SCI-ARC: M.ARCH 1 PORTFOLIO_DAVID ERVEN

Page 1


DYNAMIC PERFORMANCE

RELATIONSHIPS

PRAGMATIC PRINCIPLES

GENERATIVE APPROACH COMMUNICATION TECHNOLOGY

CASE STUDIES

CONSTRUCTION

ANALYSIS AND DEVELOPMENT

MAYA AUTODESK METAMORPHOSES

DEFORMATIONS

MANIPULATED GEOMETRIES

EXHIBITING PERFORMANCE TECTONICS

EXERCISES

MATERIALS

SENSIBILITY

MOVEMENT CIRCULATION

PROCESS

PROVE IT!

ARTISAN / CRAFTSMAN

STRATEGIES

NURBS VS. POLYGONS FABRICATION

WHAT’S IT MADE OF?

REPRESENTATION

MODELING LOGIC

VARIATIONS

DAVID ERVEN PORTFOLIO

The intent of the assignment was to understand matter outside of traditional material properties. This project focused on research and making towards emergent behaviors and extended properties of matter, finding tendencies and innovations, as variations of material performances. The project was arranged in four scenarios, starting from a ‘material to object’ approach and finalizing with an object’s materiality scheme.

Phase

Material Morphologies: pliant, rigid, & tectonic

This phase was a study of surface and geometry. I manipulated, analyzed, and transformed a 30” by 30” piece of neoprene into a highly articulated volumetric condition. By folding, tucking, and pinching the material I was able to create an ambiguous form, where the continuous deformation of the surface lead to the intersection of interior and exterior planes. The properties this form had to employ where: strength, extensibility, stiffness, toughness, resilience.

Phase 2

Model Analysis

This phase was to develop and map out a logic from the phase 1 model. developed a notational system by analyzing the converging and diverging conditions of the models form. This analytical map organizes information and redistributes its shape and form.

Phase 3

Generative Modeling

This exercise focuses on detail andarticulation. Youareaskedtotranslateyourphase2 analytical map into a 3-dimensional construct. Instead of having solid planes I modeled the edges as an internal structure which is trapped and webbed in inside a framed protected zone.

Phase 4

Tectonic materiality

In this final phase pourstone was used to create spatial operations generated by sections of the basswood construct.

For this project we had to develop a small scale architectural proposal within a hypothetical matrix over an existing urban condition. The project was structured as follows: site documentation (plans,sections, elevations, and site model done by a fellow classmate and I), conceptual models, systems integration, and final production. This project focused on its geological facet, meaning the specific physical materiality of the existing building and its relational properties within the site. This challenge entailed structure,orientation, accessibility, scale, proportion, circulation, enclosure, etc. My intention with the design was to develop a system of structure which negotiated zones of enclosure, thereby dictating spatial experienes witin and outside of the building. With this design I employed two systems of structure, one based on a branching system and one on corner connection point system

In this final stage we focused on a specific region in the site. I focused in on the living unit area. My interests were to engage the site in section and to allow continuous spatial experiences. used earth as a structural component to support the rear of the building while also allowing it to negotiate utilized spaces (public v.s. private spaces). For the structure of the unit designed folding ribbons which function and read as continuous surfaces. The folding of the ribbons offer lateral and vertical support as well as become stairs. The continuous movement throughout the unit lead to the outdoor balconies for exposure and views of Ojai

For the final design the concept of strands to volume developed. The strands (gills) of the mass are designed to diverge from the exterior shell and into the interior and function as structural members supporting walls, floors, and ceilings, while also creating dynamic spaces utilizing the different roles of natural daylight. These strands vary in thickness at certain moments to carry loads and to take on the behavior of strands dissolving perpendicular connections to the mass.

Dealing with the site, the west side of the building is embedded into the earth while emerging out into a highly articulated cantilever, defining the entrance and plaza area.

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.

F (1988)40 F (1953)

August71 F56 F63 F0.10in98 F (1968)47 F (1940)

September72 F56 F64 F0.36in103 F (1971)42 F (1966)

October70 F53 F62 F1.37in99 F (1980)40 F (1935)

November62 F48 F55 F3.62in86 F (1921)35 F (1985)

December57 F44 F50 F3.54in80 F (1942)24 F (1990

.ygreneecnanetniamdnarezilitrefecudeRoT:ssargotsevitanretlA .rewesehtgniretnemorfffonurevissecxetneverpdnaretawniaretatilicafoT:draytruoCsuoroP .sgnidliubrofstsocdnaerutarepmetehtgnisiartceffednalsitaeHsetaerC:epacsdraH .ytivitcudnoctaehwoldna,ecnanetniamwol,ytilibarud,ytivitcelferdecuderstirofnesohc:gniddalClenaPmunimulAdehsurB .ssoltaehtneverpnacdna%08otpuybniagtaeHsecudeR:ssalGevitcelfeRgnitalusnI

T HE UR BA N HE AT ISLAND (UHI) EFFECT MAY BE REVERSED OR TEMPERED THROUGH THE STRATEGIC PLACEMENT OF (UCI), OR URBAN COOL

ISLANDS

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.

CONCLUSION: possible actions

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

BIRTH OF THE COOL

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 fertile 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 comfortable urban rest area.

Fo rthi s pr oj ec tw e h a dt o in ves tig ate th e ecologies of the Alameda Corridor. This investigation engaged a seriesof paralle strategies: fieldresearch alongthe corridor & profoundweb-basedinvestigations Throughthis the discovering of informationwe wereable to economical, social,material, ecological, eric, visual, and /ortechnological “deep es”underlyingthe corridors ecology.

OBSERVATION: SITE:

WALKING DOWN THECORRIDORNEAR OUR SITE (ALAMEDAANDFIRST STREET) PEDESTRIANSCROSSFROM THEEAST SIDE OF ALAMEDA TOTHEWEST SIDESIMPLY TO WALK N THESHADE.DUE TOTHEFORTHCOMINGPLACEMENTOF THE METRO GOLDLINESTATION ON THEEAST SIDE OF THESTREET,IT ISIMPERATIVE THAT WECREATE AN OUTDOOR ENVIRONMENT TO ALLOW PEDESTRIANSCOMFORTABLEACCESS TO OUR SITE WHICH CONTAINS A GROUNDFLOORCAFE)ANDNEIGHBORING AREAS OFDESTINATION,INCLUDING THE GEFFENMOCA AND THEJAPANESE AMERICAN MUSEUM

GATALAMEDAANDFIRST STREETLOS 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

SYSTEMSOF EXPERIMENTATION:POTENTIAL HOTANDCOOLZONES

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

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

PROGRAM

PROGRAM

PROCESS: PHASE 1_HYBRIDIZING LANDSCAPE TO BUILDING

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.

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 entertainment value of their professional basketball team

PICS OF SITE: Lugano, Switzerland

This concrete structure is a place which houses athletic facilities publicly and privately. The form is meant to be perceived as a palace which grows out from the earth utilizing the roof as public basketball courts. The public basketball courts are accompanied by public rest rooms and changing rooms in the cavities of the massing concrete structure.

SCI-ARC

All School Exhibition

DAVID ERVEN

BETH SABBAH

RAE SOLOMON

ANDREW ZAGO

EMPTY DENSITY: The Detroit Project

EMPTY DENSITY :

Detroit Rising

The Detroit Project

While Detroit’s problems are well known and it’s physical degradation well documented, it is also a city defined, in part, by hope. This optimism is not groundless; while many features of Detroit’s urban decline continue, a wave of redevelopment in the city, begun in the late nineties continues and even grows. Detroiters watch 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 sensed, by some, as a field of opportunity. There are market-rate and subsidized infill housing elements in neighborhoods across the city and dozens of small-scale developments by young artists and do-it-yourself entrepreneurs, Detroit is experiencing an unprecedented quantity and breadth of new projects.

Empty Density

Conceptual Diagrams

Project Diagrams

Conceptual Diagrams

In spite of this growth, the city-in aggregate-continues to lose population. Mind-bogglingly large expanses of the city are feral with few residents-but an abundance of wildlife, unchecked vegetation and abandoned buildings. The power of this urban tableau is undeniable. There is an uncanny atmosphere in Detroit-a sense of fullness and even lushness when, by any urban metric, it is empty. This empty density is not only a unique urban sensibility, it can suggest a tactical tool for creating urbanism in the absence of buildings.

The Detroit Project

The Detroit Project acknowledges that development, even in the most successful and active areas of the city, cannot expect to achieve its former built density anytime soon. Rather than react to this shortfall with proposals of either suburban-grained dispersion or wholesale condemnation and abandonment, the Detroit Project seeks to defined programmatic, tectonic, ecological and figural tactics to render emptiness as opportunities for spatial and atmospheric density.

DETROIT SITE MODEL
3GB
3GB STUDIO: DAVID ERVEN, BETH SABBAH, RAE SOLOMON
3GB STUDIO:
DAVID ERVEN, BETH SABBAH, RAE SOLOMON

STRETCHING THE ENVELOPE

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:

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 artists who go unnoticed by the mainstream, the opportunity to display their talents beyond an independent scale.

HYBRIDIZING VOLUMES TO ENCLOSURE STUDY:

SURFACE TO STRAND TO VOLUME: HYBRID STUDY:

RESIDUAL SPACE

ADAPTABLE SHELL INTERNAL VOLUMES GENERATING THE OVERALL GEOMETRY

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.

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

ADAPTIVE SURFACE

TO INTERNAL VOLUMES, OPENING RESIDUAL SPACE AND STRETCHING THE BUILDINGS ENVELOPE.

STRETCHING OF SKIN
MOMENTS OF TENSION

SELECTED

BERKELEY ART MUSEUM_2007

BERKELEY ART MUSEUM: DESIGN DOCUMENTATION_2008

TEAM: DAVID ERVEN, DAVID OREGAN, PETER WOOD, & RUTH KIM

STUDIO INSTRUCTOR: TOM WISCOMBE & JOHN ENRIGHT

BERKELEY ART MUSEUM: SUSTAINABILITY_COMPLEX ENVELOPES_2008

TEAM: DAVID ERVEN & DAVID OREGAN

STUDIO INSTRUCTOR: ILARIA MAZZOLENI & ROBERTO DAVOLIO

LUGANO BASKETBALL SPORTS COMPLEX_2008

TEAM: DAVID ERVEN & ALISON SYKES

STUDIO INSTRUCTOR: ILARIA MAZZOLENI

DETROIT PROJECT: EMPTY DENSITY_2009

DESIGNER: DAVID ERVEN

STUDIO INSTRUCTOR: ILARIA MAZZOLENI

STRETCHING THE ENVELOPE: GRADUATE THESIS PROJECT_2009

TEAM: DAVID ERVEN, RAE SOLOMON, & BETH SABAH

STUDIO INSTRUCTOR: ANDREW ZAGO

1/64”=1’-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 portfolio 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.

have been fortunate to have instructors 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 looked back. As 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 convert my architectural visions into graphic form. This struggle, however, has taught me that what thought was impossible can become reality, one step at a time.

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. 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 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 portfolio 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

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.