PORTFOLIO OF THE ARCHITECTURAL WORKS BY
LEADING EDGE COMPETITION Fresno, CA INTRODUCTION
IVIDUALITY + COMMUNITY
dŚĞ>ĞĂĚŝŶŐĚŐĞŽŵƉĞƟƟŽŶŝŶϮϬϭϮĐŚĂůůĞŶŐĞĚƐƚƵĚĞŶƚƐƚŽĚĞƐŝŐŶĂ ŵŝǆĞĚͲƵƐĞŚŽƵƐŝŶŐĚĞǀĞůŽƉŵĞŶƚƚŚĂƚĞŵƉŚĂƐŝǌĞĚƐƵƐƚĂŝŶĂďŝůŝƚǇĂŶĚĐŽŵŵƵŶŝƚǇ ŝŶǀŽůǀĞŵĞŶƚ͘ dŚĞ ƉƌŽũĞĐƚ ǁĂƐ ďĂƐĞĚ ŝŶ Ă ƐƵďƵƌď ŽĨ &ƌĞƐŶŽ͕ ĂŶĚ ƐŽƵŐŚƚ ƚŽ ĐƌĞĂƚĞ ŚŽŵĞƐ ƚŚĂƚ ǁŽƌŬĞĚ ĐŽŶƚĞǆƚƵĂůůǇ ǁŝƚŚ ƚŚĞ ŶĞŝŐŚďŽƌŚŽŽĚ͘ DĂŶĚĂƚŽƌǇ ƉƌŽŐƌĂŵŵĞĚƐƉĂĐĞƐǁĞƌĞϲŵŽĚĞƌĂƚĞƐŝǌĞĚƚŽǁŶŚŽƵƐĞƐĂŶĚĂƐŵĂůůĐĂĨĞ͘ dŚĞƐŝƚĞĂŶĚǌŽŶŝŶŐƌĞƐƚƌŝĐƟŽŶƐĐĂƵƐĞĚŝƐƐƵĞƐǁŝƚŚƚŚĞŇĞǆŝďŝůŝƚǇŽĨƚŚĞ ĂƌƌĂŶŐĞŵĞŶƚŽĨƐƉĂĐĞƐƐŽĞǆĐĂǀĂƟŽŶďĞĐĂŵĞƚŚĞƐŽůƵƟŽŶƚŽĨĂĐŝůŝƚĂƚĞƵŶŝƋƵĞ ŇŽŽƌ ƉůĂŶƐ ĂŶĚ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ĨŽƌ ĞĂĐŚ ƌĞƐŝĚĞŶƚ͘ dŚĞ ĨŽƌŵ ŽĨ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ŝŶƚĞŶĚĞĚƚŽŽƉĞŶƵƉƚŽƚŚĞƐƚƌĞĞƚǁŚŝůĞƚŚĞƚĞƌƌĂĐŝŶŐĂŶĚĐŚĂŶŐĞŝŶůĞǀĞůĐƌĞĂƚĞ ĂƉƵďůŝĐĐŽƵƌƚǇĂƌĚƚŚĂƚǁĂƐƌĞŵŽǀĞĚĨƌŽŵƚŚĞďƵƐǇƐƚƌĞĞƚ͘ Individuality; this small complex of townhouses became one of my Įƌst expeƌiences with baƩlinŐ between a need foƌ vaƌiety and a minuscule site͘
DEVICES FOR SYNERGY s this pƌoũect was devised in a Őƌoup it demanded us to shaƌe ouƌ individual woƌŬ thƌouŐh one compƌehensive Zevit model and one model of the sustainability analysis soŌwaƌe that we used to shaƌe and analyǌe ouƌ desiŐn͘ dhis expeƌience woƌŬinŐ as a team helped me discoveƌ that I enũoy playinŐ the ƌole of deleŐatoƌ͘ downhouses weƌe peƌipheƌal to the centƌal couƌtyaƌd and cafe͘
LEADING EDGE COMPETITION Fresno, CA EXAMINATION
MEASURING DECISIONS dhis studio was my Įƌst expeƌience with tools that allowed me to analyǌe and develop diaŐƌams that expƌessed the conseƋuences of my desiŐn decisions͘ dhese tools͕ such as climate consultant and ,͕ helped ƌeinfoƌce my ideas as well as ƌefute otheƌs͘ xpeƌiences such as these helped culƟvate my undeƌstandinŐ of how diaŐƌams aid in expƌessinŐ desiŐn intenƟons͘
asy soluƟons were use sed d to reinforce passive design such as the use of horiǌontal shading and wisteria, a plant that shades in summer and shrivels in winter Usingg Hi Usin H gh Dynamic Range pho hoto togr grap aph hy, liligh ghtt st stud u y models, and solar radiaƟon analysis soŌware we studied the variaaƟons between seasons͘
GATHER: CONVERGE Avilla Beach, CA INTRODUCTION
dhe program for this building intended to be all encompassing, with a venue for large concerts, a moderate siǌed restaurant that acted as street frontage, a gallery for local arƟsts to showcase their worŬ, and community gathering spaces on Ňoors above͘ lbeit the extensive program of the spaces the aestheƟc of this building was completely driven by the concept of funcƟon follows form͘
very popular tourist locaƟon, villa each is well eƋuipped to handle tourists with a cornucopia of hotels, restaurants, and novelty stores͘ What the town lacŬed was ameniƟes that gave bacŬ to the residents, such as a community center͘
A STUDY OF FORM AND ITS IMPLICATIONS A
With the program of the building being an exciƟng space for gatherings, emphasis was placed on maŬing dramaƟc volumes and experiences for guests. InterlocŬing shells and roofs made thresholds reveal expanding spaces while other forms expressed the intenƟonal use of the space and dhe collaboraƟon of shapes made the courtyard atypical͘
drew aƩenƟon to the center of acƟvity. 'rand expressive forms and exploraƟon of shapes are what guided the sculptural Ƌuality of the building as well as studies in materiality and space.
The Performance Venue. A place that emphasized the excitement of a performance.
GATHER: CONVERGE Avilla Beach, CA MOOD + PROCESS
This amorphous stool is funcƟonal on mulƟple sides while expressing the duality of the material with the curving form of the barŬ and the clean Įnish on the entwining legs.
EXPERIMENTAL DESIGN PROCESS The aspect of this studio that was singularly uniƋue was its focus on process and expression rather than architecture. While the Įnal result was a stylized building form, the brunt of the worŬ was through experimentaƟon, such as the raƟonalizaƟon of the petals of a Ňower, repeƟƟve water coloring, materiality and spacial studies, and furniture design. Although all of these eīorts were intended to draw inspiraƟon that could be used in the Įnal architectural design, many became simply proũects. Kne of the more successful pieces was a stool that emphasized the dichotomy of wood and adaptable nature of the material.
CONVENTION CENTER Oakland, CA INTRODUCTION
OAKLAND’S JACK LONDON SQUARE CONVENTION CENTER
>ocated at the end of the scenic pedestrian highway that cuts through KaŬland͛s wharf district, the convenƟon center was designed to be an iconic representaƟon of the general feeling of the area. The :acŬ >ondon District is lined at street level with storefronts and scaƩered with street vendors and bordered by a tributary of the bay. This refreshing area of commerce freƋuently hosts farmers͛ marŬets and street performers. Understanding that this region places importance on outdoor community space, the onvenƟon entre reacts by liŌing its form to create a conƟnuaƟon of that public space and provide opportuniƟes for space that gives bacŬ to the community.
REVEAL + PERMEABLE The original design concept for this building revolved around the idea of ͞capture͟. The idea was that the convenƟon center would be a capstone to the pedestrian promenade by creaƟng a desƟnaƟon for people walŬing by the shoreline. An issue that arose with the idea of ͞capture͟ was the problem of the architecture franŬly being slightly too greedy, forcing the behavior of pedestrians rather than oīering itself up to them.
That is how the concept of ͞aperture͟ was developed, an idea that the structure, form, and program could all worŬ together to express this idea of complete exposure and openness.
CONVENTION CENTER Oakland, CA CONCEPT + PROGRAM
A CONVENTION CENTER IN DOWNTOWN OAKLAND
LOBBY CONFERENCE ROOMS
While currently under immense gentriĮcaƟon, The :acŬ >ondon District is freƋuented by many young middle class professionals. atering to this crowd a Ϯ story music venue is mixed into the convenƟon center along with an exterior balcony that acts as a conƟnuaƟon of the street͛s pleasantries. The exhibit hall is separated by the pedestrian breezeway that bisects the building while creaƟng an extension of the waterfront͛s path.
The exterior plaza connects pedestrians to the nearby parking structure and elevated railroad crossing.
EXHIBIT HALL EXTERIOR PLAZA
A KIT OF PARTS STRUCTURE
The large louvers create a pressure diīerenƟal between exterior and interior, reducing the Ňow of energy into the exhibit hall.
T e exhi Th exhibi bitt ha bi hallll is na natu tura tu rall allyy da dayy lilitt wi with th pas assi sive si ve mean me anss to red educ ucee gl glar are. e.
During the development of this proũect, an emphasis was placed on the cohesive implementaƟon and understanding of structure and skin systems in architecture. With the intenƟon of having structure and the louvered skin exemplify the form of the architecture, many aspects of these systems were leŌ exposed. The concept of ͞aperture͟ was present at diīerent scales throughout this proũect, either being a manipulaƟon of the form or the expression of the skin͛s reveals.
PPedestrians passing through exxperi riien ence the structure of the building.
CONVENTION CENTER Oakland, CA STRUCTURAL EXPLORATION
ENVIRONMENT Due to the large heat gains from a building such as this, vast amounts of energy would be reƋuired to maintain comfort inside. To miƟgate this cost passive aƩempts to cool the building were looked into, including͗ night Ňushing of thermal mass, eliminaƟon of direct sunlight, pressure barrier, operable windows, and simple manipulaƟon of air movement through fans. The next phase of research would be into the operaƟon of these louvers that would maximize soŌ natural light and reduce all direct sunlight.
operable windows allow for a controlled intake of coastal breezes.
The kit of parts create a repeƟƟon of structural concrete and members of the skin system.
E X HIB I T H A L L
O U TDOO OU TDO TD OO O R PL P LAZ AZ A ZA
RES ST ROOMS ROO OO MS MS CONFER CON FE FER ER E R ENC EN NCE NC R OO ROO OOMS O MS MS
THE WEIGHT OF LIGHT CHAPEL’S ROLE AS SANCTUARY As my second studio proũect at the WAA I decided to take the Ɵme to evaluate the aspects of my designs that were previously transparent to me. This proũect I had made the eīort to map the progression of light through space, make decisions based on senses like smell and sound, and thought about the presence of Ɵme. With the theme of this studio being Heavy Θ >ight I was determined to design a chapel that both celebrated light and acƟvated the materiality of the heavy concrete, wood, and Ɵle. I studied techniƋues used by &>W to cause interacƟon between light and circulaƟon, drawing pedestrians around corners and to explicit desƟnaƟons. This haven for light would also be a sanctuary for those entering from the busy intersecƟons nearby, passing through cloistered courtyards to the Ƌuiet narthex.
DOWN TOWN CHAPEL Alexandria, VA
plan, invesƟgaƟons in shadow, smell, moisture,and Ɵme.
The intenƟon behind the theme of light and heavy was the theory that we would consider materiality and connecƟon in thoughƞul ways. I decided to interpret the theme in a way that reinforced the sensual aspects of the chapel that
I focused on. The heaviness echoed sound, the polished concrete created sterility that leŌ the smell of the pine trees stand alone, and the light created moments that let you know when to reŇect on the space you have entered.
A MODERN CHAPEL A PROGRAM NECESSARY AND CONTEMPORARY This proũect intended to serve the community as more than ũust a non-denominaƟonal chapel, it also served as a directory for those searching for the grave of a loved one at the nearby cemetery. This space can be seen in the boƩom leŌ as a space for Ƌuiet meditaƟon and observaƟon as the light passes across the memorial wall. E loister served as a meditaƟon space and memorial.
The program was also vexing as the scale of a chapel does not Įt in so well in a dense downtown area. Rather than match the dense, tall size of the surroundings, the chapel͛s mass aƩempts to build itself up to the scale of its surroundings as well as mediate the diīerence with its use of trees.
The large plaza was shielded from the busy intersecƟon by the loggia.
DOWN TOWN CHAPEL Alexandria, VA 4TH YEAR
The >oggia would serve as the buīer to the tranƋuil sanctuary and become a meeƟng place for social events.
Dovement and the progression of space became an important feature in this building, with the interacƟon of light starƟng at the outdoor pavilion space in the loggia leading to the narthex and ending in the sanctuary. Windows carefully control the presence of light, drawing you further into the chapel.
The sanctuary would be Įlled with dancing light as the sun moved through the day, a reprieve from the serene narthex.
THE R.E.D. STUDIO A porƟon of my Ɵme spent in the professional realm of architecture I worked for R..D. Studio &oundaƟon. This was a Įrm that hired students at al Poly to run architectural design proũects that were contracted by nonproĮt humanitarian organizaƟons. While employed by the studio I worked with a small group of students under the supervision of the principle architect.
Residences are integrated with communal gardens.
The produce grown in the gardens are sold to on-site vendors
The Pipeline was the Įrst proũect that was undertaken this summer. This proũect was a counter proposal to another developer in town and what drove the program to our design was our compliance with the vision plan for the city and the need for housing in San >uis Kbispo.
LOCAL UNION 403 R.E.D. Studio Foundation SAN LUIS OBISPO, CA
Kne of the maũor factors that gave this proũect character was the concept of the ͞Pipeline͟. This was a winding pathway that united all of the zones that separated the site. It was designed to create spaces and address circulaƟon through the site by manipulaƟng the topography with concrete extrusions such as these.
The “Pipeline” bisects and links every zone on the site.
Due to the studio͛s mantra of designing socially and environmentally conscious, this proũect had topics like permaculture and walkability as its key centers of focus. Although it was reƋuired to divide the site into mulƟple zones, social ũusƟce and accessibility were crucial so steps were taken to separate pedestrians and automobiles as well as create natural progressions between the diīerent programmed spaces.
THE KILI CENTER Kne of the later proũect that was completed was an orphanage for boys in Tanzania. Ƌuipped with dormitories for the boys, classrooms, a grand common room, kitchen, and gardens, this proũect intended to provide the children with a safe and educaƟonal home. The Įrst step of this proũect was to Ƌuickly research cultural pracƟces in architecture as well as construcƟon limitaƟons that we had to comply with. Eext, was designing passive cooling systems and architectural niceƟes that the clients would appreciate. The maũority of our Ɵme however was spent producing visual pieces that could be used by the client to raise money to begin construcƟon on the proũect.
Adũustable accordion doors allow classrooms to be inviƟng to the courtyard and create new learning environments.
KILI CENTER FOR BOYS R.E.D. Studio Foundation TANZANIA
To give the users more Ňexibility we provided removable walls using accordion doors, spaces that doubled as circulaƟon, and a variety of courtyards that could serve mulƟple purposes. The primary intenƟon was to increase the usability of each space.
The common teaching space can be opened on both ends, allowing for circulaƟon, gallery, or dining space.
Dormitories provide individual private windows for each child as well as a small courtyard for just the boys.
Published on Sep 1, 2013