SUndergraduate tephen Renard Portfolio
“This world is but a canvas to our imagination.” Henry David Thoreau
Phenomenal Transparancy Pavillion
Thierry Mugler Pavillion
Spring 2013 Professors: Miguel Roldan, Jordi Mansilla Partner: Joshua Walker
ConStrata is defined as â€œwith layersâ€?. This project is a surgical intervention of a market and public space for the rejuvenation of a site in the Barcelonetta neighborhood. The main idea was to create visibility where there was none, and accentuate it where it currently exists.
Operative Map: To
enhance the surprisingly low
visibility of our site, we identified
centroids of nearby public spaces, and
pedestrian traffic nodes and mapped high/low visibility areas when facing our site.
applied a response to each condition, meant to attract visual attention, and thus attendance, to our market.
Public Space: High Visibility
Public Space: Low Visibility
Four Systems: We
identified a unique response
to each visibility condition from the operative mapping
enhance the visual interest of previously ignored or under-utilized space.
The result is a visual draw
toward the market, particularly through the new elevated footbridge, and the creation of two servant spaces, the
Pavilion and the Plaza.
Traffic Nodes: High Visibility
Traffic Nodes: Low Visibility
Market: A traditional Barcelona Market, idealized as a plaza covered by sails and structure, rather than an enclosed building.
Plaza: Beside a museum and cafe, a grove of preexisting trees supports sails, creating a casual, comfortable plaza for vendors.
previously empty plaza overlooking
the marina was an oversized sidewalk, now a place for social gathering and vending.
Elevated Foot Bridge
Phenomenal Transparancy Pavillion College Station, Texas
Fall 2012 Professors: Sarah Deyong Published: Essay featuring my third-year project on phenomenal transparency.
Sarah Deyong and Craig Babe, “Colin Rowe’s Double-Edge: ‘Program: Fact or Fiction?’” Theory by Design, Architectural Research Made Explicit in the Design Teaching Studio, eds. Els De Vos, Johan De Walsche, Marjan Michels, and Sven Verbruggen (Antwerp, Belgium: Artesis University College, 2012), pp. 131-136.
The Phenomenal Transparancy Pavillion is a promenade experience. One must walk around it to fully grasp the concept of Phenomenal Transparency as well as walk through and inside the project itself. The project is confined to 25’ x 25’ x 35’, yet in three strategic areas, it breaks through this boundary, denying the previous rules with the desire for a new language of its own.
College Station, Texas
Fall 2012 Professor: Gabriel Esquivel Partners: Ryan Taylor, Erin Templeton, Dylan Weiser, Erica Duran, Kara Kewetz, Patrick Scott, Kathy Xiao, Jorge Cruz, Roberto Jaimes, Lyly Huyen, Emily Knapp, Catlan Fearon Featured: SuckerPunchDaily
Project Description: This
project was inspired by
a twentieth century art movement and style in which artists
sought to create an impression of movement on an image surface by means of an optical illusion.
elements consisting of composite laminates were produced with the goal of creating
lightweight, semi-rigid, and nearly transparent pieces.
The incorporation of active materials comprised
a unique aspect of this project: the investigation of surface movement through controlled and
SMA wiring SMA wiring and Arduino.
repeatable deformation of the composite structure using the integration of composite materials with
Copper to SMA connection Flap Cut Line
CHANNEL 03 CHANNEL 04
P9C1 P9C2 P9C3 P7C1 P7C2 P10C1 P10C2 P10C3 P10C4 P10C5 P10C6 P10C7 P8C7 P8C6 P8C5 P8C4 P8C3 P8C2 P8C1 P3C1 P3C2 P3C3 P4C1 P4C5 P4C3 P4C6 P4C2 P4C4
CH01 CH11 CH02
P7C2 P7C1 P10C3
Thermostats 4’x8’ Masonite
8 21 " 3 21 " 8 21 " 3 21 " 3"
Panel A Panel A
3 21 " 3 21 " 16'-6" 16'-0" 16'-6"
Panel B Panel B
8'-0" 8'-0" 8'-0"
2 - 2”x4”s 8’ each 2 - 2”x4”s 8’ each Thermostats
Panel A Panel A
Panel B Panel B
Thierry Mugler Pavillion
Soho, New York City, New York Fall 2011 Professor: Gabriel Esquivel
This Project is a high end fashion Boutique for Thierry Mugler, which will be located in Soho, New York on the corner of Canal and Hudson Street. It is a project which caters towards the new age in Fashion and Architecture Culture. It looks forward to the new styles in fashion through Thierry Mugler and the revolutionary building materials that are available at present. Even though the building uses Carbon Fiber and ETFE Glass for the building materials, it does not only look towards the future, but reflects on parts of the past and really presents itself in a new way. The
exterior shell is based on a previous prototype design, but instead of interweaving the strands to
itself, they strand to multiple prototypes.
Each “main body” is strategically placed to form the shell of The web of strands conform the entirety of the project and wrap around the program of the project. In every place that one goes, they experience a new affect that complements the fashion that is being sold. the building.
project, while inspired by the
Art Nouveau sensibility, in turn misbehaves and becomes bad and The strands that make up the shell can be referred to as “Straps” recalling the idea of “bondage”. This body is explained as the archaic form of Architecture that holds up this new form of building material. This archaic form is strapped down and bonded to the ground. These straps are tightly bound around a now void space, thus the form of the outer shell. This archaic form of Architecture hardcore.
is denied existence and is now only used in the construction portion of the progressive movement of architecture.
people believe that as one life dies, another begins and replaces the old one.
explains the death of the archaic form and the beginning of the way architecture will be in this new form.
5 SECOND FLOOR 3 GROUND FLOOR 2 6 Couture Showroom - 1 Lobby - 2 Gallery One - 3 Gallery Two - 4 Cafe - 5 Auditorium - 6 Storage - 7
Entrance - 1 Couture Showroom - 2 Lobby - 3 Mens Changing Room - 4 Womens Changing Room - 5 Auditorium - 6
1 - Entrance 2 - Gallery One 3 - Gallery Two 4 - Auditorium
coloration of the interior is meant to
reinvent the red carpet feeling, and to produce an integration of the culture of architecture to the culture of fashion via the ground.
project addresses the idea that we
can continuously reinvent the red carpet feeling by recreating it so that it runs throughout the entirety of the project.
Hell Boy Bryan, Texas
Fall 2013 Project Lead: Chris Paulk Partners: Troy Hassman, David Gardner, Nesrine Mansour First Place: Peoples Choice Award Monumetal Competition
Project Description: Hellboy
â€œCome Hell or High Waterâ€?. The Fireman will rescue the endangered The competition allotted three weeks and 500 pounds of scrap metal to design a Monumetal Sculpture by any means available. is based on the idiom
no matter the cost and will prevail.
Las Vegas, Nevada
Spring 2012 Professors: Roland Snooks, Gabriel Esquivel Partners: Adrian Cortez, Zach Hoffman, Rafael Vazquez, Andrew Horne, Tyler Nagai, and Lyly Huyen. Featured: Kokkugia, Studio Roland Snooks, Sucker Punch Daily
The Cliff House is an experiment in composite fiber architecture operating in extreme conditions. The project is a collaboration between Kokkugia and the Mitchell Lab at Texas A&M that explored agent-based behavioral design methodologies operating across the scales of form, structure, and composite fiber. Designing through agent-based behavioral strategies encodes design intent within individual elements that interact at a local scale to give rise to the emergence of complex order at the macro-scale. Applying this methodology to a composite fiber house enables the local scale to be reduced to a sub-material level. This increase in the population of agents generates greater intricacy and intensive emergent affects. The geometry of the Cliff House is not discrete or reducible - instead, geometry negotiates complex behaviors such as structure and ornament, generating emergent characteristics that shift throughout the project.
site for the house was chosen to test the
structural situations to resist both wind and static loads.
Although an argument for composite fiber
construction is frequently premised on the desire for structural optimization, the use of composite material in the
is a negotiation of
structural necessity with more esoteric aesthetic, formal and tectonic intentions
- it is the expressive
nature of these formations that is of interest.
translucency of the composite material is
exploited to reveal the embedded networks and emergent hierarchies of structural strands.
composite skin registers the ripples of bifurcating and converging strands that blur the distinction between structure and ornament.
shift from a networked surface to tentacles that etch their trajectories into the cliff-face.
tentacles, attach to the cliff partly out of
structural necessity but also from the desire for continuity and to blur the edge of the object
a strategy for diffusing the object into its
relationship sets up a strange
is an ambiguity as to whether the strands
are growing through the existing cracks in the rocks, or whether the cracks have been made for the strands.
This condition is neither geological
nor synthetic; instead it sets up a tension between the two.
Erosive Formation Austin, Texas
Fall 2013 Professor: Mark Odom Partner: Zach Hoffman
Project Description: The
natatorium takes on waterâ€™s way of changing from a body that is shaped by its container, to a
body that begins to form its own environment. form and circulation.
turbulent erosion, it begins to establish
natatorium is meant to have a regional relation to
icon that develops a relation between the
Western 6th Street
and providing a reason to
transition between the two areas.
natatorium is oriented to allow minimal sunlight during
hot summers, while allowing
light to pass through in the winter.
Minimal glazing is placed in the western faĂ§ade while only heavily The east and northern facades have the most glazing to receive the natatorium. These openings are formulated through slits and
shaded glazing is placed in the south. adequate lighting throughout lightwells on the roof.
natatorium utilizes a multitude of sustainable technologies which allow it to function more
The primary method is through involutions, which are repeated throughout the natatorium and apartments. The involutions first act as a water storage device by collecting rain water into a cistern. The water is then channeled through grooves on the roof. The involutions also allow light to enter the bottom, darker floors through the use of diffusion. Reflective copper skin covers a large portion of the ceiling, which reflects part of the light cast on the natatorium. To avoid being too reflective, the copper skin is treated through sanding and heavily insulated to avoid overheating.
LEGEND 1 LOBBY 2 BAR/RESTAURANT 3 OFFICE SPACE 4 UNDER-POOL TUNNEL 5 BATHROOM 6 KITCHEN 7 HVAC 8 CHILLER/BOILER 9 STORAGE 10 APARTMENTS
LEGEND 1 LAP POOL 2 DIVING POOL 3 BLEACHERS 4 LOCKER ROOM 5 BALCONY
East Elevation VERTICAL BRACING
CONNECTION DETAIL - TUBES
STEEL TUBING - 1.5’ BOLTED CONNECTIONS COPPER CLADDING STEEL TUBING - 1’ VAPOR BARRIER STEEL TUBE - .5’ INSULATION INTERIOR CLADDING
INSULATION VAPOR BARRIER DRYWALL
STEEL TUBE - .5’
STEEL TUBE 1.5’ SILL PLATE
STEEL TUBE - 1’ BOLTED CONNECTION CONCRETE
CONCRETE FOUNDATION WALL
ROOF/WALL/FLOOR DETAIL CONNECTION DETAIL - STEEL TO CONCRETE
interior has a cave like affect, which carries
the idea of erosion throughout the entirety of the project.
provokes the imagination and
desire to explore within.