Sectioned RESIDUE volume 2 by N. Brown

RESIDUE VOLUME 2

RESIDUE noun.

The remains at the end of a process.

The following is a residue of my architectural education at the University of North Carolina, Charlotteâ&#x20AC;&#x2122;s School of Architecture and the University of New Mexicoâ&#x20AC;&#x2122;s School of Architecture and Planning. It contains my thoughts, reflections, and current understanding of what architecture is and could be. RESIDUE: VOLUME 2 is all original work (whether solely or in collaboration) unless noted otherwise.

NICOLE M BROWN e: nbrow5@gmail.com p: 505-235-2948

EDUCATION

Masters of Architecture*

University of North Carolina, Charlotte - College of Arts and Architecture * AIA Certificate of Merit

* Best Graduate Thesis Award

Bachelor of Arts in Architecture, summa cum laude*

University of New Mexico - School of Architecture and Planning * Tau Sigma Delta

WORK EXPERIENCE

* AIA Albuquerque Award * Michael Kosanovich Endowed Memorial Scholarship * Don Schlegel Design Excellence in Architecture Endowed Scholarship

August 2012 - May 2014 GPA: 3.95/4.0 Graduated: May 2014 August 2007 - May 2011 GPA: 3.93/4.0 Graduated: May 2011

July 2014 - Present Design Collective, Inc., Baltimore, MD Designer: Working at a medium-large firm where I have worked on several multi-family housing and mixed-use

development projects that I have had the responsibility of starting the project model from concept design through design development as well as have contributed to the RFP process.

August 2012 - May 2014 Digital Arts Center, University of North Carolina, Charlotte, Charlotte, NC Graduate Research Assistant: Working in the Digital Art Lab (DARTS) where I help conduct research focusing in digital fabrication as well as participate in design and digital fabrication competitions. + Participant in Morpholio Competition, Grounded Excavations, May 2014 + Candidate for Digital Making Grant, UNCC SOA, Spring 2014 + Scandinavia Gallery Exhibit, COA+A Foreign Studies Exhibit, UNCC, Fall 2013 + “Primitive Parametric: Biology As An Architectural Catalyst” Exhibit, UNCC COAA, Fall 2013 + Participated in the “Flat Lot Competition: Flint, MI,” UNCC COAA, DARTS, March 2013

June 2008 - July 2012 US Army Corps. of Engineers, Albuquerque, NM Year -Round Student Intern Architect: Responsible for verifying the accuracy of architectural drawings,

assisting with submittals, and developing 3D models in Microstation and Sketch-Up. I worked part-time during the school year and full time during academic breaks.

AWARDS

+ AIA Certificate of Merit Award, UNC Charlotte COAA, May 2014 + Best Architectural Graduate Thesis - Grounded Excavations, UNC Charlotte COAA, May 2014 + Graduate Assistantship Scholarship Program (GASP), UNC Charlotte COAA, August 2012- May 2014 + Tau Sigma Delta Honor Society, Graduate and Ungraduate, April 2014 + October 2010 + Presidential Scholarship, UNM Financial Aid, August 2007 - May 2011 + Michael “Mickey” Kosanovich Endowed Memorial Scholarship, UNM SA+P, December 2010 + Don Schlegel Design Excellence in Architecture Endowed Scholarship, UNM SA+P, August 2011 + AIA Albuquerque Award, UNM SA+P, August 2011 + Dean’s List, UNM SA+P, December 2007- May 2011 + Board of Director’s Award, UNM SA+P AIAS, May 2011

ACTIVITIES

+ Study Abroad to Scandinavia [Denmark, Norway, Sweden, Finland], UNCC COAA, May-June 2013 + Extended independent travel to Estonia (June 2013) + Member - Graduation Committee, UNCC COAA, Spring 2014 + Researched and designed the graphics of the research boards, the book and the 50-foot timeline for the Research through Making Grant, “Primitive Parametric,” DARTS, UNCC, Summer- Fall 2013 + Graphics for new Dual Degree Program : “MArch III and M. S. in Computer Science or InformationTechnology,” DARTS, UNCC SOA, Summer 2013 + Study Abroad to Switzerland, Italy and parts of Central Europe, UNM SA+P, May - June 2011 + Extended independent travel to Europe, Turkey, and Morocco ( 9 wks:June - August 2011) + Conference Committee Chair - 2nd Annual mediuMERGE Student-Led Conference, UNM AIAS, April 2011 + Team Member - National Architecture Accreditation Board (NAAB) Visiting Team, March 2011

INDEX

RESEARCH DESIGN

SECTION NUMBER PAGE NUMBER 01 : RESEARCH 02 : DESIGN 03 : FABRICATE 04 : INTERPRET

01|08

02|28

DESIGN FABRICATE

FABRICATE iINTERPRET

03|54

04|70

01|08

01|09

RESEARCH noun.

inquiry and experimentation aimed at the discovery

Research is an integral part of my education because it encourages a consideration of the world with a critical eye that helps shape opinions about design and the interface of the built environment. Research enables the possibilities to explore different curiosities of both my own interests as well as those in a collaborative environment.

01|10

GROUNDED EXCAV

UNCOVERING THE SECTI [WON BEST GRADUATE THESIS AWARD 2014]

01|11

VATIONS:

Grounded Excavations

Uncovering the Sectional Attributes of Landscape and Building

IONAL ATTRIBUTES OF LANDSCAPE AND BUILDING

The dialogue between architecture, landscape and human experience has been addressed historically through the use of representation. While the importance of the human experience is not equally addressed in all discourses, the building section emerges as a common device for restoring the architectâ&#x20AC;&#x2122;s focus on the human experience and questions how the architectural section can generate design.

graphic projection will allow design to better understand human and cultural implications of form as well as the interior-exterior dialectic of the space.

Extrusions develop out of plan and indicate a vertical movement between spaces. While these spaces don’t typically oﬀer diverse sectional conditions, they do oﬀer a unique opportunity to break the regularity with a strong spatial moment within the architecture.

THESIS VISUAL ARGUMENT

1780

01|12

GROUNDED EXCAVATIONS:

UNCOVERING THE SECTIONAL ATTRIBUTES OF LANDSCAPE AND BUILDING

Etienne-Louis Boullee Newton’s Cenotaph

This thesis explores the relationship between the two-dimensional representation and the three-dimensional space through a series of sectional taxonomies that analyze programmatic elements based on spatial experiences. These programmatic spatial conditions PULLS PLAN will assess spaces that typically result from digital methods like extrusions, pulls, boolean, loft and sweep spaces. From this taxonomy of sections, a series of vignettes will be developed 00

1755

Pulls develop out of section or elevation and are horizontal extrusions. This is one method in giving dimension to the section.

VS.

J. G. Souﬄot Sainte Genevieve

[L]: SECTION LIMITATIONS:

vs.

1792

4 8

INCLINE IN GROUND

J. J. Lequeu Temple of the Earth

[1]: HOW DO YOU CAP A PULL, EXTRUSION AND LOFT TAXONOMY? LOFTS

2 4

Lofts are section proﬁles combined together that then build form. While they are typically along one axis, lofts are not contained to a single axis, nor orthagonal forms. Lofts also allow for compound, complex forms.

SECTION

Thesis Visual Argument

[2]: HOW DO YOU CHANGE AXIS? 1.0 | ESQUISSE Taxonometric Studies |

Taking 2D sectons and turning them into 3D form.

1829

Henri Labrouste La Perouse Cenotaph FLAT GROUND LIGHT + DARK

REVERSE LIGHT + DARK

SPLITTING OF SPACE

Extrusions

OVERLAP OF SECTIONS BOOLEANS Boolean is one of the terms digital

modeling software uses to THE talk about [3]: HOW DO YOU INCORPORATE LONGITUDINAL compound spaces. Booleans develop out of anTHE intersection between forms SECTIONS? SECTION(S) WITH TRANSVERSE formed from either pulls or extrusions.

AS about the SECTION

These complex forms are either spaces carved out, added or the intersection of forms.

Paul Rudolph

[4]: WHEN DO YOU MIX OR INTERSECT MULTIPLE TAXONOMIES? WHAT HAPPENS AT THE INTERSECTION? Booleans/ Carved

1990

? TAXONOMY STUDIES

1958

Pulls

Lebbeus Woods “Berlin Free-ZoneENTRANCE 3-2”PUBLIC SPACE

PUBLIC SPACE PRIVATE SPACE

SIDE ENTRY EXIT

Intersection with the Ground Plane

COMBINED ITERATION #1

1993

far left: library of great sections through history center: series of diagrams illustrating the limitations of sections

Douglas Darden The Oxygen House

LIGHT SHAFT

[#2] : LOFTS | LOOSE/ SMOOTH

[B] : BOOLEANS| CONTEXTUAL

[#1] BOOLEANS| PROCESS [carving method]

FLOOR

OVERLAP OF SECTIONS | INCLINE IN GROUND + UPPER SIDE LIGHT

FLAT GROUND

LIGHT + DARK

01|13

[#1] : LOFTS | STRAIGHT

REVERSE LIGHT + DARK

[B1]: two forms --> exterior shell + void based on concept

LIGHT OPENINGS

SPLITTING OF SPACE

FLOOR

ENTRY PATH + TOP LIGHT

THROUGH PATH + CORNER LIGHT

ENCLOSED SPACE + SIDE LIGHT

INCLINE PATH + SPLIT FLOORS

ENCLOSED SPACE + TRANSITION ENTRY

CONTOURS EVERY 1 UNIT

CONTOURS EVERY 2.5 UNITS

CONTOURS EVERY 5 UNITS

[B2]: SPATIAL CLARITY

LIGHT

Booleaned space has a complexity to it where the space isn’t completely understood in one section, but a series of sections. The initial concept of the space starts with a SINGLE SECTIONAL IDEA, but the spatial depth is understood best with a series of sections instead of the initial concept section.

FLOOR

+ CIRC ULATION

[B:1] INITIAL VOLUME [B:2] INITIAL SECTION CONCEPT INTRODUCING LIGHT + MOVEMENT [B:3-5] BOOLEAN (CARVE) THE SECONDARY VOLUME OUT OF THE PRIMARY VOLUME. REFER TO [B1]

-> FLOOR

[B6] : INTERIOR SPATIAL COMPLEXITY [B7] : FINAL VOLUME

FLOOR

VOID =

CIR CULA TIO N

LOFT JOGS OFF AXIS

ENTRANCE

ENTRANCE PUBLIC SPACE SPLIT FLOORS:MULTIPLE PROGRAMSPRIVATE SPACE PRIVATE SPACE EXIT

and 3D-printed that start to blend these sections while trying to answer the thesis question, can the architectural section generate design especially with tools that don’t privilege the section? While the field has shifted towards digital drawing methods like Revit, AutoCAD and Rhino, these programs still favor the use of the plan and object-based form as the primary design generators. The architectural section gives dimensionality and scale to the architecture that the plan does not. In the digital realm, the section is allowed to extend beyond orthographic projection, which then allows a designer to better understand the human and cultural implications. The section has the potential to transition back to an architecture imbued with experiential meaning and away from the purely formal architecture. The thesis demonstrated how by designing in section, the quality of the space becomes unique and rich.

FLOOR

PROGRESSION OF BOOLEAN SPACE TAXONOMY

ITERATIONS + STEPS

SIDE ENTRY

[#3] LOFTS | COMBO

[L] : LOFTS | CONTEXTUAL

[01]

reﬂective surface?

movement + path

[02]

movement + ground

[03]

S:01

[04]

[05]

[06]

[MOVEMENT] IMPLIED CIRCULATION

PRIVATE SPACE

S:03

S:02 S:01 [07] L:06 = L:01 MIRRORED

S:01

L:03 [08]

L:02

L:04

L:05 [09] ITERATIONS + STEPS

PUBLIC SPACE

S:00 | [SWEEP TAXONOMY: STEP NUMBER] L:00 | [LOFT TAXONOMY: STEP NUMBER]

[S: SWEEP | TAXONOMY MANIPULATION] Sweeps allow for the ability to change the axis of a pull taxonomy. A sweep acts as an in-between of a pull and a loft. L:01

Series of formal investigations for the lofts and boolean taxonomies.

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01|15

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01|16

TAXONOMY OF 3D PRINTED MODELS

PROCESS LOFT STUDY MODEL

FINAL EXTRUSION MODEL

Study model (+600 laser cut sections) of loft taxonomy | Series of 3D printed taxonomy models

FINAL PULL MODEL

01|17

FINAL BOOLEAN MODEL

FINAL LOFT MODEL

FINAL SWEEP MODEL

01|18

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[S]: Â PROCEDURE Â DIAGRAM

Sweep Board Description of Mezzanine Circulation

This investigation is about the formation of individual spaces that are based on experience, program or context instead of a design proposal that is about the entire formal architectural design. The tools used to test this thesis were the five defined taxonomies through the lens of section where the methodology and process becomes the main focus and importance of this thesis. This thesis is less concerned with the overall appearance of the exterior, but more interested in the manipulation of form and quality of the interior spaces. The three taxonomies used in the final investigation were the loft, boolean and sweep where each taxonomy solved a design problem that either focused on the experience, context or program. The sweep was about how can the transition between the second floor mezzanine to the rooftop terrace be about being immersed within the context through an experience of particular views (diagrams to the left). The first section of the sweep is located on the second floor mezzanine and this section is swept along a path that connects the section profiles. This path becomes the movement of circulation as well as turns the corner of the site in terms of the building form. The end section draws from the context of the site and initiates the experiential quality of the space. It allows view corridors to the street level and distills the spatial quality to an individual experience at the beginning that will eventually morph into a communal gathering space. In between these two end sections are two control sections for the form in order to maintain the path of occupation as well as taking control of the overall form of the space. The use of these sections demonstrates an understanding of the technology as a tool instead of a pure generator of the form, which illustrates how the section can affect and generate form, which helps answer

01|19

[S]WEEP

to a rooftop terrace and the quality of space and experience along a path. Initially, leaving the theater, the views are to the street below and then slowly lead your view to the sky above into a rooftop terrace. [S]: EXPERIENTIAL

01|20

[L]: P

The booleaned space connects the circulatory spaces with the entry and lobby spaces of the Carolina Theater. This connective volume is carved out by the context to incorporate SPATIAL views, lightVOLUME and program.

ES OF LANDSCAPE AND BUILDING

[B]: CONTEXT

The spatial sweep is about the experiential quality of moving from the theater mezzanine to a rooftop terrace and the quality of space and experience along a path. Initially, leaving the theater, the views are to the street below and then slowly lead your view to the sky above into a rooftop terrace.

The booleaned space connects the circulatory spaces with the entry and lobby spaces of the Carolina Theater. This connective volume is [B]: CONTEXT carved out by the context to incorporate views, light and program. The booleaned space connects the circulatory

[L]: PROGRAM

spaces with the entry and lobby spaces of the Carolina Theater. This connective volume is carved out by the context to incorporate views, light and program.

LIGHT WELL

VIEW CORRIDOR

LIGHT WELL

[S]: EXPERIENTIAL

LIGHT WELL

VIEW CORRIDOR

The lofted space is about the program functionality of a fire exit. The Carolina Theater had an existing narrow fire exit that [L]:functionally PROGRAM needed to get three floors of people down to one. The loft space was about The lofted space is about the program the manipulation of control sections and the functionality of a fire exit. The Carolina use had of the digitalnarrow tool that help Theater an existing fire exit that generate the functionally needed to getofthree of spatial experience the floors fire exit.

SPATIAL VOLUME

people down to one. The loft space was about the manipulation of control sections and the

VIEW CORRIDOR use of the digital tool that help generate the

spatial experience ofF:PR the ﬁre exit.

VIEW CORRIDOR

SPATIAL VOLUME SPATIAL VOLUME

F:PR

[L]: PROGRAM

The booleaned space connects the circulatory spaces with the entry and lobby spaces of the Carolina Theater. This connective volume is carved out by the context to incorporate views, light and program. LIGHT WELL

[L]: PROGRAM The lofted space is about the program The lofted space is about the program functionality a exit. fire The exit.Carolina The Carolina functionality of aof fire Theater had an existing fire exit that Theater had an existing narrownarrow fire exit that functionally needed to gettothree functionally needed get floors threeof floors of people down to one. The loft space was about people down to one. The loft space was about the manipulation of control sections and the the of control sections use ofmanipulation the digital tool that help generate the and the use ofexperience the digital tool spatial of the firethat exit. help generate the spatial experience of the fire exit. F:PR

VIEW CORRIDOR SPATIAL VOLUME above: The

F:02F:PR F:01

F:01

F:02

diagrams demonstrate how each taxonomy address theF:01particular question, “can section F:01 generate design?” in relation to a specific design problem. All spatial investigations are the resultant of section forming interior space. The photos of the final investigation 3D model illustrate each taxonomy and the specifically addressed design problem.

[L]: PROGRAM The lofted space is about the program functionality of a fire exit. The Carolina Theater had an existing narrow fire exit that functionally needed to get three floors of people down to one. The loft space was about the manipulation of control sections and the use of the digital tool that help generate the

F:02 F:01

F:01

F:02 F:01

[B]: CONTEXT

SPATIAL VO

LIGHT WELL

[B]: CONTEXT

DING

Carolina Theater. This connective volume is carved out by the context to incorporate views, light and program.

F:01

The lo functio Theate functio people the ma use of spatial

01|21

the thesis. The use of designing in section starts to challenge oneâ&#x20AC;&#x2122;s notion of what a section typically is because critics understand the premise of how the section is being used as a tool and itâ&#x20AC;&#x2122;s ability to generate complex forms bounded by functional uses. However, there still seems to be unanswered questions about how does one start to represent space that was generated from an inherent 2D representation. The discussion between the representations of space in the 2D compared to the 3D starts to be analyzed, where the architectural section is inherently spatial and should be treated as three-dimensional space, especially with new emerging digital technologies. The architectural section isnâ&#x20AC;&#x2122;t just a diagram and drawing, but could be looked at a design generator.

01|22

01|23

01|24

01|25

Central Park Frederick Law Olmstead 1858 NYC, NYC

Cathedral as a memorial to the Wars of Liberation Karl Friedrich Schinkel 1814-1815

Schauspielhaus Karl Friedrich Schinkel 1818-1821

The Nature and Function of Art, more especially of Architecture Leopold Eidlitz 1881

"Transcendentalism of Art" The Builder Goethe 1852

Reconstruction of the Temple of Empedocles J.J. Hittorff 1830 Selimumte, Sicily

Architektonisches Lehrbuch Karl Friedrich Schinkel 1810

Vitruvian Man Vitruvius 1521

Ueber die bleimen Schleudegeschosse der Alten Gottfried Semper 1859

Plan for National Cemetery Gottfried Semper 1850 London

Altes Museum Karl Friedrich Schinkel 1822-1830

Gothic Memorial Chapel for Queen Louisa Karl Friedrich Schinkel 1810 Prussia

Of German Architecture Goethe 1772

Tassel House Victor Horta 1892 Brussels, Belgium

Bibliotheque Nationale Henri Labrouste 1862-68 Paris, France

St. George's Episcopal Church Leopold Eidlitz 1846-50 New York

Bibliotheque Sainte-Genevieve Henri Labrouste 1842-50 Paris, France

Entretien sur l'architecture Viollet-le-Duc 1836-72

Carson Pirie Scott Louis Sullivan 1899-1904 Chicago, IL

"The Tall Office Building Artistically Considered" Louis Sullivan 1896

Cologne Cathedral 1880 Cologne, Germany

Dictionnaire Raisonne E. E. Viollet-le-Duc 1854-68

Parc Guell Antonio Gaudi 1900 Barcelona, Spain

Sagrada Familia Antonio Gaudi 1882 Barcelona, Spain

Oxford Natural History Museum Thomas Deane & Benjamin Woodward 1855-61 Oxford, England

L'Habitation Humaine Charles Gainer & Auguste Ammann 1892 Four Elements Der Stil Gottfried Semper 1860

Lily House Joseph Paxton 1849-50 Chatsworth

L' Architettura [De re aedificatoria] Leon Bassitta Alberti 1435

Kunstlehre August Wilhelm von von Schlegel Schlegel 1801-1802

Recherches sur les Poisons Fossils (Diagram "Genealogie de la Classes des Poissons") Louis Agassiz 1833-44

Botanical Diagram of Structure of Leaf and Stem Joseph Paxton 1832

Allgemeine Kulturgeschichte der Menschheit Gustav Klemm 1843-52 Elementary Geology (Paleontological Chart) Edward Hitchcock 1840

The Descent of Man (Vol. 1, "Human Embryo after Ecker) Charles Darwin 1871

First Flight Wright Brothers 1900 Kitty Hawk, NC

Histoire d'un dessinateur E.E. Viollet-le-Duc 1879

On the Origin of Species (Hypothetical Phylogenetic Tree, 1859) Charles Darwin 1856

Kunstformen der Natur (Radiolarian, Tree of Life diagram) Ernst Haeckel 1904

Familistere Andre Godin 1899 Guise, France

Le Massif du Mont Blanc E.E. Viollet-le-Duc 1876

Racial Figures in Opera House Charles Garnier 1863-75 Paris, France

Magnum Opus, Handbuch der Kunstgeschicte Franz Kugler 1842

Skeuomorphs of timber construction "The Meaning of Ornament, or its Archaelogy and its Psychology" H. Colley March 1889

Cabinet d'anatomie comparee Georges Cuvier 1842

Koch Curve (Fractals) Helge von Koch 1904

The Habitations of Man in All Ages E.E. Viollet-le-Duc 1876

Carving a Jamb on 1st floor window of University Museum James O'Shea 1860 Oxford

'Grammar of Ornament' Owen Jones 1856 London

1890

An Enquiry into the Origins of Our Ideas of the Sublime and the Beautiful Edmund Burke 1757

Encyclopedie nouvelle Leonce Reynaud 1834-1841

1880

Simple Imitation of Nature, Manner, Style Goethe 1789 Botanical Flourishes of Columns Johann Friedrich Dauthe 1784 Nikolaikirche, Leipzig

Geschichte der bildenden Kunste C. Schnaase 1869

Pump Room demonstration of 'technostatic' intrepretation of Romanesque tectonic arch Heinrich Hubsch 1837-40 Baden

1870

Life of an Idea Rousseau 1766-70

1800

Histoire (Diagram "Table de l'Ordre des Chiens") Comte Georges Buffon 1755 Ordonnance des cinq especes de colonnes Claude Perrault 1683

Histoire Naturelle Jean Baptiste Lamarck 1815-22

1860

1810

Critique of Judgement Immanuel Kant 1790

1850

Die Baukunst nach den Grundgesatzen Alois Hirt 1809 Anoplotherium Anoplotherium G. G. Cuvier Cuvier 1804 1804

Diagram "Arbre Botanique" Augustin Augier 1801

The Metamorphosis of Plants Goethe 1790

1840

De Nativa (Diagram of Five Skulls) Johann Friedrich Blumenbach 1795-1800

Aesthetic Judgement August Wilhelm von Schlegel 1789

Grotto Forms in British Landscape Architecture Desert de Retz, in the Forest of Marly 1775 Chambourcy

1830

Critique of Pure Reason Immanuel Kant 1781

Analysis of Cologne Cathedral Franz Kugler 1841

1820

A Storm and Stress vision of Gothic architecture Goethe 1772

Analysis of Beauty William Hogarth 1753

Poetics Aristotle 335 BC

Tavanasa Bridge Robert Maillart 1904 Danis-Tavanas, Switzerland

"The Tall Office Building Artistically Considered" Louis Sullivan 1896

Vergleichende Baulehre Gottfried Semper 1850

Crystal Palace Joseph Paxton 1803-65

Newton's Cenotaph Etienne-Louis Boullee 1784

1900

Laugier's Primitive Hut Essai sur l'Architecture Marc-Antoine Laugier 1753

Illustration of 'type' theory in Church architecture Julien David Leroy 1764 Paris, France

Dialogue at Stow William Gilpin 1748

Auditorium Building Louis Sullivan 1889 Chicago, IL

The Monadnock Building John Wellborn Root 1884 Chicago, IL

Die Tektoik der Hellenen C.G.W.Botticher 1874

The Seven Lamps of Architecture John Ruskin 1849

Colonnade of the east facade of Louvre Claude Perrault 1667-74 Paris, France

Primitive Parametric: Biology as an Architectural Catalyst Charles Davis Chris Beorkrem Bryan Shields

Primitive Parametric Storrs Gallery UNC Charlotte October 14 - November 30, 2013

Price Residence Bart Prince 1984-1989 Corona del Mar, California

Palezetto dello Sport Nervi 1958 Rome, Italy

Cathedral of St. Mary Nervi 1967 San Francisco, CA

Horse Head Interior, DZ Bank Frank Gehry 1995 Berlin, Germany

Cathedral of Brasilia Oscar Neimeyer 1970 Brasilia, Brazil

Precisions sur un Etat Present de l'Architecture et de l'Urbanisme Le Corbusier 1960 Paris, France

Space, Time, and Architecture Siegfried Giedion 1938-39

The Architecture of Humanism Geoffrey Scott 1914

Johnson Wax HQ Frank Lloyd Wright 1936-39 Racine, WI

Fiat Factory 1930 Turin, Italy

The Spiral Jetty Robert Smithson 1972 Rozel Point, UT

Changing Ideals in Modern Architecture Peter Colliins 1965

Guggenheim Museum Frank Lloyd Wright 1956-59 NYC, NY

Geodesic Geodesic Dome Dome Buckminster Buckminster Fuller Fuller 1948 1948

Robie House Frank Lloyd Wright 1910 Chicago, IL

Institut du Monde Arabe Jean Nouvel 1984 Paris, France

MIT Chapel Eero Saarinen 1955 Cambridge, MA

Taliesin West Frank Lloyd Wright 1937 Scottsdale, AZ

The Evolution of Design Philip Steadman 1979

TWA Flight Center Eero Saarinen 1962 JFK International Airport Queens, NY

Baker House MIT Alvar Aalto 1946 Cambridge, MA

"Conceptuality of Fundamental Structures" Structure in Art and Science Buckminster Fuller 1965

Bavinger House Bruce Goff 1955 Norman, Ok

Montreal Biosphere Buckminster Fuller 1967 Montreal, Canada Article on Organic Unity Georg Germann 1972

Aspects of Form: Symposium on Form in Nature and Art Lancelot Law Whyte 1961

"Ornament and Crime" Adolf Loos 1908

Port Olimpic Frank Gehry 1992 Barcelona, Spain

Beinecke Library Louis Kahn 1963 New Haven, CT

Einstein Tower Erich Mendelsohn 1919 Pottsdam, Germany

Grinnell National Bank Louis Sullivan 1914 Grinnell, Iowa

Falling Water Frank Lloyd Wright 1936-39 Bear Run, PA

Casa Mila Antonio Gaudi 1906 Barcelona, Spain

Dymaxion House Buckminster Fuller 1929 Dearborn, Michigan

Molded Plywood Chairs Charles and Ray Eames 1946 Los Angeles, CA

Multihalle Frei Otto 1975 Mannheim, Germany

Thorncrown Chapel E. Fay Jones 1980 Eureka Springs, Arkansas

Meeting Space-PS1 James Turrell 1986 Queens, NYC

Munich Olympic Stadium Frei Otto 1972 Munich, Germany

Helix City Japanese Metabolists 1961 Tokyo, Japan

Tokyo Bay Plan Japanese Metabolists 1960 Tokyo, Japan

Towards an Organic Architecture Bruno Zevi 1951

Museum of Contemporary Art Kiasma Steven Holl 1993 Helsinki, Finland

Biology and Building Frei Otto 1971

Endless House Friedrich Kiesler 1959

St. Ignatius Church Steven Holl 1994 Seattle, Washington

Approaches to Organic Form: Permutations in Science and Culture F.R. Burwick 1987

Pavilion for Japanese Art Bruce Goff 1978 LACMA

Navy Splints Charles and Ray Eames 1942 Los Angeles, CA

Roden Crater James Turrell 1979 Flagstaff, AZ

Floriade Pavilion Frei Otto 1962 Rotterdam

Eames Eames House House Charles Charles and and Ray Ray Eames Eames 1945 1945 Pacific Pacific Palisades, Palisades, CA CA

"The Character of Biological Form" (Diagram of the Epigenetic Landscape) Conrad Waddington 1951

First DNA double helix model Francis Crick & James Watson 1953

On Growth and Form Darcy Wentworth Thompson 1917

Notes on the Synthesis of Form Christopher Alexander 1964 Clouds, Shorelines, Leaves, Tree Benoit B. Mandelbrot 1977

Velcro 1955

"Correalism and Biotechnique" Frederick Kielser 1939

1990

1980

1970

1960

1950

1940

1930

1920

1910

Plausible Binding Motions Jean Claude Latombe 1992

Brookhaven Protein Databank Levinthal's Paradox Cryus Levinthal 1965

Architectural Principles in the Age of Humanism Wittkower 1962

Sierpinski Curve Waclaw Sierpinski 1915

3’ x 50’ PRIMITIVE PARAMETRIC

Primitive Parametric | Biology as an Architectural Catalyst

[Research through Making Grant] Primitive Parametric: Biology as an Architectural Catalyst as an investigation of biology and it’s impact on architectural design. I was one of the four graduate researchers working with three faculty that researched the cultural meaning of the architecturebiology dialectic expanded through a series of historical timelines that trace this dialectic. This investigation manifested in an exhibition of analytical drawings and models that are analyzed through the lens of Semper’s theory of the Four Elements of Architecture. The cultural referent resulted in a series of diagrammatic maps and timelines that illustrate the evolutionary character of Semper’s theory. My involvement with the project was researching, composing and designing the fifty foot timeline that explores both the formal and cultural influences of biology as an architectural catalyst. I was involved with designing the graphics that illustrate the relationship between Semper’s four elements and their correlation to selected contemporary characters. Lastly, I was in charge of designing and composing the research components into a booklet that joined the gallery exhibition. For the full booklet, “Primitive Parametric: Biology as an Architectural Catalyst,” please go to the link < http://issuu.com/soauncc/docs/primitive_parametric_booket>. Faculty: Charles Davis, Chris Beorkrem, Bryan Shields Graduate Researchers: Ryan Barkes, Nicole Brown, Taylor Milner, Nicole RIvera

S Ce

Ca T

carpentry ceramics stereotomy textiles

SEMPER | SHoP

PRIMITIVE PARAMETRIC

S Ce

Ca T

carpentry ceramics stereotomy textiles

SEMPER | MENGES

PRIMITIVE PARAMETRIC

S Ce

Ca T

carpentry ceramics stereotomy textiles

SEMPER | OTTO-GRIMSHAW

02|28

02|29

DESIGN

verb. to create out of the mind and the imagination

My ideas about design and the built environment are explored and illustrated through selected studio projects that range from the urban scale to the individual dimension.

02|30 Southwest View of Uptown Charlotte 2024 rendering by: M. Canaday

2024 Charlotte Olympic Proposal Grad. Studio/ Fall 2013

What if Charlotte hosted the 2024 Olympics? Could the additional infrastructure required to host the Games leave a positive legacy for the city to grow from? These questions was posed by UNC Charlotteâ&#x20AC;&#x2122;s Master of Architecture urban design studio, resulting in this proposal for a 2024 Olympic bid and post-Olympics growth by 2030. Proposing Charlotte, NC to host the 2024 Olympics provides the city with an opportunity to redefine its identity for future generations. Our vision for the Olympics in Charlotte rests on a core concentration of events and services that will better link its wards, interconnecting them with a pedestrian and transit Loop that will ring the city. For the full document proposed for this studio, please go to the link, < http:// issuu.com/nbrow/docs/olympicsstudio_uncc>. 1

Olympic Ring Concept Park Space in Uptown Charlotte [current vs. proposed 2024 plan]

Advisor: J. Gamez | Group : R. Barkes, N. Brown, M. Canaday, A. Caruthers, C. Chlebda, P. Gaither, L. Mayes, S. Pinhero,

The beginning half of the semester looked at past Olympics to figure out where we wanted to situate ourselves in the development of the Charlotte Olympics. Post Olympic Assessment highlighted several key features that aided a successful Olympics. These features included the redevelopment of brownfields and sustainability, architects and urban

designers given a central role, and spatial concentration. We also thought it was important that walkability and transit were addressed, which aligns with spatial concentration.

sustainability designed planning spatial concentration transit

Olympic Precedents

walkability

designers given a central role, and spatial concentration. We also thought it was important that walkability and transit were addressed, which aligns with spatial concentration.

sustainability designed planning spatial concentration transit

02|31

walkability

ATL host city date Atlanta 1996 project budget cost $1.5 Billion actual cost $1.8 Billion

LDN

London 2012

BCN

$10.4 Billion

SYD

Barcelona 1992

$3 Billion $11.4 Billion

$13.9 Billion

ATH

Sydney 2000

$3.8 Billion $6.6 Billion

Athens 2004

$7 Billion

BEI

dispersedATL host city date Atlanta 1996 project budget cost $1.5 Billion fully addressed actual cost $1.8 Billion

LDN partailly addressed

donâ&#x20AC;&#x2122;t addressed

London 2012

BCN

$10.4 Billion

SYD

Barcelona 1992

$3 Billion $11.4 Billion

$13.9 Billion

CLT

Charlotte 2024

$14 Billion

RIO

unknown

Rio de Janerio 2012

$14.4 Billion unknown

dispersed fully addressed

partailly addressed

donâ&#x20AC;&#x2122;t addressed

CLT

Charlotte 2024

$14 Billion unknown

residential and mixed-use typologies and the Loop

Olympic Concourse

2024 Olympic proposal

the Loop

the five linked wards

Charlotte 2014

layers of linked development

RIO

Rio de Janerio 2012

$14.4 Billion unknown

ATH

Athens 2004

$7 Billion $15 Billion

Beijing 2008

$23 Billion $43 Billion

$15 Billion

concentrated

Sydney 2000

$3.8 Billion $6.6 Billion

BEI

Beijing 2008

$23 Billion $43 Billion

concentrated Olympic Host Cities Precedent Study

02|32

Each tower connects to the Loop.

Acting as a â&#x20AC;&#x153;plug-inâ&#x20AC;? piece to the elevated rail Loop, the mixed-use towers encourage a denser Uptown environment and include programmatic opportunities such as retail, office space, hotel and residences. View Inside Tower Typology at the Courtyard

MIXED-USE MIXED-USE TOWER TOWER TYPOLOGY This mixed-use tower ac

to the elevated rail loop density use into Uptown to the transit line. This m a variety of program Charlotte that include ret and residential opportun

hotel [ 250 s.f./unit]

to the elevated rail loop. This allows for high density use into Uptown as well as connecting to the transit line. This mixed-use tower offers a variety of program options for Uptown Charlotte that include retail, office space, hotel and residential opportunities.

Olympic Concourse The Olympic Concourse connects the new Olympic venues to Uptown Charlotte through pedestrian/bike trails and parks. It consists of the Olympic Stadium & Park, Cultural Concourse, Cap Park, and Aquatic Center.

office [ 180 s.f./unit] retail [ 1200 s.f./unit] occupiable green space

The Olympic Concourse connects the new Olympic venues to Uptown Charlotte through pedestrian/bike trails and parks. It consists of the Olympic Stadium & Cap Park Olympic Stadium & Park Cultural ConcourseCap Park, and Park, Cultural Concourse, Aquatic Center. The Cap Park creates The new Olympic The Cultural Concourse new green space over Stadium is built into an connects the Olympic I-277 and connects the Stadium & Park to the extensive, parklike Olympic Stadium to the landscape that Levine Avenue of the Aquatic Center. Arts through over a mile incorporates retail, an indoor practice field, of pedestrian and bike Cap Park Olympic Stadium & Park Cultural Concourse hotels, office space, and trails. stadium The new support Olympicuses. Stadium is built into an extensive, parklike landscape that incorporates retail, an indoor practice field, hotels, office space, and Asian Games Stadium, Incheon, South Korea stadium support uses.

The Cultural Concourse connects the Olympic Stadium & Park to the Levine Avenue of the Arts through over a mile of pedestrian and bike trails. Olympic Concourse, London, United Kingdom

The Cap Park creates new green space over I-277 and connects the Olympic Stadium to the Aquatic Center.

HRON, Helsingor, Denmark

Aquatic Center

Olympic Village

The Loop

Loop-Integrated Tower

High-Density Towers

Old Stadium Site Retail

Old Stadium Site Towers

The Aquatic Center terminates the Cap Park and highlights the unique views of Uptown.

The Olympic Village will house athletes during the games and will be converted to university dormitories and mid-density housing for Olympic Village First and Fourth Wards after. The Olympic Village will house athletes during the games and will be converted to university dormitories and mid-density housing for First and Fourth Wards after. Olympic Village, London, United Kingdom

The Loop is a combined local rapid transit line and linear park that runs around Wards 1-4 as well as the new Olympic Ward to better connect The Loop Uptown Charlotte and the venues. The new LoopOlympic is a combined local rapid transit line and linear park that runs around Wards 1-4 as well as the new Olympic Ward to better connect Uptown Charlotte and the new venues. High Line, New YorkOlympic City, USA

This mixed-use tower acts as a plug-in piece to the Loop and offers a variety of program uses that include: retail, office space, hotel, and Loop-Integrated Tower residential.

These mixed-use residential towers will be mid-density in 2024 and can be added onto to become high-rise towers by 2030. High-Density Towers

After the Olympics, Panthers’ Stadium will be replaced with residential and retail buildings with green roofs to connect shopping to the park. Old Stadium Site Retail

Mixed-use towers with compact housing units and office space will replace Panthers’ Stadium after the Olympics. Old Stadium Site Towers

This mixed-use tower acts as a plug-in piece to the Loop and offers a variety of program uses that include: retail, office space, hotel, and residential.

These mixed-use residential towers will be mid-density in 2024 and can be added onto to become high-rise towers by 2030.

After the Olympics, Panthers’ Stadium will be replaced with residential and retail buildings with green roofs to connect shopping to the park.

Mixed-use towers with compact housing units and office space will replace Panthers’ Stadium after the Olympics.

Aquatic Center The Aquatic Center terminates the Cap Park and highlights the unique views of Uptown.

Olympics Aquatics Center, London, United Kingdom

2024 olympic typologies: venues and infrastructure directly related to the 2024 Olympics that also support Charlotte’s growth and vision plan

Asian Games Stadium, Incheon, South Korea

Olympic Concourse, London, United Kingdom

HRON, Helsingor, Denmark

Olympics Aquatics Center, London, United Kingdom

Each tower will have

High Line, New York City, USA

Olympic Village, London, United Kingdom

the 2024 Olympics that also support Charlotte’s growth and vision plan 2024 olympic typologies: venues and infrastructure directly related atocombination of the

4Tower, Shenzhen, China

~ 800 units with outdoor green balconies.

retail [ 1200 s.f./unit] occupiable green space

2030

Nine Dragon Housing Complex, Suizhong, China

1,000 units with incorporated outdoor green balconies.

green space : approximately 215,000 s.f. of useable green space

office [ 180 s.f./unit]

2030

hotel : approximately 1400 units total with incorporated outdoor green balconies and large public open space

~600 units office : approximately 1400 units retail: approximately 300 units that are in close proximity to the elevated transit line and urban street level.

example scenario #1 | total approximate 4,100 units available at 38 stories tall.

total square footage 1,333,708 s.f. number of floors 48 Loop plug-in Yes | 3rd Floor ~1000 units ~1400 units ~1400 units

R TYPOLOGY

Nine Dragon Housing Complex, Suizhong, China

YON, Seoul, South Korea

residential [ 350 s.f./unit] hotel [ 250 s.f./unit]

Nine Dragon Housing Complex, Suizhong, China

legacy typologies: post-Olympics typologies

residential : approximately support typologies: buildings and infrastructure indirectly related to the Olympics legacy typologies: post-Olympics typologies

following program:

Each tower has useable green space incorporated into the architecture. This allows for sustainable methods such as natural ventialtion and natural daylight to be integrated into the design. Each tower has approximately 215, 000 s.f. of useable green space that can be open courtyards and gathering space for the tower residents.

Nine Dragon Housing Complex, Suizhong, China

YON, Seoul, South Korea

support typologies: buildings and infrastructure indirectly related to the Olympics

potential program scenarios:

cts as a “plug-in” piece p. This allows for high n as well as connecting mixed-use tower offers options for Uptown tail, office space, hotel nities.

Group Conceptual Process - Charrettes and Models

Each tower~300 willunits have a combination of s.f. the ~215000 following program: #1

residential [ 350 s.f./unit] hotel [ 250 s.f./unit] office [ 180 s.f./unit] retail [ 1200 s.f./unit] occupiable green space

~1000 units

~1100 units

~1400 units

~600 units

~1550 units

~2300 units

~2100 units

~1500 units

~105 units

~215000 s.f.

02|33

Olympic Concourse

02|34

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connection to the ground plane

physical none

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physical none

daily activity use

(+5+1"

Street & Brevard N. Brevard Street 8th8th Street & N. Street

ambulatory axes | the H.U.B.

06 06

comprehensive studio project | Spring 2013 [projected completed in Revit]

09 09

12 12

15 15

18 18

21 21

24 24

Ambulatory Axes is a HUB for a design education and business program on the urban Uptown Charlotte campus for UNCC. This project was designed in section where the focus was on the two distinct users’ experiences. EAST ELEVATION

1/8” = 1’-0”

Advisor: Kelley Carlson- Reddig

initial concept diagrams and sketches

SOUTH ELEVATION 1/8” = 1’-0”

EAST ELEVATION

1/8” = 1’-0”

02|36

charrette model | entry sequence #1

entry sequence #1 [business users] transverse section initial concept sketch

MULLION DETAIL COMPLETED SYSTEM

SHINGLED FROSTED GLASS SYSTEM

ALUMINUM FRAME SUPPORTS

CURTAIN WALL WITH TRIPLE IGU GLASS

STRUCTURAL COLUMNS

elevated entry

charrette model | entry sequence #2

academic axis

ELEVATED URBAN COURTYARD

glass mass

RAISED ENTRY LEVEL ALONG URBAN AXIS

COURTYARD GREENSCAPE ALONG ACADEMIC AXIS

longitudinal section urban axis concept diagram///ambulatory axes BAN

connecting courtyard

AXIS CO ECTE NN D TO TTE ARLO

CH TOW

UP h + 7t HT LIG RAIL IO STAT N

ACADEMIC AXIS CONNECTING IMAGINON + HUB + CCB

ENTRANCE = RAISED INTERSECTION OF AXIS’

BUILDING ANCHORED BY AXIS’

SECTION AA

SHIFTED URBANSCAPE ALONG URBAN AXIS

SECTION BB 1/8” = 1’- 0”

1/8” = 1’- 0”

n.brown

NECTION

3' - 4"

PARAPET CAP PARAPET-FASCIA PANEL FLASHING WOOD BLOCKING TAPERED INSULATION W/ TPO ROOFING MEMBRANE METAL DECKING METAL FRAMING MEMBER BOLTED METAL ANGLE CONNECTION

3' - 4"

PARAPET CAP PARAPET-FASCIA PANEL FLASHING WOOD BLOCKING TAPERED INSULATION W/ TPO ROOFING MEMBRANE METAL DECKING METAL FRAMING MEMBER BOLTED METAL ANGLE CONNECTION T.O. Roof 69' - 6" 3' - 4"

PO ROOFING MEMBRANE

T.O. Roof 69' - 6"

METAL STUD SHEATHING HUNG CEILING

4’ X 8’ FROSTED GLASS PANEL ALUMINUM METAL FRAME ATTACHED TO CURTAIN WALL PARAPET CAP FLASHING PARAPET - FASCIA PANEL WOOD BLOCKING RIGID INSULATION W/ TPO ROOF MEMBRANE ROOF DRAIN

CURTAIN WALL RIGID INSULATION METAL STUD + GYP BOARD POLISHED LIGHTWEIGHT CONCRETE ON METAL DECK

K STUDIO

Floor 5 52' - 6"

14' - 0"

Floor 5 52' - 6"

CURTAIN WALL RIGID INSULATION METAL STUD + GYP BOARD POLISHED LIGHTWEIGHT CONCRETE ON METAL DECK STUDIO

14' - 0"

01 0”

17' - 0"

02|37

METAL STUD SHEATHING HUNG CEILING

FACULTY OFFICE

Floor 3 24' - 6"

OUTDOOR TERRACE

RIGID INSULATION W/ TPO ROOF MEMBRANE ROOF DRAIN DRAIN PIPE

Floor 3 24' - 6"

17' - 0"

RECESSED LIGHT FIXTURE LIGHT WEIGHT CONCRETE ON METAL DECK METAL FRAMING MEMBER SHEATHING METAL STUD HUNG CEILING 6 “ METAL STUD + GYP

17' - 0"

Floor 3 24' - 6"

SMART ROOM

LOBBY

Floor 2 7' - 6"

11' - 6"

Floor 2 7' - 6"

Ground Floor 0' - 0"

Retail Floor -4' - 0"

WALL SECTION 01 1/2” = 1’ - 0”

11' - 6"

LOBBY

RETAIL

Floor 4 38' - 6"

14' - 0"

Floor 4 38' - 6"

14' - 0"

Floor 4 38' - 6"

Ground Floor 0' - 0"

Retail Floor -4' - 0"

Ground Floor 0' - 0"

RETAIL

METAL STUDS + GYP BOARD POLISHED CONCRETE CONCRETE FOUNDATION REINFORCED REBAR 2” RIGID INSULATION 4” GRAVEL EARTH

RETAIL

Retail Floor -4' - 0"

WALL SECTION 01 1/2” = 1’ - 0”

AUTUMNAL EQUINOX | 12 PM

29 59

30 30

29 59

1, 575 63 3

COMPREHENSIVE COMPONENTS

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COMPREHENSIVE COMPONENTS

33 66

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ME CH AN ICA L RO OM

LIFE SAFETY PLAN

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TOTAL SQUARE FOOTAGE: 83,446 S.F. BUILDING HEIGHT: 72’-6” FT CONSTRUCTION TYPE: TYPE IIB SPRINKLED: YES TOTAL SQUARE FOOTAGE: 83,446 S.F. BUILDING HEIGHT: 72’-6” FT CONSTRUCTION TYPE: TYPE IIB SPRINKLED: YES FL 28 OO 3 R OCC SQ UP . FT AN .: 13 TS ,9

33 66

10 52 4

MECHANICAL DIAGRAMS

LIFE SAFETY PLAN

BUTTERFLY SHADOW ANALYSIS MECHANICAL DIAGRAMS RO OM

24 24

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OP ER AT IO NA L

17 0

GA LL ER Y

OP ER AT IO NA L

OU TE TD RR OO AC R E

OF FIC ES

1, 344 05 1

CL AS SR OO M

TO BEL OW

BU SIN ES S

OPE N

67 ’-0 ”

CL AS SR OO M

CE NT ER

OPE N TO

BEL OW

RO ME OM ET #2 IN

LA RG E

36 0

FL 54 OO 0 R OCC SQ UP . FT AN .: 18 TS ,2 50

CL AS SR OO M

RO ME OM ET #1 IN

LA RG E

14 1, 631 05 1

OU TE TD RR OO AC R E

CA ST TERIN OR AG G/ E

FL 54 OO 0 R OCC SQ UP . FT AN .: 18 TS ,2 50

[OV PIN ERF -UP LOW SPA CE]

OM ET UP #3 IN

LA RG E RO

1, 344 05 1 UP

CE NT ER

1 1

1 43 #3 1

CL AS SR OO M

CE NT ER

LOW SPA CE]

25 51 4 1

CL AS SR OO [OV M PIN#2ERF -UP

CL AS SR OO M

40 #6

1, 631 05 1

[OV PIN ERF -UP LOW SPA CE]

OM ET #3 IN

LA RG E RO

CL AS SR OO M

CA ST TERIN OR AG G/ E

RO ME OM ET #2 IN

LA RG E

36 0

LA RG CL AS E RO ME SR OM ET OO M #3 IN G

RO ME OM ET #1 IN

LA RG E

RO ME OM ET #2 IN

LA RG E

36 0

OFBU FIC SIN ESES S

FA CU LT Y

CL AS SR OO M

67 ’-0 ”

RO ME OM ET #1 IN

CL AS SR OO M

1, 344 05 1

BU SIN ES S

#4 FL 1 14 OO 7 R OCC SQ UP . FT AN .: 13 TS ,1 17

67 ’-0 ”

CL AS SR OO M

OU TE TD RR OO AC R E

CL AS SR OO M

LA RG E

OPE N BEL OW

FL 14 OO 7 R OCC SQ UP . FT AN .: 13 TS ,1 17

OF FIC ES

1, 631 05 1

AD MI NI ST RA TIV E

CA ST TERIN OR AG G/ E

FA CU LT Y

1 1

OF FIC ES

GE ST NE OR RA AG L E

FA CU LT Y

OF FIC ES

1 1

1 51254

CL AS SR OO M

14 2

FL 1 36 OO 4 R OCC SQ 1 UP . FT AN .: 18 1TS ,2 65

25 51 15 1 7 1’ -6 ”

FL 1 14 OO 7 R OCC SQ 1 UP . FT AN .: 13 TS ,1 1 17

KI TC HE NE TT E

CL AS SR OO M

DN UP

25 51 4 1

OPE N TO

CL AS SR OO M #7

OF FIC ES

BEL OW

CL AS SR OO M

AD MI NI ST RA TIV E

CL AS SR OO M

16 36 2 4

OPE N

AD DN MI KINI TC ST HE RA NETIV TT E

CL AS SR OO M

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PR ES RO EN OM TA #3 TIO N

PR ES RO EN OM TA #4 TIO N

GE ST NE OR RA AG L E

OF FIC ES

BEL OW

ST UD IO

PR ES RO EN OM TA #1 TIO N

ST NE OR RA AG L E

17 0GE UP

25 51 15 1 7 1’ -6 ”

FL 36 OO 4 R OCC SQ UP . FT AN .: 18 TS ,2

PR ES RO EN OM TA #2TIO N

TT E

25 51 7 15 KI 1’ 1 TC HE-6 NE”

FL 36 OO 4 R OCC SQ UP . FT AN .: 18 TS ,2

20 36 2 4

CO RE MP SO UT UR ER CE S

16 36 2 4

CL AS SR OO M

16 36 2 4

PR ES RO EN OM TA #3 TIO N

PR ES RO EN OM TA #4 TIO N

PR ES RO EN OM TA #3 TIO N

ST UD IO

PR ES RO EN OM TA #1 TIO N

17 0

PR ES RO EN OM TA #4 TIO N

PR ES RO EN OM TA #2TIO N

CL AS SR OO M

MECHANICAL DIAGRAMS

INSOLATION ANALYSIS ILLUMINANCE DAYLIGHTING ANALYSIS| 12 PM

A 1

LUMINANCE DAYLIGHTING ANALYSIS| 12 PM 2

ILLUMINANCE FALSE COLOR| 12 PM

RETAIL #3 AD

8 5

CAFE

03 F 9

1A 2A 3A

H AA

RETAIL #1 UP

J AB

MECHANICAL ROOM

K AC

RETAIL #2 UP

RETAIL #4

GROUND FLOOR [RETAIL] AE

00/01

FRAMING PLAN

00/01

FRAMING PLAN

COMPREHENSIVE COMPONENTS

TOTAL SQUARE FOOTAGE: 83,446 S.F. BUILDING HEIGHT: 72’-6” FT CONSTRUCTION TYPE: TYPE IIB SPRINKLED: YES

LUMINANCE FALSE COLOR| 12 PM

PR ES RO EN OM TA #2TIO N

PR ES RO EN

17 0

2 1

DN @ 1:20

5 4

2 1

0' - 0"

OPEN TO BELOW

DN @ 1:20

0' - 0"

DN @ 1:20

0' - 0"

DN @ 1:20

5 4

2 1

5 4

2 1

2’- 6"2’- 6"

0' - 0"

2’- 6"

0' - 0" 2’- 6"

0' - 0"

DN @ 1:20 67

2’- 6"

DN @ 1:20

9 2’- 6"

DN @ 1:20 89 -1' - 0"

[OVERFLOW [OVERFLOW STAGING AREA STAGING AREA STAGING AREA PIN-UP SPACE] PIN-UP SPACE]

2’- 6" -1' - 0"

-1' - 0"

6 F

OPEN TO BELOW

GENERAL STORAGE

OPEN TO BELOW

GENERAL STORAGE

[OVERFLOW PIN-UP SPACE]

5’- 0"

3A G

5’- 0"

3A 2A

5’- 0"

2’- 0"

0" 5’- 0" 1’2’-6"

0" 1’2’-6"

1’- 6"

2’- 0"

[OVERFLOW

6" 6’7’- 6"

6’- 6"

7’- 6"

2A 1A

7’- 6"

DN DN DN #1 UPGALLERY 7’- 6"

7’- 6"

OUTDOOR TERRACE

BUSINESS CENTER

CLASSROOM CLASSROOM #4 CLASSROOM #4 #4 OUTDOOR TERRACE

CLASSROOM #4

SMART SMART SMART ROOM ROOM ROOM

SMART SMART SMART SMARTSMART ROOM ROOMROOM ROOMROOM 01

01AD

SMART ROOM

STUDIO

[OVERFLOW PIN-UP SPACE]

6 F

CLASSROOM #6

CLASSROOM CLASSROOM #7 CLASSROOM #7 #7

CLASSROOM #7

ROOM #1

3A 2A

ROOM #1

3A 2A

PRESENTATION PRESENTATION PRESENTATION 1A

ROOM #2

H AA

PRESENTATION PRESENTATION PRESENTATION ROOM #3

ROOM #1

3A 2A

H AA

PRESENTATION PRESENTATION PRESENTATION CLASSROOM #8

3A G

UP UP CLASSROOM CLASSROOM #6 CLASSROOM #6 #6

CLASSROOM CLASSROOM #8 CLASSROOM #8 #8

H AA

ADMINISTRATIVE OFFICES

ROOM #3

FLOOR [04] FLOOR [04] FLOOR [04]

FLOOR [04]

ROOM #4

M AE

ROOM #4

AB J

FACULTY OFFICES

FLOOR [03]

FLOOR [03] FLOOR [03] FLOOR [03]

ENTRY FLOOR [02] 1/16” = 1’ - 0”

L M

ROOM #4

PRESENTATION PRESENTATION PRESENTATION

M AE

3A 2A

H AA

LOOR ENTRY [02] FLOOR ENTRY [02] FLOOR [02] 1/16” = 1’ - 0” 1/16” = 1’ - 0” ” = 1’ - 0”

3A 2A

H AA

OUTDOOR TERRACE

BUSINESS CENTER

3A G

G 2A

OUTDOOR TERRACE

UP K

SMART SMART ROOM ROOM

ADMINISTRATIVE ADMINISTRATIVE CLASSROOM #5 ADMINISTRATIVE OFFICES OFFICES OFFICES

FACULTY OFFICES FACULTY OFFICES FACULTY OFFICES

CLASSROOM #3

AB J

SMART ROOM

CLASSROOM CLASSROOM #3 CLASSROOM #3 #3

GALLERY #2

3A 2A

OPERATIONAL OFFICES

KITCHENETTE E

CLASSROOM CLASSROOM #5 CLASSROOM #5 #5

CLASSROOM #2

H AA

LERY #2 GALLERY #2 GALLERY #2

3A 2A

H AA

OFFICES OPERATIONAL OFFICES LOBBY OFFICES LOBBY OPERATIONAL LOBBY OPERATIONAL

LOBBY

[OVERFLOW PIN-UP SPACE]

CLASSROOM #1 CLASSROOM CLASSROOM #2 CLASSROOM #2 #2

3A G

6’- 6"

AA #1 GALLERY #1 GALLERY LERY UP #1

[OVERFLOW

KITCHENETTEKITCHENETTE KITCHENETTE PIN-UP SPACE] PIN-UP SPACE]

1’- 6"

3A 7’- 6"

GENERAL STORAGE

-4’- 0"

CLASSROOM CLASSROOM #1 CLASSROOM #1 #1

STAGING AREA

DN @ 1:20

-4’- 0"

[OVERFLOW PIN-UP SPACE]

STUDIO 2’- 6"2’- 6"

COMPUTER COMPUTER COMPUTER RESOURCES RESOURCES RESOURCES

CATERING/C STORAGE

OPEN TO BELOW

DN @ 1:20

C C CATERING/ CATERING/ LARGE MEETING LARGE MEETING LARGELARGE MEETING LARGE MEETING LARGE MEETING LARGE MEETING LARGE MEETING MEETING CATERING/ LARGE MEETING LARGE MEETING LARGE MEETING LARGE MEETING ROOM#2 #3 #1 ROOM #3 STORAGE ROOM #3 ROOM ROOM #2 ROOM ROOM #2 ROOM #1 ROOM #1 ROOM #1#2 ROOM STORAGE STORAGE ROOM #3

0' - 0"

OPEN TO BELOW

RT M

FLOOR [05] FLOOR [05] FLOOR [05]

FLOOR [05]

MULLION DETAIL COMPLETED SYSTEM

SHINGLED FROSTED GLASS SYSTEM

ALUMINUM FRAME SUPPORTS

CURTAIN WALL WITH TRIPLE IGU GLASS

STRUCTURAL COLUMNS

MULLION DETAIL

shingled glass facade system| precedent study: Kunsthaus Bregenz, Peter Zumthor COMPLETED SYSTEM

SHINGLED FROSTED GLASS SYSTEM

ELEVATED URBAN COURTYARD

DAYLIGHTING ANALYSIS | AV. DAILY SOLAR EXPOSURE| FACADE W/O DOUBLE SKIN

ELEVATED URBAN| DAYLIGHTING ANALYSIS COURTYARD AV. DAILY SOLAR EXPOSURE| FACADE W/ DOUBLE SKIN

TOTAL INCIDENT BTU/ft2 : 5,362.3 TOTAL INCIDENT BTU/ft2 : 9,871.6 COURTYARD GREENSCAPE ALONG ACADEMIC AXIS

FROSTED GLASS ALUMINUM FRAME SUPPORTS MULLION CLIP CURTAIN WALL WITH TRIPLE IGU GLASS STRUCTURAL COLUMNS RAISED ENTRY LEVEL THERM 6 CALCULATION OF DOUBLE SKIN FACADE ALONG URBAN AXIS

ALUMINUM FRAME SUPPORTS

CURTAIN WALL WITH TRIPLE IGU GLASS

STRUCTURAL COLUMNS

Assembly U-Factor for Vision Curtain wall AREA %AREA U-FACTOR [Btu/h-ft2-F] FRAME 288.6 6% 1.2 EDGE 1515 31% 0.19 CENTER IGU 3093 63% 0.13 TOTAL 4896 100% ASSEMBLY U-FACTOR 0.212 BUILDING CODE MIN v0.5

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FABRICATE verb.

to create through the act of making

Research through making is an important element in my education and has a prominent impact on my design approach. Fabricating is exploring the minds eye through the instrument of the hand, which engages in an intimate understanding of the design.

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[T]ABLE This table design is a reversal of a typical trestle table with the legs being even more articulated than normal. Typically, the tops of trestles are hidden by the table top however, in this design, the legs become the prominent design element and the functional box becomes the secondary element. The initial design went through several design iterations to figure out the language of the legs. Ultimately, the legs are tapered on the interior edges and the edges of the box also follow the same taper angle. The combination of the legs and the inset edges of the box creates a unique opportunity for a series of three separate shelves for the bedside table. The two smaller edge shelves are wide enough for the an iphone or earring tray. The table dimensions are 23.5”L x 15.5” W x 26” H. The middle interior shelf is 14”x14” and the two edge shelves are 3”Lx14”W. Lastly, the piece is made with walnut and finished with a clear coat of Master Gel. Photo Credit: Sidney Gardner

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INTERPRET verb.

the performance of understanding in a way that illustrates oneâ&#x20AC;&#x2122;s own thoughts and feelings

Travel is an important aspect of my life and my education. The opportunity to travel and explore the world impacts the way one views the world. The interpretation of design and the human experience with the built environment is demonstrated in what the eye captures through photography, sketching and collaging while experiencing the world through travel.

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full continuous collage [8”x 240”]

Cistern Light [collage : 22”x 30”]

Movement [Collage : 22” x 30”]

Watercolor sketch of Muuratsalo House Muuratsalo, Finland | ~15 min

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Scandinavia Gallery Show

2013 Scandinavia Study Abroad This past summer I participated in a study abroad trip to Scandinavia that explored the relationship between place and memory within architecture. This course was explored through a gallery exhibition of photography work, collages and sketches. Countries visited: Denmark, Norway, Sweden, Finland, Estonia [on my own]

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collage. Collage and architecture. When architecture extends beyond the physical to an intangible presence, it impacts how users perceive and interact with space. Architecture is a series of collaged spaces and typologies where these collaged encounters exist within the current urban fabric between a mix of old and new. Collage becomes a medium to display these impressions of a space, a culture, and a country that extend beyond the built environment, and yet is directly tied to the creative process within design. The tool of collage allows the creative process to explore the direct relationships between the built environment and the user, as well as the sensory abstract embedded within a space that can only be felt in person. Collage becomes a graphic representation that communicates these hybridizes sensory experiences with the architecture. Collage was a theme and means of representation that was explored heavily as a tool for analysis and design during a study abroad trip to Scandinavia in 2013. The postcards on this page were part of an assignment given while abroad where one collaged postcard was created per city as a graphic analysis of the countryâ&#x20AC;&#x2122;s theme, identified in Christian Norberg-Schulzâ&#x20AC;&#x2122;s Nightlands: Nordic Building. One side of the postcard has the graphic analysis collaged with artifacts picked up from our travels, while the backside has a small written critique or question on how the specific Nordic landscape responds to the themes. above: Collage postcard of Stockholm (before being mailed in Sweden) below: Collage postcard of Stockholm (after it arrived in USA)

03|73 above left: Collage Postcard of Finland* above: Collage for UNCC Sketch Auction 2015 below left: Collage Postcard of Stockholm (back)

* featured in paper “Slowness: The Diaglogue Between Architecture and Landscape in Scandinavia” by Jennifer Shields for ACSA Paper and Poster Presentations 2014 Conference.

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NICOLE M BROWN

M. Arch| UNCC 2014 | AIA Certificate of Merit Award B.A. Arch| UNM 2011 | Summa Cum Laude e: nbrow5@gmail.com For more, please visit: www.issuu.com/nbrow/docs/residue

cover image: shingles on saint benedict chapel by peter zumthor