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Connor Judd Architecture Portfolio


Cut.Fold.Lines

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6

Meeting.The.City

Color.Analysis

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Cut.Fold.Lines.

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Using a paper template, I manipulated various line types to create a three dimensional space from a flat plane. The concept behind my design was a sense of envelopment and enclosure.

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I played with line weights in CAD erarchy of folding methods

where were

a hirevealed.

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A single plane was folded around itself to create a dynamic space envelopment

of

underneath and sense of open exposure up above.

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Meeting.The.City.

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Being new to the city of Boston, I investigated and documented one of the many historical sites there is to see. Trinity Church in Copley Square became my main focus and during this process, I looked at the interior and exterior architecture of different spaces.

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The main nave with the pulpit at the center.

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The construction of an exterior perspective of Trinity’s main entrance, facing south.

A Noli Map of Trinity Church and the surrounding area.

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Building an understanding of the idea of threshold , I constructed a model depicting the main entrance of Trinity Church. The emphasis focused largely on how the ground and ceiling planes worked together to create a transition from a public space to a sacred space.

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C o l o r. A n a l y s i s .

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Morning, Section Cut A

Noon, Section Cut A

Night, Section Cut A

Morning, Section Cut B

Noon, Section Cut B

Night, Section Cut B

Morning, Section Cut C

Noon, Section Cut C

Night, Section Cut C

13 With a focus on color, I analyzed a site between Parker and Terrace streets in Mission Hill. Using three times of day; morning, noon, and night I noted how the color changed and how specific moments on the site were affected by the color.


Morning, Section Cut A

Noon, Section Cut A

Night, Section Cut A

Morning, Section Cut B

Noon, Section Cut B

Night, Section Cut B

Morning, Section Cut C

Noon, Section Cut C

Night, Section Cut C

The final series of drawings displays color as line segments rather than a spectrum to emphasize that color is a type of light instead of a solid object. Each of my moments is more precise in regards to their location too.

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These models depict the thick/thin color code used in the duration of my analysis. Thick represented darker colors and thin represented lighter colors.

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The process of meditation, starting from left to right.

After analysis, I selected a daily ritual with which I incorporated into my color study. I picked mediation as my ritual and together, the two created an intervention that specialized each aspect of the project.

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Here are a series of iterative designs in which I focused on my specific moments on site and the way I incorporate my color code into the topography.

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The concept here is about the process of mediation and how it is a continuous path from start to end. The middle of the process is very intensive and one’s self is almost other worldly as one finds inner peace. This is why the center portion of my installation is the largest in scale. The specific moments that I recalled while on site, are shown in the smaller pavilion like structures. Here one can choose to meditate or move on thus representing the subjectiveness of .meditation The suspended walls projecting in various directions directly relates to my color analysis drawings and acts as walls while not boxing in the spaces. The height of the spaces also refers to my thick/thin code of color and therefor the middle is the darkest because it is the deepest most intense part of the process.

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19 1/16� scale plan of my installation


Connor Judd_Portfolio