Eesha Nagpal Portfolio 2023

PRAXIS I

Carnegie Mellon University SoA Professor Heather Bizon Studio Instructor : Zaid Kashef Alghata

PART 1: IDENTITY, CULTURE & OPERATIONS OF PITTSBURGH

I explored various sites in Pittsburgh, through different techniques to discover what the constituencies and systems were like. Starting with flowcharts to map and visualize the connections between the infrastructure, enviornment, events and humans, allowed one to find commanalities amongst the site as well.

Through research and topographical explorations, I noticed that the three sites I had focused on were all on the water edge and had extremely harsh land to water edge conditions. Likewise, the rivers in Pittsburgh become a new plane or street for events, a corridor of celebration in areas near the stadiums or for game days. This theme and topic later became a core piece of my project.

Along with these explorations, our faculty provided us with various precedent studies, ranging from events, infrastructure and housing to help us pull out the most relevant details to continue using in our own designs. Using 3D modeling we created hybrids of these precedents and ideas that morphed into ideas to use for the “Generative Neckalce”, in the second phase of the project where we began working with a partner and another member of the faculty. The studio gave us a lot of freedom, to think outside of the box as long as we found a way to connect our three sites either physically or metaphorically, creating the “neckalce”. My partner and I opted to create a system, a way of design thinking that connected our sites but was more of a language that could be applied to any place.

South Shore, Station Square: Terrain Influence Mapping

Strip District Spatial Relationship Flowchart

South Shore, Station Square: Site Topography Manipulations

Infrastructure and Housing Typology Hybrid: Signal Box x 8 Octavia

Carnegie Mellon University SoA

Professor Heather Bizon

Studio Instructor : Zaid Kashef Alghata and Vicky Achnani

Partner: Aidan Smith

PART 2: TEMPORAL LANGUAGE

While looking at Pittsburgh’s culture we observed a variety of interspatial conditions of procession as either movement or gathering. Gathering tends to happens in an area, while procession usually occurs linearly For example, events such as Picklesburgh, which occurs along the Roberto Clemente Bridge, generating a temporal experience of linear procession. Meanwhile, the Three River Art Festival, allows for gathering in various open outdoor spaces on Point park. Adjacent to the three rivers trail on Steelers and Pirates Gamedays and events like the 4th of July are especially activated by people with boats, creating linear procession along the waters edge. The river becomes a new plane or street for events, a corridor of celebration, however this halts at the edge. Through the study of the these events, along with the constituencies, circulation, and terrain mapping of Pittsburgh we discovered the different spatials conditions amongst three sites.

12 Letters : Through physical and generative modeling we developed simple design techniques that created our alphabet.

Using the spatial conditions, we had found, we simplified the language into nodes and lines. Nodes being mass, thus purple blocks and line being circulation, thus toothpick. For instance, above, the letter “Edge Activation” shows a circulation and massing strategy to blend the water edge at the Point, but could be applied to any site.

6 Words: When put together, these letters became words, and then finally sentences when on the site. (on next pg)

Here the grouping of strategies, allowed for more complex solutions, in the “words”. For example, above one can see a strategy for “Edge Activation”, with main ideas of circulation across a bridge ascending a slope to cross the waters edge. These words combine becoming sentences, when on the site considering topography and other conditions.

The North Shore is primarily known for its events, from sporting to music and nightlife, as the area has minimal housing, thus is constantly influx and very temporal. Our site is located between North Shore Dr and the Three River Heritage Trail facing the Allegheny River. North Shore Dr. is home to the Steelers, who play in Acricure Stadium, Stage AE, a large music venue and many bars. Our design aims contribute to this niche by creating an open and flexible event space, that connects to the Allegheny River, softening the water edge. Using the system of letters, we combined “Event Study”, “Substraction” and “Negative to Positive Piers”. These words were then blended with the sites needs to create a space that would allow for a farmers market and selling area to support the vendors and then function as a bar and restaurant in the evenings.

The Point is a large park and historical site with trails and views of the Pittsburgh Rivers convening, however the water edge is extremely harsh. The rivers are a space full of celebration and activity, acting like another type of road, however the celebration and activities do not continue onto land. We use a topographic and piers addition strategy to connect the land to water and allow of the celebration to continue on the site. Through excavation, the views are not disturbed and we were able to create a space for events to continue to happen in an ampitheatre. The piers extend onto the river similar to the other sites, allowing for docking of boats activities to continue more seamlessly on land.

Through our analysis of Pittsburgh’s major traffic paths, we noticed that the Duquesne Incline only allows for movement from top to bottom, connecting the residential district to the river, yet it could do so much more. The direct path was needed to move infrastructure during the Steel Industry of Pittsburgh, and it now acts as a tourist attraction, mainly focused on the view and journey. Using topography and tree density analysis we found spaces to integrate elevated built spaces with flexible usage for events and temporal living, while lightly disturbing the terrain. We also created a pedestrian path that would allow people to slow down and immerse themselves, while activating the hill side. This strategy coupled with the piers that connect all three sites allow for constituents to move down the hillside and then connect them to the river, blending the harsh waters edge.

EVENT STUDY, SUBTRACTION, NEGATIVE TO POSITIVE PIER NORTH SHORE

EVENT STUDY, SUBTRACTION, NEGATIVE TO POSITIVE PIER NORTH SHORE

NEGATIVE TO POSITIVE, EDGE ACTIVATION, ASCENTION INTO EVENT THE POINT

EVENT STUDY, SUBTRACTION, NEGATIVE TO POSITIVE PIER NORTH SHORE

BRIDGING CLUSTERS, PATHWAY TO NEGATIVE - POSITIVE, INTERSECTIONS DUQUESNE INCLINE

NEGATIVE TO POSITIVE, EDGE ACTIVATION, ASCENTION INTO EVENT THE POINT

NEGATIVE TO POSITIVE, EDGE ACTIVATION, ASCENTION INTO EVENT THE POINT

BRIDGING CLUSTERS, PATHWAY TO NEGATIVE POSITIVE, INTERSECTIONS DUQUESNE INCLINE

BRIDGING CLUSTERS, PATHWAY TO NEGATIVE - POSITIVE, INTERSECTIONS DUQUESNE INCLINE

NEGATIVE TO POSITIVE, EDGE ACTIVATION, ASCENTION INTO EVENT THE POINT

The North Shore design has a variety of indoor and outoor spaces integrated to help it support a variety of events, ranging from the farmers market to the bar and night scene by night. The unrolled plans and sections help show how people would engage with the site.

The Point Shore design suggests using topographic changes and minimal structural additions to retain the views that captivate visitors. Thus the slope changes allow for visitors to sit and naturally step down towards the piers, breaking up the current steps.

Here one can see the density of trees and varying slopes that this site includes. The elevated forms we created blend to fit in to the landscape, creating pockets of coverage for people following down the path, which can be seen in yellow, while the new mass can be seen in purple.

Axonometric, Unrolled Plans and Sections

Point Topographic Site Study Model

FUNDAMENTALS OF COMPUTATIONAL DESIGN

48300-1

Carnegie Mellon University SoA

Professor Eddy Man Kim

Studio Instructor : Daniel Tompkins

Partner: Emily Franco

POCKETS OF SUNSHINE

Challenged to develop a responsive architectural design in the form of an experimental pavilion installation that responds to the environmental and programmatic conditions as afforded by the site and structural system, we picked a spot on CMU’s campus that we felt was lacking purpose. Below, the image shows the site, nestleted between Hun tLibrary and The College of Fine Arts building, this ring used to hold a tree, but now was left awkwardly filled with temporary chairs.

We chose to create a space that offers connections to the ground while also growing from the ground. By using an undulating curve that draws viewers eye up, to the seating oppurtunities, the shaded spaces and the flexible zones for play under and over the curves the site is activated. The nature of the space frame and shaded devices allow for the sun to shine into shaded spaces at certain times of the day through the cut outs, however it is filtered and in specific zones that ensure that it is not to harsh, creating little pockets of sunshine.

Within the space frame, there are LEDS that turn on at night and allow the structure to remain useable for people to come study, lounge, and meet up with friends. Along with this niches allow for small ground plants to grow on the structure. Overall, the structure reactivates the space to create a more useful zone for the CMU community to engage with.

Render with Hunt Library in the Background

As one can see in the site plan, this area of campus, known as the CFA Lawn has minimal trees, thus minimal shade. The studies demonstrate how the shadows the the structure will create during all seasons will offer a great deal of shade as without the strucutre not much consistent shade is offered.

Daylighting Studies

Render Facing CFA and Hunt Library

FUNDAMENTALS OF COMPUTATIONAL DESIGN : POCKETS OF SUNSHINE

Night Programmatic Render facing CFA

This view shows the LED’s within the two shading devices, which protects them from the elements and allows for the light to come through the holes. The planter is also evident at the is angle. The LED’s charged by the solar panel flaps, allow for students and passerbys to work and sit outside even at night, reactivating the area.

FUNDAMENTALS OF COMPUTATIONAL DESIGN : POCKETS OF SUNSHINE

Construction Details

These drawings help explain the material qualities of all the parts and breaks the structure down into the lower shading devices, the space frame and the top shading devices. Material Axonometric

TOP SHADING DEVICES

SINGLE HOLE WRAP STRAP

These attach the wooden panels to the space frame.

Assembly of shading device to space frame

WOODEN PANELS

These make up the sun shade devices.

MIDDLE SPACE FRAME

BOTTOM SHADING DEVICES

Thin wooden panels (3 per module)

Assembly of shading device

These wooden panels are attached to each other with strong glue and brackets when needed.

STEEL PIPES

SINGLE HOLE WRAP STRAP

BRACKETS

OPTIONS STUDIO - UNTANGLING THE THREADS

48200-2

Carnegie Mellon University SoA Professor Stefani Danes & Doug Cooper

INTERWEAVING: INTERNATIONAL FABRIC ARTS CENTER

This studio emphasized the process behind creating the fabric work and also the process of designing. Thus, to experience the process we went through 5 iterations in the 14 week semester, given more time per try. Along with this we crafted our own fabric arts piece and were taught to sew, use the machine and all the proper techniques. Seeing the challenges of making a physcial piece, even on a small scale, it helped me understand the process and space that it may require, giving me the tools to design the space better.

As you approach the site, at the corner of Penn Ave and South Millvale, one is challenged with a long horizontal site that could overwhelm the context and not fit in if not appropriate dealt with. Down the street there is a larger building of similar size that uses a grid to break down the horizontality of the mass.

Using the rhythm of the nearby buildings and a grid I aimed to create a hierarchy of elements on the facade. Meanwhile, looking at the height of the surrondings buildings, I kept the height of my design below.

This lot sits on a commercial street that bridges Garfield and Bloomfield, both cultural hubs of Pittsburgh, with many art galleries and studio spaces. With minimal trees on Penn Ave, S Millvale connects to a more residential area, encouraging the continuation of vegetation on the site.

Likewise the sun path, requires shading on the rear of the site, due to the strong summer sun. This analysis factored into many of the decisions. In terms of access, Penn Ave, is the busiest with retail and commercial spaces, thus the placement of the primary guest access. I then placed a second entry and parking for deliveries, weekend class participants and artists in residents to park and enter the space from a more private point.

PENN AVE

OPTIONS STUDIO - UNTANGLING THE THREADS : INTERWEAVING EESHA

Penn Ave. PennAve.

S Millvale. SMillvale.

Orientated like Plans*

PennAve. SMillvale. Circulation System Collaboration Hub

Circulation System Collaboration Hub

Public and Served Spaces

Public and Served Spaces Private and Servant Spaces

Private and Servant Spaces

Community and the sharing of techniques and wisdom is what bonds so many together, in the fabric arts world. The interweaving of different cultures and ideas is crucial to the development of new techniques. Communication and collaboration are key to the process of creating. Based on the importance of community and the site conditions, I developed a set of goals that emphasize this in the design, that are present, above in my Parti. Beginning with the initial idea of creating a welcoming zone that beginners and experienced artists can all come come together to share, while emphasizing collaboration I created a collaboration hub that runs vertically through the spine of the building connecting to the circulation system and all public and private elements. Another main element is the theme of interweaving, which occurs both literally and figuratively, shown in the following pages.

Parti Diagram

Highlited above the collaboration hub can be seen on all three floors, as it becomes a double height space with an skyliight shining down on the second and third floors.The collaboration hub connects to the L shaped circulation that connects to the main spaces, such as the exhibition hall and studios on the second and third floors.

Above in the front facing facade one can see the grid lines and how the rows of color interweave, bringing the theme of interweaving to fruition, giving visitors a sense from a far of what they are going to experience. Along with this large windows give the feel of a thin and welcoming facade and the slight setback of the site allows for people to have space to sit and look into the exhibition space. Emphasizing the corner the windows wrap around, similar to other retail spaces on Penn Ave and in precedent studies.

Parti Diagrams

Collaboration Hub Perspective

Above an illustrative perspective shows the double height space of the collaboration hub, which allows for engagement amongst multiple studio spaces and for projects to be displayed.

In section the vibrant studio spaces and collaboration zones can be seen filled with people and art, helping establish a culture of art in Pittsburgh. The theme of interweaving remain relevant through the building as well through sectional details, by using lowered ceiling heights to create buffer zones at entry areas to emphasize the grander zones. Likewise layers are created in section through the layering of a large public exhibition zone on the first floor that is then broken down into sewing and dying studios, and studios on the second floor and finally above that the artist in residence spaces and sewing studios.

OPTIONS STUDIO - UNTANGLING THE THREADS : INTERWEAVING

S. Millvale

Comrie Way

Massing Chipboard Model

Moving towards the front facade, the grid becomes relevant as it connects to the main idea of interweaving, a common quilting style. By using an interwoven pattern and color on the front facade, I am able to break down the large mass into smaller rectangulare sections, as well as introducing guests to the concept that the building is about, being fabric and the art of making. I want visitors to start to understand the main concept of interweaving of ideas, of fabric and thoughts as they approach the building, so by projecting this on the front it illuminates the theme.

Site S. Millvalle Gross St.

S. Millvale Elevation

Perspectives showing approach to Site along Penn Ave.

POEISIS STUDIO III

48200-1

Carnegie Mellon University SoA Professor Laura Garofalo Studio Instructor : Tonya Markiewicz Partner : Carleigh Cusick

RASTRELLO: CULINARY INSTITUTE

Given the site my partner and I were tasked to create a Culinary insitute with connections to the city, while also using a chef’s philosophy’s as design motives. On the right, one can see the research phase and the diagrams it resulted in. These combine to form our concept and design.

Located in Southside Flats, our Culinary Institute aims to provide a space of education and community for all the members of Southside and the greater Pittsburgh community. With main ideas of affordability, appeal, sustainability and education in mind, we created a series of solutions. Using agricultural methods, like vertical farming as the spine of our Culinary Institute, it weaves a system of connectivity that branches out into the urban fabric pulling people together, bringing innovation to the community.

Further, we integrated crucial ideas of food and sustainable living from chef Dan Barber, who locally sources his food from an onsite farm. His main philosophy includes an appreciation of the earth and that good food is only a result of a healthy harvesting and planting system. However, due to the steel mills that previously occupied the site, the soil is contaminated. Thus, we created a network of vertical farming that feeds both the restaurants and bar on site, while acting as the central axis of the education and dining for enrolled students and visitors to learn from. With this we showcase soil remediation and a community garden that push this idea forward. Keeping the community of Southside as a primary driver as well, we use a distinct pattern of flow and landscaping to move people towards the river view and educational zones.

We also aimed to connect our site to the existing urban space and natural elements by keeping outdoor elements close to the trails and river, while making the bar and restaurant accessible from East Carson street. Likewise the vertical farming can be viewed from the street, enticing those that live nearby or visitors to engage with the site. Similarly, landscaping aims to create green barriers in private spaces while also making areas closest to the street open and inviting, driving visitors to focus on the view of the river. The location, form and sequence comes from these ideas, as a height gradient across the mass shows a connection between the growth of the site going from residential to more commercial and then downtown, while also showing ideas of the mass growing from the ground up. This shows its connection to the site and environment, and allows for rainwater collection. Overall, the main concepts incorporated with climate and sustainable design lead to a welcoming and community space for all.

18 FALL 2021

Dan Barber Timeline & E ects

Developed a deep appreciation for the land, its produce and seasons.

1980’s

Born 1969

Mother passes away, resulting in his Aunt cooking and caring for him. 1973

Grows up on his Grandmother’s farm in Blue Hill Massachusetts.

His Aunt makes him a plate of silky scrambeled eggs and he realizes the power of food when it lifts his spirit.

After graduating Tufts, he is unsure of what to do goes to make bread for Nancy Silverton and is red. 1991 This pushed him towards cooking and he learned the importance of failure.

1994

but grow on the

& Aeropnics to conquer the

site.

Works in France brie y.

NYC 2006 Release of minerals into atmosphere through transpiration.

List Casey’s Draft House: Laid back atmosphere and bar area

Chef 2009 Accumulation in plant tissue that the plant can use.

Cost of Food and Drinks on East Carson St. Soil Remediation: Using specific plants to draw toxins from the soil

soil

Nadine’s Restaurant: family owned serving food and drinks.

$3.00 - $17.00 $3.00 - $18.00

$1.50 - $8.00 Dive Bar and Grill: Upscale atmosphere paired with food and drinks. $3.00 - $20.00

on World’s Best Brewski’s Bar: Arcade and bar serving drinks. $3.00 - $7.00

The Third Plate Row 7 Seed Company Closed due to COVID but made to go boxes. $2.00 - $8.00 The Urban Tap: American style food with drinks

Star The Vault Taproom: Serving unique southern food and drinks. Cupka Cafe II: nostalgic sports bar with food and drinks $1.95 - $7.00

soil for healthy future generations. He co-founds Row 7 Seed company. The plant degrades and detoxi ies the minerals in the metals.

Research on Chef Dan Barber showcasing his main ideas: an appreciation of the land, its produce and education Vertical Farming

Carmela’s Plates and Pints: serves food and drinks

BLM has pushed him to step down in 2021 to allow for more diversity in the eld. 2006 - 2018 Without good ingredients we will never have good food, thus we must preserve our open spaces and Willow Tree’s Plant roots absorb water and soil contaminats during uptake.

Steel Mills on the site resulted in contaminated soil Analyzing the cost of food and drink on a main destination street to make the institute accesible to all.

$9.00 - $34.00 Double Wide Grill: large outdoor restaurant serving options for vegetarians and vegans, as well.

$3.00 - $29.00

With three main themes of Community, Education and Sustainability, we formed a plan that revolves around a vertical farm as the core. The vertical farm symbolizes, the cultimation of all three concepts.

The connection to the community is a main driver in the design, thus we have augmented our program into four quadrants driven by the city’s occupants, with the vertical farming touching all the public, service and education components.

The community surrounding our site ranges from college students coming to the commercial and night life focused area on East Carson, to young millennial families living in the apartments and homes nearby and the people that come for the recreational aspects, like the River trails. Thus it is important to appeal to all members, by making programs that interest them accessible based on their occupancy times, as populations occupy the city at varying times. Expecting deliveries and service to occur in the early morning, community activities and education around the afternoon and dining and nightlife later in the day. These external drivers help shape the program and conditions on the site.

The first floor contains the public and dining service spaces closest to S. Water St. Behind the vertical farm one can find the private education, including the lecture theater and service zones. There are pathways through the vertical farm that connect both zones. Our bar positioning is based on the connection to East Carson Street due to its density of nightlife. Meanwhile the service and private education is positioned farthest from the public. Above is the second floor of the bar, teaching kitchen and student changing rooms which are separated by the vertical farming, and operate at different times.The roof is also split into three to show the distinct themes and how our program follows them. A height gradient across the mass shows a connection to the enviornment as the mass is growing from the ground up, and allowing for water collection.

Using landscape to direct and drive the entry and exit zones to the site, a series of, low lying slanted flower beds, raised beds, and tall hedges are utilized. The tall hedges act as green barriers, muffling noise and offer privacy from the street, while also hiding the loading zone and redirecting wind in different parts of the site. Walkways connect to the plaza and align with the perpendicular streets directing visitors towards the lobby of the vertical farm and outdoor dining zones that focus on the river view.

Along with this the landscape design follows the motion of the building and uses stone pavers and thin planting to essentially rake and move visitors along the primary paths. A trellis system acts as a visual connection to the building, bridging the gap between indoor and outdoors, creating a continuous flow throughout our site. With the community garden and public educational aspects closest to the Riverfront plaza it is more accessible to the public coming to the region for recreation, commerce and dining.

The first floor contains the public and dining service spaces closest to S. Water St. Behind the vertical farm one can find the private education, including the lecture theater and service zones. There are pathways through the vertical farm that connect both zones.

The second floor contains the second floor of the bar, teaching kitchen and student changing rooms which are separated by the vertical farming, and operate at different times. As seen in the renders, the indoor restaurant is a 1.5 story space. ‘meanwhile the reaching kitchen has lots of space for demonstrations. These details all contribute and fit under climate responses as well. Receiving a lot of sunlight on the west end of the site we have a series of skylights that decrease in number and size as you move down the roof to diffuse and allow for more natural light to come into the building.These skylights also follow our pattern of flow with as their shaped informed by rectangular slots. The two angled and sloped roof allows for water collection in a cistern located at the bottom of the slope. For ventilation within the spaces, openings are placed to let in the low pressure air at the bottom and release high pressure or hotter air out of the top to cool the space. Double height spaces included also allow for stacked ventilation. The whole building itself acts as a hill as it grows from the ground the wind flows smoothly over and around the form like natural terrain. The climate collage combines these ideas showing wind, sun and rain modulation. Overall, the main concepts incorporated with climate and sustainable design lead to a welcoming and community space for all.

Reactions to Climate

Summer

Due to the gradual change in height the wind moves naturally around the building like it would a hill.

Earth Sheltering

Wind

Rectangular skylights reduce in density as one moves down the slope due to the angles of sun.

Roof overhangs over areas that require constant shade.

Solar Rain Collection

Slanted roofs allow for rain water to collect into a shared gutter and then cistern.

This process is still being studied thus there is no set timeline for the soil to return to ideal conditions.

Envelope Ventialation

Double height spaces allow for stack ventillation.

Double height spaces allow for stack ventillation Low pressure air

POEISIS STUDIO III

Carnegie Mellon University SoA Professor Laura Garofalo Studio Instructor : Tonya Markiewicz

FLOATING WALL

Researching the Tonle Sap Floating villages in Cambodia, I found two housing typologies that were suitable for an area with rising tides in the different seasons. The first being stilted home and then floating homes which utilized inflatable devices and plastic to float. These homes were used to deal with the rising tides of the Tonle Sap lake. However, within these communities there is a divide amongst the residents due to religious and governing factors. Thus, I noticed that there was a need for a common space that could be moved between the villages, with fleixble components that could change in size as well. Thus, I experimented with velcro, magnets and adhesive elements that could allow for something to come apart and then put back together. These parts make up a whole, just how each home on the lake makes up the community. For this scale of the project, magnets worked perfectly allowing each piece to come apart for demonstration, however in further construction I would look to create a hook system that would be more practical.

Combining concepts of modularity and reconfigurability, I focused on creating a wall that could serve as a gathering place, as well as have many other purposes. Meanwhile using the elements of the climate, to both create the space but also offer protection, resulting in an ambiguous and symbiotic relationship.

Floating on the water, my habitable wall, offers protection from the elements through the use of opaque and translucent triangular panels. As seen below, the roof system directs precipitation and any water towards the sides of the structure creating a curtain of water, thus creating unique spaces within the structure for the viewer to enjoy.

Final Model on Base made of foam, paper and glycerin as water

Initial Idea based off of Floating Homes in Tonle Sap Initial Idea based off of Stilted Homes

Chong Khneas

Siem Reap Chong Khneas Kampong Khleang

Key: 200 miles 0 100 50 25

25 FALL 2021

Vietnamese Migrants

Cham Muslim Residents

Cambodian Residents Chinese Migrants

POEISIS STUDIO III : FLOATING WALL

Mekong River

Average Lake overflow

The Cambador Mountain Range is located near by resulting in the elevation increase.

The lake’s size, length and water volume varies considerably over the course of a year due to increased precipitation during monsoon season and flow reversal in the Mekong Basin.

Minimum lake level

Eesha Nagpal

Section of Tonle Sap Lake showing topography and water level analysis.

12 meters 14 meters

Monsoon Season: August to January

The floating villlages move toward the deeper sections of the lake and the stilted homes remain during dry season.

2 meters

Dry Season: February to June

POEISIS STUDIO III : FLOATING WALL EESHA NAGPAL

Plan Cut Drawing showing Human Usage, along with airflow and shadows from Summer Solstice.

Due to the fluctuation of the river levels, and rain fall creating a space that would protect from the climate, allowed for a roof system of pitched and angled triangles that would let the rain roll off onto the lake instead of the deck. A transluecent and waterproof material, also makes sure the space can still get enough light. Likewise, thinner fabric and thing wood slats along the triangular walls allow for a breeze to pass through, as it is crucial to stay cool in the hot summers that Cambodia expereinces.

As seen in the section, people can come sit on the benches created in the corners, while children can play on the different platforms, as the floating wall glides across the water connecting the communities. On the next page, one can see the various ways the strucutre can be put together or broken down for the different needs of the community, from fishing, to storage, lounging and even performance events. The modularity and reconfigurability of this design will strengthen the connections between the people and community.

Arial View of Final Model

Side Elevation of Final Model

Section View showing human usage, airflow and precipitation modulation

POEISIS STUDIO III : HABITABLE WALL EESHA

Rest and Storage: Theater / Stage:

Separation of Modules: Fishing:

Community Gathering:

FOUNDATION STUDIO II

48200-1

Carnegie Mellon University SoA Professor Gerard Damiani Studio Instructor : Jose Periera

A HOUSE WITHIN A CITY

The city of Old San Juan, Puerto Rico is characterized by its dense narrow streets and old city walls that carry historical connections. The island was once a strategic port for the Spaniards and thick walls and forts were built to protect it from invaders. Majority of the forts and walls remain standing today creating a division between the land and the water, as seen in the maps.

The site, highlighted in gray, is located within these walls at 109 Calle San Sebastian sitting at a high point of the island at the intersection of Calle San Sebastian and San Jose overlooking Calle Mcarthur which extends towards the ocean.

Calle San Jose creates a primary axis that begins at the Capilla del Cristo, which creates a grounding condition that also sets up the primary axis that moves up the slope towards the site. Along the way San Jose intersects with Calle San Francisco creating a transversal that highlights the Plaza de Armas and the Catederal de San Juan Batista. The following intersecting streets sets up a rhythm and series of compression and release that is justified by the light intersections and plazas and narrow dark streets.

Old City Walls and Forts

San Juan, Puerto Rico Overall Site Location of Site

As a result of these characteristics in the city, the house is set back into the site, with the creation of a covered patio that is adjacent to a narrow entryway, that is then released into a courtyard. This release then leads to two entrances that represent the primary and secondary sequence. The entrance on the right travels through a narrow passageway into the kitchen and living room, which then leads out into the back garden. Once crossing the transversal condition through the trees one can then exist onto Calle Mcarthur, a path to the ocean. Meanwhile the primary sequence lies on the primary axis that runs up a set of stairs to the roof. Influenced by the cities primary sequence, in order to reach this axis one must cross the transversal across the courtyard and then ascend up to the rooftop. Moving up the floors there are bedrooms and private spaces to the right of the axis that extend into balconies facing both directions.

City in Section

This rhythm seen in section corresponds to the topography of the city as well, as the site rests at the top of the slope and allows for a view of the ocean ahead. Considering this, the section depicts the steady accession that culminates in a pool that connects one to the ocean.

Likewise the city gridding that results in compressed streets and then bright openings at intersections, creates a pattern that is used in plan to create a sequence that allows for the home to feel as if the city continues within the home. Similarly, transaxial conditions are used to guide the constituents through the home, creating the primary and secondary sequence.

City Gridding

Compression and Release in Plan

Primary Sequence Axonometric

Using mass to fill the primary sequence one can see the ascension the leads to the ultimate view.

Topographic Connections in Section

FOUNDATION STUDIO II : A HOUSE WITHIN A CITY

Primary Sequence Perspective Views

The process of moving upwards begins on the street, allowing one to move into a compressed zone, be released and the compressed again to finally be released at the top. As one moves upwards the view of the sky gets larger enticing one to continue and to finally be treated at the top with a pool that extends into the view.

A house as a small city

branch out from head of the start to branch seeds on the grid represented The pathway strawberry, and this One can also hollowed center, as it key to make

Strawberry

Carnegie Mellon University SoA Professor Eddy Man Kim

Strawberry fleshes are heart shapes, that branch out from a common root. The leaves at the top and head of the strawberry provide apoint fro where the veins start to branch out towards the seeds. The location of the seeds on the exterior follow a repetitive organization with a grid represented by the location of the common unit that I derive. The pathway of the seeds fan out from the core of the strawberry, and this can be best seen when the fruit is cut in half. One can also observe a change in density within the hollowed center, as it tapers down. These kinds of differentitaion is the key to make a strawberry.

GENERATING MORPHOLOGY

We were tasked with selecting a fruit or vegetable and find procedural cues from it to develop a system that results in a matrix of generative forms and explore a range of topological and parametric systems using Rhino. Strawberry fleshes are heart shapes, that branch out from a common root. The leaves at the top and head of the strawberry provide apoint fro where the veins start to branch out towards the seeds. The location of the seeds on the exterior follow a repetitive organization with a grid represented by the location of the common unit that I derive. The pathway of the seeds fan out from the core of the strawberry, and this can be best seen when the fruit is cut in half. One can also observe a change in density within the hollowed center, as it tapers down. These kinds of differentitaion is the key to make a strawberry. With this information, I extracted a pattern and created a set of rules to develop a system.

Eesha Nagpal / 62.123 DIGITAL MEDIA II ASSIGNMENT 3 - 3 GENERATION

ASSIGNMENT 3 - 2 GENERATION

Initial Sketches

Disecting the Strawberry to find Systems

Logic of Operations in Rhino

Carnegie Mellon University SoA Professor Doug Cooper

VALUE, SHADOW AND COLOR

Value defines how light or dark a given color or hue can be. Values are best understood when visualized as a scale or gradient, from dark to light. The more tonal variants in an image, the lower the contrast. When shades of similar value are used together, they also create a low contrast image. Given this information and teachings about shadow and color, we were given the prompt to draw places on Carnegie Mellon campus with different mediums from charcoal to pencils.

Subtractive Charcoal of Detailing in Fine Arts Hall

Colored Chalk Pastels of Stairwell

Colored Chalk Pastels of Fine Arts Hall

Colored Chalk Pastels of Hamershclag Hall

Black and White Pencils of Fine Arts Hall

MATERIALS AND ASSEMBLY

Professor Gerard Damiani

CONSTRUCTION TECHNIQUES

Learning examples of these methods in lectures, students were tasked with modeling these systems in Rhino and creating axonometrics or sections. Below is an Axonometric of a Foundation System, while the follwoing is a Wood Platform Frame.

PLYWOOD ROOF SHEATHING

2X12 ROOFFRAMING

DOUBLE TOP PLATE

ROOF HEADER

2X6 TRIMMER STUD

PLYWOOD FLOOR SHEATHING

2X6 CRIPPLE STUD

WOOD HEADER

PLYWOOD WALL SHEATHING

2X6 WALL FRAMING

2X10 WOOD JOISTS

SOLE PLATE

SILL PLATE

SILL SEAL

TERMITE BARRIER

ANCHOR BOLTS

FOUNDATION SYSTEM

Carnegie Mellon University SoA