Colby Cox - Portfolio 2023

CONTENTS WEAVING CONTINUITY pg 6

OVERLAY pg 12

EX: MACHINA pg 14

MODULARITY pg 20

APLIN CENTER OF HOSPITALITY pg 22

RAUMPLAN pg 30

ACROBATIC MACHINE pg 32

SELECTED WORK FOR YOUR CONSIDERATION

COLBY COX

PORTFOLIO 2019 - 22

3

COLBY COX

colbycox@upenn.edu - @colbycox.arch

EDUCATION University of Pennsylvania - Philadelphia, PA Masters of Architecture July 2023 - Present » First Year Graduate Student - 3.8 GPA » Edgar A. Newberry Scholarship Recipient Texas A&M University - College Station, TX Bachelor’s of Environmental Design August 2019 - May 2023 » Departmental Honors Student - 4.0 GPA » Minor in Architectural Fabrication and Product Design

EMPLOYMENT HISTORY HKS Architects - Sports & Entertainment - Dallas, TX May 2023 - July 2023 Architectural Design Internship » Prepared stadium renderings and diagrams used in client meetings and promotional materials » Developed construction doccuments with HKS standards Parma Design - Dallas, TX May 2021 - August 2021, May 2022 - August 2022 Architectural Design Internship » Measured single family residential, and commercial buildings to create accurate 3D models in Revit, Auto CAD, Rhino 6, and SketchUp » Produced architectural documents and graphic diagrams to present during client consultations Camp ARCH - College Station, TX July 2021, July 2022 Architecture Summer Camp Counselor » Oversaw groups of high school students and coordinated studio instruction for entry level design tutorials

SKILLS Rhino Photoshop Illustrator InDesign Keyshot 9 Enscape Revit AutoCAD SketchUp Grasshopper Unreal Engine

RECOGNITIONS Texas Architect CampARCH Spotlight September/October 2021 Fresh Vision Gallery Exhibition Summer 2021 AXIOM Student Publication 2020 & 2021 Issues KSU S.A.A.M.A. Publication 2020 Issue Recognized AIAS Liaison Fall 2022 ICA Philadelphia “Towers” Exhibition Fall 2023

STUDENT INVOLVEMENT American Institute of Architecture Students Texas A&M Chapter President May 2022 - May 2023 » Directed 6 committees of students to facilitate professional development events, mentorship activities, the 2023 Career Fair, creating marketing materials, planning social events, and curating student work. » Corresponded with the Department of Architecture, icials, faculty, and students 4 COX

CONTACT Email - colbycox@upenn.edu Instagram - @colbycox.arch Thanks.

3

3

BIRD'S EYE PERSPECTIVE Providing access to the elevated Parc de Charles

WEAVING CONTINUITY Our building serves as a hub of connections that bridges the fragmentation present around Parc de Charles and Ciutadella Park.

We wanted to encourage interaction among the public through our circulation while also addressing the necessity of an enclosed archive space.

The proposal not only physically bridges the neighborhood together, but also socioculturally. The nature of the program demands a system of classification and a weaving

3rd YEAR - SPRING 2022

of public and private spaces to encourage areas for interaction while maintaining the required standards of security. On the exterior, our facade displays an aggregation of diverse elements borrowed from the surrounding context of Barcelona, including references to transportation systems and nature from the nearby parks. It’s meant to express the convergence of artifacts and identities on the building’s interior and invert that organizational system to the building’s exterior.

IN COLLABORATION WITH - Olga Kedya PROFESSORS - Miguel Roldan and Zana Bosnic CONTRIBUTIONS - Design, Structure, Renderings, Diagrams

6 COX

EXPLODED AXONOMETRIC Structural Diagram wait a Separation of Private and Public Programs

7 COX

3

3

The aluminum on the facade represents the interconnected network of artifacts on the interior and their organizational system.

In terms of massing, the form is organized by two datums that converge in the atrium. Artifacts, Workers, and visitors all enter through different points of the building, but moments of interaction are woven together at the intersection of these axes.

The public entrance will allow guests to view portions of the storage area when entering, and then encourage circulation along the horizontal axis to view exhibition spaces.

6 COX

LEVEL 0

PERSPECTIVE FROM PARC DE CHARLES

INTERIOR RENDERS

Bridge connection to the primary public entrance

Main lobby [top], Public gallery [bottom]

L4

L3

LEVEL 1

L2

PLAN DRAWINGS Separation of private spaces from the public gathering points

9 COX

3

2 COX 10 COX

BUILDING SECTION Detailed view of space interactions between levels

11 COX

3

TRANSLATION OF FORM FROM 2D TO 2.5D AND 3D Adobe Illustrator, Rhino 6, and Keyshot 9

OVERLAY This weekend long workshop began with a study of the arrangement of primitive geometries in 2d space. These figures were then given color and set at different opacities to allow for unique interpretations of depth and space on a flat plane. The next phase in the process centered around the translation of two dimensional geometric studies into the slightly extruded state that comes from the 2.5d perspective. Extrusions, boolean operations, and shifts were used to emphasize spaces

2nd YEAR - SPRING 2021

and conditions identified in the 2d explorations. Materials and transparency were added to the extruded geometries, once again creating an overlapping composition. The individual portion of the workshop concluded with the reworking of geometry to become entirely three dimensional with homage to the cube. Overlapping transparent figures with solid geometry continue to play with two dimensional concepts, and become emphasized with the added depth and shadows that are introduced.

AIAS WEEKEND WORKSHOP LEAD BY - Abby Coover-Hume and James Michael Tate CONTRIBUTIONS - Illustrations, Renderings, Design

12 COX

2D EXPLORATIONS OF COLOR AND OPACITY Adobe Illustrator and Rhino 6

13 COX

3

VIGNETTES Interaction of materials at various time-scales

EX: MACHINA This project explores the anthropocentric and ecological events that redefine an object’s natural state.

Specifically, the role of metal and machines in an urban context were questioned based on how their cultural and aesthetic qualities are altered over time by various processes.

The object we’ve created exists in a constant state of becoming, and allows for the examination of cultural issues regarding the role of the machine within the anthropocene. The placement of this machine in an urban context allows it to act as an extension of the existing network of machines within

14 COX

our cities while highlighting how much it influences and is affected by the physical environment. We wanted to investigate the huge contrast between commonly portrayed high tech machines and the often unseen rusty ancient machine aesthetic, leading to a hybridization of form with an aesthetic of ancientness. The building stands as an icon of the neglected city, with rust and oxidation visible above the low rise apartments that occupy the remainder of the

2nd YEAR - SPRING 2021

lot. Our building shows a visible recursiveness of parts and exposed metal elements that make up the massing.

This is done while showing the anthropocentric exploitation of the metal for structural and mechanical purposes, and it is contrasted with the naturally weathered and rusted parts of the building. This exaggerated use of metals in a machinedriven form reveals a cultural problem of the fetishization of machines that we are trying to address in our project.

IN COLLABORATION WITH - Marie Chapa, Shannon Sumner, Justin Kiser, & Luis Sanabria PROFESSORS - Barry Wark and Gabriel Esquivel CONTRIBUTIONS - Unreal Animation, Design, Modeling, Rendering, Post Production

15 COX

3

3

16 COX

BUILDING PERSPECTIVES Experience of the exterior

135' - 0"

"investigating

the

potential

of

120' - 0"

architecture and the aesthetics of

105' - 0"

‘ancientness’ as a catalyst to shift

90' - 0"

the

prevalent

human

view

from

anthropocentric towards ecocentric.

75' - 0"

60' - 0"

45' - 0"

Ecocentrism is an ontological and

30' - 0"

ethical belief that denies that there

15' - 0"

are any existential divisions between

0' - 0"

human and non-human beings."

WEST ELEVATION Recession within the industrial city block

17 COX

3

Corrosion and staining of the immediate context

Opening in the street facade to facilitate site circulation

Materiality is displayed through different ontologies of parts and conditions of metal, through both human-caused weathering and nature-caused weathering.

The individual overlapping lifetimes of all the parts are emphasized through their relativity to each other and the unfathomable timelines of these parts. Metallic frames encase monolithic masses that have been carved through and built around by humans creating this metallic machine; through time, this metallic shell begins to rust over, clearly distinguishing itself as a separate entity with its own properties and compounds.

Weathered combination of paints, exposed metals, and rust

Excavated ground exposing the integration with the city's network of systems

underground network of sewage pipes and mechanical equipment

0

20

40

60

HOLISTIC BUILDING WALK THROUGH Captured in: Unreal Engine 4

18 COX

light_flicker1.avi

stair_shot2.avi

material_transition3.a

avi

CITY BLOCK ISOMETRIC CHUNK Modeled with: Rhino 6, Houdini, and Keyshot 9

80

100

god_rays_balcony4.avi

19 COX

120

looking_up_exterior5.avi

140

160

interior_walkthrough6.avi

3

SINGLE SQUARE UNIT Physical Model - Chip Board

MODULARITY This project investigates how space can be created through repetition of the same module. Each 1/16” chipboard square was hand cut and scored to perpetuate the importance of craftsmanship and add a level of attention to detail and care in the construction process. Different scales of modules were also explored, as each repeated square connects together to form a 12 piece module that can be repeatedly stacked on its self indefinitely to form a much larger object. The

1st YEAR - SPRING 2020

allows for a sense of unity and cohesiveness in the final form, while the exploration of different scales of modules adds a sense of variety and visual interest to the final form, as the varying sizes create a sense of depth and dimensionality. The final form creates a hexagonal interior space that allows light to percolate angularly through the exterior openings.

INDIVIDUAL EXERCISE PROFESSOR - Matthew Faulkner CONTRIBUTIONS - Design, Physical Modeling

20 COX

12 SQUARE MODULE Physical Model - Chip Board

INTERIOR VIEW OF STACKED MODULES Physical Model - Chip Board

21 COX

3

BIRD'S EYE ISOMETRIC Site view of the entire proposal

APLIN CENTER OF HOSPITALITY

4th YEAR - FALL 2022

The columns that frame the educational atrium would have to be the most architecturally significant structural element. Our design intention was shaped around the ribboning of the structure in order to guide people into our common areas, but also to highlight the use of mass timber. These 3-part columns begin at the entrance of the atrium, and continue all the way to our second atrium that connect to the hotel sector of the design. These columns can

only be found in the common areas of our building in order to frame these static spaces, and for people to look at the structure of the building. These columns can be seen through the glass and face the forum side of our site. This is in order to bring attention to the structure from both the interior and exterior of our building. They are located in the areas where we expect the most foot traffic.

The natural wood material of the structure was intended to be the primary material.

IN COLLABORATION WITH - Paty Rocha, Olga Kedya, & Sam Garza PROFESSOR - Matthew Faulkner CONTRIBUTIONS - Education Center Design, Systems Integration, Renders, Drawings

22 COX

EXTERIOR PERSPECTIVE Education Center main entrance

23 COX

3

ATRIUM PERSPECTIVE Elevated view of the mezzanines found in the shared atrium

ATRIUM PERSPECTIVE Ground level view of the atrium cafe's and circulation

This building section showcases the double height study area, which is a prominent feature of the building. It is connected to the exterior forum space, which is an important part of the overall design of the Texas A&M campus master plan. The study area is designed to have a unique grid that is different from the primary structural grid of the building. This allows for the incorporation of additional glulam columns and beams that run through the entire building

24 COX

in a repetitive pattern and connect to the shared atrium space. The HVAC, sprinklers, and electrical systems in the building are suspended from overhead glulam beams and are exposed along the primary circulation paths. In private spaces such as classrooms, offices, and seminar rooms, these systems are concealed with a drop ceiling to create an appropriate scale and incorporate a plenum airspace for the return ventilation, ensuring that the space is comfortable

BUILDING SECTION View of the unique classroom typologies and common area

SOUTH ELEVATION

NORTH ELEVATION

Primary Entrance

Forum Entrance

25 COX

3

RP

L4

L3

L2

beam to concrete core

WALL SECTION DETAIL Showcasing connections and structural layers

26 COX

EDUCATION CENTER FLOOR PLANS Distribution of education programs

column to concrete flooring

Continuous beam to glulam

beam to glulam column

STRUCTURAL CONNECTIONS Glulam beams and their interactions with other structural members

27 COX

3

ATRIUM DETAIL Orthographic render of the atrium space with a structural detail

28 COX

29 COX

3

STRASSER HOUSE - SECTION Recreation of Adolf Loos' Original Section Drawings

RAUMPLAN It’s been stated that the “Raumplan” has never been defined. However, the concept has grown accordingly with each commission under Loos’ name. This conceptual model defines the Strasser House as a plan of volumes rather than simply an arrangement of two dimensional spaces. The Strasser House by Adolf Loos was set in the countryside of Vienna Austria, in 1918. It was one of the earliest attempts of the Raumplan in which each space would have varying ceiling heights based on the needs of each room. In order to dissect the qualities of the “Raumplan;” a conceptual

30 COX

model was created in which each void space and interior wall is represented. The interior masses were abstracted and combined based on their function and are represented using task-board coated in white paint. The representation of walls and floors were created using a combination of varying acrylic thicknesses in order to represent primary, secondary, tertiary divisions.

Each etching on the acrylic represents an opening on the building’s interior, to better display circulation between

2nd YEAR - SPRING 2020

rooms. Visualization in three dimensional space is needed to comprehend the complex elements displayed within the Raumplan. Aspects of this “plan of rooms” are better represented through a system of masses, that way critical elements are highlighted. By leaving just the voids that involve movement, the circulation of the house can be revealed as it spirals through the house. The use of split levels show the broken grid and how Loos was able to incorporate mezzanines in between pre-existing floors.

IN COLLABORATION WITH - Christian Martinez and Garrett Redditt PROFESSOR - Andrew Tripp CONTRIBUTIONS - Drawings, Digital Modeling, Physical Modeling

VOLUMES OUTLINING PRIMARY CIRCULATION PATHS Diagrammatic Model - Museum Board and etched Acrylic

VOLUMES CONTAINING SPLIT LEVELS Diagrammatic Model - Museum Board and etched Acrylic

31 COX

3

AERIAL VIEW OF THE SITE Form from acrobatic flight maneuvers

ACROBATIC MACHINE The proposed Bessie Coleman Flight School holds an education center and museum building, situated in proximity to an existing private airport.

The site incorporates figures created by common acrobatic aerial stunts, and serve as the basis for the form of the ground articulation. The combination of acrobatic maneuvers were used as the joint between the existing site buildings and the proposed flight school in the form of two dimensional patterns and raised paths. With

2nd YEAR - FALL 2020

inspiration from Hadrian’s Villa, the design process started with the amalgamation of parts derived from the forms of airplane engines and mechanisms. Pulling inspiration from the Pompidou Center, the two buildings incorporate some of the necessary structural and mechanical equipment on the building’s exterior. This idea translated to the facade design which combines ornamental cladding of recycled airplane parts & tubing arranged in the form of acrobatic maneuvers.

IN COLLABORATION WITH - Stephanie Shupak PROFESSOR - Gabriel Esquivel CONTRIBUTIONS - Design, Drawings, All Renderings, Post Production

32 COX

EASTERN VIEW OF THE MUSEUM BUILDING Ornamented machine assembly

33 COX

3

SO

SOUTHERN ELEVATION Museum Building's proximity to the sculpture garden

34 COX

Education Build

EDUCATION CENTER 1ST FLOOR PLAN Rhino 6 and Adobe Illustrator

OUTHERN VIEW OF THE EDUCATION CENTER Bird's eye view of the interacting machine parts

SOUTHERN ELEVATION

EDUCATION CENTER 2ND FLOOR PLAN

ding's from interacting with the elevated walkways

Rhino 6 and Adobe Illustrator

35 COX

3

3