Timothy Harkin, LEED AP M. Arch University of Oregon 2011 firstname.lastname@example.org 703.599.2746
table of contents
STUDIO PROJECTS nw film center
national museum in oslo
nw film center
PORTLAND, OR FALL 2010 CRITIC: BOB HERMANSON This project was the expansion of the NW Film Center, a Portland institution currently based in a small building by the Portland Art Museum. Our project was for a larger center that included extra classrooms, labs, and an auditorium for film screenings. The first phase in the design of the NW Film Center was to watch and analyze a number of films, both recommended and of our own choosing, and to imagine interpreting the film through a physical model. Through model studies and short films we reinterpreted the one of the films as a three-dimensional object or space. I chose the 1976 film â€œTaxi Driverâ€?, directed by Martin Scorcese and starring Robert DeNiro. Our final designs for the film center were meant to represent our interpretation of the films based on our initial model studies.
1. isolation 2. failed connections 3. determined isolation 4. violence
“taxi driver” interpretation The film “Taxi Driver” follows a character named Travis Bickle, a loner who gets a job driving cabs as a way to deal with his insomnia. He views his customers and the rest of New York City with disgust, and purposefully places a barrier between himself and society. Through the film he attempts to break this barrier and make connections with two females, one a pretty campaign assisstant he attempts to date and the other a young prostitute he believes he can mentor. When both attempts fail, Travis lashes out at society by attacking the men in both these women’s lives that he believes are standing in the way of his relationship with them, one is the man running for political office and the other is a pimp.
interpretive models These models represent the character of Travis as he relates to the rest of society. He is represented by the folding plane, which begins in isolation from the rest of the pieces and after a few failed attempts of connection, reverts back to self imposed isolation and then violence. The other pieces in the model represent the female characters he is attempting to connect to and the male character he sees as in the way.
translation to building design
When translating the film interpretation into an actual building design, I used the character arc of Travis Bickle as the basis for the public procession within the building. The public procession through the Film Center weaves and shifts like the character of Travis. The everyday functions of the building, such as the classrooms and offices, are more standard in form. In this way they relate more to the filmâ€™s supporting characters.
FU_COLD FU_HOT FU_WASTE FU_TOTAL FIXT_CODE
2. EXHIBIT Space
WC CAFE WC
S O U N D
OUTDOOR STUDIO STUDIO EDITING
FIXT_CODE FU_TOTAL FU_WASTE FU_HOT FU_COLD
P R O J E C T I O N
EEVENT VEN NTT SP SSPACE PA PA AC CE CE
3. MEDIA Path
4. EVENT Area
view from upper level
view of projection wall from entry 10
METAL SEAM Roof
section looking west
STEEL Truss System
CONCRETE AND STEEL Columns
METAL GRATE Walkways
GLASS/ALUMINUM Curtain Wall
section looking south
COATED METAL Panels
IPE WOOD Panel Walls
PROJECTION/MEDIA Walls 11
final model 1” = 10’ - 0” 12
site model 1” = 20’ - 0”
portland center for comedic arts 14
PORTLAND, OR SPRING 2010 CRITICS: BRENT YOUNG/MITCH RICHMOND
This studio was taught by local architects from the firm Yost Grube Hall. The focus of the studio was to evolve a building design from a simple diagram. As a starting point, each student was chose to pick a type of action based from one of three categories: displaying objects, reading, or oratory. My category was oratory, and my proposed action was stand-up comedy. Based on initial diagrams analyzing the experience of stand-up comedy, a physical space was created and eventually my task was to design an institution centered around comedic training and the performance of stand-up comedy.
1. Source (comedian) emits emotions (through jokes)
2. Recipients (audience) respond (through laughter)
3. Emotions build off of each other, laughs enhance comedianâ€™s act and other audience memberâ€™s enjoyment
translation to physical form
The comedian/audience member connection can be strenghthened in two ways: First, closer proximity to the stage. Second, proximity to others in audience to share laughs
translation to stage design
Based on the idea that different seating arrangements can lead to different experiences, the auditorium is zoned for allowing the visitor to choose what type of experience they want. Tables near the front will offer more interaction with the comedian. Group settings in the middle will for a communal experience with other audience members. Private booths in the back are for those wanting to enjoy the show with a little less interaction. The typical back wall of comedy stage is a harsh brick wall that centers all attention on the comic. This main stage acts as a marquee for Broadway Avenue, lighting up and projecting the comicâ€™s silhouette on the translucent wall. As a center for comedic training, the lighting of the wall can also be used as an indication of the level of laughter inside the auditorium, and therefore as a visual cue to strength of the comicâ€™s performance.
transformable classrooms The classrooms are for three types of learning: writing jokes, performing prepared jokes, and improvisation. The classrooms are therefore adaptable depending on the class size and the needs of the activity. Upper level classrooms in the mezzanine level are for focusing towards a presenter, but when the garage door is lifted they become additional seating for the main stage. Other classrooms come with movable walls for allowing classes of different sizes and the availability of an open space for improv activities. Mezzanine level for viewing comics
Closed garage door makes it a classroom
Mid-size class with open walls
Intimate small class with closed wall
Aluminum paneled shell
Becomes projection wall at night
Signage lighting through perforation
Steel truss system 17
sw view at night 18
section looking north 19
final model 1/16” = 1’ - 0” 20
norsk nasjonal museum pa vestbanen 22
OSLO, NORWAY WINTER 2010 CRITIC: DON GENASCI This studio project followed the criteria for a new national museum in Oslo, Norway. The site is 300,000sf located on a fjord in downtown Oslo, and the musuem program calls for approximately 300,000sf of new building area. In addition to the museum functions, my design calls for a new office building and new apartment complex to make the site a mixed-use development. The office building is constructed over a highway offramp that was previously a barrier for pedestrian site access. One of the main goals of the site design is to maximize pedestrian accessibility and create a lively 24 hour place.
Guidelines were created by connecting the site to other local landmarks and major destinations. These guidelines formed the access points of the sites and were drawn through the building to form the circulation paths.
site plan 24
diagrams strengthening street edge
defining access points
section looking east 27
1. 5. 6.
2. 3. 4.
1. rooftop 28
5. exhibit space
6. plaza 29
final model 1” = 50’ 30
site model 1” = 100’
oregon sustainability center 32
M on tgom ery Harr
This project was for the creation of an Oregon Sustainability Center based on the proposed program for the actual OSC currently in development. The actual project will be a net-zero building hoping to acheive the Living Building Challenge, and our criteria for the project was to create a mixed-use construction with sustainable elements and public spaces. The 10-week studio was divided into two parts, the first was an urban plan based on a the concept of a new Montgomery Street green street, and the second was the OSC building and direct site.
PORTLAND, OR FALL 2009 CRITIC: HAJO NEIS
montgomery street urban plan
Street Section 1
Mixed-Use Development and river connection
Street Section 2
The first phase of our studio project was to examine the Montgomery green street to determine how it can better connect the Portland hills to the Willamette River. My goal was to improve interruptions in the pedestrian path by either making them more accessible or increasing density, which would create a livelier district.
OSC design process
Oregon Sustainability Center Proper definition of a public plaza was the carrying concept of the building design. The main mass of the building forms a border around the plaza and existing building. Although seemingly one mass, it is divided into two for access and program separation.
section looking east 35
sustainability concepts solar panels/light shelves photo-voltaic panels
Part of the mission of the OSC is to promote and practice sustainable building ideas. The program calls for heavy use of photo-voltaic panels for on-site energy production, and also calls for the storage, treatment, and reuse of all rainwater that falls on site. There is also the presence of experimental elements such as piezo-electric panels on the stairs. These panels, which when connected to the grid and generate electricity by the pressure placed on them, may help encourage use of the stairs, producing small amounts of electricity and saving electricity that would go to elevator use. green roofs green walls
section looking east 36
building elements solar
view through alley towards plaza 37
final model 1/32” = 1’ - 0”