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TABLE OF CONTENTS________________________________________________________________________________________________

///(3) 8x4

///DIRECTORS

Herwig Buamgartner, Michael Rotondi, Russell Thomsen, Devyn Weiser

Eric Owen Moss, Chris Genik, Ming Fung

///COY HOWARD

///COMPETITION

Coy Howard

Manferdini, Crettaz, Bishop

///INTERNSHIP:

///SURFACE/STRUCTURE

///COLUMBIA RECORDS

B+U LLP

Bair

Baumgartner, Weiser, Walsh

///RISA

///HORTICULTURE

///INTERNSHIP:

Weiser, Tighe, Frohn

MAINSTREET ARCHITECTS + PLANNERS INC.

///ARMATURE/WALL Andy Ku

Spina, Melnyck


///MILAN MIXED-USE “Change does not happen in a sequentially linear way, but simultaneously, in many directions at once.” “The task of the architect is to set in motion, in a particular direction, a chain of events he cannot control.” “ Transformation. Transmutation. Transguration. Terms that dignify the fate of architecture.” Balthasar Holz TRUTH SEEKING ARCHITECTURE WE WOULD LIKE TO BEGIN BY INTRODUCING THE CONCEPTUAL CONTEXT IN WHICH WE FRAMED THIS PROJECT….. THE QUESTION, WHAT IS TRUTH? BECAME THE IMPETUS FOR HOW WE UNDERSTOOD AND DEFINED THE PROJECT. TRUTH IS AN INTERESTING CONCEPT WHICH EVERYONE FROM ANY DISCIPLINE STRUGGLES WITH, ARCHITECTS ARE NO EXCEPTION. WE HAVE STRUGGLED WITH AND WILL CONTINUE TO STRUGGLE WITH THIS QUESTION FOREVER. IT IS POSSIBLE THAT WE ARE THE MOST INFLUENTIAL PLAYERS IN THIS CHALLENGE. THAT WE ARE THE INITIATORS OF A TRANSFORMATIVE PROCESS THROUGH WHICH CULTURE AND SOCIETY ARRIVES AT CERTAIN MEANINGFUL TRUTHS. IF WE UNDERSTAND THE POSSIBILITY THAT WE SET THIS FORCE IN MOTION AND THAT WE ARE IN EFFECT A KIND OF SOURCE OF TRANSFORMATION THAN WE SHOULD ASK OURSELVES HOW WE ARRIVE AT OUR OWN TRUTHS OR RESOLUTIONS. AS ARCHITECTS WE DON’T ARRIVE AT IT IN A LINEAR WAY BUT SIMULTANEOUSLY AND IN MANY WAYS AT ONCE. WHAT IS THE MEANING OF TRUTH OR TRUTHS AND WHO’S TRUTHS WAS THE QUESTION WE ASKED OURSELVES AS WE BEGAN TO CONCEPTUALIZE A NEW BEGINNING FOR THIS BUILDING. THINKING OF ARCHITECTURE AS AN OPERATIONAL MEANS TO THE APPROPRIATION OR RE-APPROPRIATION OF PARTICIPATING CULTURAL VENUES, CIRCUMSTANCES, CONDITIONS, AND INTERVENTIONS THAT CAN EXPAND THE REALITY OF A PLACES MEANING WAS THE BEGINNING. WE SOUGHT OUT TO CREATE A MULTIPLICITY OF UNDERSTANDINGS FROM DIFFERENT PERSPECTIVES AND TO DIFFERENT FORMS OF UNDERSTANDING. OUR PROJECT INCLUDED..


Aluminum Water Jet Cut Panels

Aluminum Ribbed Frame

Staircase (Steel Structure)

Combined


///ART CENTER STUDENT HOUSING Mixed Use Housing for Pasadena Art Center The call for a solution to the housing needs of the Art Center in Pasadena is a unique design challenge that demands attention to many of the schools characteristics. The Art Center is a dening institution for innovation and design in several disciplines including architecture. Through dening the role of design students within a society of future leaders we began designing not just for students but for the context of housing locally and globally. In order to accommodate the Art Centers growing population we began investigating housing solutions in some of the most populated regions around the world, some of which demand far more from housing than students. Through a net worked investigation we began informing the project, bringing together ideas for housing of the future. Metabolist architecture was a source of inspiration for the design of this solution. Investigating the Nakagin Towers in Tokyo prompted us to re-examine a type of housing unit that is unique in its ability to intimately accommodate one person per dwelling. By designing highly interactive units “cells” we took the needs and living habits of design students as a source of design feedback. Each “cell” is designed to be both separated from daily life and distraction, while maintaining a networked response through the computational devices within each unit. The need to create a highly personalized unit for students was the core of the design solution. In order to create a framework for this housing typology, an infrastructure for the units was created. Each tower is capable of holding 80 units; each unit can vary from single occupancy to accommodating a small family. The towers serve as the permanence in the architecture. While the units may transform with technology, habits and society living standards, the towers maintain the essence of habitation and openness to interpretation. The Plaza will include open space for public venues and each tower is linked to commercial spaces below which can be utilized by both the inhabitants of each tower and the public user who will be a major part of activating the project. Housing solutions should be operable and maintain a sense of permanence, the new towers for the Pasadena Art Center brings a new look at housing technique and innovation. Allowing both students and private users to be a part of the fabrication process.


1 2 3 4 5 6 7 8


PROJECT DATA AREA OF SITE: 47,874 sq. ft. PROGRAM STUDENT HOUSING: 80 UNITS SINGLE OCCUPANCY 40 UNITS VARIED OCCUPANCY STUDENT LIVE/WORK: 6200 sq. ft. COMMERCIAL UNITS: 2400 sq. ft. STUDENT CAFÉ: 1200 sq. ft. LIBRARY: 3000 sq. ft. STUDENT STORE: 1000 sq. ft. GYM: 1200 sq. ft. LANDSCAPED PLAZA: Open Space COMMON SPACES: 2600 sq. ft. PARKING: 160 MECHANICAL SYSTEM: FORCED AIR/PASSIVE COOLING TOWER STRUCTURAL SYSTEM: REINFORCED CONCRETE FRAME CAPSULE STRUCTURE: CARBON FIBER FRAME


DOUBLE OCCUPANCY

SINGLE OCCUPANCY

LIBRARY COMPONENT

MEDIA COMPONENT

ENTERTAINMENT COMPONENT

STORAGE COMPONENT

LIBRARY COMPONENT

OM MPONEN MEDIA COMPONENT

CHANGING COMPONENT STORAGE COMPONENT STORAGE COMPONENT

EN COMPONENT ENTERTAINMENT CONTROL COMPONENT O OM

CONTROL COMPONENT

SLEEPING/LOUNGING COMPONENT

1

-SINGLE OCCUPANCY PER 266 SF -200 SF FREE

STORAGE COMPARTMENTS -DOUBLE OCCUPANCY PER 266 SF -134 SF FREE

LIGHTING EQUIPMENT MEDIA STORAGE

DISPLAY SCREEN

TRIPLE OCCUPANCY PER 266 SF -68 SF FREE

SLEEPING/LOUNGING

EXERCISE PAD

4


SINGLE OCCUPANCY ENTERTAINMENT COMPONENT STORAGE COMPONENT

LIBRARY COMPONENT STORAGE COMPONENT

CHANGING COMPONENT

CHANGING COMPONENT NT STORAGE COMPONENT

STORAGE COMPONENT

SLEEPING/LOUNGING COMPONENT

SLEEPING/LOUNGING COMPONENT

2

3

STORAGE COMPONENT

PRECEDENT STUDY

COOLING/HEATING DUCT

STORAGE COMPARTMENT

ENTERTAINMENT DISPLAY

SHOE COMPARTMENT

CLOSET

5


///ACADEMY AWARD CANOPY This canopy is designed for the Academy Awards located in Hollywood, Ca. SystemThe system is made up of a primary structure, the counter balanced armatures and a secondary structure (aluminum) which supports the free formed berglass/acrylic panels. SequenceThe celebrities and non-celebrities are segregated through section as well as spatial with the implementation of liquid walls. RoofEach Panel is deformed as a valley or peak based upon the function of the sequence. Each rain wall location is based upon the Joan Rivers moment. This adds a backdrop for the photographers.


10

A

6

B

9 5

8 7

A


1

Limo Drop-Off

2

Television Crane

3

Security/Reception

4

Interview Zone 1

5

Star Red Carpet

6

Support Red Carpet

7

Press Row

8

Interview Zone 2

9

Press Bridge

10

Kodak Theater Entrance

1

3

B

4

2

SITE PLAN scale 1/16”=1’-0”

SECTION AA scale 1/16”=1’-0”


Upper Canopy Spectator Bleacher

Press Bridge

Bottom Panel System

Press Row Bleacher

Counterweight Armature

Fiberglass Cladding Bleacher / Cistern / Security Tent

Fiberglass Molded Panels Continuous Upper Canopy

Fiberglass Molded Panels Bottom Surface with fountain Aperture

Structural Ribbing Upper and Lower Canopy Support

Planter Box Pockets Typical of cistern construction

Structural Armature

Aluminum Tube Panel Ribbing

Portable Bleacher

Portable Stair Unit

Fiberglass Molded Panels 8' sections


PANELS

B


///ARMATURE/WALL Investigating the gure ground aesthetics of the robot in Bjork’s music video “All is Full of Love”, we became interested in the panelization of the form. The organic forms of the case contrasted with the rigid mechanical structure of the functional. The contrasting colors of both elements also added to the aesthetic quality of the whole. We became interested in the detail of connection of the two parts to achieve what the robotic humanoid was portraying. In investigating this tectonic, we decided to further accentuate this connection detail. We wanted to keep the contrasting elements of the gure and ground, organic and mechanical, while highlighting and developing a system of connection between the two parts. While studying these methods of connection, we have found that the functionality of the mechanical compliments the expressions of the shell, and the joinery between the two becomes the design.


A1

A2

A3

A4


A5

A6

A7

A8


///COY HOWARD Coy taught me a lot about the nature of the object. He talked passionately at length about a recipe for an aesthetically pleasing architecture. According to Coy, there are 5 rules of “Interestingness�. They are as follows. 1. Extraordinariness 2. Sense of Movement-eye and mind 3. Manifold-multiple points of interest 4. Mystery that dees understanding 5. Origination- belongs to its own class Once an object or architecture is embedded with the ve elements it reaches transcendence. According to Coy, there are three levels of a project. The rst is a collection, occurring when a series of unrelated components are gathered next to each other and there is no dialogue between the pieces. The next is composition, this level is when the parts are engaged with one another but something is lacking. Finally there is form, as a designer this is the level you must try and obtain on every project. Every project that we were to do in studio, (Coy would like us to practice this way for the rest of my life), concentrated on these specic moments of design. From a sculpture to a bridge we set out to develop a mysterious form.


PED BRIDGE SANTA MONICA, CA THE OBJECTIVE OF THIS ASSIGNMENT WAS TO DESIGN A BRIDGE SPANNING THE 1 FREEWAY IN SANTA MONICA. THE BRIDGE WAS TO BE A DERIVATIVE OF A FORMAL COLLAGE THAT WAS PUT TOGETHER BEFOREHAND. THE COLLAGE WAS CREATED BY CUTTING MAGAZINE ADVERTISEMENTS AND REARRANGING THEM TO CRETE A FORM. INSTEAD OF “TRACING” THE COLLAGE I TOOK IT APART AND TRIED TO IDENTIFY SOME PIECES OF THE COLLAGE AS ELEMENTS IN THE DESIGN. I SAW THE ORANGE AS SAND, THE RED AS CARS PASSING UNDER AND THE GREEN AS A TRELLIS STRUCTURE.


///MOROCCO COMPETITION ///BRIEF: A COMPETITION TO DESIGN AN URBAN PARK IN FEZ, MOROCCO. THE PROGRAM WAS UP TO EACH TEAM’S DISCRETION.

“How can society achieve progress while women, who represent half the nation, see their rights violated and suffer as a result of injustice, violence, and marginalization?” -King Mohammed VI We feel Fez, Morocco, presents itself as an opportunity to critique the relationships and biases between men and women, resulting in inequalities affecting day-to-day life. The aim is not to drastically reform Fez and its inhabitants, but rather to induce a greater humanitarian outlook towards women and girls, and their participation and position in society. These intrinsic problems are addressed by Morocco’s King Mohammed VI, who recently announced a reform granting women new rights in marriage and divorce in efforts to support human rights in consistent with Islam. Programmatically, paying attention women’s education and health, advocates a currently lacking concern in achieving women’s rights and for general humanitarianism. A direct correlation between these issues and the ability to sustain and thrive is drawn: progress


FORM WORK

SITE PLANPROGRAMMATICALLY PAYING ATTENTION TO THE ARTS WE DISPERSED THE COMPONENTS THROUGHOUT THE SITE CREATING A FIELD CONDITION. A GALLERY FOR PAINTINGS AND SCULPTOR , A FILM PROJECTION AREA THAT IS ALSO USED AS A WATERFALL, AND AN AMPHITHEATER FOR POETRY READINGS MAKE UP THIS FIELD.

BB

THE PROGRAMS CREATE A FIELD CONDITION, THE PATHWAYS ARE THEN LAID DOWN TO CONNECT EACH SEPARATE COMPONENT. THE PATHWAYS ARE ALSO USED AS COLLECTION POINTS AND INFORMAL MEETING AREAS.

H A S S A N

II

WATER IS INTRODUCED FOR SEVERAL REASONS THE FIRST BEGIN TO DISINTEGRATE THE PATHWAYS, THIS MOMENT CREATES DIFFICULTY FOR CUTTING THROUGH THE SITE, MAKING ONESELF AWARE OF THEIR LOCATION WITHIN THE PARK.

SITE PLAN

AA


INSERT FENESTRATION STEEL

INSERT STEEL STRUCTURE

FINISHED RAMMED EARTH WALL

SECTION AA

N O I T A

SECTION BB

N

R T S E

THE FENESTRATIONS WERE DERIVED FROM THE VOIDS IN THE Selected MEDINA,Pattern THEY WERE EXTRACTED VIEWPattern THEN TURNED INTO A Medina Mirrored IN andPLAN Repeated PATTERN. THE SAME PATTERN WAS ALSO USED FOR THE DISINTEGRATION OF THE PATHWAYS,


Site

Vegetation

City Wall

LOOKING TOWARD GALLERY

LOOKING TOWARD THE PROJECTION/WATERFALL

M

LOOKING TOWARD AMPHITHEATER

Blurred Visual Connection WALL

LOOKING TOWARD GALLERY

Blurred Visual Connection STEP

Blurred Visual Connection OPEN

Blurred Visual Connection WALK


Pathways

LOOKING TOWARD PROJECTION SEATING

No Visual Connection WALL

Visual Connection STEP

Visual Connection OPEN

Visual Connection WALK


///SURFACE TO STRUCTURE The carambola is a species of tree native to Indonesia, India and Sri Lanka and is popular throughout Southeast Asia, Trinidad, Malaysia and parts of East Asia. It is also grown in Dominican Republic, Brazil, Colombia, Peru, Ghana, Guyana, Samoa, Sierra Leone Tonga, Taiwan, French Polynesia, Costa Rica, Guadeloupe and Australia. Carambola is commercially grown in the United States in south Florida and Hawaii. It is closely related to the bilimbi. Individuals with kidney trouble should avoid consuming the fruit, because of the presence of oxalic acid. Juice made from carambola can be even more dangerous owing to its concentration of the acid. It can cause hiccups, vomiting, nausea, and mental confusion. Fatal outcomes after ingestion of star fruits have been described in uraemic patients. Like grapefruit, star fruit is considered to be a potent inhibitor of seven cytochrome P450 isoforms.[3][4] These enzymes are signicant in the rst pass elimination of many medicines, and thus the consumption of star fruit or its juice in combination with certain medications can signicantly increase their effective dosage within the body. Research into grapefruit juice has identied a number of common medications affected, including statins which are commonly used to treat cardiovascular illness, benzodiazepines (a tranquilizer family including diazepam) as well as other medicines.[5] These interactions can be fatal if an unfortunate conuence of genetic, pharmacological, and lifestyle factors results in, for instance, heart failure, as could occur from the co-ingestion of star fruit or star fruit juice with atorvastatin (Lipitor).

FRUIT MODEL b

a

c

DEFORMED WIRE e

FRAME

RENDER

f

g

SURFACE

d


The Starwano. Kiwano Melon + Starfruit Installation Scott Chung, Brian Fraumeni, Daniel Saltee

Concept Fruit-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------final deformation

The “essence� of each piece of fruit is sculpted with an artistic liscence.

The image above conveys the fruit moving through a series of deformations based on time and exterior forces which are applied onto the module. The module is a hybrid of the star and kowlonn fruit respectfully.

Connectivity Module--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------intermediate blend Once the deformation of the module takes place each seperate piece can be alliagned, arraganged or moved depending on various external forces. Such as, site, program and formally.

Once arragned, a series of bridges can be placed to allow for s cohesive intergrated design.


Potential Site Siting----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Siting The

Space & Form Rendering-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Rendering


///B+U LLP I WORKED FOR BPLUSU DURING THE SUMMER AND FALL OF 2008. WHILE THERE MY RESPONSIBILITIES INCLUDED THE PREPARATION OF CONSTRUCTION DOCUMENTS, 3-D MODELING AND PHYSICAL MODEL MAKING.


///COLUMBIA RECORDS ///BRIEF: TO DESIGN A NEW COLUMBIA RECORD HEADQUARTER IN CULVER CITY WITHIN THE CONTEXT OF THE INFORMATION AGE, LOOKING AT THE EXISTING STRATEGY FOR A RECORD LABEL, A NEW TYPOLOGY IS REQUIRED. OUR PROPOSAL FOR THE COLUMBIA RECORDS HEADQUARTERS IS BASED UPON THIS NECESSITY, A NECESSITY BASED UPON CHANGE. A REVOLUTION, NOT ONLY BASED ON TECHNOLOGY, HAS BEGUN TO HELP SHAPE A NEW FORM. THE COMPUTER HAS REVOLUTIONIZED THE WAY MUSIC IS NOT ONLY MADE, PRODUCED, AND RECORDED, BUT IT IS NOW AT THE CORE OF DISTRIBUTION. DOES THE RECORD LABEL STILL PLAY A ROLL DURING THIS TIME? IF SO, HOW CAN THE RECORD INDUSTRY ADAPT AND EVOLVE BASED UPON THESE NEW EXTERIOR FORCES? OUR PROPOSAL INTEGRATES A PERFORMANCE AREA IN THE HEART OF THE BUILDING, IN DOING SO, LIVE SHOWS ARE NOW AN INTEGRAL PART OF THE MUSIC INDUSTRY. A SUBSIDY, AN ATTRACTION, AN INTEGRAL STRATEGY. URBAN STRATEGY: A STRONG FRONTAGE OF ARTIST STUDIOS AND GALLERIES CURRENTLY RUN THE LENGTH OF LA CIENEGA. BASED UPON THIS EXISTING PATTERN OUR BUILDING SETS UP A STRONG FRONTAGE ON THIS MAIN CORRIDOR. A PATHWAY BREAKS THIS FRONTAGE IN ORDER TO GIVE MORE PRIVACY FROM AN IMPOSING MOTORWAY. TO RELIEVE PRESSURE FROM AN OVER IMPOSING BUILDING, A PARK IS SITUATED AS A BUFFER BETWEEN THE RECORDING STUDIOS AND THE EXISTING SINGLE FAMILY DWELLINGS TO THE NORTH. PROGRAM STRATEGY: THE BUILDINGS FLOOR PLATES ACT AS A SPIRAL SEPARATING THE DIFFERENT USER GROUPS. ON THE GROUND FLOOR REST THE BOX OFFICE AND THE CAFE’, TO DIRECTLY SEQUENCE THE VISITORS THROUGH THE BUILDING. FROM THERE THE LIVE SPACES, BACKSTAGE AND PERFORMANCE AREA CAN BE ACCESSED. THE UPPER FLOORS ARE RESERVED FOR WORKERS AND CLIENTS.

COLUMBIA RE

COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS LUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUM RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA CORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECOR COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COL


ECORDS

COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RERDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS LUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUMBIA RECORDS COLUM


FIRST FLOOR PLAN SCALE: 1”=16’-0”

SECOND FLOOR PLAN SCALE: 1”=16’-0”

L F P


THIRD FLOOR PLAN AN

S SCALE: CALE: 1”= 1”=16’-0”

ROOF PLAN SCALE: 1”=16’-0”


FACADE THE BUILDING SKIN IS COMPRISED OF CONCRETE PANELS, EXPOSED STEEL STRUCTURE AND DOUBLE LOW E GLAZING FOR THE FENESTRATIONS. WE CHOSE CONCRETE PANELS BECAUSE OF THEIR INSULATING PROPERTIES. THE STEEL STRUCTURE ACTS AS AN EXOSKELETON WHICH THEN INTROVERTS ITSELF AND BECOMES AN INTERIOR ATRIUM TRANSFERRING THE LOADS TO THE FOUNDATION.

EAST ELEVATION SCALE: 1”=16’-0”

NORTH ELEVATION SCALE: 1”=16’-0”


WEST ELEVATION SCALE: 1”=16’-0”

SOUTH ELEVATION SCALE: 1”=16’-0”


SITE THE SITE IS SITUATED LONG LA CIENIGA BLVD IN CULVER CITY. IT IS BOUND BY TWO ALLEYWAYS A MAJOR CORRIDOR AS WELL AS A MAJOR WATERWAY.

IT


FLOOR PLATES AND INTERIOR STRUCTURE

BASE

3D CHUNK

EXOSKELETON

SECTION SCALE: 1”=16’-0”

SECTION SCALE: 1”=16’-0”


///RISA THE OBJECT OF THIS SEMINAR WAS TO TEST VARIOUS STRUCTURAL SYSTEMS USING RISA SOFTWARE. OUR TEAM DECIDED TO APPROACH THE PROJECT WITH A STRUCTURAL LATTICE SYSTEM. THIS SYSTEM IS THEN CHECKED USING RISA.


///HORTICULTURE CENTER ///BRIEF: TO DESIGN A HORTICULTURE CENTER FACILITY FOR PIERCE COLLEGE THE PROJECT INVESTIGATES CREATING A CRITICAL MASS OF INTERACTION BETWEEN DIVERSE USER GROUPS. SITUATED ATE THE GATEWAY OF PIERCE COLLEGE BETWEEN THE CURRENTLY DEVELOPED AND UNDEVELOPED SECTIONS OF THE CAMPUS, THE BUILDINGS PERIMETER ENVELOPE FORMS A NEUTRAL BACKGROUND FOR INTERNALLY FOCUSED RESEARCH. DIVERSE PROGRAMMATIC NEEDS FOR VISUAL/AUDITORY PRIVACY, AND INFRASTRUCTURAL LOGISTICS ARE ARTICULATED USING A COMMON PROGRAMMATIC ASPECT OF THE HORTICULTURAL RESEARCH CENTER, THE PLANT GROWING CHAMBERS, AS DISTRICT SPACES WITHIN AN OTHERWISE UNIVERSAL MIESIAN PLATEAU. THEY BALANCE THE DIVERSE ZONING NEEDS OF THE OTHER USER PROGRAMS AS WELL AS BECOMING A FOCUSED EVENT SPACE WHERE INFORMAL INTELLECTUAL COLLISIONS CAN OCCUR.

The project investigates creating a critical mass of interaction between diverse user groups. Situated at the gateway of Pierce college between the currently developed and undeveloped sections of the campus, the building's perimeter envelope forms a neutral background for internally focused research. Diverse programmatic needs for visual/auditory privacy, and infrastructural logistics are articulated using a common programmatic aspect of the horticultural research center, the plant growing chambers, as distinct spaces within an otherwise universal Miesian plateau. They balance the diverse zoning needs of the other user programs as well as becoming a focused event space where informal intellectual collisions can occur.


Site Plan 1/32”=1’-0”

N


O L F


R O O S N


3

2

1

4 5

1. ROOF STRUCTURE 2. LOW E GLAZING 3. STRUCTURAL COLLAR 4. VERTICAL AND HORIZONTALS SUPPORTS 5. GEOPONIC WELL

ROOF PACKAGE

EROC LARUTC

STRUCTURAL GROWING CHAMBERS AND


STRUUCTUR RUCTURAL SYSTEM ST

THE MAIN DRIVER FOR OUR STRUCTURAL SYSTEM REVOLVED AROUND THE CIRCULATION PATTERNS OF AN OPEN PLAN. EACH GROWING CHAMBER TAKES UPON ITSELF A SERIES OF DIFFERENT OCCUPATIONS. THE GROWING CHAMBERS ARE USED AS THE MAIN STRUCTURAL SUPPORTS, SPATIAL DIVISIONS AS WELL AS A SERIES OF INFORMAL INTELLECTUAL COLLISIONS OPPORTUNITIES.

URE INTE ROOF STRUCTURE INTEGRATED INTO GROWING CHAMBER AND LECTURE HALL STRUCTURES RTS HTIW ROOLF ETERCNOC

LECTURE HALL STRUCTURE

STRUCTURAL CORE AND FOUNDATION


///COLD CLIMATE GREEN HOUSE ///BRIEF: TO DESIGN A COLD CLIMATE GREENHOUSE THIS WAS A QUICK PROJECT DURING THE BEGINNING OF THE SEMESTER. THE OBJECT WAS TO CREATE A GREENHOUSE ON THE CAMPUS. OUR STRUCTURAL SYSTEM WAS DERIVED THROUGH MEL SCRIPTING.


TRANSVERSE SECTION SCALE 1/16”=1’-0”

TRANSVERSE SECTION SCALE 1/16”=1’-0”

LONGITUDINAL SECTION SCALE 1/16”=1’-0”


N SITE PLAN SCALE 1”=50’-0”


///MAINSTREET ARCHITECTS+PLANNERS I WORKED FOR MAINSTREET FOR THREE YEARS BEFORE I DECIDED TO PURSUE A FORMAL EDUCATION AT SCI-ARC. WHILE THERE MY RESPONSIBILITIES INCLUDED THE PREPARATION OF CONSTRUCTION DOCUMENTS, 3-D MODELING AND DESIGN, INCLUDING THE ADVANCED WATER PURIFICATION FACILITY. I THEN WENT BACK SUMMER 2007.


Daniel_Saltee_Portfolio  

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