Graduate Architecture Portfolio

C R ISTIN A VA LE NCIA P O RTFO L IO O F CREATIVE WORK

B AC H E LO R O F S C I E N C E I N D E S I G N MASTER OF ARCHITECTURE

Cristina Valencia Arizona State University, MArch, BSD, 2015, 2007

CONTENTS 4

HIDA THINK TANK PUBLIC SPACE, KINETIC CAMPUS

12

GMEX GLENN MURCUTT EXHIBIT

18

HAAUB MUSEUM SEATTLE, TACOMA

24

URBAN REUSE HB FARMER EDUCATION BUILDING

30

LIVE/WORK SPACE RORO ARTISAN COMMUNITY

34

MONTESSORRI LEARNING ENVIRONMENT CREOSOTE ELEMENTARY

39

VISUAL COMMUNICATION DESIGN

44

DRAWINGS

HI DA K I N E TIC C A M P US P UBLIC SPACE Definition: The capstone studio objective for students was to develop different strategies to intervene in HIDA’s public space through “space activation” by bringing together the different disciplines insights and knowledge into a common and multi-faceted ground.

ADE 622 Adv Architecture Studio IV: Spring 2015 Site: Tempe, Arizona. Arizona State University. The Herberger Institute for Design and the Art’s public space and the adjacent Gateway parking lot.

Design Team: Prof. Diego Garcia-Setien, Cristina Valencia, Collaborative Research by Martha Rodriguez, Jussara Scarle, and Lee Tribbie.

Project description: The creativity of the Herberger Institute for Design and the Arts can transform society through the activation of public spaces located within the institute, across ASU campus and the surrounding Tempe community. These spaces must respond to both environmental and social ecologies through the use of flexible, dynamic, and adaptive systems.

Process: Initial collaborative research focused on defining the boundary conditions at at different scales.

Final : The public spaces within these boundaries can be designed to foster collaboration and reflect the creativity within the institute externally.

Boundaries and thresholds As a group, we explored three different scales of the ASU and HIDA campus that encompass the surrounding community.

We defined strategies and tactics for the following themes: Buildings Connectivity Education Social Circulation Economy Technology Energy Climate Ecosystem Climate

Formal and informal boundaries Individual definition of the boundaries relating to the HIDA buildings and its students.

Social Boundaries Building Edges

Individual tactics Individual development of energy, social, and environmental issues relating to HIDA’s threshold.

PERSONAL

SOCIAL

PUBLIC

Interior Edges

DBA longitudinal speed of sound

4’

12’

24’

150’

300’

Transportation Boundaries

Radius in feet *Edward T. Hall

NOT TO SCALE: GATEWAY PLAN

5

Ecological Arts This chart depicts information gathered on gardening, temperature, events, and the ASU academic calendar semester information.

GARDENING

120

TEMPERATURE 110

100

100

90

80

70

60

50

40

30

20

EVENTS 10

August

ACADEMIC CALENDAR

FALL

September

October

November

Session A

December

January

SPRING

February

March

April

Session A

June

SUMMER

Session B Session B Session C

May

July

Session A

Session C

Session C Session B

Session B

Building and site system

Structure study configurations

Service bldg Core building and program Kinetic buildings climate and event systems Camp sites Energy pavers(piezoelectric technology) Desert landscape and rain gardens Community gardens

Classroom and Community Garden interactions and

Permanent bldg and kinetic structures Service Building

Spring

Desert Scape

Late Spring

Educational Event

Energy Pavers Camp sites

Minimum and maximum site configurations Building expansion and contraction plan diagrams

Typical site configuration Buildings expanded Sunday Farmers Market Gardens are not at peak season

Spring semester Tempe festival for the arts Events and lectures at peak kevel Gardening season

Fall semester Sunday Farmers Market Events and lectures at high levels Gardening season at maximum

7

Axonometric of Kinetic Campus site design

Farmer’s Market on Mill Avenue

Renderings depicting the Community Garden and Classroom entrances.

9

University Tempe Festival for the Arts

Foerst Avenue and University

11

G M E X G L E N N MUR C UTT E XHIBIT Definition: Architecture for Place: Glenn Murcutt Exhibition and Studio Exhibition: December 20, 2014 – April 4, 2015 Site: ASU Art Museum, Tempe, Arizona Design Team: Jack DeBartolo 3, Principal and design leader Architecture: Tim Berry, Robert Huff, Bryson Kahala, Jay Scariani, Lee Tribbie, Cristina Valencia, Francesca Zucchi. Interior Design: Alyssa Hitt, Kirsten Keane.

Graphic design: Candy Choi, John Thomas Sutton, Jennifer Testamarck Project description: GMEX is a multidiciplinary studio focused on the collaboration between architecture, interior design, and graphic design students creating both the design and construction of the exhibit of Glenn Murcutt’s projects, drawings, and models. Our goal was to educate ASU Art Museum visitors about responsive architecture and also to create a dialogue on sustainable building design.

Process: Travel studio: Montreal, Canada, New York City, Washington, D.C. Individual proposals, group proposals, collective proposal draft, and final proposal.

Final: Simple Move, functional efficient use of space. 45 deg. offset, using musuem walls. Relationship to the existing grid.

Long section of realised project. The roof light, visible in the early scheme, is now emphasised, and the bedroom set up a few steps from the entry

Sketches of studio

Sketches of studio

Early diagram of layout, with parent and children occupying symmetrical spaces each side of courtyard

Early sketches of final design

East elevation

Section drawing of early scheme, 1988.

This was later revised in favour of a more economical solution

Early sketch study of sun penetration

Penultimate plan of parent’s wing

Detailed plan Sketch studies of eastern wall

Sketch section showing water sprinkler on roof

Design sketch of living areas

Detailed section of northern roof

Marie Shor t / Glenn Murcutt House 1974-75 / 80 Kempsey, New South Wales.

house plan is disarmingly simple with two almost identical pavilions, rotated and slipped; one for sleeping,

Altitude: 20m above sea level. Warm-temperate/ sub-tropical climate. High rainfall. Summer, circa 26ËšC cooled by north-east winds. Winter circa 18ËšC. Clay soil with poor drainage.

the other for living. Each pavilion is six, structural timber bays, the last two bays treated as an open entry porch.

where each functional component is individuated, repeated and grouped as a cluster of cells. The spatial contrast between the service and living zones heightens a sense of generosity in the larger rooms.

degrees of ventilation. This double layered system gives a high degree of personal freedom to orchestrate the

conservation and reuse was realised when Murcutt altered the property in 1980.

The 1974-75 house was conceived in terms of existing timber, stockpiled by the client. An expressed post and

The orientation of the house and its articulation are

Sketch of north elevation of revised scheme

Sketch sectional detail through roof

of the pitched roof form reinforces the conception of the house as a floating platform.

building as an instrument, for both environmental comfort and aesthetic experience of the landscape.

Between the two, a thickened wall implies an external corridor which links the porches and accommodates the collection of rain water.

Located on farmland in northern coastal NSW the Marie

Sketch perspective study of steel frame and cladding detail

Climatic performance also drives the detailed resolution

beam structure draws on farm shed construction

In this House Murcutt offers a centred enclosure as well

Plan

as the spatial repetition and extrusion of a machine. The

Sketch plan showing contours and lake views

abstract and original re-presentation of familiar forms

conceived in relation to climatic considerations. The

of the roof. Curved corrugated metal sheets overlap to

techniques. The assembly system and junction details

such as the pitched roof and entrance porch using local

living pavilion faces north to receive sun for the majority

provide horizontal ventilation slots. Doubling the layers

were developed in order to accommodate the client,s

techniques and materials assigns the building an

Short House was designed in the 1970,s, later

The strategy to repeat and distinguish the pavilions by

of the day. Retractable metal louvres control levels of

calls attention to the immaterial edge and renders the

wish to pull apart and reassemble the components for

important position within the pursuit and evolution of

purchased and altered by Murcutt in 1980. The 1974-75

function is extended to the kitchen and bathrooms

light and privacy and the glass louvres allow varying

building as a horizontal volume. This abstract treatment

future relocation of the house. This ambition for

modernist architecture in Australia.

Steel stair details to raised bedroom

Magney House 1986-90

Paddington, Sydney, New South Wales.

Magney House

The building is a substantial reconfiguration of a row

The original building had rooms located either side of a

In a building type normally experienced as a sequence

A stair to the lower level along the western wall forms

appears to float over the adjacent trees. The north

‘terrace’ house, an urban dwelling characteristic of the

central corridor and stair, most of which was demolished

of interiors and darker rooms, the house is striking for its

one void and a skylight across the width of the house

façade is rendered as two vertical blank masonry walls

inner Sydney suburb of Paddington. With a substantially Altitude: 200m above sea level.

conserved 19th century urban fabric, all development in this area is tightly controlled. Murcutt was consulted in

Temperate coastal climate. Summer, circa 25ËšC with cooling on-shore breezes. Winter circa 18ËšC with lows of 12ËšC. Sandstone soil.

excepting one bedroom and bathroom at street level.

Two designs were prepared; the first with an additional upper level, which was later revised in favour of a more

the building site selection and the block was chosen for

economical solution. Both schemes retained the original

its steep fall from the street to the north, a generous

street facade and flanking masonry party walls.

width and adjacency and outlook toward established trees and landscape.

sense of light and spaciousness and inclusion of the external landscape. A fine steel frame sits within a large

forms another. An unexpected lightness is found in what would typically be the darkest part of the house.

void formed by the original masonry shell. It supports a new upper bedroom with small bathroom and frames openings to the north facing garden. This new room is visible from the entrance as an apparently floating

1982-84 / 1999 Bingie Point, New South Wales.

framing a metaphorical void. The walls provide privacy from adjacent neighbours and proportionally describe piece of shade cloth is held over an outdoor dining area.

The delicately woven fabric registers the movement of the breezes and offers dappled shade in the manner of

Simpson-Lee House

Situated on the southern coast of NSW, the site is a

areas open onto the shared court and a connection is

large single downpipes. In this way both the functional

The large angled roof overhang shades the building

The climatic and formal ambitions of the building are

spectacular landscape between the ocean and western

implied between these adjacent spaces. The separate

hierarchy of the house and the collection of rainwater

from summer sun and allows winter sun access.

evident in the development and material resolution of

mountains with a nearby lake to the north. It is exposed, windswept and rugged. The clients had owned the land

Altitude: 50m above sea level.

the typical dimensions of neighbourhood houses. A The living spaces are accommodated at the ground floor and extend into the garden. Very large steel framed doors pivot to allow for the desired spatial connection.

proposed garage bay in the plan illustrated was never

interested in a house with tent like qualities.

architect,s development of a pavilion type with a distinct A repetitive bay structure is employed. Typically, large rooms with rear service facilities are divided by a lower

The building is a single pavilion divided by a central

circulation zone rendering a functional distinction in the

front and back and this dominant spatial orientation is primarily developed in relation to climatic considerations.

The open northern face is treated as a glazed sliding

1988-93 Mount Wilson, New South Wales.

the structural system. The design of the tubular steel

are given symbolic representation in the east and west elevations. The striking roof form also registers the

realised.

for many years using it for camping holidays and were Temperate climate with coastal influence. Rainfall approx 1,000mm per year. Summer, circa 20ËšC with north-east on-shore breezes. Winter, circa 15ËšC with

In sharp contrast, the lower rear wall facing the predominant southerly winds is largely closed and is constructed of reverse brick veneer. Continuous upper fixed glazing along the southern façade admits light and sky views. These glass panels slope away from the wall

Critically acclaimed, this house has been acknowledged

Alignments as well as tensions intensified the architect’s

corrugated metal sheeting are here reduced to a point of

hierarchy is a more complex spatial configuration in

abstracted landscape within the built extent of the

by many as a significant project in the evolution of Glenn

disciplined approach. Murcutt’s descriptions of the

elemental abstraction. The plan follows the protective

which the rear bagged brick walls wrap to form rooms

house. The pool reads as an implied platform which

Murcutt’s work. Located in the Blue Mountains west of

frame refines experiments from previous buildings and

Altitude: 1,000m above sea level.

achieves an extremely light skeleton. This material

Sydney. It is a development of many of the ideas employed in the house at Bingie Point but concentrated

reduction is visible in the fine edge of the northern roof

Cool temperate climate. Occasional light snowfalls.

overhang where the metal skin acts with the tensile steel

westerly winds in winter and hot westerly winds in

building reveal satisfaction with the results suggesting that “the detailing in this house is as good as I’ve ever done.�

back and open front organisational strategy employed at Bingie point. This emphasis is reinforced by the site against an existing rock ledge.

The clients requested a house with a “secular monastic The clients were engaged at every stage of the lengthy

containing the services and connect with the frontal glazing.

quality� with an insistence on restraint. Simple, hard

Sketch studies of eastern wall

vestibule, one of two which bracket the glazed opening Murcutt describes the circulation strategy as an acknowledgement of an existing aboriginal path. This

The living spaces form a new floating platform over a fall

dimensionally anticipates the living area of the major pavilion. The timber bridge enters the house via a glass

topography where the rear low service wall is grounded

and refined and the result is more austere and abstract.

Sited in the lee of a hill which protects it from cold

struts and eliminates additional supporting members.

linear

movement

connects

two

pavilions,

a

of

the

living

areas.

The

vestibule

dimension

accommodates a series of sliding screens allowing the glazed wall to completely disappear. This uninterrupted

volume, vertically and horizontally surrounded by light

The exterior landscape is defined as a series of

a floating canopy, an abstract register of the landscape

extremely cold winds from south-west off Mt. Kosciusko

court and can operate as two self contained suites, one

bipartite section. The implied internal corridor supports

screen with individually adjustable and retractable

to accommodate continuous adjustable horizontal vents

The improbably thin roof is symbolic of a house which

summer. Summer circa 29ËšC. Winter circa 16ËšC with

design and approval process; the decision making

wearing materials; polished concrete floors, bagged

in the landscape which anticipates a much larger valley

garage/studio and the major living spaces. A timber

connection to the landscape allows the room to be

and air.

horizontal planes, stepped up to a platform, which

beyond.

and lows of 5ËšC. Granite soils.

for the parents, the other for guests or family. Living

an oversized gutter which connects at either end to two

external louvres.

at door head height.

feels unexpectedly light, almost transportable.

lows of 1ËšC. Volcanic and sandstone soils.

affected by their personal ethics and aesthetics.

painted brickwork, steel structural frame and exterior

beyond. In tension with this implied strict back/front

bridge, passing an external pond, includes this

experienced as an open veranda.

Sketch studies of eastern wall

Sketch perspective study of glazing detail at kitchen window

Detailed plan through sliding glazed screen (Full size)

Sketch sectional detail through sliding glazed screen (upper part)

Early version on 2 levels with vault roof

Sketch detailed plan of eastern wall

Early design sketch of ground floor living spaces Early studies with pergola

Early plan of the slipped pavilions Elevations and plan Detailed section.

Early sketch of final version

Sketch plan of kitchen & bathroom windows, and south-west corner of the house Detailed section and detailed plan

Sketch sectional detail through sliding glazed screen (lower part)

Sketch perspective study of steel frame and cladding detail

Sketch studies of roof variations

Early plan of studio & pond

Detailed section through sliding glazed screen (Full size)

Final plan of studio & pond

Plans of the realised project Early studies of plan, form and cost

Panel 12

Sketches of studio

Panel 13

Panel 14

Panel 15

Panel 16

Panel Panel 23 17

Panel 24

Panel Panel48 26

Panel 25

Panel Panel49 27

Panel 50

Panel 51

Panel 52

Panel 28

Panel 29

Panel 30

Panel 31

Panel 32

Sketches of studio

Early sketches of final design

East elevation

Sketch studies of dining hall roof form

Site plan

Early sketch studies of roof variations

Detailed plan of blade walls Early sketches of end elevation

Sketch studies of eastern wall

Early sketches of end elevation

Sketch section showing water sprinkler on roof

Early studies of elevations using corrugated metal cladding

Sketch study of gutter between dining hall and service wing

Early site study / sectional sketch

Early sketch of east elevation

Marika-Alder ton House

Sketch perspective study of steel frame and cladding detail

1991-94 Eastern Arnhem Land, Northern Territory.

Commissioned by the aboriginal leader Banduk Marika and her partner Mark Alderton this project is in Yirrkala

estuary creek and freshwater lagoon, the building is slightly removed from a generally suburban settlement.

Above and below: initial sketch plans

screwed together on site, the entire process taking four months.

plywood and slatted timber screens slide or pivot open

presented a rare opportunity to design a house in Australia,s extreme north and to architecturally address

Subject to occasional tidal flooding 500mm deep during

the inherent climatic and cultural conditions.

cyclones. Wet summers, dry winters. Summer, circa 33ËšC, hot north-west winds. Winter south-east winds,

Ar thur and Yvonne Boyd Ar t Centre

Voids under the bay structures confirm the sense of It was conceived by Murcutt as a prototype and as a viable alternative to the house then occupied by the clients, a brick building with small windows typical of aboriginal public housing in this context. Prefabricated in

Facing the Arafura Sea and the Gulf of Carpentaria the

early morning and late afternoon.

allowing prevailing breezes to naturally cool the house.

on land associated with the Marika clan. The project Altitude: 3m above sea level. Monsoonal tropical climate.

Plan

Gosford, north of Sydney, all components were packed

The building is elemental. A pitched roof, dry timber platform and operable skin float in relation to each other.

The structural system is comprised of a steel frame and Australian hardwoods. The fine sheet metal roof is dominant, deep eaves protecting the interior from

One of the most striking aspects of the architecture is the southern façade, where vertical plywood blades of varying depths project out from the steel column line.

These register the dimensions of different built-in

suspension above a horizontal floor plane. In this house Murcutt creates a situation from which the inhabitants can observe the horizon, changes in the weather patterns, the movement of people and animals and the

furniture elements; a kitchen bench, timber joinery or

playing of children; a building which is experienced as

temperatures rarely below 25ËšC with lows of 20ËšC on

site has a tropical climate with cyclonic conditions, high

in two shipping containers and transported to site via

summer sun. The exterior wall is treated as finely crafted

beds, framed as floating window bays. The fins provide

an elevated shaded platform.

winter nights. Sandy soil with good drainage.

winds and very heavy rainfall. Surrounded by a beach,

semi-trailer and barge. The house was bolted and

infill panels with no glazed openings. These typically

both visual privacy and shade from the summer sun in

Collaborating architects: Reg Lark and Wendy Lewin

building reveal satisfaction with the results suggesting

back and open front organisational strategy employed at

containing the services and connect with the frontal

dimensionally anticipates the living area of the major

that “the detailing in this house is as good as I’ve ever

Bingie point. This emphasis is reinforced by the site

glazing.

pavilion. The timber bridge enters the house via a glass

by many as a significant project in the evolution of Glenn

employed in the house at Bingie Point but concentrated

Alignments as well as tensions intensified the architect’s disciplined approach. Murcutt’s descriptions of the

done.�

corrugated metal sheeting are here reduced to a point of elemental abstraction. The plan follows the protective

hierarchy is a more complex spatial configuration in which the rear bagged brick walls wrap to form rooms

topography where the rear low service wall is grounded

and refined and the result is more austere and abstract.

against an existing rock ledge.

The clients requested a house with a “secular monastic

The clients were engaged at every stage of the lengthy

quality� with an insistence on restraint. Simple, hard

cultivated farmland and natural bush, the building emphasises the differences of each condition, framing views to both. It provides a large meeting hall with

sandstone and shale.

The distinguished Australian artist Arthur Boyd and his

Rainfall circa 1,500mm per year. Sited between eucalypt forest and cultivated farming land, in the lee of a hill

Critically acclaimed, this house has been acknowledged Murcutt’s work. Located in the Blue Mountains west of Sydney. It is a development of many of the ideas

Cool temperate climate. Occasional light snowfalls.

Sited in the lee of a hill which protects it from cold

views serves as a stage for a proposed landscaped amphitheater and is dominated by the large portico of

were

commissioned

to

propose

an

Sketch studies of portico roof

zone. Here the greater scale acknowledges a more

positioned below timber panels which pivot open or can be adjusted for screened ventilation. Painted plywood

public situation.

blades externally bracket each bed, and provide privacy.

the multi purpose hall. The elevated ambition of this

kitchen, bathing facilities and shared accommodation for

arrangement contrasts with the scale of the entry door

The sleeping areas are treated as a linear arrangement,

The larger blades accommodate a sliding door which

up to thirty two students.

and utility of the low bench with washbasin.

each accommodating four people. Located along an

can divide each room into two. The system is a

open walkway and grouped around shared bathrooms,

partner Yvonne donated this land in the Shoalhaven River valley for use by their Education foundation. The architects

Three existing timber cottages prolong an entry sequence where one moves from a car-park between

The bipartite section employed in previous houses informs the organisation of the main pavilion where a

each cluster is separated from the next by a breezeway.

Precisely scaled according to the specific dimensions of

development of the facade strategy employed in the Marika-Alderton House. Clustering and repeating the bedroom bays on the eastern façade gives a public

Summer, circa 24ËšC, infrequently up to 40ËšC with some

arrangement of facilities in this spectacular landscape, a

the dwellings and finally arrives at a large open platform

large hall oriented toward the significant view is

the beds, each sleeping bay forms a window framing a

scale to this previously domestic device whereby each

influence from cooling north-east and south-east

retreat for artists and students. Located between

via an old veranda. This entrance court with striking river

separated from its rear service facilities by a circulation

personal view of the landscape. Fixed glazing is

bed (and implied child) is given symbolic presence.

Above and below: initial sketch plans

1988-93 Mount Wilson, New South Wales.

Altitude: 1,000m above sea level.

westerly winds in winter and hot westerly winds in

on-shore winds. Winter, circa 20ËšC with lows of circa 12ËšC occasionally down to 5ËšC. Granular loam soil of

1996-99 Riversdale, New South Wales.

Altitude: 20m above sea level. Temperate climate.

which protects it from cold winds off Mount Kosciusko.

Simpson-Lee House abstracted landscape within the built extent of the house. The pool reads as an implied platform which Sketch studies of eastern wall

vestibule, one of two which bracket the glazed opening Murcutt describes the circulation strategy as an acknowledgement of an existing aboriginal path. This

The living spaces form a new floating platform over a fall

linear

movement

connects

two

pavilions,

a

of

the

living

areas.

The

vestibule

dimension

accommodates a series of sliding screens allowing the glazed wall to completely disappear. This uninterrupted

summer. Summer circa 29ËšC. Winter circa 16ËšC with

design and approval process; the decision making

wearing materials; polished concrete floors, bagged

in the landscape which anticipates a much larger valley

garage/studio and the major living spaces. A timber

connection to the landscape allows the room to be

lows of 1ËšC. Volcanic and sandstone soils.

affected by their personal ethics and aesthetics.

painted brickwork, steel structural frame and exterior

beyond. In tension with this implied strict back/front

bridge, passing an external pond, includes this

experienced as an open veranda.

Sketch studies of eastern wall

Elevations

Sketch perspective study of glazing detail at kitchen window

Detailed plans of the dormitory accommodation

Plan

Detailed plan of the large dining hall and kitchen

Detailed plan through sliding glazed screen (Full size)

Detailed section

Sketch sectional detail through sliding glazed screen (upper part)

Early sketch section

Early sketch section Detailed section through west wall

Sketch detailed plan of eastern wall

Detailed plan of blade wall

Detailed section.

Sketch plan of kitchen & bathroom windows, and south-west corner of the house

Sketch sectional detail through sliding glazed screen (lower part)

Sketch perspective study of steel frame and cladding detail

Early plan of studio & pond

Detailed plan of screen door

Detailed plan of north-east corner

Detailed plan at entrance deck

Detailed plan of sliding shutters

Plan

Detailed section through dining hall Detailed section through dormitory accommodation

Detailed section through sliding glazed screen (Full size)

Early sketch of site layout

Sketch studies of dormitory stair

Plan of projecting plywood blades between dormitory windows

1997 - 2001 Kangaloon, New South Wales

Panel 29

Panel 30

Panel 31

Panel 32

Panel 18

Panel 19

Panel 20

1997 - 2001 Kangaloon, New South Wales

Panel 33

Panel 21

1997 - 2001 Kangaloon, New South Wales

Panel Panel33 22

1981-82 / 2001-04 Jamberoo, New South Wales 1997 - 2001 Kangaloon, New South Wales

Panel 33

1981-82 / 2001-04 Jamberoo, New South Wales

Panel Panel34 33

1981-82 / 2001-04 Jamberoo, New South Wales

Panel 34

2000-03 Mosman, Sydney, New South Wales 1981-82 / 2001-04 Jamberoo, New South Wales

Panel 34

2000-03 Mosman, Sydney, New South Wales

Panel Panel35 34

2000-03 Mosman, Sydney, New South Wales

Panel 35

2001-05 Kangaroo Valley, New South Wales 2000-03 Mosman, Sydney, New South Wales

Panel 35

2001-05 Kangaroo Valley, New South Wales

Panel Panel36 35

2001-05 Kangaroo Valley, New South Wales

Panel 36

Panel 10

2001-05 Kangaroo Valley, New South Wales

Panel 36

Panel 11 Panel 36

Panel 1

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Panel 2

Panel 3

Panel 4

Panel 5

Panel 6

Works of architecture are discovered, not designed.

The creative process is a path of discover y. The hand makes drawings and arrives at solutions before the mind has even comprehended them.

It is ver y impor tant to me to make buildings that are like instruments.

They respond to light, to the movements of air, to prospect, to the needs of comfor t.

Like musical instruments, they produce the sounds and tones of the composer.

But I am not the composer, nature is the composer.

The light and sounds of the land are already there. I just make the instruments that allow people to perceive these natural qualities.

Total existing wall space available, 138’-3�

Column Grid 10’ OC

Sketch study of dining hall elevation

Final plan of studio & pond

House in the Souther n Highlands House in the Souther n Highlands House in the Souther n Highlands House in the Souther n Highlands Panel 28

Sketch studies of the dormitory accommodation

Sketch studies of dormitory corridor handrail (Full size)

Glenn Murcutt

Detailed section through dining hall Detailed section through dormitory accommodation

Exhibit Panels Panel 4

Total length of exhibit panels, 185’-0�

(50 boards) 12 projects, 2 Quotes.

Panel height 5’-11�, 4 models, 5 drawing books, 11 min. video

Panel 5

Panel 6

Panel 7

Panel 8

Mosque at Newpor t, Victoria

Opal and Fossil Centre, Lightning Ridge, NSW

in collaboration with Elevli Cameron Architecture and Interiors

in collaboration with Wendy Lewin

Panel 9

Panel 42

Panel 43

Panel 44

Panel 45

Panel 46

Panel 47

Panel 37

Panel 38

40’

MoMA Dept. of Architecture and Design Conceptions of Space Exhibit

Travel studio Montreal, Canada New York City, New York Washington DC Museums visited CCA, Canadian Centre for Architecture Montreal Canada MOMA Museum of Modern Art AIA, American Institute of

Architects The Guggenheim Museum and Foundation The Noguchi Museum New York City, New York United States Holocaust Memorial Museum Washington DC *Tod Williams Billie Tsien Architects *Olson Kundig

scale 1’-1/8�

MOMA Museum of Modern Art Glenn Murcutts Philosophy

Case Studies

Discovery through drawing

Orientation based on the site and it’s surrounding environment. (Australia is on the opposite side of the pole) ((Sun orientation)

Environmentally responsible

“What are the three most important things in life?�

The first one is simplicity, second one simplicity and the third one... simplicity.�

13

45째

Group proposal Contrasting dialogues

Initial collective proposal

Final collective proposal

Marie Short

S imps on Lee

Marika Alderton

VI

Ka

e

ng

qu

os

e

M

ot

Magney Bingie

Qu

M

./L

. als

BOOKS

h

ge Rid

W

F./

Glenn Murcutt's Timeline

M

ag

Boyd Center

ne yP ad din DE gt O on

DRAWINGS

Our Proces s

Boyd

PROCESS ROOM

W

.

tro

In

Title

E

TL

TI

Scale: 1/32”=1’-0”

15

Final Exhibit Entrance signage and process room

Final Exhibit Elevated panels and detail of wooden screen built for the movie display area.

17

C H A M B ER O F LIF E TACO M A, WA Definition: Tacoma Art Museum Extension, Haub Galleries Adv. Arch II, Spring 2014 Site: Tacoma Art Museum. Tacoma, Washington Design Team: Professor Greg Brickey Ali Abbaszadegan, Ritu D’Cruz, Cristina Valencia Project description: The Tacoma Art Musuem expansion , 13,500 sq ft. for Haub Western Art Gallery Collection and event, community space and improvement to lobby and existing entryway.

Process: Travel studio: Seattle, Washington. Individual case study, group schematic design, final proposal.

Final : An environmentally responsive site and building that seeks to address cultural pragmatics while reconnecting to nature. The Tacoma Art Museum is a didactic of current technologies and materials that embody the beliefs and rituals of the Native American culture, being expressed through the artwork and the symbolic experience of the building.

The museum uses existing infrastructure as an armature to further connect places and districts that help to foster a sense of community. The visual and spatial quality of the site and building encourage the interaction of the pubic off of the street and allows there to be a re-establishment of the landscape that connects the urban realm back to nature. These design decisions are sensitive to the antiquity and chronicle of the Native American culture and help to educate the public about the diversity and majesty of their society.

Site area

Form diagrams

The Tacoma Art Museum is located at the heart of Tacoma’s cultural district including the History Museum, Union Station, ant the loop of the Thera Foss Waterway development.

Inspired by the Native American belief in the circle as a symbol represenative of life and the cycles of nature.

Sun studies Post tension concrete beams 10’ OC Cantilever girders Concrete slab structure Radiant floor heating Structure

Circulation diagrams

front

back

19

3 Sculpture level

2 Main gallery level

1 Lobby floor

Bridge connection detail Model

Section

21

South view, near light rail stop

Lobby area

Exterior view of street entrance looking from Tollefson Plaza of Museum

23

U R B A N R EUSE HB FA R M E R EDUCATION BLDG Definition: Farmer Education Building Adv. Architecture Studio II: Spring 2014 Site: 1050 South Forest Mall, Arizona State University, Tempe Campus Gross SqFt 95,944, Bldg Height 53’-3”, Construction date 09/1956 Project description: The Farmer Education Building was originally built in 1962. A massive structure expressed through the design of precast concrete panels on the exterior and a private interior courtyard. The design fails to correspond to ASU’s current design aspirations towards social impact, civic engagement and community relationships.

Process: Individual case study for the design of the 1992 British Pavilion Seville World Fair builfding

by Nicholas Grimshaw + Partners. Initial group research, schematic designs and conceptual framework, final proposal.

Final : Climatic responsive building that improves the current passive cooling technologies by reducing energy consumption.

An eductional environment that improves academic performance utilizing environmental factors.

Engages the community through interactive and collaborative spaces.

Existing Farmer Education Building

Program CLASSROOMS COURTYARDS OFFICES CAFE RESEARCH

1969

6

2013

6 Outside research 7 Outside reading yard

7

4

Concrete Waffle

4 Outside lecture 5 Outside conference

Slab, 28’ O.C.

5

2

2 Outside Tech 3 Outside classroom

1 Cafe courtyard Playground Main zen garden 3 1

1

Envelope The additional outside courtyard and garden space on the exterior shows a reflection of the inside without disrupting the quiet atmosphere.

Opportunities for outside engagement include a garden, water feature, and a cafe.

1

25

Traditional Arid Climate Courtyard

Existing Conditions

Design Expansion

Boundaries

Farmer Building: Open Courtyard Design Central courtyard allows for building to stretch to the very edge of it’s site.

Wasteful buffer around building leads to relatively useless space.

Build to edge of site.

Sun Light Roof open to the sky at each courtyard and covered by tensile fabric allowing diffused light to enter the space.

Courtyard | one to seven Open up floor plan. Now allows for for additional outside collaboration spaces.

Spatial Quality

Rooms generously open to courtyard at cooler times of the day or season.

Minimal views to the courtyard only perceivable from circulation corridor.

Interior enjoys the benefits of the courtyard.

Southern edge: porch during the summer.

Winter space with movable glass.

All conditions are treated equally. Concrete panels and vertical screened windows.

Incorporate overhangs on the South for sun protection.

Southern edge: porch during the summer.

Winter space with movable glass.

All four cardinal directions have a ground floor entrance.

All four cardinals directions have a ground floor entrance opening allowing for air flow.

Environmental Response

Ventilation

Water Wall Water feature provides evaporative cooling for interior courtyards.

Helping to reduce the micro-climate.

Circulation Activity Connects to adjacent Teachers College Building.

Close proximity to Gammage, Art Museum, and Music Buildings.

Near the Ash neighborhood district.

Vehicle traffic occurs during performances and events held at the Gammage audutorium.

Easy access to nearby bus routes.

Farmer Education Building serves as a shortcut for pedestrians.

Pedestrian Bicycle Vehicle

Building model

27

Level 4

Level 3 1 - Zen Garden Scale: 1/64”= 1’-0

Level 2

Main student entrance

South view of building

29

L I V E / WO R K SPAC E

R O R O ARTISAN COMMUNITY

Definition: Live/Work Space for bycycle artisan Palmer Kelley Architectural Studio II: Spring 2013 Site: SE corner of 2nd St. and Portland, Roosevelt Art District in downtown Phoenix.

Project description: Live/Work Space Artisan Community Process: Initial investigation on details of the client’s needs and daily life routines. Individual site selection, group community design, and final proposal.

Final: A Live/Work space design that provides increased work space, private living, and ample outdoor and transitional spaces for the client. While also working to create part of the cultural identity on RoRo by providing space for weekly, monthly, and annual events. The events are designed to draw in the community by displaying bike races or movies on a large screen projection that can be viewed from a distance.

1 WO RK LE VE L

1 Work Level S CALE: 1/4 ”= 1’ 0 ”

2 LI VI NG LE VE L

2 Living Level

3 S L EEPIN G /G A R D EN L EV EL

3 Sleeping/Garden Level

31

W E ST S E C TI O N

NORTH SECTION SCALE : 1 /4 ” =1 ’0”

West Section

North Section WEST ELEVAT I O N

EAST ELEVATION

East Elevation

West Elevation

Main entrance

Bedroom terrace view

Bike shop view

Model

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M ON T E SSO R I L E A R N IN G E NVI RONMENT CREOSOTE ELEMENTA RY Project: Montessori Elementary Learning Environment and Classroom design Architectural Studio II: Spring 2013 Site: Washington St and Priest. Dr., near the Papago mountains, Arizona Grand canal, Light rail, Downtown Tempe, and Arizona State University.

Process: SIte analysis, group research and program development, classroom design, and Proposal: Outside Gardens and learning environments. Providing an opportunity for varying degrees of personal and public spaces throughout the site. The concept begins with the micro to macro spacial defintions. The main learning objective is to promote differing levels of collaboration spaces between students, staff, and parents.

Final: Beginning with the interior classroom space, the folded roof allows for varying ceiling hieghts. Providing students with intimate studying spaces as well as interactive open spaces. It also creates a humanistic, secure and comfortable surrounding.

Each classroom cluster has a garden/play space that connects to other classroom gardens. This connection of outside gardens facilitates student interaction and collaboration with students from other classrooms. The folding continues through the landscape, folding levels between lower/upper elementary, administration/pre-k, playfield and gym. These levels serve as a grouping of spaces.

The integration of building form and land not only serves as an aesthetic appeal but it also facilitates the use of sustainable design materials. Utilizing a green roof and photovoltaic panels hidden underneath the steel mesh shade structures. The non-traditional design provides an environment that students can look forward to going to and they can be proud of. Further exemplyfying the Montessori school of thought.

Roof Plan Not to scale

Site Plan Not to scale

Structural Plan Not to scale

Classroom Building Plan

35

Classroom Sections 1 1

CLASSROOM 1 2 3

2

CLASSROOM 3

3

CLASSROOM 1

CLASSROOM 2

4

CLASSROOM 1

CLASSROOM 2

CLASSROOM 3

Folding planes diagram

Private Reading Pryamid

Classroom Interiors

37

V I S UA L CO M MUN IC ATIO N INFORMATION DESIGN

History of the Typographic Latin Letter

Garamond reconstructed by Robert Slimbach in 1988

H

H

H Bembo based on the design of Francesco Griffo Venice,1499

Hendrik van der Keere recontsruction Antwerp, in 1575

H

Monotype Arrighi M reconstructed after Ludovico delgi Arrighi

H Hendrik van der Keere reconstruction Antwerp, in 1575

Printing with Movable type in Germany

Incunabula period

Medium originally a metal type for hand composition

M

originally for machine composition in metal

P

originally designed for photosetting

D

originally designed in digital form

abefop

agnop

abpfoe

abgofp

H Garamond Italic constructed by Adobe in 1989 in digital form.

H Poetica recent typeface

by Robert Slimbach

H Flieschmann reconstructed by DTL

Fournier based on original cuts

H

H Baskerville versions reconstructed are not very close to the original design.

H Bell based on types cut in London about 1740

Bulmer H based on the series cut in 1790

Dido H based on types cut in London about 1740

Bodoni H Based on types cut in Parma between 1803–1812

Bi Sheng invents movable type, Korea

Nicolas Jenson I 1420–80

Claude Garamond F c.1485–1561

Francesco Griffo I fl.1494–a1518

Ludovico delgi Arrighi de Vincenza, I fl.d.1527

Characteristics: Modulated stroke, humanist axis modest contrast, penformed terminals.

Claude Garamond F c.1485–1561

JM Flieshmann D c.1701–1738

Pierre Simon Fournier F 1712–68

Manerist tradition example of the chancery italics.

William Morris was the first to attempt to recreate Jensons Roman.

H

afojop

1700

M Jenson constructed after the Nicolas Jenson, Venice,1469

1600

abpfoe

Romantic

Neoclassical

Gutenburgs 42-line Bible Example is a recreation of Gutenbergs Blackletter.

Trajans Column, Greek

Example above Trajan based on the Greek inscriptions at the base of Trajans Column.

abfgn

1500

1465

1450

1400

ARQ

1040

114

Historical Marks

Roccoco

1800

Renaissance Italic

Renaissance

Characteristics: Stems vertical or even slope not exceeding 10° consistent Humanist axis, low contrast light, modulated stroke

Characteristics: modulated stroke, variable axis,moderate apeture, penstroke axis is normally oblique

John Baskerville GB 1706–75

John Bell GB 1746–1841

William Bulmer GB 1757–1830

Francois Ambroise Didot F 1730–1804

More than punches ar the Bodoni

Deeply Admired by Benjamin Franklin primarily because of taste Characteristics: modulated stroke, rationalist and vertical axis refined serifs, moderate apeture

Giambattista Bo I 1740–1813

Characteristics: hypermodulated stroke, rationalist and intensified axis, abrupt, thin serifs, small apeture

Poster Logos Calendar Timeline

vistas

communities

39

Information design ASU Destination & Activities guide Arizona State University Main

2

The Ritz Carlton 2401 E Camelback Rd

Cactus Rd

3

Pointe South Mountain 7777 S Pointe Parkway

Peoria Rd

4

The Phoenician 6000 E Camelback Rd

Continental 1 nonstop 1st class $1,365

Pima Rd

Scottsdale Rd

64th St

56th St

Tatum Blvd

40th St

32nd St

24th St

Cave Creek Rd

16th St

7th Ave Central Ave 7th St

19th Ave

27th Ave

35th Ave

43rd Ave

51st Ave

59th Ave

67th Ave

83 rd Ave

Resorts 1 Arizona Biltmore 24 St Missouri

75th Ave

Tempe, AZ 85287

Cactus Rd Shea Blvd 2

US Airways nonstop $439 America West nonstop $567

Olive/ Dunlap Ave

Squaw Peak Pkwy

Northern Ave

Glendale Ave

Bethany Home Rd

Dinning 1 Cibo Italian 603 N. 5th Ave Phoenix, 85003

Camelback Rd

2

Indian School Rd

3

4

Elis American Grille 7000 E Shea Blvd Scottsdale, 85254 Mucho Gusto Taqueria Mexican Bistro 603 W. University Drive Tempe, 85281 Golden Buddha 668 N. 44th St Phoenix, 85008

Indian Bend Rd

1

McDonald 2

1

4

3

1 I - 10 Papago Fwy

I - 10

Loop 202

McDowell Rd

1

Van Buren St Jefferson

Loop 202 Sky Harbor Airport

Buckeye Rd

University Dr 3

SR 14

Apache Blvd Broadway Rd

3

Southern Ave

US 60 Superstition

7th St

Squaw Peak

South 2, 330

1/2 hour relative to 1 mile Estimated time, does not reflect traffic delays

1, 200

Scottsdale Museum 7374 E 2nd St Scottsdale, 85251

3

height s q ft

3

Heard Museum 2301 N.Central Ave #1 Phoenix, 85008

Broadway Rd Northern Ave Baseline Rd

McKellips Rd Washington St Brown Rd

The Arizona State University students in the Graphic Design Program are proud to invite Mr.Edward R Tufte to our final reviews on Dec.9th, 2005

Red Mtn Fwy

4

7t h Av e

2

Indian School Rd

Thomas Rd

2 Thomas Rd McDowell Rd 1 - 10 Freeway

Lower Buckeye

Leisure 1 Phoenix Art Museum 1625 N Central Ave Phoenix, 85004

Chapparral Rd

2

Camelback 1, 190

Hiking 1 Squaw Peak 2 Camelback Mountain 3 South Mountain

Baseline Rd

Finals will be held through out the day, during 1:00 - 8:00 pm.

This guide was created to provide different options of travel, restaurant, and leisure while visiting the valley.

41

DR AW I NG IN P LAC E M O R O CCO, SPAIN, AND PORTUGAL Riad Dar Doukkala in Marrakesh

Ronda Bullring

D R AW I NG S

43

cgvalenc@asu.edu, 480 318-1798