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TABLE OF CONTENTS

FUNDAMENTALS ONE

FUNDAMENTALS TWO FUNDAMENTALS THREE

STUDIO ONE STUDIO TWO

STUDIO THREE

STUDIO FOUR ELECTRONIC DESIGN


[statement of purpose]

Within Architecture there has been a challenge in creating the “imagined” and creating the “practical.” I feel that there is a need to create more of the “imagined” with a synergy of practical and imagined solutions. As technology progresses so should the thought of construction from materiality to formwork. Looking at works by architects such as Tom Wiscombe, Coop Himmelblau and Zaha Hadid, all of them strive for creating the imagined and still in some way making their work practical. I’ve also have done research and design in other fields to see how it applies to those fields. One of my favorite is product design. Following the ideology of Dieter Rams, an architect turned industrial designer, the principles he institutes allows for imagined products to be created as long as they are simple and do not take away from the user experience. I value the idea of creating new things but not taking away from the user experience. Apple has done a great job with the tablet market when they first introduced the iPad. It was a magical device, simple in construction and simple in user experience which then equaled an unparalleled hold on to the tablet market. Thus forth my aim is to bring a combination of great hand craftsmanship and digital design to make a peerless attempt at making the imagination practically come alive.


FUNDAMENTALS

ONE


[analysis and transformation of buildings] The objective of this exercise is two fold. First, to introduce analysis as a tool for understanding fundamental relationships in buildings. Unearthing fundamental relationships develops one’s fluency in the language of Architecture. Second, it is that through this exercise one will introduce individual ways of working including how one defines problems and how one structures a coherent approach for achievement. 8

James Stirling Engineering Building Leicester University Leicester, England


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10


11


14

The Catfish for the most part was used as the main prevailing precedence for this project. The Catfish is an indigenous fish to Savannah that is very instrumental in the aquatic wildlife. Using the catfish, in my opinion shows the appreciation to the site and to the city as a whole. The overall “catfish design” supports my whole idea of having a half-open and half-closed space. With the space that is open I plan on using it as a courtyard space for an outdoor activity space. The closed space however will be the exhibition space/ office and building space and café space.


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16


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art +

takashi

murakami


+ music

‘bestfriend’ by atia burgos

Artist: Atia Time: 3:01 Producer, Arranger,Composer: Isaac Leverett Song: Bestfriend Key: Gm

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dieter rams’ 10 principles for good design was used as a precendent in creating simple yet complex functional high fidelity spaces that had form deal with function in a synergenic manner.

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[source: bang-olufsen.com]

bang & olufsen

bang & olufsen sound qualities were used in part for their high fidelity sound reproduction abilities. Creating a space without the use of 90ยบ angles eliminate bass trap creation which would hinder a space not acoustically sound.


high fidelity soun

[spatial transposition] In order to find the spacial transposition in this piece of work I used 3 music oscilloscope to show the intensity and other ranges within the music. In finding the floor plan I connected any point that was more significant than .25 going up or down. This then created the floor plan which led to the elevation.

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nd reproduction I created this Synesthesia Sonogram in ordinance with the sonogram above to show the listener what I see when I created/listened to my piece of work. Showing this with the different sized circles and the colors show how the notes affect my perception of a piece of music. Within the diagram it shows that there were 19 instruments used to layer the sound to then create a full effect. That is particularly the philosophy I use when creating a piece of music. The rhythm of the piece had a fragmenting quality that would chop up the chord structure of the music that was fluid. The effects used on the sounds and through the use of synthesizers produced a “celestial� sound that has an enchanting quality as the song is best friend who has become an infatuation.

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27


[photo from Mark Pariani]


The poet Dylan Thomas had a tiny shed hardly wider than his arm span in which he sat before a window overlooking his favorite spot and wrote. Artists generally set up their studios in very specific ways, ways they have learned empirically that inspire them and focus them. From the practical, keeping tools orderly and having appropriate light, to the phenomenal: the materials, colors, the organization, and proportions of the space itself. They constrain or choose their spaces whether consciously or subconsciously with the goal of inspiration in mind. We know from analysis that having a window with a view, natural light, and fresh air does not distract but actually enhances and promotes thinking. Similarly, when we read a good book, we like to set ourselves in a good spot from which we can occasionally look out and ponder the words we have just read, to ruminate upon them and garner knowledge from them. But there is a balance in this view: if we see too much activity we will be distracted but if we have too little to look at our experience and learning will not be enhanced.

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Within my reading space I wanted to take advantage of the wide open space that Forsyth Park evoked. In doing so I took my favorite reading space, the airplane and based it off of mystery, stealth and an unbridled reproduction of sound through planes that are not 90 degrees that create bass traps. The overall flow of the design was based off of Pugachev’s Cobra, a super manueverability action that can be seen performed by Russian aircraft such as Sukhoi Su-27’s as well as MiG-27’s. 35


36


[site analysis with John Kirsimagi and Steve Chappell]

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Within the social context, our group was also able to find out where some of the attractions/ places that are available


[site model with John Kirsimagi and Steve Chappell]

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Within the concept of Ego, I was able to dissect the meaning of ego, super ego and the id. From there I was able to go further into the spaces meanings from defensive to subustitution. From there I was thinking of using the triangle and having a small narrow walkway underground symbolizing the id as Freudian psychology explains it as being an almost inaccessible, deep, dark area of a persons personality. Initial Floor Plans with the spaces created and named.

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41


section

west

north


detail section

east

south


ground floor 44


first floor

45


STUDIO II

COLLEGE PARK MARYLAND

YANG

WINTER 2011


I wanted to base the whole annex off of the priniciple of Movement = Work. In this sense because much of the exterior of the building will be exposed, as well as the main circulation artery, the movement will imply work, or an actual working building as people are seen working and moving.

48


In designing the massing for the building I thought of the idea of “Extruding the Cube.� In a sense, the annex form is based off of the existing architecture building that has these cube like studio spaces. Through the use of extrusion will there also be properties of additive, subtractive, intersecting and interlocking.

movement = work Within creating a concept for the project, I began thinking of the use of projecting images. As many things affect the landscape, a projection of images on a type of monolithic surface could capture the eyes of those passing by, axiomatically engaging people with the area in a visual manner.

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ground floor

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first floor

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STUDIO III

SAVANNAH

JAMINET COLLABORATION STUDIO

SPRING 2011


[collaboration studio with Steve Chappell]


Massing and volume of the form are communicated through means of site and a proper examination on the typological precedents. This is seen through the like of existing buildings scale, cohesion to building code, programmatic requirements and as well as engaging the corners and entry creating a visual and experiential consummation. Through this the form then presents itself responding to site through maintaining a presence on both Drayton and Charlton street which then helps to restore the missing figure ground relationship of the urban fabric. The difference in height that provides separation via clusters within the overall mass are influenced by building code and help with articulating the program division. The buildings total height and placement of the aperture are influenced by the existing house while the massing of traditional Savannah Row homes. The mass begins to elevate itself in a near “airfoil� shape informing of an elevated lobby with covered driveway for pickup and drop off into the hotel.

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The surface to strand method transforms the surface structure into a frame or vector structure. Some of the strands vary in thickness The surface strands are located at points where aperture and structure are required in the programmatic arrangement of the building. Through some instances, some strands are longer than others while others don’t necessarily adjoin to the surface but are pulled through and around the aperture and create part of the structure system (floors, columns, walls and beams.) The strands are directly extruded from the surface following the winding contours, informing the surface of how the apertures are not only indivisible from the strands but the surface as well creating a network of such through the semi dependent systems. The placement of the aperture is solely based on program, noise, desired views and luxury. This placement was then able to dictate through program massing the particular interior arrangement of the living spaces per apartment unit. The form of the structure advances through the existing buildings back wall and fills its footprint leaving only the facades untouched in concordance to the historical regulations.

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suite entry

lobby

living/ kitchen

office

restaurant

suite 1 2000  sq.  ft. dining

kitchen lobby/ reception

suite 2 1000  sq.  ft. br

suite 3 1000  sq.  ft. br

br m. bedroom living/ kitchen

living/ kitchen

m. bedroom

br

living/ kitchen

m. bedroom

office

living/ kitchen

m. bedroom

suite 4 1000  sq.  ft.

bedroom br

br br

br

parking

office/ shipping

suite 1  parking

ground level

4’ 0

16’ 8’

second level

third level


4’

longitudinal

transverse

16’

0

8’

2’

8’

0

4’

br

m.bedroom

br

bedroom suite 6 1000 sq. ft. living/ kitchen

suite 5 1800 sq. ft.

m. bedroom br

br

br

second level of suite

living/ kitchen

suite 1 1800 sq. ft.

br

first level of suite

2’ 0

8’ 4’

isaac leverett steven chappell prof. jaminet spring 2011 arch 303


[photo by isaac leverett of pennsyvania & i street]

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Materiality seemed to be a strong point of what generates the urban fabric of Washington D.C. Sketching while at the site, I had a vision of creating an interesting envelope that could only be experience from the sidewalk. Scale is another big concept within creating in the city. Designing too small would not make the structure stand out and creating too large would wash out everything else.

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[aerial view of site in context]

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As a city that has some deep roots in music, the concept was to bring the music from within Washington D.C. out. Focused in between Pennsylvania Avenue and I Street, there was a need for a level of “ascenscion” into the following blocks. Based off of music terminology and theory, the aspect of a “crescendo” or climactic rise was suiting. Focusing views down Pennsylvania and the other corridors, views were framed as the onlookers gaze outward. The program which involves an auditorium, outdoor venue space and recording studios in addition to the hostel deems perfect as an extention for the George Washington University music program and those alike that enjoy a combination of music and people. 70


ground level

first level

72 north elevation

east elevation


second level

south elevation

west elevation


longitudinal section

cross section

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recording studio wall section

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ELECTRONIC DESIGN

RHINOCEROS GRASSHOPPER

MAYA 3DS MAX

PARACLOUD GEM 4


INTRODUCING.

STONE

tablet


“inspired by a wacom tablet used by illustrators and a need for mobility, power and ease of use wrapped into one a light form factor; the stone.� 84


[created with Isaac Woodbury University]

Appiah

of

85


[amphibious form] The inspiration for this form came from lifting a sheet of paper at one corner and wondering what it would look like across a lofted surface. What came out of it was an amphibious form that is supported by a glass envelope and truss system in between.


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[panelized form] This gist of this particular assignment was to create a panelized form based off of a square and a tubed “X” along with a truss system created in Paracloud Gem 4. The form started off as a mirrored “shell” with the truss system fitting in between, being practically “sandwiched” between the shell. 88


89


CROSS SECTION


NING [laptop stand]

The laptop stand idea came about from having a Macbook Pro that constantly had a need for additional cooling while in the closed position. Researching current stands showed that this upright position was the best based on the current model I had. Within the research I quickly noticed how all of them were so banal in design. This project allowed me to create one that I liked taking in part cooling, wiring and presence next to my external monitor.

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Using Maya as a way to push the envelop in installation design. This playground piece to be used in the Sidewalk Arts festival comprised of something that children could climb, crawl, hang and overall interact with in every way possible. The fluidity of this surface allowed for that happen while still being an interesting and nearly “alien” in its form letting the imagination run wild for the children experiencing the piece. Construction wise I thought of using the method of auto collision repair. This would work with having a rib like structure flowing in an “egg crate” like fashion supported by a strong spine. Then squares of aluminum would tile the surface and epoxy filling in the cracks then being smoothed out. Highgloss yellow paint with a matte undertone could also be used to show homage to SCAD as well as being something to stand out in the vastness of Forsyth Park.

Isaac Leverett Architecture Undergrad Portfolio  

Savannah College of Art & Design Architecture Undergraduate Portfolio

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