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Joel Yow

contact: 9400B Lexington Circle Charlotte NC 28213 jtyow1@gmail.com 704-467-1934

“Every design ought to be a sustainable design, meaning something people refuse to trash� -Satyendra Pakhale


I am a perfectionist. This isn’t to say that I do not make mistakes. My work reflects both the qualitative and quantitative nature of my thought process, and I am consciously aware of the current cultural shift towards a more responsible architecture. I strive to find the balance between performance and aesthetics within architecture and I believe my skill set reinforces my continuing search for that point of equilibrium.

photographs courtesy of patrick willett.


5th Year Comprehensive TWBA|Chiat|Day TWBA|Chiat|Day Design Studio and Headquarters Charlotte,NC

Designer: Joel Yow 15 December 2009


Building Form – Design Approach + Proposal

Design Approach + Proposal

Figure 1: Entrance Rendering

I believe architecture should be about the timeless nature of buildings as advertisements and benchmarks for future design. We as designers must be conscious of the future impact our buildings will have, and how they will be viewed in 50 years, not just how they fit in with the current trends and times. Architecture should be adaptable through time, rather than simply adaptable to current movements and trends. A sustainable approach to design through intelligent envelopes within highrise building types is one of many ways to in which to lessen the impact of the building on the site and climate, and directly relates to the timeless nature of building.In regard to this proposal, a visually stunning building that advertises the function of the client and speaks for the intent of the advertisement industry would be appropriate for this site and program. These elements, in combination with a sustainable focus, would present to the city of Charlotte a building that can be used as an example of appropriate building process. This project would be about designing a building that would represent the direction in which Charlotte as a city is moving towards a new environmentally responsible architecture and how to approach the design as a project that will allow for the ease of reuse, regardless of future program or function. This project would be a building that makes a statement within the urban fabric, yet always relates to the city that surrounds it through time and meets the needs of the client and program without sacrificing design aesthetics. Architecture should be held accountable for its actions, and this accountability should be shown through the nature of carefully planned, designed, and executed buildings. We should seek to design work that is futureoriented and time-honored, without sacrificing our individual passions and quirks. Perspective should shine through to the end.

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Building Form – Influence + Objective

Influence + Objective Glenn Murcutt- architect “Touch this earth lightly.” Christel Vaenerberg - product portfolio director “Solutions which meet the needs of today without compromising the ability of future generations to fulfill their own needs” Pakhale - cultural nomad and designer 5thSatyendra year proposal: option II “Every design ought to be sustainable design, meaning something people refuse to trash”

Quotes:

Elizabeth Martin - writer and designer “Architecture is the art of design in space: music is the art of design in time…the properties of space and Glenn Murcutt- architect time are inseparable… Without time “Touch this earth lightly. ” and space matter is inconceivable. Space gives form and proportion: Christel Vaenerberg - product portfolio director time supplies it“Design with lifeshould and measure. ” solutions which meet the needs of today without compromising the ability of future be about generations to fulfill their own needs” Satyendra Pakhale - cultural nomad and designer Thomas Edison - inventor “Every design ought to be sustainable design, meaning something people refuse to trash” “I’d put my money on the sun and solar energy. Elizabeth Martin - writer and designer 2: Office Building: Ingenhoven What a source of power!is Ithe hope don’t have to wait untilis theFigure “Architecture artwe of design in space: music art of design in time…the properties of space and time are oil and coal run out before we tackle inseparable… Without timethat. and” space matter is inconceivable. Space gives form and proportion: time supplies it with life and measure.” Thomas Edison - inventor Carl Sagan - astonomer “I’d put myelse money oninterested the sun and “Anything you’re in solar is notenergy. going What a source of power! I hope we don’t have to wait until oil and coal run out before we tackle that.” to happen if you can’t breathe the air and drink the water. Carl Sagan - astonomer Don’t sit this one out. Doyou’re something. ” in is not going to happen if you can’t breathe the air and drink the water. Don’t sit “Anything else interested

this one out. Do something.” Peter Zumthor- architect “There was a time when I experienced architecture without thinking about it. Sometimes I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon. I used to take hold of it when I went into my aunt’s garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of the gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen, the only really brightly lit room in the house.”

Abstract: I believe architecture should be about the timeless nature of buildings as advertisements and benchmarks for future design. We as designers must be conscious of the future impact our buildings will have, and how they will be viewed in 50 years, not just how they fit in with the current trends and times. Architecture should be adaptable through time, rather than simply adaptable to current movements and trends. A sustainable approach to design through intelligent Building Form – 5 Of 129 envelopes within high-rise building types is one of many ways to in which to lessen the impact of the building on the site and climate, and directly relates to the timeless nature of building. In regard to this proposal, a visually stunning building that advertises the function of the client and speaks for the intent of the advertisement industry would be appropriate for this site and program. These elements, in combination


Building Form – Building Program

Building Program Spatial Breakdown Proposal:

Ground Level Areas:

This proposal is for a medium-rise building just outside of the Uptown Charlotte area. The project would be located 4.5 blocks from the proposed North Carolina dance theater on a vacant site oriented looking towards Uptown along 6th street. The building would be about 20 stories high, with a very narrow floor plate, roughly 30’ by 60’. I have already consulted David Thaddeus about the structural issues of the project and they can be readily solved. Also, Tripp Bulla of BullaSmith Engineering will be a resource for the structural nature of this project. With the program of the building built for an advertising agency, specifically TBWA/Chiat/Day, a medium-rise building with such a profile would be an interesting and opportunistic design constraint. A building of this nature also responds to the sustainable aspects of the proposal. With such a narrow floor plate and an open plan on a regular structural grid, many aspects of daylighting and passive technologies can be implemented at a lower up-front cost. This proposal would have the opportunity to take advantage of many intelligent building skins and sustainable systems, while slicing through the skyline of Charlotte with a near razor thin profile.

Loading areasTrash disposalRecycling dumpsters- 400 sq. ft Trash dumpsters- 400 sq. ft Cooling tower- 200 sq. ft Lobby- 2000 sq. ft Reception area- 300 sq. ft Delivery parkingParking- 1.5 spaces per tenant Delivery access and egress- 2 lanes Generator- 500 sq. ft Generator fuel storage- 450 sq. ft Parking for fuel delivery- designated on site Fuel delivery access and egress- 2 lanes Water room for site and fire utilities- 500 sq. ft Egress from fire-rated stairs to public wayLarge electrical room- 750 sq. ft Designated transformer area- 300 sq. ft Mechanical space for distribution- 500 sq. ft Boilers and chillers (dependent on system)- 500 sq. ft Kitchen/break rooms (3)- 1500 sq. ft Studio spaces (3)- 3000 sq. ft Interior courtyard- 2000 sq. ft Roof courtyard- 2000 sq. ft Screening room- 1000 sq. ft Computer lab- 2000 sq. ft Tenant space- 6000 sq. ft (150 sq. ft per tenant)

Core Areas:

Reception Areas:

Rest rooms (2 per floor)- 4800 sq. ft Elevators (4)- 56 sq. ft per Elevator lobby(s)- 120 sq. ft Mechanical room per floor- 150 sq. ft Electrical room per floor- 100 sq. ft Server/communications room per floor- 120 sq. ft Mechanical floor- 1800 sq. ft Plumbing and ventilation chase- 84 sq. ft Basement- 1800 sq. ft Janitor’s closet per floor- 100 sq. ft Storage rooms (3)- 1500 sq. ft Fire-rated pressurized stairwell per floor- 180 sq. ft

Reception area- 300 sq. ft Lobby- 200 sq. ft Exhibition space- 1000 sq. ft Library- 2000 sq. ft Gallery- 2000 sq. ft Roof garden reception- 200 sq. ft

Building Form – 6 Of 129


Building Form – Building Program

Building Form – 7 Of 129


Building Form – TBWA|CHIAT|DAY

TBWA|CHIAT|DAY TBWA = Disruption. Disruption is a tool for change and an agent of growth: a working methodology and a life view philosophy. The word is difficult, uncomfortable but “Disruption” is not destructive. It is creation. Disruption is a means of creating something dynamic to replace something that has become static. Disruption is the art of asking better questions, challenging conventional wisdom and overturning assumptions and prejudices that get in the way of imagining new possibilities and visionary ideas. Disruption is a system for people who hate systems. Similar to the concept of open-source software development, Disruption has evolved and matured as communities around the network use, adapt and reinvent Disruption tools for specific market or client needs. The methodology and process can be employed universally to answer just about any challenge that a brand or company may have. Disruption is not limited to marketing and communications but can be applied to deeper levels of an organization including products and services or the core business offering. Through the course of a one or multi-day workshop, both client and agency engage in a series of exercises that are designed to explore a specific issue. Highly collaborative, strategic and creative in nature, these workshops facilitate actionable output. Using a selection of tools from our bank of over 50 diagnostics, we explore three distinct domains necessary for success: Convention, Vision and of course Disruption. Conventions are the limiting definitions (either real or perceived) that organizations often unknowingly adhere to: aspects of communications, consumers, the marketplace and the company itself, that have always “been done that way.” By identifying existing conventions and asking “why” things are the way they are, we are able to overturn conventional thinking to the benefit of the company. Insights or hidden truths can subsequently be leveraged to help our clients define a fundamentally different vision of the future, one in which they have not

Figure 3: Disruption Diagram: TBWA

only a greater share, but unlimited potential. The vision becomes the guiding premise that opens an organization’s horizons, both in communication and action. In many cases, our clients have visions that are strong and future forward, but they haven’t been articulated in a way that translates to employees or consumers. A well-articulated vision inspires the people behind the brand, changing the way a company thinks and acts. It provides a rallying cry that propels the brand into the future. As Lee Clow says, “A brand is the sum of all its actions. Who it is, what it does, what the world expects of it… If the brand is passionate, honest and committed, innovative and, at the same time inspirational, if the brand is true to its history, its passion and true to itself, the world will love that brand.”

Building Form – 8 Of 129


Building Form – TBWA|CHIAT|DAY

Figure 4: TBWA Lobby: LA Office

Disruption seeks to retire old, low-yielding ideas and launch new, highly profitable ones. A disruptive idea is quite simply the best and fastest way to overturn conventions and achieve a vision.

Building Form – 9 Of 129


Building Form – TBWA|CHIAT|DAY

Building Form – 10 Of 129


Building Form – TBWA|CHIAT|DAY

Figure 5:

TBWA Lobby: LA Office Building Form – 11 Of 129


Building Form – CLIENT | COMPANY

CLIENT | COMPANY

Figure 6: TBWA Client: VISA

Figure 7: TBWA Client: Absolut

Building Form – 12 Of 129


Building Form – CLIENT | COMPANY

Figure 11: TBWA: LA Office

Figure 8: TBWA: LA Office

Figure 10: TBWA: LA Office

Figure 9: TBWA: LA Office

Building Form – 13 Of 129


Building Form – CLIENT | COMPANY

Figure 12:

TBWA: LA Office

Building Form – 14 Of 129


Building Form – CLIENT | COMPANY

All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space. Philip Johnson

Figure 13: 8th Street Warehouse

Building Form – 15 Of 129


Building Form – SITE | CLIMATE

SITE | CLIMATE

Figure 16: County Map

Place-specific design is paramount in my design proposal and execution. Understanding that buildings must have roots and belonging informs my process and helps shape the final result. I advocate that buildings should belong, not simply fit in.

Figure 14: Orientation Diagram

Figure 15: Passive Technology Psychrometric Chart

Building Form – 16 Of 129


Building Form – SITE | CLIMATE

Figure 17: Figure-ground study of 277 Loop

Figure 18: Landmark and axis Study

Building Form – 17 Of 129


Building Form – SITE | CLIMATE

Figure 19: Massing study

Figure 20: Massing study

Building Form – 18 Of 129


Building Form – SITE | CLIMATE

Building Form – 19 Of 129


Building Form – SITE | CLIMATE

I believe that at the beginning, a discussion of holistic design starts with a set of scales. Site and orientation come to mind. I have been very careful to site my building near a park, as well as orient my building on the site to maximize the use of natural light and wind currents. These elements are specific to the longitude and latitude of my location, and therefore very place specific. Utilizing the natural light and green space around the building places the occupant within nature, and the ability of the user to walk to the window, absorb the warm southern sun on a brisk winter day while looking out over a carefully landscaped green is vital for the visual memory of the place. There is a larger connection from the scale of site to the scale of the occupant within the sited structure.

Building Form – 20 Of 129


Building Form – SITE | CLIMATE

Figure 21: Existing site plan

Building Form – 21 Of 129


Building Form – SITE | CLIMATE

Figure 22: Site panorama

Figure 23: Site documentation

Figure 24: Site documentation

Building Form – 22 Of 129


Building Form – SITE | CLIMATE

Figure 25: Site documentation

Figure 26: Site documentation

Figure 27: Site documentation

Building Form – 23 Of 129


Figure 28: Satellite site view


Building Form – SITE | CLIMATE

Figure 29: Figure-ground site study

Building Form – 25 Of 129


Building Form – SITE | CLIMATE

Trade Street

Tryon Street

Brevard Street

Building Form – 26 Of 129


8th Street

Building Form – SITE | CLIMATE

Figure 30: Site plan

Building Form – 27 Of 129


Building Form – SITE | CLIMATE

A climate change response must have at its heart a redistribution of wealth and resources. Emma Brindal

Figure 31: The storm approaches: Gigapan Images.

Building Form – 28 Of 129


Building Form – SITE | CLIMATE

Site

Figure 32: Figure-ground site plan

This optimum orientation graph visualizes the best orientation of a south-facing facade located in Charlotte. This diagram is more specific to the types of shading devices on the southern tangents of the building. This visualization is extremely useful in the beginning stages of the project when the designer is looking at how to address issues of siting the building properly.

Figure 33: Optimum Orientation + Wind Rose

Building Form – 29 Of 129


Building Form – SITE | CLIMATE

Figure 34: Green Studio Handbook

Figure 35: Wind humidity

Figure 36: Wind frequency

This diagram shows the relative humidity in Charlotte. This is a vital chart when designing a building envelope and its form. Understanding the weight of the air when attempting to employ passive technologies, and especially natural ventilation, is crucial in the appropriate design of the building skin.

Figure 37: Wind temperature

Building Form – 30 Of 129


Building Form – SITE | CLIMATE

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Figure 38: Solar load and orientation

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Building Form – 31 Of 129


Building Form – SITE | CLIMATE

Hand-in-hand with cloud cover density and daylighting is an analysis of the direct solar radiation for Charlotte. Knowing when the peaks and planes of the direct solar condition helped me decide on the appropriate form, solar control, and glare control strategies for the building. Those strategies also significantly reduced the cooling load on the building, making it much easier to passively ventilate the interior spaces.

Building Form – 32 Of 129


Building Form – SITE | CLIMATE

The comfort percentage charts begin to speak about the impact of passive technologies on building design. The program used to generate the data points pulls TMY2 data from local weather stations over a 30 year period to insure the accuracy of the results. These charts look at the impact the passive technologies have on the occupancy comfort level. The highlighted areas shown are the most effective passive technologies in Charlotte.

Building Form – 33 Of 129


Building Form – SITE | CLIMATE

Figure 42: Diagrams of the Terry Thomas Building, Seattle WA.

Figure 41: Solar load and ventilation diagrams. Facade Construction Manual. Birkhauser.

Figure 40: Solar load and ventilation diagrams. Facade Construction Manual. Birkhauser.

Figure 43: Wind shaping the form of the building.

Building Form – 34 Of 129


Building Form – SITE | CLIMATE

Figure 44: Examples of similar facade construction types. KieranTimberlake Building Form – 35 Of 129


Building Form – SITE | CLIMATE

Research

Building Form – 36 Of 129


Building Form – PRECEDENT | RESEARCH

PRECEDENT | RESEARCH

Figure 45: Process sketch. Ingenhoven und Partner

Building Form – 37 Of 129


Building Form – PRECEDENT | RESEARCH

r As a designer, I feel it is necessary to know the constraints of the site and the program before the building can be fully realized and become a successful project. The RWE Essen building is an excellent example of this knowledge and research into the appropriate technologies and building aesthetics that work for both the city of Essen and the client, in this case, RWE. Ingenhoven and partner researched the most effective passive and active technologies that could be implemented in this area, and they made sure those response were integral parts of their design. The understanding of basic and intuitive physics can be seen in the fish mouth detail found between each floor level. Since the building can actually “breathe”, it is not necessary for primary mechanical systems, and there are no such systems in place to heat or cool the building. This is only possible because of the integration of the building systems with occupant controls and an intimate knowledge of the site forces and flows that shape the climate in Essen. This document proceeds to show the place-specific influences, such as wind temperature, wind speed, solar radiation, and solar exposure and how they have shaped both the form and the detail of the RWE Essen building.

Building Form – 38 Of 129


Building Form – PRECEDENT | RESEARCH

Figure 50: Building section. Ingenhoven und Partner

Figure 46: Ground plan. Ingenhoven und Partner

Figure 49: Site plan. Ingenhoven und Partner

Figure 47: Orientation Diagram

Figure 48: RWE Essen. Ingenhoven und Partner

Building Form – 39 Of 129


Building Form – PRECEDENT | RESEARCH

Figure 52: All images and details below. Ingenhoven und Partner

Figure 51: Axon detail. Ingenhoven und Partner

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Building Form – PRECEDENT | RESEARCH

Figure 54: Weekly solar radiation exposure

Figure 55: Weekly solar radiation exposure

Figure 53: Entrance to RWE. Ingenhoven und Partner

Figure 56: Psychrometric chart for Essen

Building Form – 41 Of 129


Building Form – PRECEDENT | RESEARCH

Figure 57: RWE sky garden. Ingenhoven und Partner

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Building Form – PRECEDENT | RESEARCH

Research and Thoughts

Pallasma and Zumthor approach the modern and historical languages of architecture with critical thought and seek to proclaim for calling back to a progressive, holistic return to design. As we within society move to a globalized, flattened world, it is therefore much easier for the specifics of place and time to be lost in the global translation. Pallasma and Zumthor critically address the issues of time and place, and the more important role of the architect within these contexts. Pallasma’s Eyes of the Skin focuses on the lack of anything other than a visual connection in the modern world around us. This is strongly paralleled in Zumthor’s Thinking Architecture, where there is a conscious plea for a return to the sensory architecture, the architecture that speaks to both mind and body through the many other senses. Pallasma’s work brings into play many different theoretical ethoses, creating a critically sound argument for the return from the depths of the ocular-centric environment. Zumthor sees and describes, in great literary richness, the depth and impact visual memory plays in the design of his architectural projects. In combination, both authors seek to touch the reader, through the rich descriptions and critical analysis of the current and past works of design and theory. A close and critical examination of the modernist movement through the eyes of history is relevant alongside the writings of Pallasma and Zumthor. Understanding the natural impact of Aalto and Wright, the machine-like sleekness of Corbusier, and the failure of modern urbanism is vital in understanding the current state of architecture, as well as the context for the authors above. Though globalization seeks to connect the world through technological advances and wireless connections, there is blatant disconnect from the actual time and space which we occupy. Architecture and art are the lasting impressions that can influence how both time and space are shaped through time. Architecture that seeks to just respond to current conditions, with no thought to the past or the

future, fails to speak to the memory. It is easily forgotten, easily understood as a moment to be erased, judged, faulted, or denied. It is written off and praised, yet still does not find a place within our memory as something touching. Without the holistic looking glass, it is hard to design a time-honored architecture. As Zumthor writes in the Thinking Architecture, “Contemporary architecture should be just as radical as contemporary music. But there are limits. Although a work of architecture based on disharmony and fragmentation, on broken rhythms, clustering and structural disruptions may be able to convey a message, as soon as we understand its statement our curiosity dies, and all that is left is the question of the building’s practical usefulness.” I strive to design an architecture that is static and dynamic, adaptable and yet irreplaceable. I have not been successful in this aim for an entire project, but I have sensed success in some smaller areas. I am trying to approach the ideas of tactility and sensory perception from many different scales within this project. The visual presence of the building as a landmark within the city, as well as the visual connection of the occupant to their surroundings, is equally as important. I am consciously trying to design a building that fits within its context, not simply visually, but more so in how the building addresses the place within which it is located and the user within that place. One of the filters I use to critically examine my project is the filter of responsibility. I believe it is the architect’s responsibility to touch the earth lightly (Murcutt). I believe it is the architect’s responsibility to provide comfort to the occupant of the building, and I also believe we as designers are responsible for the current and future impacts our buildings have on current and future generations. We are responsible to set the appropriate example. In this light, I believe the tactile, holistic design approach is the most appropriate way to achieve a responsible design. Sight, touch, smell, sound, and taste are as much a part of the environment as they are a part of our sensory perception of space. I am designing this building to address the nature of human occupation within a working environment.

Building Form – 43 Of 129


Building Form – PRECEDENT | RESEARCH

I believe that at the beginning, a discussion of holistic design starts with a set of scales. Site and orientation come to mind. I have been very careful to site my building near a park, as well as orient my building on the site to maximize the use of natural light and wind currents. These elements are specific to the longitude and latitude of my location, and therefore very place specific. Utilizing the natural light and green space around the building places the occupant within nature, and the ability of the user to walk to the window, absorb the warm southern sun on a brisk winter day while looking out over a carefully landscaped green is vital for the visual memory of the place. There is a larger connection from the scale of site to the scale of the occupant within the sited structure. In response to the question of form, materiality, threshold, and view, I have sought to create a form that does not seek to overwhelm, but is still noticed. The form of the building was driven by a set of carefully constructed set of constraints that I have placed on myself, therefore the form has a direct justification, if one is necessary. Materiality has not been determined for every space within the building, but I do have many ideas about what space should feel like. Rough, aged brick and mortar will complement and contrast the modern glass office tower that rises above the street. Ample sunlight warms the wooden benches that are dug into the ground of the interior courtyard. Smooth stone supports the receptionist’s desktop at the lobby workstation, and exposed steel rises up and exposes itself along the core of the building. The feel of the brick, the smell and tastes of the coffees and teas sold on the lower level café, and sounds of the light rail passing by intermittently, the views of pedestrians and students on the green can all be experienced from the interior courtyard that bleeds out into the park. Crossing underneath the tapering building, the occupant feels the change in sidewalk texture from a sanded concrete to a smooth tile. The sound of heels and dress shoes change patterns when passing through the lobby. The occupant is then greeted with the subtle smell of flowers amid the powerful smell of freshly brewed Arabica beans. The view of all these elements only amplifies the other senses. As the elevator takes them upstairs, upon entrance into the elevator lobby

on the eleventh floor office level, a slight breeze can be felt across the cheekbones. This does not feel artificial, but it feels natural, a perfect complement to the soft daylight and view of the small sky garden on every floor. Dispersing each to their own space, they slightly relax in their chairs, content to enjoy the sight of the park from 150 feet in the air. The movement through the building as described above is equally as important as the movement around the building. The intersections of vertical and horizontal movement are key within this large space. The ability to read the building from the exterior, notice the core and periphery, sense the open space and visual connections from exterior to interior only supplement the movement from one space to the next. Up is just as important as around. Thinking in plan and section allows me to understand how the spaces work together, joining program and envelope, moving up and looking out. I attempt, however feeble, to design spaces that I would enjoy, spaces that are comfortable and soft, spaces that encourage lingering. I do not want to enjoy them from the architect’s point of view, but rather the occupants. I seek to design spaces that encourage the senses, spaces that simply exist for the pleasure of those who use them.

Building Form – 44 Of 129


Building Form – PRECEDENT | RESEARCH

Zoning | Code

Building Form – 45 Of 129


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#94-103

400'

800'

1200'

1600'

ZONING MAP Charlotte-Mecklenburg Planning Commission ADOPTED EFFECTIVE MAY 1,1985

Building Form – 47 Of 129 Date Printed: 05/21/09

SHEET NO.

102


Building Form – PRECEDENT | RESEARCH

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Building Form – PRECEDENT | RESEARCH

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Building Form – PRECEDENT | RESEARCH

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Building Form – PRECEDENT | RESEARCH

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Building Form – PRECEDENT | RESEARCH

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Building Form – CODE | BASICS

CODE | BASICS

Maximum floor size: 5400 gross

Fire District: Yes

Occupancy Load per: 100 per

Building Height: 244’

Occupancy Load Actual: 54 persons per floor

Number of Stories: 15

Travel Distance Maximum: 86’

High-rise: Yes

Travel Distance Actual: 50’

Fire-rating: 2 hr.

Egress Required: 10.8” Egress Actual: 48” Sprinkled System In Place: Yes Dead-end corridor length: N/A Use and Occupancy: Business Construction Type: 1-A Allowable Height and Area: UL Sprinklers: Yes Standpipes: Yes

Building Form – 54 Of 129


Building Form – CODE | BASICS

Building Form – 55 Of 129


Building Form – PROCESS | MASSING

PROCESS | MASSING

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Building Form – PROCESS | MASSING

Building Form – 57 Of 129


Building Form – PROCESS | MASSING

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Building Form – PROCESS | MASSING

Site Ana Sketches

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N

Building Form – 64 Of 129


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Building Form – 65 Of 129


Building Form – PROCESS | MASSING

Building Form – 66 Of 129


Building Form – PROCESS | MASSING

Building Form – 67 Of 129


Building Form – PROCESS | MASSING

Building Form – 68 Of 129


Building Form – PROCESS | MASSING

Building Form – 69 Of 129


Building Form – DESIGN | RESPONSE

DESIGN | RESPONSE

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Figure 59: Preliminary wall section

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Figure 60: Building section B

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Figure 61: Building section A

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Figure 62: Building section C

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Figure 63: Building section perspective

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Figure 64: Park elevation

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Figure 65: Entrance elevation

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Figure 66: Brevard elevation

Building Form – 84 Of 129


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Figure 67: Light rail elevation

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Building Form – 91 Of 129


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Design Development and Production

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Site Plan with sun path and shadow overlay

Building Form – 97 Of 129


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Basement Plan

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Ground Floor

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Second Floor

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Third Floor

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Green Roof

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Office layout- option 1

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Office layout- option 2

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Office layout- option 3

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Office layout- option 4

Building Form – 106 Of 129


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Mezzanine Level

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S. 6.

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S. 4.

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S. 5.

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Building Form – DESIGN | RESPONSE

E1

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E2

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E3

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E4

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Rainscreen

Suntech See-Thru glazing reduces direct glare through diffusion while maintaing views and producing power for the building.

Interior blinds for occupancy glare control

Glass interior wall doubles as thermal barrier while providing daylighting and views Stack effect effectively removes heat from the exterior facade due to convection currents

Natural Ventilation through mullion system

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Building Form – 129 Of 129

Design Portfolio  

a selection of my creative work

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