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architecture design

p o r t f o l i o


ABOVE: An ongoing exploration through the blending of two-dimensional lines to create three-dimensional forms. Pieces were drawn with an “architectural style� to help ground the forms while providing continuity among drawings.


TABLE OF CONTENTS RAINY DREAMZ 311 SITUATE DESIGN STUDIO

PUDDIN’ AND THE GRUMBLE 210 REPRESENTATION DESIGN STUDIO

SKATE SELF-INITIATED PROJECT

DRAW SELF-INITIATED PROJECT

POTTERY RETREAT

310 ORGANIZE DESIGN STUDIO

CITY AS CAMP

410 URBANISM DESIGN STUDIO

BURNING VIEWS

511 GRADUATE COMPREHENSIVE STUDIO


SITUATE DESIGN STUDIO ARCH 311 SPRING 2017

RAINY DREAMZ COORDINATED BY ANTHONY MOREY

Through constant and unfiltered translation, the studio aimed to produce an autonomous context, created from something with no inherent context as a way to foster what context itself creates, a narrative for us to experience. To fully experience the narrative which context created, a high-rise building was designed using the same operations and objects in which the context was created.


PROCESS

The studio’s context consisted of a piece of art, a framed, painted, compositional image that contained all the classical signs of representational context and yet it is obviously absent of any real context, a “non-context.” Through reading and understanding context, not through buildings, not through streets but through what we see, experience and through memory. Through analysis, mis-reading, abstracting, and re-reading the object of art and beginning to translate it into architecture’s language - I aimed to find stairs in robes, doors in eyes and hallways in walking sticks. The given image(left) was to be understood as the plan+section+elevation and story for the model constructs. A narrative gave an opportunity to discover the means of bending architecture’s language to find new meanings because once broken it is impossible to revert to its previous state and as such a freshly cut architectural puzzle came to the surface to assemble and break apart once again.

SPRING Situate


G 2017 Studio

CONCEPTUAL PROCESS

ABOVE: Iterative translations of the two-dimensional art piece into the three-dimensional world. Iterative models were constructed in full scale sections of 32�x15�. Methods of editing, overlaying, and narratives were used in an attempt to break the traditional language of architecture.


CONTEXT MODEL

SPRING Situate


G 2017 Studio

CONTEXT MODEL

45”x64” Scale: Relative OBJECT LIBRARY


AXONOMETRIC

SPRING Situate


G 2017 Studio

MODEL PHOTOS

LEFT: Layered axonometric of site to create depth and a sense of disarray. ABOVE: Photos of full scale model. The model was built in sections to achieve the required dimensions of 45”x64” and consisted of 3,400 x-acto blades.


SPRING RAINY D

SECTION AA

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105’

+360’

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+305’

+285’

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+260’

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

5

+240’

6

+230’

+210’

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.76

50

+200’

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+180’

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+145’

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+135’

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+85’

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60 .94

13

+65’

14

+30’ 15

+10’

0’

10’

20’

40’


G 2017 DREAMZ

FLOOR 5

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LEFT: Section through entire high rise building. ABOVE: Plan of floor five, which housed a go-kart track, casino, and ice rink.


SPRING RAINY D

FLOOR 13

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G 2017 DREAMZ

VIGNETTES

LEFT: Floor 13 plan consisting of a movie theater and a casino. ABOVE: Vignettes to capture the experience of the building. Life was brought into the building through the use of hot air balloon circulation.


REPRESENTATION DESIGN STUDIO ARCH 210 FALL 2015

PUDDIN’ AND THE GRUMBLE COORDINATED BY PETER OLSHAVSKY PUBLICIZED BY LINCOLN JOURNAL STAR TEAM MEMBERS: CALE MILLER,RACHEL MCCOWN, MEGAN PETERSON, AIDEN SCHNEIDER

In collation with the Hixon-Lied Preformance Center, our studio was tasked to create inflatable architecture pieces as performance.


PROCESS

In the counterculture of the late ‘60s and early ‘70s, architects and architecture students increasingly turned to inflatables as a way to critique the hardness and uncompromising forms of modernism. While many of these were drawings and conceptual ideas never realized, others were deployed at music festivals and as temporary performances. In an effort to critique traditional theatrical performance elements and to understand architecture as performance, our studio relied on the idea of inflatable architecture. Throughout our process as a team we tested different methods, such as sewing, taping, and heat sealing to enclose the inflatable. To create a more rigid structure, we incorporated an internal structure of either solid planes or planes adhered with graphics. As a member of the team I was tasked to iterate through prototyping creating models at a 1:1 scale. I also assisted in the production of the final inflatable pieces and production of final diagrams.

FALL PUD


2015 DDIN’

PROCESS PROTOTYPES

ABOVE: Three iterations of inflatable cubes. Each tested a different method of sealing and internal structure.


CONSTRUCTION DIAGRAM

FALL PUD


2015 DDIN’

DRAWING

LEFT: A construction process diagram of the final heat-sealed method. Our final design used a Polyethylene vinyl heat-sealed system to create a rigid structure within the opaque blocks. ABOVE: Final drawing for the project.


FALL 2016

SKATE SELF-INITIATED

An attempt to understand the skateboard crafting process. Seven layers of maple veneer were layered, glued, and pressed to form the base shape. The final shape was achieved through cutting and sanding. A graphic was then designed, printed onto paper and adhered with a matte gel. A veneer finish coated the graphic and equipment was purchased to make fully functional.


PROCESS

FALL 20 SKAT


016 TE

PROCESS

LEFT: Process of creating skateboard. A press was created to determine the form of the board. ABOVE: Routing and Sanding of the edge of the board as a finishing detail. A graphic was designed, printed, and adhered onto the board.


FALL 2015-PRESENT

DRAW SELF-INITIATED

Hybrid drawings from my work related and personal travels encapsulating my two passions of architecture and athletics. Various stadiums throughout the country and gain an understanding of the various forms and functions of stadia as it impacts the surrounding urban fabric.


BBVA STADIUM

FALL 2015 DRA


5-PRESENT AW

STADIUMS

LEFT: Hybrid drawing of BBVA Compass stadium in Houston,Texas. ABOVE: Hybrid drawings of various stadiums I have been able to travel to because of work. Nashville,Tennessee (top left) Madison, Wisconsin (top right) Eugene,Oregon (bottom left) San Fransisco (bottom right)


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1 pool 2 pool house 3 main house 4 pottery retreat 5 guest house 6 pump house 7 pondNORTH

0'

200'


ORGANIZE DESIGN STUDIO ARCH 310 FALL 2016

POTTERY RETREAT COORDINATED BY MARK BACON

This project is devoted to reconstituting and refining fundamental ideas about archetypes, by employing particular reconsidered archetypes connected to spatial organizing principles and a limited palette of building elements. In addition to the spatial and formal considerations, the project was required to make a substantial physical connection with the estate wall.


FALL POTTERY

SECTION AA

一 九 八 八 年 十 月 十 日

FLUSH

building flush to existing property wall

STACK

mimic existing property wall

ROTATE

create heirarchy amongst the landscape

PUSH

overhang existing wall

古 松


2016 RETREAT

一 九 八 八 年 十 月 十 日

黑 竹 迎

SECTION AA

一 九 八 八 年 十 月 十 日

VOID

remove section to create distinction between studio and living

OPEN

remove section to create outdoor deck and viewing space

PATTERN

wooden rainscreen to mimic the trees located on site

LEFT: Section through main hallway of the space. The hallways was designed to mimic the linear nature of the wall. Elevated about the wall is a studio designed for rest and relaxation. The studio overlooks the surrounding land. The diagram below is the method on how the form was design.


ELEVATION

FALL POTTERY


2016 RETREAT

PLANS

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THIRD FLOOR 0’

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10’

20’

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GROUND FLOOR 0’

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10’

20’

LEFT: Elevation of front entrance. ABOVE: Floor plans


COLLABORATE DESIGN STUDIO ARCH 410 FALL 2017

CITY AS CAMP COORDINATED BY ELLEN DONNELLY TEAM MEMBERS LEAH DELANEY, SHANNA SATRA

Camps are shapers of cultural identity and as such provide useful lessons for designers. By working across a range scales - from the object scale, to an interior to an infrastructural or urban scale. Through development and deployment of camp logics across a range of scales, this project aims to understand how, histories, logistical apparatus, governance, and temporal qualities influence the built environment.


CAMP DOMESTIC

Camps are ultimately concerned with dwelling from the super short term (one night), to the long term (years, if not decades). Camps reconsider and propose alternative forms of domestic space. The camp domestic may be shaped from highly specific, bespoke objects to standard mass-produced container housing. As our group began to understand the camp domestic we envisioned our camp ​to​​ provide​​temporary​​housing​​and resources​ ​to​ ​people​ ​displaced​​ by​ ​war,​ ​political​ ​upheavals,​​ and​ ​natural​ ​disasters.​ ​Many​​ different types​ ​of​ ​camps​ ​exist​​ under​ ​this​ ​umbrella.​ ​The​ ​ reasons​ ​for​ ​such​ ​diversity​ ​in​​ this​ ​camp​ ​typology include​ ​ differing​ ​levels​ ​of​ ​permanence,​​ scale,​ ​organization,​ ​cultural​ ​ norms,​ ​etc.​ ​The​ ​biggest problems​ ​these​ ​camps​ ​face​​ are​ ​distribution​ ​of​ ​resources,​​ lack​ ​of​ ​infrastructure,​ ​and​ ​ balance between​ ​autonomy​ ​ of​ ​individuals​ ​and​ ​control​ ​of​​ governing​​body. Through our intervention we proposed a series of modular units to be constructed in a way to foster community.

FALL CITY AS


2017 S CAMP

CAMP DOMESTIC

Section A Scale 1/4” = 1’-0”

waste water to sewer

Section B Scale 1/4” = 1’-0”

rain water treatment & storage

LEFT: Figure ground of proposed camp domestic layout. ABOVE: Plan, section, and model of domestic camp space.


CITY DIAGRAM

CITY GATHERING & EVENT SPACE

MULTI-PROGRAM COMMUNITY SPACES

ABOVE GROUND

DWELLING UNIT FLOOR PLATES

RAIL STOP & VISITORS CENTER

BELOW GROUND

ON THE GROUND

HIGH SPEED RAIL

FALL CITY AS


2017 S CAMP

CONCEPTUAL DIAGRAMS

LEFT: Diagram of the layers of the city. All design decisions were based on a written manifestation: ABOVE: Diagram showing the need for connecting units to create a more community based living condition. BELOW: Axonometric of city as it is being constructed.


SITE MODEL

FALL CITY AS


2017 S CAMP

RENDERS

LEFT: Site model detail of unbuilt greenhouse connecting to the rest of the city. ABOVE: Renders of the city.


GRADUATE OPTIONS STUDIO ARCH 511 FALL 2018

BURNING VIEWS COORDINATED BY CHANDLER AHRENS

Burning Man Environmental Research Center is dedicated to researching environmental changes caused by large temporary crowds. Using the idea of spectacle, along with the concept of raumplan, the research center aims to become a beacon to view crowds, while in itself becoming a vessel to become crowded. While viewing crowds and actively being in one, the center provides opportunities to view waste left behind.


FALL BURNING

PROCESS

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2018 G VIEWS

SITE ANALYSIS

LEFT: Raumplan and view diagram of the precedent project, Villa MĂźller. ABOVE: Mapping of the high areas of waste at Burning Man. BELOW: Axonometric with site lines from building to targeted views of wasted along with camp density.


FALL BURNING

TECHNICAL SECTION

EXTRUDE building using existing site geometries

LOFT

for minimal impact on the site

SPLIT

create heirarchy to the Burning Man

BOOLEAN center sphere to create interior patio space


2018 G VIEWS

TECHNICAL SECTION

Burning Man Black Rock City,Nevada VIEW LIBRARY

DIVIDE

forms to create distinction between studio and living

PUNCTURE voids to create views towards trash and camps

SCREEN

polycarbonate screen to create opacity


NIGHT PERSPECTIVE

FALL BURNING


2018 G VIEWS

PLANS


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Profile for Joseph Mueller

Joseph Daniel Mueller Design Portfolio 2019  

Joseph Daniel Mueller Washington University-St. Louis Architecture + Design Portfolio 2019

Joseph Daniel Mueller Design Portfolio 2019  

Joseph Daniel Mueller Washington University-St. Louis Architecture + Design Portfolio 2019