TECHNICAL AFTERTHOUGHTS

from Shylo Hilbert: Graduate Portfolio

by Shylo Hilbert

THE SCARED IN BETWEEN

3rd Year - 2021 Spring Semester

INSTRUCTORS:

Robert Arlt, Dr.

Nesrine Mansour, Brian Lee, Jessica Garcia Fritz, Federico Garcia Lammers

PROGRAM/SOFTWARE/MEDIA:

Rhino 6

Revit 2020

Photoshop

Illustrator

COURSE AND PROJECT DESCRIPTION:

The Building Studio incorporates a comprehensive approach towards integrating the specificity of technical vignettes in connection with architectural conceptualization. By analyzing, comprehending, and drafting foundation, wall, and roofing details, the understanding of construction systems and structural elements becomes better understood for further and future application.

These technical afterthoughts are then curated into a uniform composition, which abides by and is applied to the project’s parameters. The primary objective of phase one of the project was to design a site-specific gym, requiring graphic clarity through orthographic means to portray a set selection of material choices and supports throughout the entire building’s envelope (Foundation, Wall, and Roof Assemblies).

The building design incorporated an entry space on the northwest, centralized restrooms, a sawtooth roofing system, and a sunken gym to meet on grade with the northeast corner of the site which has a sub 4’ difference from the southwest corner of the site.

Following the completion of the gym, the space was adapted to conform to the needs of a library. Through redlining and an assortment of line types, additions and changes are made clear in contrast to the already existing structure of the gym. A second-floor mezzanine, front desk, and tiered learning spaces were the primary additions made to the original layout of the gym.

This project was centered primarily around making critical decisions on design positions while maintaining graphic clarity through numerous iterations.

IMAGES:

B.1 - Technical Vignette of Building Envelope

B.2 - Technical Vignette of Foundation and Wall

B.3 - Technical Vignette of Foundation

B.4 - Technical Vignette of Wall and Roof

IMAGES:

B.5

B.6

B.7

B.8

B.9

IMAGES:

B.9 - Section Highlighting Areas Shown

B.10 - Detailed Transverse Section Image (Second Floor - South Side)

B.11 - Detailed Transverse Section Image (Second Floor - North Side) B.11 B.10

IMAGES:

B.12 - Section Highlighting Areas Shown

B.13 - Detailed Transverse Section Image (Ground FloorSouth Side)

B.14 - Detailed Transverse Section Image (Ground FloorNorth Side)

ARCH 251 - B uilding A rts s tudio i

Spatial Translations

2nd Year - 2019 Fall Semester

INSTRUCTOR:

B rian Lee

PROGRAM/SOFTWARE/MEDIA:

H and Drafting

Basswood

Painted Blue Foam

Hot Wire Cutter

Bandsaw

COURSE AND PROJECT DESCRIPTION:

The premise of this project is to translate a physical human motion into an ambiguous interpretation to formulate an architectural spatial rendition. This process began with a comprehensive writing on the actions of the motion without explicitly stating what the motion is. Through images of the motion being performed, drawings were made to express the action with the presence of time, without drawing any identifiable or realistic bodily element (such as an arm or leg). Separating the motion from the body itself resulted in the creation of an abstract array of spiraling line segments, which were then projected three-dimensionally through the spatial embodiment model.

The spatial embodiment model was composed of three material components - basswood, metal wire, and perforated plastic mesh - to form a solid, frame, and shell/skin. The interdependence of each material was crucial to maintain the structural integrity of the model.

The cube model was designed to incorporate certain elements of the previous work and spatial embodiment model while conforming to specific dimensional and material limitations through the use of foam. These limitations consisted of the cube being no more than 6” by 6” and the spaces within must allow a person’s entry when to scale.

Hand drawings of the sections, plans, and elevations of both the spatial embodiment model and cube model were created to provide a more in depth understanding of the spatial and form qualities within both models.

This project demonstrates the ability to utilize abstract interpretations of physical motion to inform architectural spatial renditions. The use of hand drawings and careful material selection demonstrates attention to detail and a comprehensive understanding of the interdependence of various elements in the design process.

IMAGES:

C.1 - Back Left Angle of Spatial Embodiment Model

C.2 - Front Left Angle of Spatial Embodiment Model

C.3 - Right Profile of Spatial Embodiment Model

C.4 - Front Right Angle of Spatial Embodiment Model

IMAGES:

C.7 - VARIOUS CUBE ELEVATIONS, TOP AND INTERIOR HALF

C.8 - HAND DRAWN SECTION OF PHYSICAL CUBE MODEL

C.9 - HAND DRAWN PLAN OF PHYSICAL CUBE MODEL

C.10 - ELEVATION DRAWING OF SPATIAL EMBODIMENT MODEL

C.11 - SECTION DRAWING OF SPATIAL EMBODIMENT MODEL

Generation Of Section

2 nd Year - 2020 Spring Semester

INSTRUCTORS:

Jessica Garcia Fritz

PROGRAM/SOFTWARE/MEDIA:

Hand Drafting

Museum Board

Wooden Dowels

Laser Cutter

Rhino 6

COURSE PROJECT DESCRIPTION:

The objective of this project is to demonstrate the ability to effectively communicate design intentions through a variety of analytical and creative processes, including reading, writing, hand drafting, photography, and physical and digital model making. The aim is to create superimposed compositions that elaborate and expand upon the spatial relationships present in a building or complex, highlighting the unique outcomes and conditions produced by each method.

To achieve this, students were assigned differing combinations of case study images of buildings from different time periods, including the Renaissance, Enlightenment, Modernist, and Contemporary eras. These buildings were used to understand the variance of the spatial, structural, and elemental composition between the buildings and time periods from which they were constructed. The drafting of these sections, created through scaling and measuring the original images, emphasized the importance that one must first be able to read the building before one is able to recreate it.

The hand drafted images were then digitized and transformed through mirroring, scaling, rotating, and other techniques to create a superimposed juxtaposition. Through multiple iterations and form explorations, the sections were laser cut and mounted on wooden dowels, allowing for adjustable spacing options and numerous possibilities for spatial perception.

The use of a digitally drawn 3D model allowed for a series of varying possibilities and outcomes in spatial identification, helping to narrow down informed decisions on the spatial components and ordering of the model. This process revealed how individual spaces compare in relation to each other and to the model as a whole, leading to a more comprehensive understanding of the building’s spatial components and relationships.

IMAGES:

D.1 - Hand Drawing of Park Tower

D.2 - Hand Drawing of Salk Institute

D.3 - Hand Drawing of Santa Maria Della Carceri

D.4 - Hand Drawing of Laperouse Mausoleum

D.5 - Hand Drawing of Sao Paulo Art Museum

IMAGES:

D.6 - Physical Section Model

IMAGES:

D.8 - Composite Rhino Model Spatial Study Images

D.9 - Selected Spatial Components of Composite Model

D.10 - Complete Composite Model

The Scared In Between

5th Year - 2022 Fall Semester

INSTRUCTORS:

Dr. Nesrine Mansour

PROGRAM/SOFTWARE/MEDIA:

Midjourney AI

Rhino 7

Revit

Lumion Photoshop

Illustrator

Grasshopper

COURSE AND PROJECT DESCRIPTION:

This research studio provides students the opportunity to explore the concept of “the sacred” by creating digital and physical artifacts that investigate the intricate light-based complexities of sacred spaces, and the connections to various spiritual practices.

The Sacred in Between studio’s theoretical and practical approach centers around Light, which is used as the primary means to examine the complex connections between space, place, and architecture, as well as human experience through research, modeling and imagery. Defining what constitutes a sacred space is a complex task, requiring an in-depth understanding of factors such as location, function, aesthetics, faith, and beliefs, which all contribute to the creation of sacredness. The focus on Light is an effective way to examine these socio-spatial complexities.

To create a spatial quality that embodies a display of coruscation and brilliance both on the interior and exterior, the exploration of Artificial Intelligence, particularly Mid-Journey AI, was utilized to generate digital sketches alongside hand sketches. Mid-Journey AI enabled us to investigate two primary dichotomies, namely the sacred and the profane, to create the sketched renders. Sacred being an experience that induces the feeling of awe and profane being that of the everyday mundane. Throughout the semester, we analyzed numerous case studies to understand the spatial qualities of these dichotomies.

We analyzed both natural and artificial lighting elements through Geometry, Source, Direction, and Quality. The aim is to create an experience in which both residents and visitors see our project as a destination within Downtown Brookings that provides a calming reflective opportunity for meditation.

The design problem we addressed was the lack of a space open all day for meditation and relaxation in Brookings.

COLLABORATOR: Anna Hamling (4th Year)

IMAGES:

E.1-E.4 - Midjourney Explorative Sketches and Idea Generating of Interior Lighting Qualities