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f16 PORTFOLIO

[buildAid]//adaptive tissue [DCC]//denver film festival DEVICE//oscillation’s nest FIELD//vacillating plates Lubbock Bath House//B6.4.23 typology_BANK

[Lawson Spencer]//fall_16 edition_02


CONTENT

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BUILDAID a response to the non-nuclear WW3 as cities recover in a unified restructuring

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DENVER CINEMA CENTER opposing theaters demonstrate possible social developments

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OSCILLATION’S NEST performance the flour sifter is reinterpreted as device emulates similar praxis

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ALLEY INSTALLATION alley way is realized through the utilization of the moiré effect

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LUBBOCK BATH HOUSE bath and pool allegorically demonstrate the contrasting social autonomies

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TYPOLOGY_BANK banking typology is challenged as the project becomes the derivative of the social situation

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RESUME & CONTACT


...a collection of architecturally inspired pieces as of 2016.

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[buildAid]//adaptive tissue

location: concept_(versatile) | competition: Dean’s Cup 2016 | place: runner up | partners: Geoffrey Ford + Dianze Wu

The aftermath of the war is significant. Never before has such a disaster stricken all nations. The planet hasn’t been this dark since birth. No one knows where or how, but someone, somewhere has impaired satellite communication, and disengaged all nuclear power. For the past couple of years unmarked planes clutter the skies with their missiles and bombs. Is it a single organization? Or is it multiple? What if the cause isn’t from here? What if the cause is another life form? If it was then nation blaming one another and attacking each other is unwarranted. No, there is a greater war to be won! We may not know with whom. We may not where, but being defenseless, unarmed, terrified and divided needs a solution. We must come together as a unified people! We must rebuild our cities, or rather re-purpose the ones that do exist.

Let us begin by first utilizing or re-purpose the materials that are available. Let the communities organize themselves through the controlled restructuring of the war shattered buildings. This will bring a physical stability to the communities, so that the spaces derived can be habitable. As the communities begin to grow in health and number back to their original populations, habitable spaces will become more than just the bare essential. They will become organized programs. Though the war has brought great turmoil it is to never be forgotten; it is to be embraced. The new structures and programs will evolve out of the old ones. New civic centers will be grow and evolve with program, so as to enhance the previous urban fabrics. ...THIS IS ADAPTIVE TISSUE!

Adaptive Tissue is not merely just an architecture, but rather a tool. As of present, the physical bombings have contorted the physicality of the urban context, while the social constructs exist only in threads. There needs to be unity. There needs to be organization. There needs to be structure.

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project_01


Performing as a tool, not a formal solution, Adaptive Tissue is initially applied to in-habitable high-rise and mid-rise structures (left), as society evolves with the process. As Adaptive Tissue evolves (right), a society rehabilitates their city in response to the trauma from war.

phase_Fi As the initial build-aid has adapted to is respective society, it continues to sustain growth through its on infestation

phase_01 In a linear fashion, the trajectories from the air raid promote the evolution of build-aid

phase_GROWTH Soon after the end of World War III, the initial area selected to re-habilitate and initiate Adaptive Tissues becomes the precedent for the evolution of society.

[buildAid]//adaptive tissue

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Following the surfacing of the new structures to protect the habitable spaces from the exterior, new programs generate infrastructures that transfer essential resources and energies between structures. Not only do structures become reliant on each other, they breathe and exchange information.

area[00]:

area[01]: As the proccesses of society re-building continues, the memories of World War III still motivates society to implement Adaptive Tissues as a tool for rebuilding.

area[02]: Witnessing the success of Adaptive Tissues initiates a newly generated form, the sky-garden. Allowing for the new to be self-reliant.

area[03]: area[04]: Entire cities begin to take on a new form, a new society, and new lifestyles. Reflecting on those before the War, as Adaptive Tissues propell into the NEW normal of urban design. Cities are rebuilt in-whole and Adaptive Tissues becomes a symbol of a new, experienced, society.

A new society, still remembering the destruction in World War III, pushes Adaptive Tissue Technology to generate new practices in society. The feeling of security begins to sink in, and new from is generated.

Essential during the initial stages of the build-aid is the analysis of the existing structural organization systems. The focus of the first stage is to rehabilitate existing damaged structures to ensure the safety of its future inhabitants. Without manipulating the existing structure, diagrid like components are inserted (not integrated, in order to preserve cultural identities) into the remaining structural grid. Stitched from core to core, structureA and B transfer lateral loads across the bridge, so that each building is reliant upon its adjacency.

section_043: A303.12

[s

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on

]

plan_043: level 43

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Soon after the end of World War III, the initial area selected to re-habilitate and initiate Adaptive Tissues becomes the precedent for the evolution of society.

project_01

Horizontal and Vertical circulations then become secure as new spaces are habitable within the structure, sympathizing to the traumas of the society faces following the conclusion of the War. Recycled materials and scraps then perform as a “scab� to provide protection from the external conditions and allow society to activate program as desired. Different programmatic constructs such as living spaces, cultivating spaces, and public recreation, begin to generate a new envelope for society while still reminiscent of the past.


A

Stage 01: damaged postwar buildings

Stage 02: preparing to fix damaged buildings based on remaining structure

Stage 02: increase stability of facing buildings

Stage 03: resulting bridging provides essential living shelter

Stage 04: alternative structure for rehabilitation

Stage 04: alternative spaces evolve and impact the social strata

Stage 05: bridging structure become both path and place

Stage Fi: skin forms in accordance to the needs of resulting structures

[pre]WW3: undamaged prewar buildings

B

P1

P3 P2

[

REHABILITATION TIMELINE global scale

RECOVERY PHASE:

World War 3

All nations are in economic and social termiol

stage 01

]

SUSTAINING PHASE: stage Fi

stage 03

stage 02

STRUCTURE // unsupported buildings are reinforced as the search for iron mines progresses SCRAPE // all living organisms scavenge for food and shelter

stage 04

stage 05

SKIN // final layering

ESSENTIALS // the neccesities of living are provided for HABITATION // communities began to form as cities near social stability

[buildAid]//adaptive tissue

MINGLING // exterior structures are activated as bridging become new civic centers

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[DCC]// denver

film festival

location: Denver, CO | course: ARCH 3501_Kuhn Park | program: cinema center | size: 40,000 sq. ft.

/OBSERVATION: The Denver Cinema Center will be home to one of the four venues at the annual Denver Film Festival. The site is situated in the lower downtown district (LoDo) of Denver. Since the installment of the 16th street mall in 1982, the LoDo region has been on an economic and social incline. However, recent decisions by the political sector were accompanied with an increase in poverty, homeless population and inward migration. This project does not suggest that the political decisions are the cause of decrease in social structure, but recognizes that these trends in events could lead to a similar social and economic situation before LoDo was revitalized.

attraction for those heading to the bars and restaurants, while still advertising cinema to those leaving the Rockies’ game or wishing an alternative means of viewing. /PROGRAM: Due to the fact that there is a higher density of population observed leaving the games as compared to going to the games, it was appropriate to place the large theater at the northeast end of the site. The southwest end became the recipient of the small theater. Because of the same observation, the larger theater became the outdoor theater and the smaller theater would be used for indoor seating.

/LOCATION: The site is two blocks southwest of Coors Field. The stadium is home to the Colorado Rockies. The viewer/spectator environment inherent to the Colorado Rockies has made this part of the LoDo area, a popular place for bars, restaurants, and small clubs. The site is seen as a gateway in and out for this particular demographic. It was apparent that resulting piece held an enormous attraction for those heading to the bars and restaurants, while still

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project_02


[COORS FIELD]

[NORTH HIGH SCHOOL]

[UNION STATION]

[ROBSHON ART GALLERY]

[SITE//1801 MARKET ST.]

[DOWNTOWN AQUARIUM] [MUSEUM OF CONTEMPORARY ART]

[COORS FIELD]

[ELITCH GARDENS] [REDLINE]

[UNION STATION]

“I observed a very lively culture as the presumed ‘homeless’ made easy conversation with those living in Denver. Rarely was there any observation of people asking for money. The vast majority of the culture seemed to be in very good physical shape, while a small minority made their presence clear through a distaste observed through three of the five mediums of perception” (below).

[ROBSHON ART GALLERY]

[SITE//1801 MARKET ST.]

[DOWNTOWN AQUARIUM]

[MUSEUM OF CONTEMPORARY ART]

[PEPSI CENTER]

[16TH STREET MALL]

[ELITCH GARDENS]

[UNIVERSITY OF COLORADO DENVER] [PEPSI CENTER]

[16TH STREET MALL]

[UNIVERSITY OF COLORADO DENVER]

[THE JONES] [THE GARNER GALLERIA THEATRE] [BOETTCHER CONCERT HALL] [THE JONES]

[BUELL THEATER]

[THE GARNER GALLERIA THEATRE] [BOETTCHER CONCERT HALL]

[SPORTS AUTHORITY STADIUM]

[BUELL THEATER]

[THE COLORADO CENTER]

CONVENTION [THE COLORADO CONVENTION CENTER]

[UA PAVI [UA PAVILIONS]

[THE DENVER FIRE FIGHTERS MUSEUM]

[UNION STATION]

[COLORADO STATE CAPITOL]

[LINDSEY FLANIGAN COURTHOUSE]

[THE DENVER FIRE FIGHTERS MUSEUM]

[UNION STATION]

[LINDSEY FLANIGAN COURTHOUSE]

[ROBSHON ART GALLERY]

[BYERS EVANS HOUSE] [CLYFFORD STILL MUSEUM]

[SITE//1801 MARKET ST.]

[DENVER PUBLIC LIBRARY] [DENVER ART MUSEUM]

[MUSEUM OF CONTEMPORARY ART]

[HISTORY OF COLORADO MUSEUM

[ROBSHON ART GALLERY]

[DCC]//denver film festival

[SITE//1801 MARKET ST.]

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/THEATER + THEATRE + CINEMA: In addition to being an attraction for the demographic at present, it was imperative the theater be a symbol or a warning to the LoDo region of their potential return to their past before the implementation of the 16th street mall. The two theaters are made to face one another. This allows for entrance off of opposite ends of the block, while providing a unique opportunity to compare the programs of theatre and cinema. By facing the two theaters towards one another, the outdoor theater becomes the stage for the indoor theater; simultaneously, the indoor theater is the stage for the outdoor theater. This type of interaction is realized at the conclusion of the cinema presentation when the curtain/screen rises and each theater looks out to the other. Large columns are used to suspend the outdoor theater screen, which can be stored into the ground beneath following a movie. A tension cable system for the glazing was implemented so that the indoor theater could look out to the outdoor theater with little obstruction to the viewers’ perception. With the two theaters facing one another, their respective stages become animated with the activity of those attending the cinema center.

a

b

/ETHICS: The indoor theater becomes a beacon of the ‘ideal’ through its purity in form and abstraction of structural elements. The indoor theater is a ‘box of light’ in contrast to the unorganized and irregular geometries of the outdoor theater. With the outdoor theater as a convenient, primary entrance into the complex, while the indoor theater is patrolled through a ticketing system. It is expected that each theatre will attract different social classes. The economically stable social class attending the indoor theater have the opportunity to observe and potentially scoff at the activities of the less fortunate social class that is restrained to the outdoor theater. Simultaneously, the viewers within the outdoor theater will look at the indoor theater with either resentment or inspiration. The imposed social activities are a warning to the LoDo population and those affected.

a

b

STEEL BEAM: I-beam [W18x50]

SUSPENDED CURTAIN WALL: Frosted Glazing [d=2.25”] Spider Bracket [3’x8’] Tension Cable System [refer detail 1]

STEEL TRUSS: Warren Truss 11 Panel [d=8’]

STEEL BEAM: I-beam [W12x26]

SUSPENDED CURTAIN WALL: Clear Glazing [d=2.5”] Spider Bracket [5’x2.5’] Tension Cable System [refer detail 1] Motorized Solar Control Shades

OUTDOOR ANAMORPHIC SCREEN: draper down screen is raised/lowered by hydraulic suspension system

STEEL Column: HSS [5”x2.5”] STEEL Column: HSS [5”x5”]

FROSTED GLAZING: Fireproofed [d=2.25”]

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1

CONCRETE WAFFLE SLAB: Post-tensioned [12”x20”domes]

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20

1

10

1

FLOOR: Two-Way Flat Slab Post-tensioned Concrete [d=12”]

CONCRETE BEAM: Precast-Single Tee Post-tensioned [8’x18”]

1

project_02


The intermediary space is informed by the resulting geometries of the shard seating. The resulting geometries act in dialogue between the indoor and outdoor theater. They are composed of rectilinear forms oriented off the center axis, which are realized with a storefront glazing system (above). The resulting spaces are used for concessions, vertical circulation, and ticketing.

[volume] (volume of space) ....called site

recipe_01 volumes are seperated to form theaters and screens are implemented to orient audience

recipe_02 intermediary volume is inserted to seperate theaters

recipe_03 theaters are resized to illustrate the significant pedestrian traffic

entrance

exit

Building Height 25’-0”

FLOOR: Grass [d=2] Earth [d=6”] Sand [d=2”] Membrane Steel Deck [2”x”] Two-Way Flat Plate Post-tensioned Concrete [d=12”]

recipe_04 seating for the theaters is understood for anamorphic screen

recipe_05 parking is inserted into the site

recipe_06 all lots in the LoDo district are superimposed ....then scaled to fit outdoor theater

recipe_07 superimpostion becomes a design tool to form seeting and stepping in outdoor theater

recipe_08 geometeries generated for outdoor theater give definition to intermediary volume

recipe_09 definition of intermediary volume dictates pathways for vertical and horizontal circulation

Ground Level 0’-0”

Balcony -12’-0” Parking Deck 1 -16’-0”

-23’-0” Parking Deck 2 -29’-0”

-34’-0”

Parking Deck 3 -45’-0”

[DCC]//denver film festival

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a a

b

b

c c

d

d e

e

DEVICE//oscillation’s nest

study: diagnostic mapping | course: ARCH 2502_Mari Michael Glassell | program: Flour Sifter + matter | size: 49.75”

Oscillation’s Nest is a device that is the derivative of the systematized patterning of liquid interaction at different viscosities. The three liquids (ink, soap, and wax) can be divided into two assemblies: constant and variable. The oscillation itself is divided into four territories with the final territory being the terminus. The final territory was excluded from the mapping studies of the other three territories, because final territory was perpendicular to the poor rather than parallel. The three prior territories were studied in parallel position to the direction of the poor. Following the mapping study, the trajectory of each splatter was illustrated through a system of linear elements to demonstrate the point of impact for in each territory. The liquids were networked through planar pieces while the variable liquids are networked through the employment of linear elements. The two forms from the networking interact with each other in such a way, so as to form opposing masses within their own territory. As the study progressed, planes enclosed the void of the device which was bounded by the opposing masses. Within the interior of the device the vertices of each mass form a new

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system of networking through the use of piano wire. As the liquid(s) passes through the first territory, it will force the first territory to rotate in one direction thus triggering the following two territories swing in the same direction. The resulting back and forth motion demonstrates the oscillating pattern of liquid splattering seen in the diagnostic. The final construct is the resultant of a phantom mapping process. Phantom mapping is a particular type of process that systematically transitions from a formal map to a diagram. Here, Oscillation’s Nest is that diagram.

project_03.1


The flour sifter (below), a cooking device used to break up clumps in dry ingredients. The properties and operations of the flour sifter were tested as different liquids entered the device. The resulting composition (above) was mapped to understand the performance of the flour sifter’s operations. The resulting maps where then modeled as a diagram of the flour sifter’s operations.

TOP RIM HANDLE

CRANK LEVER

CRANK LEVER

CRANK LEVER

CRANK HANDLE

CRANK HANDLE

CRANK HANDLE

Crank Handle Rotation

Crank Handle Rotation

Crank Handle Rotation

AMOUNT MARKERS

16 Seconds

8 Seconds

CRANK HANDLE

Crank Handle Rotation TOP RIM HANDLE

AMOUNT MARKERS HOLDING BIN

BOTTOM RIM

16 Seconds

CRANK LEVER

TOP RIM HANDLE

HOLDING BIN

BOTTOM RIM

AMOUNT MARKERS

AMOUNT MARKERS

HOLDING BIN

HOLDING BIN

BOTTOM RIM

BOTTOM RIM

16 Seconds

8 Seconds

8 Seconds

3 Seconds

3 Seconds

3 Seconds

16”

16”

16”

4”

17.4 Seconds

4”

17.4 Seconds 4”

17.4 Seconds

top rim holding bin amount markers

4 5⁄16” 1 1⁄8”

8.9 Seconds

8.9 Seconds

8.9 Seconds

1⁄4”

amount markets 5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

5⁄16”

5⁄8”

crank lever crank handle

15⁄16”

crank handle rotation

⁄2” 6”

1”

1⁄16” 13⁄16” aperature location were objects may pass through the device

1⁄8” 1⁄4” 3⁄16”

5⁄8” 3.4 Seconds

3.4 Seconds

15⁄16”

crank lever crank handle

3.4 Seconds

1⁄2”

R 3⁄8”

1⁄4” 1⁄16” 8”

bottom rim 4 1⁄16”

1⁄16”

bottom rim handle

1⁄16”

5 3⁄4”

5⁄16”

1 7⁄16”

4 1⁄16”

8”

8”

5 13⁄16”

4 3⁄16”

top rim holding bin handle

1 9⁄16” 1 3⁄16”

1⁄4”1⁄8”

top rim holding bin amount markers

4 5⁄16” 1 1⁄8”

top rim

13⁄16”

1⁄4”

amount markets

5⁄16” 1⁄2”

5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

7⁄16”

5⁄16”

5⁄8”

crank lever crank handle

15⁄16”

crank handle rotation

R 1⁄2” 1⁄8” 3⁄16” R 3⁄16”

1 7⁄16”

6”

screen clamp sifting screen steel agitator crank lever crank handle

1⁄16”

5” 3 1⁄2” 2 1⁄2”

13⁄16” R 7⁄16”

R 1⁄8”

R 1⁄8”

aperature location were objects may pass through the device

crank lever crank handle

R 5⁄16” 7⁄16”

1⁄8” 1⁄4” 3⁄16”

15⁄16”

1⁄2”

R 3⁄8” 13⁄16”

1”

1⁄2”

1⁄4” 1⁄16”

5⁄16”

bottom rim

ndle

1 9⁄16”

4 1⁄16”

1⁄16”

bottom rim handle

1⁄16”

5 3⁄4”

5⁄16”

5⁄8”

17.9 Seconds

map_03: substrate

1 1⁄8” 1⁄16” 1⁄4” 1⁄4” 1⁄4” 1⁄4” 1⁄16”

map_02: tempo

1 3⁄16”

map_01: matter

1 9⁄16”

17.9 Seconds

9.2 Seconds 3.6 Seconds

9.2 Seconds 3.6 Seconds

17.9 Seconds 9.2 Seconds 3.6 Seconds

map_fi: hybrid + synthesis

elevation_01: rear view elevation_01: diagnostic

4”

TOP RIM HANDLE

Glassell_Spring 2015 | PHASE 0IC // HYBRID + SYNTHESIS | Spencer, Lawson

1 7⁄16”

4 1⁄16” 5 13⁄16”

elevation_02: side view 01

4 3⁄16” HANDLE

1 9⁄16”

sifting screen steel agitator

1 9⁄16” 1⁄8”1⁄4”

screen clamp crank lever crank handle

1 3⁄16”

1 1⁄8” 1⁄16” 1⁄4” 1⁄4” 1⁄4” 1⁄4” 1⁄16”

top rim holding bin handle

1 9⁄16” 1 3⁄16”

1⁄4”1⁄8”

1 1⁄8”

1⁄8” 3⁄8”

1⁄2”

5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

7⁄16”

1⁄16”

5 3⁄4” R 3⁄16”

3 1⁄16”

1 7⁄16”

5⁄8”

crank lever crank handle

15⁄16”

6”

screen clamp sifting screen steel agitator crank lever crank handle

crank handle rotation

aperature location were objects may pass through the device

R 1⁄8”

R 1⁄8”

13⁄16” aperature location were objects may pass through the device

crank lever crank handle

R 5⁄16” 7⁄16”

13⁄16”

elevation_03: top view

1⁄2”

handle

5⁄8”

1⁄4” 1⁄16”

5⁄16”

aperature location were objects may pass through the device

1⁄8” 1⁄4” 3⁄16”

15⁄16”

1⁄2”

R 3⁄8”

1⁄16”

bottom rim

1”

1⁄16”

5” 3 1⁄2” 2 1⁄2” R 7⁄16”

crank handle rotation

3⁄8” 1⁄8”

5⁄16”

R 1⁄2” 1⁄8” 3⁄16”

1⁄2”

1⁄4”

amount markets

5⁄16” 13⁄16”

3 3⁄16”

top rim holding bin amount markers

4 5⁄16”

top rim

2 1⁄16”

bottom rim 1 9⁄16”

4 1⁄16”

1⁄16” 5 3⁄4”

1⁄16”

bottom rim handle

5⁄16”

DEVICE//oscillation’s nest

1 7⁄16”

4 1⁄16” 5 13⁄16”

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FIELD//vacillating plates

location: Lubbock, TX | course: ARCH 2502_Mari Michael Glassell | program: alley installation | size: changing.....growing

Vacillating Plates is an installation that fluctuates as participants activate its being. The installation embraces the linearity of the site (alley) through its tensile adaptation. The adaptation is exhibited by the formal nature of the pipes supporting the fragmented plates and through the forces inherent to the materiality of the plates. Though these plates are objects in a field, their inconsistencies, and systematic organizations evolve from the site’s field conditions. The site exhibits a field of linear multiplicities amongst visual mass and selective depreciation. Visual mass can be seen through the cluster of linear elements that presently manifests itself as volumes within the field. Though the objects by themselves do not have significant amounts of mass, the way in which they are clustered together do. Vacillating Plates understands this particular field condition as reinforces that nature of being with the implementation of its own clustering of linear elements.

two similar fields is known as the moiré effect. The utilization of the moiré effect created Vacillation’s Plates through adaptation. The installation will continue to integrate and morph itself beyond the site as the being becomes activated. As the installation encounters more participants, it gains more information and broader experiences of the context that it negotiates with. Through such, the installation continues to adapt and morph with the evolution of its field. Vacillating Plates is always adapting and then readapting as its metabolic rate of consumption is always increasing. Thus, the field and the installation is in a constant stage of expansion.

The operation mapping studies from Oscillation’s Nest where superimposed on to the field conditions observed at the Broadway and Avenue J site (the location for Vacillating Plates). The superimposition of

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project_03.5


N Location: Broadway and Avenue J

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1.04" 1'-4.26"

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7.86"

1.29" 1'-4.89"

The hybrid drawing (above) is the superimposition of the field conditions from the alley site and the narrative mapping of Oscillation’s Nest. The longitudinal sections (five in total) are broken apart into a series of devisal assemblages (left), also called follies. 7.74"

01_POWER LINE POLES 02_POWER METER 03_BRAKER BOX 04_DOWN SPOUT 05_LATTER 06_DUMPSTER 07_DOORS 08_WINDOWS 09_WATER METER 10_COUNTER WEIGHT 11_FOLD DOWN STAIRS 12_BIG WHITE OBJECTS 13_LIGHTS 14_BROKEN WINDOWS

01 02 03 04 05 06 07 09

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FIELD//vacillating plates

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Lubbock Bath House//B6.4.23

location: Lubbock, TX | course: ARCH 2502_Mari Michael Glassell | program: bath house | size: 16,800 sq. ft.

/OBSERVATION: This Lubbock Bathhouse is located along the i82 frontage road at the terminus of Avenue J, which segregates pieces of the developing arts district from the unoccupied, decaying Lubbock Power and Lights. Baths, a sequential cleansing in water of various temperatures, emulate the struggle for development in downtown Lubbock. Though the Lubbock Arts District is developing, it finds itself congested and frustrated by a dominating deterioration. Pools, separate from baths, are distinguished by their chaotic populous that exists in one uniform temperature. This social and aesthetic conflict of the surrounding context is demonstrated through the design and program of LBH // B6.4.23. /POSITION: Avenue J separates the two social agendas in LBH // B6.4.23. As mentioned before, the baths and pools are separate in location, and temperature. They are also different in quantity, trajectory, and form.

is the congested pools that are bounded by the i82 frontage road, the rail yard, and the abandoned Lubbock Power and Lights. It should be noted that with in the small rail yard, one line continues to remain inactive as it is a non-operating subsidiary. In this manner the existing context is projected north. /TECHNIQUE: Mapping was an integral part of both the studio and the site. It was through this process that formal elements already present described societies’ participation in the urban fabric. The context map (right w/ Matthew Roye + Lynced Torres) illustrates the site participation within the larger context of Lubbock. The collage (below) demonstrates the dichotomy of building type along this area of Avenue J.

/SEPARATION: With Avenue J segregating the site, baths exist in quantity to the West as the developing LHUCA complex as does. While to the East

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project_03.6


panorama_01: Ave. J

0.4

panorama_02: sw. corner +840

+800

+800

+760

+760

+720

+720

+720

+680

+680

+680

+640

+640

+640

+600

+600

+600

+560

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+520

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+480

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HIGHWAY public transportation

rial Hw

y

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Avenue J

mby Me mo

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+760

nter

Marsh all For

lly Ce

Lubbock County Courthouse

y Ho

31

Budd

RAILROAD TRACK public transportation

1.2

panorama_02: ne. corner

+800

Avenue K

+840

Lubbock Municipal Court

+840

panorama_03: se. corner

POST OFFICE delivery and transportation

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panorama_02: nw. corner

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LHUCA CAMPUS art gallery

+480

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CERAMIC ARTS BUILDING place to make pottery +440

+440

+440

7.3

+400

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17 15

-360

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+320

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xa Te

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t ou

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ICE HOUSE art gallery and activity center ex-regeration warehouse

+360

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lain hP

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+440

sM

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days of the month

+440

STUDIO 4 residential artist background

+80

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58’

10’

+320

66’

30’

+320

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+280

ity

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+280

ock

bb

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+280

Ch

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17’

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GAS STATION welder’s shop and gallery +200

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rist

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41’ COMMERCIAL ICE CREAM DISTRIBUTION CENTER used to distribute ice cream

+240

6.1

ers niv

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ART GALLERY ex-tattoo parlor

+240

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5

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ue

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n Ave

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2 1

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LUBBOCK POWER AND LIGHT building 1 abandoned warehouse

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RAILROAD TRACK unused public transportation +80 -440

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LUBBOCK POWER AND LIGHT building 2 abandoned warehouse

50’

-40

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76’

-40

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25’ 81’

The hybrid drawing (above) is composed of the field conditions from the alley site and the narrative mapping of Oscillation’s Nest. Through the moiré effect, Vacillation’s Plates is the derivative. The longitudinal section (below) maps the performances when the Vacillation’s Plates is activated. The longitudinal sections (five in total) are broken apart into a series of devisal assemblages (left), also called follies. EAST BOUND -400

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Jones AT&T Stadiu

m 1.5

U.S. 82 Frontage Rd.

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a Sha

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Silen t Wi ngs

nal atio Inte rn ith Pres ton Sm

5.2

Airp or

t

Muse um

Marsha Sharp Fwy

101° 50’ 50” S // 33° 35’ 31” E matthew jeva roye | lawson spencer | lynced torres

5.6

-440

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Lubbock Bath House//B6.4.23

17


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Airp ort

useu

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/FORM: The baths and cleansing spaces are defined by their amorphic structure while they look upon other developing components such as other baths and the LHUCA complex. In Contrast, pools and other operable spaces are defined by the plumbing system participates as an aiding support system to the walls as well as the infrastructure that exposes it runs in an around space. The infrastructure of the pools and operation spaces morphs itself as it transitions in spaces of cleansing. This transition from pipe to an undefined, indeterminate form demonstrates the process by which one cleanses themselves. As the pipe progresses from a dirty and grimy to a state that is more natural in characteristic, so do those who go through the process of cleansing.

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BLACKWATER DRAW

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LUBBOCK POWER AND LIGHT (building 2) abandoned warehouse

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MAY 21 8 AM

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GAS STATION

welder’s shope and gallery

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in Pla

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nter 0.6

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project_03.6

lly Ce

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Lubbock County Courthouse

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(building 1) abandoned warehouse

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LUBBOCK POWER AND LIGHT

ive

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y Ho Budd

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b Lu 6.1

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t_06

Lubbock Municipal Court

We k oc

12 am t_09 t_11

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06 06 04 02 03

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The rhizome map (above) illustrates the relationships of the elements present within and around the site as they interact with one another. The precision of such is validated by the observations of the greater context. The assemblages from the Vacillation’s Plates are placed in the site (top left) according to composition and amount of the different operations in relation to similar (below).

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/TRAJECTORY: Trajectory of the different programmatic typologies was derived from the performance of the interaction of objects already existing in the site with context as the discipline. Form developed around the relational proximity of each typology with sequential circulation as the discipline. Each bath guides its occupants towards the next systematic event and allows for reflection on that which is also been renewed, the LHUCA complex. The structure around the pools forcibly points the viewers’ attention towards the baths.

t_11

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Lubbock Bath House//B6.4.23

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19


a

/PERFORMANCE: Due to the visual trajectory of the pools and its insignificance in quantity and quality; at a variable moment, congestion and frustration burst into an overflow that disrupts the systematical experience of the baths. Though the two events are separate the one is purposely limited so as to cause an undesired disruptive influence on the systemization. The transition pools offer service to the disruption in a means that offers a type of control by encouraging the disruption to migrate to the beginning of the systematic cleansing.

+5.0

WARM BATH

PLU

(81 ft.²/5/94° F)

(104 f

+5.0

+ 5.5 + 4.0

+ 6.5

WARM BATH

(136 ft.²/9/94° F)

+ 6.5

LONG POOL

LONG POOL

PLUNGE POOL

(1,128 ft.²/75/88° F)

(1,038 ft.²/69/88° F)

(143 ft.²/9/88° F)

CLEANSING AREA (288 ft.²/8)

+ 6.5

WARM BATH

WARM BATH

Storage Shelves

PLUNGE POOL

+ 5.0

(67 ft.²/4/88° F)

(150 ft.²/10/94° F)

+ 4.5

75 ft.²/3/94° F)

+4.5 + 4.75

+ 4.0

+ 5.0

+ 6.0

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WARM BATH

Communal Bathrooms

(212 ft.²/14/94° F)

Shower

CHANGING AREA

+ 10.5

(190 ft.²/31)

+ 6.0

Mechanical Room

+ 6.0

+ 4.5

HOT BATH

Mechanical Room

ADA Bathroom

+ 1.0

(440 ft.²/29/107° F)

b

+ 4.0

WARM BATH

Mechanical Room

(800 ft.²/53/94° F)

+ 7.0

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COLD BATH

(116 ft.²/7/57° F)

COLD BATH

WARM BATH

+ 4.0

(1,120 ft.²/74/94° F)

-2.5

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(212 ft.²/14/57° F) -5.0 + 4.0

ADA Bathrooms

/EFFECT: The invasion from the Area of Dysfunction (AoD) into orderly Bathing spaces is a disruption of the attempted progression of its occupants. This invasion is a contrived translation that makes known the deterioration that is frustrating the congested and developing Arts District of Lubbock.

ENTRANCE POOL

+ 3.25

(838 ft.²/55/88° F)

-4.0

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COLD BATH

(370 ft.²/24/107° F)

PLUNGE POOL (267 ft.²/17/88° F)

Y ENTR

+ 0.0

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EXIT

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WARM BATH (81 ft.²/5/94° F)

PLUNG

(104 ft.²/7

+5.0

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WARM BATH

+ 6.5

(136 ft.²/9/94° F)

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LONG POOL

LONG POOL

PLUNGE POOL

(1,128 ft.²/75/88° F)

(1,038 ft.²/69/88° F)

(143 ft.²/9/88° F)

CLEANSING AREA (288 ft.²/8)

WARM BATH

WARM BATH

Storage Shelves

(150 ft.²/10/94° F)

+ 4.5

75 ft.²/3/94° F)

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PLUNGE POOL

+ 5.0

(67 ft.²/4/88° F)

+ 4.0

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WARM BATH

Communal Bathrooms

(212 ft.²/14/94° F) Shower

CHANGING AREA

COLD BATH

+ 10.5

(190 ft.²/31)

(116 ft.²/7/57° F)

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Mechanical Room

+ 6.0

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HOT BATH

Mechanical Room ADA Bathroom

+ 1.0

(440 ft.²/29/107° F)

+ 4.0 -2.5

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WARM BATH

Mechanical Room

(800 ft.²/53/94° F)

+ 7.0

WARM BATH

(1,120 ft.²/74/94° F)

-3.0

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COLD BATH

+ 2.5

(212 ft.²/14/57° F) -5.0 + 4.0

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ADA Bathrooms

+ 3.25

(838 ft.²/55/88° F)

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COLD BATH

(370 ft.²/24/107° F)

PLUNGE POOL (267 ft.²/17/88° F)

+ 0.0

Y ENTR

20

EXIT

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project_03.6


section: slice_01

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The containment of those attending the pools overflows into the area baths (top left) as the population density within the pools exceeds the undefined capacity of the pool area. This interaction demonstrates the already existing, but not yet prevalent interaction between the culture of the arts district and the greater whole of Lubbock (left). WASTE POOL (not accessible)

-1.0

UNGE POOL

ft.²/7/88° F)

-1.75

Bathrooms

ENTRY

+ 0.0

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ADA Showers

+1.5

Showers

+ 0.0

+ 0.0

section: slice_02

DEEP POOL

(1,007 ft.²/67/88° F)

ENTRANCE POOL (296 ft.²/19/88° F)

+ 0.0

SHALLOW POOL (508 ft.²/33/88° F)

+ 0.0

CHANGING AREA (sq. ft./occupancy)

section: slice_03

section: slice_04

+0.0

section: slice_05

WASTE POOL (not accessible)

-1.0

GE POOL

7/88° F)

-1.75

Bathrooms

ENTRY

+ 0.0

+1.5

ADA Showers +1.5

Showers + 0.0 + 0.0

DEEP POOL

(1,007 ft.²/67/88° F)

ENTRANCE POOL (296 ft.²/19/88° F)

section: slice_06 + 0.0

SHALLOW POOL (508 ft.²/33/88° F)

+ 0.0

CHANGING AREA (sq. ft./occupancy)

section: slice_07

Lubbock Bath House//B6.4.23

21


typology_BANK

location: Lubbock, TX | course: ARCH 3502_David Driskill | program: international bank | size: 14,400 sq. ft.

/OBSERVATION: The site is at the heart of a larger urban plan for the revitalization of Lubbock’s Central Business District. Urban Tech, a design negation between the city of Lubbock and the TTU_CoA, recognizes that the Central Business District is one of the densest neighborhoods in the city of Lubbock, yet one of the poorest, economically. As part of the revitalization/redevelopment of this area, Urban Tech is proposing a change of transportation methods within the CBD to become more segregated between pedestrian and vehicular traffic. Presently, the Central Business District is in close proximity to the vast majority of the cultural centers within the region. According to the Urban Tech studio, the site is on the one of the core streets within the space syntax of Lubbock’s most integrated areas. Adjacent to the site is Lubbock National Bank (LNB), a tattoo parlor, a small restaurant and a few parking lots. /SOCIAL SITUATION: As of present Urban Tech has provided research with regard to the formal composition of Lubbock. As this site is a foci for urban design, it is imperative that the project begin to articulate the social situation as an element inherent to the social synergy.

22

Social synergy is a dynamic field of interrelated forces that are constantly interacting and reacting to one another. Social synergy is the interaction between different social organizations, and is one of the elements that composes a society within an urban environment. Contributing factors such as contextual history, location, time, demographics, and situation are just some of the elements that compose social synergy. The most abstract element within social synergy is the social situation. Unlike the other elements, social situation is difficult to concretize because of the way in which it is to be quantified. Social situation is a set of conditions related to a type of action or event that one might find oneself in. In other words, social situation is comprised of a set of social circumstances. Social situation is the element of social synergy that describes the resulting interaction of the different components that form the urban environment. Though social situation is informed by the interaction of the other components, it must be analyzed as a separate entity within the urban environment to fully understand its affectious nature.

project_04


This project is the derivative of a systematic mapping of the frequency and tempos that regularly occur in and around the site. The activity around the tape recorder is photographed (below). The moments without imagery are perceived to be moments of inactivity, and thus still informing the frequency and tempos inherent to this social situation.

typology_BANK

site: sw corner of Avenue J and Main St.

23


/SOUND: Our urban environments are a composition of sounds. Inherent to those sounds is some type of structure (urban DNA) that describes the activities taking place. Because there is an inherent structure to the sounds of our cities, our cities are and have a musical composition to them. Because our cities have a musical composition inherent to their being, then they can be described through all the same constructs used when describing piece of sheet music. Sound is used as a measuring device to articulate the social synergy of the area surrounding the site. Artifacts such as tempo (a measurement over the course of a few minutes) and rhythm (a measurement over the course of a day) can attest to the social “vibrancy” within its context. Example: [someone walking on the street in New York City will be walking a faster pace (tempo) than someone in rural Illinois, and over the course of a day, New York City will have a greater “vibrancy” (amplitude) than rural Illinois]. Because this project is part of a greater urban revitalization plan, it is the expectation of this project to be a driving force in the revitalization as it enhances the social autonomy through the acceleration of tempo in the social situation. Ultimately, the project will change the rhythm within the present urban fabric.

24

[site location]

project_04

[observed tempo trajectories]

[increased frequency]

[responsive program]


Level 4 46' - 0"

Level 4 46' - 0"

---

Level 3 32' - 0"

Level 3 32' - 0"

Level 2 18' - 0"

Level 2 18' - 0"

/ANALYSIS: A tape recorder was placed at the heart of Lubbock’s CBD, which is bounded by 9th Street to the north and 15th Street to the south; to the west is Avenue M, while to the east is Avenue G. There is total of 36 blocks. A second tape recorder was placed at one end of a given street while the happenings around the tape recorder were photographed at the opposite end of the street. Data was gathered of the inner 16 blocks and proportioned to the data of the first tape recorder.

“I found myself recording at each intersection for three or four minutes before moving to the next data point. At the Southeast corner of Ave J and Main (above) I recorder 7 cars passing by, no pedestrian traffic, and two birds chirping between 10:41 a.m. and 10:44 a.m.� The data gathered informs the social situation and activity around the site (below). ---

Level 1 0' - 0"

Level 1 0' - 0"

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plan_03: Level 02

plan_05: Level 04

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typology_BANK

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25


/TYPOLOGY SHIFT: /TYPOLOGY SHIFT: Form and Program respond to the existing tempos and frequencies mapped in the sound analysis through the syncopation of void/ solid, closed/open, slow/fast and other types of dichotomous conditions. The structure/ organization of program is first realized as the spaces respond to the site and its relation to context. Programs expecting more activity and louder public presence are placed along Avenue J and then Main St. As the program space desire more intimacy and separation from the public sector, they are placed along the interior of the site and then vertically above the ground level. The programs receive their formal definition through proposed tempo of activity in their respective locations, while still responding to the site and environment conditions. As this project evolved, it begins to challenge the bank typology. Before, the pride of the bank was

26

in its vault as symbol strength and stability. Naturally, the architecture reflected this notion, and the bank typology was formally described as solid, heavy, monumental, and firm. This project argues that the pride of the bank is no longer in the vault, but rather in its efficiency and ability to exchange information. The thin, tectonic, and tensile components are the formal interpretation of this new pride.

project_04


section: slice_01

Skin is treated as a canvas that has the ability to wrap in and around its programmatic space (right), thus altering the social activity through its formal composition. When delineating the skin to a canvas, it informed the location and sizing of structural elements (below). The section (above) illustrates the skin to structure relationship, while informing interior geometries. [interior = boundedExterior]

section: slice_02

section: slice_03

section: slice_04

section: slice_05

typology_BANK

27


RESUME EDUCATION Fall 2013 - Present Texas Tech University [Lubbock] pursuing: Bachelor’s of Science in Architecture (December 19 th)

RESEARCH + COMPETITION Spring 2016 Center for Active Learning and Undergraduate Engagement Presenter at TTU Undergraduate Research Conference abstract title: “An Architectural Process Ideology” (PUBLISHED PROCEEDING) [presentation and abstract available upon request]

Spring 2016 Dean's Cup 2016

Runner-Up in Dean’s Cup Competition 2016 (with Geoffrey Ford + Dianze Wu)

RECOGNITION Spring 2016

Chapman Harvey Architecture Scholarship recipient Study Abroad Design Scholarship recipient

EMPLOYMENT Spring 2016 - Present Student Assistant

Architecture History II [50hrs./Semester] graded student essays and exams

Fall 2015 - Present Professor’s Research Assistant Mari Michael Glassell [40hrs./Semester]

researched and gathered information to develop urban information system module

Summer 2015 G.W. Mitchell Construction Field Laborer: Assisted on 1 Project [16hrs./week]

framing, installing windows and job site clean up Project Engineer Intern: Assisted on 3 Projects [32hrs./week] drafting RFI’s, reviewing submittal requests, and revising “As-Built” drawings

Summer 2012-2013 Dovetail Construction

Field Laborer: Assisted on 3 Remodeling Projects [40hrs./week] responsibilities included: demolition, framing, painting, interior/exterior trim work and job site clean up

COMMUNITY INVOLVEMENT Fall 2016 Student Grade Appeals Committee reviewed student grade appeal and proof against professor's response

Fall 2015 - Present AIAS - American Institute of Architecture Students member

Fall 2013 - Spring 2014 Global Art Brigades member

Fall 2012 St. PJ’s Childrens’ Home [24hrs./5days] responsibilities included: moving and replacing furniture, building and designing playhouse

Summer 2011 St. PJ’s Thrift Store [120hrs./Semester]

responsibilities included: assisting customers, organizing and stocking shelves, and fixing electronics

SOFTWARE

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AutoCad | Revit | SketchUp | Rhinoceros | Vray for Rhinoceros | T-splines for Rhinoceros | Adobe Photoshop | Adobe Illustrator | Adobe InDesign | Microsoft Suits

resume


Lawson Spencer Undergraduate Student | RA | SA CoA_Texas Tech University, Lubbock T: (210)-204-5724 E: lawsonleespencer@gmail.com

contact

29


It can be understood that within every constructed assembly there are portions of architecture and portions of building that simultaneously exist together and not separately. Encompassed within this constructed assembly is the notion of origin, which is process or development that creates the constructed assembly. In the field of Architecture, success is determined by sensory appeal or appreciation of experience and process of creation. If the architecture of a constructed assembly is the aesthetic experience and the development of such, then building is the non-integrated utility. This is to say that within every building, there are certain amounts of architecture that can encompass utility if it somehow, by some measure contributes to sensory appeal or appreciation. The success of the building is determined by how much architecture is present in comparison to how much building is present, and thus the overall piece can subjectively be defined as either architecture or building.


f16 Portfolio [undergraduate]