Steven Hewett
undergraduate portfolio
Table
of
Contents
001_Deliquescence 002_Indexicality 003_Venom 004_SMA’Rionette 005_CoCo 006_Childrens
Theater
Table
of
007_Cliff House 008_Field of
Objects
009_Instructional
Media
Contents
Deliquescence market place
Design
Team
Steven Hewett Zach Hoffman
Deliquescence ma r k e t p l a c e
From the beginning, this project emerged as an attempt to create connections. The market is designed to renovate an existing parking garage on the interior of an eixample block in Barcelona, Spain providing an easily accessible area for meeting and commerce. By connecting exterior commercial spaces to an interior nucleus, the entire first floor of the block becomes what we have declared a “hyper-market�. Rather than having to circumnavigate the block, patrons have the ability to move through the block, creating incentive for potential buyers to use the space, and boosting potential sales for commercial owners. In order to maintain the emphasis on flow, while at the same time maintaining the commercial interests of the market, customers experience a labyrinth like circumnavigation (forcing commercial interaction) and uninterrupted visual connections between levels culminating at an exterior rooftop public space.
ZAHA HADID AND THE VENICE BIENNALE
The image on the left was taken at the 2012 Venice Biennale, and is a series of test models for Zaha Hadid’s Nordpark Railway Station project. The project determines form based on a language of fluidity inspired by natural ice formations, and uses this formal language to describe the movement and circulation within. The models seen here are made from a concrete surfaced in a car paint material. The materiality allows for the construction of these fluid forms. Like Zaha’s Nordpark Railway Station, our project argues fluid formal movements which, instead of suggesting circulation patterns, serve to provide them through a series of ramps that allow for movement between levels. In many ways, the series of test models seen on the left are valuable studies that apply very much to the development of our project in terms of materiality and constructability. Ramp structures maintain fluidity of form from the use of poured-in-place concrete and any imperfections will disappear under a smooth surface layer of “car-paint” maintaing ideas of gentle curvature and flawless motion.
CONSTRUCTION DIAGRAMS
PHASE ONE
PHASE TWO
PHASE THREE
PHASE FOUR
PHASE FIVE
In terms of structure, our project will profit from the utilization of the previously existing column system currently present in the site. The diagrams on the left serve to present a step by step process of the ways in which we plan to retrofit/repurpose these existing columns for continued use. Beginning with phase one, our proposal requires that the current ground level of the existing building be lowered approximately three meters. In order to utilize the current column system, concrete supports are added underneath the base of all columns. Phase two requires that steel I-beams be attached to the existing columns at specific heights determined by the location of intersection with our proposed ramp structure. Attachment is achieved through a process of bolts and welds. In phase three, steel reinforcement is placed within the system in a manner that allows for post-tensioning after the slab has been poured. Steel reinforcement helps concrete work in tension. Phase four actually begins somewhere offsite, as formwork is constructed to specific dimensions determined in the design process. The formwork creates the mold in which the concrete is later poured, and is what allows for the construction of the gentle curvatures and other fluid formal characteristics that our project calls for. After the concrete forms are built, they are transported to the site and installed in their respective positions. Phase five begins with the actual pouring of concrete into the formwork. Because the steel reinforcement from phase three is installed in a way that protects them from bonding with the concrete, they are now able to be post-tensioned. The post-tensioning process allows for slabs to be thinner, longer, and stronger. After the formwork is removed, there will be undesired imperfections such as impressions left by the molds, seams, etc. Phase five is finished as the slabs recieve their “car-paint” surface. This surface completely smooths the slabs and eliminates all seams. It is this step that allows for smooth formal qualities and the affect of visual continuity of surface.
RAIL SECTION
Below is a construction detail of the handrails that will be used in our project. Because visual connectivity between the user and the continuous surface that is our ramp system is such an important aspect of our project, any vertical elements that could possibly obstruct views throughout the space will be constructed with glass. The vertical elements of the handrails will be tempered glass and attached to the slab of the ramp with a metal plate and bolts. In keeping with our ideas of continuity of surface, this metal plate will run the entire length of it’s handrail with as lfew seams as possible. This plate is attached with bolts through the glass to the slab.
Deliquescence market place
STRUCTURE & MATERIALITY STEVEN HEWETT
Deliquescence ma r k e t p l a c e
Indexicality old school cool
Indexicality ol d s c ho o l c o o l
Indexicality, as defined within the context of this studio, is an attempt to reinterpret the diagram’s current role in architectural discourse as a means to qualify and clarify architecture, in favor of the diagram as a means to encode within architecture certain indices or operations in the creation of precedent. The diagram then became a means not only to understand architecture, but as the catalyst for the creation of new architecture. Richard Neutra’s VDL Research House was analyzed through the diagrammatical process in order to develop not only an in depth understanding of the house in terms of it’s organization, structure, irregularities, etc. but also in order to understand some aspects of the diagram in terms of the index. These indices then become analyzed as precedent for potential formal alterations such as weakening, through repetition, rotation, etc. This precedent is then interpreted in three-dimensions considering conditions such as the ground, the corner, the datum, the orthogonal vs. the figural, the skin, etc. The project ultimately became the expression of conflict between orthogonal and figural geometry in reference to it’s index. project featured on http://theoremas-gabe00fab.blogspot.com/2011/08/old-school-cool-indexicality-3.html
Indexicality old school cool
Venom
ur b a n in f i l l
Venom
ur b a n in f i l l a co-evolutionary host-parasite relationship is the event of two bodies acting upon each other simultaneously over a period of time, resulting in the evolution of both bodies. This project then, will become an exploration of the architecture of a relationship with respect to change over time. In the beginning the parasite implants itself within the host body and over time begins to manipulate existing conditions to suit its own motives. This is to say that the parasite has a conscious motive to infect the host body. The implantation of a parasite with a host body is in and of itself an act of intrusion, with which the host body will meet with some form of resistance. The parasite is contained within the roof and floor of the house unable to break through these most resistive surfaces. From first implantation, up until the moment that either the parasite is completely rejected from the host body or the host dies, both parasite and host are considered one integrated system. The project then, is an investigation of a moment in time during this host-parasite relationship, and an attempt to discuss the interaction between the two bodies.
Venom
ur b a n in f i l l
SMA’Rionette ki n e t i c o b j e c t
Design
Team
Steven Hewett Jacob Patapoff
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SMA’Rionette ki n e t i c o b j e c t
This project began as a study of futurism, and evolved into a means to integrate emerging technologies which facilitate mechanical movement into the design and fabrication of an autonomous object. The Object itself, stands approximately 7’ tall and 12’ long, and integrates an interest in composite material construction, with the technologically advanced Shape Memory Alloy (SMA) wiring and tubing currently used in the aerospace industry. The body of the object was separated into molds milled with a CNC machine, and then covered with truck bed liner. The molds were used to generate the C-Glass Composite pieces which were then joined back together into the form of the object itself. SMA wiring allows for the operation of the flaps housed on the removable c-glass panels, and SMA tubes allow for the operation of the “head” and “tail” objects. This project is currently under construction, with the Panels being installed, and the internal frame which will house the SMA tube mechanisms for operation of the head and the tail. Arduino boards will control the operation of all moving assemblies. My partners Jacob Patapoff, Gabriel Esquivel, and I are working diligently to complete this project and should be finished late April 2014. project featured on http://theoremas-gabe00fab.blogspot.com/2013/12/fabrication-update-smarionette.html
SMA’Rionette ki n e t i c o b j e c t
CoCo
Coconut Fiber R e i n forced Concrete
CoCo
Co c o n u t F i b e r Re i n f o rc e d C o n c r e t e There is currently a great deal of interest in developing the technology for using natural fiber materials in cement composites. Natural fibers have been used to reinforce inorganic materials for thousands of years. This project examines the effect of twined coconut fibers as reinforcement to 10’ by 10’ concrete panels. For treatment, 25 percent twined coconut fibers will be added as reinforcement. The Panel is a porous ornamented panel, which is more a study of small facades. This panel size has never been done, thus the importance of this project. Flexural tests have been carried out on prototype panels to determine their strength with different volume fractions and aspect ratios of fibers. The casting will be done on site to avoid transportation. Each panel weighs about 2000 pounds. Project featured on http://theoremas-gabe00fab.blogspot.com/2013/06/coco-final-artfill-bryan-texas.html
CoCo
Coc o n u t F i b e r Rei n f o rc e d C o n c r e t e
Childrens Br y a n , T X
Theater
Design
Team
Jacob Patapoff Steven Hewett
Di a g r a m m a t i c a l A n a l y s i s
St r u c t ur a l D r a w i n g s B as em en t
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Cynodon dactylon (Bermuda Grass)1-3” Melampodium leucanthum (Blackfoot Daisy)Up to 1’
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Buchloe dactyloides (Buffalo Grass)- Perennial 2-3” Cercis canadensis var. texensis (Texas Redbud)- Deciduous 15-30’
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Muhlenbergia capillaris (Gulf Muhly Grass)- Herbaceous 3-5’ Ulmus crassifolia (Cedar Elm)- Deciduous 30-45’
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SITE PLAN
PATAPOFF + HEWETT
Childrens Br y a n , T X
Theater
This was a project done in collaboration with fellow designer Jacob Patapoff as a part of our integrated systems, structures, and design studio. The project exists in downtown Bryan, TX and has taken into account the processional flow of the area. The building attempts to react to the context of the site by allowing for pedestrian flow to be funneled from the south through the addition of a park area, and from the north, into the building from either side of the existing Howell building. Within the building itself, there exists a certain hierarchy of space, delineated by differing floor heights at different levels. For example, the public area exists one foot lower than the administration areas, and the administration areas exist one foot lower than the theatrical areas. All different heights culminate at the Black Box Theater, which represents the peak of the spatial hierarchy. In order to promote public awareness of the theater, the Black Box Theater remains visible from the exterior of the building at the south and east Facades. To highlight procession and flow at the exterior all public walkways area visible through the facades.
Childrens
Theater Bryan, TX
Cliff
House
La s V e ga s , N V
Cliff House Las Vegas, NV
Cliff
House
La s V e ga s , N V
This project was done in collaboration with Kokkugia and the Mitchell Lab at Texas A&M university directed by Roland Snooks and Gabriel Esquivel. The project attempts to discuss composite fiber material implications in extreme conditions using agent-based behavioral design methodologies. Design intent is encoded within elements that interact at micro scales to give way to structure, ornament, and form at the macro scale. The translucency of the composite material has enabled the interior networks of emergent hierarchies to remain visible, blurring the distinction between structure and ornament. The cliff site was chosen to exploit the capacities of composite fiber construction in high wind and static load conditions. The network of emerging tentacles then begins to latch onto the cliff face partly as structural necessity, and also serving to blur the boundary of the object itself.
Cliff House Las Vegas, NV
Field
of
Objects
Th e R a w & S y n t h e t i c S t u d i o
Design
Team
Steven Hewett Ricardo Gonzalez Belinda Wood
Field
of
Objects
Th e R a w & S y n t h e t i c S t u d i o
Field
of
Objects
Th e R a w & S y n t h e t i c S t u d i o
The project was done in collaboration with Bruno Juricic and Gabriel Esquivel as a part of the T4T Lab at Texas A&M University. This project attempts to discuss two ideas. The first being the epistemological approach to understanding objects and their qualities. The second being the reinterpretation of Giovanni Battista Piranesi’s Campo Marzio Dell’Antica Roma. We understand the raw characteristics of the objects in terms of their geometry. We simultaneously understand the objects synthetic qualities in terms of the character of the linework. The linework begins to allude to qualities in excess of what these objects are. This complex understanding of the objects is what we define as the synthetic understanding. Gilles Deleuze describes the exhausted object as “Strung-Out”. The levels of turbulence present within the character of the linework serves to distinguish each objects level of exhaustion as well as become the qualities the objects allude to. The tension that exists between all of these qualities of the objects simultaneously; the Raw, the Synthetic, the Turbulence, and the Levels of Exhaustion, serve to transition the objects from mere objects to Objects of Interest. The ground through its material, formal, and ideological qualities allow for its self-declaration of objecthood. The ground then becomes Hyper-Object. Piranesi was interested in an epistemological approach to the understanding of architectural objects, evidenced in the Campo Marzio with objects from different time periods existing together. It is clear that he had a very complex epistemological understanding of these objects, in order to develop such a complex understanding of their figure to figure relationships. It has been through our understanding of our objects that has afforded us the same ability. Furthermore, now that the ground has declared its objecthood, the relationships are no longer merely figure to figure, but have transcended into figure to figure to hyper-figure.
Field
of
Objects
Th e R a w & S y n t h e t i c S t u d i o
Work
Experience
I n s t r u c t i o n a l Media Services
I have been employed with Instructional Media Services for the past three years, and have recently been promoted to lead technical Audio/Video Drawing Designer. Instructional Media Services is a department of Texas A&M Information Technology that is committed to providing and supporting multimedia equipment and technology tools that enhance and improve the quality of classroom instruction. Up until last semester, I was working as a Student Technician in charge of facilitating classroom instructor’s abilities to operate classroom equipment successfully. This includes a working understanding and knowledge of the complex systems used by Instructional media Services, and the abilities to solve the problems related to such equipment. In my new position, I am in charge of drafting Audio/Video Technical Drawings of the more than one hundred and sixty rooms that Instructional Media Services houses equipment in. The following are some examples of the work.
Technical
Drawings
Technical
Drawings