Fall 2024 Portfolio Delaney Bourg by Delaney Bourg

DELANEY BOURG

ROWHOUSE GARDENS

2024| Sonit Bafna

Rowhouse Gardens serves as a solution to the larger design problem at 31 Pickney Street which was as follows: to create a harmonious living environment that responds clearly to the surrounding Charleston context and serves three distinct groups – college students, young professionals, and growing families – each with unique needs in housing. In medium density housing there are two scales that both must be considered simultaneously so that they can be interesting on their own but also unified and cohesive.

Context Map Firgure ground of the site and its surroundings.

Garden

The forrest garden that guides the resident through and under the existing blocks

I wanted to keep the complex more open to allow for natural light and ventilation to pass through the site. I was inspired by the words of Yvonne Shelley of Grafton architects who encouraged her staff to think of ways in which they could break up the site into thinner pieces to allow for this penetration of light into even the deepest part of the building. This is where the idea is to divide the site into rows with gardens placed in between the rows. To respond to the predominate northwestern winds, I rotated the block 30 degrees to encourage natural airflow through the site and through the gardens. These rows with gardens have been proven to work well in the peninsula of Charleston as they are known for being the host to the iconic and unique Single Row House.

Simultaneously, while I was developing the response to the site, I was considering how the units add to the argument of the rows. I wanted to think of a way that these units could interlock with each other. I was also thinking of the functions of public and private spaces within a unit. To respond to this, I separated the more public facing spaces, the kitchen, living, and dining rooms, and the more private spaces, the bedrooms and offices. This was a literal separation of a personal and private staircase that brings the resident further up or down into their units. I decided to divide the rows further into 3 columns. The units travel through these columns, connected with a personal stair for the resident.

Cluster Plan Showing the interlocking of the units withing the plan with the colors of the hatching representing a different unit type

The private and public stairs exsits next to each other but are seperated Into the Fence The complex is surrounded by a fin like fence that changes in transparency depending on when you are looking into it

Clustern Section

The complex is surrounded by angled fin-like fences that generate differing levels of privacy depending on the location it is looking into it. These fences allude to the famous iron work of Charleston while still complementing the design. A resident would pass through these fences through one of the 6 gates, allowing them security and separation from the tourist heavy area while still allowing them to feel part of the community. Residents would meander through the rows, passing through the many courtyard typologies, traveling under, around, and through these massive blocks of housing until they reached one of the twelve community, linked stairs that act as the final sculptural element of the design, casting a final and beautiful shadow as they enter their apartment.

PONCE CENTER

2024| Stuart Romm

The Ponce Center is a cultural factory that is situated adjacent to Atlantas Ponce City Market. The program was inspired by Cedric Price’s Fun Palace, a community place that is inspired by technology with flexible program. We were tasked to create a communal space that introduced sectional relationships. The design process was guided by an exploration with image generating AI to help with the ideation process.

The Ponce City Cultural Center was inspired by generative AI images from the program Midjourney. Prompts such as “Architecture Interior, Mega Event Space, Platform for Performing, Brutalism, Flood Light, Large Stage for Performance” and “Architecture Interior, Rock Climbing Wall, On Glass, Vernacular Architecture, Brutalism, Floodlight” were used to generate these images. I was fascinated with the idea of glass being a containing and barrier object and concrete acting as holding the void within these spaces. I discovered a lot of concepts that I wanted to carry into the design of my Cultural Center, but I stayed away from the larger design ideas.

Rock Wall

This image was generated with Midjourney, an image generating AI

CNC Rock Wall Taking the AI image of the rock wall and creating a tangiable version

Event Space Abstraction (Right)

Event Space Grasshopper recreation of the event space generated in the AI

Made of concrete and wooden blocks

AI Event Center (Left)

This image was generated with the Midjourney AI image generating software

Entrance

Restaurant

Once seated, you are surrounded by the glass tubes connecting penetrating the floors, refracting light throught the space

This cultural center is driven by sectional relations through fluid central connective spaces that are pulled through the building in its entirety. The internal flows are driven through a sectional grid that is based upon the branching fractal, serving as a force that connects the spaces vertically. This fractal system is driven by nine dichromic, glass, shards that begin on the exterior of the roof and migrate down, shattering through space as it descends, pulling the

Shadow of Ponce Due to Ponces size, it creates a shadow on the southern face of the building

Ground Floor

The rock wall and storage spaces

natural light into the buildings and projecting it in a polychronic display. These shards and the branching fractal system are reflected on the north and south facades, with the east and west being left blank to allow for a space for local artisans to produce murals. When one enters that building from the ponce city market, they are immediately confronted with one of these shards as it pulls in light from the exterior, lighting up the foyer, which extends through the entire building. The experience of these moments is heightened by the compound effect of daylight and shadow projected, reflected, diffused, and interacting with the larger material code of perforated metal, wood, concrete, and glass. The sectional relations are based upon this fractalline diagrid structure, but the planimetric relations are based upon a

Sectional Axon (Left)

The glass shards split through the floors

Site

There was a steep decline on the site that made it so that there needed to be two entrances

PERFORMANCE OF LIFE HIGH SCHOOL

2023| Matthew Weaver

The Performance of Life is a performing arts high school located in Midtown Atlanta Georgia. This high school has a speciality in the physical and performing arts with many galleries and performance spaces. There is a focus on the circulation, putting the daily lives of students on display

Street Entrance

When entering from the street, one must travel under the circulation circle to enter the courtyard

The core idea of the performing arts high school revolves around learning nodes connected by a central circulation ring—a vortex that propels individuals through space. The dual entrances, catering to students and non-student visitors, highlight the multifaceted nature of the school. Students traverse through the back entrance, emphasizing efficiency and class attendance, while visitors entering through the front door are confronted with choices under the influence of Michael Van Valkenburgh-inspired radial stairs. At the heart of the performing arts high school lies a deliberate and thought-provoking approach to the concept of performance. While the institution is dedicated to nurturing talent in various artistic disciplines, the primary stage for expression is not confined to the auditorium or black box theater; it extends to the very act of traversing the architectural landscape.

Site Plan

The Courtyard has a pattern inspired by Michael Van Valkenburgh

On the Balcony Looking into the courtyard

This intentional blurring of the lines between daily movement and artistic performance creates an environment where the building itself becomes a canvas for exploration and self-expression. The design of the school intentionally introduces divergent paths, obstacles, and large gathering spaces within its layout. These elements force individuals to make choices about their movement through space. The presence of unexpected obstacles challenges the intuitive, prompting students and visitors to reassess their routes. The architectural intervention is not merely a test of efficiency but a conscious effort to engage individuals with the surrounding environment, urging them to navigate spaces with intentionality.

Concept Model Inital ideation of the nodes and circle in the site

Circulation

As individuals move through the school, they are confronted with the decision to take the most efficient path or opt for the less traveled one. This dichotomy prompts a constant questioning of the mundane, challenging the notion of routine and encouraging a heightened awareness of one’s surroundings. The deliberate inclusion of gathering spaces also fosters community interaction, turning impromptu encounters into performances of connection and collaboration. In this unique educational setting, the architecture itself serves as a stage. The school’s corridors, staircases, and communal areas are not mere conduits for movement but platforms for self-expression. The intentional design choices compel individuals to engage with the built environment actively. The act of navigating the school becomes a performative experience, where each step is an opportunity for self-discovery and interaction with the surrounding space.

In the Circle

Looking at one of the nodes of learning

ECO-SOCIAL SYNTHESIS

2023| Fred Persall

This solution to the larger design problem defined in the first phase begins with its driving ideas by Gregory Bateson and Anthony Vidler who describe blurring the lines of public and private space. This is done to create a system that uses its energy to open or close the gate and generates energy to “flow-through” the gate when it is open, which is used to interpret both site and program in relation to the specific ideas of disegno involving the movement of design with the beginnings using nature as a reference.

Original Parti Parti showcasing the difference in program and the fractal structure of the circulation

Section

Exterior

Looking at Orleans Square

The three most important focal moments in this narrative sequence are its beginning on ground floor with a prolonged ramp system that exists next to the juxtaposition of a blank wall and contains the first instance of interaction with tidal marshes situated in triangular glass prisms of green space that all the individual to view the full extent of perforations in the floors of the building; in the middle stretch is situation a subdividing hallway structure that allows for clear path finding through the building and an exhibition hall of the history of savannah that transitions from individual to serial separation with the natural order of enfiladed green spaces,

Gallery Space

REDEVELOPMENT OF NOONAN COURTYARD

2023| Fred Persall

Within Noonan Courtyard, there seems to be a disconnect between the desire for this space to be conducive for individuals to inhabit it and the current use of the space. In 2006, there seemed to be an idea that Noonan Courtyard would be a space in which people would inhabit, but in 2015, this idea changed so that this space would be more transient than performative.

Site Plan

Showcasing the tilted planes with an overlay of the surrounding building grids

Currently there is almost a fear to interact with the green environment, with almost everyone choosing to only interact with built path ways. A design element must be included in this space to induce the want to interact with the natural space and promote lingering in the space. This design intertwines the many grids of the buildings surrounding noonan courtyard while also pulling the visitor onto the grass

Sections

LIVING LIGHTHOUSE

2022| Anna Kiningham

As Geogia Tech grows, there needs to be more student housing. This living lighthouse would take the place of Atlantas famous Olympic Torch. This project was hand drafted and hand cut.

Decaying Model There are interlocking units with some removed to create balconies for the residents

Section (Left)

Hand drafted section cutting through the elevator core and rock wall

Plan (right) Showcasing the lofted units that have private stairs Window Detail Window detail mimicking the interlocking nature of the units

GOULD HOUSE

2024| Pak Heydt & Associates

In collaboration with Dan Cook, Kelsey Pope, and Colton Wheatly

Professional drawings done while interning at Pak Hedyt & Associates in Atlanta, Georgia. These are the drawings done for the Gould Family in the creation of their new house.

PRIMARYBATH#1[122]TOWARDSHOWER

PRIMARYBATH#1[122]TOWARDPRIMARYHALL[114]

PRIMARYBATH#1[122]TOWARDSHOWER

PRIMARYBATH#1[122]TOWARDPRIMARYHALL[114]

PRIMARYBATH#1[122]TOWARDVANITY

SCULLERY[108]TOWARDBACKWALL

SCULLERY[108]TOWARDSINK

SCULLERY[108]TOWARDSIDEENTRY[107]

SCULLERY[108]TOWARDSTEAMOVEN

TILLMAN HOUSE

2024| Pak Heydt & Associates

In collaboration with Dan Cook, Kelsey Pope, and Colton Wheatly

Professional drawings done while interning at Pak Hedyt & Associates in Atlanta, Georgia. These are the drawings done for the Tilman Family in the creation of their new house.

1/4" = 1'-0"

875.50'

874.00'

12'-0"

Pavillion Exterior Elevation

Cabana

Cabana Exterior Elevation

GRACE ICE & WATER SHIELD MEMBRANE OVER 3 4" PLYWOOD LOW-SLOPE STANDING SEAM COPPER ROOF

COPPER DRIP FLASHING

COPPER CAP FLASHING ON OUTRIGGERS CUT FROM 4x6, SEE 2-3/A4.3 FASCIA FROM 1x8, STEPPED OVER FALSE BEAM

BEAM BY STRUCTURAL ENGINEER, WRAPPED W/ FALSE TIMBER BEAM TO MATCH COLUMNS & BRACKETS USE MITERED SHOULDER JOINTS 2'-6"

ROOF RAFTERS BY STRUCTURAL ENG., SHOWN AS 2x8

COPPER BOX GUTTER ON 1x FASCIA 2x8 JOISTS ON BEAMS, SEE STRUCTURAL 1x6 T&G CEILING #AMB-17 BED MOULD BY ARCH. DET. & MILLWORKS, LEAVE 4" AIR GAP - ALL SIDES

1 12 BRACKET CUT FROM 10x TIMBER, NOTCH INTO COLUMN, AS SHOWN