LACHLAN DUNGAN
Undergraduate design Por tfolio University of Hawaii at Manoa 2011-2013
“The sun never knew how great it was until it struck the side of a building” -Louis Kahn
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SECTION STUDY
C-MORE HALE
5-6
7-8 N. INTERVENTION
I N F L AT E A B L E S
9-10
11-12 SKIN
A. INTERVENTION
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15-16 OSP PRECEDENT
C O M PA N I O N
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21-22
THOMAS SQUARE
N YC P R E C E D E N T
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23-28 WAIKIKI 2050
WRITING
31-32 C R E AT I V E W O R K
SECTION STUDY Class: ARCH 101 Semester: FALL ‘11 Instructor: KRIS PALAGI First year design studio project in which sections are derived from a study of the human body. A physical model and section drawing was derived from a part of the human body. The section drawing was then rotated and manipulated to discover how different spaces can be created from the same original drawing.
C-MORE HALE Class: ARCH 132 Semester: SPRING ‘12 Instructor: JANINE CLIFFORD
An investigation into an existing building on the University of Hawaii Manoa campus. While visiting and investegating the building, sketches and watercolors were made, followed by a 2D parti of the overall experience and asthetics of the building. From the parti shapes were created to make both volumetric and planar 3D models. To gain a greater understanding of the buildings form and structure, as well as excersize hand drafting skills, plan, section and elevation drawings were done with pencil on vellum.
I N F L AT E A B L E S
Class: ARCH 235 Semester: FALL ‘12 Instructor: LANCE WALTERS Group Members: WYATT BUTTERBAUGH,
JAYNA MCLAREN
Second year digital design studio project. Using rhinocerous 3d modeling, an inflateable structure was created, then rolled out into cut sheets. Using a cnc router the cut sheets were then drawn on large sheets of plastic to be cut out, refit together, and inflated. Cutting and seaming together of the components was done by hand. Along with collaboration skills, this project accentuated design from conceptual to 3d digital modeling through fabrication.
N AT U R A L I N T E R V E N T I O N Class: ARCH 201 Semester: SPRING ‘13 Instructor: LUIS LONGHI
This second year design studio project started with a found natural object. Once an appealing object was found, it was to be looked on as a scaled down site model. Using different materials, models were made experimenting with different scales and materials. Once a beautiful space was achieved, section and plan drawings were created of the imagined space. This intervention started with a piece of driftwood that had been inhabited by bees, which had dug holes throughout it to nest. The final imagined space is a cliffside dwelling only accessible by swimming.
URBAN INTERVENTION Class: ARCH 201 Semester: SPRING ‘13 Instructor: LUIS LONGHI
Second year design project in which an intervention is made in a fictional urban environment. Using the Dublin waterfront as a reference an environment was created in which a river flows through a dense urban city. A lookout was made centered in the river to give visitors a linear view up and downriver, and set in the floor of the river to also give a view beneath its surface. pedestrian bridges are also placed adjacent to the structure with paths flowing inward and crossing at its center drawing people in.
INTERACTIVE SKIN Class: ARCH 490 Semester: SPRING ‘13 Instructor: HYOUNG-JUNE
PARK
Digital design communication project utilizing Rhinocerous 3D modeling program and the Grasshopper plugin. The design goal was to create a wall that reacts to human movement. Initially a pyramid shaped module was created with individually rotating sides so the form “opens” and “closes”. The module was then put into grasshopper and using several scripts, repeated on a wall surface in the courtyard of the UHM Architecture building, and made to react to the proximity of humans. When a person approaches the interactive wall the modules open to a certain degree, depending on distance from the individual.
TARGET AREA: UHM Arch building courtyard
C O M PA N I O N H O U S E Class: ARCH 201 Semester: SPRING ‘13 Instructor: LUIS LONGHI
This project involved researching the work of Frank Lloyd Wright, and designing a house to be a “sibling” for his famous Falling Water. Taking cues from Wrights style the result ing house is meant to be the brother of the Kauffman residence. Perched on a hillside overlooking forest rugged cliffs the home is in contrast to the delicate views of Falling Water. The two homes compliment each other with their materiality(stone, wood, and concrete), and share Wrights trademark accentuation of the horizontal line.
OSP PRECEDENT STUDY Class: ARCH 341 Semester: FALL ‘13 Instructor: JOYCE NOE
Landscape design studio research project of an existing city park. Olympic sculpture park in Seattle washington designed by Weiss/ Manfredi Architects was researched in terms of landscape, built structures, and environmental factors. Using Ecotect software winds, sun path, and climate was visualized. This project served as a precedent for the following landscape design project for Thomas Square in Honolulu.
THOMAS SQUARE Class: ARCH 341 Semester: FALL ‘13 Instructor: JOYCE NOE
Third year design project for the existing historic park, Thomas Square, located in downtown honolulu. During site visits Environmental factors such as wind direction and speed, sun path and intensity, and humidity were recorded using tools provided by the School of Architecture. The final design result is a park with organic, flowing pathways that make the park seem much larger than it really is. The parks existing central fountain is transformed into a natural bioremediation cistern. The pavilion roof is angled as to catch and direct rainwater through a waterfal and into the pond. As the water flows it is cleaned then reused for the parks facilties.
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PARTI DIAGRAMS
The first concept for this landscape came from the Hawaiian land division known as aha’pua’a, which is how the CONCEPT original three space parti was The design for this revtaization of Thomas square is created(land, sea, meant to draw people and in and getsky). the public excited about our public parks system again, this being the The second concept is the crown jewel. The park is meant to evoke a sense of excitement and its visitors. The concept Au’wai, which is intrigue an toancient Hafor the design of the park from its pavilions to its swooping curves system is very organic. Inspiration waiian irrigation usedfor theto pavillions was take from the PU, or Hawaiian conch water Kalo. The how shell. The Pu wasAu’wai used like a largeis fanfare trumpet in Hawaiian ceremonies, and would have been the idea for the bio-remediation used to announce the start of the ceremony at the park held by the king in 1843, celebrating the restream came about. turn of Hawaii by Admiral Thomas.
CIRCULATION
1/32 inch=1 foot
SPACE DIVISION
Mixed-use green space
Meditation Area
Dog Park
Playground
Native Plant Garden
Pavilion/ Sitting/Eating Area
Bathrooms
BIO-REMEDIATION CYCLE
PARK SECTIONS
LACHLAN DUNGAN ARCH 341 JOYCE NOE
WATER
PATHWAYS
GRASS
NYC PRECEDENT STUDY Class: ARCH 342 Semester: SPRING ‘14 Instructors: MIRIELLE TURIN, MARTIN DESPANG, Group Members: DUSTIN CHAN, ERIC VALIENTE
DAVID ROCKWOOD
WAIKIKI 2050 INTERVENTION Class: ARCH 342 Semester: SPRING ‘14 Instructors: MIRIELLE
TURIN, MARTIN DESPANG, DAVID ROCKWOOD
Third year design studio project for a block of Waikiki in the year 2050. This scenario involves a one meter rise in sea level which would cause large areas of flooding in Waikiki. In this scenario, Waikiki has been transformed into a series of canals and is almost all boat and pedestrian traffic. Instead of redesigning an existing block a floating island was created because of the numerous advantages of effectively “creating land.” After precedent research and material investigation a structure for the floating island, called the HUB, was decided. The HUB would serve as a transit center and greeting area for boat-going travelers going to and leaving Waikiki. The concrete structure would be made using a polystyrene foam and fiberglass mixture, making it light and strong. The structure would be completely self-sustaining, gaining electricity through wave generated turbines. SEAFLEX anchors would be used to keep the HUB in place. There would be multiple moorings so it could be moved seasonaly depending on dominant swell direction to optimize the wave powered turbines. The curved green roof woul be optimal for harvesting rainwater for re-use throughout the structures facilities. PRECEDENTS: FLOATING GARDENS: STUDIO NOACH
MATERIALS: SEOUL FLOATING ISLANDS: HAEAHN
POLYSTYRENE FOAM
STEEL
THE WORLD: DUTCH DOCKLANDS
AMILLARAH: WATERSTUDIO
CONCRETE
2050 WAIKIKI SCENARIO: 1 METER SEA LEVEL RISE CAUSES MASS FLOODING, CANALS ARE DREDGED TO DIVERT WATER AND THE FILL IS USED TO RECLAIM LAND. THE PRIMARY FORM OF TRANSIT IS NOW BY BOAT SITE: WITH THE NEW CANAL SYSTEM AND THE INCREASE IN TRAFFIC, THE NEED FOR A MARITIME TRANSPORT HUB ARISES.
3D CONCEPTUAL MODEL. PLANES ARE EXTRUDED AND FOLDED TO MIMIC WAVES IN THE OCEAN.
Structural system research model
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WRITING EXAMPLE: ARCC CONFERENCE REFLECTION Class: ARCH 342 Semester: SPRING ‘14 Instructors: MIRIELLE
TURIN, MARTIN DESPANG, DAVID ROCKWOOD
Professor Pallasmaa,the author of fourty seven books on architecture, gave a very interesting lecture which looked primarily at the human brain and how architecture is designed and interpreted in relation to it. He explained how there are many parallel’s that can be drawn from architecture to other studies such as psychology, psychoanalysis, structural linguistic, anthropology, deconstructionist philosophy and neuroscience. He began his talk with some amazing facts about the human brain, describing how it is the most complex system known in the universe. I found it very interesting that he said that architecture and the way we perceive it actually changes the structure of the human brain, something i’ve never considered. He brought up the question: how can architecture cause human emotion(which takes place within the brain)? He said that when he sees the staircase designed by Michelangelo he weeps. Obviously not everyone has this reaction, yet it is amazing that an inanimate object or architectural feature can cause such an emotion. A conclusion of this theory that the professor draws is that the task of architecture expands beyond material an aesthetic functions: it serves as a way to make people feel. I also got a chance do go through the SoA gallery and see some selected works of Pallasmaa, which were beautiful and in my reminiscent of Louis Kahn. Later during the lecture I learned in how high regard Pallasmaa held the works of Kahn. The second lecture I attended was by Brook Muller, Leonard Yui, titled “The Captured Gesture”: I was interested in this lecture because as i have learned in my earlier studios hand and gesture drawing are an important aspect of the initial design faze. I tend to struggle with this part of the design process, and there are many different theories on how to begin the design process.This lecture highlighted the importance of gestures and hand drawings throughout the design process. One of the main things that was highlighted was design communication and how a gesture can often convey an idea much more than a technical drawing, rendering or construction document. The professors explained how gestures and drawings and words relate, and how they can be complimentary or contradictory. I thought it was interesting how they said that gestures are often spontaneous actions and not thought out or planned, yet they are incredibly useful in conveying a design idea from the mind to paper.The gave the example of previous research in which gesture were found to be a way not only to express but transform thought. Hand gestures were divided into five categories: Emblem, Beat, Deitic, Iconic, and Metaphoric.They also referenced the work of Juhanni Pallasmaa in which he describes the gap in representational thinking presented by the “flatness of surfaces and materials, uniformity of illumination, as well as the elimination of microclimatic differences” which create “sensory impoverishment”, which was interesting because i later saw the lecture by Pallasmaa, in which he describes in greater depth this relation to the brain and its senses. Professor Winger t-Playdons lecture focused on the city of Philadelphia and its past, and plans to move the city towards sustainability in the future.This was interesting because she discussed plans for the urban city up to the year 2035, and we are studying to design for Waikiki in 2050. The city of Philadelphia has many many more historical maps than Waikiki so it is a bit easier to map the progress of the buildings and infrastructure within the city, yet both are urban environments and have experienced exponential growth.The cities extensive grid dominates development but a main idea she expressed was the need for public, open green space in the city. Something that Waikiki basically lacks entirely, with the exception of for t DeRussy owned by the militar y. I benefitted and received ideas from both the Howard Hughes visits and the ARCC conferences pertaining to our project of redesigning Waikiki for the year 2050.The most helpful was the Howard Hughes development visit because it helped me see what the future plan is for that area which is basically adjacent to our site, and could be referenced or even incorporated into our design project.The lecture on gesture helped me realize how important communication my design ideas through my hand is, as this day in age so much, maybe even too much emphasis is placed on the computer. As poweful of a tool as it is it cannot replace the direct connection from our brain to our hand.When I have developed my idea to combat the rise in sea level i will still be sure to use hand gestures in my design process, because i want people to feel my design, not just see it. As professor Pallasmaa stated: the task of architecture far surpasses just its material and aesthetic functions, and people visit Waikiki not just to see it, but they want to feel it too.
WRITING EXAMPLE: PRECEDENT RESEARCH Class: ARCH 272 Semester: SPRING ‘14 Instructors: MAGI SARVIMAKI
VILLA ROTUNDA Villa Almerico Capra, more commonly known as Villa Rotunda, is a villa designed during the Renaissance by the architect Andrea Palladio. It was Built for the priest Paolo Almerico in his hometown of Vicenza, Italy as a country house known as a villa, poular during the Renaissance era. Andrea Palladio was one of the most famous architects of the Renaissance, and Villa Rotunda is probably his most well known building. Palladio was also the author of The Four Books on Architecture, which provided a systematic way of approaching design, and have been used by many great architects since. Palladio took influence from existing roman buildings, and architects like Vitruvius for his books and his designs. The Parti or composition for Villa Rotunda was completely symmetrical, with the floor plan in the greek cross form.The design of the building, like many others from the Renaissance is comprised mostly of squares and circles. Proportionality was very important. On each of the four sides of the square plan is a protruding portico with stairs leading up.All of the principal rooms were located on the Piano Nobile.To allow sun to reach each room, Palladio rotated the entire building forty five degrees from the cardinal points on the compass.The villa radiates out from the central dome which is elaborately painted, as well as most of the other interior walls. Like many other Renaissance interiors, the artwork in Villa Rotunda are of a religious nature and depict classical deities and the beauty of the human body. The construction of Villa Rotunda took only about three years. It was finished in 1570, although additions were made by new owners in 1580, after the death of Andrea Palladio. Most of the building consists of brick and stone, covered in stucco. For the fine details like the capitols of the columns or garrisons, Palladio used stone. Both on the interior and exterior are sculptures in the the Renaissance ideal of celebrating the beauty of the human form.This was typical for wealthy privately owned villas or palazzos in a time when the church had taken control of the arts. Since theVilla Rotunda was built in the picturesque Italian countryside and perched atop a hill, the views are beautiful. And since the Villa has four identical striking facades, someone looking at the building can never really have a bad view. Palladio’s architecture is so well known and appreciated that a whole type of architecture has been named after him, known as the Palladian Style.The influence that Palladio’s Villa Rotunda had on other architects can be seen around the world. Some examples are the Chiswick House, Mereworth Castle, the “House of Palestine”, and Thomas Jeffersons own home of Monticello. FALLINGWATER The Kaufmann residence, more commonly known as “Fallingwater” is one of the most well know pieces of architecture in America, built by one of the most influential architects of all time, Frank Lloyd Wright.The now National Historic Landmark was built in Southwestern Pennsylvania in 1935. Fallingwater was the masterpiece of Frank Lloyd Wrights “second appearance” and is an icon of the Modernist style of architecture. The House Incorporated many features that exemplified the modernist style. It was not ostentatiously decorated, and the exterior was colored in muted tones with some primary red for the windows.The supporting vertical structure was central with the living spaces spanning outward.The design also reflected Wrights interest in japanese architecture, with its blending of interior and exterior spaces, its “soji-like” doors, and its connection to the nature, in the forest with the sounds of the waterfall.The homes connection to the site runs so deep that Wright build his foundations and supports into solid rock, and even builds around the site by allowing a boulder to penetrate the living room and uses it as a fireplace. He named this style of modern architecture, organic, for good reason. In order to meet the clients requirements of a very large house and still site it above the falls Wright incorporated a cantilevered structure. Much of the material used in the construction of the house was gathered from a nearby rock quarry that Wright had reopened specifically for that purpose.The house was meant to be a nature retreat for the client and also a place for entertaining large groups of people so the bedrooms were made small and some with low ceilings to force people out into the common and social areas. Fallingwater is truly an example of incorporating building into site and site into building, and connecting with nature.
C R E AT I V E W O R K
“BLOOM” Blown glass, cold worked and sandblasted
“MIRRORS EDGE” Blown and cold cut plate glass, cold worked and sandblasted
“WITCHING HOUR” Technical pen, pencil, and watercolor on bristol