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M B M i S H AY L A B i N K E R D miabinkerd@gmail.com 7 6 5 . 4 8 0 . 8 4 2 8

BiNARY CLOUDS CALi_TANG SCULPTED TiME AiAS LiBRARY COMPETiTiON CRiPE COURTHOUSE COMPETiTiON HAND RENDERiNGS iNSTALLATiONS + iNDUSTRiAL DESiGN


The following images reinvision the methods of representation from a mix of technical drawings, rendered views and levels of surreality + mystery. While the project focused on architecture as stage set + narrative, these specific views are arranged + created to highlight parts of the storyline which may be hinted at in reflections, details, or materiality.


sleeping

BiNARY CLOUDS

under iTS bridge {ATMOSPHERiTiES}

The hidden space that Google does not know - does that mean it does not exist? Questioning the figure of Google as authoritative: if Google is the new way for us to know + “experience” cities, does that mean what is non-registered by Google therefore does not exist? As a software that operates on photocollaging to create a reality, can it lie? Here Google is Augmented by putting it through its own process of photoshopping to trick itself - creating moments of deja vu in occupying the google image.

“silent” and “sleeping” to the rest of but intensely and immensly its seekers to find it or to

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silently sleeping under iTS bridge -

“silent” and “sleeping” to the rest of but intensely and immensly its seekers to find it or to

_M e l b o u r n e _ ,

active

never

in every layer - awaiting be found, hiding out in its

u b i q u i t o u s landscape. Others interact with it, use it daily, yet never know its laboring undercurrents. undercurrents

A 1984 silver Volvo brought two young men along a winding path that seemed to weave amidst railroad tracks, A 1984 silver Volvo brought two young men along a giving sudden, unexpected glimpses of an industrial 1984 tosilver Volvo brought two tracks, young men along a winding path thatA seemed weave amidst railroad scene then back to a quiet manicured landscape. seemed amidst railroad tracks,men along a giving sudden, winding glimpses of to an 1984 Volvo brought two young T h giving eunexpected rpathoAthat aunexpected d silver e weave nindustrial d ofe an d industrial scene then back to sudden, a winding quiet manicured landscape. path that glimpses seemed to weave railroad tracks, at a small parking area for only 5ive cars to park. two Three were amidst 1984 brought young men along a scene back an quiet landscape. T h reserved e for r disabled oA then aparking. d silver eto Volvo d sign, emanicured d glimpses giving sudden, unexpected of an industrial There was a small somewhat A 1984 silver Volvo brought young men along a winding path that seemed to weave amidst railroad e scene r cars o toarrival apark. n d manicured e twod tracks, at a small parkingTareahfor only 5ive Three then backd to ewere aRETREAT’. quiet landscape. low to the ground announcing their to ‘LiFE winding path that seemed to weave amidst railroad tracks, givingparking unexpected glimpses ofThree at aparking. small area for only 5ivesomewhat cars to park. were reserved for disabled There was sign, Tsudden, h aagiving esmall rsudden, oparking,” aunexpected d eanglimpses nindustrial d ofe and industrial “Huh, you’d think they’d have bit more James scene then arrival backto ‘LiFE to aRETREAT’. quiet landscape. for disabled parking. There was smallmanicured sign,cars somewhat low to the groundreserved announcing their at a the small parking area fora only 5ive to park. Three were thought aloud asT he h pulled car into the 4th parking spot, scene then back to anRETREAT’. quiet landscape. r disabled oparking,” aparking. d d emanicured d to thehave ground announcing their arrival to e ‘LiFE “Huh, you’d thinklowthey’d ae bit more James reserved for There was a small sign, somewhat or next closest at available to him. His brother, Len, was in the Tthe hforparking e bit 5ive r cars oparking,” d e d a the small area to apark.d Threeeweren you’d think they’d have aonly more thought aloud as “Huh, he pulled carparking 4th spot, low tointo the announcing their arrival James to ‘LiFE RETREAT’. front passenger reserved seat appearing toatground stare silently off was into aparking. small parking area4th for only 5ivesomewhat cars to park. Three were for disabled There aspace. small sign, thought aloud as he pulled the intoinhave the parking or next closest available to him. His brother, Len,car was the “Huh, you’d think they’d a bit morespot, parking,” James reserved forinto disabled parking. There was small sign, somewhat lowclosest to the ground announcing their arrival to was ‘LiFE or next to as him. brother, Len, inRETREAT’. the a front passenger seat appearing toavailable starealoud silently off space. thought heHis pulled the car into the 4th parking spot, to the ground announcing their arrival to ‘LiFE RETREAT’. “Huh, you’d thinklowthey’d a silently bit more parking,” James front passenger tohave stareto off brother, into space. or seat next appearing closest available him. His Len, was in the you’dthethink they’dthehave a bit more thought aloud as “Huh, he pulled car into 4th parking spot, parking,” James front passenger seat appearing to stare silently off into space. thought aloud he brother, pulled the intoin the or next closest available to him.asHis Len,car was the 4th parking spot, “Ok, fine, Dad,” said the boy relinquishingly, his accent or next closesttoavailable to him. front passenger seat appearing stare silently off His into brother, space. Len, was in the now Australian. “He’s a fine lad,” the tall man said smiling front passenger seat appearing to stare silently off into space. broadly, shaking his new visitors hands. “I’m Doctor Wagoner.”

“Ok, fine, Dad,”his said the hand boy relinquishingly, his accent James noticed how he instinctively grabbed brother’s to now Australian. “He’s a and finealoofness. lad,” the tall man said smiling shake it without a glance at Len’s peculiar disinterest broadly, shaking his new hands. “I’m Doctor Wagoner.” “Sure, your rooms are ready, right this way.” “Oh, visitors n-no,” James stammered as he unconsciously paused in his tracks, “I’m just how he well, instinctively grabbed his brother’s hand to dropping my brother off. I James won’t benoticed staying.” “Yes, that’s entirely shake itto without glance Len’s prepared peculiar disinterest and aloofness. your choice and you are welcome stay if a you’d like.atWe’ve “Sure, youryour rooms are ready, right this way.” “Oh, n-no,” James a place and necessities for you with brother’s accommodations stammered asthought he unconsciously paused if you change your mind.” “Huh?” James silently, but from the in his tracks, “I’m just

active

never

in every layer - awaiting be found, hiding out in its

landscape. Others interact with it, use it daily, yet never know its laboring undercurrents. undercurrents

From narrative to fictional Google to stage-set architecture, the project seeks to reveal intricate relationships between cultural ethics + stigmatized normalcies, the tension of fronts, non-place typologies + constant arrival through swapping and deinstitutionalizing programs.

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_M e l b o u r n e _ ,


M e l b o u r n e AtmosphericRehab I n s t i t u t e


Disclaimer This innovative project may monitor part of your stay to improve hospitality. _______________________ Signature


“...Tang Hunting...”


awaiting its seekers to find it ...or to never be found


INJECTION... “Once a week we’ll send one to the Other Side.”


This short exercise premised on pure creativity dealt with the choice of three highly descriptive words and then developing a 3D model + imagery of our new creation.

WORD BANK: Tangerine Kaleidoscopic C a l l i g r a p h i c F i n e l y F i b r o u s


SCULPTED TiMED


The context deals with conceptualizing time outside of its ordered value we have placed on it and instead perceiving it as its own physical dimension or Timescape that is a malleable medium by the user that traverses it. Here, one’s temporal perception is continually augmented as they move through space.


While the brain allows us to perceive our reality via an intricate + interdependent system of neural networks interpreting physiological + psychological responses, it constructs our ordered perception of the world from a disordered input of information. The project investigates one’s relation to time, which is contingent upon space and memory where an event of novelty within a repetitive context is the brain’s mechanism for measuring time. While revealing the relativity of our subjective perception of time and reality through memory and event, an exploration of where architecture can engage in this framework is made through the spatial relations incorporating views, experiences, perceptions, and navigational techniques.


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TOURIST

COLLAPSED T I M E

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P a t h s of travelers

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Sequential time-lasped experience through space representation techniques


Sculpted Time_Creating augmented time through a Laundromat-Automat-SleepSpace within Penn Station


Duplicitous Diagram i_Spatial REM

Duplicitous Diagram ii_Time Inversal


CRiPE COURTHOUSE COMPETiTiON_FiNALiST AiAS LiBRARY COMPETiTiON HAND RENDERiNGS _ KROB MEMORiAL DELiNEATiON COMPETiTiON HONORABLE MENTiON


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In phase 2 of the project, the parking lot diagonal from the site will be turned into a green space with underground SiTE PLAN_PORTLAND, OR parking and a small police station. Hopefully an additional figure of authority to complement the courthouse will help to mitigate the issues of this troubled part of the city.

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This site will not have any added parking since Portland has a superb public transportation system and is very bikeable. Being a city that has no minimum parking requirements says something of their intentions, which this design decision reinforces.

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Relation of Public ( r ed) , sem i- public ( pur ple) , and pr ivate ( blue) spaces

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Courtroom hierarchy shown through the rotated square geometry as a floating entity.

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Existing Parking Street Car Route Light Rail Route

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View to Downtown View of Burnside Prevailing NW Winds

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MODEL MATERiALS: Recycled window pane glass + stained glass. CRiPE COMPETiTiON FiNALiST


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SiTE PLAN_SCALE 1/32” = 1’-0”

BURNSiDE


SiTE CONTEXT_SOUTH ELEVATiON CONCEPTUAL STUDY MODELS

T H E P O RT L A N D M U N i C i PA L C O U RT H O U S E

encourages a sense of community with its large atrium space on the first floor devoted entirely to the public. This multi-purpose space can constantly be changed for a variety of uses such as a small gallery space for local artists, lounge, and/or cafÊ area. It also lends itself to public/private events even during late evenings since this p u b l i c space is separated from the security checkpoint that serves the rest of the courthouse. Several floors above this space are the two courtrooms, which protrude into the atrium revealing the relationship between the government and the citizens. The main concept of the courtroom is that it is a place of c e r e m o n y ; however, a ceremony requires people to create the ceremony so the physical courtroom serves as a blank slate, p u r e and untouched. To materialize this concept the courtrooms are on their own floors, a floating entity, (not touching the floor below or the roof) and only connect to their surroundings by red translucent paths. These red paths and the red vertical circulation accentuate the motion of p e o p l e coming to create the ceremony. Two of the courtrooms’ walls are comprised of smart glass, which uses the technology of electro-chromic devices. This not only emphasizes theb l a n k s l a t e concept, but its transparency also shows the government opening itself up to the public. The void around the courtrooms allows light to pour in around them,

symbolizing a beacon of truth. It also creates a visual threshold, highlighting the entrance into the courtroom space. The geometry of a r o t a t e d s q u a r e for the courtrooms conveys the significance of the court and how its procedures influence everything else as the configurations of the floors below conform to its rotation.

COURTHOUSE AT NiGHT


Green Roof Sculpture Garden

Living Wall S c u l p t u r e 5th + 6th Floors Courtrooms 0’ 5’

10’

15’

N o t e : All interior walls are lower than c e i l i n g to allow for cross ventilation

Raised Floor System to improve Indoor Air Quality

4th Floor Jury Suite + Judge’s Chambers 0’ 5’

10’

15’

Wa l l S e c t i o n Scale 1/16” = 1’-0”

3rd Floor Administration 0’ 5’

10’

15’

2nd Floor Clerk’s Office 0’ 5’

10’

15’

Rain Collection + Solar Power_ The overhead plane and elevated glass panels at the corner. feature integrated translucent photo-voltaic c e l l s .


Interior Perspective of Atrium

Section Looking West 0’ 5’

10’

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Showers + Workout Room

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Transom Windows let in light and air

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Mechanical Space

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Light wells bring light into lower level

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Courtrooms

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P o r t l a n d prizes its art community, devoting

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1% commission of all new built projects to the art. For this reason, art is an integral part of the design as the blank slate concept of the courtrooms correlates also to a blank canvas. The rich cohesiveness of m a t e r i a l s , white marble on the interior and polished black granite on the exterior express this t a b u l a r a s a theme for both concepts, and the vivid accents of red become an artistic motif. There are also other artistic features besides the art gallery, including an artistic green wall on the east side, a sculpture garden on the green roof, and a large water sculpture in the atrium. The slanted wall facing the northwest side and the glass curtain wall of the atrium features a curtain wall with operable glass panels to allow prevalent northwest winds to n a tural l y ve nti l ate the courthouse. The main outdoor space incorporates an overhead plane (Kawneer’s 1600 Overhead Glazing) to keep people dry during Portland’s numerous rainy days. This glazing has integrated solar cells and is also slanted to collect rainwater for greywater usage.


I n t e r i o r A t r i u m R e n d e r i n g

N i g h t R e n d e r i n g


A i A S K A W N E E R L i B R A RY C O M P E T i T i O N


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THE DESIGN _ The form of the building was partly shaped by the direction of the wind. As it twists from the city grid to face the predominant southwest winds of Cincinnati, it allows for natural ventilation for the full atrium space and first two floors. The west side of the building features Kawneer’s GLASSvent curtain wall with operable windows to optimize the amount of air flow through the building.

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SENSE OF PLACE_ Findlay Library upholds community, education, and opportunity. It is an inviting place to learn, study, and enjoy the lively atmosphere of Findlay Market. The first floor features a children’s area sunken below grade with three foot surrounding walls that become child friendly bookshelves. On the second floor there is a café with outdoor seating on the balcony. The third and fourth floors maintain a quieter space that accommodates the majority of the library’s books. These upper floors incorporate a study area that looks over the atrium space. Outdoor spaces on the east and west side integrate water features and grassy steps enjoy reading or picnicking outside while watching vendors and shoppers at the market.

Second F l o o r

SiteContext_Cincinnati,Ohio _ F i n d l a y M a r k e t A r e a

A PLAY OF SLANTS _ Many of the existing buildings on the site have slanted roofs, which can especially be seen at the entrance to the market. Findlay Library’s design takes this design concept to the extreme, as the slanted walls seem to shoot up from the ground. Since there is a building on the south side of the library blocking much of the southern sun, this steep slanted wall reaches above the existing structure for the sun. This permitted the opportunity for abundant natural daylight to fill the atrium space. The roof also functions as a green roof, which is an excellent sustainable solution for this site. Since much of the area currently lacks vegetation, the green roof will help mitigate runoff on the site and reduce urban heat island effect.


W i n d D i a g r a m s

ENVIRONMENTAL E L E M E N T S

The building twists to face the predominant south west winds on the site. This was done to maximize cross ventilation through the main atrium space and the first two floors (upper floors may then be used to store archival collections). The stunning transparency of the grand atrium space allows for abundant natural light into the library .The book collections are located on the north side to eliminate damage from direct sunlight.


Views from inside the library were a key part of the design. The competition required the use of Kawneer products, which allow the transparency of the design to highlight views of downtown and over Findlay market. The bookshelves are also oriented to frame this view of the downtown area.

S u n l i g h t D i a g r a m LL WA

N IO T KAWNEER C

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1600 SLOPE GLAZING

KAWNEER 1600 WALL SYSTEM 4 isoSTRUT

8� I-BEAM

REINFORCED CONCRETE

PRECAST CONCRETE


Right: Fallingwater Interior Pencil Rendering Left: Fallingwater Exterior Pen Rendering Awarded Honorable Mention for the K Rob Memorial Delineation Competition_2008


iNSTALLATiONS + iNDUSTRiAL DESiGN


CAP AMERiCANO DEL SUR BOOK i N S TA L L ATi O N

Our study abroad studio worked together to create an exhibit of our academic publication. In the writing, I discussed how the cultural environment of South America may result in a more open and creative mind-set. v i e w o n l i n e : http://issuu.com/mabinkerd/

docs/south_america_ discovering_the_abstract


This was a small project assigned while we were studying abroad in Buenos Aires, Argentina. The main part of the project focused on a creating pedestrian bridge between a proposed culinary institute + fitness center. The bridge model was to be constructed of cards. NO GLUE was allowed.

CL AR UY

BUENOS AiRES ~ CARD PROJECT

K E V i N P R i C E , L A U R A S U R M A , M i S H AY L A B i N K E R D

SiTE PLAN_BUENOS AiRES, ARGENTiNA


During the design and production process for this chair, we first experimented with structural wax, plastic wrap, Tyvek, zip ties, and wood. Later we switched to using conduit and canvas fabric, which is the final’s material palette. The chammock is made to be sittable on all sides allowable by its crisscrossed conduit structure in the center shaped similar to a jack. The canvas panels can be simply unhooked to reveal its interior for a different look.

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LAUREN BEBRY,ANASTASiA KOSTROMiNOVA,MiSHAYLA BiNKERD


F i N A L

C H A M M O C K

iNTERiOR LANDSCAPES COURSE TAUGHT BY: THOM MORAN


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LAUREN BEBRY, ANASTASiA KOSTROMiNOVA, MiSHAYLA BiNKERD


PENTAGO is a spatial wallpaper - an exploratory project testing the boundaries between architecture, industrial design, and environments. The components are a mutliplication of two irregularly shaped pentagons with grooves allowing them to be assembled into any form, small or large. Each piece is made from paper pulp, which was packed into a routed plaster and acrylic mold and baked to achieve its form. We experimented with different materials - newsprint, cotton paper, oats, berries, etc. - to find the right durability and provide a variety of textures and colors.

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D i S P L A C E D J U L i A

D O M E S T i C i T Y _

G A N G K i N + M i S H A Y L A

B i N K E R D


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J U L i A G A N G K i N , i VA N A D E L S O N + M i S H AY L A B i N K E R D

Both of these projects dealt with implementing art and installations in a public space. While they were for two different courses, they both took place in the “Painted Alley” of downtown Ann Arbor, Michigan. DiSPLACED DOMESTiCiTY was an installation done for an Art + Environment course (aka: Guerilla Art to all its students). The course focused on Street Art Culture, as well as, debating social and political issues of public art. Soon we became our own street artists - wheat pasting, tagging, and creating the unexpected through the streets of Ann Arbor. Apart from curating the unusual blip amongst the everyday, I was also interested in inverting private + public space. The social norms it plays upon and the question of what is public space or whether all of our “public” space has become privatized, were concepts intriguing to both of us on this project. We found free furniture that we painted all white to monumentalize the private realm of our lives now put on display in the public as “art”. Its starkness popped against the busy graffitied background of the alley. The few props (a remote, pillow, rug, blanket and 2 books) we left untouched, playing between a sterile exhibit and livable space while also hoping to encourage passersby to interact with the installation or even graffiti artists to work with the new blank canvas. EYES was a final project done for a video installation course. We filmed several different individuals’ facial expressions, focusing on only their eyes. Intrigued with the pscyhological notions of surveillance, we wanted to experiement with how eyes watching the viewer could evoke an entirely different ambience in the space.The projection was skewed so that a pair of eyes could show up on two disjointed walls in the alley. This way people on the sidewalk would see the one eye facing directly at them. Once the viewer was in the space, both eyes would be watching them.


2012 Portfolio_Mishayla Binkerd