Undergraduate Portfolio August 2011 - December 2014
Elijah Aaron Wood This material may not be published, broadcast, rewritten or redistributed in whole or part with out express written permission.
I am interested in architecture as a field of art and design that is manifested in reality. It is expressive in powerful ways and constantly amazes me. My view on architecture is not the correct one as I do not believe there is a correct style. It simply is. As architects, we have the power to influence people's environments and alter how they interact with their surroundings. Being a control freak comes in to good use here, because I like to be able to develop and define rather than translate or interpret. I want to constantly be able to affect the field of architecture and the people I work with because they do the same to me. I love working in product and industrial design, as it relates to many characteristics of architecture such as; joinery, materiality, manufacturability and aesthetics. My recent experience dealing in product development has taught me much about design at the interactive human scale rather than the inhabitable human scale. The ability to relate the characteristics of occupancy to hand-held utilitarian necessities can prove to enhance the quality of a space as a whole. This selection of projects not only represents technical skills, but theoretical explorations of architecture and design.
Elijah Aaron Wood
Curriculum Vitae
Education 2011 – Current Texas A&M University, Bachelor of Environmental Design - Architecture Magna Cum Laude GPA: 3.77 Fall 2013 Barcelona Architecture Center Study Abroad Program 2010 – 2012 Wharton County Junior College Concurrent Enrollment 2008 – 2011 El Campo High School Magna Cum Laude
Scholarships and Honors
2011 – 2015 2011 – 2015 2012 – 2014 2013 – 2014 2013 – 2014 2012 – 2013
Houston Livestock Show & Rodeo School Art Scholarship Grady S. Appling ’19 Scholarship Texas Top Ten Percent Scholarship Norman & Renee Zelman Trust Fellow Texas A&M University, College of Architecture Student Scholarship Harold L Adams ’61 Endowed Scholarship
Related Work Experience March 2014 – Present Product Designer TEEX Product Development Center May 2014 – August 2014 Summer Design Intern re:3D
Collegiate Extracurricular Activities
2011 – 2015 2011 – 2013 2012 – 2013
American Institute of Architecture Students Aggie Fish Club, Freshman Leadership Club Student Counselor Impact Camp
Contact Information Elijah Aaron Wood 979.635.0089 elijah_wood@live.com
1604 Ellwood St. El Campo, TX, 77437
elijahaaronwood.wordpress.com
Contents
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The Texas Architecture Center Commentary on Vehicle, Architecture, and People Professor: Craig Babe
Team: Matthew Kohman & Elijah Wood
This project began as a provocation of architecture and the vehicle interacting together. The site, 1000 Clay located in Houston, Texas exists currently as a parking lot only occupied between the hours of 9AM and 5PM when the workforce floods the area, only to flee the city in the evenings. The current state of commuting is possible through automobility, giving people nodes that segement their lives by pleasure, work, and home lives. The Texas Architecture Center provides a seamless travel experience whereas the occupants drive their cars up ramps that embrace, penetrate, and ultimately conquer the programmatic functions. The people exit their vehicles directly to the threshold of the needs that they have traveled to visit. This dissolves the experience of arrival to the building by carrying visitors to the exact moment of stepping into the building. Visitors that approach from the street walking are greeted by a large lobby that connects the houses a gallery, exhibition space and lecture hall. The main public program immediately presents itself to the occupant to allow for a direct public connection to architecture and architects’ services alike. My specific role in this project was the development of the plans and contributions to the section drawings. I also rendered and digitally modeled the project’s structure and form both digitally and for the analog model. The detail drawings and exploded axonometric shown are my work in conjunction with consulation from my partner.
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Nolli Plan(R)
Analog Model(R)
(L)Exploded Axonometric
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R2 1 11’
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R3 3
13’
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24x24” - 12’
27’/36” RB
RC
33’/48”
25’/40”
24x24” - 12’
W 12x24”
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25’/40”
W 9x18”
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23’
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92’/48” 24x24” - 12’
WPG 9x18”
10’
WPG 12x24”
7’
10’
25’/40”
7’ 35’/40”
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24x24” - 12’ WPG 12x24”
WPG 12x24”
120’/48”
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27’/48”
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10’ H’
24x24” - 12’
10’/48”
SW 12”
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27’
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92’/48”
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WPG 9x18”
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27’/48”
25’/40”
33’/48” W 12x24”
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25’/30”
24x24” - 12’
WPG 12x24”
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WPG 12x24”
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25’/30”
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33’
10’/48”
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27’/48”
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24x24” - 12’
120’/48”
10’/48”
27’/48”
RF
R6
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10 10’/48”
13’/30”
92’/48”
92’/48”
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5’/48”
27’/48”
27’/36”
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33’/48”
19’/36” 10’/30”
24x24” - 12’
10’
17’
13’
14’
6’
W 12x24”
8x8” HCS - 16’ typical
38’/48”
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27’/36”
19’/36”
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5’
10’/30”
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W 9x18”
27’/48”
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TB 20’/30”
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24x24” - 12’
W 9x18” WPG 9x18”
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20’/48”
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38’/36”
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19’/48”
11’ 18’/30”
13’
W 9x18”
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25’/48”
25’/48”
27’/48” 13’
19’/48”
TB
RC
20’
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19’/36”
24x24” - 12’
10’/48”
18’/30”
10’/48”
27’/36”
10’/48”
13’/30”
13’/30”
92’/48”
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10’/48” RA
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46’/36” 13’/36”
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26’/30”
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26’/30”
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24x24” - 12’ W 12x24”
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33’/48”
10’/48”
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27’/48”
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46’/36”
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21’/30”
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26’/48”
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36’/48”
21’/48”
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RF
11’
25’/30”
38’/48”
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14’
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75’/ 48”
26’/ 36” 20’/ 36”
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38’/30” 18’
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26’/ 36”
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29’/36”
75’/ 36”
29’/ 36”
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36’/48”
20’
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38’/48”
26’/30”
92’/48”
13’/ 36”
26’/36”
13’/ 36”
26’/36”
36’/36”
RC
D’
47’/48”
10’/48”
10’/48”
38’/36”
26’/48”
13’/ 36”
13’/ 36”
RB
26’/30”
74’/36” RA
25’/ 36”
26’/30”
92’/48”
47’/48”
p
GALLERY
(L
R2
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92’/48”
10’/48”
62’/ 36”
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26’/30”
18’/ 36”
25’/ 36”
92’/48” 20’
13’
13’
10’
17’
26’/30”
46’/ 48” RB
13’
26’/ 36”
26’/30”
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26’/48”
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R1
Fifth Floor Plan(R) This plan illustrates the “houses” of prgram that combine to weave public and private space in the builidng..
14’
6’ 10’/48”
21’/ 36”
11’ 36’/ 48”
26’/ 48”
RC
29’/ 36”
26’/ 48”
45’/ 36”
26’/ 36”
W 9x18”
W 12x24”
20’/ 30”
36’/ 48”
26’/ 48”
20’/ 36”
W 12x24”
20’/ 30”
20’/ 30”
W 9x18”
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W 12x24”
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90/ 48” 18’
36’/ 48”
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21’/ 48”
W 12x24”
W 9x18”
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W 9x18” W 9x18”
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W 12x24”
W 12x24” SW 12”
W 12x24”
25’/ 48”
G’
W 12x24”
W 12x24” W 9x18”
55’/ 48”
26’/ 36”
55’/ 48”
5’ 8’
W 12x24”
W 9x18”
21’/ 36”
10’
F’
W 12x24” W 9x18”
W 12x24”
25’/ 36” E’
W 9x18”
W 9x18”
29’/ 36”
D’
RD
W 12x24”
W 12x24”
W 12x24” W 12x24”
H’
(L)Longitudinal Section
90/ 36” RF
62’/ 36”
45’/ 36”
62’/ 36”
25’/ 36”
25’/ 30”
90/ 36”
45’/ 48”
25’/ 30”
45’/ 36”
46/ 36”
25’/ 30”
RE
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Detail Drawing Studies(R) The details in this project highlight the complexity necessary to achieve the ability to create large spans for the vehicle circulation, and also the interstitial glass barrier between the vehicle and the occupants. 4” Structural Mullion Embedment Plate CIP Concrete Slab
1/2” Asphalt Finish 1/4” Metal Decking
Slab Cap and Vapor Barrior
W12x24
Pre Fabricated Structural Angle Mullion
18”x4’ Plate Girder
4” Structural Mullion
Embedment Plate
CIP Concrete Slab
1/2” Asphalt Finish
1/4” Metal Decking
1/2” Double Pane Low-E
Pre Fabricated Plate Girder 1 1/2” Steel Plates
1/4” Bead Weld
18”x38” Diagonal Plate Girder
The New Rauschenberg Museum Park-Museum Hybrid Typology for Industrial Dallas Professor: Craig Babe
Team: Misael Gonzalez & Elijah Wood
The New Rauschenberg Museum establishes a new hybrid park-museum in the otherwise unrelieved area that is 240 N Riverfront Blvd. The Trinity River Corridor and Klyyde Warren Park both sought regenration throguh the application of green public space. The works of Robert Rauschenberg (1925-2008) featured in the gallery focus on the artist’s Combine series and an assortment of collages. The New Rauschenberg gallery galleries are elevated aboce a reduced footprint that maximises green space and amphasises a central courtyard for visitors to be able to enjoy and use as a new gathering place in this emerging former industrial area. The facades of the ground level are treated with sructural glass that produces the illusion of levitation. The ground level space is given to the new park located south south-east of the site in the existing utility easement and connects to the Trinity River Corridor. This transforms the previously unused space into a park that the public can use as a node of refuge for reflection after viewing the pieces on display or as a path to pass through. My role in this project consisted of rendering and modeling. Also I produced the site drawing, plans and sections. The sketches and concept plan illustration are my work as well.
Works of Robert Rauschenberg that inspired this museum and influenced the urban thought and dialouge behind the project. (L-R : Express, Barge, Rebus, Bed, Retroactive 1. )
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Parti Diagram (A) The parti is encompassed by the respect for the site presented in the brief. By exploding the footprint of the servant spaces, we freed a majority of the site for a public park that connects the theater to the easement, using the site as a path. While the galleries are elevated above levitation over the site.
Nolli Plan(R) The site connects to the Trinity River Corridor project by an utility easement on the south south-east of the site. Immediately contextualizing the project to the urban scale of regenerative Dallas projeccts currently underway.
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Th co be pa cu in th
Site Plan(L) The surrounding neighborhood and context. To ensure a connection between the theater the museum and park creates a cohesive addition to the current environment currently present in the neighborhood. Thus enhancing the current conditions.
Gallery Section(B) Heirarchy of spaces: the public park, the closed introverted “gasket� second layer, and the eccentric form of the gallery. This highlights varied interpretations and applications that Rauschenberg employed in his art..
F G
Floor Plans(L-R) Ground Floor, Service Plan, Gallery Plan
Gallery Perspective(R)
F13-Blurma Democratic market at a key node of paths in Barcelona
Professor: Jordi Mansilla Ortoneda Team: Callie Friesenhahn & Elijah Wood
Impressionist paintings often invoke an interpretation of an object or situation in ways that take advantage of excessive methods that comprise one total composition. These processes range from line work, stippling, and man means of creating an interpreted whole from a group of objects. The diagram maps an excessive index that obfuscated the information present at the site, thus blurring it. This blur can be interpreted and realized through means of redaction and extraction to translate the excess information into a realized method of operating through reverse engineering of the mapping diagram. Reinterpretation in an architectural reality to take advantage of the blurrred affect allowed for the materiality, surface, and phenomena of the uilding to operate is blur. The excessive process produced a blurred diagram, thus producing an architecture that dissolves an expected diagram - architecure relationship and dissolves the traits that allow the architecture to distinguish itself from the process. My role in this project consisted of aiding in the design of the initial mapping of the site. I also modeled and rendered the project for presentation. As well as design of the structural system and the overall aesthetics of the project. My partner and I together produced a blurry archcitecture in drawing, model and rendering.
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operative MAP
operative MAP
elijah AARON WOOD callie RAE FRIESENHAHN
elijah AARON WOOD callie RAE FRIESENHAHN
operative MAP
operative MAP
operative MAP
elijah AARON WOOD callie RAE FRIESENHAHN
elijah AARON WOOD callie RAE FRIESENHAHN
elijah AARON WOOD callie RAE FRIESENHAHN
Place From a Path The site situated between two different urban fabrics in Barcelona, Spain is used by people to commute from one neighborhood to the next. We felt it important to implement an open market that could democratically be used as a public space throughout the entire year. People can use this place to occupy public functions suck as walking, biking, and areas for vendors to sell goods.
This mapping process consisted of an index of trees on the site, spatial relationships of each group of trees, and the shadows at peak market traffic hours in both the winter and summer.
Circulation Diagram(R) The circulation paths vary throughout the year depending on season, time of day, and the occupants’ disposition. This democratic market, though inserted as a foreign body, acts as an amoeba by altering function through shadow projection.
Natural Phenomena The projected shadows of the canopy will move across the site during the day constantly changing and shifting at each moment. The projected shadows between 14:00 and 16:00 throughout the summer months are identified as the most important times for heat control and atmospheres of the canopy.
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Tr fo pe el
glass panel size ranges from an area of .5-1.5 square meters.
framing length depends on glass panel size.
plate side lenth ranges from 20-25cm. plate width is 3cm.
stud width is consistantly 3cm. stud length is 20cm.
rods, again depending on color, range in length from approxiamately .5-2m
concrete enveloping to meet ground
rods, depending on color, range in diameter from app. 4-6cm.
Excessive Units - Combined Translucent rods act as fiber-optic filaments channeling sunlight into the pavilions interior creating a desely packed forest of filaments, a dynamic network of rods that catch sunlight and dispersing light throughout the interior while also performing structurally, distributing loads across thousands of fragile rods to give stability through the excess vertical elements.
DELAM Professor: Gabriel Esquivel Team: Ryan Wilson, Zach Hoffman, Elijah Aaron Wood, Matt Kohman, Erica Duran. T4T Lab Visiting Critics: Niccolo Casas, Eric Goldemberg
The main objective of the design research was to explore the conditions of rhythmic affect—which we called PULSATION— and its spatial manifestation using design processes of Material Senescence that invoke cyclical swerves of decay and gain, juggling abject geometry and material expression. A pervasive aesthetics of Decadence informs the cognition of systems that partake on vital, rhythmic cycles—that which intensifies the transitional nature of all matter, its process of Senescence as positive feedback moving organizational patterns and their transformation through time-based operations. Decadence as Senescence defines a moment in which the organism (biological or social) tends to lose its integrity whereas the parts acquire independence; this particular state doesn’t forcedly bring about the death of the organism but a redefinition of it. Senescence and Decadence constitute an instance in Dynamic Systems redefining the internal and external equilibrium, a moment where the whole starts crumbling before becoming a new whole. My role in this project consisted of rendering the package of deliverables. As well as the modeling of the third pavilion and the site. I also made contributions to coloration of all pavilions and the site. Scripted structural optimization of a carbon fiber tube sub structure that generated denser geometry at key points of stress. Final conceptual structure 3D printed. The matters of fact, structure, are embedded in the object allowing matters of sensation, senescence and pulsation to affect the occupant.
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Primary Pavilion Flor Plan(R) The ground folds and delaminates from pavilion out inviting visitors towards apertures created for entry.
Volume Sections(R) Section studies highlight how the delamination of layers creates voids to be occupied.
Pavilion Renderings(R)
Analog Model Images The site was crafted using a CNC router and foam. Each of the pavilions was prototyped using 3D printers and embedded into the site to model the transition between ground and object.
Ob-Tongue Yohji Yamamoto Fashion Pavilion
Professor: Gabriel Esquivel
Individual Project
The Architectural lick is a gesture of sensual expressive form that bring the visitor into the envelope of the building. Procession plays a key role, inviting people in, seducing them to enter. The object stands as a layered series of formal expressions; transparent, rigid and opaque, to colorful and formally sensual. As one enters the throat of the building they proceed to travel to the top of the inner organs and explore the environment descending through each of the display spaces to explore the work of Yohji Yamamoto. This exploration was inspired by Sylvia Lavin, Carolyn Butterworth, Oscar Niemeyer, The Rolling Stones and others that seek sexual expression through architectural manifestations and art.
Series of illustrations and works that inspired the development of this project and the eventual outcome at the conclusion of this studio.
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Ya th
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Basement Floor 1/8”-1’0
2nd Floor 1/8”-1’0
1st Floor 1/8”-1’0
3rd Floor 1/8”-1’0
Floor Plans (A) Yamamoto fashion pieces ar edisplayed and sold in areas of soft expression pushing other vending goods for the perimeter of the project along the rectilinear walls, letting visitors focus on the works of Yamamoto.
Pattern and Gesture (R) The applied pattern to the skin gestures towards movement and the senual relationship of the occupant to the fashion pavilion.
4th Floor 1/8”-1’0
Exterior Articulation (L) The graphic facade pattern enhances the movement of the eye across the surface, whilst also obsuring the interior of the pavilion.
Analog Model Studies(L) These initial prototypes explored the use of fabric as a means of communication for the areas where sensuality is exuded and spills away from the building.
University Guest House Campus Revitalization and Housing Professor: Koichiro Aitani Individual 5-Week Assignment This study explored the depth of facades and how the interior-exterior relationship plays a role in semi-private guest rooms. This guest house is immediately recognizable by an exposed structure of quadruple beams and columns that interlock forming a three dimensional matrix that the program then exists within. The rooms are slid into the grid with connecting circulation and support spaces that ties the composition together. The rooms are highlighted by floor to ceiling windows that lead out to the semi-private patios that foster conversation and cultural exchange between the renowned international researchers coming to Texas A&M University for their work. This project was conducted in a single summer session at my university in a fast paced environment handling deadlines and repid project development. Every decision was key to moving the project forward to provide a complete design in the time given.
Perspective (L) Housing units existing within a rigid quadruple beam grid. Private space of the building defies the organization of the campus
Concept Sketches(R) Street access from the outside of campus in to the project and then out propelling visitors to meander into Texas A&M’s campus. Site Plan (R) The building is oriented along the typical campus axis, while the rooms exist between this axis skewed by fifteen degrees on the perpendicular axis so as to open the floor plan up from typical orthogonal articulation.
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Transverse Section (L) Light is allowed to penetrate into rooms and the lower levels bringng light into the building creatign more moments where the exterior - interior relationship is ambiguous.
Elevation Studies (B) Illustrations highlighting the depth of each of the facades composed within the project to demarcate skin permeability. Lighter shades are more permeable as glass or openings
NorthElevation
West Elevation
Perspective Section (R)
R)
South Elevation
East Elevation
Floor Plans (L-R) Ground Floor, Guest Level 1, Guest Level 2
Campus Perspective(R)
Interior Perspective(L) Looking upwards while occupying the cafe.
Glazing-Foundation Detail The quadriple columns stand apart from the exterior skin, the glazing is then clipped to the floor slabs and connected to structural mullions along the vertical axis of the wall.
Quadriple Beam Column Connection (R) Conceptual structural connection using the aggregation of the joint and inserting braces that interlock within the joint to provide added structural integrity.