Portfolio REX HUGHES
Rex Hughes E
5220 S. Greenwood Ave. Chicago IL, 60615
THE PERFECT FIELD
Located in downtown Syracuse, this architectural startup incubator connects Syracuse University graduates to established professional firms. With an emphasis on communal space it presents many opportunities for people to meet in co-work spaces, the fun room, and informal galleries.
Similar to the way Greg Lynn’s curvilinear forms are “shaped by the collaboration between envelope and the active context,” the exterior form of my design reaches out towards the fastest wind-flows for optimal power generation by the vertical-axis Aeroturbine. Inspired by the multi-functional atria of the Manitoba Hydro Building, thermal comfort in my design is conditioned by passive solar heating during the winter and by evaporative cooling and natural ventilation during the summer. To contrast gray Syracuse winters and provide a warm interior atmosphere, the atrium has plenty of access to natural light and remains filled with greenery throughout the year.
Placement creates a pocket park and maintains daylight access of existing buildings.
Massing facing street corner cut to provide more open space and wind
Massing pushes east for improved natural lighting and ventilation in the atrium.
Floors shuffle for ideal turbine placement, reaching out towards the wind-flow.
Top levels pull in to make space for turbines where wind speeds are greatest.
03 DISTRIBUTED Informal Galleries | VR Rooms | Administrative Offices
08 REPEATING Studios | Co-Work Rooms
01 GROUND Exhibition Halls | Youth Art Classroom | Cafe
05 GATHERING Fun Room | Informal Gallery | Auditorium
08 Repeating 07 Distributed 06 Repeating 05 Gathering 04 Repeating 03 Distributed 02 Repeating 01 Ground
Galleries where both graduates and professionals have an opportunity to pin-up their unfinished work to receive feedback from people outside their office, inspire others, and ultimately form new professional relationships.
Ribbons APRIL 2016
This project integrates two user groups by intertwining continuous ribbons of concrete, both of which support a distinct program (Public Library and WeWork). The ribbons fold between four structural concrete walls. To give each user group equal access to daylight and views, the ribbons take turns folding through the bay along the street. Program which typically requires more light, such as reading rooms or offices, occupy the outer bay, while those which require less, such as the stacks or sleeping rooms, occupy the inner bay. On floors where both ribbons are present, the central bay functions as a communal space for shared cafes and sandwich bars. On floors where only one ribbon is present, the program it supports extends into the middle bay.
06 BOTH RIBBONS Stacks | Cafe | Offices
07 WEWORK RIBBON Studio | Kitchen | Lounge
11 LIBRARY RIBBON Special Collections | Cataloging
06 BOTH RIBBONS Lobbies | Restaurant
08 LIBRARY RIBBON Stacks | Seating | Group Rooms 09
The Perfect Field DECEMBER 2015
This project explores the concept of a perfect field as characterized by Stan Allen’s Object to Field. He proposes that a field is a collection of diverse elements which are unified in a hierarchical whole that is organized through pattern. I defined my perfect field with three main characteristics: 01 02 03
It’s organized by geometric relationships and alignments It’s made up of collection of diverse elements The elements can easily be identified as a whole or individually
To generate my field, I laid out a grid (geometric organization), identified areas of higher density (based on program), and identified main axes (based on primary circulation routes). To this framework, I added six families of elements (see right), all of which had distinct figure ground relationships. In doing so, a new set of relationships emerged: figure-figure and ground-ground. This means that the figure-ground of one system can become the figure or ground of another system. Additionally, the summation of these relationships produces a singular, hierarchical figure-ground condition, in which figure and ground are free to oscillate.
Studio + Offices
SUBTERRANEAN ACCESS Plan cut through the faceted ground reveals a accessible cavern interrupted by drainage pipes and columns for above-ground structures. Plan Detail
Floating Fields OCTOBER 2015 WITH J. SANCHEZ
In this project we explored the idea of floating islands. While it was, of course, impossible to make them actually float, we found, with the gray plexi model, that it was also difficult to disguise the necessary supports. In attempt to embrace this reality, we used an abundance of supports in the second iteration (black plexi model). With so many strings, it was difficult to tell which ones attached to which box, making it look like the boxes were floating. This demonstrated how layering multiple systems (strings and boxes) can produce a third, entirely unique system. While fields exist everywhere in the three-dimensional world (leaves on a tree, smells from a restaurant, or light under a light post), they are commonly represented in two-dimensions for practical reasons. Because fields can also be produced two-dimensionally, they have the potential to become flat. Therefore, it is important to conceive of them in three dimensions, as done in these models, to preserve the immersive quality that gives them their fullness.
Shown in Spark Art Show | Syracuse, NY
The Channel APRIL 2015
This project translates the macro-scale systems of a typical New York City street into the micro-scale systems of a building. In this translation I characterized the street as a channel: a direct pathway from point A to point B which also allows for detours to point C. In my design this could mean walking from the front entrance to the studio and stopping in an office along the way. The channel also has a distinct solid-void relationship, with void in the middle and mass pushed to the sides. In the city, the street provides a primary path of circulation and occupies the void, while program is packed into the massing of buildings. Similarly, in my design, massing occupies the sides of the lot to provide a direct circulation pathway on ground floor, and so that the floors above have access to natural light and ventilation. The non-regular faceted walls of my design also reflect the way many buildings in the city have similar facades but are all unique.
Studio + Offices
Stacking Volumes DECEMBER 2014
In many of Frank Lloyd Wrightâ€™s residential buildings there is a hearth that operates as a central core. Circulation is possible in all directions around it and every volume of the structure radiates from it.
Using Robie House as my main precedent, I developed the idea of central radiation, but focused on vertical rather than horizontal space. The main circulation in my design occurs between two cores, which are visible from every room. This creates an easily identifiable axis. Because the cores are such grounding features, users would be able to easily orientate themselves and understand how the volumes are stacked.
THE PERFECT FIELD