Ink 2022 An Architectural Portfolio by Joseph James (Academic Only)

ink 2022 An Architecture Portfolio

by Joseph James

J O S E P H

J O U R I E S J A M E S I V

ink 2022 An Architecture Portfolio

by Joseph James

Joseph J. James IV

Joseph J. James IV

EMAIL josephjames@utexas.edu

Current Location

New York City, New York

PORTFOLIO https://issuu.com/josephjames4

Phone (803) 586-8406

Email josephjjamesiv@gmail.com

EDUCATION

educational background

University of Texas at Austin (2016 - 2018) Master of Architecture (M. Arch)

UNIVERSITY OF TEXAS AT AUSTIN 2016 - 2018 Masters of Architecture

Clemson University (2012 - 2016) Bachelor of Arts in Architecture | English Minor

CLEMSON UNIVERSITY 2012 - 2016 Bachelor of Arts in Architecture / Minor in English

BARCELONA ARCHITECTURE CENTER Fall 2015 Five Month Study Abroad in Barcelona, Spain

Barcelona Architecture Center (Fall 2015) Architectural Study Abroad

professional experience

WORK EXPERIENCE

ZGF Architects New York City, New York (2019 - 2022) Architectrual Designer 3 Years and 7 Months

THE BECK GROUP (Austin, Texas) 2016 - 2018 Graduate Architectural Intern (2 Years 8 Months)

The Beck Group Austin, Texas (2016 - 2019) Architectural Intern 2 Years and 9 Months

MACK HOME (Columbia, South Carolina) Summer 2015 Summer Architectural Intern (4 Months)

MACK Home Interiors Columbia, South Carolina (Summer of 2015) Summer Intern 4 Months

LSM DESIGN GROUP (Columbia, South Carolina) Summer 2014 Summer Architectural Intern (3 Months)

LSM Design Group Lexingrton, South Carolina (Summer of 2014) Summer Intern 4 Months

ARCHITRAVE (Columbia, South Carolina) Summer 2013 Summer Architectural Intern (3 Months)

Architrave Columbia, South Carolina (Summer of 2013) Summer Intern 4 Months academic accomplishments

AWARDS + RECOGNITION

FACULTY DESIGN AWARD Spring 2016 Clemson University

Faculty Design Award (Spring 2016) Clemson University

INSTAGRAM @jjj_iv LINKEDIN /in/joseph-james-3a57b6114

DESIGN EXCELLENCE NOMINATION Spring 2017 The University of Texas at Austin

Portfolio Link

https://issuu.com/josephjames4

02 Design Excellence Nomination (Spring 2017) The University of Texas at Austin

Educational Experience

Professional Experience

Summer Internships

GraduatedFromClemsonUniversity StartedWorkingatTheBeckGroup AcceptedintoTheUniversityofTexasatAustin

Design Awards

Accepted into Clemson University

Graduated From The University of Texas at Started Working at ZGF Architects

Graduate School Professional Experience

ACADEMIC CONTENT

01

FRIESENHAHN CAVE MUSEUM + LABS 06 - 09

Fall 2018

02 AUSTIN ENERGY GREEN BUILDING HEADQUARTERS 06 - 09

Spring 2017

03 SIX MILE PUBLIC LIBRARY AND FARMER’S MARKE T 06 - 09

Spring 2016

04 ELEC TRIC CIT Y MUSIC + ARTS FESTIVAL 06 - 09

Spring 2015

05 LA ESCOCESA ARTIST COMMUNIT Y FABRICATION LAB 06 - 09

Fall 2016

06 ZARA CREATIVE TEAM HEADQUARTERS

Spring 2018

06 - 09

06 - 31 32 - 45 46 - 59 60 - 71 72 - 79 80 - 95

FRIESENHAHN CAVE EXCAVATION L AB + MUSEUM

The University of Texas at Austin

Professor: Murray Legge

Partner: Lauren Townsend Fall 2018

The Friesenhahn Cave, located in San Antonio, Texas, is home to one of the most important fossil excavations in the United States. The cave is home to a variety of Pleistocene (Ice Age) Vertebrate fossils including baby mammoths, direwolves, and smilodons. This excavation site is considered only second to the La Brea Tar Pits in Los Angeles in terms of their importance to the Pleistocence era. The cave, which is centered in an untouched plot of land located within a massive suburb just north of San Antonio’s city center, is an intersting site given its neighboring single family homes. The site gives an opportunity to connect residents with a one of a kind typology to improve the quality and identity oc the area.

The studio was tasked with developing a center dedicated to housing the findings from the cave. Considerations for the design include addressing conservation, education and research. The program for the studio is a building approximately 15,000 SF with related site work containing a small, public Ice Age (Pleistocene) museum and educational facility, and, private paleontological archive and research facility for Concordia University’s School of Natural and Applied Science. The new facility will house over 4,000 isolated teeth and bone of the more than 30 genera of Ice Age mammals, reptiles and birds that were found in the cave.

Site Strategies

PUSH TO THE PERIMETER

DEFINE SCOPE + PRESERVATION

SITE ACCESS + FOOTPRINT

The design of the center focuses on the divide of the public and private aspects of the program. Public components are lifted, visible, and cladded in a white glass that reflects the immediate surroundings and inviting pedestrians. The private program seeks to hide itself from the road, sitting submerged into the landscape and clad in wood. The two contrasting buildings respect the focus of their occupancy’s; the gallery engages with the neighborhood, while the archive/lab connects to the cave. Together the buildings create a sense of balance between the suburban context and the natural cave environment.

Programmatic Organization

Cafe

Replace with trip to the Cave

Move the Museum to the end of the sequence

Phase 1: Dig

Public

Phase 2: Discover

Public

The private program is embedded into the landscape of the site

Phase 3: Display

Public

Upper Level Plan

WESTERN ELEVATION

SOUTHERN ELEVATION

Early

The Primary Exhibit: Early Design Concept

The Primary Exhibit: Final Design Concept

LIGHT IS A GOOD THING

Given that the cast representations of the animal bones are what is on exhibit, the exhibits can provide more light than a traditional museum without fear of damaging the artifacts. The light sought out in the exhibit contrast with the much more controlled lighting in the archive, where the original bones are located.

EXHIBIT HALL

HALL

DINNING HALL

LOWER LEVEL ENTRY

Cafe + Social Wing: Early Design Concept

Final Design Support Spaces

LOBBY/SERVICE CORE

LOWER LEVEL EXHIBIT

CAFE + SOCIAL WING

ARCHIVE + LIBRARY

The

LEARNING EXTENDS TO THE OUTDOORS

The museum’s planning and programming strategies extend to the outdoors, with outdoor classrooms and a walking path that connect the visitors and the cave in a more seamless experience.

02 AUSTIN ENERGY GREEN BUILDING HEADQUARTERS

The University of Texas at Austin Professor: Michael Garrison Spring 2017

Started in 1990, the Austin Energy Green Building Program is responsible for teaching residents of the city of Austin how to build, remodel, or buy green buildings. The program specializes in three scales: Single Family, Multifamily and Commercial. The program, which was the first of its kind in the nation, is considered the most successful sustainable building program in the country

The goal for their new headquarters was to create a design that embodied their concepts of green building performance and design, while promoting their presence to

lab spaces, classrooms, lecture halls, and administrative engineered timber is used experimentally as a solution to a also introduces a living machine system for water recycling within the building and from rain water collection. The proposed building seeks to provide a beautiful design that

LEVEL

01 LOBBY

02 FRONT DESK

03 GRAND STAIR

04 EXHIBITION HALL

05 PARKING GARAGE

06 WOMEN’S BATHROOM

07 MEN’S BATHROOM

08 FIRE STAIR 09 ELEVATOR

10 SHOWERS

BIKE RACK

03 GRAND STAIR

06 WOMEN’S BATHROOM

07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR

LIBRARY

REVIEW ROOM

14 SINGLE FAMILY DIVISION OFFICES

17 ENERGY SIMUL ATIONS L

18 GREEN MATERIALS L AB

03 GRAND STAIR

06 WOMEN’S BATHROOM

07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR

LIGHTING L AB

COMPUTER L AB

21 WATER RESOURCES L AB

03 GRAND STAIR

06 WOMEN’S BATHROOM

07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR

24 LIVING MACHINE

MAINTENANCE/ELECTRICAL

03 GRAND STAIR

06 WOMEN’S BATHROOM

07 MEN’S BATHROOM

08 FIRE STAIR

09 ELEVATOR

16 COMMERCIAL DIVISION OFFICES

22 ADMINISTRATIVE OFFICES

AUDITORIUM

Engineered Wood Structural System

Place Connect Divide

SITE DEVELOPMENT

The plaza is designed to be an extension of the living machine program that directly embraces the pedestrian thoroughfare. The living machine connects the interior and exterior programs as well.

BUILDING ACCESSIBILIT Y

The grand stair, which opens to the North and West, as well as the lobby, which opens to the west create a visual link to the greater Mueller site. The stair’s glazing and views encourage their use to move through the building, rather than relying on the elevator.

PROGRAMMATIC DISTRIBUTION

The building is distinguished by three major programs - licensing, educational, and pedagogical circulation. The licensing areas and educational spaces are divided by a central core, while the Pedagogical Path begins outside of the building and runs it’s course up the grand stair up to the 5th floor living machine.

AEGB Headquarters

Plaza/Living Machine

Educational Programs

Licensing Programs

Pedagogical Path

Atrium

E

Puncture Tilt

PL AZA/LIVING MACHINE

The south facade is recessed from the adjoining building to allow for light to enter the building from the south. The adjoining building simultaneously provides a direct sun light barrier to the lower levels. A shaded west facing atrium allows light into the core of the building

PHOTOVOLTAIC ROOF

A roof covered with PV panels and an extended canopy for shading is set to a 10

PV system. The PV roof system is employed

structure also improves rain water retention for the building to reuse.

WATER RE-USE

The large surface roof in combination with water retention strategies for rain water collection allow for recycled water to be collected and pumped back into the building for use as grey water. The water is filtered through the living machines in the top floor and planters on the ground level.

SOL AR ENERGY

A 1300 square foot roof filled with photovoltaic panels sit on the top of the building providing shade and collecting energy in the heat of the Austin Summer.

OPERABLE SYSTEMS

The building implements several operable systems to adjust shading qualities, cross ventilation, and light. The double facade allows for adjustments to directionality of the sun and for natural ventilation. The shading systems on the west provide a solution to the lower sun of the summer evening

Outdoor Living Space

W

DLT Core + Shear Walls

The footprint of the building sits on a concrete foundation with a central core providing structural shear support. The grand stair provides additional structural support. The party wall to the south is self supporting, and allows for a green wall to be added.

Glulam Beams + Columns

Glulam columns and beams serve as the primary structural system for the building. A 20’ x 30’ grid defines the two wings, while the central grid connects to the core. The beams support the floor panels above.

DLT Floor Panels

DLT (Dowel Laminated Timber) Panels are used for the ceiling and floor of the building.

The system, which uses 8’ x 20’ panels, works as a structural joist spanning from beam to beam. The panels are staggered with one resting on the other to allow services to run underneath.

DLT Floor Panels

Private Outdoor Patio & Green Wall Concrete Foundation

DLT Party Wall/Green Wall

DLT Core & Shear Walls DLT Stair Core

Planter Boxes

Glulam Beams

Glulam Columns

Structural System + Benefits of Engineered Timber

SUSTAINABILIT Y

Engineered wood continues to absorb and sequester carbon even after being harvested. Using wood promotes responsible forestry Engineered wood products also require less energy than their counter products to be produced.

STRENGTH + LOAD CAPACIT Y

Engineered lumber is a light weight but powerful building tool when cross laminated. This cross laminated timber performs better than traditional lumber in its load bearing abilities. Laminated timber performs much like concrete, but with a much more warm aesthetic.

DLT Partitions

Prefabricated interior partitions are designed of DLT (Dowel Laminated Timber) with gyp finishes on the exterior to provide a clean lined interior to the building.

Steel Roof System

The 1300 square-foot roof system is attached to the timber structure via steel connections. The roof is almost completely covered with PV panels and the ends of the roof are a mesh component to provide additional shading to the building. The retractable PV system allows for additional southern light to enter the living machine during the winter months in a similar fation to a green house.

AESTHETIC APPEAL

Timber provides a warm aesthetic to the interior of the building in a unique amount for a traditional

Concrete Foundation

Steel Beams

Stagnant PV Panels

Retractable PV Panels

Retractable PV Panels

Gyp. Walls on Metal Studs

03

SIX MILE PUBLIC LIBRARY + FARMER’S MARKET

Clemson University Professor: Criss Mills

Spring 2016 Six Mile, South Carolina is a small farm town located in the upstate between Greenville and Clemson. The town has few notable public buildings and lacks an active city center The studio was tasked with designing what a contemporary library in such a rural context might look like. Traditionally library’s rely on a population desity to drive their size and use within the imediate community. Given that Six Mile lacked a population to truly support the need for a state of the art library, consideration for the culture and social needs of community of this scale were considered. Driving forces for non-local users to interact with the city were also examined.

The question of what a library should do and who it should serve in the community all became driving factors in the design process. The economy and social elements became inspiration for the library to serve as more. Traditionally libraries are major civic entities in urban conditions. Given the rural condition, the idea to add additional programmat ic elements to the library became a way of increasing the community engagement.

A library and farmer’s market at first thought seem like an odd pairing, but given Six Mile’s demographics and culture the two programs are a perfect fit. The goal of the design was to create a local destination circled around program

The design uses loosely defined spaces that can be interchanged to either minimize or maximize the library or farmer’s market typologies.

Entry Lobby

Auditorium / Event Room

Meeting Rooms / Adaptable Market

Classrooms / Adaptable Market

Men’s Bathroom

Women’s Bathroom

Interior Market Spaces

Library Stacks

Computer Desks

Study Tables

Outdoor Market Pavilions

Amphitheater

Market Storage

Women’s Amphitheater Bathroom

Men’s Amphitheater Bathroom

AXIS OF CIRCUL ATION

An axis is determined that crosses north-south and east-west in order to create a central point for administration to view all parts of the library.

LIBRARY SPACE IS DEFINED

The core of the Library and it’s primary circulation is located in the center of the site and building This minimizes the amount of noise in this area.

COLL ABORATIVE SPACES

Collaborative spaces sit just outside of the core of the library to allow for an easy access. The level of socializing is higher in these areas so they stay on the library’s periphery

SOCIAL EXTERIOR SPACES

The nosiest area of the library, the outdoor markets and amphitheater are pushed the furthest from the core of the library to reduce the amount of noise let in.

ACCESSIBILIT Y

VENDOR

VENDOR

T

OUTDOOR PAVILION MARKET

T F SM T W S

INTERIOR MARKET

T F SM T W S

ASSROOMS

FL ASHING

MARKET

ROOF PANELING

RIGID INSUL ATION

CORRUGATED METAL DECKING

Y - FL ANGE BEAM

GYP BOARD INSUL ATION

SHEATHING

AIR GAP

GL ASS WALL PANEL

CONCRETE FOUNDATION

CONCRETE SL AB

L CHANNEL

BUILDING ORIENTATION

The Building is oriented along the Cardinal Directions with the path of the sun in mind to allow for the desired directional light to enter the building.

CURTAIN WALLS

Curtain Walls are on the West and East Elevations to allow for indirect sunlight into the building. Those on the Southern Elevation are underneath pavilions to prevent harsh light into the library

OUTDOOR SPACES

Outdoor spaces are oriented in a way to prevent harsh sun from the South directly into the spaces.

PAVILIONS + SOUTHERN EXPOSURE

The pavilions are tilted to prevent the sun from the south directly onto the sight. The angle also allows for the possibility of adding solar panels.

N

AR CIRCUL ATION

ATION

RESOURCES: KNOWLEDGE + NUTRITION

In planning the design of the Six Mile Public Library, I felt that the primary purpose of this typology was to provide people with the necessary resources they need from day to day Starting with this idea, I coupled the resource of knowledge, which is traditional to a library with the resource of nutrition. This collaboration established a concrete program in which I would develop a Library that could accommodate a farmers’ market with vending and gathering spaces for the community

WEST ELEVATION

INTERSECTIONS + INTERACTION

With the establishment of my two programs, cross-programming became an immediate necessity in order to maximize the impact of my design on the site. The idea of an intersection linking the two became the goal. This was developed by orienting the library on an axis that ran East to West and by orienting the coverable aspects of the Market North to South. This encouraged a better interaction between the two programs by adding cross-programming where the two programs met.

COMMUNIT Y + COLL ABORATION

With the design of this project’s programs involving community resources, the visibility of community spaces and collaborative spaces became pivotal to the design. Light, materiality, and color were all used to amplify the movement and collaboration of the people within the building Glass is on both sides of the classrooms in order to showcase the use of these spaces from all angles of the design. The exterior programs are also social in order to display the activity of the community.

EAST ELEVATION

FREEDOM FOR FUNCTIONALIT Y

The design of the library leaves as few restrictive programmatic spaces as possible. The location of the classrooms, and meeting rooms allows for many uses and organizational groupings within the building The pavilions and amphitheater are also unrestrictive, so when the market isn’t going on other collaborative activities can occur within these spaces with little to no hassle.

04

ELECTRIC CIT Y MUSIC + ART FESTIVAL

Clemson University Professor: Armondo Montilla Spring 2015

The Delaware Power Plant was the former home to much of the city of Philadelphia’s power until it was shut down. The plant, which lies on the edge of a Philadelphia suburb called Fishtown and the Delaware river, is an iconic piece of architecture that is visible from both Philadelphia and New Jersey. As the plant shut down, many residents of Fishtown left also. Our goal in this studio was to develop urban renewal strategies for the site given its prominence within the community

An Electronic Dance Music (EDM) festival is introduced to the site, allowing for the site to instantly create an economic and social identity within the greater community Knowing that with a project as large as this that no completely new program could be immediately feasible, the festival and building take an urban re-use strategy to develop an art museum in conjunction with the festival over time.

The goal of the project was to create a program that revolutionizes Fishtown’s declining identity as a working-class fishing and manufacturing town. Our program seeks to benefit the emerging demographic of creative-type post-graduates who are moving to the area due to its proximity to city-center and low cost of living An environment that fosters innovation, creates a social culture, and promotes commerce.

Culture Hubs and Growth

THE CREATIVE CL ASS

The question that this design strategy seeks to answer is how tow unique programs coexist and grow in a way that can revitalize an area lacking an identity. Richard Florida, author of ‘Rise of the Creative Class’ became the driving inspiration for the factors that could best benefit this community His following opinion became the backdrop for the design strategies expressed in the project: “regional economic growth is driven by the location choices of creative people, the holders of creative capital, who prefer places that are diverse, tolerant and open to new ideas.”

CREATIVE CL ASS HUBS

Attracting the creative class to Fishtown was the

singular event worth moving to then supporting this event with a cultural shift is an indication to creative class that Fishtown can be the new home of the Philadelphia creatives.

BOHEMIAN CULTURE CLUBS

Bohemian culture seems like an odd pairing with the concept of economic stimulation, but these social groups often are an indication of where artistry and social events are within a city Introducing a heavily art focused program seeks to bring these social masses closer to Fishtown.

POPUL ATION GROWTH

Population growth around the city of Philadelphia has steadily grown over the las 20 year; however, the suburb of Fishtown has struggled with attracting residents as a result of marginalized economy that has struggled with the closure of prominent factories. The hope is to provide a more contemporary connection to the area.

Temple University

of Philadelphia

University

University

Eastern University

University

University

of Pennsylvania

Philadelphia University

of Delaware

Josephs University

University

Chester University

of Delaware

University

University

Pennsylvania

University

Delaware

University

Conceptual Phasing of Fishtown Development

The contamination of the Delaware River and the closure of the Delaware Power Plant in 2004 resulted in Fishtown losing its identity as a fishing and industrial town.

EXISTING CONDITIONS

A low cost of living and proximity to city-center has turned Fishtown into a destination for many post-grads and young adults.

01 - create a program that benefits from isolation

02 05

STIMUL ATE A NEW SOCIAL ECONOMY

04 03

Over time a static program with a more permanent user and more restrictive spacial constraint can be developed as the areas population and local economy grow

The dynamic music festival program, with limited spacial restrictions and permanence, is implemented to draw in the desired demographic of the creative class into Fishtown.

The static and dynamic programs begin to cycle and cross-promote one another and the creative class hub is maintained and thrives.

PROPOSED PROGRAMMATIC SOLUTION

DESIRED OUTCOME

How do you re-connect an area that lacks connectivity, but has a growing young adult / liberal / college educated demographic?

- create a unique activity that attracts a desired demographic

- employ a creative workforce though this event

+ Festival Activity

Trimester Exhibits In

Clean Up

Set-up

Music Festival Going On

AJJMAMFJ DNOS

Parlor A

Activity

Parlor A In Use

Clean Up Time

Set-up Time

Parlor B In Use

JJMAMFJ DNOS

PHASING: A TWO PRONGED PL AN

Phase 1: Create a program that will require minimal financial input while immediately creating a financial stimulant for the suburb

- Result - An EDM Festival that will attract local and non local participants and help promote the area’s new identity

Phase 2: Create a program that is intertwined with the music festival and can permanently stimulate the local economy

- Result - A Digital Arts Museum dedicated to the growth of the scene and culture of Fishtown

Electric City Music Festival (3rd

Electric City Music Festival (3rd

Electric City Music Festival (3rd Weekend)

The Pier: An Outdoor Stage

KEEP THE CULTURE

Early stages of the dynamic programming seek to use interior and exterior spaces on the site with a program that uses minimum upkeep and energy By implementing stages into the large halls and exterior pier and lot, income on the property can begin to be acquired, with minimum upfront funding being needed.

THE DYNAMIC PROGRAM:

CIT Y - MUSIC +

FESTIVAL

FESTIVAL PERFORMANCES

Stages

VENDING + CIRCUL ATION

Vending Spaces Pedestrian Circulation

Programmatic Breakdown

REST ZONES

Public Rest Zones

Zones

Notable Public Venues

Parks + Outdoor Public Spaces

Museums + Art Venues

Music Venues

3

Public Transit Study

Light-rail

Major R Public B Subway

Turbine Hall: An Indoor Stage

MINIMAL INPUT MAXIMUM INCOME

Early stages of the dynamic programming seek to use interior and exterior spaces on the site with a program that uses minimum upkeep and energy. By implementing stages into the large halls and exterior pier and lot, income on the property can begin to be acquired, with minimum upfront funding being needed.

THE STATIC PROGRAM: THE NATIONAL ELECTRONIC ARTS MUSEUM

Parking

Exterior

Interior

Studio

05 L A ESCOCESA ARTIST COMMUNIT Y FABRICATION L AB

Clemson University (Barcelona Architecture Center) Professor: Miguel Roldan Fall 2015

The La Escocesa Artist Community is a home for local and foreign artists who want to live, work, and exhibit their talents in Barcelona, Spain. The community has been home to many emerging artists over the years, but as the program has aged facilities have gone by the way side and deteriorated.

The goal in this adaptive reuse project was to create a fabrication lab for the La Escocesa Artist Community that helps to stimulate the industrial heritage of the site. The design uses the concept of time as a progression and the concept of layering new and old to create a programmatic layout and aesthetic makeup. The fabrication lab alters the normal idea of programming by levels and instead uses a horizontal organization of progression to create more interactions between people. These social connections between the programs enhances the building as a whole by creating social interactions between the programs rather than within them.

The design focuses heavily on creating social interactions at designated spaces in hopes of improving overall functional ity within the community

Conceptual Development

The existing structure included three levels which rose along the linear path.

Existing roof lines are extended and connected to accentuate the horizontal.

Translucent and permeable spaces are created to improve connectivity physically and visually.

A connection is created to link the entry with the social areas of the site.

The two sides become linked for an improved circulation.

The building is split to create three distinct programs that connect and interact horizontally

CONCEPT 1: THE INDUSTRIAL ASSEMBLY LINE

The organization of the building is derived from the site’s former identity as an industrial factory The building uses the concept of an assembly line to generate a product, which in a fabrication lab happens to be art. The line of production mirrors the design process by leaving a defined space for conceptual planning, development, and exhibition. Each design step is isolated and autonomous within the design, but interactions between these spaces are considered in the spaces designated as transition spaces..

The spaces between the primary programs are defined to improve interactions between programs.

LEVEL 1

LEVEL 0

CONNECTION + VOID

The transition spaces are intended to foster interaction between the various programs by forcing circulation to these communal spaces. The first transition space serves as connection within the fabrication, while the latter serves as a void in the fabrication lab, but a connection between exterior spaces.

LEVEL -1

Conceptual Development

CONCEPT 2: L AYERING NEW + OLD

In analyzing the site, many of the buildings that currently make up the La Escocesa Site have a history of layers.

set over existing ones, and the deterioration of certain parts of the site stand out against the site’s newer areas. In all, a story of new and old is seen when entering the artist’ haven. In introducing the new design of the fabrication lab, the concept of new and old was something I wanted to continue. I was able to incorporate this idea of layering into my design by maximizing the use of the existing structure, emphasizing the new through materiality, and building in a way that stressed a definitive line between existing and imposed.

01. THE NEW ROOF

A new roof is designed to tie in the entire design as one piece that defines a new era in the site’s history

02. WINDOWS + THE LIGHTWELL

The windows that are interjected between the green spaces are designed with glass structures to maximize visibility and stress the connectivity of the spaces.

03. NEW FACADES

New facades are built vertically and in place of where cuts were made to show the story of how the building was altered. The facade in the conceptual space of the building portrays the horizontality of the building in an attempt to portray the progressional movement. The facades along the transition spaces stress the verticality of the circulation that occurs there.

04. EXISTING FACADES

The existing facade is kept for the most part, but punctures and disruptions in the facades are created to show where transitions occur

05. STUCTURAL SYSTEMS

Structural systems continue the existing roof line out to the front facade, but the exposure of

06. VERTICAL CIRCUL ATION

Vertical circulation is exposed as its own element in the front facade with a cut in the existing achieve a variance between new and old. In the interior, this exposure of the circulation also continues.

WINDOWS + LIGHT WELL

06 ZARA CREATIVE TEAM HEADQUARTERS

The University of Texas at Austin Professor: Primo Orpilla (Visiting Professor) Spring 2018

Zara is a Spanish based fast-fashion retailer with over 6,500 stores in 88 countries. The company has four lines: Men’s, Women’s, Kid’s, and TRF Their TRF line is an extremely trendy fashion forward line targeting younger women. The clothing empire has quick lead times on new designs, an ever-changing product line (20 collections per price.

The goal of the studio was to design a workspace for the creative team of Zara within an existing building shell located in Germany The project focuses on interior conditions with minimal regard to the exteiror design outside of the entry conditions. Consideration of the company’s brand, history, and work strategies were pushed to the forefront of the studio’s design strategies.

to life an atmosphere that celebrates Zara’s design culture and ability to blur the lines of high-end fashion and ready to wear fashion. The interior caters to the world of fashion, and Zara as a company specifically Inspiration is drawn from the fashion cycle, seasonality, the customer experience, and Galicia, Spain (home of Zara). Within the scope of interiors branding, graphics, color, materiality, work-flow, organization, and dynamic architecture are all factors of the design process.

Design Concepts + Inspiration

+

EDITORIALPHYSICAL +

ZARA DOES NOT ADVERTISE

Zara relies heavily on its physical presence and digital presence to peal to its customers rather than spending money on expensive advertising campaigns. The result of investing on their user interfaces result in high quality imagery and beautiful stores.

+

L ARGE/BOLD/AGGRESIVE IMAGERY

Zara’s use of models in strong vivid photos with clear pops of color became an imagery seeks to evoke Zara’s culture of people and not simply the aesthetic of their clothing

+

MUTED MOMENTS, POPS OF COLOR

Color is an important tool in Zara’s editorial presence; however, its use is selective and reads as more powerful when present. In the design of the workspace colors

COLOR + MATERIALITY

Galicia, Spain - The home of Zara became an inspiration board for the colors, light

THE SEASON PHYSICAL CONTEXT

FALL/WINTER SPRING/SUMMER

FALL / WINTER SPRING / SUMMER

THE CYCLE SOCIAL CONTEXT

NEW YORK LONDON MILAN

NEW

Juxtaposing High Fashion + Ready to Wear

THE RUNWAY HIGH-FASHION

THE LINEAR CATWALK THE PROJECTED SEASONALITY PRESENTATION TO THE AUDIENCE

THE SIDEWALK READY TO WEAR

THE LINEAR BOULEVARD THE AUTHENTIC SEASONALITY PRESENTATION TO THE PASSERBYER

PARIS

01 Organizational

THE CUSTOMER

THE STORE

THE BUYER THE DESIGNER

01. Existing Interior Conditions

02. Concept Overlay

03. Larger Programmatic Locations

04. Primary Circulation Corridors

05. Collaboration + Circulation Intersections

06. The Dynamic Lobby

07. Dynamic Lobby Partitioning

08. Lobby Work Station Relationships

09. Adaptable Meeting Rooms

10. Focus Rooms + Circulation

11. 4 Person Meeting Rooms

12. Conference Rooms (War Rooms) + Circulation

Outdoor War Room (Informal)

14. Interior War Rooms (Formal)

Living Rooms (Informal Collaboration)

Adaptable Studio Spaces

Traditional Lobby Organization

Runway Lobby Organization

THANK YOU FOR YOUR TIME + CONSIDERATION

Joseph J. James IV

M.Arch The University of Texas at Austin B.A. Arch Clemson University