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Judson Garwood


Judson Garwood judson.garwood@gmail.com 972.832.9428


ucla music center zilker clubhouse train station enclosure bim and digital fabrication laguna gloria sculpture museum austin digital media arts center santa rosa secondary school


ucla music center Daly Genik | Summer-Fall 2011

The Evelyn and Mo Ostin Music Center at the University of California Los Angeles was my primary focus during a seven-month internship at Daly Genik Architects in Santa Monica, California. I worked on design development and construction documents for the project which consisted of two buildings: a state-of-the-art recording studio and a second that houses the ensemble hall, faculty offices, and a cafe. Both buildings interface with existing buildings for the music school. The two biggest design tasks were finding a geometry for the buildings that was distinct and represented the established design aesthetic of the firm; and creating interior geometries and finishes that would diffuse sound to create spaces with great acoustic quality. Therefore, most of my work was related to these tasks. I created wood massing models exploring the form of the recording studio; modeled a terra-cotta tile system for the building skin and performed light studies for a meeting with the client; created several facade configurations for the ensemble building; built the detailed buildings for the presentation site model; helped design and build several configurations for interior acoustic treatments to be used for study and client presentation; and built a four foot by eight foot, half-scale mock-up of the paneling system for study and consultant review. I also was responsible for various drawings in the submissions of the final design development drawing set as well as the 50% construction document set.


1102 llaF-remmuS | kineG ylaD

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Light study for terra-cotta facade


Interior acoustic finishes


Acoustic paneling in ensemble room; half-scale acoustic panel mock-up; paneling in recording studio


ST1 02

ST1 02

8 A8.01

6 A8.01

ST1 01

9 A8.01 10 A8.01

ST1 00


Panel system and underlying structure


Door details


Section through acoustic treatment


zilker clubhouse Judy Birdsong | Spring 2010

This multi-purpose events center replaces a small, obsolete events building in Austin, Texas. It accommodates both large and small group functions with multi-purpose event spaces as well as conference rooms. It also includes appropriate administrative space and an auxiliary restaurant and bar space that functions independently of the event spaces. The intent of the design was to blur the boundaries of public and private, creating a building that serves the public after regular operating hours. The outdoor gathering spaces are joined by an external grand stair so that the spaces may always be accessed. Further, the Clubhouse takes advantage of a privileged view over the Austin skyline with generous views from all major gathering spaces. It maintains the inconspicuous presence enjoyed by the original Zilker Clubhouse as well due in part to its subterranean siting.

Site relationship to downtown Austin, TX


0102 gnirpS | gnosdriB yduJ

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Site relationship to downtown Austin, TX


Vegetated roofing Rigid insulation

Concrete slab over corrugated metal decking

Steel girder

Stone veneer Steel channel

Open web steel joist

Hat channel Double pane glass

Concrete stair w/ stone veneer

Steel column Batt insulation Metal stud Wood flooring Plywood decking Corrugated metal decking

Wood flooring Plywood decking Sleeper Concrete foundation w/ steel reinforcing bars

Concrete retaining wall w/ steel reinforcing bars


train station enclosure Michael Beaman | Fall 2009

This project was the culmination of a semester using the grasshopper plug-in for Rhino. The focus was to design a module, using sound-based parameters, that could accumulate and create an enclosure that would be used to control sound in a specific way. The parameters used to create this theoretical enclosure were then applied to the design of a structure to be located on a platform station for Chicago’s elevated train. The final structure responds to a speaker system located at the center of either covering. The panels that are closest to the speaker are concave and focus the sound from the speakers towards the middle of the waiting area. The panels gradually become more convex toward the ends of the coverings based on the distance of the panel from the sound source. The idea was to dissipate sound from incoming trains to create an ideal sound receiving area at the center of the platforms.

Form progression and acoustic diagrams


9002 llaF | namaeB leahciM

eht gnisu retsemes a fo noitanimluc eht saw tcejorp sihT ,eludom a ngised ot saw sucof ehT .onihR rof ni-gulp reppohssarg dna etalumucca dluoc taht ,sretemarap desab-dnuos gnisu a ni dnuos lortnoc ot desu eb dluow taht erusolcne na etaerc laciteroeht siht etaerc ot desu sretemarap ehT .yaw cfiiceps eb ot erutcurts a fo ngised eht ot deilppa neht erew erusolcne ehT .niart detavele s’ogacihC rof noitats mroftalp a no detacol retnec eht ta detacol metsys rekaeps a ot sdnopser erutcurts lanfi era rekaeps eht ot tsesolc era taht slenap ehT .gnirevoc rehtie fo eht sdrawot srekaeps eht morf dnuos eht sucof dna evacnoc erom emoceb yllaudarg slenap ehT .aera gnitiaw eht fo elddim ecnatsid eht no desab sgnirevoc eht fo sdne eht drawot xevnoc etapissid ot saw aedi ehT .ecruos dnuos eht morf lenap eht fo gniviecer dnuos laedi na etaerc ot sniart gnimocni morf dnuos .smroftalp eht fo retnec eht ta aera


Form progression and acoustic diagrams


Component development and aggregation


Sound-responsive enclosure


bim and digital fabrication Danelle Briscoe | Fall 2010

This was an exploration of beauty using digital fabrication techniques. Specifically we were investigating the Japanese wabi sabi aesthetic by designing a parametric array in Revit and producing a physical model using a CNC router. The component itself was constructed with parameters that were controlled by a single greyscale bitmap image that altered its vertical and horizontal dimensions. I was trying to emphasize the beauty in the imperfect and unexpected by designing an array with a level of detail that would require the CNC router and its 1/8” bit to improvise in order to cut the design. The result was a “blending” of the components where adjacent edges became less than 1/8” apart. Parameterization of component


0102 llaF | eocsirB ellenaD

noitacirbaf latigid gnisu ytuaeb fo noitarolpxe na saw sihT esenapaJ eht gnitagitsevni erew ew yllacfiicepS .seuqinhcet dna tiveR ni yarra cirtemarap a gningised yb citehtsea ibas ibaw tnenopmoc ehT .retuor CNC a gnisu ledom lacisyhp a gnicudorp a yb dellortnoc erew taht sretemarap htiw detcurtsnoc saw flesti latnoziroh dna lacitrev sti deretla taht egami pamtib elacsyerg elgnis tcefrepmi eht ni ytuaeb eht ezisahpme ot gniyrt saw I .snoisnemid taht liated fo level a htiw yarra na gningised yb detcepxenu dna redro ni esivorpmi ot tib ”8/1 sti dna retuor CNC eht eriuqer dluow stnenopmoc eht fo ”gnidnelb“ a saw tluser ehT .ngised eht tuc ot .trapa ”8/1 naht ssel emaceb segde tnecajda erehw


Parameterization of component


laguna gloria sculpture museum Michael Benedikt | Fall 2010

This is a design for a sculpture museum addition to the Austin Museum of Art campus at Laguna Gloria. It takes advantage of a unique site on a peninsula between the active culture of Ladybird Lake and the serene setting of the lagoon. I developed a parking strategy that would give the museum a presence on the active lake side. The progression from parking to the museum takes visitors on a semi-prescribed path that maintains the site’s innate sense of seclusion and discovery. This is key in creating a complete separation between parking and museum and ultimately between an active and serene atmosphere. The museum is oriented towards the prime views on the lagoon. It reveals itself to visitors at the amphitheater across the lagoon pulling people further into the site and reinforcing the theme of discovery. The organizing strategy is centered around a powerful central space for a monumental sculptural piece while the simple spacial organization of the peripheral galleries makes for easy way finding.


0102 llaF | tkideneB leahciM

nitsuA eht ot noitidda muesum erutplucs a rof ngised a si sihT a fo egatnavda sekat tI .airolG anugaL ta supmac trA fo muesuM dribydaL fo erutluc evitca eht neewteb alusninep a no etis euqinu gnikrap a depoleved I .noogal eht fo gnittes eneres eht dna ekaL evitca eht no ecneserp a muesum eht evig dluow taht ygetarts srotisiv sekat muesum eht ot gnikrap morf noissergorp ehT .edis ekal esnes etanni s’etis eht sniatniam taht htap debircserp-imes a no etelpmoc a gnitaerc ni yek si sihT .yrevocsid dna noisulces fo neewteb yletamitlu dna muesum dna gnikrap neewteb noitarapes detneiro si muesum ehT .erehpsomta eneres dna evitca na srotisiv ot flesti slaever tI .noogal eht no sweiv emirp eht sdrawot otni rehtruf elpoep gnillup noogal eht ssorca retaehtihpma eht ta gnizinagro ehT .yrevocsid fo emeht eht gnicrofnier dna etis eht a rof ecaps lartnec lufrewop a dnuora deretnec si ygetarts noitazinagro laicaps elpmis eht elihw eceip larutplucs latnemunom .gnidnfi yaw ysae rof sekam seirellag larehpirep eht fo


austin digital media arts center Carmen Garufo | Spring 2012

The Digital Media Arts and Conference Center for Austin has a program of over 120,000 square feet and includes leasable space for digital media professionals, support facilities, and an education center; a conference center; a 120 room hotel; and retail space at ground level. Bordering Shoal Creek which runs through downtown Austin, the building establishes a strong, urban street presence while developing the creek as an amenity and making it a destination for people visiting, working, or exercising in downtown Austin. The building is lifted at the most heavily trafficked street corner which creates a large space that transitions visitors from the commotion of the urban landscape to a quieter space on the creek. The building is massed in such a way as to define the program and is further articulated materially. This creates easier way-finding for visitors to the Center. The project enhances Austin’s urban fabric while offering a unique, creek-side amenity.

Circulation diagrams


2102 gnirpS | ofuraG nemraC

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Circulation diagrams


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santa rosa secondary school Global Architecture Brigades | Fall 2010

This was done in conjunction with other members of the University of Texas chapter of the student-run organization Global Architecture Brigades. A competition was held among several universities for an environmentally conscious yet cost efficient school and community center for the rural town of Santa Rosa #1, Honduras. My contribution to the entry was the overall site organization as well as the exploded axon structural diagrams. The complex, which is to serve Santa Rosa and 8 surrounding communities, was ultimately a fusion of the designs of five of the competition entrants based on input from the community; our rain water harvesting system was included in the final design. After the fusion design was completed, we traveled with UC Berkley and Texas A&M from the competition to Honduras to begin construction on the building. During this time I acquired new skills such as mixing concrete by hand and the technique of mamposteria which involves placing large stones and concrete alternatively in trenches to create the foundation. I was also able to practice my Spanish with the locals which was very valuable.


0102 llaF | sedagirB erutcetihcrA labolG

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Foundation and grade beam construction



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