Ty l e r J oh n s o n | S el ec ted Stu d ies
The following is a collection of student work completed during my time at Auburn University from fall of 2004 through spring of 2009. The work consists of architectural projects, interior architecture projects, writings, drawings, research assignments, professional experience, and photography. The selected work is part of a lager body of studies and experiences. Each project poses a unique set of requirements and problems that were solved through an iterative design process. The broad range of studies are all linked by their strong conceptual approach, which was developed from theory to architecture. The fulfillment of each brought new knowledge and applicable experience to be applied to the following project - ever evolving and ever expanding.
Contents by Geographic Location
1, 59, 67, 75 83, 87, 93
Contents by Type
13, 35, 53, 67
1, 23, 35, 49, 75
Contents by Title
The Birmingham Cultural Furnace Villa Mirabella: Gallery and Residence
ShadowLands Private Library, Marfa, TX
North End Facets, Boston, MA
Design for the Children
Professional Work: Meyer Davis Studio
Social Implications of Architectural Boundaries
The Quilting Studio for Mozell Benson
Opelika Public Library, Opelika, AL
Material Fabrication: Polymer Resin
Material Research: Bioluminescents
Photography & Graphic Design
The Birmingham Cultural Furnace The program for the Birmingham Cultural Furnace consists of a Contemporary Art Annex, the relocation of the Urban Studio program, student and faculty housing, and retail spaces. The site included an existing steam plant and an existing parking lot that combine to fill an entire city block. This unique site is adjacent to the Birmingham Rail Road Park; a new park filling 4 city blocks in the heart of Birmingham. The site was envisioned as an East-West connector between the park and the city. The conceptual approach was to create a place with an intensity of experience sufficient to transform the city of Birmingham. This approach concentrated on engaging the pedestrian and leading them through an experiential journey across the site and through the museum. The focus on engagement was extended from the pedestrian relationship to the programmatic functions of the building, allows spaces to overlap and functional aspects to be utilized in different ways. The new addition contrasts the old steam plant building, but the use of perferated metal panels relate back to the brick facade. The museum movement starts in the old building where light enters from above and the visitor is free to move about the art. At the halfway point the art pauses and the visitor is reconnected to the city through expansive views to the East and West. The experience then becomes a controlled movement down a ramp where the visitor experiences art up-close as light filters through the skin of the building. At the bottom of the ramp there is a release into an large open gallery that was not visible during the descent. From the large gallery the experience moves out through the sculpture garden and the visitor is reconnected to the park and the city. The spatial movement and the tactility of the skin all encourage pedestrian engagement.
1ST AVENUE SOUTH
2 20TH STREET
Ground Floor Plan
1st Floor Plan
2nd Floor Plan
18th St Elevation
1st Ave S Elevation
Panel Skin Elevation
10 Panel Detailing
Villa Mirabella: Gallery and Residence English
The adaptation of Villa Mirabella is a study of modern renovation and reappropriation of space. The existing villa is being renovated into a main floor art gallery with workshops and an artist’s residence below. The back courtyard is transformed into an interactive sculpture garden that connects the villa to a new 6000 square meter residence housing 20 guests. The primary task of this design is to address how to make contemporary renovations and additions to an existing 16th Century villa. The concept is to allow the existing condition of the villa to continue to speak of the era from which it was built while allowing the additions and renovations to speak of the modern era. Renovations and additions are easily distinguished through their use of lightweight modern materials and minimal detailing, and the repetition of these elements brings the visitor from the main entrance through the villa and to the residence. The conceptual approach puts focus on where the existing meets the new. The detailing of these intersections allows an element of one era to slide through or past an element of another era. All existing ornamentation is subject to three possible actions; it is left alone, it is removed, or it is reused. This action is made in regard to the programmatic function of the space, and ornament is only removed in order to help manifest a modern addition.
L’adattamento del Mirabella della villa è uno studio del rinnovamento e del reappropriation moderni di spazio. La villa attuale sta rinnovanda in una galleria di arte del pavimento principale con le officine e la residenza dell’artista qui sotto. Il cortile posteriore è trasformato in un giardino interattivo della scultura che collega la villa ad una nuova residenza da 6000 metri quadri che alloggia 20 ospiti. L’operazione primaria di questo disegno è di richiamare come fare i rinnovamenti e le aggiunte contemporanei ad una villa attuale di XVIesimo secolo. Il concetto è di permettere lo stato attuale della villa continui a parlare dell’era da où è stata costruita mentre permetteva che le aggiunte ed i rinnovamenti parlino dell’era moderna. I rinnovamenti e le aggiunte sono distinti facilmente con il loro uso dei materiali moderni leggeri e di dettagliare minimo e la ripetizione di questi elementi porta l’ospite dall’entrata principale attraverso la villa ed alla residenza. Il metodo concettuale mette il fuoco su dove l’esistenza incontra il nuovo. Dettagliare di queste intersezioni permette che un elemento di un’era faccia scorrere attraverso o oltre un elemento di un’altra era. Tutto il ornamentation attuale è conforme a tre azioni possibili; è lasciato solo, è rimosso, o è riutilizzato. Questa azione è fatta rispetto alla funzione programmatica dello spazio e l’ornamento è rimosso soltanto per aiutare manifesto un’aggiunta moderna.
14 Front Stair Axon
Main Gallery Space
Birdâ€™s Eye Perspective
Residence Elevation | Day
Residence Elevation | Night
20 Pergola Assembly
Shadowlands Private Library, Marfa, TX English
Marfa, TX is home to minimalist artist Donald Judd. Judd’s work with repetition and self-similarity (100 milled-aluminum boxes) became a catalyst for a private library in downtown Marfa. The site is along Main Street, across from the Judd Foundation and adjacent to a rail line and an open market. There are adequate views of the surrounding mountains. The program for the 30,000 sf structure called for a public plaza, a public reading room, a room for luminated manuscripts, 100 self-similar private reading spaces, and an adjacent residence. A cactus study was utilized to formulate a roof panelling system, which was then replicated to cover the 100 reading spaces. The primary concern of the roof was the filtering of zenithal light for reading and the way the architecture captures the ephemeral qualities of the natural light. A metal material study helped to inform how the structure would weather in the desert, and how detailed connections should be made.
Marfa, TX es casero al artista minimalista Donald Judd. El trabajo de Judd con el repetition y la uno mismo-semejanza (100 cajas del moler-aluminio) se convirtió en un catalizador para una librería privada en Marfa céntrico. El sitio está a lo largo de calle principal, a través de la fundación de Judd y adyacente a una línea de carril y a un mercado libre. Hay vistas adecuadas de las montañas circundantes. El programa para la estructura de 30.000 sf pidió una plaza pública, un cuarto de lectura público, un cuarto para los manuscritos luminated, 100 espacios privados self-similar de la lectura, y una residencia adyacente. Un estudio del cacto fue utilizado para formular un sistema del revestimiento de madera de la azotea, que entonces fue replegado para cubrir los 100 espacios de lectura. La preocupación primaria de la azotea era la filtración de la luz zenithal para la lectura y la manera la arquitectura captura las calidades efímeras de la luz natural. Un estudio material del metal ayudó a informar a cómo la estructura resistiría en el desierto, y a cómo las conexiones detalladas deben ser hechas.
24 Tonal Drawing
26 Trans-Mimetic Drawing
28 Chemical Deformations Hand Oils
Salt Water Acetone
Muriatic Acid Ammonia
Marfa, TX Collage
32 Building Section
Interior Perspective Public Plaza
N o r t h E n d Fa c e t s, B o s t o n , MA The North End Facets were conceived as a new mixed-use development along the recently completed Big Dig site in Boston. This area is considered the entry to the North End neighborhood. It is within walking distance from the Boston City Hall and many financial institutions, making it an ideal location for young professionals. The program called for ground floor retail, restaurants, and offices, with six 1 bedroom units, six 2 bedroom units, and six studio units above. The structure is comprised of a 5 bay concrete truss system that runs floor to ceiling. The physical structure also doubles as a spatial ordering device, separating vertical circulation, lateral circulation, living space, and outdoor space. The conceptual approach was to hide the studio units beneath the faceted roof in a setback space that would typically be used for mechanical purposes. The small studio space receive the facets of the roof above, and the aluminum ceiling reflect the space and direct views across the Big Dig towards downtown Boston. The 2 bedroom units consist of a main floor and a loft above with a private a terrace. These penthouse type units gain full access to sun and views over the Big Dig park. By shifting the terrace to the loft floor, the 1 bedroom units receive light deeper into the interior space. There is flexibility among the interior of the units, with all plumbing and electricity running through the structure. The idea that only interior (non-shared) walls could be painted promotes a heightened sense of individuality among the tenants. The wide corridors, open atrium, and large roof terrace provide a common place for community gatherings to encourage the neighborhood feel that is intrinsic of the North End community.
Renderings Site Context
Hanover Street Elevation
Cross Street Elevation
Transverse Section Detailed Wall Section Longitudinal Section
Ground Floor Plan
Third Floor Plan
Second Floor Plan
Fourth Floor Plan
42 Site Model
Studio Floor Plan
2 Bedroom Unit (Main) 2 Bedroom Unit (Loft)
Single Bedroom Unit Studio Unit
The following project was done by a design team at Karlsberger Architects. This competition was chosen as a way to challenge the health care design firm to envision a clinic in Rural Rwanda. The competition was also used as a way to test collaborative design techniques across four branch offices located in Cleveland, OH, Ann Arbor, MI, New York, NY and Birmingham, AL. I worked on this project during an eight-week internship as a part of Auburnâ€™s Urban Studio located in Birmingham, AL. As a design team member who had visited this region of Sub-Saharan Africa, I was tasked to lead the conceptual and schematic design process and present my research and designs at biweekly video-confrenced meetings. The design work evolved for two more weeks after I returned to school. The graphics department also used this project as a way to test new methodologies in design presentation.
Professional Work | Meyer Davis Studio The following work sample were done during an eight-week internship at Meyer Davis Studio Inc in New York, NY. Meyer Davis Studio Inc (MDSI) is a full service design firm known for producing iconic modern architecture and interiors. The studios work includes high-end residential houses, penthouses, town homes, and lofts, as well as boutique restaurants and designer retail like the full range of Oscar de la Renta stores. While at MDSI I learned a full range of skills including construction drawings, 3D modeling and rendering, office administration, material samples, client contact and maintenance, and design charrettes.
Sender Residence: Master Vanity
Sender Residence: Master Bath
54 Interior Perspective: Oscar de la Renta London
Second Floor Entry Floor
Third Floor Section *Drawings for ODLR London
Social Implications of Architectural Boundaries The following paper was written as part of a class entitled “The Emergence of the Interior; Architecture, Modernity, Domesticity.” The class often referenced short articles from the book INTIMUS: Interior Design Theory Reader. “Thick Edge: Architectural Boundaries and Spatial Flows” by Iain Borden, is an article that deals with architecture as a boundary in both physical and social terms. I further developed upon this article to delve into the social implications that are caused by architectural boundaries, whether intended or not. The approach was to remain objective and try to see cause and effect in quantitative terms, using theory and evidence based designs. By looking at several different boundary types (fixed and flexible, transparent and opaque) I discovered several social reactions or effects. I also used extreme rich-poor divides to understand the most dire constraints between two extreme socio-economic classes and how architecture must address this.
Social Implications of Architectural Boundaries Tyler Johnson, Spring 2008
“Architectural boundaries like this have social effects which cannot be denied.” – Iain Borden
A boundary is a line or plane that indicates the limit or extent of something. An architectural boundary is a division of space, or the area in which a space is delineated. The physical and implied boundaries of architecture can be seen as social and spatial ordering devices. Social – the antonym of solitary – denotes the interaction and engagement of people, and this communal activity is usually limited by a social boundary. Many social boundaries that currently exist are further emphasized or translated into works of architecture,
while some works of architecture create new social boundaries. These social boundaries are often made evident (physical), like a gated community, while others are more subtle (intangible), like a political boundary. Physical boundaries can be categorized by various attributes like size, shape, material, color, position, and meaning. These boundaries serve different functions like division, enclosure, structure, privacy, and order. A boundary can be fixed or flexible, transparent or opaque, implied or overt. From an architectural standpoint a boundary should be classified within its application and context to understand its social implication. This social implication of an architectural boundary will be different for different groups and may not show at all because it induces a feeling rather than a reaction. A boundary works in two different ways; it divides and it unites. A boundary brings together commonality and juxtaposes it with distinction. These boundaries (social, physical, and political) exist naturally and influence one another. Political
Figure 1: Berlin Wall, 1986
boundaries give way to social and architectural repercussions, and social boundaries enact political changes which are constructed in architecture. The interrelatedness of a social and architectural boundary cannot be denied, and their existence is mutually dependent. In architecture a boundary often represents an idea that is larger than itself. The boundary between public and private spaces exists as a catalyst for social interaction. The division of public and private is a division of social and solitary; of casual and intimate. The public/private division creates such a critical boundary because the social balance on each side is in stark contrast. This
contrast in social conditions creates a need for a physical barrier. The UnPrivate House by Terence Riley is a publication of a Museum of Modern Art exhibit from 1999 that delves into issues of public/private relations in terms of contemporary housing. This exhibit displays various means of addressing this critical interface through architectural boundaries while also discussing changes in the social role of a modern house. Notable works included Shigeru Ban’s Curtain Wall House in Tokyo which uses a large curtain draped over a recessed façade to create an operable, translucent, and breathable boundary in an urban setting. Another work from the exhibit is an apartment renovation by Kolatan/Mac Donald Studio which utilizes movable partitions to delineate programmatic functions of the interior. Boundary Types: A fixed boundary is an immovable division that retains its form. This is the most common architectural boundary because it can be structural due to its strict, rigid form. This concrete space of this boundary type allows for social interaction in a fixed
Figure 2: Curtain Wall House, Shigeru Ban
environment. A person’s actions are based on his or her engagement into the social interactions of the room (which vary and are determined by the social group) and persuaded by a variation in spatial qualities. Since the size and shape of the space is fixed, but the occupants are not, the spatial proximity between the boundaries and the inhabitants is always in flux. Social fixations like personal space and organic arrangements become more evident because these
variables are put in a constant environment. Edward Hall, author of The Hidden Dimension, writes about “social and personal space and man’s perception of it,” or as Hall coins it, “Proxemics” (Hall 1). In Hall’s chapter on Distances in Man, Hall distinguishes four distinct distances: intimate distance, personal distance, social distance, and public distance, and attempts to loosely relate them to the quantitative figures ranging from six inches to twenty-five (after twenty-five feet the idea of proxemics seems to diminish). Personal distance is considered to be “a small protective sphere of bubble that an organism maintains between itself and others,” (Hall 112) while social distance is a range where conversation can be easily overheard. Hall speaks of variations in these patterns by different cultures and different atmospheres. A flexible boundary differs greatly from a fixed boundary. A flexible boundary allows for (physical) expansion and contraction. The space within a flexible boundary can adapt, and the boundary can react to change (or cause change). However, an interior boundary of this kind directly
Figure 3: Flexible boundary type
addresses two spaces: that which is within the boundary and that which is beyond the boundary; and the two spaces are dependent on the size and form of the other space. A flexible architectural boundary is adept for engaging social interaction because the space can be changed to necessitate the programmatic needs of the social group; and this flexibility alleviates some of the social constraints due quantity (size) and proximity (density). This boundary type also requires a possible social interface with a group using the space beyond the boundary due to the dualistic nature of this division. A
boundary of this sort is constrained to common ownership, meaning that no one group owns the boundary at anytime. A group may own the surface of the boundary but not the boundary itself. This can be seen as the wall dividing row housing (though not flexible, they still address the direct division of a larger space). When a boundary is used as a division of one space then the boundary contains inherent possibilities for openings, reveals and thresholds. While a flexible boundary may offer the notion of a space beyond, a translucent or transparent boundary visually makes this connection. A boundary with a visual connection differs greatly from solid, opaque boundary. A transparent boundary acts as an invitation to look beyond the division of space and to participate, while still keeping a degree of physical separation. The social implications of a boundary of this type redefine the distinction between two boundaries. This sociovisual engagement allows for a strong connection across the boundary which makes the boundary less apparent and less confiding. This architectural boundary blurs the
distinction between public and private; it’s public because it can be seen, yet it’s private because it cannot be entered. This boundary is particularly useful for safely displaying one side of a social spectrum to the other side (in almost a museum sort of fashion). The visual connection of this social boundary can be skewed by the manipulation of the architectural (physical) boundary. A semi-transparent boundary blurs the vision and forces the brain to speculate what it cannot decipher, which if controlled can cause profound results. This sort of manipulation allows the boundary to control what information is displayed while keeping the rest concealed – setting ground for a superficial projection of a society by means of a proscribed visual exhibit. Usually a transparent boundary works in both directions, but this duality can be limited to a one-way interaction with the use of a one-sided mirror as a boundary. This gives one side of the boundary total privacy and leaves the other side unaware that they can be seen. This physical condition gives way to the act of voyeurism and spying, and the social recognition that
these types of boundaries exists can make a society feel more insecure. An implied architectural boundary further removes the distinction between two spaces (social orders). When an architectural boundary is implied it is merely suggested by means of another condition, like a change in material, ceiling or floor height, lighting, color, sound level, or even a piece of furniture. These boundaries (like all architectural boundaries) create a sense of hierarchy which can be experienced socially — like the way two societies are not often seen as equal, and two interior spaces are often made unequal by terms of their delineation. The social implications of an implied architectural boundary parallel the social implications of a political boundary, and though the difference may not be overtly apparent (visually) there is a social change across the boundary that can be seen through the societal interactions. An implied boundary allows for a broader means of social interaction because it is the only boundary type that can readily be traversed, and in the present globalized world the role of a social
and political boundary is being translated to accommodate this change. Many political nations are changing their regulation of trading and traveling boundaries to the benefit of their economy, while at the same time securing their control over the boundary to provide national security. Case Studies: Lily Chi, a professor at Cornell University, recently published the work of her studio entitled “Boundary Studies.” “The studio worked in two tactics: a focal theme that asked students to consider boundary conditions in temporal, situational, and social terms; and the use of full-scale installations as speculative devices. As experiments to raise questions about what constitutes form, site, and program, the exercises also aimed at initiating inquiry into architecture’s effects, limits, and accountability” (Chi 115). Chi’s studio used the boundary “to open a critical and creative perception of occupied and populated spatiality.” “Thick Edge: Architectural Boundaries and Spatial Flows” by Iain Borden is an essay on social
Figure 4: Chi Studio, "Domestic Encounters"
implications and perceived notions about the way a space is divided. Borden focuses on the boundary between private ownership and public use in the abandoned Holy Trinity Church turned Post Office in Holborn, London. The exterior space of the former church acted as a public congregation area for the surrounding community, particularly the homeless population. When the church became a privately owned post office this space was no longer offered as a public resting area. A
physical (architectural) boundary was erected to signify the existing (but invisible) boundary between the public and private spaces. Borden describes this boundary as “a three metres high plane of wood, painted a striking resonant blue, spanning the Holy Trinity front, and shutting off the semi-public stage set from the street and passers-by. Yet it is not so much
Figure 5 & 6: Extreme rich-poor divides in Sao Paulo, Brazil
that the building is shut off from people, but that people – particularly the homeless – are divorced from it” (Borden 49). This boundary undergoes a series of transitions to defend the private space by blocking spaces to sit or sleep. The fixed, blue screen contends social notions about public use of space and becomes a visibly understandable boundary that signifies this social matter. This is just one example of many where a social or economic class is placed in stark opposition to its privileged counterpart. In many developing countries there are desolate slum surrounding the periphery of the city, often interfaced with a physical barrier established by the owner of the private property but sometimes established by the natural terrain or an organic element. A fitting room at a clothing store is an ideal example for displaying boundary types in a local and controlled condition. These rooms for private changing range in size, location, and degree of separation from the public. The rooms are designed to evoke a certain atmosphere which is part of a social condition. Some rooms feel
more private and more secure because they coexist on a long corridor at the back of the store, while others feel less secure because they are on the side or even in the center of the store. A fitting room off of a corridor has two distinct boundary conditions: (1) the semiprivate hallway detached from the main floor and (2) the private room. The boundary to the private room is a more tangible example of an architectural boundary. This threshold can manifest different conditions like a full door, a half door, a louvered door, a translucent door, or even a curtain. All these threshold conditions, or boundaries, induce a different feeling ranging from secure and protected to vulnerable and risqué. A fitting room intended for an older, more traditional generation will most likely be secluded and make the inhabitant feel concealed, while a room for a younger generation will be more socially engaging and make the user feel connected or even “on display.” The design of these boundaries is most subject to questions like “what will you see?” and “what will you hear?”, but also address “how will you feel?” and
“what will you experience?” When these boundaries are developed, the social response to their implementation is predicted. By understanding the social implications of an architectural boundary a designer has the ability to evoke recognition or even significance through the sensory experience of a boundary or enclosure. A boundary represents something greater than itself, like a social ideal or condition, therefore by making a boundary distinct and memorable it is able to reiterate by physical means this social agenda. It is the role of architecture to make a boundary distinct and memorable, which can be done through elemental means like surface, position, and scale, but can also be achieved by creating hybrid boundaries or new boundaries with relations to time, space, gender, and other less concrete elements. Experience is the key to memory, and sensory perception leads towards experience. If a boundary is visual, audible, tangible, scentable, and perhaps even palpable, then the experience is heightened and the recognition (though not immediate
or even cognitive) of the social order becomes more evident. The relationship between the physical boundary and social condition functions in both ways, allowing for a physical translation of a social condition (social determining physical), but also a social implication established by a physical boundary (physical determining social), so the understanding of a boundary relies on the understanding of pre-existing social conditions or pre-eminent social implications.
References: Baum, Andrew, and Valins, Stuart, Architecture and Social Behavior: Psychological Studies of Social Density, Lawrence Erlbaum Associates, Publishers, New Jersey, 1977. Borden, Iain, “Thick Edge: Architectural Boundaries and Spatial Flows”, Architectural Design, vol 66 no 11-12, 1996, pp 84-7. Chi, Lily, Cornell University, “Boundary Studies”, Journal of Architectural Education; Nov99, Vol. 53 Issue 2, p115-121, 7p. Croft, Catherine, “Movement and Myth: The Schroder House and Transformable Living”, Architectural Design, vol 70 no 4, 2000, pp 10-15. Hall, Edward, The Hidden Dimension, DoubleDay & Company, Inc. New York, 1966. Overy, Paul, The Rietveld Schroder House, MIT Press, Spain, 1988. Riley, Terrance, The Un-Private House, The Museum of Modern Art, New York, 1999. Tilly, Charles, Identities, Boundaries, and Social Ties, Paradigm Publishers, London, 2005.
The Quilting Studio for Mozell Benson Mozell Benson is a world renown quilter. Her work has been featured in the “Quilts of Gee’s Bend” exhibit and has been seen around the world. Mozell resides in Waverly, Alabama, where she spends her time teaching the lost art of quilting to a younger generation. Mozell was selected to be the recipient of a brand new house built by Auburn’s Design-Build Masters Program. The third-year Interior Architecture studio, under the direction of Professor Schumacher and Professor Garmaz, was selected to design and build a Quilting Studio adjacent to the new residence. The semester became an investigation between quilting and architecture. The students were taught how to quilt by Mozell Benson, and this new knowledge was transformed into an architectural expression. The majority of the semester was spent on collaborative design and production. The end of the semester was spent framing and detailing the studio on site. The documentation of the work was an important part of the studio because it would help to raise grant money for Mozell to host quilting studios for the community. As a result, the studio completed a website, a short video, and a booklet, as well as several publications and presentation opportunities. The interior of the studio was completed out the following semester.
70 Quilting Studio Website ----->
The Auburn Plainsmen
Metropolis Magazine: July 2007
Opelika Public Library, Opelika, AL The city of Opelika, AL has continuously been looking to reverse the decline of people and business from its historic downtown. The introduction of a new public library along Avenue A between S 8th and S 9th Street would help promote the historic downtown by completing the missing border to the city park (home to historic courthouse). The program called for a grand reading room, a space for periodicals, young adult reading area, childrenâ€™s reading room, computer space, and support areas. The project started with a beautiful drawing; a prismacolor leaf rendering. This drawing became inspiration for a panel system that would be incorporated into the walls of the great room. The panels should address issues of privacy, views, light, water, and openness. The panels were to be made of a single concrete pour. Another panel system was later developed to address the back wall of the great room, which needed to allow northern skylight to enter while also addressing the narrowing space beyond it. The building is shifted to the East side of the site to respond the to the change in scale along the street and to allow a pedestrian passage from the parking behind the building to the park in front.
OPELIKA PUBLIC LIBRARY
76 Leaf Rendering
Panel System B 77
Panel System A
Main Floor Plan
Second Floor Plan
80 Section A
Basement Floor Plan
Materials & Methods | Construction Sketches The following series of sketches were done during a Materials & Methods class. The objective was to visit a construction sites over the period of a semester and sketch the construction process, taking note of the progress and the use of materials. These sketches come from a brick McMansion under construction on the outskirts of Opelika, AL.
Material Fabrication | Polymer Resin The following material study was part of a larger study for an Interior Architecture seminar class. The purpose was to investigate an existing material type to discover its properties and typical uses. The material was to then be translated in a new manner as a temporary art exhibit for the landscape of the Jule Collins Smith Museum of Fine Art. The exhibit must be transportable and buildable by students on a limited budget. Polymer Resin is a liquid substance that hardens when mixed together. The resulting material can be moulded into any shape, has a self-supportive structure, can be transparent, and may have self-healing properties. For the exhibit I chose to turn the museum pond into a large scale Galilean Thermometer. Polymer Resin spheres containing hydrocarbon and covered in a PVC film would be tethered to the pond floor. The calibration of the hydrocarbon (which changes density greatly with temperature) would cause different spheres to rise and fall with a change in temperature. The color and number of spheres would be a visual indication of the temperature. The location of the pond would make this exhibit useful for students who are travelling down College St. on their way to class. At night the spheres would reflect light and be an ever evolving performance piece. Certain spheres would only rise on the coldest day of the year, but with its emergence comes a need for celebration, making the spectators more in tune with nature and weather patterns.
Summer Winter 90
Material Research | Bioluminescents Bioluminescence is the production and emission of light by a living organism as the result of a chemical reaction during which chemical energy is converted to light energy. For this project we were to choose a new innovative material (nano-materials, smart glass, self-healing polymers, piezo composites, shape memory polymers, etc.) and develop a reasonable application for this material in and around the Dudley Courtyard. Bioluminescents were chosen for their property to emit light. This effect is commonly caused by fireflies, jelly fish, and nearly ninety percent of deep sea organisms. For the project dinoflagellates were selected because they luminesce when there is a disturbance in the water, the light attracts larger predators which will consume the would-be predator of the dinoflagellate. This effect can be seen at Bioluminescent Bay off the coast of Vieques Island, Puerto Rico. The design application called for the removal of the existing incandescent lights on the courtyard bridge, which are often loud and give off inconsistent light. These lights would be replace with clear tubes filled with dinoflagellate microorganisms in salt water. The current of the water through the tubes would cause the dinoflagellates to luminesce. The size and quantity of new lighting tubes were determined by calculating and matching the current photon output of the ten 100 watt incandescent bulbs. The dinoflagellates would be stored and bred in an indoor aquarium which would light the entry to the main auditorium. The light quality would be ever changing and the color would retain the eerie feeling that the courtyard has become known for as students stay awake all night working in studio.
Verification of Design
Intelapture | Photography The purpose of the Intelapture photography project is to challenge students to capture images that are representative of a given word or phrase. The photographs were not to be edited by any digital means. The phrase list included:
boundary datum dramatic vernacular enclosure image as surface interior architecture as art monument pattern place of northern light proportion scale threshold
conviction dramatic level change effective weathering form follows function ineffective weathering light on a wall nodes of convergence place of blissful solitude power of brick rytherm tenuous path tomb
Pho to grap hy | Gra p hic D esign The following photography is selected from travels abroad to Africa and Europe. The photography seeks to capture the power of light and a sense of place. The graphic design piece is a DVD case for the Liberia, Africa trip of 2007. The simple design displays the power of Liberia and the social and political connections that exist between Liberia and the United States of America.
108 DVD Case Design
110 Pantheon, Rome, Italy
Cinque Terre, Italy
112 Guggenheim Museum, Bilbao, Spain
Auburn University, Auburn, AL College of Architecture, Design, and Construction
Bachelor of Architecture, Spring 2009 Bachelor of Interior Architecture, Spring 2009
Oak Mountain High School, Birmingham, AL Advanced Diploma, 2004 Auburn University, Auburn, AL
College of Architecture, Design, and Construction
Employment Hudson Architecture, Birmingham, AL Bachelor of Architecture, Spring 2009 Intern Architect: January 2009 to Present Bachelor of Interior Architecture, Spring 2009 Tasks included schematic design, construction documents, construction
administration, LEEDAL documentation, and office management on corporate Oak Mountain High School, Birmingham, Advanced Diploma, 2004 interiors, custom residential, and international mission projects.
Karlsberger Architects, Birmingham, AL Urban Studio Hudson Architecture, Birmingham, ALIntern Architect: Fall 2008 Tasks included schematic design, digital modeling, construction drawings, Intern Architect: January 2009 to Present and site meetings documents, on a BSL-3 laboratory and an African medical clinic. Tasks included schematic design, construction construction administration, LEED documentation, and office management on corporate Davis Studio Inc., New York, NY interiors, custom residential,Meyer and international mission projects.
Intern Architect: Summer 2007 included digital modeling, construction drawings, site meetings, and Karlsberger Architects, Tasks Birmingham, AL office management, on high-end residential, restaurants, and retail. Urban Studio Intern Architect: Fall 2008 Tasks included schematic design, digital modeling, construction drawings, and site meetings on a BSL-3 laboratory and an African medical clinic.
Construction Coordinator: Liberia Mission Trip 2007.
Helped team Meyer Davis Studio Inc., New our York, NY of 16 volunteers to engage in construction with local Liberian masons and craftsmen by adapting to their methods of Intern Architect: Summer 2007 construction to build a four bedroom house for elderly members of the Tasks included digital modeling, construction drawings, site meetings, and community. office management, on high-end residential, restaurants, and retail.
Co-Founder: “Walking Home For Christmas” 2005.
Led twelve people in a 100-mile charity walk from Auburn, AL to Construction Coordinator: Liberia Mission Trip 2007. Birmingham, AL. We raised over $8,500 for Hurricane Katrina victims who Helped our team of 16 volunteers to engage in construction with local could not afford to travel home for the holidays. This event received local Liberian masons and craftsmen by adapting to their methods of television and newspaper coverage. construction to build a four bedroom house for elderly members of the community.
Awards LEED AP New Construction Co-Founder: “Walking Home For–Christmas” 2005. version 2.2 2007-2008 Outstanding Award – Interior Architecture Led twelve people in a 100-mile charity walk from Auburn,Student AL to th University Urban Studio – 5who year program Birmingham, AL. We raised Auburn over $8,500 for Hurricane Katrina victims Interior Selection August 2008 could not afford to travel home for the Thesis holidays.Project This event received–local Charles Mount Travel Award – May 2008 television and newspaper coverage. Teacher’s Assistant – Summer 2008 Marlon Blackwell’s Comprehensive Studio – Spring 2008 Dean’s List2.2 – 3 semesters LEED AP – New Construction version Publications – “Interior Perspectives” Fall 2007 2007-2008 OutstandingCircle Student Award – Interior Architecture Auburn University Urban Studio – 5 th year program
Published on Jul 30, 2009