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OLLIN TIMM PORTFOLIO 2008-2015


ABOUT

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I received a Bachelor’s degree in Architecture from the University of Oregon in 2013. I have been drawing as long as I can remember, and have always had a keen interest in the designed environment. My lifelong interests are strongly related to history, art, and society - my personal exploration of these subjects has come to inform my design thinking on multiple levels.

My design process is driven by hand drawing - the medium through which I think and communicate. Conceptual design sketches are simultaneously schematic as well as experiential explorations as lines, texture and shade accumulate upon the paper spatial solutions and strategies appear. Hand drawing evokes the forms and lessons of the past, while suggesting a vision of the built environment yet to come.

ORPHANAGE

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MUSEUM

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FOXLIN PROJECTS

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FILM CENTER

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CREW CENTER

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TAIPEI MUSEUM

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FACADES

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MISCELLANEOUS

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I’ve thought of my educational path as occuring in three parts: In the first phase I explored the potentials and limits of formalism and historical forms. In the second phase I sought an understanding of design responsive to actual use patterns and human needs. In the third phase I experimented with architectures of complex expression.


FIRST...

ORPHANAGE

How can architecture foster a personal recognition of home in a mass living environment?

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ORPHANAGE 2011 D. URRUTIA ARCH 484 (Design Studio)

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Proposal: an orphanage for roughly two-hundred school age boys located in Guadalajara, Mexico. The urban context is rich with its own architectural patterns and practices. Furthermore, an established national tradition of architecture serves as the broader context of the proposal. Given the character and location of the program, the proposal seeks a sensitive approach.

The driving concern of the proposal concerns the children and their perception of home. The overall strategy is one of repetitious scaling of spaces and thresholds into ever tightening (ever more controlled and personal) zones. The scaling extends from the site level (the overall complex) to the tangible individual level (the face upon the pillow).

Other issues adressed include security issues (from within and outside), grafitti control, solar shading, access to vegetation, and staff oversight.


vehicular access theater and library swimming pool

chapel

circulation spine

entry and security

ball courts

dorms soccer field

side gardens and courts

administrative court

clinic

cafeteria

View of dormitory complex from across field. Trellis sheltered path provides shade for outdoors activities and links the public wing to living areas.

The internal layout of the program (public and private wings) reflects the nature of the surrounding context, with the entrance and public functions adressing the main street to the east, and the private dormitories overlooking residential streets to the west. The shifted axis layout breaks up straight circulation paths to define critical programatic zones (public, recreational, living). Each zone has its own inward focus - a manipulated courtyard concept - while maintaining visual and physi-cal connection with the complex at large.

kitchen

Facades The children’s living units find an outward expression on the street face.

While a security perimeter is demanded of the site, periodic breaks in the wall reveal gardens and vegetation.

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Framed View Raised Bed Ventilation Window to Air Stack

Individual Desk

Desk Window

Bathroom and Shower (per two units)

Staff quarters situated to provide supervision and oversight of each dorm wing

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Four standard dorm wings per level, with an additional unit for special needs.

Dorm wings are composed of two mini-courts, each of which serve two dormitory rooms. The minicourts act as a defensible space for a group of eight children.

Shelving and Belongings


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MUSEUM

How might architecture grasp unconventional conditions to prepare visitors for an reflective conversation?

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MUSEUM 2013 K. NUTE ARCH 486 (Adv. Design Studio)

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The Titan I ICBM launch base located at Chico, California has remained defunct for decades. The project proposes a repurposing of the underground structures towards educating the public of the dark but relatively unknown history of Weapons of Mass Destruction (WMD). The broader aim is to foster a climate of debate surrounding the moral complexities of WMD development and use, and ultimately a conversation about the place of mass violence in society.

The conceptual challenge of the proposal involves the careful crafting of spaces to facilitate the learning process. Of primary concern is the way new build approaches, intervenes, and thus suggests a symantic interpretation of the original base structures. The proposal opts for an initially understated approach, extracting latent meaning and framing original structures in such a way as to reinforce a narrative of secrecy, threat, and eventually discovery (and perhaps rehabilitation).

The circulation concept is broadly simple, forming a roughly rectangular loop to access critical site components. The sequence is linear and constructs a careful experiential narrative, while also allowing for visitor freedom at various intervals. Allmost the entirety of the proposal lies below grade, and below ground.


A central organizing principle is that of the “accidental� intersection of passage and excavated reveal. From the weight of the passage does the visitor happen upon moments of reveal which uncover the bones of the dormant missile base.

The fundamental strategy of the new build is to interface between the (suspiciously) pristine surface and the lurking underground structures. From this in-between domain might visitors approach the underground forms, still below, but now within reach and possibly within comprehension.

Hall passages are articulated to support an evolving understanding of the building. Initial circulation is compressed, hard, and mildly claus-traphobic. The transparency of pervasive glazed surfaces is undermined and made reflective, turning vision back towards the viewer. As visitors move through the museum, the hall passage articulation breaks down to support a more varied and interpretive understanding. Glazed surfaces regain some of their transparency and exhibits are revealed. Eventually full transparency is admitted. The layout is divided into key experiential zones. The sequence of experience progresses from anticipation, to a beckoning unease and forshadowing, to a limited sensation of arrival and initial discovery. Ambivalnce is the driving concept behind the proposal - in support of the complex moral dillemas being considered by visitors, the architecture allows visitors to sense that they have intruded, that the original structures have been disturbed from secrecy.

The museum complex is roughly organized into three parts: an entry/exit threshold zone, the main general exhibit halls (interfacing the control and power domes), and the special focus exhibits (interfacing launch silos).

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A ENTRY AND RECEPTION

B ARRIVAL

C MAIN EXHIBITS

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Parking Lot and Entry Symmetry and regimented uniformity suggest expectations of an institutional arrival, but this reading is upset by the narrow and offset entrance. At entrance, visitors are introduced to the abivalence of transgression into a vast but realm.

Arrival The ticketing desk acts as a control point or metaphorical gatehouse. Beyond the ticketing desk, visitors are free to explore the arrival hall, which addresses the bulk of the first portion of main exhibit halls. Access is also granted to the base portal leading to the projection dome (former control dome).

Main Exhibits Four exhibition halls in sequence: Large Hall, Titan Exhibition Interface, Small Halls 1 and 2.


Video Entry Passage The initial descent into the depth of the earth is narrow and channeled. On one side display screens behind tinted glazed surfaces illuminate forshadowings of exhibits and issues to come.

On the other side the same glazing concreals the threat of surveillance. The effect of hard architecture is maximized.

Lobby Antechamber and First Reveal The antechamber marks the first of a staggered series of arrival points. At this point is the organizational concept of “passage-reveal�introduced; a sliver of the concrete control dome peaks through. Main Exhibit Passage An evolution of the initial descent passage, the main exhibit passage links to exhibition halls in sequential order. At the far end, the passage directs visitors away from the main halls and out towards the special exhibit halls (located at the launch silos).

Ticketing

Arrival Hall

Main Exhibition Hall

Although visitors are now free to explore the halls and the plan has opened impressively, the ceiling height remains the same - a low 8’. The compress-ing weight of the space serves as a great contrast to the exhibition halls and their access to filtered daylight.

Accessable by users: allows for close examination of circulating and large exhibit items.

Portal

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Chemical Warware Hall

Atomic Warfare Hall

Chemical Warfare Hall

D DEPARTURE

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Intervention strategy for Special Exhibit B: Chemical Weapons. An adapted variant of the established intervention strategy used throughout the museum complex, applied to the specific conditions of the launch silo and equipment terminal. The glass form cuts through the top pf both concrete structures, allowing the visitor insight into the construction of the original base. The austere glazed interior surface of the special exhibit hall has a suspi-ciously sterile effect (exhibit peices and displays are behind the glazing).


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FOXLIN PROJECTS

Biowarfare Hall

Professional work for Foxlin, Inc. at the schematic, development, and construction design levels

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FOXLIN PROJECTS 2013 - CURRENT WORK FOR FOXLIN, INC. ARCHITECTURAL DESIGN AND CONSULTING

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Laven Residence, Fox Point, Wisconsin 2013 - Present Ongoing Initial plan and visualization for Laven Residence remodel. The double glass facade was eventually deemed impractical. Scope of work includes new exterior addition at garage, “conversation room”, and kitchen.

Several of the facade treatments under consideration. Due to setback issues, the frontal addition steps back from the existing facade - much effort has been put towards finding an appropriate and pleasing material expression at this portion of the home.


909 Electric Avenue #206, Seal Beach, California 2014 Completed

Left: Proposed office view with workstations, with blue wall option, and axon view of workstation layout.

Commercial tenant improvement project carried out in consultation with both owner and future tenants. Scope of project included interior schematic design and design development, office furniture and workstation design, and custom kitchen door design. Foxlin Inc. was able to solve an loft access dilemma concerning a low ceiling beam with a split stair, resulting in significant savings for the client.

Center: Color schemes and sample art options for client review. Right: Construction photos of final space: framing, understair binder storage, and entry view.

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Ludwig Remodel, San Juan Capistrano, California 2013 - 2014 Under Construction Exterior addition of kitchen breakfast nook and balcony remodel, kitchen remodel. The design opened up the interior space of the house between the family room and kitchen. Special attention was paid to appliances, kitchen products, and materials - all selected in close coordination with the client.

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Above: Elevation and construction detail at balcony. Special attention was paid to the intersection between balcony and addition roof which formes a nook for seating. Below: One of multiple color schemes for client reivew. Domolition at start of construction. Daylighting analysis of an early skylighting scheme.


909 Electric Avenue #204, #205, Seal Beach, California 2014 Under Construction

Top Left: Accent wall exploratory sketches for client review. The second scheme which emphasized the screen-like role of room seperation was ultimately chosen upon.

Top Right: Construction photos.Bottom:New lighting scheme makes use of existing wiring and switches, and skylights positioned in concert with fans and ceiling pendants.

Commercial tenant improvement project. In these windowless units, the project called for schematic design and design development on a new lighting strategy, private office lofts, kitchenette, and accent wall.

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Qing Su Vocational School, Chengdu, People’s Republic of China 2014 - Present Ongoing

Above: Major programmatic breakdown predominant windpath exploration.

Large scale planning and initial schematic design for a governmental insitutional client, for a 7,000 square meter vocational campus serving several thousand students. The client has requested a European neoclassical inspired design to reflect their long-standing academic history. The project is currently still in initial stages and undergoing a series of design reviews.

Below: Alternate site organization discussed with client.

and

proposals


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FILM CENTER

Genchi Residence, Costa Mesa, California 2014 - Present Ongoing New-build two-story custom courtyard home of 4,000 square feet. A strong indoor/outdoor connection is emphasized, taking advantage of moderate Californian beach climate and cooling winds. The client’s desire for hidden spaces and moments of discovery is well supported by the dynamic and shifting organization of the home’s facade and form.

Top Left: Third round of facade and massing explorations for client review.

How does the relationship between cultural production and consumption play out when allowed fluid association in free space?

Bottom Left: A Sketchup model is used for initial massing concepts, material exploration, and underlays. Right: First round of exploratory sketches for discussion with client. Plans are sketched with each iteration.

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FILM CENTER 2012 J. GIVENS ARCH 484 (design studio)

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A proposal for a Northwest Center for the Art of Film located in Portland, Oregon. The center would host independent film and video art events, and serve as a regional cultural hub. In addition, the center would host individual and group production projects, fostering the growth of the medium. These two functionally unique yet interwined activities, when joined in proximity on a common site, create rich opportunities for the crafting of a metaphorically and experientially rich space.

The design pursues a combined approach to the use of three dimensional space. Multiple and divergent use cases are routed through functionally divergent but experientially intertwined paths. The entirety of the open space of the film center is activated through the visable show of multiple use cases. Finally, spatial intertwining concludes at the theater levels, when product and production are united in revelation.


Main Elevator (from lounge court to theater level)

View Down (from admin) Base Top (from restaurant)

Vertical space is given primacy over the horizontal. If horizontal circulation is the means by which users relocate them-selves for mundane purpose (ticket purchase, gift shop browsing, restroom visits), then by contrast vertical move-ment - particularly automated - carries users above and beyond into the realm of narration.

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Ground floor:

Top of base:

An unexpected constrained sense of access beckons the visitor onwards. The lobby and entrance is a moment of awe but not reveal. Different use cases diverge from this point on three options (event hall, theaters/ ticketing, shop and restaurant) lead visitors either to an immediate comprehension of the space, or further into the unknown of the base.

A moment of anticipatory clarity arrives, when visitors arrive at a fuller understanding of the programmatic organization both below and above them. Visitors who enter the shop and banquet hall receive the most straightforward clarity: visitors who go direct to theaters find this clarity upon their journey upwards.

The anticipation is satisfied, and the distanced regard between production and consumption arrives at a balanced understanding. The fifth level is comprised of administra-tion, production units, elevator platform and theaters 1, 2, and 3.


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CREW CENTER

How can architecture embody an existing poetic narrative as facilitated by movement across untouched ground?

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CREW CENTER 2010 E. MOORE ARCH 384 (design studio)

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Located near the town of Lowell, Oregon on Dexter Lake, the proposal seeks to provide the University of Oregon crew team with a permanent base. The proposal replaces an existing facility, of which the rudimentary accomodations allow for minimal disturbance of the wooded area. The new proposal is an attempt at non-destructive intervention.

The proposal calls for a two-part structure: two adjoining buildings, one floating and the other an “anchor”. The floating portion serves as the main boathouse; in addition to shell storage and launch-ing at the waterline, there are offices and event accomodations above. The “anchor” houses exercise and shower facilities.


An attention to the sequence of visitor experience guides the organization of the scheme. The site is largely navigated by foot, through the trees, as it once was.

In the new proposal, visitors arrive at the exercise facility through the terrain. At all times is the connection to the outside forest and lake maintained, even when the circulation enjoys the shelter of the indoors. Emerging from the earth, the path soars over the river bank and arrives at a prospect over the water.

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Pontoon. Boat storage; provides for up to 24 racing shells, opens directly boat launch platform.

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Administration, A Clubhouse, Kitchen, Viewing deck, Restrooms.

Connecting bridge; rigid and gangway parts. Mid way platform for rest and views, and structural support.

Stairs; exit from training rooms, first unfiltered view to lake.

Training rooms; divided into weight training and rowing machines. First vantage point for visitors, free plan.

Locker rooms and showers.

Reception; subgrade, receives visitors from entry trench.Immediate access to lockers, training, or boathouse.


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TAIPEI MUSEUM

Training facility traverse section; Offices and small meeting rooms above, Restrooms and lockers below. Double-height direct path to boathouse along side.

How can architecture express function as a national icon while retaining the essence of geography and site?

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Raised auditorium area extends from main movement of circulation axis

Main galleries branch off poedestrian axis

Auditorium stage engages the natural sightline towards Taipei

Entry hall approach and outdoor public sculpture display

TAIPEI ART MUSEUM 2011 R. CHAMPAGNE, T. WOUDENBERG, D. URRUTIA INTERNATIONAL COMPETITION

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Competition entry for the New Taipei City Art museum (NTCart). The design concept emerged from an analysis of intersecting pathways (expected and actual), and a desire to relate the build form with the existing park and bank. The museum concept eventually settled upon a directional strategy that confronted vehicular visitor traffic, while slipping into the earth on the far end. The geometry and art halls orient themselves along an existing pedestrian path, and the multiple hall approach allows for a diverse range of use and security cases.

The museum plaza welcomes visitors and addresses sculptural works both presently on the site and to be added in the future.


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FACADES

Above and Below: The irregular facade forms of the roadside exhibit halls suggest a geological emergence and eventual rupture from the earth. Exhibit halls facing the river bank adopt a more serene expression. The overall forms suggest stone set in river water.

Right: Exhibit branching from the main axis towards the river bank allows opportunities for playful engagement of circulation, public exhibitions, and dedicated entryways. The museum evolves constantly with the visitor’s progression down the spine.

How can a facade communicate the story of a building?

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FACADES 2012 J. TICE ARCH 457 (facades)

An exploration of the stripped classical facade; the unison of traditional arts and sculpture with institutional architecture to communicate to a public perception of function (a science museum) in culturally understood terms. Five regular bays.

Above: The “difficult whole”, a face that eschews symmetry about the center in favor of local symmetrys and a perpetual suggestion of dynamism. Hi-Tech meets a Postmodern temple front. Below: Structural expressionist facade in a “three and two” system.

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NEXT...

MISCELLANEOUS

Explorations of how facade organizations suggest and reveal programmatic function, metaphori-cal connections, and facilitate an understanding of architecture to the street.

Above: Hi-Tech styled adaptation of classical organization, with central “pivot� point of attention. Below: Broad asymmetry, with overall balance. Heavy base, with a lightness of center.

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FLATPACK DINOS 2011 J. GERMANY PD 410 (rhino prototyping)

Children’s play furniture - this flatpacked assembly contains parts for three different configurations of dinosaur (Stegosaurus, Triceratops, Apatosaurus). Parts modeled and drafted in Rhinoceros 3D, and routed with RhinoCAM controller. 1/2� plywood construction.

WALL ASSEMBLIES

Two wall assemblies of a proposed campus remodeling project.

2012 D. CORNER ARCH 471 (enclosures)

Glazed wall assembly with automated shading, solar control, and night flush. Masonry over steel stud assembly and structure.

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DRAWINGS

Sections No. 01

2013 - CURRENT

Ink, colored pencil, airbrush on museum board

WORK FOR FOXLIN, INC. ARCHITECTURAL DESIGN AND CONSULTING

Duke Mu and the Tribesmen Illustration for The Epoch Times

Lloyd’s of London, Detail Ink, Photoshop color

Photoshop Running Leaf Man

Nakagin Capsule Tower

Ink, watercolor pencil on watercolor paper

Ink on museum board, Photoshop color

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Castles of Mad King Ludwig Coverart for Bezier Games

Secrets: Castles of Mad King Ludwig Coverart for Bezier Games

Photoshop

Photoshop

Figure Painting, Sketch Corel Painter, Pencil on Paper

Garage Sketch Graphite on Paper

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Sections No. 02 Ink, chalk pencil on Bristol board, Photoshop

Lloyd’s of London, Detail Ink on paper

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NOTES


Ollin Timm: Architecture Portfolio