Undergraduate Architectural Portfolio 20x12

Professio

Films

Please, stop and sca

nal

Wo r k

Stills

an the links above.

PREL

You may not material di traditional co throughout th of work. Ea reacts approp respective s the sake of th goal in-dept will be exc this cohesiv contextual foc poche. This p expressionisti explores the hardline betw non-void, and poche and dir can define

This piece i to my fam friends, and who has supp reaching m

LUDE

ice a lack of versity and ntext analysis his collection ach project riately to its ite, but for his portfolio’s h site plans cluded. For e piece, the cus lies on the ortfolio is an c journey that questionable ween void and how with just ect intent one a project.

s dedicated mily and anyone else ported me in my dreams

The Orthogonal Portfolio As an order of preparation, we shall ask ourselves the question “What is the poche?” Maybe what comes to the mind is the negative and positive in a drawing. Void and non-void.

Considering form and poche in an architectural instance, predominant orthogonality will help reveal purpose and direct intent through easy to read moves, as it also helps clearly define the difference between full and empty in the traditional sense of poche. Here, the assumed definition must be realized, as well as transcended. This portfolio’s theme of orthogonality was chosen thanks to its ability to break down designs into their fundamentals, thus, promoting questions about its true identity. It encourages the poche to read as more than just black, and better reveals a deeper alignment to emerge with the original, clear purpose.

To show what I mean, you see these words inscribed onto the screen, acting as the new, marked onto the existing, but which is the poche? Is it what is added? Could it be both the screen and the letters, or the whole computer itself? Could it be why the screen is even here? Maybe the poche is the font. The pure content defines the work, and the typography is an unspoken condition or underlying representation of the content itself. Ultimately, the main question I am asking is “How can confusing the positive and negative help define the undefinable, and how can the undefinable help define a project?”

This line of thinking should continue forward in order to capture the fullness of what this piece has to offer.

4

CONTENTS

1 Poolhouse pg 5

2 V.V: The Plant Plant pg 9

3 Moriyama’s Row house

4 Sudatory and Plunge

5 Grand Stair

pg 17

pg 19

pg 21

How can confusing negative help undefinable, and definable help de

the positive and define the how can the unfine a project?

Site:

Professors:

Jackson Park, Cincinnati

A l a n A l a n i z a n d D r. Ry a n L u d w i g

Brief:

Design a communal pool house with four varrying pool sizes and purposes, as well as a sauna, changing rooms, and interior/exterior lounge spaces.

Design:

The entire site was open to build on. Due to the program, the project wanted to have each area be distinct, and seclude. The availiability and orientation of the northern knoll provided a rare, private view of the skyline framed by the vegetation on site, and enabled seclusion with staggered layers, notched into the side of the knoll. The feature that completes the project acts as a method of balance between unity and segregation. It exists in the form of an overarching web of circulation, oscilating between in and out of the ground.

Poolhouse What are the implied dualities available in architecture? Above and below ground, open and closed space, man made and natural, alive and dead, intentional and accidental, percieved and non percieved. The goal of the Poolhouse is to adorn the juxtaposed. There is a cohesiveness in the circulation, as you can get from any one program in the project to the other almost directly, while still having compounded floors and distinct and direct programming to each level. The rigid builtness dances with the backdrop of the organic, with the continuation of the built acting in the form of the skyline layering behind it. Juxtaposition is at the root of poche, because you cant have poche without its opposite. One cannot exist without the other, and each makes the other whole.

5

Timeframe: Summer semester 2019

Softwares Used: AutoCad, Rhino, Sketchup, L u m i o n , V r a y, Ad o b e P h o t o s h o p , Adobe Illustrator

There is direct contrast between many themes representing this design, but the dance between nature and man is an ancient gestalt that was embraced most beautifully throughout this piece.

Additive site plan collage

6

Model photo

Layered longitudinal section model

Rendered perspective

Floor plans

Vertical circulation

7

Salt water pools

Horizonta

Exploded Axonometric

al Circulation

Atmospheric perspective

This series simply shows the design development following the o riginal layout of the separated programs. This is the evolution of the external circulation shown through generative diagramming.

Rendered arial perspective

Rendered perspective

Longitudinal circulatio diagram

8

Rendered perspe

ctive

Atmospheric collage with transverse section

Site:

Professors:

Detroit Salt Mine, Detroit, MI.

D r. A a r a t i K a n e k a r

Brief:

Reach and interact with the 1300ft deep mine from the surface using a self designed program. The surface condition must not be ignored, but it is up to the student to decide if/how they interact with the poche inbetween the mine and the surface.

Design:

As the brief was open ended, I was able to choose my program.

With it being up to me, I embark upon a project that reflected my values while being ideal for the brief. In order to give myself, and the scale of the demand its respect, I designed an organism built to sustainably provide the city with nutricious food, education, and trust in the safety of their future. This vivarium includes 4 major programs: an algae farm, controlled agriculture systems, biome gardens, and a seed vault, respectively laid out from top to bottom.

Vectoral Vivarium (The Plant Plant)

How can you make a space by adding nothing? You must remove what is already there. If all that is added, is subtraction, then what only exists is the poche. If all you have is voided space, then the only thing that can define the project is the poche because the poche is the project, but if you add something other than subtraction, then that is the only positive outside of the pre-exisiting, although in poche, they are still apart of the same whole, as what is important is not which came first, but that both are existing. Despite the new and the old potentially being classified differently, they are still part of the same whole. The poche is the cut rock, and it is also the added soil, glass, steel, and vegetation, of which, you can both read separately, but the overall purpose is better drawn from both of them, together. The additions I choose match the theme of one of the few things that actually belong underground. Buried 1300 ft deep is a seed (vault), and what sprouts from that is an analogous plant with roots, branches, foliage, and photsynthesizers (the unofficial title of this project is maybe my favorite ever: The Plant Plant).

9

Timeframe: Fa l l s e m e s t e r 2 0 2 1

Softwares Used: P h o t o s h o p , I l l u s t r a t o r, A u t o C a d , Rhino, Maya, Lumion, VRay

Threshold The energetic component to this project is crucial. By producing biofuel on site, the project stays true to its botanical theme and purpose to serve the community.

No design is ever one sided either.

As this is the surface condition, it is the threshold experience. As one drives into and through the field of green pools, eventually descending into the ground, they might realize that their introduction is a symbolic representative of the entirety of the project.

Algae farm highlight

Sectio

Sur rac

If you were not already aware, using algae farms as a source for biofuel is an effective and clean energy alternative. To give this design footing, I will provide the statistics concerning the project’s energetic footprint, and the logic behind the idea to use the C.E.A system rather than using the site’s surface area for traditional agriculture.

* b

Tie pro * 1 * k

Tie * u *

y ju p

C.E.A cell collage Site/section plan

10

Base

St

on perspective 298,851,500 kWh generated

face:531.25 wet acres of eway algae farms

186,480,456 kWh needed

1 acre produces 15,000 gallons of iodiesel annually

r 2: Subterranean biofuel cessing plant

531.25 Acre Algae farm

1 gallon of biofuel equates to 27,960 BTU

82.84 Acre C.E.A

9,552,600 KG of romaine

15,087,373 KG of romaine

kWh generated vs. needed

Romaine produced underground vs. on the surface

A single acre will produce 562,544 Wh per year on average

r 3-5: 335,265 sq. M. of C.E.E 1 sq. M. of C.E.A grown romaine ses 46.35 kWh per month

1 sq. M. of C.E.A grown romaine i e l d s 4 5 k g i n a y e a r, c o m p a r e d t o ust 4kg grown using traditional ractices.

atistics

Visual

Representation

Plan perspective

11

Agriculture complex

Biome Garden

Seed Vault

pg 12, 13

pg 14

pg 15, 16

External Circulation

Distribution zones

Control Center

Complete C.E.A system generative design

Rendered perspective of Agriculture unit B

12

Unit B convergence point section

Rendered perspective of Agriculture unit A This project only rises 3 feet above the surface, but has over 500,000 sq. M. of space. You will see the implied mechanistic function through the carvings of a semi-automated, controlled environmental agriculture system (C.E.A) as it is embedded deep into the ground, while fulfilling the projects homage to our symbiotic world. Through the diagrams, you can see the theme of cellular aggregates and radial symmetry being used to increase the scale and efficiency of the project, with a parametric logarithm based design being used at the ends of the growing chambers to deal with the increasing load of produce in transport, creating unique spaces through different configurations of the same parametric design.

These four drawin cellular aggregate work space. The gr equation determin grow space. The ef in yield of produc

Diagram collage

13

gs highlight the transition space from the C.E.A s into the distribution zone of the maintenance/ reyscale, gradient drawings are based off the ing the distance of the chamber face from the ffect of this design accommodates the increase e as it is moved to its export spot in agg C.

Programatic diagram

Unit C section

Section perspective

Built primarily for the public, the biometric biome garden is a synecdoche that allows for everyone to study and observe different species of vegetation from around the world. Visible in the diagram, there is a single quadrant that has been multiplied and arranged in similar methods as other cells of design in the project.

Rendered perspective

14

Perspective diagram collage

In this diagram series, we have the foundational elements of the added components to the seed vault. From left to right, we have the two cells which make up the walking paths, the existing columns and the addition of small columns scaled down to 1/5th of the original’s size, and then how the cells interact with the matrix.

Next are 3 diagrams representing the cellular arrangement design, how they overlap each other, and how the added columns (which provide the vault with storage and stability) react to the arrangement of the circulation paths.

15

Here on the end is a diagram s the existing the pillars based in order to add storage space. remain untouched, with the r form of a shadowed white. The and their interaction, is how rest o

howing where the walkways cut through on their placement, and arrangement, The white squares are the pillars that est showing where they are cut in the combination of the new and existing, you define the mine feature, and the f the project.

Section perspective

The mine is the last level of t project, and the “seed” of the entire design. Here, the idea o poche is best represented in th project. The dissection of the existing, merging with the add paths, combined with the mimi the columns (scaled down versi the existing) blends the separate into one working unit

Rendered perspective

16

Rendered human perspective

he

of he

ed cry of ion of

t.

Plan diagram

Rendered perspective for scale

Plan diagram

Site:

Art district of the Pendleton Neighborhood in Cincinnati

Professors: D r. K o r y B e i g h l e

Brief:

Create a shared living and studio/work space on a row house site inspired by a precedent from a list of homes provided by the instructor.

Design:

The Row house project was inspired by Ryue Nishizawa’s Moriyama house. It has his beautiful and existential design style while fitting into the site and role of a cincinnati row house. The only difference between what I have described and what this project is, is the core concept of the original home has been maintained with minimal infringement, but also extended with another degree of existentialism.

Moriyama’s Row house The Moriyama house is a home, acting as a village, that is a in a city. This row house is an attempt to be that, but by extending the base walls of the built masses in the form of a unifying roof and peninsular walls, with each being directionally perforated, the concept of inside and outside is muddled to the inhabitant, and acts as that added degree of existentialism. It is hard to define where is where, and what is where. Here, the poche attempts to jumble the inhabitants’ perspective on where they are and where they are looking. It is fun in theory, but the greenspace, light, and year round warmth would also make for an extremely enjoyable living space

17

Timeframe: Spring semester 2020

Softwares Used: P h o t o s h o p , I l l u s t r a t o r, A u t o C a d , Rhino, VRay

Atmospheric perspectives

While the concept of the village like home can be extrapolated from separated massings, this added layer of uncertainty from the built p outside of the drawings, and is based in the atmospheric conditions design.

Collage diagram

18

the plans with the poche lies almost entirely created by the form’s Street context

Site:

Peterson Beach Park, MI

Professors: A l a n A l a n i z a n d D r. Ry a n L u d w i g

Brief:

Design a 150 sq. ft. sauna and 4ft deep plunge pool anywhere on site. Intention must be placed on the expereince.

Design:

In design, you can take an infinite number of angles to address a problem. In my mind, the right way to serve this design was to highlight the program’s basic function. With the concept of the experience already decided, I found myself in a situation that I had been in previously. When the goals are already picked, and the site is already secured, the design presents itself, and with less design variables than you would think. All I had to do was uncover what I had already described, and fill out the remaining opportunities areas which required input.

Sudatory and Plunge The concept of a sudatory and plunge is simple, and the experience is direct. This design mimics that concept and experience; for instance, there is intentional directness with each move, as each part of the design has at least one purpose. The poche here lies in the inherent nature of the design.

Although I decided what the project needed to be, it is nature who gave me the design’s form. For the project to be what it should, you can only get this experience with the abstract basics of two 2D figures: a line and a circle. One cannot be without t h e o t h e r, a s t h e y b o t h s h a r e t h e i r f u n d a m e n t a l nature in this instance. This is the line version of the design, with the multiple levels contributing to the sectional circle side of the equation. If it were a circle, the circulation would need to be one dimensional to have the same experience. The poche here is the inherent form of the design, What is a circle flipped on its side? A line.

19

Timeframe: Summer semester 2019

Softwares Used: P h o t o s h o p , I l l u s t r a t o r, A u t o C a d , R h i n o , V Ra y, L u m i o n

Exploded diagram The stairs are the key for the rounded, direct experience. Without the ability to change levels, the project would have to be a circle to obtain the desired experience.

In that case, the circulatory experience would be rounded from plan view, and a just a line from a s e c t i o n a l . Yo u can’t have one w i t h o u t t h e o t h e r.

Plan cut circulation diagram

Longitud

20

Atmospheric render

inal section showing circulation

Atmospheric render

Site:

E d e n Pa r k r e s e v o i r, C i n c i n n a t i O H

Professors: D r. A a r a t i K a n e k a r

Brief:

Use and Carve 10’x 10’ x 20’ blocks to create any sort of structure you want, with an emphasis on poche. Fit on site in relation to other students’ designs. You are allowed to build a structure together, or individually. Must relate to site and the others’ creations.

Design:

Understanding that other students were making their own builds, I decided to sacrifice this opportunity to build my own special program in order to bridge an area of the site that was disconnected by a cliff. Otherwise, the existing circulation wouldn’t allow their combined work to flow as they wanted. My Grand Stair is a vertical circulation space with designed views, and a built language inspired by C a r l o S c a r p a ’ s B r i o n To m b . T h e d i m e n s i o n s o f t h e c a s c a d i n g notches are the same as the steps flipped on their side, allowing for an interlocking and flowing design.

Grand Stair The base point to all of this, the entirety of architecture, and even life itself, is love. We wouldn’t be here without it. Of course, there are other things, things that we need. We need places for shelter, places for food, places to learn, and places to heal. All of those can be spaces we love. Sometimes, we need a place to remind us of all that we have. This project is a staircase that branches a part of Eden park to another, but the fact that it is just that while being the goliath that it is, is what this project is about. It is a space to occupy, and reflect on what we have. It invokes thoughts of why, and, either admiration of its beauty, or maybe even more likely, disgust by its look.

Regardless of perspective, this polarizing build serves as a reminder that there is love everywhere in the world, whether they believe it lies here or not. There is no hate without love. There is no death without life.

I believe love is the underlying theme to everything around us, making it the ultimate poche.

21

Timeframe: Fa l l s e m e s t e r 2 0 2 1

Softwares Used:

P h o t o s h o p , I l l u s t r a t o r, A u t o C a d , R h i n o , Maya, Lumion, VRay

Diagram showing synecdoche units

Design development

22

Vertical circ. diagram

Atmospheric poche collage

Perspective rendering

“How can confusing the positive and negative help define the undefineable, and how can the undefinable help define a project?”

Perspective rendering

This confusion causes a focus on the poche, which reveals a multilayered purpose encapsulated through the theme and form, dictated by intent.

THANK

YOU