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1


50'0" Arch 317 Construction 1 Instructor: Bradley Cooper

3'8"

7'2" 2'8"

4'10"

2'0"

KITCHEN

4'3"

LIVING ROOM

8'7"

20'1"

27'5" 11'4"

4'5" 8'6"

12'9"

3'11"

DINING ROOM

DN

5'6"

3'2"

1'3" 4'5" 3'3"

5'8"

27'5"

5'3"

3'8"

2'0" 2'6"

5'4"

2'9" 2'10"

2'1"

3'8"

14'2"

3'8"

3'1" 2'0" 3'11"

13'3"

9'6"

3'11"

2'6" 3'9" 8'5"

4'2"

6'10"

5'8"

8'2"

3'7"

UP

5'11"

7'5"

11'4"

41'4" 13'2"

Revisions

No.

Date

14'6" 1’

2’

4’

8’

1450 Jones Dr Ann Arbor Mi, 48105 Architect: Sahba La’al

N Title:

First Floor Plan

Drawn By:

2

BY: NATE LONG

Project

Whitney Hansley

Dome Home

Date

Scale

1/4”=1’

Sheet


CONTENTS 3

INTRO

ARCHITECTURE

PRODUCT DESIGN

CONSTRUCTION

CONCEPT DESIGN

03 04 40 50 56


ARCHITEC 4


CTURE 5


OTHER MUSEUM WINTER 2012 UG4

6


7


OTHER MUSEUM A CHILDREN’S MUSEUM FOR RAPID COGNITION

Other Museum explores an atmosphere of curiosity and discovery. Exhibitions focus on the kind of thinking that happens in the blink of an eye. Spatial relations promotes Intellectual growth by Challenging that which we consider reality, or the way things work. Using tools such as anamorphic projection, experiential learning, interactive objects, and temporal environments occupants are motivated to question their understanding of space and how we inhabit it.

8

STREET VIEW OF FACADE

233 BOWERY STREET NEW YORK, NY


SHARING SPACE

PRECEDENTS

$

@ * %

Grand Central Station, New York

To exploit the occupants subconscious reaction to what they interpret as defined space, the museum plays with what it is that defines the space. Imagination and sensation are, in some sense, faculties of the mind insofar as it is united with a body. Therefore, Other Museum asks you to question your own physical presence.

Pushing and pulling layers conceive voids; Voids therefor, create the boundaries. Pulling Apart the layers 1/8”=1’0”

Dan Graham Sagitarian Girls, 2008

“Profit comes from what is there; Usefulness from what is not there.” Tao Te Ching Solid vs. Void

Separating Layers

Dan Graham, Double Triangular Pavilion,1989

9


1/8”=1’0”

+32 FT (LARGE GALLERIES)

+23 FT (LARGE GALLERIES, MEDIUM GALLERIES, LOUNGE)

+10 FT (LARGE GALLERY, MEDIUM GALLERIES)

EAST-WEST LONGITUDINAL SECTION 10

ENTRY LEVEL +0 FT (ENTRY, OFFICE, RESTROOMS, GIFT SHOP, ROTATING INSTALLATION)

In the longitudinal section of the museum you see circulation and gallery spaces lose their particular boundaries. Slippage occurs where stairs begin to deform the ribbons and, vice versa, manipulating the hierarchy of space. Spaces are no longer defined by physical relationships, rather, experiential qualities such as crowd density, light, perspective, and ones own quality of transience.


11


12


PLATFORM DIAGRAM

INTERCONNECTING SPACE

EXHIBITION SPACE

13


d.e.i FALL 2011 UG3

14


15


d.e.i

DE TRO I T S C H O OL F OR EN TRE PR E N E U R S H IP AN D I N N O VAT I O N Detroit is a city fresh full of resources and bright young minds. Yet, the city’s growth is at an all time low. Abandoned buildings and forgotten businesses are a common scene. Detroit School for Entrepreneurship and Innovation aims to reach out to the community, help bring business back to the city, and seize the unrecognized resources that Detroit has.

Abandoned buildings at site

Site view 8375 1880 2467

Proposed ally/garden path 14517

d.e.i will sit at the center of Detroit’s cultural district. The site is currently home to a few abandoned buildings, a museum, parking lots, and empty space. d.e.i illustrates the symbiotic relationship between community and school. 16

The school will be implemented with the same concepts as precedents such as the Highline in NY. Reusing the abandoned space to improve the community.

165849

1755 2025

17200

15250

3300

9463

3872

29730 ft

SITE SQUARE FOOTAGE Site:

165849

Existing parking lots:

62085

Existing structures:

47750

Ft.

2


Reusing t he exist ing in f r ast r u ct ure

17


VE EA

E

C

ST

N

CIRCULATION DIAGRAMS

ID

DS

OO

W LD

IE

F AN

The form was designed to harmoniously connect the community with and within the school. Circulation paths create a main corridor that guides the occupant from one side of the site to the other, while sub-pathways create interaction spaces. Elbows in the circulation create visual hot spots and are purposely programmed to exploit the social atmosphere. There are 4 atriums within the school that visually connect the levels, deliver sunlight to classrooms, and create a more open space. The most important architectural factors in creating a community within the school are: visual connections, interaction spaces, circulation hierarchy, and central hub for collaborating and sharing.

CE

NTR

AL

CO

RR ID

OR

DEVELOPING THE FORM

IMMEDIATE ACCESS TO ST.

18

PULLING THE SIDES OUT TO INCREASE SURFACE AREA

UTILIZING THE ANCHOR POINTS TO MAXIMIZE VISUAL CONNECTIONS

CREATING A CENTRAL HUB


1ST FLOOR PLAN

VE EA

SID

OD

WO Men's Bathroom

Study Lounge

Multipurpose Room

Women's Bathroom

Storage Room

Dining Hall

Multipurpose Room Copy Room

School Kitchen Social Media Center

Multi Purpose Space

Testing Room

Study Space

Ticket Office Fitness Center

Collaboration Room

Unisex Bathroom

Auditorium Reception

Large Auditorium

Balcony

Exterior Courtyard Auditorium Balcony Entrance Kitchen Office

Classroom

T DS Storage

Loading Docks

Mechanical Room

Storage and Mechanical Storage Classroom

Woodshop

Community Outreach

Men's bathroom

Multipurpose Space

Women's Bathroom

Men's Bathroom

L FIE Meeting Rooms

Meeting Rooms

Study Space

Meeting Rooms

Meeting Rooms

Kitchen

E

N CA

Multi Purpose Space Women's bathroom

Exterior Courtyard

Fabrication Laboratory

Lounge

Computer Offices

Multi Purpose Space

Computer Offices

Computer Lab

Collaboration Space

Combination Room

Computer Offices

Small Group Room

Large Group Room

Small Group Room

Multi Purpose Space

Student lounge space

Library Offices Group computer Lab

Mechanical Shaft

Information Desk

mechanical shaft

Group Room

Small Group Room

Cafe

Small Group Room

Professor Offices

Public Lounge Library Desk

Group Room

Classroom

Group Room

Multipurpose Room

Conference Room Lounge

Multi Purpose Space

Store

Classroom

Library

Storage

Small Auditorium

Help Center

Collaboration Room

Classroom Multipurpose Room

Unisex Bathroom

Collaboration Lounge

Classroom Administration Desk

Group Room

Classroom

Administration Offices

Classroom

Classroom

Projection Room

Discussion Room

Exterior Courtyard

Work Area

Men's Restroom Exhibition

Women's Restroom

Product Presentation Rooms

N

Multipurpose Room

N

Woodward Avenue

2ND FLOOR PLAN

3RD FLOOR PLAN

19


AERIAL VIEW SCALE MODEL 1/8”=1’0”

LONGITUDINAL MEANDERING SECTION CUT

20


WA LK

-AB

LE T

ERR

ACE

RENDERING INTERIOR ATRIUM

21


THE SPACE WITHIN FALL 2010 UG1

22


23


THE SPACE WITHIN “Thirty spokes share the wheel’s hub; It is the center hole that makes it useful. Shape clay into a vessel; It is the space within that makes it useful. Cut doors and windows for a room; It is the holes which make it useful. Therefore profit comes from what is there; Usefulness from what is not there.” -Tao Te Ching - Lao Tzu - chapter 11 24

It is always around, but it is only defined by its edges. Space is a parasite. Its survival depends on another. Yet space is what defines the purpose of its edges. In this project we investigate space using four images associated with an industrial environment. In the images, crisscrossing supports and repeating structures along with opaque planes and masses form integrated layers. Large pockets of space are created by interlocking planes. The depths of multiple surfaces create a shadow making machine. Space begins to be defined not only by masses but by light and shadows, giving us the ability to realize the utility of what is not.


ISOMETRIC SCALE DRAWING. PENCIL AND CHARCOAL

LONGITUDINAL SECTION

CROSS SECTION

PLAN SECTION

25


ROCKITE CASTING

QUANTIFYING SPACE IN AN EFFORT TO UNDERSTAND THE USEFULNESS FOR WHAT IS NOT THERE, I CONSTRUCTED TWO CONCEPTUAL MODELS OF THE SPACE WITHIN. A ROCKITE CASTING AND A MODEL MADE OF STACKED MUSEUM BOARD. ST AC

KE

26

DM

US

EU

MB

OA

RD


CONSTRUCTING SPACE WITH MATERIAL

CHARCOAL RENDERINGS OF FIRST MODEL

AFTER ITERATIONS OF STUDY A FINAL MODEL WAS MADE USING BOTH TRANSPARENT AND OPAQUE MATERIAL. SOLID MASSES OVERLAP AND COLLIDE. AS A RESULT, THERE IS AN UNDERSTANDING THAT WHAT IS NOT THERE DEFINES WHAT IS AND VICE VERSA.

FINAL MODEL.

COKE BOTTLE GREEN GLASS, BASSWOOD, CHIP BOARD SPRAY PAINTED WHITE

27


(TWO2) OBSESSIONS FALL 2010 UG1

28


29


(TWO2) OBSESSIONS (TWO2) OBSESSIONS JUXTAPOSES TWO UNIQUELY DIFFERENT CIRCULATION PATHS. THE TWO LANGUAGES CREATE A ROMANTIC YET DESPERATE SCENE OF TEMPTATION AND DESIRE. THE PATHS PUSH AND PULL AT EACH OTHER YET, NEVER INTERSECT. “THE GRASS IS ALWAYS GREENER ON THE OTHER SIDE.”

30


PLAN VIEW

CHARCOAL PERSPECTIVE RENDERING 1-3

31


CROSS SECTION

32


LONGITUDINAL SECTION

33


CAMINO DE SANTIAGO SPRING 2011 UG1

34


35


ALBERGUE DE LAS PATAS CAMINO DE SANTIAGO 3”X5” MOLESKIN NOTEBOOK

36


ALONG THE CAMINO DE SANTIAGO, A PILGRIM MAY WALK ANYWHERE BETWEEN 100 AND 2000 MILES. EVERYDAY WALKING TO A NEW LOCATION AND PREPARING FOR THE NIGHT. IN SUCH A TRANSIENT LIFE, A PRIMAL NECESSITY IS SHELTER. THE ALBERGUE SERVES AS A TEMPORARY HOME FOR THE PILGRIMS. EACH DAY SEEING A NEW SET OF FRESH FACES. OUR WALK BEGAN IN PONCE DE LEON, FRANCE, 500 MILES FROM SANTIAGO. ALONG THE WAY WE STAYED IN MANY ALBERGUE’S, STUDYING EACH ONE TO DESIGN THE PERFECT SHELTER FOR PILGRIMS.

37


1ST FLOOR PLAN

38

2ND FLOOR PLAN

SLEEPING QUARTERS FRONT ELEVATION

CROSS SECTION

SPACIAL RELATION


WASHROOM RENDER

NSHIPS AXONOMETRIC DIAGRAM

STRUCTURAL AXONOMETRIC DIAGRAM

COMMON SPACE RENDER

39


LONG D E S IG N

40'7" 16'5-3/4"

42-42 64TH STREET QUEENS, NY 11377

AS NOTED

DRAWN BY:

NJL NJL

DATE:

11.15.2012

11.15.2012

6'5"

6'4"

KITCHEN/ DINING ROOM 14’9”x25’4”

POWDER ROOM 6’9”X5’

4

B

2

4'3-1/4"

3'4-3/4"

FLOOR PLANS

DRAWING NO:

40

7'7-1/4" 40'7"

N

DRAWING TITLE:

7'1"

3

16'6-1/4"

OFFICE 9’6”X7’7”

4

6'8-1/2"

B

9'4-1/4"

3

1

1ST FLOOR PLAN

A1.1

17'0-3/4"

14’8”x15’4”

DRAWING TITLE:

DRAWING NO:

LIVING ROOM

28'6"

DATE:

B 2

10'7-3/4"

NJL

7’3”X7’4”

6'4"

CECKED BY:

ENTRANCE

2

5'1-1/4"

SCALE:

NJL

CECKED BY:

A

11'5-1/4"

1025 REGIONAL ROAD PORT PERRY, ONTARIO

AS NOTED

DRAWN BY:

8'11-1/2"

1

B

1025 REGIONAL ROAD PORT PERRY, ONTARIO

SCALE:

16'5" 7'5-1/2"

A

28'6"

JORDAN MCKAY RESIDENCE

7'8" 7'9-1/4"

15'10"

42-42 64TH STREET QUEENS, NY 11377

8'8-1/2"

6'4"

This renovation of a 1920’s two story, at the heart of the Canadian contryside, began with the stripping of JORDAN MCKAY the interiors and was rebuilt using a RESIDENCE modern and traditional vocabulary. While the project is still underway, the kitchen examplifies that warm and rooted inspiration of the countryside. The white cabinetry and detailed glass panels are brought together by a rustic marble island and an oven vent that was built using reclaimed wood from an old barn on the property.

5'6"

D E S I GN

5'11-1/2"

LONG

9'9"


LONG DE S IGN

40'7" 16'5" 42-42 64TH STREET QUEENS, NY 11377

8'8-1/2"

7'8-1/2"

3'10"

6'5" 4 2'2"

6 W.I.C 6’8”X10’6”

7'2-1/4"

7 5

28'6"

2'9"

1'2"

4

2'8"

11.15.2012

BATHROOM 9’9”X5”

2'8"

ATE:

2'6-1/4"

NJL

28'6"

NJL

8'0-3/4"

4

5'7"

5'11"

B

B

6'10"

MASTER BATHROOM 14’8”X12’3”

6'4"

11'7"

2

3'6"

4'0"

5'3"

4

BEDROOM 14’9”X9’10”

B

14'5-3/4"

B

2'10"

AS NOTED

ECKED BY:

A

MASTER BEDROOM 14’8”X15’4”

4'11"

11'6-3/4"

BEDROOM 14’9”X9’6”

B

5

RAWN BY:

8'6-1/2"

A BEDROOM 10’4”X7’5”

5'2-3/4"

1025 REGIONAL ROAD PORT PERRY, ONTARIO

CALE:

7'9-3/4"

6'4"

A

16'4-1/4"

3'11-3/4"

14'0-1/4"

JORDAN MCKAY RESIDENCE

7'9-1/2"

B

RAWING TITLE:

7'8-1/4"

2ND FLOOR PLAN

8'9-1/2" 16'5-3/4"

5'4-1/4" 7'8"

2'3-3/4"

8'5-1/4"

8'0" 16'5-1/4"

N 40'7"

RAWING NO:

A1.2

41


PRODUCT DESIGN 42


43


MAGAZINE RE-USE WINTER 2012 42 HOURS OF RE-CREATIVITY COMPETITION

PARTNER: ANDREW JIMBO

WON HONORABLE MENTION RECYCLING MAGAZINES TO DESIGN CONTEMPORARY AND INNOVATIVE PRODUCTS INCLUDING A CUSTOMIZ-ABLE COFFEE TABLE, SPEAKERS, AND HANGING LAMPS. 44


45


CLOCK LOOS FREELANCE DESIGN CLOCK LOOS WAS INSPIRED BY ADOLF LOOS AND HIS DESIGN OF THE STEINER HOUSE IN VIENA, AUSTRIA. THE PIECE IS MADE FROM LEFT OVER MUSEUM BOARD OF A SCALE MODEL OF THE HOUSE. THE QUARTER MOON CURVE OF THE ROOF THAT SO FAMOUSLY DEFINES HIS DESIGN IS REPRESENTED BY THE CURVES OF SOME OF THE PIECES OF THE CLOCK.

46


BOXED WINE FREELANCE DESIGN A COMPACT 9”X9”X9” CUBE WINE BOTTLE HOLDER. WITH A DRAWER FOR HOLDING COASTERS AND BOTTLE OPENER.

47


WATER RETREAT A RELAXING WATER RETREAT. IN THE MIDDLE OF SUBURBIA. CAREFUL PLANT PLACEMENT AND A TRICKLING WATER FALL HELP ADD TO THE ENTIRE GARDEN EXPERIENCE.

48


49


CONSTRUC

STEEL COLUMN

FINISHED WOOD FLOOR SUBFLOOR

CONCRETE DECK

METAL WAFFLE DECKING INSULATION REINFORCING BAR

STEEL I-BEAM SPRAY ON FIREPROOFING

ALUMINUM RAILING

50


CTION 51


B.A.M.F WINTER 2012 CONSTRUCTION 2

PARTNER: MANUEL MARTINEZ

STEEL COLUMN

FINISHED WOOD FLOOR SUBFLOOR CONCRETE DECK

THE B.A.M.F. PERFORMANCE VENUE OFFERS A VERY OPEN AND FLEXIBLE SPACE FOR EVENTS, INSTALLATIONS, PERFORMANCES, AND GATHERINGS. IT IS A STEEL CONSTRUCTION WITH A GLASS AND WOOD FACADE.

METAL WAFFLE DECKING INSULATION REINFORCING BAR

STEEL I-BEAM SPRAY ON FIREPROOFING

ALUMINUM RAILING

10’0” FINISHED WOOD FLOOR PLYWOOD SUBFLOOR

INSULATION DROP CEILING RODS DROP CEILING SUB STRUCTURE DROP CEILING PANELS

STEEL RIBBON BRACING BOLT STEEL ANGLE STEEL STRINGER GYPSUM FIREPROOFING RAILROAD TIES

10’0” WATER PROOFING LAYER

CONCRETE FOUNDATION

52

GRAND STAIRCASE


FINISH ROOF LAYER GYPSUM FIRE PROOFING

INSULATION

THE FRONT FACADE HAS THE UNIQUE ABILITY TO SLIDE COMPLETELY OPEN, ESSENTIALLY ELIMINATING A BARRIER BETWEEN THE INTERIOR AND EXTERIOR. THE EDGE IS BLURRED FURTHER BY AN ALMOST COMPLETELY TRANSPARENT SHELL WITH A POROUS WOOD DESIGN AT THE CENTER. A LONG BALCONY, HOSTING A MAGICAL WATERFALL HELPS TO CREATE A NATURAL COOLING CONDITION AND SOUND EFFECT THAT CAN EITHER CONTRIBUTE TO THE INTERIOR OR SERVE AS A NATURAL BLIND. THE GRAND STAIRCASES ARE MADE WITH REUSED RAILROAD TIES. THE ENTIRE SPACE FLOWS CONGRUENTLY BECAUSE OF ITS CONSTANT RELATIONSHIP WITH NATURE THROUGH VISUAL AND AUDIO EFFECTS, BLURRING OF PHYSICAL BARRIERS, AND SELECTION OF MATERIALS.

ROOFING GUTTER SYSTEM/ STEEL GUTTER FRAME STRUCTURAL STEEL OVERHANG ALUMINUM GUTTER JOINT

Level 2 9' - 6"

CONCRETE SLAB WATER MEMBRANE SYSTEM INSULATION STEEL WINDOW BRACE WATER PROOFING LAYER CONCRETE MEMBRANE WOODEN PARAPET RIM JOIST METAL WAFFLE SPRAY FIRE PROOFING STEEL BEAM WOODEN PANEL CMU STRUCTURAL WALL

CRIPLE METAL FRAME MATERIAL REVEALING

WINDOW METAL FRAME

CLEAR GLASS WALL INSULATION

STEEL FRAME STUD

FLOOR REVEALED IN FACADE

SINGLE HEADER

WATER PUMP SYSTEM

WATER FALL

STEEL COLUMN

WATER LANDING DRAINAGE SYSTEM

FRONT FACADE

53


DOME HOME: JONES DR. FALL 2010 CONSTRUCTION 1 PARTNER: WHITNEY HANSLEY

DOME HOME IS A RESIDENTIAL HOME DESIGNED BY SAHBA LA’ AL. WE VISITED AND MEASURED THE HOME TO ACCURATELY DRAW SECTIONS AND PLANS FOR IT.

LONGITUDINAL SECTION 54


FIRST FLOOR PLAN 55


CONCEPT D 56


DESIGN 57


OUT OF ORDINARY

58


PHOTOGRAPH TO FORM THE PHOTOGRAPH WAS ROTATED, PRINTED, AND NEW CURVES WERE INTERPRETED. TANGENT LINES WERE EXTRUDED FROM THE CURVES AND DRAWN ON THE PRINT WITH PENCIL. THE NEW IMAGE WAS REINTERPRETED AND 3 DIMENSIONAL FORMS WERE PULLED OUT TO DISCOVER A DEEPER READING IN TO THE IMAGE.

59


DESPINA

Despina can be reached in two ways, by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red windsocks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground floor windows, each with a woman combing her hair.

60

In the coastline’s haze, the sailor discerns the city form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wineskins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed. Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border between two deserts.


“DESPINA CAN BE REACHED IN TWO WAYS, BY SHIP OR BY CAMEL.” BOTH TRAVELLERS SEEK THE QUALITIES OF THE OTHER’S DESERT. EACH STEP IS LONG AND HARD, BUT SUPPORTED BY THE PROMISES AND SEDUCTION OF THE OTHER SIDE; EACH STEP PUSHES A DEEPER LONGING FOR THE OTHER SIDE.

61


62


63


Architecture and product design portfolio