Melody Javaherian (mel-uh-dee
1. SCI-Arc Student with a strong desire to build with a social and environmental conscience 2. Seven years prior work experience in a small architecture firm 3. Computer builder (See: “Nerd”) 4. Dr. Who fanatic (See: “Whovian”)
Synonyms 1. 661.675.6319 2. MelodyJavaherian@gmail.com 3. linkedin.com/in/melodyjava
SCI-Arc 1. Bachelor of Architecture 2. Anticipated graduation 2016 3. GPA 3.9
Antelope Valley College 1. Associate of Math, Spring 2011 2. Associate of Math and Science, Spring 2011 3. Graduated Summa Cum Laude
Work Experience (wurk
SCI-Arc Site Research for Habitat for Humanity 1. 2014-Present 2. Architectural site research 3. Recommend mitigation strategies 4. Publish research and mitigation strategies book 5. Contact: Darin Johnstone 310.383.4393
SCI-Arc Print Center and Art Supply Store 1. 2012-Present 2. Sales and customer service 3. Operate and maintain sensitive equipment 4. Troubleshoot files for optimum results 5. Contact: Frank Cerna 213.356.5309
MDM Architects Project Manager 1. 2008-2012 2. Project managment on all jobs in the office from start to finish 3. Meet and consult with clients as needed to keep projects moving 4. Write and administrate contracts 5. Create Title 24 reports in EnergyPro for low-rise residential 6. Create 3D models and renderings 7. Dealt with DSA for Linda Verde Center’s new playground for disabled children (currently seeking funding for construction) 8. Conctact: Mylre McLernon, AIA 661.940.3668
MDM Architects Job Captian 1. 2006-2008 2. Train new hires and summer interns in all aspects of the job 3. Meet with building officials as needed to get plans approved 4. Engineer for siesmic, wind and vertical loads for low rise residential projects 5. Visit construction sites to ensure compliance to plans and safety 6. Manage the LEED certification process for MDM Architects new LEED Silver Commercial Interior office space 7. Passed the LEED Arccredidation exam 8. Completed projects on fast tracked scheduleds including two Extreme Home Makeover episodes and one FOX Renovate My Family 9. Conctact: Mylre McLernon, AIA 661.940.3668
MDM Architects Draftsperson 1. 2004-2006 2. Draw in AutoCAD for all phases of the project, including schematic floor plans, elevations and site plans 3. Construction documents such as mechanical layouts, electrical plans, plumbing plans, foundation plans, framing plans, floor framing plans, roof framing plans, shop drawings, sections and details 4. Limited writing and editing of specifications 5. Answer corrections from relevant agencies and building departments 6. Conctact: Mylre McLernon, AIA 661.940.3668
Skills (skil) adv. 1. Rhino, Grasshopper, AutoCAD, Maya, Revit, Sketchup, Maxwell 2. Illustrator, Photoshop, InDesign 3. Laser Cutting, zprint and Powder 3D printing, Makerware and plastic 3D printing 4. Strucalc8, EnergyPro, QuickbooksPro, Quicken, Microsoft 5. Computer building
Level Up Awards (ƵŚ-wawrd)
1. SCI-Arc continuing student scholarship 2. Women in Construction scholarsip 3. Graduated with honors from AVC 4. Work chosen for display at the SCI-Arc spring show 2012, 2013, 2014 5. Model chosen for display at the SCI-Arc Accreditation show 2012
Physical Section Model made paper and wood sticks by hand at 1/16” = 1’-0” scale. Above: Exterior, Below: interior of Meandering Pool.
Poolsplosion is a concept natatorium for San Francisco’s Pier 26, in the spirit of the Sutro Baths, originally on the opposite side of the San Francisco peninsula. Within it’s 3 levels holds a gym, saunas, shopping, and two cafes; with each level using program elements related to it’s primary use. On the exterior pier level, there are heated pools with beach style entries for wading and playing. Adjacent on the underside of the building, are office and locker spaces, shops, and a large cafe. On the next floor the visitor finds the meandering pool level. This level is one very large indoor/outdoor pool of varying depths. The pool weaves through and around structure elements and enclosed spaces. These structure elements are interconnecting modules that make the building. At the top is an athletic floor with lap pools, diving pools, a fitness gym and a juice bar.
Level 3 (+64’)
Level 2 (+32’)
Level 1 (+4’)
The form of the project comes from its unique structural system. It is based on a grid slab system, but manipulated to work at a larger scale and with more dimensions. The grid slab includes the floor and beams, and one column, with lateral support from leaning on neighboring modules. During design, the first improvement was to develop a leaning y-column that could support more than one module of slab and transition between vertical and horizontal conditions. By mirroring the column I came up with the single unit of y-columns. I then arrayed them around creating a hexagon module. I knew that the bulging middle would be a weak point in the structure; that it would shear out and collapse. This would be counteracted in part from leaning against its neighbors, as in a grid slab system, and partly with increasing the amount of support provided at the pinch points.
Render View across the Meandering Pool
9'-3 1/2" 3'-8" 2'-9"
4'-0" 4'-0" 4'-0"
12'-0" Y Column
Structural Element: Y Column
Structural Unit: Arm
Structural Bay: Spheroid
Creation of the structural system
Hexagon Grid Structural Bay Aggregation 1/16" = 1'-0"
Aggregation of the Structural Unit
Frame A: Standard
Frame B: Center Removed
Frame C: Center Shaft
Frame D: Half Standard
Frame Varients 1/16" = 1'-0"
Varient Layout 1/64" = 1'-0"
Introducing Variation to the system
Lastly I created Variants. Type A is the standard module. Type B is with the central supports removed to allow for larger open spaces within the building. Type C is the center spread and braced with beams to allow for an elevator shaft and vertical circulation. Type D is exactly half of the standard module A. These clusters of modules march across the pier, with the open half module Ds making a flat side as a reflection of the neighboring warehouse pier to the South, and the standard module As projecting out dramatically on the North. The structure is the primary element of the design, and as such every decision came back to emphasizing the structural system. The end result was a jungle gym of structure beams and small spaces, juxtaposed against huge open spaces flooded with light and water.
The two primary levels of the project. Top: Pier Level plan showing almost the whole pier as open to the public. Bottom: Meandering Pool level plan showing the regularity of the system and conversely the variety of spaces created.
GROUND FLOOR PLAN 1’0” = 1/16”
SECOND FLOOR PLAN
Above: ABS 3D printed Model at full scale. Below: Rendering of a flat pattern test
Daisy Chain is a wearable object created utilizing Grasshopper scripting for a visual studies course. It has two layers of floral cells working in different ways, mutated in a controlled manner based on the way each layer is intended to work and look. The lower layer is the primary structure of the object. Some of the petals merge for stability while others are spread and linked back to allow for movement. The outer layered petals are a large and loose chainmail. Despite this looseness, the range of petal shapes (from stretched out to voluminous) impact whether the piece as a whole can move. In some instances this range also creates an illusion of movement where it is actually restricted. The 3D printed piece is made as a leg cuff, but by the versatility of Grasshopper script it can easily be made into a bracelet, a corset or more.
Perspective Line Drawing
Photos of the final model. Above: A view from the street, Below: closeup on the patterned print plastic over acrylic egg-crate
Madly Morphing is a music and performing arts school in New York City. The program required multiple sized theaters for school performances. Ideally the theaters would be easily accessible to the public and separated from the main body of the school so they can be rented out year-round. The private portion of the school program contains classrooms, faculty offices, administration, practice rooms and recording studios. The building is broken into two formal languages. The first being intestinal, fat, layered and wrapped around itself to create volume, and sheared off where it crosses the site boundary, forming a dramatic concave cut. This half of the building is constructed with concrete to achieve the form and self supporting structure. Each layer of the fat houses a performance theater, so sound isolation is crucial, making concrete an ideal choice. The second formal language is a tensile one, with sharp edges and surfaces that curve inward. It is deceiving in its drama, however. Behind the metal mesh skin and steel framing is a regularized steel and glass building for private and cellular school functions. There are three exceptions to this division of the building, all creating moments where the unique forms can be experienced. The first encounter is the main staircase. It traverses from the ground floor to the fifth floor along the outside of the concrete fat system. This forces the floor plates of the school to be set back, allowing for viewing the concrete curves in more ways. The second exception is a three story atrium in the core of the cellular space. It includes
Final Model featured in the SCI-Arc Spring Show 2014
oversized steps on one side between the fifth and sixth levels, and opposite that between the sixth and seventh levels. The multipurpose space encourages creativity, with several potential theatrical arrangements. Lastly, on the roof is an open air amphitheater, as well as an open deck with views the surrounding cityscape, several floors higher than adjacent neighbors. The form came from a series of studies of morphological families. First I identified forms I was interested in developing further, then modified these to fit the siteâ€™s awkward and narrow footprint. With these studies I discovered three possible morphologies to work with: either planar, curved and smooth, or curved and sharp. With this, I designed an intestinal, coiled snake shape; and a sharp tensile form built around it. Though they are both curved and sharp they are still different, in that one takes volume from a mass, and the other creates it from surfaces. These volumes were further manipulated to accommodate program requirements, like setback floors for space, and basement levels for maximum sound isolation (e.g. recording studios). Design of the theaters were fleshed out in section drawings, partly to ensure that the small theater included a functional mezzanine, with proper viewing angles.
DIagrams of the different formal components
Below: Front half of the section model. The dot pattern was first printed onto clear plastic, then vacuum formed over milled molds for each surface before being assembled over acrylic egg crates.
Lastly the printing on the metal mesh skin was determined. The goal was to create varied levels of opacity around the glass building, without simply applying a gradient across the whole thing. The dot pattern originated as a photograph, morphed until unrecognizable, then wrapped around the building with the darker parts placed strategically for more privacy, and lighter parts around the rooftop viewing deck. The end result of the skin pattern was expected to be a mystery because of the construction method of the final model. The dot pattern was first printed onto clear plastic, then vacuum formed over milled molds for each surface before being assembled. Though the vacuum forming was likely to distort the pattern even further, the end result came out surprisingly close to the plan.
Cross section through the classrooms, upper atrium and rooftop theater.
Transverse section through all the theaters testing viewing angles
Iâ€™m A Real Boy Haddad House is a 10,000 square foot home built in Southern California by MDM Architects, for which I played a significant role. Included in its program are an eight car garage, seven bedrooms, a movie theater, and a sunken stage for a grand piano, inviting the viewers to look out the windows beyond. My most arduous challenge came when the client decided they wanted to reconfigure six of the bathrooms. This added complication because the building was already under construction when the client made this request. Therefore much creative problem solving was needed on my part to accommodate.
Above: Photo of the house under construction Below: Front and back elevations
Above: Ground floor plan Below: Second floor plan
Caption Me 18
Above: Top corner of the 3D Powder printed model Below: 3D Powder printed model in the site.
Pasta Overload is designed to be an isolated weather monitoring station for a single operator. The chosen site is at the top a cliff overlooking the Pacific Ocean. The program needed to provide for minimal living space for the occupant, protected space for equipment, and a means of controlling erosion of the immediate surroundings, known ominously as Devil’s Slide. The challenge posed was to make four 50’ walls of concrete masonry and lift it above the ground, as a unifying element for the class. The inspiration for this was an existing concrete war bunker on the site. Built on previous assignments where we studied organic forms, I chose to solve all the problems in the brief with “hairy forms. With the possibility of endless variations of hair, I allowed for dramatic change in the scale of the hairy forms based on it’s function and location in the project; and any one hair could change scale to serve multiple purposes. Most concrete pipes inside are scaled such that a person up close can view and understand their noodle form, while outside is mostly scaled to be understood from a distance. This scheme has two exceptions, however. The interior exception is the structural pipes and is held at a distance from the occupants. And the exterior exception is tightly controlled small, gelled hairs that create a path leading to the entrance to permit a person to reach the building.
The game is about creating ambiguity. One set of the largest noodles drape across the entire building, and crumple under the lifted masonry before wrapping around the site, serving as erosion control. Because of the way they appear to drape and crumple they appear delicate when they are actually the primary structure of the project, holding cube together and above ground. Inside, a set of combed hair--at a much more delicate scale--holds back the earth as the floor ramps down into the ground to create private spaces. And another combed ramp leads up to where equipment can be installed. All spaces in the project are exposed to the weather leaving a visitor with the impression of having visited a ruin.
Photo of earlier model identifying characteristics for continued study.
Top: Elevation Bottom: Section