Page 1

RELATIONSHIPS DYNAMIC PERFORMANCE

MAYA

AUTODESK

METAMORPHOSES

DEFORMATIONS

PRAGMATIC PRINCIPLES

MANIPULATED GEOMETRIES

COMMUNICATION

TECTONICS

EXHIBITING PERFORMANCE GENERATIVE APPROACH

TECHNOLOGY

2009 / VOLUME .01

DAVID ERVEN P O RT F O L I O SCI-ARC

EXERCISES

ARTISAN / CRAFTSMAN CONSTRUCTION

STRATEGIES

ANALYSIS AND DEVELOPMENT PROVE IT! CASE STUDIES

FABRICATION

NURBS VS. POLYGONS WHAT’S IT MADE OF?

SENSIBILITY

MODELING

MATERIALS

REPRESENTATION MOVEMENT / CIRCULATION

PROCESS

LOGIC

VARIATIONS


FINAL DESIGN: BERKELEY ART MUSEUM

07

Dealing w i t h the site, the west side of the building i s embedded into the ear th while emerging out into a highly ar ticulated c a n t i l e v e r, defining the entrance and plaza area.

PROCESS

INTERIOR ATRIUM

PHYSICAL MODEL: FOAM CORE

2GA STUDIO: DAVID ERVEN

For the f i n a l d e s i g n the concept of strands to volume developed. The strands (gills) of the mass are designed to d i v e r g e f r om t h e exterior shell and into the interior and function as structural members supporting walls, floors, and ceilings, while also creating dynamic spaces ut il iz in g the different roles of natural daylight. These strands var y in thickness at certain moments to carry loads and to take on the behavior of strands dissolving perpendicular connections to the mass.


DESIGN DOCUMENTATION: BERKELEY ART MUSEUM COR-

08

STRUCTURAL FRAMING AXON

CHUNK EXTRACTION

1 ROOF/WALL/FLOOR SECTION S2.1 WALL/FLOOR SECTION

1 GLASS/ARMATURE CONNECTION S2.5 1 GLASS/ARMATURE CONNECTION SCALE = VARIES S2.5

1/16”= 1’-0”

SCALE VARIES

BERKELEY MUSEUM FOR ART AND DESIGN BERKELEY MUSEUM FOR ART AND DESIGN 

SCALE VARIES



57

P.WOOD

STRUCTURAL

DRAWING TYPE



P.WOOD

STRUCTURAL



DRAWING TYPE

VARIES





BERKELEY MUSEUM FOR ART AND DESIGN BERKELEY MUSEUM FOR ART AND DESIGN 



VARIES D. ERVEN

STRUCTURAL

DRAWING TYPE



D. ERVEN

STRUCTURAL

DRAWING TYPE



1/16”= 1’-0”

SCALE = VARIES

ALUMINUM PA 24” W + 2” X 8” STUD

RIB FRAMING

GLAZING PANEL RIB FRAMING

GLAZING PANEL

ALUMINUM PANELS

24” W + 2” X 8” STUD GILLS: SEE DETAIL PG.

SECONDARY STEEL STRUCTURE

AIR SPACE

GILLS: SEE DETAIL PG. SECONDARY STEEL STRUCTURE

AIR SPACE

STAND-OFFS

STAND-OFFS

WATERPROOF INSULATION

WATERPROOF MEMBRANE INSULATION

STEEL DECKIN

STEEL DECKING

PRIMARY BEAM

PRIMARY BEAMS

HVHC AIR RETU

HVHC AIR RETURN (EXPOSED)

3/16” ALUMINUM CLADDING

NUM CLADDING

DIFFUSERS CONC. SLAB STEEL DECKING 10 x12 STEEL TUBE

DIFFUSERS CONC. SLAB

STEEL DECKIN

PRIMARY BEAM

PRIMARY BEAMS

x12 STEEL TUBE

HVHC AIR DUCT SUSPENDED CEILING AIRCRAFT CABLES

HVHC AIR DUC SUSPENDED C AIRCRAFT CAB

CONC. SLAB SECONDARY STEEL STRUCTURE

TEEL STRUCTURE

CONC. SLAB

STEEL DECKIN

STEEL DECKING

PRIMARY BEAM

PRIMARY BEAMS HVHC AIR DUCT SUSPENDED CEILING AIRCRAFT CABLES

GYPSUM BD. 3/16” ALUMINUM CLADDING

GYPSUM BD. 2” X 8” STEEL STUDS.

NUM CLADDING

2” X 8” STEEL STUDS. GYPSUM BD. GYPSUM BD.

STRUCTURAL

DRAWING TYPE



D.ERVEN

D.ERVEN

STRUCTURAL

DRAWING TYPE



D. ERVEN

STRUCTURAL

DRAWING TYPE

D.





STRUCTUR

DRAWING TYPE

SCALE VARIES



SCALE = VARIES

SCALE VARIES

ROOF/WALL/FLOORING EXPLODING AXON

SCALE VARIES

BERKELEY MUSEUM FOR ART AND DESIGN BERKELEY MUSEUM FOR ART



1/32”= 1’-0”

GILL DETAIL EXPLODED AXON1’-0” 1/32”=



1 GILL DETAIL EXPLODED AXON S2.2 TAIL EXPLODED AXON

1 ROOF/WALL/FLOORING EXPLODING S3.0 1 ROOF/WALL/FLOORING EXPLODING SCALE = VARIES S3.0

SCALE VARIES BERKELEY MUSEUM FOR ART AND DESIGN BERKELEY MUSEUM FOR ART  AND DESIGN 

HVHC AIR DUC SUSPENDED C AIRCRAFT CAB


SUSTAINABILITY: COMPLEX ENVELOPESRIDOR

Working with the same selected 2GA project used in Design Documentation, this seminar focused on applying sustainable design techniques. Along with applying sustainable technologies to this design, the application of cladding was also employed. the complex envelope session of this course gave us the opportunity to deepen our understanding of the use of comp. software for the optimization of the buildings envelope.

08


BIRTH OF THE COOL: WASTE=ENERGY>PROJECT MANUEL

08

HEAT HEAT

HEAT

ELECTRICITY

ELECTRICITY

INCANDESCENT

L.E.D.

COMPUTER, ETC. EQUIPMENT

THE URBAN HEAT ISLAND (UHI) EFFECT MAY BE REVERSED OR TEMPERED THROUGH THE STRATEGIC PLACEMENT OF (UCI),

E

OR URBAN ISLANDS

COOL

= HEAT

ELECTRICITY

SUN

LIGHTING

HEAT

CONSUMPTION ACTIVE SYSTEMS

TRANSPORTATION BUS/TRUCK/AUTO

ELECTRICITY

HEAT

BICYCLE

A/C

HEATER

HEAT

HEAT

CALORIES

ELECTRICITY

HEAT

HEAT

General Electric engineers lit upon a solution: trap the heat-light through special ducts in the lighting fixtures, pipe it to outside rooms where it is needed most. They found that whole buildings could be heated inexpensively with nothing more than the lamps that light them.

HEAT

EXAMPLE: an example of the new system to date is a two-year-old high school in Kimberly in northern Wisconsin, where temperatures have been known to drop as low as —31° in winter. The school was built with a minimum of outside windows and lots of fluorescent lights, all of which have built-in ducts that trap over 60% of their heat.* The ducts also collect the heat produced by the students’ bodies-which is surprisingly high. One average-size incumbent 15-year-old throws off more heat than a 100-watt bulb. Recovered and recirculated by fans, this heat from the lighting and the building’s occupants has proved more than enough to keep the building warm even when the outside thermometer reads 18°. The excess is transferred to heating coils in two 12,000-gal. water tanks. When the lights go out and the human dynamos go home at night and on weekends, the hot water from the tanks is circulated throughout the building to keep it warm. As a precautionary measure, the engineers also installed emergency electrical heaters, but Kimberly has almost never had to use them.

HEAT

HEAT

Heat by light recently got its biggest vote of confidence from two Chicago companies. The First National Bank of Chicago, which is about to start construction on a 60-story structure in the shape of a curved, inverted V, plans to use a similar system to heat the entire building. Last month, the John Hancock Insurance Co. announced that the 34 floors of office space in its planned 100-story, combination office-apartment building (TIME, April 2) will also be heated with light.

HEAT

ELECTRICITY

ELECTRICITY

ELECTRICITY

INCANDESCENT

COMPUTER, ETC. METALS

a light bulb puts out a lot of heat

GASOLINE

TRAIN

HUMAN

ELECTRICITY

GEOTHERMAL

WALK

L.E.D.

EQUIPMENT

SUN

LIGHTING

HEAT

PRODUCTION

MATERIALITY METALS

ACTIVE SYSTEMS

TRANSPORTATION BUS/TRUCK/AUTO BICYCLE

A/C

HEATER

HEAT

HEAT

STORE

TRAIN

HUMAN

ELECTRICITY ELECTRICITY GEOTHERMAL

HEAT

GASOLINE

WALK

CALORIES

ELECTRICITY

HEAT

HEAT

HEAT

CANTILEVER

EAVE

MISTERS

ARCHITECTURE

FOUNTAIN

TREES

SHADE

WATER POND

PREVENTION

PASSIVE SYSTEMS

DEFLECTION

MATERIALITY

GREEN ROOF

REFLECTION

AIR CIRCULATION

PLASTICS

TRANSMISSION

LOS ANGELES, CA.

HOT

ONE MINUTE: A STATEMENT ON L.A. AND THE (UHI)

L.A. IS A PRIME EXAMPLE OF THE UHI. THE HEAT THAT IS GENERATED BY THE UHI STEMS FROM MATERIALITY, POPULATION DENSITY, LACK OF FLORA, NATURAL CLIMATE CONDITIONS, AND GREEN HOUSE GASSES. 75% OF THE CITY IS COVERED WITH HARD SURFACE, AND IT’S LOCATION -- A BASIN SURROUNDED BY MOUNTAINS -- LOCKS IN ITS

POLLUTION. AS OUR POPULATION GROWS AND FOSSIL FUELS BECOME MORE SCARCE AND INCREASINGLY DANGEROUS FOR OUR ENVIRONMENT, WE NEED NOT FOCUS ON HARNESSING HEAT BUT ON PREVENTING IT. THROUGH PREVENTATIVE METHODS, HUMAN COMFORT LEVELS WOULD RISE, CAUSING FEWER PEOPLE TO RELY ON ENERGY CONSUMPTION TO REGULATE THEIR ENVIRONMENTS INTO ONE OF

UNNATURAL CONTROL. BUT WHEN THE NATURAL ENVIRONMENT CHANGES, THAT IS TO SAY, WHEN THE NATURAL ENVIRONMENT IS INOCULATED WITH NATURAL AND UNNATURAL ELEMENTS THAT DEFLECTAND REDUCE HEAT, WE PREVENT EXCESSIVE ENERGY USE, THEREBY FURTHER COOLING THE

CITY.

GRASS/EARTH

BATTERY

LIGHT COLOR GLASS/CONCRETE

CONCLUSION: possible actions

HARNESS

is defined as the state of mind that expresses satisfaction with the surrounding environment. Maintaining thermal comfort for occupants of buildings or other enclosures is very prevelant in todays society ( especially in America). Thermal comfort is affected by heat conduction, convection, radiation and evaporative heat loss (Perspiration also called sweating). Thermal comfort is maintained when the heat generated by human metabolism is allowed to dissipate thus maintaining thermal equilibrium with the surroundings. Any heat gain or loss beyond this generates a sensation of

RADIANT FLOORING

thermal discomfort.

REROUTE

REUSE

this discomfort is subjective to the individual and is recognised that the sensation of an individual feeling hot or cold is not just dependent on air temperature alone.

AIR CIRCULATION

Factors determining thermal comfort include:

RESULTANT COLD WATER W.C.

• • • • • •

HEAT TRANSFER

IRRIGATION

EQUIPMENT

LIGHTING

LIGHTING

CONSUMPTION TRANSPORTATION

TRANSPORTATION

MATERIALITY

SUN

PRODUCTION

ACTIVE SYSTEMS

HUMAN

EQUIPMENT

E = HEAT GREEN ROOF

WATER

PREVENTION SHADE

MATERIALITY

Sunlight is a form of radiation that is radiated through space to our planet without the aid of fluids or solids.

thermal comfort

WATER PIPES

RESULTANT HOT WATER

bubbles.

COMFORT OR DISCOMFORT?

MACHINE

CONSERVATION

The Dutchtub is a woodfired hot-tub that exploits convection to create heat and

Radiation is the only form of heat transfer that can occur in the absence of any form of medium; thus it is the only means of heat transfer through a volume of space that is essentially empty of matter. Radiation is Electromagnetic waves that directly transport ENERGY through space. Because there are no solids (like a huge spoon) touching the sun and our planet, conduction is not responsible for bringing heat to Earth. Since there are no fluids (like air and water) in space, convection is not responsible for transferring the heat. Thus, the suns radiation brings heat to our planet.

HUMAN STORE

Convection

Radiation

WATER PIPES

MATERIAL

ABSORPTION

a spoon in a cup of hot soup becomes warmer because the heat from the soup is conducted along the spoon.

Convection is usually the dominant form of heat transfer in liquids and gases. This is a term used to characterize the combined effects of conduction and fluid flow. In convection, enthalpy transfer occurs by the movement of hot or cold portions of the fluid together with heat transfer by conduction. For example, when water is heated on a stove, hot water from the bottom of the pan rises, heating the water at the top of the pan. Two types of convection are commonly distinguished, free convection, in which gravity and buoyancy forces drive the fluid movement, and forced convection, where a fan, stirrer, or other means is used to move the fluid.

PHOTOVOLTAIC CELL SOLAR

Conduction

Conduction is the transfer of energy through matter from particle to particle. It is the transfer and distribution of heat energy from atom to atom within a substance. conduction occurs as hot, rapidly moving or vibrating atoms and molecules interact with neighboring atoms and molecules, transferring some of their energy (heat) to these neighboring atoms. Conduction is most effective in solids-but it can happen in fluids.

REUSE CONSERVATION SOLAR STORAGE

MATERIALITY

PROCESS _create urban cool islands throughout the city MATERIALITY _use non-and low-absorptive materials and invent new products for construction CONTENT _ raise awareness of the UHI through architecture and fill the space with agencies conducive to the process and new materiality

Air temperature Mean radiant temperature Air movement / velocity (wind chill factor) Relative humidity (perspiration) Insulative clothing Activity levels.

HOW A HEAT PUMP WORKS:

Without air conditioning

, buildings must be built narrower or with light wells so that inner spaces receive sufficient outdoor air via natural ventilation. Air conditioning also allows buildings to be taller since wind speed increases significantly with altitude making natural ventilation impractical for very tall buildings.

Heat pumps transfer heat from one place to another--providing both heating and cooling. A heat pump is an air conditioner that contains a valve that lets it switch between “air conditioner” and “heater.” When the valve is switched one way, the heat pump acts like an air conditioner, and when it is switched the other way it reverses the flow of Freon and acts like a heater

The transfer of heat from an object, to another object with an equal or higher temperature, however, can happen only with the aid of a

HEAT PUMP

A heat pump is a machine or device that moves heat from one location (the ‘source’) to another location (the ‘sink’ or ‘heat sink’). Heat pumps can be thought of as an heat engine (A heat engine is a physical or theoretical device that converts thermal energy to mechanical output)which is operating in reverse

HOW A HEAT ENGINE WORKS:

A heat sink (or heatsink) is an environment or object that absorbs and dissipates heat from another object using thermal contact (either direct or radiant). Heat sinks are used in a wide range of applications wherever efficient heat dissipation is required; major examples include refrigeration, heat engines and cooling electronic devices.

Legend

1. 2. 3. 4. 5. 6. 7. 8.

Condenser coil (hot side heat exchanger) Expansion valve (gas expands, cools and liquifies) Evaporator coil (cold side heat exchanger) Compressor Red = Gas at high pressure and temperature Pink = Gas at high pressure and reduced temperature Blue = Liquid at low pressure and greatly reduced temperature Light Blue = Gas at low pressure and warmer temperature


BIRTH OF THE COOL: CONCEPT_AGENDA_SITE ANALYSIS

BIRTH OF THE COOL

08

ALAMEDA CORRIDOR THE ABSENCE OF SOFSCAPE

DATA WALL: ALAMEDA CORRIDOR

ENERGY: MATERIALITY = HEAT PARKING LOTS: CARS/TRUCKS/PEOPLE PARKING LOTS: CARS/TRUCKS/PEOPLE ENERGY: MATERIALITY = HEAT

ecologies For this this project projectwe wehad hadtotoinvestigate investigatethethe of the Alameda investigation ecologies of theCorridor. AlamedaThis Corridor. This engaged investigation engaged a series offield parallel a series of parallel strategies: research along strategies: field research along the corridor & the corridor & profound web-based investigations. profound web-based investigations. Through this we Through this, the discovering of information the discovering of information we were ablematerial, to were able to define economical, social, define economical, social,visual, material, ecological, atmospheric, and ecological, / or technological atmospheric, visual,underlying and /or technological “deep “deep structures” the corridors ecology. structures” underlying the corridors ecology.

The urban heat island (UHI) effect is an evergrowing phenomenon with great potential for causing serious environmental harm in our cities. It is imperative that swift action be taken to resolve/reduce this ongoing effect. I propose the creation of a facility to house research labs committed to reducing the UHI effect while also providing an urban cool zone. These labs will locate and investigate fer tile ground, and different types of trees and vegetation in the heavily asphalted Alameda corridor; particularly in the downtown Los Angeles area. The public cool zone will bring awareness of the UHI effect to people in the downtown area, while also providing a comfor table urban rest area.

SITE

OBSERVATION: WALKING DOWN THE CORRIDOR NEAR OUR SITE (ALAMEDA AND FIRST STREET), PEDESTRIANS CROSS FROM THE EAST SIDE OF ALAMEDA TO THE WEST SIDE SIMPLY TO WALK IN THE SHADE. DUE TO THE FORTHCOMING PLACEMENT OF THE METRO GOLD LINE STATION ON THE EAST SIDE OF THE STREET, IT IS IMPERATIVE THAT WE CREATE AN OUTDOOR ENVIRONMENT TO ALLOW PEDESTRIANS COMFORTABLE ACCESS TO OUR SITE ( WHICH CONTAINS A GROUND FLOOR CAFE) AND NEIGHBORING AREAS OF DESTINATION, INCLUDING THE GEFFEN MOCA AND THE JAPANESE AMERICAN MUSEUM.

SITE:

BUILDING AT ALAMEDA AND FIRST STREET LOS ANGELES, CA 90014 THE HEAT ISLAND EFFECT CAN BE MITIGATED THROUGH ARCHITECTURE AND MATERIALITY TO CREATE COMFORT ZONES TO ATTRACT PEDESTRIANS. CONVERSELY, HARNESSING NATURALLY-CAUSED HEAT ENERGY THROUGH ARCHITECTURE AND MATERIALITY MAY CREATE HOT ZONES OF DISCOMFORT THAT ESCHEW HUMAN ACTIVITY. THE RESULTS OF THESE HOT ZONES WOULD: A. RAISE AWARENESS TO THE HEAT ISLAND ISSUE AND B. HARNESS ENERGY FOR USE IN INTERIOR SYSTEMS (HVAC, ETC.) THAT TEMPER THE ENCLOSED ENVIRONMENT

SYSTEMS OF EXPERIMENTATION: POTENTIAL HOT AND COOL ZONES COOL ZONES = PEDESTRIAN FRIENDLY_ -A PERFORATED CANOPY SYSTEM -GREENSCAPE -WATER FEATURE -CANTILEVER HOT ZONES = ESCHEWING PEDESTRIANS_ -MATERIALS OF HIGH THERMAL MASS -SOUTH FACADE (LAB) USED TO COLLECT SOLAR ENERGY -COPPER PIPING BENEATH EXTERIOR ASPHALT USED IN INTERIOR FOR RADIANT FLOORING AND OTHER ENERGY NEEDS

GENESIS MAPPING:

THESIS:

MATERIALITY, THERMAL MASS, SUN AND SHADE

HEAT DICTATES THE MOVEMENT AND LOCATION OF HUMAN BEINGS.

HEAT

OBSERVATION:

ZONES

WALKING DOWN THE CORRIDOR NEAR OUR SITE (ALAMEDA AND FIRST STREET), PEDESTRIANS CROSS FROM THE EAST SIDE OF ALAMEDA TO THE WEST SIMPLY TO WALK IN THE SHADE. DUE TO THE FORTHCOMING PLACEMENT OF THE METRO GOLD LINE STATION ON THE EAST SIDE OF THE STREET, IT IS IMPERATIVE THAT WE CREATE AN OUTDOOR ENVIRONMENT TO ALLOW PEDESTRIANS COMFORTABLE ACCESS TO OUR SITE (WHICH CONTAINS A GROUND FLOOR CAFE) AND NEIGHBORING AREAS OF DESTINATION, INCLUDING THE GEFFEN MOCA AND THE JAPANESE AMERICAN MUSEUM.

ASPHALT . L ST N. BR OA DW AY

HIL

CESA R

CH

AVEZ .

ST .

SITE:

BUILDING AT ALAMEDA AND FIRST STREET, LOS ANGELES, CA 90014

MAI

N ST .

SP RIN

G

HOLLYWOOD FREEWAY

THE HEAT ISLAND EFFECT CAN BE MITIGATED THROUGH ARCHITECTURE AND MATERIALITY TO CREATE COMFORT ZONES TO ATTRACT PEDESTRIANS. CONVERSELY, HARNESING NATURALLY-CAUSED HEAT ENERGY THROUGH ARCHITECTURE AND MATERIALITY MAY CREATE HOT ZONES OF DISCOMFORT THAT ESCHEW HUMAN ACTIVITY. THE RESULTS OF THESE HOT ZONES WOULD: A. RAISE AWARENESS TO THE HEAT ISLAND ISSUE AND B. HARNESS ENERGY FOR USE IN INTERIOR SYSTEMS (HVAC, ETC.) THAT TEMPER THE ENCLOSED ENVIRONMENT.

HARVEST

DEFLECT

TEMPLE ST.

CONCRETE/ CEMENT

ESCHEWING PUBLIC

1ST ST.

3RD

LA RIVER

ST.

EARTH/ UNDEVELOPED

HEAT

SCI-ARC

ALAMEDA CORRIDOR

4TH

ST.

COOL ZONES = PEDESTRIAN FRIENDLY_ - A PERFORATED CANOPY SYSTEM - GREENSCAPE - WATER FEATURE - CANTILEVER

HOT ZONES = ESCHEWING PEDESTRIANS_ - MATERIALS OF HIGH THERMAL MASS - SOUTH FACADE (LAB) USED TO COLLECT SOLAR ENERGY - COPPER PIPING BENEATH EXTERIOR ASPHALT USED IN INTERIOR FOR RADIANT FLOORING AND OTHER ENERGY NEEDS

ZONES

HARVEST

INTEGRATING PUBLIC

SYSTEMS OF EXPERIMENTATION: POTENTIAL HOT AND COOL ZONES

DEFLECT

4TH ST.

ESCHEWING PUBLIC

TIME CORNEROF OFALAMEDA ALAMEDAAND AND1ST_ 1ST_REASON: DIRECTSUN, SUN,HIGH HIGHTHERMAL THERMAL MASS TIMELAPSE: LAPSE:11TO TO1:30 1.30PM_VANTAGE PM_VANTAGE POINT: POINT: NORTHEASTERN NORTHEASTERN CORNER REASON: DIRECT MASS

6TH ST.

CREWMAN TAKES REFUGE UNDER SHADE OF SIGNPOST

L O W

LONE PEDESTRIAN LONE PEDESTRIAN

7TH ST.

CENT

RA

L AV

E

H I G H

INTEGRATING PUBLIC

SITE

ITERATION_1

ITERATION_2

ITERATION_3

FIRS T ST REET ICA

ON

M NTA

AY EW

FRE

SA

OLYMPIC BLVD.

CONCRETE:ABSORBS ABSORBSHEAT HEAT, CONCRETE REFLECTS LIGHT LIGHT REFLECTS

ASPHALT:HIGHLY HIGHLYHEAT HEATABSORPTIVE ABSORPTIVEAND ANDRADIANT RADIENT ASPHALT

EARTH: ABSORBS HEAT HEAT INTO INTOTHE THEGROUND, GROUND, EARTH ABSORBS SEMI-REFLECTIVE SEMI-REFLECTIVE


BIRTH OF THE COOL: GROUND PLAN

08


N

BIRTH OF THE COOL: PLAN @ + 20’

08

W S

5

11

DO

WN

12

PROGRAM

14

15

14

17

16

17

14

1 MAIN ENTRANCE 2 AUDITORIUM 3 RESEARCH LIBRARY 4 CAFE 5 KITCHEN 6 OFFICES 7 STORAGE 8 NURSERY 9 RECEIVING LOADING DOCK 10 TREE COURT YARD 11 COPY ROOM 12 LOUNGE 13 OUTDOOR PATIO 14 M.I.T.E.I / N.E.E.D / CAL TRANS / NASA 15 LABS / WORKSHOPS 16 CONFERENCE ROOM 17 NASA LAB M.I.T.E.I - ENERGY RESEARCH INST. N.E.E.D - NEW ENERGY + ENVIRONMENTAL DEPT. CAL TRANS - PUBLIC RELATIONS NASA- METEOROLOGICAL RESEARCHERS

TYP. PLAN 1 "= 1'-0" SCALE: 16

PLAN @ + 64'

PLAN @ + 106'

PLAN @ + 120'

E

PLAN @ + 20’ SCALE

1 16 "

= 1'-0"


BIRTH OF THE COOL: SECS._PLANTERS DETAIL

08

A

B

B

ENLARGED AREA


BIRTH OF THE COOL: MODEL IMAGES_SCALE 1/16” = 1’

PUBLIC URBAN COOL ZONES: FOREST CANOPIES

08

INTRODUCING SOFTSCAPE TO ALAMEDA

ELEVATION: SOUTH FACADE

ROOF GARDEN

ROOF GARDEN

PERSPECTIVE W/ RESEARCH TOWER

BIRDS EYE VIEW FACING EAST


LUGANO BASKETBALL SPORTS COMPLEX

08

PROCESS: PHASE 1

PHASE 3

CONCEPT: force a topological change that encourages the participation of the wider population.

AGENDA: to create an engaging landscape building which promotes Lugano athletics_professionaly and publicly.

PICS OF SITE: Lugano, Switzerland.

PHASE 2

3GA STUDIO: DAVID ERVEN

SYNOPSIS: This is a radical pattern language to not only transition the earth to space, structure, and expression, but to also use its diverging and converging properties for public and private spaces. There are no public basketball courts in Lugano, and if there are they are very well hidden. This is meant to be a beacon of sports contributing to its neighboring active soccer fields, and to give opportunity for Lugano residents to enjoy public basketball courts as well as taking part in the enter tainment value of their professional basketball team.


LUGANO BASKETBALL SPORTS COMPLEX

08

3GA STUDIO: DAVID ERVEN

INTERIOR PERSPECTIVE


LUGANO BASKETBALL SPORTS COMPLEX

08

3GA STUDIO: DAVID ERVEN


Superblock

DETROIT PROJECT DETROIT PROJECT

Forest

09

SCI-ARC All School Exhibition 3GB STUDIO: STUDIO: DAVID DAVID ERVEN, BETH SABBAH, RAE SOLOMON DAVIDERVEN, ERVEN,BETH BETHSABBAH, SABBAH,RAE RAESOLOMON SOLOMON 3GB

DAVID ERVEN BETH SABBAH RAE SOLOMON

Conceptual Diagrams

ANDREW ZAGO

EMPTY DENSITY: The Detroit Project EMPTY DENSITY:

Detroit Rising

Conceptual While Detroit’ sDiagrams problems are well known

and its physi ca l

OR

creation of space with minimal 5.Volumetric figuration with 3.Volumetric figuration 1. Solid geometry 2.Planar figuration 4.Volumetric figuration with Superblock Forest with solid volumes (Gothic Church) presence (Fred Sandback) with volumes by (Piazza) insolid part, hope. This optimis m is not physical groundless; while curves [void] exuberant curves Detroit Rising Project Diagrams many feature s of Detroit’s urban declin e cont inue, a wave While Detroit’s problems are well known and it’s physical Maximum physical Presence Minimum physical Presence Minimum Figuration of redevelopmen t in the city, begun in the late nineties Maximum Figuration degradation well documented, it is also a city defined, in part, by hope. This optimism is not groundless; co ntinues and eve n grows . Detroiters watc h with optiwhile many features of Detroit’s urban decline continue, mis m as the tentative roots of new urba n growth take a wave of redevelopment in the city, begun in the late hold. A generation-old aver si on to investin g in the city is nineties continues and even grows. Detroiters watch recedin g and Detroit’s economic v acuu m is sensed, by Superblock Forest with optimism as the tentative roots of new urban growth take hold. A generation-old aversion to investing in the city is receding and Detroits economic vacuum is hoods across the city and dozen s of small-s ca le develsensed, by some, as a field of opportunity. There are opments by young artist s and do-it-yoursel f entrepremarket-rate and subsidized infill housing elements in neurs , Detroit is experie nc ing an unprecedented qua ntity neighborhoods across the city and dozens of small-scale and breadt h of new projects. developments by young artists and do-it-yourself 1. 5. 3. 4. 2. entrepreneurs, Detroit is experiencing an unprecedented Superblock Forest Empty Density quantity and breadth of new projects. In s pite of this growth, the city – in aggregat e – co ntinues to los e population. Mind- bogglingly large expanses of Empty Density In spite of this growth, the city-in aggregate-continues the city are feral with few resi dents - but an abundanc e to lose population. Mind-bogglingly large expanses of of w ildlife, unc hecke d vegetatio n and aba ndoned buildthe city are feral with few residents-but an abundance of ings . The power of this urban tableau is undeniable. wildlife, unchecked vegetation and abandoned buildings. There is an uncann y atmosp here in Detroit - a sense of The power of this urban tableau is undeniable. There is fullness and eve n lushness when, by any urban metric, it an uncanny atmosphere in Detroit-a sense of fullness is empty. This empty density is not only a unique urba n and even lushness when, by any urban metric, it is empty. sensib ility, it ca n s ugges t a tacti ca l tool for creating urThis empty density is not only a unique urban sensibility, banis m in the absence of buildings. it can suggest a tactical tool for creating urbanism in the absence of buildings. T he Detroit Project The Detroit Project acknoledges that development , The Detroit Project even in the mos t s u c c e s s f u l and active areas of the city, The Detroit Project acknowledges that development, canno t expec t to achiev e its former built dens ity anytime even in the most successful and active areas of the s oon. Rathe r than reac t to this shortfal l with proposals of city, cannot expect to achieve its former built density either suburban-graine d disper si on or wholesal e conanytime soon. Rather than react to this shortfall with demnatio n and aba ndonment, the Detroit Project seek s proposals of either suburban-grained dispersion or wholesale condemnation and abandonment, the Detroit Project seeks to defined programmatic, tectonic, tactic s to render emptiness as opportunities for spatial ecological and figural tactics to render emptiness as and armospheric dens ity.of erosion is a formal response to the disintegration of the city. A new new aesthetic aesthetic of A erosion is a formal response to the disintegration of the city. SCIFI opportunities for spatial and atmospheric density. A new aesthetic of erosion is a formal response to the disintegration of the city.

T he Detroitit Project Conceptual Diagrams

OR

3.Volumetric figuration 1. Solid geometry 2.Planar figuration (Gothic Church) with solid volumes (Piazza) with solid volumes

4.Volumetric figuration with curves [void]

creation of space with minimal physical presence (Fred Sandback)

Maximum physical Presence Minimum Figuration

5.Volumetric figuration with exuberant curves

Minimum physical Presence Maximum Figuration

1.

3.

2.

5.

4.

OR

3.Volumetric figuration 1. Solid geometry 2.Planar figuration (Gothic Church) with solid volumes (Piazza) with solid volumes

SF

4.Volumetric figuration with curves [void]

creation of space with minimal physical presence (Fred Sandback)

Maximum physical Presence Minimum Figuration

5.Volumetric figuration with exuberant curves

Minimum physical Presence Maximum Figuration

1.

2.

3.

4.

5.

DETROIT SITE MODEL


09

DETROIT PROJECT

3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON


09

DETROIT PROJECT

3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON


09

DETROIT PROJECT

3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON


09

DETROIT PROJECT: FINAL MODEL SCALE-1:200

3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON


09

DETROIT PROJECT: 3RD FLOOR PLAN

3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON

16’

32’

48’

64’


STRETCHING THE ENVELOPE

09

SHELL, SKIN, NESTED VOLUMES STUDY:

Residual space is the space in between volumes. It is the empty space that connects the nested volumes within a single mass or envelope. This space could be considered left over in terms of program, but it serves as a buffer zone mediating the spaces from both interior and exterior. I seek to challenge contemporary architecture by creating a building in which nested volumes (programmed space) open the residual space by pushing and stretching the envelope generating the form of the overall mass. By hybridizing the enclosure (surface) and strands (structure) to the nested volumes, extreme shifts in scale of members and volumes occur. These wide ranges of spatial and formal variation alter the way we experience architecture.

PROGRAM_MUSEUM OF CONTEMPORARY URBAN ART:

ZONE 1 ZONE 2

ZONE 3

HYBRIDIZING VOLUMES TO ENCLOSURE STUDY:

SURFACE TO STRAND TO VOLUME: HYBRID STUDY: MICRO VOLUME

MEGA VOLUME

INDEPENDENT THESIS: DAVID ERVEN

LA houses one of the largest art scenes in the country. It is important to acknowledge emerging talent and put starving artists on the map. This museum is dedicated to the exhibition, education, collection and preservation of the contemporary urban arts, and to showcase artists who continue to work outside the conventional art establishment. This museum will allow talented ar tists who go unnoticed by the mainstream, the oppor tunity to display their talents beyond an independent scale.

STUDY MODELS:

SHELL, SKIN, CONTINUITY, RESIDUAL SPACE, NESTED VOLUMES • EXAMPLES OF NESTED SPACES, OR VOLUMES WITHIN VOLUMES. • • EXAMPLES OF A FOLDED CONTINUOUS SURFACE. RESIDUAL SPACE, NESTED

VOLUME STUDY:

BUFFER ZONE ZONE OF OF RESIDUAL SPACE D E F I N I N GAND AND DEFINING TRANSFORMING TRANSFORMING T H ESPACE S PA CON E OTHE N THE THE EXTERIOR EXTERIOR ANDAND THE THE INTERIOR. INTERIOR.

• RESIDUAL SPACE BETWEEN THE INTERIOR LINER AND THE EXTERIOR ARCHITECTURAL SHELL CREATES SUBDIVISIONS OF NESTED VOLUMES. THIS RESIDUAL SPACE IS CAPABLE OF STUDY MODELS: OF INTERIOR ARCHITECTURE WHILE ALSO INFORMING THE TRANSFORMING THE EXPERIENCE OVERALL GEOMETRY OF THE BUILDING

SHELL, SKIN, CONTINUITY, RESIDUAL SPACE, NESTED VOLUMES

• EXAMPLES OF NESTED SPACES, OR

HYBRIDIZING VOLUMES TO ENCLOSURE: TOP VIEW


STRETCHING THE ENVELOPE: PROCESS

09

INDEPENDENT THESIS: DAVID ERVEN

RESIDUAL SPACE

ADAPTABLE SHELL

INTERNAL VOLUMES GENERATING THE OVERALL GEOMETRY

VOLUMES

MASSING STUDY OF ADAPTABLE MICRO MESH RESPONDING TO INTERNAL VOLUMES GENERATING THE OVERALL GEOMETRY AND RESIDUAL SPACE.

INTERIOR VIEW: OUTER SHELL RESPONDING TO INTERNAL VOLUMES, OPENING RESIDUAL SPACE AND STRETCHING THE BUILDINGS ENVELOPE.

STRETCHING OF SKIN

MOMENTS OF TENSION

ADAPTIVE SURFACE

MUSEUM OF CONTEMPORARY URBAN ART RESIDUAL SPACE BETWEEN THE INTERIOR VOLUMES AND THE EXTERIOR ARCHITECTURAL SHELL DEFINE AND TRANSFORM THE SPACE OF THE EXTERIOR AND THE INTERIOR. THIS RESIDUAL SPACE IS CAPABLE OF TRANSFORMING THE EXPERIENCE OF INTERIOR WHILE ALSO INFORMING THE OVERALL GEOMETRY OF THE BUILDING.


STRETCHING THE ENVELOPE: AXO

09

PROGRAM VOLUMES

MASSING DETAIL

INDEPENDENT THESIS: DAVID ERVEN

ADAPTABLE STRUCT.

A D A P TA B L E S K I N HYBRIDIZING SURFACE TO STRUCTURE TO VOLUME

VOLUMES_ENVELOPE

VOLUMES_STRUCT_SKIN

SHELL - TO - VECTOR - STRUCTURAL HYBRID THE STRUCTURE OF THIS BUILDING IS BASED ON A HYBRID OF SHELL BEHAVIOR, WHICH IS SURFACED BASED, AND SPACE FRAME BEHAVIOR, WHICH IS VECTOR-BASED. THE STRUCTURE ADAPTS FROM AN UNDER DIMENSIONED CONDITION BASED ON LOCAL GEOMETRICAL AND BENDING MOMENT CONDITIONS. THE SHELL BEHAVIOR TRANSFORMS INTO BENDING BEHAVIOR, RESULTING IN A SHIFT FROM SURFACE TO VECTOR MORPHOLOGY. FOUNDATION BASE


STRETCHING THE ENVELOPE: FINAL DESIGN

09

INDEPENDENT THESIS: DAVID ERVEN

WEST ELEVATION

EAST ELEVATION


STRETCHING THE ENVELOPE: SECS._PLAN_SITE PLAN

09

OFFICES

OFFICES

OFFICES

STAFF ENTRANCE UNDERGROUND PARKING / DELIVERY DOCK

FRONT ATRIUM

DOW

N

TEMP. EXHIBITIONS

UP

INFORMATION / CHECK IN

SCULPTURE GARDEN

UP

DOWN

MAIN SPACE

GALLERY / CORRIDOR UP RAMP

PLAN @ 4’-0”

PLAN @ 4’-0” SCALE: 1/16” = 1’-0”

SEC. A

SCALE: 1/16” = 1’-0”

ROOF PLAN

SEC. B

SCALE: 1/16” = 1’-0”

SITE PLAN_6TH STREET & BIXEL AVE. DOWNTOWN_LOS ANGELES, CA .

INDEPENDENT THESIS: DAVID ERVEN

RAMP


STRETCHING THE ENVELOPE: FINAL MODEL SCALE-1/64

09

INDEPENDENT THESIS: DAVID ERVEN


STRETCHING THE ENVELOPE: INTERIOR

09

INDEPENDENT THESIS: DAVID ERVEN


STRETCHING THE ENVELOPE: EXTERIOR

09

INDEPENDENT THESIS: DAVID ERVEN


DAVID ERVEN_SCI-ARC SELECTED PROJECTS

BERKELEY ART MUSEUM_2007

LUGANO BASKETBALL SPORTS COMPLEX_2008 DESIGNER: DAVID ERVEN STUDIO INSTRUCTOR: TOM WISCOMBE

DESIGNER: DAVID ERVEN STUDIO INSTRUCTOR: LUDOVICA MOLO

DIGITAL MODELING AND RENDERS - MAYA 8.5

DIGITAL MODELING AND RENDERS - MAYA 2008

PHYSICAL MODEL - FOAM CORE_SCALE: 1/2”=1’-0”

PHYSICAL MODEL - CHIP BOARD_SCALE: 1:200=1’-0”

LAYOUTS AND RENDER MANIPULATIONS - IA CS & PHOTOSHOP CS

LAYOUTS AND RENDER MANIPULATIONS - IA CS & PHOTOSHOP CS

DRAWINGS - AUTOCAD 2007

DRAWINGS - AUTOCAD 2007

BERKELEY ART MUSEUM: DESIGN DOCUMENTATION_2008

DETROIT PROJECT: EMPTY DENSITY_2009 DESIGNER: DAVID ERVEN TEAM: DAVID ERVEN, DAVID OREGAN, PETER WOOD, & RUTH KIM STUDIO INSTRUCTOR: TOM WISCOMBE & JOHN ENRIGHT

DESIGNERS: DAVID ERVEN, RAE SOLOMON, & BETH SABAH TEAM: DAVID ERVEN, RAE SOLOMON, & BETH SABAH STUDIO INSTRUCTOR: ANDREW ZAGO

DIGITAL MODELING AND RENDERS - MAYA 8.5_RHINO 4.0

DIGITAL MODELING AND RENDERS - MAYA 2008_RHINO 4.0

LAYOUTS AND RENDER MANIPULATIONS - IA CS & PHOTOSHOP CS

PHYSICAL MODEL - CHIP BOARD, MDF, 3D-PRINTS, PLEX, POLYSTYRENE_SCALE: 1:200=1’-0”

DRAWINGS - AUTOCAD 2007_RHINO 4.0

LAYOUTS AND RENDER MANIPULATIONS - IA CS3_PHOTOSOP CS3_IN-DESIGN CS3 DRAWINGS - AUTOCAD 2007_RHINO 4.0

BERKELEY ART MUSEUM: SUSTAINABILITY_COMPLEX ENVELOPES_2008

STRETCHING THE ENVELOPE: GRADUATE THESIS PROJECT_2009

DESIGNER: DAVID ERVEN TEAM: DAVID ERVEN & DAVID OREGAN

DESIGNER: DAVID ERVEN THESIS ADVISOR: TOM WISCOMBE

STUDIO INSTRUCTOR: ILARIA MAZZOLENI & ROBERTO DAVOLIO

DIGITAL MODELING AND RENDERS - MAYA 2008_RHINO 4.0 PHYSICAL MODEL - FOAM MILL, 3D-PRINTS_SCALE: 1/64”=1’-0”

DIGITAL MODELING AND RENDERS - MAYA 8.5_RHINO 4.0 LAYOUTS AND DIAGRAMS - IA CS & PHOTOSHOP CS DRAWINGS - AUTOCAD 2007_RHINO 4.0 ANALYSIS - IE

BIRTH OF THE COOL: PROJECT MANUEL_2008 TEAM: DAVID ERVEN & ALISON SYKES STUDIO INSTRUCTOR: ILARIA MAZZOLENI DIGITAL MODELING AND RENDERS - MAYA 2008_RHINO 4.0 LAYOUTS AND DIAGRAMS - IA CS_PHOTOSHOP CS_IN-DESIGN CS DRAWINGS - AUTOCAD 2007_RHINO 4.0 ANALYSIS - IE & RIGOROUS ON SITE OBSERVATION

LAYOUTS AND RENDER MANIPULATIONS - IA CS3_PHOTOSOP CS3_IN-DESIGN CS3 DRAWINGS - AUTOCAD 2007_RHINO 4.0

W.B. Yeats wrote, “Education is not the filling of a pail, but the lighting of a fire”. It is hoped this portfolio, in a very valid way, demonstrates what Yeats intended. My por tfolio represents the effect SCI-ARC has had on the growth and evolution of my skills, both technical and conceptual. Most importantly one can see in retrospect, how much the SCI-ARC experience has taught me to strive for a unique place in the field of architectural design rather than rely soley on what others have previously accomplished. I have been for tunate to have instr uctors teach me to see things in many different ways. They have inspired me to be innovative by maintaining standards that push me to do my best work. I did not fully appreciate this experience until I looked back. As I assembled this portfolio and had the opportunity to reflect on my personal growth as a designer, I have come to realize the value of what my teachers have imparted to me. Frustration and the tenacity to overcome challenges have been my partners in learning to use advanced computer software to conver t my architectural visions into graphic form. This struggle, however, has taught me that what I thought was impossible can become reality, one step at a time.

BIRTH OF THE COOL_2008 DESIGNER: DAVID ERVEN STUDIO INSTRUCTOR: ILARIA MAZZOLENI DIGITAL MODELING AND RENDERS - MAYA 2008_RHINO 4.0 LAYOUTS AND DIAGRAMS - IA CS_PHOTOSHOP CS_IN-DESIGN CS PHYSICAL MODEL - PLYWOOD, BASSWOOD & PLEX_SCALE: 1/16” = 1’-0” DRAWINGS - AUTOCAD 2007 ANALYSIS - IE & RIGOROUS ON SITE OBSERVATION

My work has also taught me the pros and cons of team-work. It is no easy task to overcome communication barriers that inevitably come into play when working with different levels of competence. I have also become more confident in being a leader and knowing when it is time to step up to the plate. Studying abroad in Europe served to greatly broaden my horizons. It is where I learned to appreciate the historical foundation of western architectural principles. I also know now there is no better way to launch yourself into the future than by understanding the past. If there is a theme to my por tfolio and a conclusion to be drawn from a SCI-ARC education, it is that Yeats’ fire has been lit. I have been able to take the support, instruction and guidance of many talented teachers and classmates and forge them into a style that will not compromise the integrity of my vision. DAVID ERVEN


DAVID ERVEN SCI-ARC WORKS  

DAVID ERVENS COLLECTIVE BODY OF WORK FROM SCI-ARC.

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