and limitations of different techniques. The seminar will focus on weaving as a material technique. Students will advance their knowledge in digital design by acquiring software skills in parametric modeling and in technologies that allow fabricating the digitally conceived design.

Tetra Puzzle, Designed by Revision for Craighill The tetra puzzle started as an intuition: A tetrahedron (pyramid) has four corners and four faces, broken into four equal parts.

We were inspired by his 2D patterns to explore the same logic with 3D forms. how can the same shape connect together to create a larger form? Along with Escher’s sketches, we studied the parts of Chinese puzzles and how the assembly of the large form (the pattern) effects the individual piece.

Design Inspiration Study of Chinese puzzle form and Assembly

a a

b c

pieces plan assembly steps

assembly steps

d e

pieces Axon

c d

pieces Axon

pieces plan

b c

Luban Ball Puzzle Luban Ball Puzzle

rotate ‘B’ 90º

B B interlocking, (1)A - (1)BB interlocking, (1)A - (1)B Bx2

A pieces Axon

pieces Axon

assembly steps

A x 10B x 2

Interlocking Pieces (6) Units Interlocking Pieces (6) Units pieces plan

A x 10

pieces plan

A interlocking, (1)A - (1)A A interlocking, (1)A - (1)A

B interlocking

B interlocking rotate ‘B’ 45º

5 Luban Puzzle Ball in the Cage

Luban Puzzle Ball in the Cage

rotate ‘B’ 45º

B interlocking

rotate ‘B’ 45º

Design Development

Square Unit

Square Unit to Grid

Unit Transformation

Transformation Reflection

Remove Grid

Offset Grid

Identify Cube Faces

Reflect Grid

Folded Cube

Minipulate Curve Profile

Final Curve Profile Assembly larger Cube

Site Selection

l Belt ine

Ponce De Leon Ave NE

Ford Factory Lofts Ponce City Market

Kroger

North Avenue NE

lin

While this location is one of the most trafficked spots along the beltline, it is slow to motivate people to linger in the space. Our puzzle encourages people to stop, gather, and engage with one another around the Mondrian Piano.

Design Renderings

Materials Production

Unit in Larger Cube

Remove Excess Material

Remove Unit Piece

Rotate

arrange Pieces for Milling

CNC Mold Pieces

Assemble Mold and Cast

Remove Cast and Repeat

Section and Divide Mold

Installation

30 Minute Expansion Time x4 Pieces

1/8”

24 hr Cure Time 2x Coats

x4 Fabrication Time

Foam Casting

x4 Epoxy Paint

48 hr Total work time

Transportation and Installation Time

30 Minute travel

5 Minute Installation Time 4x Pieces

1 hr Total work time

Climate, Environment, and Clean Cooking The Problem Inefficient stoves to cook their food, harming health, the climate, and the environment. Inefficient combustion of solid fuels like wood, charcoal, animal dung, crop residue, and coal produces a range of climate-damaging emissions. Cooking this way not only releases greenhouse gases (GHGs) like carbon dioxide (CO2), but also short-lived climate pollutants (SLCPs). The most significant SLCP emitted by traditional cooking practices is black carbon, a component of particulate matter emissions. Since the atmospheric lifetime of black carbon is only a few days, reducing black carbon emissions can bring about a more rapid climate response than reductions in GHGs alone. In addition, unsustainable harvesting of wood for fuel not only contributes to forest and environmental degradation, but is a major driver of climate change. The Solution Clean cooking is a proven and critical part of the climate solution. Today’s highly efficient stoves can reduce fuel use by 30-60%, resulting in fewer GHG and black carbon emissions. The global community cannot reach its goal of addressing climate change without addressing the way people cook. Scaling up clean cooking can address climate change while simultaneously providing significant improvements to global health, as well as benefits to women’s empowerment and local economies.

CLAY 3D PRINTING CLEAN CLAY COOKSTOVES ARCH 4833/8833: ADDITIVE MANUFACTURING TECHNOLOGY APPLICATIONS Logman Arja In this seminar, we will be weaving together a dynamic relationship between the creative

to ceramic 3d printers to fabricate their projects and prototypes. With software skills

practice of additive manufacturing – a process by which digital 3D design data is used

(Grasshopper to machine controlling G-code) and materials techniques learned, students

to build up an object in layers by depositing material – and simple innovative ideas that

will leverage the outcome of the class to thoughtfully enhance their representation and

have the potential to actively serve the people at the bottom of the economic pyramid. To

fabrication techniques in future studio works and design projects.

promote healthier populations, cleaner environments, and inclusive, sustainable economic growth especially in the developing world, students will propose and develop simple and low-tech innovations (cookstove, cookware, earthware, water filters etc). All these innovations will be presented at the final in a pavilion-like structure aided by the technology of additive manufacturing. From the scale of an object, to the scale of a building and micro-infrastructure, students will speculate on the wider implications of this technology on a larger context and landscape. A dedication to create physical objects and postulate on technologically informed ceramics as disruptive to the culture of buildings is paramount. Through lectures, interactive demonstrations, and tutorials, the class will develop a workflow spanning digital fabrication and machine craft with ceramics. In doing so, we will be using Rhinoceros and Grasshopper for modeling, scripting and coding. Students will be introduced

Environmental Impacts of Cooking • 120 megatons of climate pollutants are emitted every year from cooking over open fires and inefficient stoves. • More than half of black carbon emissions come from burning solid fuels for cooking and heating in homes. • Black carbon is the second largest contributor to climate change after carbon dioxide. • Sea ice melt is, in part, caused by black carbon emissions from cooking that end up deposited in the Arctic. • Up to 34% of woodfuel harvested is unsustainable, contributing to forest degradation and climate change. • Over 275 million people live in woodfuel “hotspots,” which are areas where over 50% of woodfuel harvesting is unsustainable.

Types of Biomass Stoves Batch Operated refers to stoves that are operated on a single load of fuel at a time

Tandoor/Tannour Precedents Continuously fed stoves require fuel to be loaded throughout the cooking process

Rocket stoves are fueled with wood sticks or biomass residues that are continuously fed through the side of the stove, typically resting on a grate that ash and charcoal can settle below. Air enters by natural - or forced draft through the same opening as the fuel

Gasifier stoves are batch-or continuously fed using processed fuel. Combustion occurs in two zones - the pyrolysis zone where fuel is heated to produce combustible gases, and the combustion zone where pyrolysis gases are mixed with air and combusted to produce heat

Charcoal stoves are batch-operated and fueled with charcoal or carbonized biomass, which is produced through pyrolysis to remove volatile matter leaving mostly carbon

Forced-draft/fan stoves have air that is forced into the stove using a fan or blower to enhance turbulence and promote cleaner combustion

Clean Tandoor Cook Stove Design Parameters 1. ‘Interior’ Cooking Surface The cooking of breads and dough are an integral part of using a tandoor stove, where is it integrated? 2. ‘Exterior’ Cooking Surface How can we begin to explore using the exterior to support other cooking methods? 3. Front Load vs Top Load Tandoors are used over extensive periods of time, how can we allow fuel to be continuously added over time? 4. Secondary Combustion Where can we create spaces/processes for secondary combustionquickly. And because only one large surface area is exposed to air.

Tandoor/Tannour Basic Info

Tandoor/Tannour Stove Driving Factors

•

A basic clay or metal oven

•

Ancient: 5000 years – from Harappan, Mesopotamian, and Egyptian civilizations

•

Developed and used mainly in Asian and Caucasus countries

•

Afghanistan, Pakistan, India, Iran, China, Mongolia, Turkey, Armenia, Georgia, etc.

•

The normal cookware for the Uyghurs – a Chinese ethic minority group

In Chinese – “馕坑” – meaning a “naan pit” •

•

“Naan” – a traditional bread (leavened dough) made in tandoors

Fueled by basic charcoal or wood

• • •

Tandoori Cooking Techniques • The clay ovens themselves impart a special flavor into the cooked food, especially doughs that are in direct contact • Adding special yogurt marinade is an integral part of tandoori cooking • Pro Tip: put a potato at the end of the skewer to keep it from rotating Tandoor ovens were originally used in Syria with live coal or wood fires The top of the stove needs to be open or operable in order to maintain direct contact with cooking food Curing Tandoor Stoves: • You must prepare the tandoor’s clay portion once before starting it for the first time. This seals and treats the clay, which in turn extends the life of your Tandoor. • For best results, repeat this procedure once every 2-3 months. •

Ingredients: • Mustard oil 1.5Litres • Jaggery (gur) 1Kg • Spinach (Palak) 1Kg • Salt 10 Teaspoon • Turmeric Powder (halide) • 10 teaspoon

•

Directions: • Mix (grind) the above-mentioned ingredients in a pot until it becomes liquid. • Rub with a cloth on the clay portion of your tandoor. • Let the tandoor absorb the mixture for 30 min. • Then repeat steps 2 and 3 another three times. • Light up your tandoor on LOW heat for 4 hours. • Then, switch to MEDIUM heat for 4 hours. • NEVER use HIGH heat.

•

After the tandoor cools down, remove the remainder of the mixture from your tandoor using a soft moist cloth.

Tandoor/Tannour Socioeconomic Info •

Typically used in primarily rural homes and ares

•

Sometimes community gathering places

•

Size varies on number of people using it and for what purpose

•

Only ‘popularized’ around 60 years ago

Tandoor Oven Design:

Tandoor Oven Design Considerations: •

•

The inner pot is built in two parts, which, not only is easier to make, but it also creates a ledge inside for skewers to rest so that they do not jab directly into the coals. The charcoal chamber and bottom of the big pot have several holes in them to allow oxygen to flow to the coals, an essential for proper combustion. Additionally, there is a 2” lip on the bottom of the charcoal chamber, which should once again lift the coals up, giving them more access to airflow. The unusual “donut lid” covering the section between the pots is actually very important - it prevents the lightweight vermiculite insulation from flying away in the wind or getting foreign material or water into them, ruining them.

7 printed parts Central Lid Outer Lid Insulation Fill Line Inner Wall (upper) Kebab Ledge

What is a tandoor anyways? Traditionally the word is

dripping from the meat falls into the belly of the beast,

bread. It is thanks to the tandoor that we can enjoy

used to refer to a cylindrical clay oven that has been

causing a smoking effect that gives a delicious, unique

tandoori chicken — chicken marinated in yogurt and

used by civilizations for thousands of years. Charcoal

flavor to the food that cannot be achieved by baking in a

an eclectic mix of spices — a well loved classic of Indian

burns at the bottom, and the radiant heat rising from

regular oven. Bread dough can also be slapped directly

cuisine.

it cooks meat or vegetables threaded on steel skewers

onto the hot clay walls, where it puffs and cooks almost

placed inside the cooking chamber. Fat and marinade

instantly to make the delectable and well known Naan

Inner Wall (bottom) Coals Airflow holes Outer Wall Ash Tray Support Bricks

Convection Heating

Coals

Oxygen Holes

Sweep 1 with profiles

Completed Tandoor Oven Airflow to Coals

Rocket Stove Technology: •

•

• • •

Tandoor - Rocket Design Diagrams

Using wood for fuel usually • Easy to find and is abundant • A small amount of wood burns hot and for a long time Combustion process almost complete (minimizing smoke) • Clean and efficient • Not much smoke but still fire Can get very hot – need to be careful when cooking Apertures usually only coincide with the fuel input chamber, so maybe we can find other ways to allow for more air intake? How would we apply this technology to the tandoors? • How would we add the interior cooking area?

Rocket Stove Technology

Originally just an ash tray (fuel crate)

Additive Manufacturing Individual Research Project

Clove Caite Canfield 04/14/2022

Basket Weaving

Clay Printing

Hand Fabrication

Machine Fabrication

Ephemeral

Durable

Dry

Wet

Flexible

Fixed

Light

Heavy

Casting on: add weaving to ceramic

08/2021 - 12/2021

Design + Research Studio I - David Baerlecken Theory II - Lefthand of Darkness - Mark Cottle Integrated Building Systems III - Russel Gentry, Michael Gamble, Todd Mowinski, Jennifer Hsiaw Practice of Architecture - Stuart Romm, Ennis Parker

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

Ridge Crease Fold Paper on either side of fold downward Coincident valley folds emerge

Valley Crease Fold Paper on either side of fold upward Coincident ridge folds emerge

Smallest Module for Origami Design The triangular module is the repeated module that generates all the varying crease patterns also detailed in physical model

Exploration: Alternating Ridge/Valley Creases along ONE EDGE Paper folding on either side begins to change and become more unpredictable Breaking at Vertices - how to resolve crease pattern?

DESIGN + RESEARCH STUDIO I Final Submission TECTONIC FOLDS ARCH 6050: Design + Research Studio 1 The Design and Research Studio Structural Folds focuses on exploring concepts of folding

as the Educatorium in Utrecht, Netherlands, built in 1997. Foreign Office Architects (FOA)

as a form-generator for structural and architectural systems that allow for the ability

has also explored the potential of structural folding with their Yokohama Terminal

to deploy structures (dynamic) or increase the structural performance of a surface

project in 2002.

through folding (frozen). The studio will research different types of folded structures and focus on a parametric modeling process that allows performance evaluation of

For my project proposal, I am proposing an open-air structure that will celebrate the culture

different types of origami. The workflow between scripting-based form generation

and history of Savannah. Doubling as a Food Market Hall and a Ferry Terminal Station, the

and physical prototyping will be established to explore the scalability from a thin micro-

River Street market will become an iconic addition to the Savannah skyline, glowing like a

structure to a thickened structure.

lantern for boats, tourists, and locals to enjoy.

Architects and engineers have been fascinated by the form-generating potential of origami, and the potential to build large-scale structures from sheets of folded, flat materials. Applications of origami and folded structures have been promoted in the past successfully for engineering solutions by researchers such as Robert J. Lang. In architecture, the concept of the fold echoes in Rem Koolhaas and Peter Eisenman, who understand folding as an aesthetic and programmatic technique in a series of projects such

Origami Research - TreeMaker.FreeForm.Hand-Drawn Caite Canfield 10.15.2021

Origami Crease Pattern Design Exploration Rotation + Reflection

TreeMaker: TreeMaker was the software that began the crease pattern investigation. Despite somewhat limiting, TreeMaker generated more comprehensive understanding of how crease patterns are made, operated, folded, and designed. FreeForm: Once a crease pattern has been developed, FreeForm takes the pattern and folds and unfolds the paper with the pattern in 3D space. This was a quick way to ensure patterns would fold properly before doing it by hand. Hand-Drawn Crease Patterns After utilizing TreeMaker and FreeForm, I investigated crumpling as an origami technique and how one might draw/design unique crease patterns. Through crumpling, I discovered that as the number of folds increased, the ridges and valleys began to alternate on the same line. This became the springboard for my origami exploration that informs the building structure, program, and circulation.

Final Crease Pattern Design for Roof Implementing various design changes to the modular unit, some lines are then removed to fade the roof to the edge

Downtown Savannah - River Street Market Caite Canfield 11.23.2021

Savannah Overview: Savannah is America’s first planned city filled with beautiful parks shaded by oak trees, horse-drawn carriages, antebellum architecture, cobblestoned squares, and rich cuisine and food scene. Also known as the “Hostess City of the South.”

32 ° 08 ’ 05.60” N, -81 ° 08 ’ 64.70” W

About the site: Savannah’s climate is humid subtropic with long, tropical summers and short, mild winters. The River Street Market is currently on the proposed site next to the Rousakis Riverfront Plaza but is extremely outdated. The goal is to connect the River Street Market to the Plaza and engage with the Savannah River to harmoniously connect site contexts together while also leaving a sustainable, modern mark on the city skyline. Roof Design Form Finding Looking from the East - The sunpath diagram highlights the desire to lift the opposite side of the structure to catch more sunlight and bring it into the space while the North facing side is manipulated to direct weather and wind flow from the river away from the origami system. Light refraction and reflection also shown within roof membrane geometry.

Program Proposal: Located next to Joe’s Crab Shack, River Street Market Place offers a unique shopping experience in an outdoor market reminiscent of the open-air market buildings that stood on River Street in the mid 1800s. Visitors will have the opportunity to experience the rich cuisine of Savannah as well as purchase fresh produce. Farmers Market meets Market Hall!

Circulation The open air structure allows for constant circulation through the market and down to the ferry terminal.

Ferry Terminal - Ramp, Dock, Loading/Unloading Area Food Market - Restaurant, Cooking Classes, Stand Rental, Tables & Chairs

Existing Market on Site (River Street Market) East view to Site with Savannahe Ferry (Georgia Queen), Aerial SE view from River - SITE CALLOUTS Photographs

Site Zoom 002 River Street Market/Emmett Park Scale 1” = 1 mile

Program The program is outlined in the above diagram.

006

Roof Membrane: Weather-proofing and origami geometry simplifier

005

Origami System: 3M Chill Dichroic Film Laminated Polycarbonate

004

Custom Truss Network: Steel Truss System with matching origami and membrane profiles per module

003

Origami Installations: Continuing Origami Language into the ground, the modules are used as food stands/ticket booths

002

Ramp and Site manipulation: Ramp to the FerryTerminal /Dock is added along with a dock facing the river.

001

Floor Plan: The plan indicates where the building is located on the site. Between Savannah River and River Street

006

Food Market Plan River Street Market/Emmett Park

005

004

003 SW Axonometric View

002

Lower Level Plan River Street Market/Emmett Park

SE Axonometric View

001

Longitudinal Section - B Simplified Section Drawing highlighting food market open air functions, restrooms, and roof system.

Transverse Section - A Simplified Section Drawing hgihlighting seating area, restrooms, and ramp to the dock/ferry terminal.

Material - 3M Dichroic Film Caite Canfield 10.15.2021

Dichroic Film: 3M™ DICHROIC™™ Glass Finishes DF-PA offer a way to create unique, everchanging color on many interior and exterior building glass surfaces. Influenced by the color of the substrate, these transparent Products provide a dichroic color effect, meaning theyappear to change color when viewed at various angles. The “Blaze” Product shifts colors in the warm tones of cyan/ blue/magenta in transmission and red/gold color regions of the spectrumin reflection. The “Chill” Product shifts colors in the cool tones of blue/magenta/yellow in transmission and gold/ green/blue color regions of the spectrum in reflection. Single Module Model: The model on the right shows initial investigations for the propsed roof structure. It contains one origami module laser cut out of PETG, laminated with ‘Chill’ 3M Dichroic Film, fastened to a custom steel truss system. REFLECTED Color Spectrum

REFLECTED Color Spectrum

REFRACTED Color Spectrum

09h00-10h00

10h00-11h00

11h00-12h00

12h00-13h00

13h00-14h00

14h00-15h00

15h00-16h00

16h00-17h00

REFRACTED Color Spectrum

Full Building Model: The model photographed below captures the entire roof and how the colors change as the sun moves across the sky. Similar to the Single Module Model with an added ‘membrane’ layer that is a bubbled thermoformed polycarbonate.

Bubbling of the polycarbonate was achieved through multiple tests using the thermoformer. Bubbling occurs when the material reaches its “boiling” point and the water begins to emerge in the material ultimately changing its structure. Beginning from the ends and meeting at the middle this helps diffuse the caleidoscope pattern on the ground while also catching the reflected color spectrum between the origami and membrane layers ultimately capturing light and glowing like a lantern.

Overlay

THE LEFTHAND OF DARKNESS: SHADOW STRUCTURES Final Exhibition SPECIAL TOPICS IN ARCHITECTURAL TECHNOLOGY, THEORY OF ARCHITECTURE 2 ARCH 6352 Special Topics in Architectural Technology This seminar takes its name from a groundbreaking novel by Ursula K Le Guin, published

Weekly drawing responses created a large body of work (60 drawings) this semester. All

in 1969, set on a planet whose inhabitants are androgynous. In the novel, the two main

monochromatic, black or brown, concentrating on values rather than hues, and on tones

characters (one an alien) make an epic escape across the ice at the top of this winter world.

rather than lines. Similarly, an emphasis has been placed on series rather than singular

They reach a place that has no shadows, and cannot see where they are going. But the

drawings.

shadow is not merely a physical phenomenon, essential to vision. It is part of a basic set of metaphors that structure our values, and organize our understanding of the world. Ask the shadow to help us question a number of binary structures, dualities that seem “natural”, selfevident, but, in fact, are cultural constructions that operate in service to systems of power. Light-Dark, Mind-Body, Idea-Thing, High-Low, Self-Other, Us-Them, Male-Female, Center-Periphery, Civilized-Barbarian, Enslaver-Enslaved. The drawings reflect analyses and responses to material, in an abstract, expressionist way by translating texts and your reflections on them, using an objective correlative.

Robin Cornel Caite Canfield Minji Kim Greg Nye Hunter Perry

PROPOSAL FOR A CONTEMPORARY AND ENVIRONMENTAL DESIGN IN ATLANTA, GA Robin Cornel Caite Canfield Minji Kim Greg Nye Hunter Perry

Energy Requirements • Roof - R-25 • Walls - R-13 + 7.5ci • Glazing U-factor - 0.46 • Glazing SHGC - 0.25-0.53

Atlanta Code Requirements • IBC 2018 with 2020 GA Amendments • IFC 2018 with 2020 GA Amendments • IPC 2018 with 2020 GA Amendments • IMC 2018 with 2020 GA Amendments Date: • 2020 National Electrical Code Project Phase.: • 2015 IECC with 2020 GA Supplements and Amendments • NFPA 101 2018 Life Safety Code with 2020 GA Amendments

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski

DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Requirements - R-25 s - R-13 + 7.5ci ng U-factor - 0.46 ng SHGC - 0.25-0.53

RAL ENGINEER sell Gentry

ENGINEER d Mowinski

CONSULTANTS ael Gamble nifer Hsiaw

ase.:

Atlanta Code Requirements • IBC 2018 with 2020 GA Amendments • IFC 2018 with 2020 GA Amendments • IPC 2018 with 2020 GA Amendments • IMC 2018 with 2020 GA Amendments • 2020 National Electrical Code • 2015 IECC with 2020 GA Supplements and Amendments • NFPA 101 2018 Life Safety Code with 2020 GA Amendments

12-13-21 PHASE 4

INTEGRATED BUILDING SYSTEMS III Phase 4 Submission

COVER SHEET

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS ARCH 8873: INTEGRATED BUILDING SYSTEMS III Michael Gamble, Russell Gentry, Jennifer Hsiaw, BUILDING with Todd Mowinski INTEGRATED SYSTEMS III: PHASE

A-000

ATLANTA, GA

Integrated Building Systems III (IBS III) is the third in the series of three courses which

waterproofing plus any number of additional specialty consultants. Having a general

examine approaches to building design and systems integration via the design and detailing

knowledge of how these disciplines interface with architecture is essential to high quality

of a small infill structural concrete building, including basic engineering of the concrete

design. The course seeks extends a conceptual and practical understanding of how building

structrual system and the mechanical, electrical, and plumbing (MEP) systems. In IBS

details and performance requirements are developed as an integral part of an overall design

III students synthesize a wide range of variables that contribute to an integrated design

concept through application. The working premise of the course is that the technical aspects

solution.While IBS II is about understanding the technical aspects of significant completed

of drawing, modeling, organizing and integrating building systems within a set of contract

works of architecture through the analysis, “reading” and making of construction drawings,

documents are essential to achieving high quality design and effective building processes in

IBS III focuses on the ability to apply that knowledge to the design of an infill building,

professional practice.

12-13-21 PHASE 4

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

COVER SHEET

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

A-000

DRAW N BY:

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

Sheet Number

Sheet Name COVER SHEET SHEET LIST INTEGRATED DESIGN - COVE TOOL SUN DIAGRAMS SITE ANALYSIS 1 SHADING DIAGRAMS VENTILATION / RAINWATER DIAGRAM SOIL AND FOUNDATION DIAGRAMS OVERALL FOUNDATION PLAN OVERALL GROUND FLOOR PLAN OVERALL SECOND FLOOR PLAN OVERALL THIRD FLOOR PLAN OVERALL ROOF PLAN ARCHITECTURAL SECTION - FRONT LOBBY ARCHITECTURAL SECTION - OPEN OFFICES WALL SECTIONS EAST - WEST ELEVATIONS NORTH - SOUTH ELEVATIONS FIRST FLOOR FRAMING PLAN SECOND FLOOR FRAMING PLAN ROOF FRAMING PLAN LONGITUDINAL STRUCTURAL BUILDING SECTION TRANSVERSE STRUCUTRAL BUILDING SECTION FIRST FLOOR STRUCTURAL VIEW SECOND FLOOR STRUCTURAL VIEW THIRD FLOOR + ROOF STRUCTURAL VIEW FLOOR TO WALL DETAILS FOUNDATION DETAIL TYPICAL BEAM AND COLUMN DETAILS TYPICAL BEAM AND COLUMN DETAILS 2 TYPICAL BEAM-COLUMN REBAR VISUALS TYPICAL BEAM-COLUMN REBAR VISUALS 2 TYPICAL BEAM REINFORCING ELEVATION MECHANICAL SYSTEMS - FIRST FLOOR MECHANICAL SYSTEMS - SECOND FLOOR MECHANICAL SYSTEMS - THIRD FLOOR MECHANICAL SYSTEMS - SECTION MECHANICAL SYSTEMS - SMOKE CONTROL ELECTRICAL RISER DIAGRAM ELECTRICAL PLANS LIGHTING PLANS FIRE ALARM PLANS

including material selections, construction assemblies, structural systems and MEP systems. It is not uncommon in contemporary practice for a medium sized project to have a dozen consultants in addition to the architect. It is the architects responsibility to assure design integrity across disciplines, manage these consultants and integrate their work into digital models and workflows in order to produce a set of coordinated drawings. These disciplines might include structure, mechanical, electrical, plumbing, fire protection, environmental (LEED), civil, geotechnical, landscape, audio visual, IT, acoustic, lighting, façade & STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SHEET LIST

A-001

A-000 A-001 ID-101 A-002 A-003 A-004 A-005 A-006 A-100 A-101 A-102 A-103 A-104 A-200 A-201 A-202 A-300 A-301 S-001 S-002 S-003 S-100 S-101 S-200 S-201 S-202 S-301 S-400 S-500 S-501 S-502 S-503 S-504 M-101 M-102 M-103 M-200 M-201 E-100 E-101 E-102 FA-101

Phase 1

Phase 2

Phase 3/4

● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

● = Sheet created or used in respective phase

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ZERO TOOL BASELINE OUTPUT

DAYLIGHT ANALYSIS sDA: 47% Glazing Selection: Solarban 70 (2) Azuria + Clear U-Value: 0.28 SHGC: 0.24

PASSIIVE STRATEGIES USED: - SIDE DAYLIGHTING - TOP DAYLIGHTING - DIRECT GAIN GLAZING - INDIRECT GAIN SUNSPACE - STACK VENTILATION

COVE.TOOL BASELINE OUTPUT

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

INTEGRATED DESIGN - COVE TOOL

ID-101

COVE.TOOL OPTIMIZED OUTPUT

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SITE ANALYSIS 1

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

A-003

EAST ELEVATION

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SUN DIAGRAMS

A-002

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SHADING DIAGRAMS

A-004

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

SOUTH ELEVATION

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

39"x39"x35" -2' - 0"

x 18 18 18 x 18

18 x

39"x39"x35" -2' - 0"

x 16

18 x

18 x 18

39"x39"x35" -2' - 0"

x 16

39"x39"x35" -2' - 0"

x 16

39"x39"x35" -2' - 0"

18 18

x 16

39"x39"x35" -2' - 0"

39"x39"x35" -6' - 0"

S-101

-4' - 0"

Shear W all - 10" CIP Concrete 39"x39"x35" -6' - 0"

18 x 18

5' - 2"

STAIR FOUNDATIONS

E 1' - 7 1/2"

3' - 0"

39"x39"x35" -2' - 0"

1' - 7 1/2"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

VENTILATION / RAINWATER DIAGRAM

A-005

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

. 1

39"x39"x35" -2' - 0"

OVERALL FOUNDATION PLAN 3/32" = 1'-0"

DRAW N BY:

STRUCTURAL ENGINEER Russell Gentry

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

ATLANTA, GA

Date: Project Phase.:

12-13-21 PHASE 4

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

OVERALL FOUNDATION PLAN

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

A-100

NOTES: A-301 1

A-201

EVENT SPACE | 3845 SF

A-202

WOMEN BATH | 481 SF

MEN BATH | 367 SF ELEVATOR LOBBY | 718 SF B

ELEVATOR SHAFT | 23 SF DATA | 67 SF ELECTRICAL | 90 SF

ATRIUM LOBBY | 1896 SF

EXISTING BUILDINGS ON EACH SIDE OF BUILDING, TYP.

CAFE / STORAGE | 478 SF

EVENT SPACE

W OMEN

3805 SF

458 SF

COAT CLOSET | 99 SF

DATA 67 SF

ELECTRICAL Plumbing chase to turn and meet in central wall for 2nd floor rest.

A-300

90 SF

ELEVATOR LOBBY

UTILITY ROOM / SHAFT 23 SF

A-300

706 SF

MEN 349 SF

JANITORIAL CLOSET

ATRIUM LOBBY

99 SF

1908 SF

CAFE/ STORAGE 478 SF

1 A-200

G 61' - 6"

58' - 6"

60' - 0"

2 1

A-301

A-202

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SOIL AND FOUNDATION DIAGRAMS

A-006

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

OVERALL GROUND FLOOR PLAN 3/32" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

OVERALL GROUND FLOOR PLAN

A-101

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

NOTES:

A-301

A-301 1

A-201

OFFICE SPACE | 1568 SF

A-202

1528 SF

A-201

Roof is composed of Composite Metal Decking and sloped downward at west to maximize morning rays from east

A-202

LARGE CONFERENCE (x3) | APPROX 500 SF

OFFICE SPACE

Downspout

SMALL CONVERENCE | 300 SF

Roof structure is supported by structural steel columns spanning from top of 3rd floor to roof edge. Steel beams span horizontally shown in S-202

7/8" / 1'-0"

OFFICE LOBBY | 675 SF B 480 SF

KITCHEN / PANTRY

PRIVATE OFFICE 141 SF

CORRIDOR

W OMEN

A-300

1813 SF

DOAS

1 S-101

PRIVATE OFFICE (x6) | APPROX 150 SF

A-300

V R

/ 1'3/8"

A-300

R V R

KITCHEN / PANTRY | 121 SF

OFFICE STORAGE 298 SF

Air Source Heat Pump

STORAGE / RECEPTION | 150 SF

ELEVATOR LOBBY

-0" / 1'

10' - 0"

OFFICE STORAGE | 298 SF

150 SF

151 SF

STORAGE/ RECEPTION

1/4" V

JANITORIAL | 76 SF

UTILITY / SHAFT

140 SF

63 SF

62 SF

94 SF

PRIVATE OFFICE

38 SF

JANITORIAL

WOMEN (PRIVATE) | 53 SF

DATA

ELECTRICAL

1'-0

Gutter/ W ater Capture

141 SF

MEN

Secondary Drain

MEN (PRIVATE) | 49 SF

400 SF

PRIVATE OFFICE

141 SF

1/4

CONFERENCE

144 SF

PRIVATE OFFICE

STAFF LOUNGE | 465 SF

PRIVATE OFFICE

42 SF

TYP 3" Drain Pipe w/ 8" Opening per 1100 SF Area

ELECTRICAL | 94 SF

465 SF

137 SF

DATA | 62 SF

STAFF LOUNGE

119 SF

PRIVATE OFFICE

Opening in roof created between grid B and E to allow for roof mounted mechanical equipment

UTILITY/ SHAFT | 151 SF

CONFERENCE

A-200

CONFERENCE 299 SF

CONFERENCE

7/8" / 1'-0"

513 SF

1 M-201

A-301

1 A-202

. 1

Floor slab at roof edge to align smoke vents horizontally against angled roof

A-301

1 A-202

OVERALL ROOF FLOOR PLAN 3/32" = 1'-0"

OVERALL SECOND FLOOR PLAN 3/32" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

OVERALL SECOND FLOOR PLAN

STRUCTURAL ENGINEER Russell Gentry

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

ATLANTA, GA

A-102

Date: Project Phase.:

12-13-21 PHASE 4

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

OVERALL ROOF PLAN

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

A-104

NOTES: A-301 1

A-201

OPEN OFFICE | 4587 SF

A-202

PRIVATE OFFICE (x4) | APPROX 150 SF

PATIO 679 SF

CONFERENCE (LARGE) | 491 SF CONFERENCE (SMALL) | 303 SF B

UTILITY/ SHAFT | 150 SF

1 A-201

DATA | 62 SF

Shear W all - 10" CIP Concrete

ELECTRICAL | 95 SF

PATIO | 679 SF ROOF 40' - 0"

OPEN OFFICE

ELECTRICAL

4212 SF

95 SF

DATA 62 SF

CONFERENCE

UTILITY/SHAFT

305 SF

150 SF

CONFERENCE A-300

497 SF

A-300

Concrete Slab - 6"

THIRD FLOOR 24' - 0"

PRIVATE OFFICE 153 SF UP

Concrete 12" Party W all Liner

CONFERENCE

Concrete 12" Party W all Liner

299 SF

PRIVATE OFFICE

148 SF

OFFICE STORAGE 298 SF

PRIVATE OFFICE

Concrete Slab - 6"

148 SF 1

SECOND FLOOR 12' - 0"

A-200

CONFERENCE

CONFERENCE 497 SF

305 SF

ATRIUM LOBBY Interior - Plumbing Chase

Concrete Slab - 6"

1908 SF

CAFE/ STORAGE 478 SF GROUND FLOOR TOP PIER0'CAP - 0" ELEVATION -2' - 0"

OPEN TO BELOW

2 1

A-301

A-202

. 1

OVERALL THIRD FLOOR 3/32" = 1'-0" 1

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

OVERALL THIRD FLOOR PLAN

A-103

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ARCHITECTURAL SECTION 3/16" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

ARCHITECTURAL SECTION - FRONT LOBBY

A-200

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

A-200

ROOF 40' - 0"

A THIRD FLOOR 24' - 0"

SECOND FLOOR 12' - 0"

1 A-200

TOP PIER CAP GROUND FLOOR 0' - 0" ELEVATION -2' - 0" ROOF 40' - 0"

PRIVATE OFFICE 148 SF

OPEN OFFICE

UTILITY/SHAFT

ELECTRICAL

150 SF

95 SF

OPEN OFFICE

4212 SF

CONFERENCE

EAST ELEVATION 3/32" = 1'-0"

4212 SF

497 SF THIRD FLOOR 24' - 0"

OFFICE STORAGE CONFERENCE

298 SF

513 SF

ELEVATOR LOBBY

UTILITY / SHAFT

1813 SF

151 SF

ELECTRICAL

CONFERENCE

94 SF

OFFICE SPACE

CONFERENCE

400 SF

1528 SF

480 SF

A-200

SECOND FLOOR 12' - 0"

ROOF 40' - 0"

ATRIUM LOBBY EVENT SPACE

1908 SF

3805 SF THIRD FLOOR 24' - 0"

GROUND FLOOR TOP PIER0'CAP - 0" ELEVATION -2' - 0"

SECOND FLOOR 12' - 0"

GROUND FLOOR - 0" TOP PIER0'CAP ELEVATION -2' - 0" LONGITUDINAL SECTION - OPEN OFFICES 1 3/16" = 1'-0" 1

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

ARCHITECTURAL SECTION - OPEN OFFICES

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

STRUCTURAL ENGINEER Russell Gentry

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

ATLANTA, GA

A-201

Date: Project Phase.:

12-13-21 PHASE 4

W EST ELEVATION 3/32" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

EAST - WEST ELEVATIONS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

A-300

ROOF 40' - 0"

BRICK FACADE AIR SPACE

STEEL ANGLE BRICK HANGER

1 A-202

A-202

AIR SPACE CONTINUOUS RIGID INSULATION TO ACHIEVE R-7.5 MIN THRU-WALL FLASHING

A-201

2 2

BRICK FACADE

ROOF 40' - 0"

CONTINUOUS RIGID INSULATION TO ACHIEVE R-7.5 MIN

CURTAIN W ALL MULLION

THRU-WALL FLASHING

THIRD FLOOR 24' - 0"

STEEL ANGLE BRICK HANGER

2 | S 301

SECOND FLOOR 12' - 0"

TOP PIER CAP GROUND FLOOR 0' - 0" ELEVATION -2' - 0" THIRD FLOOR 24' - 0"

THIRD FLOOR 24' - 0"

SOUTH ELEVATION 2 3/32" = 1'-0"

1 | S301

SKYLIGHT BUILT-UP INSULATION. SLOPE TO DRAIN

SECOND FLOOR 12' - 0"

A-201

2 1 A-202

2 A-202

ROOF 40' - 0"

THIRD FLOOR 24' - 0"

SECOND FLOOR 12' - 0"

THRU-WALL FLASHING

GROUND FLOOR 0' - 0"

TOP PIER CAP ELEVATION -2' - 0"

TOP PIER CAP GROUND FLOOR 0' - 0" ELEVATION -2' - 0"

TOP PIER CAP ELEVATION -2' - 0" 1

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

WALL SECTIONS

A-202

REAR FACADE W ALL SECTION 3/8" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

NORTH ELEVATION 3/32" = 1'-0"

FRONT FACADE W ALL SECTION 3/8" = 1'-0" DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

NORTH - SOUTH ELEVATIONS

A-301

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

16 x 16

16 x 10

18 x 18

8' - 0"

STEEL FRAMING TO OVERHANG

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

---

9 W

9 X4 10 W 9 X4 10

9 X4

9 W

9 X4 10 W

9 34' - 8"

9 X4

9 W

W 12X26

15' - 10"

8' - 0"

58' - 6"

OVERALL FIRST FLOOR FRAMING PLAN 3/32" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

FIRST FLOOR FRAMING PLAN

9 X4 10 W

M-201

8' - 0"

. 1 STRUCTURAL ENGINEER Russell Gentry

10 9 X4

9 X4 10 W

EQ EQ

29' - 6"

16 x 10

34' - 8"

12' - 7 5/8"

6 16 x 10

16 16 x 10 x 16

616 xx 61 -

15' - 10"

W X4

10 W

x 18

16 x

16 16

16 x 16 16 x

16 x 10

W 12X26

16 x 10

W 12X26

16 x 14

16 x 16 x 16

M-201

12' - 7 5/8"

16 x 18 1

9 X4 10 W 28' - 11"

W 12X26

16 x 10

16 x 18

29' - 6"

18 x 18

1 S-101 DN

18 x 18

16 x 10

28' - 11"

18 18 x 18

1 S-101

18 x 18

18 x

x 16

18 x 18

W 12X26

145' - 2 5/8"

18 x

18 x 18

x 16 16 x 14

28' - 11"

18 x 18

16 x 14

145' - 2 5/8"

28' - 11"

18 x 18

16 x 10

10 W 22' - 7 1/2"

18 x 14

W 12X26

18 x 18

18 x 14

16 x 10

22' - 7 1/2"

16 x 16

18 x 18

16 x 10

18 x 18

16 x 10

22' - 7 1/2"

W 12X26

18 x

x 16

18 x 14

16 x 10

22' - 7 1/2"

W 12X26

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY:

STRUCTURAL ENGINEER Russell Gentry

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

ATLANTA, GA

S-001

Date: Project Phase.:

12-13-21 PHASE 4

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

ROOF FRAMING PLAN

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

S-003

OVERALL ROOF FRAMING PLAN 3/32" = 1'-0"

1 S-101

1 M-201

22' - 7 1/2"

ROOF 40' - 0"

22' - 7 1/2"

145' - 2 5/8"

28' - 11"

THIRD FLOOR 24' - 0"

SECOND FLOOR 12' - 0"

1 S-101

28' - 11"

---

GROUND FLOOR TOP PIER0'CAP - 0" ELEVATION -2' - 0"

E 29' - 6"

---

F 12' - 7 5/8"

1' - 1 3/4"

1 M-201

G --15' - 10"

34' - 8"

8' - 0"

58' - 6"

LONGITUDINAL STRUCTURAL SECTION 3/16" = 1'-0"

OVERALL SECOND FLOOR FRAMING PLAN 1 3/32" = 1'-0" STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SECOND FLOOR FRAMING PLAN

S-002

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

LONGITUDINAL STRUCTURAL BUILDING SECTION

S-100

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

S-100

STRUCTURAL STEEL BEAMS AND COLUMNS SUPPORTING COMPOSITE ROOF SLOPED AT 1/12

W 12X26

ROOF 40' - 0"

THIRD FLOOR 24' - 0"

SECOND FLOOR 12' - 0"

GROUND FLOOR 0' - 0" TOP PIER CAP ELEVATION -2' - 0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

TRANSVERSE STRUCTURAL SECTION 1/4" = 1'-0"

TRANSVERSE STRUCUTRAL BUILDING SECTION

S-101

FIRST FLOOR STRUCTURAL VIEW

S-200

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

SECOND FLOOR STRUCTURAL VIEW

S-201

THIRD FLOOR + ROOF STRUCTURAL VIEW

S-202

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

DETAIL AT REAR SKYLIGHT 1" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

FLOOR TO WALL DETAILS

S-301

FOUNDATION DETAIL

S-400

DETAIL AT W ALL TO ROOF 1" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

TYPICAL BEAM AND COLUMN DETAILS

S-500

TYPICAL BEAM AND COLUMN DETAILS 2

S-501

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

TYPICAL BEAM-COLUMN REBAR VISUALS

S-502

TYPICAL BEAM-COLUMN REBAR VISUALS 2

S-503

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

12-13-21 PHASE 4

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

TYPICAL BEAM REINFORCING ELEVATION

S-504

ELECTRICAL RISER DIAGRAM

E-100

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

30% Radiant Panels along Interior

50% Radiant Panels along Perimeter

Panels at Bathrooms to avoid plumbing walls

30% Panel Placement in interior

50% Panel Placement near perimeter

FIRST FLOOR ZONING PLAN 12" = 1'-0"

FIRST FLOOR HVAC SYSTEM 12" = 1'-0"

GROUND FLOOR RADIANT PANELS 3/32" = 1'-0" 1

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

MECHANICAL SYSTEMS - FIRST FLOOR

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY:

STRUCTURAL ENGINEER Russell Gentry

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

ATLANTA, GA

M-101

THIRD FLOOR ZONING PLAN 12" = 1'-0"

Date: Project Phase.:

12-13-21 PHASE 4

MECHANICAL SYSTEMS - THIRD FLOOR

M-103

THIRD FLOOR HVAC SYSTEM 12" = 1'-0"

THIRD FLOOR RADIANT PANELS 3/32" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

ATLANTA, GA

30% Radiant Panels along Interior

50% Radiant Panels along Perimeter

Radiant panels integrated into side wall

SECOND FLOOR ZONING PLAN 12" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

MECHANICAL SYSTEMS - SECOND FLOOR

M-102

SECOND FLOOR HVAC SYSTEM 12" = 1'-0"

SECOND FLOOR RADIANT PANELS 3/32" = 1'-0"

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

MECHANICAL SYSTEMS - SECTION

M-200

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

NOTES:

Lighting arrangements mounted to gyp ceiling at specified heights F

Primary ceiling of corridor set to 11'

Exit signs to be hanging placed at exit stair and primary stair locations and along corridor marked with "EXIT"

F F

EXHAUST VENTILATOR

Direct lighting systems chosen to complement areas that require greater light intake on the west and southern edges

10' - 0"

S-100

4 SD

Light switches to be placed at 48"

F F SD F

ROOF GUTTER 5 x 5"

10' - 0"

10' - 0" F F

9' - 0"

10' - 0"

8' - 0"

10' - 0"

ROOF 40' - 0"

F F

10' - 0"

10' - 0" SD F F

F SD

10' - 0"

F SD

10' - 0"

THIRD FLOOR 24' - 0" EXIT SIGN

RECESSED LAMP – ROUND – LED 4” TRIMMED DOW NLIGHT FLAT ROUND 100W – 120V

2’X2’(2 LAMP) – 120V

SMOKE CONTROL SECTION 1 3/8" = 1'-0"

1’X4’(1 LAMP) – 120V 1’X8’(2 LAMP) – 120V

GROUND FLOOR REFLECTED CEILING PLAN 3/32" = 1'-0"

SECOND FLOOR REFLECTED CEILING PLAN 3/32" = 1'-0"

THIRD FLOOR REFLECTED CEILING PLAN 3/32" = 1'-0" Lighting Fixtures 3/32" = 1'-0"

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

MECHANICAL SYSTEMS - SMOKE CONTROL

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

M-201

STRUCTURAL ENGINEER Russell Gentry

DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

E-102

12-13-21 PHASE 4

DRAW N BY:

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

LIGHTING PLANS

MEP ENGINEER Todd Mowinski

NOTES:

Electrical outlets to meet requirement marked at minimum 1 per 50' in corridors F

Outlets at each private office wall with quad outlets at workstations

F F F

Junction boxes to be placed above large tables and all conference spaces

F F

SD F

F F

SD F F

F SD

SD SD

J F F F

W ALL-MOUNTED FIRE ALARM SD

SMOKE DETECTOR EXIT SIGN

1 J

ELECTRICAL PLAN - 1ST 3/32" = 1'-0"

ELECTRICAL PLAN - 2ND 3/32" = 1'-0"

ELECTRICAL PLAN - 3RD 3/32" = 1'-0"

FIRE ALARM PLAN - 1ST FLOOR 3/32" = 1'-0"

FIRE ALARM PLAN - 2ND FLOOR 3/32" = 1'-0"

FIRE ALARM PLAN - 3RD FLOOR 3/32" = 1'-0"

FIRE ALARM LEGEND 1/4" = 1'-0"

Junction Box

Floor - Duplex Single W all - Quadruplex

Outlet 1/4" = 1'-0" STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

ELECTRICAL PLANS

E-101

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

STRUCTURAL ENGINEER Russell Gentry MEP ENGINEER Todd Mowinski DESIGN CONSULTANTS Michael Gamble Jennifer Hsiaw

Date: Project Phase.:

12-13-21 PHASE 4

FIRE ALARM PLANS

FA-101

INTEGRATION OF ARCHITECTURE, STRUCTURE, MEP SYSTEMS

INTEGRATED BUILDING SYSTEMS III: PHASE 4 ATLANTA, GA

DRAW N BY: GREG NYE CAITE CANFIELD ROBIN CORNEL HUNTER PERRY MINJI KIM

01/2021 - 05/2021

Portman Prize Studio - Professor Jude LeBlanc, Critic Mario Gooden Material Diversions - Debora Mesa Integrated Building Systems II - Scott Marble Design Scripting - Kurt Hong

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

PORTMAN PRIZE COMPETITION STUDIO Final Submission RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Architectural Design 2 – Integrated Design “Each student shall prepare a design intervention for a 42,000 SF exhibition and

Therefore, given the non-coincidental convergence of pandemic, climate crisis, and social

performance building at the historic site of the original Negro Building in Piedmont Park. The

justice revolution (Black Lives Matter movement; Indigenous Peoples, Latinx, Asian and

studio should assume that the context for this intervention is a “New South andInternational

POC coalitions; Black Trans Lives) when the COVID-19 pandemic and climate crisis have

Exposition” to be held in the park in the near future that commemorates the 1895 Atlanta

disproportionately affected people of color around the globe, what does “Reconstruction”

Cotton States and International Exposition. The facility should include exhibitions spaces,

mean in the near future for architecture? How do we imagine an architecture for a new

Climate Hall, Justice Center, screening rooms, lecture hall, and performance theater.”

Reconstruction?

A radio station, a local annex to United Press International (3,000 s.f. =/-) is added to the

“I have always been interested in the concept of fragmentation and with ideas

program. It will adoptthe name of a now defunct, but historically important, radio station,

of abstraction and explosion, de-constructing ideas of repetitiveness and mass

W.E.R.D. This small station was the first black owned radio stationin the U.S., located

production.” – Zaha Hadid

in Atlanta, Ga, near the Ebenezer Baptist Church. The original site exists as a museum

“I like to find something in-between. Not only [between] nature and architecture,

dedicated to the station and its societal impact. It was important as an outlet for the political

but also [between] inside and outside. Every kind of definition has an in-between

speeeches of Martin Luther King among others andfor the dissemination of mainly southern

space. Especially if the definitions are two opposites, then the in-between space is

Black music-blues, jazz, rhythm and blues, soul, and gospel-that has sincetraveled around

more rich.” – Sou Fujimoto

the globe, evolved and continues to endure.

001 002 003 004 005

The Fulcrum -

Exhibition, Justice Center

The Walkman Radio Station, Stage

The Gaze -

Performance and Lecture Hall

The Kid -

Stage, Dining, Kitchen, Cafe

The Tone Hall Climate Hall

003

FIVE

005 002

004 the adventurer five is the number of humanity, because of the body’s head and four

001

limbs, the 5 fingers and toes on each hand and foot and the 5 senses we all have the pentagram – is globally recognized as the mark of excellence

The only prime number whose last digit is 5.

The 2nd Fermat number is a prime number. A regular pentagon is constructible by using only straightedge and compass.

faces) and dodecahedron (20 vertices/30 edges/12 regular pentagon faces).

An alternating sum/subtraction of factorials: 5 = 3!–2!+1!.

The only prime number that is the sum of 2 consecutive prime numbers: 5 = 2+3. A sum of other 2 consecutive prime numbers is always an even number.

Any finite group of order less than 5 is abelian (commutative) group.

A number is divisible by 5 when its last digit is either 0 or 5. A pyramidal number (sum of all squares of integers from 1 to 2): 5 = 12+22. The first square number that is the sum of squares of 2 consecutive numbers: 52 = 32+42. Each root number in the series is 6 times the previous root number minus the earlier root number: 1, 52, 292, 1692...

The only prime number that is the sum of all prime numbers less than itself: 5 = 2+3. The 5th Fibonacci number. The only Fibonacci number that is equal to its subscript order in the sequence. The number of postulates of the planar (Euclidean) geometry proposed by mathematician Euclid in his works Elements.

An automorphic number: its all powers end with 5 or in fact, 25. An untouchable number. The sequence of the firstuntouchable numbers is: 2, 5, 52, 88, 96, 120...W Maybe the only odd number. A Catalan number: C3 = 5. (There are 5 ways to cut a pentagon into 3 triangles). The product of the first 8 consecutive prime numbers, divided by 10: 2×3×5×7×11×13×17×19/10 = 969,969 is a palindromic number.

(3, 4, 5) is the smallest a Pythagorean triple (lengths of 3 sides of a right triangle).

The number of vertices (or sides) of a regular pentagon.

Three numbers 3, 5 and 7 are the only three consecutive odd numbers, which are all prime numbers.

The number of vertices of a regular star, (or pentagram or a regular 5-pointed star polygon).

510,510 is the product of first 7 prime numbers, of 2 consecutive numbers and of 4 consecutive Fibonacci numbers: 510,510 = 2×3×5×7×11×13×17 = 714×715 = 13×21×34×55.

One of only 3 prime numbers of the form nn+1 (Sierpinski numbers of first kind): 2 = 11+1, 5 = 22+1 and 257 = 44+1.

The smallest possible number of sides of a star polygon: the pentagram.

3,122,490 = 2×3×5×7×14869, whose prime factors use each of 9 digits 1-9 once.

The 5th prime number is 11. The second case that both numbers are palindromic prime is: the 8,114,118th prime number is 143,787,341.

The smallest degree for which an algebraic polynomial equation with general coefficients is not solvable by radicals, (i.e. in terms of additions, subtractions, multiplications, divisions and root extractions). By Galois theory, it is a consequence that 5 is the smallest integer such that the symmetric group S5 (permutations of 5 elements) is not a solvable group.

The first Markov numbers are 1, 2, 5, 13, 29, 34, 89, 169, 194, 233...

The number of regular polyhedrons (polyhedral) or platonic solids: pyramid or tetrahedron (4 vertices/6 edges/4 equilateral triangle faces), octahedron (6 vertices/12 edges/8 equilateral triangle faces), cube (8 vertices/12 edges/6 square faces), icosahedron (12 vertices/30 edges/20 equilateral triangle

The Site Model The site diagram above illustrates the dispersion of gathering spaces on the site. By dividing the

and experiences. Given that Piedmont Park is already a cultural melting pot in the heart of Atlanta,

building program over 5 locations smaller intimate settings can be fostered. There is power in smaller

and the largest preserved green space, the prompt was already challenging because building in a park

interactions as vessels for learning & education. Driven by education, exposure, and first-hand

would take away from the park itself. Having fresh air, wide-spaces, and greenery at the heart of the

experiences, the 5 location generate new melting pot scenarios to promote equity and inclusivity.

city is what makes Piedmont Park the sanctuary that it is. Piedmont Park also contains information boards and monuments to events that have taken place in history, the Great Cotton Exposition

Each site has features designed for children to encourage the power from learning from children and

included. Unfortunately, they are hard to find. By dividing up the program, movement and circulation

how they view the world. Racism in the world today is taught, people are not inherently made to

can be promoted through the park generating more cultural interactions, and sharing of information,

discriminate. The goal would be to unlearn diversity resulting in an awakening through education

experiences, and history.

PLAN 001 Exhibition, Justice Center Location: 1895 Cotton States Exposition Negro Building Site Scale: 1/8” = 1’0” The Exhibition and Justice Center will pay homage to the 1895 Cotton States Exposition and be located where the Negro Building once stood. Understanding the treescape and surrounding programs allows for this site to promote justice, and equity. “Reconstruction” is addressed through the implementation of the building program being separated throughout and ultimately immersed within the landscape in an attempt to create a feeling permanence, as if it’s always been and always will be. Made of durable materials such as stone, bronze, corten steel, the buildings will age and weather in beautiful ways such that the five buildings become one with the landscape. The Justice Center is shaded underneath the canopy of the trees on the site and weaves its way through the landscape.

Park Tavern

King of Pops Cart Piedmont Park and Eastside Beltline Trail Charles Allen Park Entrance Henry W. Grady High School Charles Allen Dr NE

THE FULCRUM- Exhibition & Justice Center The overall building structure conforms to the landscape and rests underneath the canopy of the trees on the site. The walls of the justice center have moveable shading features, and the exhibition hall is lit from above with indirect lighting.

THE FULCRUM The Exhibition and Justice Center act as open

silhouette installation. Located on the old Negro

center of the Justice Center to ensure that no trees

spaces promoting learning and unlearning diversity.

Building site, the Justice Center pays homage to

are removed when building the building but also to

The exhibition hall could exhibit a rotating show

history while still promoting change in the future of

encourage an interior reflection into oneself.

highlighting professionals in the world as a mirrored

architecture and society. There is an opening in the

PLAN 002 Radio Station, Stage Location: Small Bridge/Community Gardens Site Scale: 1/8” = 1’0” The Radio Station will be a small building that could have live music outside and is located nearby a beautiful smal stone bridge. This building is close to the Dog Park as well as the Piedmont Park Community Gardens. Piedmont Park Apiary and Community Garden Education Garden at Piedmont Park Piedmont Park and Eastside Beltline Trail Small Stone Bridge

Henry W. Grady High School The Meadow

RADIO STATION - CORRESPONDING PROGRAM The radio station has a wrap around porch to accomodate for events happening on either side of the structure. The back wall can open up and be open air in the interior but can also remain closed with curtains for privacy.

RADIO STATION The Radio Station is the smallest building and stands

is once again an instance of “playground” without age

piedmont park. While continuing the theme of intimacy,

alone overlooking the meadow. The building is

restrictions. By having the building located along the

the architecture allows for larger gatherings.

slightly raised above the ground and includes a rock

edge of the meadow there are opportunities to have

climbing wall on the exterior. The rock climbing wall

small or large gatherings for radio talk shows/events in

PLAN 003 Performance and Lecture Hall Location: Wetlands/DogPark/Lake Clara Meer Site Scale: 1/8” = 1’0” The largest building program is the Performance and Lecture Hall which is situated on a hill looking over Lake Clara Meer which acts as a backdrop for the performance and lecture halls. Although it remains a one story building, the change in grade allows for slight incline and decline for seating in the halls. The quieter, inset location further from the streets allows for the feeling of an escape and a comfort in blending with the landscape. There is a hidden restaurant nearby that also looks out over the water and encourages movement throughout the park. Similarly the location is close to parking, Botanical Gardens, and the Apiary and Community Gardens also known as the Education Garden at Piedmont Park.

Sharon Lester Tennis Courts

Picnic Pavillion Education Garden at Piedmont Park

King of Pops Cart Sean’s Heart of the Park Restaurant Piedmont Park Greystone Park Dr NE - Handicap Accessible Henry W. Grady High School The Meadow

THE GAZE - Performance & Lecture Hall The Performance and Lecture Hall is a large open air auditorium space where people can walk between the spaces but each space has windows above that connect the spaces together with natural lighting.

THE GAZE The auditorium and lecture halls are shown above in the

is the water. There are small trees placed underneath

run and play, wheelchair accessible, and the space can

building overlooking Lake Clara Meer. The backdrop

a canopy that emphasize the threshold condition

be multiuse and be used for events such as weddings,

behind the speakers in the auditorium and lecture halls

which is a large flat paved space where children can

ceremonies, etc. at a discounted price. Promoting

equity and inclusion in a financial sense as well.

PLAN 004 Stage, Dining, Kitchen, Cafe Location: Children’s Playground Site Scale: 1/8” = 1’0” The Cafe and small outdoor entertainment program is strategically situated at the heart of park - “the hearth of the home.” The children’s playground, active oval, and sports field surround this cozy site. The program will encourage outdoor seating. Most of the area is already naturally shaded and makes for a beautiful location for children to play or for people to have refreshments and snacks. The water surrounding the site provides a feeling of security. The light through the trees and being tucked in a natural “corner” of the park is an escape from the loud city streets of Atlanta.

Active Oval Running Loop Piedmont Park Greystone Baseball Field & South Soccer Field Piedmont Park Aquatic Center Bridge

Mayor’s Grove Playground Active Oval Exercise Equipment

Lake Clara Meer

THE KID The butterfly truss influences the name of the project. A Kid is a vessel or receptical that holds and contains water from a source. The butterfly truss catches water and creates a water feature above people. This embeds the human body in the site and landscape even further. The trusses are arrayed along a curve and strengthened through tension. Alluding to Hammons work and breaking the orthagonal grid, the cafe captures motion and slows.

THE KID - CAFE & PLAYGROUND The Cafe acts as the hinge point at the center of the

individuals with three different notions of time. To

one might jump on the in-ground trampolines playing

experience is the most powerful. This threshold

park drawing in people from the 12th street entrance

slow time one might lay on the hammocks at the cafe

with gravity. These elements generate smaller intimate

condition building welcomes people of all ages, races,

and located nearby the childrens park. The idea of

and enjoy a beverage, to pause time one might enjoy a

spaces where individuals can converse at a deeper,

genders, and allows people to play, rest, and eat in each

inclusivity in diversity is encouraged by welcoming

small meal at a table and to accelerate time and space

more comfotable level. Education through first-hand

other’s company.

PLAN 005 Climate Hall Location: 14th Street Entrance Site Scale: 1/8” = 1’0” The Climate Hall is situated off of Peachtree and at the entrance of 14th St NE. This location is a very rich in surrounding programs and includes the Active Oval Loop, a Peace Monument, monument dedicated to olympics, and women of Atlanta. If we consider climate as the environment and surroundings we live it, people’s interaction with the world is important to our worldly climate but also individual’s daily climates. The entrance to the building will face the center of the park and aid in blocking the noise from the street into the large center of the park.

Active Oval Running Loop Piedmont Park Greystone Baseball Field & South Soccer Field Women of Atlanta Monument Olymics Monument Peace Monument 14th St NE

Gazebo

Active Oval Loop Piedmont Ave NE Noguchi Playground

THE TONE HALL- Climate Hall and Gardens The Climate Hall is an implementation of the desire paths and imprints on the park. The truss structure continues the running design theme from Hammons Flight Fantasy piece.

THE TONE HALL The Climate Hall is located at the 14th Street/Piedmont

climate hall includes community garden to provide

as it is closely located to the Noguchi Playground

park boundaries to meld together and emphasize the

Ave. entrance. The back wall of the small building acts

fresh produce to people visiting the park. Gardening

and echoes the architecture with the truss system

threshold conditions.

as a barrier from the street to diffuse the sounds of

in itself is welcoming and educational. And lastly, the

and the hanging swings in the interior. The open air

traffic and foster a calm, peaceful environment. The

building has a public restroom that is much needed

design allows for the building boundaries and the

Attempting to brainstorm the feeling of the

the landscape with one story structures that

The sky, cityscape, treescape, humanscape,

pencil and charcoal through stylistic

site, I began making some panels inspired

are not abandonned but rather embedded. The

landscape, all blend together through

moves can give multiple layers of motion

by Mehretu’s work. Trying to show the

feeling of comfort stems from one’s ability to

linework. Exploring the kinetic body through

to the drawing.

atmosphere of the building blending into

bend in and seem seemingly invisible.

artistic representation the linework of the

“The concept of fugitivity highlights the tension between the acts or flights of escape and creative practices of refusal, nimble and strategic practices that undermine the category of the dominant.” - Tina Campt

2303.92 FT

Piedmont Park map adapted from Piedmont Park Conservacy Map

VOYEURISTICS:

“Desire Trail” Documentation:

• • • •

DESIRE TRAIL: a path created as a consequence of erosion caused by human or animal foot traffic, “the tension between the native and the built environment and our relationship to them.”

• • • • •

Desire Trails Civil Disobedience Divergence/Convergence Evolving relationship between people and place “Attraction Effect” Fugitivity Recording collective disobedience Twin Goals: Pleasure & Success Making the world while being in it

“Civil disobedience” (an act of refusal) is the active, professed refusal of a citizen to obey specific laws, demands, orders or commands of a government. “The point where design and user experience diverge.” desire paths had been employed as a metaphor for anarchism, intuitive design, individual creativity, and the wisdom of crowds unplanned pathways that result from repeated use living histories of travelers wandering off the pavement, forming shortcuts, carving their trails and recreating their communities. “But desire paths are not inert histories.1” Once a desire trail has been established, they influence how pedestrians use and interact with their environment going forward. Desire paths are representative of the continually evolving relationship between people and place. Once this type of trail is established, it develops an “attraction effect,2” whereby humans create a trail, in turn attracting people to the trail, which then deepens the trail even further, and so on. It is an example of a spontaneously formed 1 Desire paths: The unofficial footpaths that frustrate, captivate campus planners. (2019, April 24). 2 Ibid.

common good that benefits everyone without interacting directly with anyone else. And it is through desire paths specifically that walking as “a mode of making the world as well as being in it” takes on a literal meaning3. Lastly, people may create a desire path purely out of a spirit of resistance. An academic journal says desire paths “record collective disobedience.4” Whereas cows and dogs and horses may also form desire paths, cross desire paths are uniquely human landmarks of an attitude that says, “I will not use this space as intended.5” Reflected in many of our most popular idioms and terms – “shortcut,” “following in one’s footsteps,” “blazing a trail,” and “creating your own path” – is a rooted human desire to leave our imprints on the world and to travel along paths that are not set in stone6. The twin goals are pleasure and success. 3 Desire paths: The unofficial footpaths that frustrate, captivate campus planners. (2019, April 24). Retrieved March 03, 2021, from https://news.wisc.edu/desire-paths-the-unofficial-footpaths-that-frustrate-captivate-campus-planners/ 4 Ibid. 5 Ibid. 6 Ibid.

Piedmont Park map with “Desire Trails” adapted from Piedmont Park Conservacy Map

PORTMAN PRIZE COMPETITION STUDIO (S)kin to a Shadow RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Architectural Design 2 – Integrated Design Working as a team with Breanna Rhoden and Luke Davis, David Hammon’s Flight Fantasy piece was a launching pad for our formal investigation into Hammons’ larger breadth of work. Tina Campt’s “Black Visuality and the Practice of Refusal” shed light on the many acts of refusal pertaining to the spectrum of white to blackness. Refusing to hide, demanding spatial justice, blurring the boundaries between background and foreground, positive and negative, reconstruction and deconstruction, and the radical modality of political imagery. Hammons’ distinctive artistic voice has been called unapologetically political and exquisitely poetic within his series of ‘body prints’ balancing performance, self-representation, and consisting of an index of bodies coated with a thin layer of grease or margarine pressed against a sheet of paper. After removing his body from the paper the result is then dusted with black pigment. Often distorting his body and making multiple overlays, running themes of bilateral symmetry, the witness in time, and alliteration of folding, mirroring, and hinging is used to create compositionally complex works of expression. Our approach to the studio prompt derives from Hammons’ performance based works of body prints. The sacrificial and vulnerable experience of recontextualizing the human body as an index. . . a sign that has a physical trace or comes in touch with the physical. Generating a 2d imprint of a 3d thing, and photographing to capture a record of light arrested.

Preparing a 3ft by 6 ft canvas as a base for our prints on vellum, we then experimented with oil and (Crisco) shortening to generate different opacities and thickness of pigment. We discovered that the oil was absorbed into the vellum more than the shortening, resulting in a blurring of form that faded away. We then layered each of our body prints to provoke an interplay between the forms and positive and negative space. Finally, we strategically superimposed our line work and investigations of Flight Fantasy as the final layer to unveil Hammons appearance of synchony. The “appearance” of synchrony calls its “almost” in-lineness, arrhythmic. Photographing the piece back lit exposed new textural and compositional elements. The charcoal powder in itself refused to conform. It took on qualities that were highly detailed, rough, and aggressive, while still preserving a softness, blurring, and ghost-like quality. The oil also acted differently when lit from behind. Where the oil soaked into the paper but was too dry for pigment, it caught more light and created a halo effect around the forms imprinted. Hammons’ once said in an interview of his four untitled body prints, “All work is political the moment that last brushstroke is put on it. Then it’s political, but before that it’s alive and it’s being made.”

Luke Davis

Caite Canfield Breanna Rhoden

PORTMAN PRIZE COMPETITION STUDIO Distortion, Deformity, & Discourse RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Architectural Design 2 – Integrated Design Through the dissection of the dramatic body prints inspired by David Hammons flight fantasy piece, discoveries pertaining to the body emerged.

to conceptualize space like a container or a passive receptacle. The piece can instead be seen as a moment of becoming an area of change.

Inspired by the act of performance in making the Hammons body prints and how the body can look distorted on the page through multiple layers of pigment and manipulation, I looked into how the body itself can distort dance and theater performances. This became the starting point for my fabrication project. The simplified skeleton of a person was build out of wood and acted as the structural support for the piece.

The dark form seems to “crawl and gnaw” at you as it refuses to acknowledge the invisibility, subverting perspectives, and focuses on difference rather than diversity. wood, chicken wire, plaster, gesso, acrylic, woven yarn & mesh 66” x 32” x 24”

Following that, I began to layer materials similar to how the human body has layers. The chicken wire provided structure to the visible form acting as the muscular network that would then be covered in plaster acting as the skin. The final layer was the addition of a veil, handwoven using multiple materials with varying thicknesses and transparencies. By taking the body’s skeletal form and manipulating it, the final piece exhibits anthropomorphic extremities that are abstracted such that the entire piece works in balancing performance with the viewer’s eye. The game played with the viewer causing the eye to be pulled in, pushed away, and to circle the piece suspended in space. Some views show the skin’s wrinkling, bone structure, and hair, while others highlight geometries, positive and negative space, and voids, creating new modalities of spatial understanding and meaning. They are refusing

02.12.2021

David Hammons, Black First, America Second, 1970. Grease, pigment, and silkscreen on paper, 41 1/4 x 31 1/4 inches. Private Collection, Courtesy Tilton Gallery, New York.

David Hammons, Close Your Eyes and See Black, 1969. Pigment on gold-coated paperboard, 35 7/8 x 28 3/4 inches. Soloman R. Guggenheim Museum, New York

David Hammons, Untitled, 1696. Pgment on paper, 36 1/4 x 25 1/8 inches. The Museum of Modern Art, New York.

Wood Armature

Chicken Wire

Plaster

distortion, blurring, veil, gravity, movement, grotesque

Through the dissection of the dramatic body prints inspired by David Hammons flight fantasy piece, new discoveries pertaining to the body emerged. My key words moving forward became, distortion, discourse, blurring, gravity, movement, and veil.

I was inspired by the act of performance in making the Hammons body prints and how the body can look distorted on the page through multiple layers of pigment and manipulation. I looked into how the body itself can distort in dance, and theater performances. This became the starting point for my fabrication project. The simplified skeleton of a person was build out of wood and acted as the structural support for the piece. Following that I began to layer materials similar to how the human body has layers. The chicken wire provided structure to the visible form acting as the muscular network that would then be covered in plaster acting as the skin. The final layer was the addition of a veil, which was hand woven using multiple materials with varying thicknesses and transparencies.

By taking the skeletal form of the body and manipulating them, the final piece exhibits anthropomorphic extremities that are abstracted in such a way that the entire piece works in a balnacing performance with the viewers eye, causing the viewer to be pulled in, pushed away, and to circle the piece suspended in space. Some views show the wrinkling of skin, bone structure, and hair. While others highlight geometries, positive and negative space, and voids creating new modalities of spatial understanding and meaning. Refusing to conceptualize space as a container or a passive receptacle the piece can instead be seen as a moment of becoming and space of change. The dark form seems to “crawl and gnaw” at you as it refuses to acklowlegde the invisibility, subverting perspectives and focuses on difference rather than diversity.

Denise Ferreira da Silva writes that “through activating the capacity of Blackness to return injury (haptically, sonically, optically) without acquiescing to racial violence and dwelling in fear, the work exploring Blackness’s visibility, the black body’s entrapment in time, and the spirit for escape, exposes the failed promises of justice while underlining the uncertainty (opacity, vulnerability, precarity) that characterizes the mode of existence that announces a world to come.1” The veil deploys Blackness to address racial violence through concealment and confrontation. Concealing the body directly references symbolic violence. It allows the near future of architecture to unpack and expose the racial violence operating within discourses that criminalize the Black body.

1 Silva, D. (2020, December 7). Denise Ferreira da Silva ON refusal And fugitivity. Retrieved March 03, 2021, from https://www.frieze.com/article/denise-ferreira-da-silva-refusal-and-fugitivity

Distortion, Deformity, & Discourse returns Blackness to the scene of subjugation not to reveal its truth but to render the depth of its refusal and fugitivity. By releasing the Black body from fear (the fear of being subjected and being seen as a subject of violence), artists and architects can begin to expose and confront precisely that which is consistently occluded. Blackness can be activated to refuse the “symbolic violence of the anthropological address behind expectations of their practices as expressions of cultural and racial difference/identity.2”

2 Ibid.

PORTMAN PRIZE COMPETITION STUDIO Flight Fantasy RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Architectural Design 2 – Integrated Design Our initial investigations into David Hammon’s Flight Fantasy piece gave rise to

The piece becomes heterotopic such that the drawings produced indices of

dramatic drawings filled with light and shadow playing with movement within

the piece in flight similar to the original work, slicing the piece into multiple

a rested image. Exploring the object as if it was alive, in-flight, and documented

individual moments in time. Archiving the movement at full capacity, all angles,

the shadows cast over 12 hours in the day, the Hammons’ work came to life like

all hours, all indices, the drawings above reveal the generative and transformative

an eagle in flight. This exploration “drew” out, discovered, and uncovered the

spatial conditions of Hammons’ piece and how his work is liberatory through

content, meaning(s), and theoretical positions of the work that can be said to

its spatial production. Translating and reconstructing the work of art created

engage a practice of refusal. Flight Fantasy escapes the binds, refusing to remain

radical modalities of witnessing that refuse authoritative forms of visuality that

chained, breaking the boundaries and shackles, pinning the piece to the wall.

refuse blackness itself, resulting in a generative, highly effective, and radically

Using various parameters and manipulating the angle of the “wings,” the work of

transformative thesis.

art became animated and embodied a lightness that allowed the piece to float in space seamlessly.

The artwork acts as an accumulation of time in an immobile place, mirroring the life and nature beyond the sculpture.

Further, the original documentation of Flight Fantasy in the Hammons’ gallery space included photographs taken with only diffused lighting that eliminated all shadows. I wanted to recontextualize the piece to “capture” the work with direct lighting to accentuate the piece’s shadows.

DESIGN SCRIPTING “Useless” Machine RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Architectural Design 2 – Integrated Design Computer programming has been broadly adopted in several discourses in

studies on selected generative systems such as cellular automata, L system,

solving problems, automating workflows, processing analysis, and so forth. For

swarm intelligence and so forth.

architects and designers,computer programming is even used for exploring design spaces, creating new designs and simulating the performance of

Objectives:

designs. Design Scripting introduces the basics of computer programming and

1. Develop the skill sets of computer programming for design practices.

algorithmic thinking through four biweekly assignments and a class project

2. Establish fundamental concepts of algorithmic design and algorithmic thinking for problem solving.

implemented in Python, JAVA and Grasshopper.

In the first half of the class, four biweekly assignments are completed. Each

The Useless Machine was the first task developable through a simple Python

biweekly assignment provides a pedagogical exercise to understand the basics of

code generating a matrix of symbols. Each symbol placement was derived from a

computer programming such as: data structure, data type, data flow, concept of

mathematical modulus equation through the position in the matrix.

object-oriented programming and algorithmic thinking.

In the second half of the class, working as a team with Breanna Rhoden on the projects demonstrating the algorithmic features and the aesthetics of algorithmic designs, our focus was Digital Fabrication. The projects begin with the case

Professor: Tzu-Chieh K Hong

DESIGN SCRIPTING Scripting Shapes CODING WITH PYTHON IN RHINO ARCH 6040 – Advanced Architectural Design 2 – Integrated Design Design Scripting is an elective course offered in the Masters of Architecture

This project is inspired by an artist Sol Lewitt who created works with an

curriculum that requires the highest media and modelling prerequisites. An

algorithmic thinking. So, this project is aiming for a design generated by an

introduction to advanced approaches to algorithmic designs and customized

simple algorithm design by students. Through this project, students will be

computer applications by scripting in programming languages.

learning the basics of the geometric library of Rhino, rhinoscriptsyntax, and the fundamental concepts of algorithmic design.

Computer programming has been broadly adopted in several discourses in solving problems, automating workflows, processing analysis, and so forth. For architects and designers,computer programming is even used for exploring design spaces, creating new designs and simulating the performance of designs.

This course will introduces the basics of computer programming and algorithmic thinking through four biweekly assignments and a class project implemented in Python, JAVA and Grasshopper.

range i = (0, 50); range j = (0, 100)

Caite Canfield

range i = (0, 50); range j = (0, 20)

range i = (0, 20); range j = (0, 10)

Reference Curve for Python Script

Overall Form

range i = (0, 50); range j = (0, 100)

range i = (0, 50); range j = (0, 20)

range i = (0, 20); range j = (0, 10)

Reference Curve for Python Script

Spring 2021

02. 11. 2021 @ 11:59am

Scripting Shapes 002

02. 11. 2021 @ 11:59am

Scripting Shapes 001 Overall Form

Caite Canfield Spring 2021

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

range i = (0, 50); range j = (0, 100)

Spring 2021

range i = (0, 50); range j = (0, 20)

range i = (0, 20); range j = (0, 10)

Reference Curve for Python Script

range i = (0, 50); range j = (0, 100)

Overall Form

Caite Canfield

range i = (0, 50); range j = (0, 20)

range i = (0, 20); range j = (0, 10)

Reference Curve for Python Script

Caite Canfield

02. 11. 2021 @ 11:59am

Scripting Shapes 003 Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

Scripting Shapes 002

Spring 2021

ARCH 8833: Design Scripting Overall Form

range i = (0, 50); range j = (0, 100)

range i = (0, 50); range j = (0, 20)

range i = (0, 20); range j = (0, 10)

Reference Curve for Python Script

Caite Canfield

Scripting Shapes 001

02. 11. 2021 @ 11:59am

Scripting Shapes 003 Overall Form

Caite Canfield

Spring 2

DESIGN SCRIPTING Surface Matrix Mathematical Investigations through Visual Design Language Python Explorations in Rhino - 2D and 3D studies

This project is inspired by the artwork, Systematic Landscapes, by Maya Lin who

variations from the given initial conditions. Learning the concepts of permutation

is an architect, an artist and an educator The systematic Landscapes reveal the

to create artworks with this concept. On the technical aspect, the basics of object

beauty of the discreteness and the controllable randomness.

oriented programming via three simple practices are exhibited.

In this project, creation of 2 and 3 dimensional matrices, then utilized to create artworks. Exploring angles, offsets, iterations, matrices, grids, and finally warping the grid using mathematical coding processes can generate various artworks that evoke different attributes of the code.

This project was an initial investigation into Python in Rhino and Grasshopper and led into the permutations that follow in the coming pages that were inspired by a mathematical concept, permutation, which generates a series of permuted

Caite Canfield

Spring 2021

03. 09. 2021 @ 11:59am

Permutation 001 Upper Curves

Lower Curves

Equation Generator - Grasshopper

Permutations Code - Python

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

Caite Canfield

Spring 2021

03. 09. 2021 @ 11:59am

Permutation 002 Upper Curves

Lower Curves

Equation Generator - Grasshopper

Permutations Code - Python

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

Caite Canfield

Spring 2021

03. 09. 2021 @ 11:59am

Permutation 003 Upper Curves

Lower Curves

Equation Generator - Grasshopper

Permutations Code - Python

Professor: Tzu-Chieh K Hong

ARCH 8833: Design Scripting

0 1 2 3

DESIGN SCRIPTING Rhino 3D Printing Joint Solution Final Project Proposal/Design Implementation Rhino 7, Python in Rhino, Grasshopper, Photoshop, Indesign, Illustrator

Programming languages are used as computational tools for designers in many

operations would fail if the operation was too complex. We hoped to write a

aspects, another one of the most popular applications is digital fabrication.

script that generated a NEW BUTTON IN RHINO that will take converging

Fabrication is a costly, time consuming and labor demanding process especially

elements and automatically generate a 3D printable joint for that connection

when the design is highly customized and the geometries are complex. However,

point. When physically constructing a model this button in rhino will aid

programming languages ease the process with high computation performance

architects and designers in sketch models and fabrication techniques.

so that designers can implement complex forms with real materials. Working in a team with Breanna Rhoden, we developed a case study, a topic proposal and a final implementation.

The following pages outline the design logic, design iterations, variations, and final implementation of the code in a physical model. Further explorations emerged when smoothing the geometry and creating “bubblegum joints.”

Our proposal for this project stemmed from challenges in 3D modeling within Rhino. When converging elements came together and met at a point, whether it be a unique truss system, column to beam connection, or other, Rhino’s boolean

4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73

# ========== CODES DESCRIPTION: DIGITAL FABRICATION - Joint Generation ========== # # ========== CODE AUTHOR : Caite Canfield & Breanna Rhoden ========== # # ========== DATE : 03/25/2021 ========== # # ========== VERSION : JOINTCUSTOM 001 ========== # import rhinoscriptsyntax as rs import random as rnd import math import Rhino import scriptcontext as sc import System.Guid

#Input Members modelMembers = rs.GetObjects("Select input geometry",1073741824) #Input Convergence Point convergencePoint = rs.GetObjects("Select convergence point") def AddSphere(): #Sphere at Convergence Point sphereCenter = rs.PointCoordinates(convergencePoint) center = Rhino.Geometry.Point3d(0, 0, 0) radius = 0.05 sphere = Rhino.Geometry.Sphere(sphereCenter, radius) if sc.doc.Objects.AddSphere(sphere)!=System.Guid.Empty: sc.doc.Views.Redraw() return Rhino.Commands.Result.Success return Rhino.Commands.Result.Failure def main(): OffsetMulticrvs2SidesWEnds() def OffsetCurve2Sides (crvID, dist, t_style, conn, tol): if rs.IsLine(crvID): plane = rs.ViewCPlane() print "is a line" else: plane = rs.CurvePlane(crvID) # 4 .. curve print "is not a line:", rs.ObjectType(crvID) crv=sc.doc.Objects.Find(crvID).Geometry print "curve degree:", rs.CurveDegree(crvID) trans = trans=Rhino.Geometry.CurveOffsetCornerStyle.Sharp offset1=crv.Offset(plane,dist,tol,trans) print 'offset1:', offset1 if offset1: for n, i in enumerate(offset1): id = sc.doc.Objects.AddCurve(i) rs.ObjectName(id, name="1_{n}".format(n=n)) offset2=crv.Offset(plane,-dist,tol,trans) print 'offset2:', offset2 if offset2: for n, i in enumerate(offset2): id = sc.doc.Objects.AddCurve(i) rs.ObjectName(id, name="2_{n}".format(n=n)) def plcrv_filt(rhino_object, geometry, component_index): return rs.IsCurvePlanar(geometry) def OffsetMulticrvs2SidesWEnds(): #user input section msg="Select planar curve(s) to offset both sides" crvs = rs.GetObjects(msg,4,preselect=True,custom_filter=plcrv_filt) if not crvs: return

74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109

Joint

tol = sc.doc.ModelAbsoluteTolerance off_dist = 0.0125 tt = 1 conn = -1 rs.UnselectAllObjects count = 0 for crv in crvs: success = OffsetCurve2Sides(crv, off_dist, tt, conn, tol) if success: count+=1 if count<len(crvs): err_msg=" Unable to offset {} curves".format(len(crvs)-count) else: err_msg="" print "Successfully offset {} curves.".format(count)+err_msg

)

msg2 = "Select extrusion path for offset curve" #Message: Parameter must be a Guid or string representing a Guid paths = rs.GetObjects(msg2, preselect=True, custom_filter=plcrv_filt if not paths: return sleeves = rs.ExtrudeCurve(crvs, paths) #BOOLEANUNION JOINT #toUnion = sleeves, sphere rs.BooleanUnion(toUnion, delete_input=True) jointSolid = rs.BooleanUnion(sleeves & sphere,)

#BOOLEANDIFFERENCE MEMBERS WITH JOINT jointFinal = rs.BooleanDifference(jointSolid, modelMembers, delete_input =True)

110 111 #how can we make multiple joints at the same time? 112 #How can we define global variables midway through the code? 113 114 #Output joints - ordered and labeled... 115 116 117 if __name__ == '__main__': 118 main() 119 AddSphere() 120 121

Members

001:

004:

The beginning of the code prompts the user to select three components:

Determine the length of the extrusions for the joint “sleeves” by dividing the curve and generating a new path for the extrusion to follow.

the converging lines

the point of convergence

the profile surface for the members.

007:

Add the node to the convergence point by generating a sphere to ensure that the joint is strong.

010: Boolean union the sphere with the solid joint “sleeves.”

002:

005:

008:

011:

Move the profile surface to the convergence point by finding the surface center point and copying the surface to the convergence point of the members.

Move the aligned planes to the corresponding points to ensure that the members do not meet at the convergence point - this increases accuracy of joint measurements and decreases error in the fabrication process

Begin building the framework for the joint “sleeves” by extruding the profile surfaces along the shorter member paths.

Boolean difference the members from the solid joint sleeves and sphere.

003:

006:

009:

012:

Find the normal direction to the plane and align it with the converging members to generate the starting profile for the members.

Extrude the profiles along the path to generate the correct length of the members used in fabrication.

Extrude the profiles to generate the solid sleeves alone.

Completed joint ready to output to 3D printer.

Digital Fabrication: Custom Joint - Variation 001

Digital Fabrication: Custom Joint - Variation 003

Digital Fabrication: Custom Joint - Member Variation

Digital Fabrication: Custom Joint - Tapered Member Sleeve

Adjusting the number of input curves in the Rhino geometry allowed for a variation in the number of joint connections.

Adjusting the pipe diameter in the Python script allowed for a variation in size of the profile ends.

Python Script Component: joint.append(rs.AddPipe(newCrv,[0,1],[0.01,0.10],0,1,False))

V001.1:

V001.2:

V001.3:

V001.4:

V001.5:

V003.1:

V003.2:

V003.3:

V003.4:

V003.5:

2 member joint with sphere attachment.

3 member joint with sphere attachment.

4 member joint with sphere attachment.

5 member input with sphere attachments.

6 member input with sphere attachments.

3 member joint with tapered pipe diameter. (0.05, 0.10)

3 member joint with tapered pipe diameter. (0.05, 0.15)

3 member joint with tapered pipe diameter. (0.01, 0.10)

3 member joint with tapered pipe diameter. (0.10, 0.05)

3 member joint with tapered pipe diameter. (0.15, 0.05)

Digital Fabrication: Custom Joint - Variation 002

Digital Fabrication: Custom Joint - Variation 004

Digital Fabrication: Custom Joint - Sphere Variation

Digital Fabrication: Custom Joint - Custom Profile Sleeve

Adjusting the sphere diameter in the Python script allowed for a variation in size of the sphere connection piece.

Adjusting the member profile surface in the Rhino geometry to create a custom joint sleeve.

Python Script Component: jointSphere = rs.AddSphere(cPt, 0.15 ) joint.append(jointSphere)

V002.1:

V002.2:

V002.3:

V002.4:

V002.5:

V004.1:

V004.2:

V004.3:

V004.4:

V004.5:

3 member joint with 0.10 diameter sphere.

3 member joint with 0.15 diameter sphere.

3 member joint with 0.20 diameter sphere.

3 member joint with 0.25 diameter sphere.

3 member joint with 0.30 diameter sphere.

4 member joint with triangle profile.

4 member joint with star profile.

4 member joint with square profile.

4 member joint with pentagon profile.

4 member joint with rectangle profile.

Digital Fabrication: Custom Joint - Unit Variability 001

This design for a unit was inspired by childrens toys where the joints can be generated as spheres without the accepting sleeves. The unit itself is a cube. This design is not as durable and strong but allows for extreme amount of variability.

Digital Fabrication: Custom Joint - Unit Variability 002

This design for a unit was based off of a pyramid. The joint design was made to mimic the structure of the form and taper to a sphere ultimately accentuating the triangulation of the form. This design is more durable in the sense that more of the member will be inserted into the joint but the tapering could result in cracking close to the edges if the members bend or flex in any way.

Digital Fabrication: Custom Joint - Unit Variability 003

This design for a unit is slightly more playful and by changing the tapering of the joint to be the other direction these joints become the focal point of the piece. Large joints that are very stylistic and organic in form. This design is more durable but can be limiting when the angle of the converging members is too small.

Digital Fabrication: Custom Joint - Unit Variability 004

This design is the most conspicuous and is very simple and elegant. This joint allows for the form to shine and for the joints to be as minimal support as needed to hold the form together. This design is strong and strudy but the weakest point would be where the members converge at the sphere given that it is scaled down to be the same diameter as the sleeves themselves.

Digital Fabrication: Custom Joint - Final Physical Model

Digital Fabrication: Custom Joint - ADVANCED “Bubblegum Joints”

Digital Fabrication: Custom Joint - Custom Profile Sleeve

Adjusting the member profile surface in the Rhino geometry to create a custom joint sleeve.

Digital Fabrication: Custom Joint - ADVANCED “Bubblegum Joints” Digital Fabrication: Custom Joint - Physical Model Detail

Formwork Fabrication Logic - Generating the mold for castable links This formwork is separated into 4 parts to allow for the mold to wrap around the previous link while still being reusable for multiple castings.

Concrete Lemniscates - Concrete Edition MATERIAL DIVERSIONS: OFF-THE-SHELF Concrete Lemniscates RESEARCH WORKSHOP Debora Mesa, Ventulett Chair in Architectural Design My source of inspiration comes from a piece of art I made years ago. Taking

This idea is best represented through the 3D printing of fabrics. The mechanisms,

a solid piece of wood, a set of links (chainlink) was carved for my mom, one

mathematics of the fabric, and the printing process itself, allowing the fabric to

symbolizing me, and the other symbolizing my brother. The links did not break

come to life and move as if it were cloth. The challenge that I want to take on

at a seam the way traditional chain-links are made, they were carved to remain

is with materials that are “cast-able” and more brittle such that the final product

as two solid pieces of wood simply interlocked and movable. Taking this idea

focuses and embodies the engineering of the fabrication and formwork process.

and expanding on it further, the exploration can be expanded to consider other materials and test their tensional limits by engineering a more general formwork. For example, casting concrete into a “woven” or “linked” design would test the structural and tensional qualities of cement. Taking this small idea and thinking 1-1 scale, if a formwork could be generated large enough, the links could be cast to become a movable/lighter partition wall in an architecture.

The overall design is inspired by new technology used to 3D print fabrics and the personal jewelry experience while working at Tiffany & Co in NYC. Engineering a “cast-able” fabric/chainlink is the challenge at hand.

001

Beginning with a solid piece of foam material, the desired link size can be mapped to the surface inside.

006

Piecing together the fitting and trouble shotting alignment issues

002

Slicing the material into two pieces generates two sides to the “doughnut”

007

Drawing “pour holes” so that the concrete can flow through the form by using 2 points of entry

Formwork Fabrication Logic - Link Prototype

003

004

Rotating 90 degrees sets up the mold to be sliced again in half to generate the four part mold of equal parts.

008

Boolean split and Boolean Difference creates a hole through 2 parts of the mold and generates caps

Splitting plane

009

Resolving the design further created smoothed edges for material use efficiency as well as tongue and groove interlocking pieces to hold the pieces together in the horizontal direction.

005

Separating the separated mold shows that there are 4 pieces that are identical rotated and aligned in space to generate the formwork

Formwork Fabrication Logic - Casting process (Aligning the mold) Follow the step by step process for proper alignment

Prepare the dowel holes for insertion and do a “dry fit” to ensure that the mold is sealed and fits together properly.

Wrap around the previous link casted and ensure that the drill holes are facing upwards.

Previous Iteration.

010

Dowel holes are drilled in a polar array (6) around center to ensure that the model can be rotated to strategically misalign the seams of the mold compoonents increasing strength of the mold.

Rotate the top half of the mold to strategically misalign the dowel holes resulting in a stronger mold

Pour the concrete into the two pour holes and allow to cure for at least 12hrs before removing.

The link prototype can be generated from removing the formwork one piece at a time and using the thermoformed acrylic to gently shuffle the concrete out of the mold.

Engineer: ARUP USA

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble 001

Unnamed

Overall Building Model Scale 1/64” = 1’0”

A101 A500

INTEGRATED BUILDING SYSTEMS II Lewis Center for the Arts ARCH 7102: Integrated Building Systems II

electrical, plumbing and life safety systems integration. IBS 2 focuses specifically

understanding of how building details and performance requirements are

on structural framing and detailing and building enclosure assemblies through

developed as an integral part of an overall design concept. The working premise

research and digital modeling of existing contemporary case study buildings.

of the course is that the technical aspects of drawing, modeling, organizing and

Lectures, break out discussions, labs, and site visits (as possible during COVID)

integrating building systems within a set of professional contract documents are

and combined group (3-4 students) and individual work develop a foundation for

essential to achieving high quality design and effective building processes.

modeling understanding. Utilizing professional sets of construction documents and specifications of their case study buildings, my group (Breanna Rhoden, Katelyn Dimopolous, Kayt Dayton, and I) modeled the entirety of the Lewis Center for the Arts from the ground up to the nuts and bolts.

Engineer: ARUP USA

of real world building projects. IBS II seeks to instill a conceptual and practical

Architects: Steven Holl & BNIM Architects

that address technical issues of building design, structure, environmental,

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

IBS 2 is an advanced course in the tectonics, materials, assemblies and systems

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Integrated Building Systems II (IBS 2) is the second of three sequential courses

Lewis Arts Center Princeton University, New Jersey

Required Course for NAAB Programs

Unnamed

A201 A500

Sub-Basement: Scale 1/64” = 1’0”

Forum Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A101

Unnamed

A203 A500

Wallace Theater

Info/Day of Ticketing & Concessions

CoLab

PlOrk Studio

Hearst Dance Theater

Forum

Entrance

Lee Music Performance & Rehearsal Room

Level 1/Plaza: Scale 1/64” = 1’0”

Level 2 Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A104

004

005

Engineer: ARUP USA

Theater Annex

Level 1/Plaza Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A103

Architects: Steven Holl & BNIM Architects

Forum: Scale 1/64” = 1’0”

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

A202 A500

Lewis Arts Center Princeton University, New Jersey

Unnamed

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

002

003

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Sub-Basement Isometric Scale 1/32” = 1’0” - RE: A100.1

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Plan: Scale 1/64” = 1’0”

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Roth Box Office

Arts Tower

Wallace Dance Building & Theater

Vasen Design Studio

Reflecting Pool

Arts Plaza

Lee Jazz Studio

Percussion Studio

Effrom Music Building

Entrance

Unnamed

A204 A500

Tilghman Theater Studio

Godfrey Kerr Theater Studio

Theater Studio

Donals G. Drapkin Studio

Roberts Dance Studio

Eillie’s Studio

Rafner Teching Studio

Train Station Lucas Teching Studio

West Garage and Visitor Center Conference Room

Unnamed

A205 A500

Level 3: Scale 1/64” = 1’0”

Roof Level Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A106

Unnamed

A207 A500 Plan with Detail Callout Scale 1/64” = 1’0” 009

Engineer: ARUP USA

008

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Arts Tower Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A100.1; A101; A102; A103; A104; A105; A106

Architects: Steven Holl & BNIM Architects

A206 A500

Roof Level: Scale 1/64” = 1’0”

Lewis Arts Center Princeton University, New Jersey

Unnamed

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

006

007

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Level 3 Isometric - PROGRAM Scale 1/32” = 1’0” - RE: A105

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Level 2: Scale 1/64” = 1’0”

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Seminar Room

Murphy Dance Studio

Spies Family Teching Studio

Unnamed

A208 A500

Stairs

Theater & Dance Library

Seminar Room

Unnamed

A209 A500

Overall Building Section Chunk [NE] Scale 1/64” = 1’0” 011 Overall Building Section Chunk [NW] Scale 1/64” = 1’0” 012

Unnamed

A211 A500 Section Chunk: Framing Detail Scale 1/64” = 1’0”

014

016

Engineer: ARUP USA

Overall Building Section Chunk [SW] Scale 1/64” = 1’0”

Architects: Steven Holl & BNIM Architects

013

Lewis Arts Center Princeton University, New Jersey

Overall Building Section Chunk [SE] Scale 1/64” = 1’0”

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Unnamed

A210 A500

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

010

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Overall Building Model - Highlighted Detail Chunk Scale 1/64” = 1’0”

Unnamed

A212 A500

A302 A500

Unnamed

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Section Chunk Reference Cladding System Scale 1/64” = 1’0”

Unnamed

A303 A500

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

020

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Lewis Arts Center Princeton University, New Jersey

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey 017

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble Section Chunk Reference Cladding System Scale 1/64” = 1’0”

Unnamed

A305 A500

TYP. SUBFRAM, ANCHORED ON THE BACKSIDE OF STONE PANEL

022

Stone Cladding Connection Detail [NE] Scale 3” = 1’0” - RE: A025

024

Stone Cladding Connection Detail [NE] Scale 3” = 1’0” - RE: A025

DEAD LOAD HANGER/WIND LOAD ANCHOR TRACK BRACKET FASTENED TO ANCHOR EMBEDDED IN STRUCTURAL WALL BEHIND TYP. TRACK CONTINUOUS

Stone Cladding Connection Detail [SW] Scale 3” = 1’0” - RE: A025

023

WIND LOAD ANCHOR

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Unnamed

A304 A500

021

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

019

Stone Cladding Connection Detail [SW] Scale 3” = 1’0” - RE: A025

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

018

Stone Cladding Connection Detail at Roof Corner [SW] Scale 1” = 1’0” - RE: A021; E12/A337; E1/A330; A1/A518; A5/A319; M15/A337; A5/A319; A17/A304; J1/A376

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Stone Cladding Connection Detail at Roof Corner [NE] Scale 1” = 1’0” - RE: A021; E12/A337; E1/A330; A1/A518; A5/A319; M15/A337; A5/A319; A17/A304; J1/A376

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Lewis Arts Center Princeton University, New Jersey

TRACK BRACKET FASTENED TO ANCHOR EMBEDDED IN STRUCTURAL WALL BEHIND

Unnamed

A306 A500

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

028

A308 A500 Unnamed Curtain Wall: Roof Attachment Detail [SE] Scale 3” = 1’0” - RE: A021

Curtain Wall Scale 1/2” = 1’0” - RE: M15/A215

PERIMETER TRIM, BARRIER MEMBRANE & INSULATION TO CLOSE SYSTEM TO SURROUNDING CONSTRUCTION VARIES WITH LOCATION; RE: A300 SERIES DETAILS FOR CONFIGURATIONS

CUSTOM PROFILE STEEL MULLION TYPE ‘C’

CONTINUOUS CUSTOM EXTRUDED ALUMINUM PROFILE, ATTACHED WITH TOGGLE TO RECEIVE PERIMETER TRIM

031 Curtain Wall: Roof Attachment Detail [SW] Scale 3” = 1’0” - RE: A021

030

Engineer: ARUP USA

029

Architects: Steven Holl & BNIM Architects

Curtain Wall: Mid-Level Support Detail [SE] Scale 3” = 1’0” - RE: A021

Lewis Arts Center Princeton University, New Jersey

Unnamed

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

027 Curtain Wall Tension Cable Detail Scale 1” = 1’0” - RE: A021

A307 A500

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Curtain Wall Support Detail Scale 1” = 1’0” - RE: A021

026

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

TYPE ‘D’ ROD HANGER (084413)

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Section Chunk Reference Mullion/CurtainWall/Cable System Scale 1/64” = 1’0”

Unnamed

A309 A500

032

A310 A500

Unnamed

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

PERIMETER SUB-FRAME

OPERABLE VENT HEAD FIXED VENT HEAD

Curtain Wall: T- Support Detail [SW] Scale 3” = 1’0” - RE: A021 036

A312 A500 Unnamed Engineer: ARUP USA

Curtain Wall: Mid-Level Support Detail [SE] Scale 3” = 1’0” - RE: A021 039 Curtain Wall: Mid-Level Support Detail [SW] Scale 3” = 1’0” - RE: A021

038

040

Engineer: ARUP USA

Curtain Wall Scale 1/2” = 1’0” - RE: J1/A76

Architects: Steven Holl & BNIM Architects

037

Lewis Arts Center Princeton University, New Jersey

Curtain Wall: Mid-Level Support Detail [SE] Scale 3” = 1’0” - RE: A021

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

CUSTOM PROFILE STEEL MULLION TYPE ‘A’

Architects: Steven Holl & BNIM Architects

Unnamed

A311 A500

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

035

034

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Curtain Wall: T-Support Detail [SE] Scale 3” = 1’0” - RE: A021

Curtain Wall Scale 1/2” = 1’0” - RE: M15/A215

Lewis Arts Center Princeton University, New Jersey

033

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Curtain Wall: T-Support Detail [SE] Scale 3” = 1’0” - RE: A021

Unnamed

A313 A500

A314 A500

Unnamed

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Team 2: Caite Canfield Kayt Dayton Katelyn Dimopoulos Breanna Rhoden

Georgia Institute of Technology Spring 2021 | Arch 6203 Professor: Scott Marble

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

Engineer: ARUP USA

Architects: Steven Holl & BNIM Architects

Lewis Arts Center Princeton University, New Jersey

08/2020 - 12/2020

Advanced Studio I - Michael Gamble Media & Modeling III Integrated Building Systems Theory of Architecture I

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

ADVANCED STUDIO I Modulator RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER My source of inspiration comes from a piece of art I made years ago. Taking

This idea is best represented through the 3D printing of fabrics. The mechanisms,

a solid piece of wood, a set of links (chainlink) was carved for my mom, one

mathematics of the fabric, and the printing process itself, allowing the fabric to

symbolizing me, and the other symbolizing my brother. The links did not break

come to life and move as if it were cloth. The challenge that I want to take on is

at a seam the way traditional chain-links are made, they were carved to remain

with materials that are “cast-able” and more brittle such that that the final product

as two solid pieces of wood simply interlocked and movable. Taking this idea

focuses and embodies the engineering of the fabrication and formwork process.

Boolean operations, shape relationships, mathematics of form, three-dimensionality of the modulator, and exploration of visual representation through Rhino, Illustrator, and Photoshop.

ADVANCED STUDIO I Infinity Drawings CABINET OF CURIOSITY ARCH 6040 – Advanced Studio I – RECORDER

Infinity Drawings: a drawing that breaks 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. These first infinity drawings explored actual spaces and rooms stacked, rotated, colliding, and growing in and out of the page. These drawings were generated through performing a series of graphical operations found in illustrator and rhino. The infinity drawings are used as a tool for exploring architectural designs an ideas in a highly imaginative way. Forgetting gravity and getting lost in space creates new visuals and spaces regardless of scale.

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 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

ADVANCED STUDIO I Curio RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER Elevate the elemental, acknowledge the visceral, promote the poetic, preserve the past and accomodate the future. Through 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. To the right is the list that fills my curiosity cabinet and the text that is used within my infinity drawings. The list is an index of every type of dream. The infinity drawings are generated using points in space and writing the text from those points in different directions.

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, dreamlike 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/#Narrated-Dreams

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.

INFORMATIONAL MASSING

ADVANCED STUDIO I Bellwood Quarry CABINET OF CURIOSITY ARCH 6040 – Advanced Studio I – RECORDER

The Bellwood Quarry is a large landmark of Georgia and stores 2.4 billion gallons of water. It has recently been opened as a public park. Implimentation of site analysis and design plan overlay. The promenade and threshold conditions of the proposed design will connect to the Beltline. Proposal: ONEIRONAUT I selected the Bellwood Quarry as my site due to the vastness of the space and the large scale. Given that the program is a Dream Sensorium where people can come to the site and experience archived dreams, the Bellwood Quarry played off that idea and augmented the experiential quality. The diagrams on the right show initial sketches and brainstorming of the project on the site and site studies. I wanted to design a bridge as my building typology for many symbolic and metaphorical reasons. Bridging reality to fiction, conscious to unconscious.

ALIGNMENT

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

Primary: Entrance w/ Fountain & Grand Stair 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.

Garden 4: Gathering (trees)

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

Secondary: The Collection Hall - Trading Post?

Denary: Exercising your sixth sense

10,000 Artifacts: Dream Trading Cards in card sleeves

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

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)

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.

Water Resevoir/Retention: Fountain & quary

Septenary: The Greatest Minds

Tertiary: Historic Visions of Futures to Come

Garden 2:

Garden 1: Contemplation (water garden)

Poche Spaces: WCs, stairs, workspace, equipment

∞

ADVANCED STUDIO I Recomposition: The Durable, The Ephemeral, & The Technological RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

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. The idea of infinity, the hanging universe, issue of simultaneous views, view or vision, suspension bridge as part of the spectacle, the approach. Piranessi, Freud, Dreams, Photoshop, Composites, Rediscovery

Tensile members Compressive Members

Original Modular Unit Design

ADVANCED STUDIO I Tensegrity RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

The structural principle is based on a system of isolated components under

The manifesto image illustrates the building on the proposed site (Bellwood

compression inside a network of continuous tension, and arranged in such a way

Quarry) utilizing a unique tensegral module.

that the compressed members (usually bars or struts) do not touch each other while the pre-stressed 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. The structure also becomes stiffer as cable tension increases over time.

In the following pages, the design proposal for the bridge is diagrammed and outlined illustrating compressive and tensile members.

Design variations, structural studies, and renders below.

“Joining” members are added to complete modular units between the original 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.

Tetrahedral Modular Unit and Assembly

Tetrahedral Modular Unit: Scaled with Axial Integrity

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

Tetrahedral Modular Unit- Scaled, Breaking Axis

MEDIA & MODELLING III ‘Art’metic GRASSHOPPER MATHEMATICAL EQUATIONS Grasshopper, Rhino, Illustrator, Indesign

Media & Modelling III: Through mathematical explorations and manipulations

the model. Learn fundamental concepts of three-dimensional parametric

of equations, design variations and derivations, three categories of grasshopper

geometries and operations and how to generate a three-dimensional

outputs emerged. Attractor Fields, Mathematical Surfaces, Morphing Tiles.

parametric surface specified by a set of mathematical expressions..

Attractor Fields: construct a parametric model of attractor fields in

Morphing Tiles: construct a parametric model of morphing tilings in

Grasshopper and generatea set of three design variations using the model.

Grasshopper and generatea set of three design variationsusing the model.

Learn fundamental concepts of two-dimensional parametric geometries

Learn fundamental conceptsof parametric spatial transformations and

and operations and how to generate a two-dimensional arrangement of a

how to generate a spatial arrangement of a three-dimensional parametric

parametric motif specified by a set of point and curve attractors.

motif specified bythe morphingrelations froma standard instance of themotif to the subdivisions of a complex surface with varying curvature.

Mathematical Surfaces: construct a parametric model of mathematical surfaces in Grasshopper and generatea set of three design variationsusing

Through three different design explorations, varying mathematical design studies can be explored using complex geometries, module design iteration and variation. Implementation of grasshopper color mapping highlights the mathematical surface geometric attributes.

Plan: Level 000

Plan: Level 001

MEDIA & MODELING II GC Prostho Studies RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

GC Prostho Museum Phase I: Working with the architectural drawings, studies of the chidori modular unit were evaluated and stdied mathematically in plan, section, and elevation. Graphical overlays and diagramming pieced the building together three-dimensionally while using two-dimensional representations of architectural information.

Plan: Level 002

Plan: Level 003

East Elevation

Longitudinal Section 001

North Elevation

Longitudinal Section 002

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

Final roof structure/enclosure design variations.

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

003

Roof adjustments and placing given changing corner points.

Finding original enclosure form through pushing and pulling points. Roof Structure corresponding. 002

Corner Moving Lienarly

The grasshopper script logic is depicted below diagramatically. The original solid derived form 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 Corner Moving Diagonally

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

05/2020 - 07/2020

Core Studio III - Keith Kaseman Media & Modeling II - James Park + Kurt Hong

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

CORE STUDIO III: 2020+ Single Leg Structure: Opus3DGE Grasshopper, Fologram, TT Toolbox, VR, AR Keith Kaseman

Studio 2020+ taps into imaginations during the unprecedented time of COVID-19 and methodically produces an array of responsively projective architectural typologies and spatial futures. Organized by two distinctive yet cumulatively interwoven phases, spatial configurations, ideas and strategies iteratively developed, sampled, remixed and refined through this inherently experimental endeavor. All development and design communication take place through “pro-level” digital models, animations and augmented reality (AR), with exhibition-quality diagrams, drawings and composite images required as deliverables at numerous points along the way.

The final deliverable for Studio 2020+ was a single leg structure with location and program of your choosing. I proposed a highly scientific program where intellects can come to this location on sabbatical and pursue high-level research and investigations. This rentable small-structure building has a completely customizable interior with power outlets on the walls, gantry cranes, VR and AR rooms, etc. The form is derived from the program and incorporates wheelchair accessible entrances and exits.

CORE STUDIO III: 2020+ Hover Stations Grasshopper, Fologram, TT Toolbox, VR, AR Keith Kaseman

After scowering the globe for large billboards, the task was to retrofit the billboard of our choosing and make it a small structure with a building program. Choosing the program for the billboard was a challenge but was also something dear to my heart. After researching the plastic that has entered into the ocean, I proposed a system where drones can retreive plastic from the nearby coast and deliver it to the Hover Station to be cleaned, broken down, and reused to make new 3D printing filament. To make 3D printing filament, the amount of space needed is minimal. I proposed a lifted roof with a transparent “working wall” so that people passing by on the road can see the plastic being converted from a hazard to a brand new material. The drones drop the plastic directly into the chute and the rest of the space is storage and staging areas for trucks to come pick up the new material. The building capacity is maybe 2-3 people. Implementing parametric design through Rhino and Grasshopper, Fologram for Rhino, Fologram for Mobile, Lunchbox, TT Toolbox, and Human, the billboard facade and mechanisms for the plastic process were animated through parametric design.

01/2020 - 05/2020

Core Studio II - Daniel Baerlecken History of Architecture II - Marisbel Marratt Media & Modeling II - Keith Kaseman Design Build - Tristan Al-Haddad

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

CORE STUDIO II Assemblage URBAN CULTURE FACTORY Daniel Baerlecken

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 above). That collage was then drawn and implemented in Rhino with an added abstracted site relevance and structural implication.

CORE STUDIO II Assemblage RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

The site of the Culture Factory is located on the corner Edgewood Avenue and Boulevard adjacent to Martin Luther King Jr. National Historical Park and to various nightlife locations. The program allows for two types of public spaces: active space and passive space, which are listed below. Each of you will need to make an argument for adding another active program to the mix. Passive spaces are those where the public might passively view the activity taking place, such as auditorium seating. Locker rooms, café, circulation, storage, and restrooms will also be considered passive spaces. Some spaces like the audiovisual performance and event space can be both: active and passive – depending on how they are used. These shared spaces will be utilized by all primary programs. Cross-programming distinctly different activities, spaces for dancing, spaces for viewing art, spaces for making etc. into one structure requires particular attention to the organization in plan and/or section.

HISTORY OF ARCHITECTURE I Journal RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER Memory

Digital Journal III - 04/13/2020 As a series of overlays or layers, the lowest informing the next and so on. In history, this is what is known as a palimpsest, a sedimentation of thoughts, humans and things coming to rest on the ”ash heap” of previous histories. Using the 80 + images from you data heap, develop 5 threads that follow 5 specific ideas that you have discovered from your observations of the works you have visited and photographed. An architectural idea could comprise a multitude of things: a shape, a form, a texture, a detail, a material, or even the particular way light travels across the surface of a plane or volume.

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.

ARCH 4833/8833 - Structures I Spring 2020

Dimensioned Butterfly Truss

TERM PROJECT:

WReCK

Weston Byerly, Rand Zalzala, Caite Canfield, Katelyn Dimopoulos

40'-0"

Project Summary: 20'-0"

2'-0" 5'-0"

5'-0"

HISTORY OF ARCHITECTURE I Journal RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

As a series of overlays or layers, the lowest informing the next and so on. In history, this

is what is known as a palimpsest, a sedimentation of thoughts, humans and things

3'-0"

2'-0"

4'-0"

10'-0"

Team WReCK was commissioned to design a temporary pavillion for the annual Ramblin' Wreck Architecture Structure Awards Ceremony 2020. The commission required the design to include recycling, collection of reusable resources, and increased shading via overhangs. WReCK engineered a butterfly truss to catch rain water that could then be reused. The proposed design includes overhangs for added shading around the exterior of the pavillion designed for a minimum weight structure. Per the requirements of the commission, the trusses are spaced 16" o.c. and span 30' and the supporting beam span 12'. Utilizing Southern Yellow Pine, the butterfly truss A.K.A. "The Jacket" system is engineered to withstand 15psf dead loads, 20psf live loads, and 25psf snow loads. Utilizing pin and roller style bearing conditions on each side of the simply supported beam, the design variables include configuration of the truss members, and cross section analysis of the supporting beam member. "The Jacket" is designed to withstand allowable bending and shear stresses, maximum deflection of supporting beams, and resist soil bearing pressure of 2000psi on the footer for the interior columns. Calculations, elevations, section, plan, axons, and renderings are presented below.

Hypothesis: By evaluating a general butterfly truss, we predict that "The Jacket" will result in positive performance but could fail under certain circumstances. We hypothesize that the truss will fail closer to the center of the pavillion given that the central members are located lower than the neutral axis of the truss. In the instance of a snow storm, it is likely that snow will collect towards the center of the truss and add greater force than allowable. WReCK predicts that this added weight could cause a failure in the center of the truss. Further, bracing members include zero force members that aid in stability without carrying loads. If zero force members experience a large enough force, the truss could lose stiffness and fail. The calculations for our hypothesis of "The Jacket" design are as follows.

coming to rest on the ”ash heap” of previous histories. Using the 80 + images from you data heap, develop 5 threads that follow 5 specific ideas that you have discovered from your observations of the works you have visited and photographed. An architectural idea could comprise a multitude of things: a shape, a form, a texture, a detail, a material, or even the particular way light travels across the surface of a plane or volume.

Materials: Southern Yellow Pine is the material of choice and was used for the truss, supporting beams, and columns. The table (Table 5.2, pg.278) below highlights the maximum allowable stresses and material properties utilized in our calculations.

Truss Specifics: D

Load Analysis: D

Truss Calculation Complete FBD

Shear and Mom

Calculations: Sh Plan Section

Isometric/Persp Conclusion

Dimensioned Butterfly Truss Truss Calculations Method of Sections: Cut 1

Dimensioned Butterfly Truss

232#

5'-0"

ΣFx = DGx + FG + FGx = 0

ΣFx = EF + DFx - DGx = 0

WSL= 25#/ft2 (16in/12in) = 33.3#/ft WSL = 33.3#/ft

FG = 2320#(C) FH = 6997 #(T)

FT= (92.8#/ft)(40ft) = 3712# at the center FT= 3712#

696#

464#

928#

1856#

4998

#(C)

IJ =

#(C)

4998

IK = 2320#(C)

Method of Sections: Cut 4 464#

BD CD CE

D CE DE

DG DF

C x= 0

C 1856#

1856#

After finding the total distributing load over the entire truss to be 92.8#/ft, The final point load of FT is calculated:

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

ΣFy = -232# - 464# - 696# + 1856# + 7098sin(11.31°) - 4998sin(21.8°) - ED = 0 ED = 0 ΣFx = CE + DFx - DGx = 0 CE = 7098#cos(11.31°) - 4998#cos(21.8°) CE = 2320#

ΣFy = -232# - 464# - 696# + 1856# - BDy - CDy = 0 0 = 464# - BDy - CDy ΣFx = CE + BDx - CDx = 0

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. 232#

696#

C x= 0

WT = 59.50#/ft + 33.3#/ft = 92.8#/ft WT = 92.8#/ft

232#

232# 464#

WDL+LL = (5/4)(46.67#/ft) = 59.50#/ft WDL+LL = 59.50#/ft

1856#

#(T)

6997

EF = 2320#(C)

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.

#(T)

GI = 2320#(C)

J DF =

Method of Sections: Cut 3 232#

1856#

GJ = 7098

HI =

Next, changing the WDL+LL to be angled in line with the WSL:

1856#

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

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.

Dead Load + Live Load 35#/ft2 = 46.67#/ft

696#

D G

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

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

464#

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#

3712#

DG DF EF

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

8#(T)

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

DG = 709

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

0 = 464# - DGy - FZy 0 = 464# - DGcos(11.31°) - FHcos(21.8°) FHcos(21.8°) = 464# - (7098#)cos(11.31°) FH = -6997#

Snow Load 25#/ft2 = 33.3#/ft

C x= 0

696#

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

Load Analysis

DG FG

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

2'-0"

4'-0"

2'-0" 2'-0"

10'-0"

3'-0"

2'-0"

4'-0"

20'-0"

3'-0"

10'-0"

5'-0"

1856#

40'-0"

5'-0"

40'-0"

464#

696#

B C x= 0

20'-0"

232#

464#

Method of Sections: Cut 2

D DE = 0#

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

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).

CE = 2320#(C)

J JK = 0#

H Due to Symmetry; DE and JK are zero force members. CE is equal in magnitude and opposite in direction to KM.

KM = 2320#(C)

Mc = 232#(5ft) + BDx(3ft)= 0 BDcos(11.31°)(3ft) = 1160#ft BD = 396# ΣFx = CE + BDx - CDx = 0 CDcos(21.8°) = 2320# - 394#cos(11.31°) CD = -2915# A

BD = 396

#(C)

#( 2915

G 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.

#(C)

JL = 396

= 29

15#(

Method of Sections: Cut 5

Shear and Moment Diagrams

Method of Sections: Cut 6 232#

232#

16” 1,856#

464#

B AC

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

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

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

AC =

B 49

(T)

LM = 464#(T)

Area = 74,240 #-in

928# Area = 14,848 #-in

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.

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.

16” 1,856#

1,856#

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

16” 1,856#

4,640#

Area = 14,848 #-in

-928#

Area = 44,544 #-in

-2,784# Max (M) = 237,568 #-in

(C)

LN = 394#

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

)

#(T

16” 1,856#

8,532#

Area = 103,936 #-in

J G

#(C)

BC = 464#(T)

AB = 394

16” 1,856#

6,496#

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

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

8,532#

16” 1,856#

Area = 74,240 #-in

-4,640#

Area = 103,936 #-in

-6,496# GH

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

GH = 5197#(C)

Completed FBD: Truss Analysis 16”

16”

Above is the completed Free Body Diagram of all forces on the members of "The Jacket."1,856# 1,856# 1,856# 1,856# 1,856# 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. The forces written in red are zero force members (DE and JK).

8,532#

16” 1,856#

Calculations: Shear Stress, Moment Stress, Footer, Deflection

16” 1,856#

1,856# Shear Stress:

8,532#

6,496#

f(v) =

BD = 39

15#

= 29

CE = 2320#

DF =

DG = 70

499

98#

EF = 2320#

FG = 2320# FH = 6Since the 997 #

2,784#

GI = 2320#

IK = 2320#

7# point loads 699 are equally spaced HI = across the H 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.

KM = 2320#

LN = 39

6”

Area M = 14,848 #-in 1856#

8,352#

-2,784# Max (M) = 237,568 #-in

f(b) =

9 =4

Area = 44,544 #-in

-928#

C C C

T C

C T

C C

= 81.2 psi which is < 110 psi

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

Base = (8/12) x (150 psi) = 100 psi qnet = 2000 psi - 100 psi = 1,900 psi

Area = 103,936 #-in

qnet = P/A = P/x2

2. 1

-6,496#

1’

1,948,800 24,000

Soil bearing pressure = 2,000 psi

-4,640# C

Footer Size:

Area = 74,240 #-in

6,496 x (60x5) 4000 x 6

Bending Stress:

’

1856#

696#

Area = 396# 44,544 #-in J 928#JL = JM = Area = 2915 98# GJ = 70 8# 14,848 #-in # 499 IJ =

928#

464#

Area = 74,240 #-in

JK = 0#

AC =

GH = 5197#

696#

DE = 0#

AB = 39

BC = 464#

232#

20”

Area = 103,936 #-in

464#

4,640#

ML = 464#

232#

VQ I(x) b

x2 = 8,352 / 1,900 = 4.396 x = 2.1’ Beam Deﬂec�on:

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

max = (Table 8.2)

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 "

Roof Trusses @ 16"o.c.

2'-1 14 "

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

Interior glass wall

12'-0"

6" thick load bearing wall

Perspective View

Plan View

South Elevation

North Elevation

12'-0"

West Elevation

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

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

10'-0"

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"

20'-0"

10'-0"

5'-0"

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

40'-0"

Section Cut

Perspective View 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

DESIGN BUILD - BENCH PROJECT Competition Studio Tristan Al-Haddad Independent Student Organized Course

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.

01/2020 - 05/2020

Core Studio I - Charles Rudolph History of Architecture I - Danielle Wilkens Media & Modeling I - Harris Dimitropolous Construction Technology - Charles Rudolph

GEORGIA INSTITUTE OF TECHNOLOGY M.ARCH 3.5 GRADUATE PORTFOLIO

CORE STUDIO II Assemblage RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

This exercise begins a sequence of exploratory activities in the realm of abstraction, involving photography, drawing, and model-making. Each part of the sequence will derive from the one before it, and involve both translation (photo to drawing, drawing to model), and iteration (making multiples). In each step of the sequence of design explorations, the focus of our discussions as a group will concern the dialectics of the following conditions as they are evidenced in the work:

DIFFERENCE / REPETITION FIGURE / FIELD CENTER / EDGE MOVEMENT / STASIS TENSION / REPOSE OPEN / CLOSED

I investigated POINT as the category’s thematic prompt, exploring the environment (natural / man-made) with the “camera”, looking for surprising, exciting and/or intriguing visual examples.

CORE STUDIO I Assemblage RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

This exploration involves selecting 3 photos from the group of 9, and undergoing a process of translation –into a line-based drawing, one for each photo. The media used for the drawings is a soft drawing pencil. Each drawing is 6” x 6” square on Bristol paper. Experiment using the iterative method, using tracing paper in overlays to test visual and compositional ideas. Use the value (lighter to darker) of lines to achieve depth, transition, variety, etc. Experiment with compositions and refer back to the list of “dualities” in the first exercise. After each 6” x 6” drawing is deemed to be complete, begin a new translation that combines elements from each of the 3 drawings into a new drawing. The new “critical” drawing is 9” x 9”, on Bristol paper, using the soft pencil.

CORE STUDIO II Facture RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

Begin making a model at the same scale as the drawing. The overall size is to be 9” x 9” x 3”(depth). Use the same white board that was used for Ex.1 A and B. Use a cork-backed metal ruler and cutting surface, and olfa knife with sharp blade. Consider how the pieces will be joined and experiment with test joints. The construction can be made of several parts that are assembled. Scoring and folding pieces is encouraged. Glue can be used to join pieces, but try to build your model using as little glue as possible. After completing the initial “study” model, the final step is to make a more finely crafted “Critical Model”. The goal is to identify the visual, spatial and architectural qualities that are most strongly apparent in the first model and intensify and strengthen these qualities in the final model. The “Critical Model” is to be made of white Strathmore board.

CORE STUDIO II Assemblage RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

This second series of exercises follows upon the first as 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 order of the new drawn image will be equally abstract, yet it begins to create possibilities for making new drawings that in turn can lead into three dimensional space. The goal of the exercise is to translate the spatial “workings” of a two dimensional painting image into a threedimensional physical site –an architectural construct.

CORE STUDIO I Corner Park RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

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.

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 condi-

tions? How do they relate to, and possibly condition, the sequential, proportional, and hierarchical relationships of architectural space. Adapt to changing conditions: pocket park (buildings on parallel sides), corner park (buildings on two adjacent sides).

E:A

S:A

Section A

S:B

Section B

E:B Plan

Elevation A

Isometric Projection Elevation B

CORE STUDIO I Musicians House

ISOMETRIC SCALE 1/8”=1’-0”

RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

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.) will again guide the decisionmaking process. This exercise is also another process of iterative making. For the Musician’s House, the SITE will be Ex.2: the Painting-as-Site, the three dimensional design translated from drawings based on the interpretation of a cubist painting. You are asked to acknowledge and respond to the context of the “site” in the development of your project narrative and the formal and spatial solution for the House. The model for Ex. 3 is to be rotated 90 degrees. The “ground” becomes a vertical WALL. The WALL can be altered but must remain a structural entity that supports stairs and floors. The House must negotiate the given forms and spaces of the SITE, and must accommodate the program for the house either in the “Wall”, on the “Wall”, within the SITE, or on the SITE. The SITE may be altered, and elements can be taken away, but something of the original design must remain in the new design of the HOUSE. The scale of the project is 1 inch equals 4 feet (1/4” = 1’-0”). SECTION ISOMETRIC SCALE 1/8”=1’-0”

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

ELEVATION 1 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”

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

SECTION C SCALE 1/8”=1’-0”

SECTION D SCALE 1/8”=1’-0”

Bus Stop Site (120 sqft)

The joinery of the 404 Swarm Stop primarily consists of steel angles and slotting of wood and metal into steel slots that are

Tech Bridge

then covered in sidewalk pavement so that the joints are invisi-

Bookstore

ble and hide beneath the ground level. The cables are attached with cable ties to the steel reinforcing beams.

D E

Shelter

Seating

CORE STUDIO II Bus Stop RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

You are invited to design a prototype bus stop shelter for the STINGER service on the Georgia Tech campus. The design should provide shelter, shade and seating

The shelter is upheld with a counterwight system. The seating

for waiting passengers. The prototype must exhibit the architectural and tectonic

in the center of the building is the counterweight for the

The seating consists of a standing/leaning option against the

qualities of FRAME CONSTRUCTION. You may choose any of the following materials for

shelter that extends beyond.

arching, shoulder height walls, or a traditional bench style

the design, and they may be combined. • Wood: Heavy Timber (“from the tree” components or engineered wood components) • Steel

Shade

• 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. You should consider how the structure touches the ground, what the surface of that ground is, and what kind of cladding/enclosure (roof or wall) is appropriate for the design.

The location of the bus stop is surrounded by buildings and trees and as a result does not receive excessive sunlight. The steel fins that counteract the glass shading act as blockage from the street noise, wind.

seating that is stepped so that people can sit with a backrest or atop the counterweight wooden system.

CORE STUDIO II Micromegas RECONSTRUCTIONS: THE NEAR FUTURE OF ARCHITECTURE ARCH 6040 – Advanced Studio I – RECORDER

Investigating the Micromegas series by David Libeskind, the drawing took on a new three-dimensional life modeling a section in Rhino.

Thank you kindly.