Above: Combined sketches analyzing a series of meals generating the form and inspiration for the cover image. Cover Image: A sectional analysis and composition of images formed through sketching and slicing images printed onto sticky back paper.
ICHETUCKNEE SPRINGS EMBANKMENT
TIPPET RISE LOOKOUT
CEMENT STOOL
ITALY IN INK
IMPLICIT OCCUPATION
SHARED EXPERIENCES
STRUCTURED GROUND
FRAMING NATURE
DESIGN INVERTED
SKETCHING ANALYSIS
Bottom:
Studio: Design 7 (VIA)
Professor: Michael Montoya
Program: Mid-Rise Housing
Collaborators: Noah Guth / Cole Wyatt
Alleys and courtyards cutting through the downtown of Rome leading to the site. With each, a partial view. This project, through Implicit occupation, derives curiosity out of those who wish to find a way to occupy. People on a bridge not touching the ground. A garden hidden behind an infinite wall. A Nonumentform deconstructed, experienced individually. The main mass of the structure dedicates itself to housing. Divided up between two main groups: The individual and the family.
A view of people on a bridge through an alley, not revealing the secrets of how they got there. Turning the corner, a mechanical heart. Dirty with function. Upon closer examination, a gear, a Nonument.
Above: Interior view of the garden showing cuts in the ground for water flow.
Left: Plan and section sketch of garden highlighting movement and boundaries.
Right: Mid-level plan showing interior layout.
Below: Section in relation to the river Tiber.
A break in the levee on the Tiber river, bringing water to the people. A garden covered in silt washed away by the rain.
The garden itself takes on an aspect of the river Tiber from silt left behind during a flood. The terrace as an embankment. Silt clings on. The impluvium as its cleanse, a storm releasing back to where it came.
Studio: Design 6
Professor: John Maze
Program: Commercial
This project explores the overlap between public and private spaces and their shared experience. The first floor features the most disjointed of these spaces, experiencing each as a semi independent event. The concert hall and record store are bisected with the stairs. As you move to the first half floor you find that the spaces begin to overlap. Music and performance begin to make a public appeal with the library. And finally, the top floor is for music practice and collaboration joining the public and music areas.
Contrary to the lighter open floor plan at the top, the bottom floor exhibits mass. Heavy structure isolates the sounds both from coming in and going out. This allows for performances in the main concert hall without disturbing the local businesses as well as keeping the busy streets from ruining recordings in the isolation room.
Studio: Design 5
Professor: Nina Hofer
Program: Dock
Holding back the earth, reaching into the water. Breaking the foliage for an unobstructed view. A place to embark away from the structured ground. As a class we visited the local springs documenting boundaries and their overlaps. Collaging maps of information, understanding edge. This project is a place to depart, pushing through the edge to reveal the open. Relinquishing the safety of the embankment as you float into the water.
Section expressing the heavy nature of the structure tying it back to the unobstructed ground.
Above: Bug model based on preliminary sketches.
Bottom: Preliminary plan and elevation sketch showing scale.
Studio: Design 8
Professor: Stephen Belton
Program: Pavillion
A series of prefabricated post-tensioned concrete beams. Walls poured from the earth. Water narrowing the gap between the ground and the sky. This pavilion provides a shelter from the immense exposure of the plains at the foothills of Beartooth Mountains. As you approach, your back is turned to the landscape, with only the horizon in view. Finally, as you rotate around the stairs the window dictates your frame. Glass as a canvas painted by nature.
Studio: Design 8
Professor: Stephen Belton
Program: Furniture
This stool is an exploration of the formal qualities of cement and the idea of sculpting what you touch. The unique top shape was created with an eight piece mold that was 3D printed and assembled. An exercise in designing the void, rather than the whole.
Above: Sketches showing ideas of construction and material.
Below: Final drafts showing form used to print mold.
Above: Sketch and watercolor of italian landscapes.
Bottom: Ghost and Ruins final drawing.
Studio: VIA
Professor: Sarah Gamble
Program: Sketching
Ghost & Ruins: Section, plan, and elevation.
Combined to reveal the experience as a whole.
Rooftop Analysis: Space created by the inverse of the occupation out of necessity for the occupant.
The way in which the Italian residents occupy their limited rooftop space has always interested me. The historic nature of their buildings leaves little room for direct intervention leading to seemingly improvised solutions. Sketching these spaces puts me into the shoes of the person who occupies.
In its rawest form, nature cannot be stolen. In the same, organic form without meaning lacks contemplation. There will always be some level of reconciliation by man. Rather than hiding this uncanny mockery, bring it to the forefront and let it co-exist.
Written for Architecture Theory 2