Spring 2018 Second Year Student Portfolio

SECOND YEAR PORTFOLIO CRYSTAL PIOTROWSKI LOMELI

INSTRUCTED BY: TINA CHEE WENDY GILMARTIN ALEXANDER PANG MELISSA FROST

CONTENTS FORM STUDY MUSEUM MULTI USE BUILDING PREFORMING ARTS CENTER

FORM STUDY 1 APERTURE AND TEXTURE

FORM STUDY 2 EXTRUSION EXPLORING NEGATIVE SPACE

FORM STUDY 3 NINE MODEL CHARETTE

CARVED CYLINDER

UNSTABLE GEOMETRY

LEVELED

ROTATED CUBE

SHAVED

HOLE

REVOLVING WEDGE

WORMHOLE

FRACTURED

Geometric Operations 1. This was more abstract than the other pieces in its creation.

The idea was to alter the shape so that it no longer represented the originating cubes form. This was done by taking planer slices out of the cube at nominal angles that did not rely to the cube to determine their orientation. Once started this only retained one of the original corners.

2. This started out with one cut from corner to corner that immediately gave only half of the original volume. It was then sliced in 5 equal parts and 3 of those parts were rotated 90 degrees. This still seemed incomplete so an additional extrusion was taken in the form of a cylinder that’s centroidal axis was placed along the wedges point of rotation.

3. This shape is formed on the biases of halving. Using only the original parameters to dictate what half was orientating the cube that cuts would only be from one edge to another. Once it was cut parts of it were removed and only some of the cuts were honored so that a majority of the volume remained on one side of the original cube.

SHAVED

REVOLVING WEDGE

UNSTABLE GEOMETRY

BLOCKING THE SKYLINE This image is meant to represent the relationship between people and place. It is intended to bring up two questions; where are the people going? And what is that shape. While it was given materiality to hint toward a building, it offers only one aperture that appears to small to enter. While the people in the image appear to walk near it their destination does not seem to be in the form but rather the city skyline they face.

STACKED RELATION To bring together. These are grouped by their currently known function. The ‘dummy’ space was created as one tower like volume that sits upright next to a stack of the program volumes. Only allowing a minor overlap to hint towards their connection.

ROUNDHOUSE Inspired by the sites history of having a train roundhouse these all converge upon a similar centroid. This creates a bit of natural overlap and allows the programs to interact and inform how the other relates to the overall complex.

UNSTABLE CONNECTION This formula once again clusters the volumes by program while allowing a bit of interaction between the separate types of program. The ‘dummy’ spaces are what allow the smaller program volumes to be raised up which gives them that hierarchical sense of importance which is indicative of the final program.

CONNECTED This was an inter weaving of the programs while emphasizing the importance of the large auditorium space by also making it the highest point on the overall structure. Each programed space has to be entered through a ‘dummy’ space creating a promenade.

DRAPING How to bring together the separate spaces which were connected only by the ground they stand on. The skin of this building is to encapsulate the entire program and emphasize its united function. This was done by draping one large sheet over all aspects of the building, allowing the drapes to be informed by the spaces they sit on.

STACKED RELATION

ROUNDHOUSE

UNSTABLE CONNECTION

CONNECTED

MUSEUM ANALOG MODEL

SPACES EXPLORED

MUSEUM PAINTERLY RENDERING

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FOURTH FLOOR PLAN

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SIXTH FLOOR ROOF PLAN

MUSEUM EXPLODED AXON

MULTI USE BUILDING PLAZA AND BUILDING SOUTH ELEVATION

MULTI USE BUILDING GROUND LEVEL SHADOW STUDY 4 PM ON JUNE 21ST

MULTI USE BUILDING GROUND LEVEL SHADOW STUDY 4 PM ON JUNE 21ST

PREFORMING ARTS COMPLEX

The program and site informed how the Spaced Shapes Fine Arts Center would receive its visitors.

The first consideration was for those who already use the park, this line of thought concluded that the element the park lacked was shade. From there the user experience was largely influential. The circular pavilion has the circulation following the curve for every building. The classical promenade to the theater was considered for the large theater so that from the interior of the volume an all glass wall allows the viewer to be seen and see everything in the pavilion as the ascend the stairs. The smallest of the building clusters is given back to the public by creating this open air theater that can double as a concert stage that engages the pavilion with some temporary platforms. The final moment given to the public is a roof garden that can be accessed by the large theater. The decision to make these walls so high that the skyline could be seen was based on park identity. Parks have a unique identity that allows the user to step away from the city but upon visiting the site the main focus seemed to be the skyline. It seemed like the way to force the user to find a separate identity in the park is to give them a space to contemplate it without its context.

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PREFORMING ARTS COMPLEX GROUND/FIRST FLOOR

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PREFORMING ARTS COMPLEX SECOND FLOOR

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PREFORMING ARTS COMPLEX THIRD FLOOR

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PREFORMING ARTS COMPLEX SECTION B-B

PREFORMING ARTS COMPLEX SECTION A-A

PREFORMING ARTS COMPLEX ANALOG MODEL