Issuu

JAMES VAN WESTEN ARCHITECTURE PORTFOLIO

TABLE OF CONTENTS SACRED AND PROFANE: FALL 2022 Master’s Degree Pages 4-9

DEUS EX MACHINA: SPRING 2021 Unaccredited Work

Pages 10-15

THE LIVING FILTER: SPRING 2020 Bachelor’s Degree

Pages 16-19

REBUILDING DIESTE: FALL 2020 Bachelor’s Degree Pages 20-21

CHAPEL OF HIRED FEET: FALL 2020 Bachelor’s Degree Pages 22-25

MAISON CURUCHET: SPRING 2019 Bachelor’s Degree

Pages 27-29

BERLIN: THE JUDENGANG: SPRING 2019 Bachelor’s Degree

Pages 30-33

SACRED & PROFANE

*In collaboration with Matthew Woldt and Tylan Bear

uriosity built from artificial intelligence programming led to the exploration of creating collages that highlighted the sacred and the profane. Prompts referencing aspects of the sacred and the profane developed powerful images that gave a distinction between what was sacred and what was profane. Furthermore, case studies relating to transcendence and light showcased

a vast variety of architectural spaces that brought about diverse lighting relationships and transcendence sequences. With the combination of both AI images and case studies relating to the sacred and profane, we progressed in our research and explored different forms of natural and artificial lighting within these spaces and how the use of lighting made these spaces either successful or unsuc-

The collages “Neon Desecration” (Left) and “Burn Your Heroes” (Right) depict a surreal worlds where the relationship between sacred and profane are constantly in motion. These collages helped us build not only our vocabulary of

the sacred and profane, but also aided in our understanding of Midjourney as a program. Through the prompts we entered into Midjourney, we also found interesting ways to describe sacred architecture and how light interacts within the space.

cessful in terms of accentuated the architectural forms. With analysis of these studies throughout the semester, we then had to create an allfaith meditative space within the town of Brookings, SD. The buildings aim was to synthesis the work explored in previous studies and apply it within our building. Many of the most awe-inspiring images we developed through the use of study examples exhibited forms that

“The abyss that divides the two modalities of experience sacred & profane.” - Mircea Eliade 6

(Top Left) This image shows the model which was made by cutting contour line layers at every 1/16” of our digital model. These 80 layers were then cut from chipboard, lathered in wood filler to fill gaps, and sanded until smooth. Once smooth, they were painted with several layers of paint and then sanded to create the illusion of concrete. In the image, the top is removed to showcase the interior spaces and the journey on takes.

(Top Left) This image shows the model which was made by cutting contour line layers at every 1/16” of our digital model. These 80 layers were then cut from chipboard, lathered in wood filler to fill gaps, and sanded until smooth. Once smooth, they were coated with several layers of spraypaint and then sanded to create the illusion of concrete. In the image, the top is removed to showcase the interior spaces and the journey on takes.

(Top Right) This image shows the floorplan, elevations, and a couple sections of the building. From the build up of these drawings we can see how the exterior and interior spaces fit within their context.

(Bottom Left) This series of images is from our Midjourney priliminary investigations of scared interior spaces. We can we the natural light interior images reflected above while the artificial lighting sequences are showcased below.

crescendo from the entrance into spaces with high verticality. This sense of journey was very powerful in our eyes and was a key aspect we wished to explore within our design. Along with these analysis’s, we also found that unique, organic forms also added to the sense of contemplation and wonder within these spaces; which was another key concept we mutually agreed to explore more. Moving forward, we created regulating lines from influential components within the surrounding context of our site, and organized our

*In collaboration with Matthew Woldt and Tylan Bear

organic forms within structured boundaries as we began developing our buildings form and layout. The site specifically is located off of front street and 3rd street in the downtown Brooking’s context. Before choosing sites, we easily recognized and plotted prevalent issues regarding to the noise that was produced by the surrounding context. The sacred being placed in the profane environment. Across the street to the north is the wild hare bar that has an outdoor space that produces intrusive noises.

To the south across the street is the train tracks that has frequent train traffic coming through. Then not to mention the urban noise that is created by cars and people in the general area. Through extensive discussion and research, we found that the best solution to block out the intrusive sounds was to use thick concrete walls to not only diminish out the sound, but to create a journey upon arriving to the structure. On the south end of the building, with the train being so close, it would be impossible to fully eliminate the noise

The goal is to capture those moments created from the train going by. We want to accentuate the noise and vibrations by creating a flickering of light to create symbolism. Symbolism that the train route first established Brookings, as people experience this moment, it will allow oneself to reflect on the past, present, and future as the train will continue to be here. The creation of light models and light diagrams allowed us to fully elaborate on the lighting conditions to frame transcendent moments within the space. 7

WALKTHROUGH

SACRED & I PROFANE 8

nspired from the lighting works of James Terrel, we wanted to incorporate ambient task, accent, architectural, and celebratory lighting using different colors of light. From the Ai generated images, we were drawn to creating a space more for intimate meditation and reflection. The central and outdoor space is for more of an open space for people to reflect and meditate openly. We also wanted to use water to specifically trace the north oriented interior edge, accenting and eccen-

tuating the journey towards the more intimate space. This space was tucked away, behind the main space under the oculus. We specifically wanted to showcase both of these spaces in our project. The implementation of the previous exercises and studies allowed us to collectively make design approaches that will add diversity to the city of Brookings. The beautiful and ambient, physical and lighting conditions will bring equanimity to the individual.

*In collaboration with Matthew Woldt and Tylan Bear

(Left) This image shows a highlight from our intimate interior space inside the building. We find the natural light seeping through an above slit to create a clearly defined line of light that echoes with the transcendental. (Top Right) We find a dimly lit interior image of what the space would look like at night. The artificial lighting we implemented referenced the work of James Turrell, offering an aesthetic that mimicked the bar across the street. This lighting visual could help blur the barrier between the sacred and profane, a dynamic we wished to explore further in this project specifically. The lights beneath the oculus would also waver with the incoming train to the south. (Bottom Right) The south-oriented exterior of the building engulfs the night air with the gold and pink hues of the interior.This helps accentuate the curves of the building while blending into the nightlife area.

DEUS EX MACHINA 10

To the Congregation, I write to you in this time of unprecedented exploration. We may be at the cusp of great change in Christian theology as our species begins to pioneer beyond the reaches of Earth’s grasp and the church must be prepared if troubling questions arise amidst OUR VOYAGE of THE cosmos. As private companies and scientific expeditions begin their ventures into the vastness of space we too must seize hold of this opportunity! For our lord doesn’t give us battles He sees impossible. We see now His kingdom extends far beyond this empire of dirt. The cosmos ache for an answer to their existence, for God’s children to claim witness to His glories. As the scientific community promises incredible answers regarding the ancient questions the cosmos present, this generation must see too that God’s image finds reflection in these discoveries. The Church must be present as humanity begins the dissection on it’s own existence and finds it’s place in the universe.

God waits for us among the cosmos. Deus ex machina. - Pope Francis II May 18th 2092

*Unaccredited Work

A section of the building shows the bottom production levels, the ground level entry to a raised church santuary, and the upper laboratory spaces surrounding the interior dome..

DEUS EX MACHINA

This image, created through a mixture of collage-making, geometric and contextual interactions, helps to build a narrative and metaphorical reading of how the public interacts with the site. The project aimed to carry these bodily images, static and organic relationships, and stylized . narrative and metaphorical reading of how the puby

(Top Left) This image showcases the sancuary of the church space as it is overlooked by a mixture of industrial and baroque orientation at the heart of the building. In the center of the photo the pope meets with scientific researchers to hear about their recent discoveries. .

(Bottom Left) An exterior view of the building highlights the indutrial, brutalist, and barque elements that make up the facade of the structure. Christian artwork and scientific elements are placed throughout to help build a narrative about the utilization of the building.

(Right) A moody interior view of the building showcase the main generator and statue that set the stage as the hierarchy of the building. A group of nuns pass by to admire the sculpture after a church service. The electrical cables flow out to circulate power through the building.

he year is 2092 and the second space race has consumed the interests of competing private companies and world nations for the past few decades as they struggle for power in the expanding industries of extraterrestrial tourism and resource allocation. With discoveries regarding humanity’s past, future, and place in the universe coming to the scientific forefront as we venture further into the universe, the Roman Catholic Church begins to grapple with spiritually distressing ideas regarding Christianity’s philosophies beyond Earth. Deus Ex Machina is the Church’s aim to continue its social relevancy and influence beyond our planet’s surface in a theologically shifting era of human history through the collaboration of the Catholic Church and private companies interested in off world capital. Constructed in Rome, Italy, the epicenter of the Catholic Church, this project utilizes scientific, industrial, and spiritual spaces in one building. Deus Ex Machina serves as a condenser for scientific researchers, patrons of the Church, and private companies. This structure gives affiliated private companies the spaces for material production, scientific investigation, and religious worship. The exterior of the building’s appearance is a conglomerate of industrial, brutalist, and baroque architectural elements. Implementing a symmetrical plan the ground level showcases industrial and renaissance ornamentation as the occupant makes their way to up the next level towards the area where mass can be performed, or down below where industrial spaces are utilized for the private company production. The upper levels of the building give way to laboratory spaces for scientific research that are open to utilize.

(A) MAIN GENERATOR Nestled in the heart of this project is the main generator, the power source for the lower section of the building, used mainly for production. Nestled in the heart of this project is the main generator, the power source for the industrial lower section of the building. This behemoth of m n the heart of this main generator, the power source for the industrial lower section of

GOD AMONG THE COSMOS 2092 B) ELECTRICAL CIRCULATION Providing the main connection between the generator and the industrial technologies of the below ground areas, these electrical cables help circulate energy to different parts of the building. Providing the main connection between the generator and the industrial technologies of the below ground areas, these electrical cables help circulate energy to different parts of the building. Working as the vessel the generator and the industrial technologies of the below ground areas, these electrical cables help circulate energy to different parts

(C) FILTRATION With the production of materials from the lower levels the building must have some way to filtrate the other interior spaces of the structure. This building implements two main sources of filtration with the ground level vents near the front of the building and the hanging vents on either end of the side aisles in the sanctuary. This ventilation helps disperse disruptive air from its various interior spaces.

(D) LABORATORY VENTILATION Exterior ventilation systems give the facade an industrial appearance while circulating air in the classroom and laboratory spaces of the building in the upper levels of the structure. These systems help ensure proper testing spaces for those utilizing these spaces and reliable conditions for the materials in them.

(E) ANATOMICAL STATUE

This statue of the human torso sits at the central point of the project, the hierarchy of the building. Positioned under the oculus of the domed structure this statue is a reflection of the primal human condition amidst our progressive technological nature.

THE LIVING FILTER 16

owntown Brookings, South Dakota functions as a bodily enitity in the latter stages of the night. Once the sun begins to set, it’s glutunous mouth begins to feed and swallow those from the area, funneling them into the southern regions of Main Street where they are pumped into the heart of the downtown area. Overtime the public are dispersed through the bars and other nightlife attractions the area has to offer. As the hours drag by the area begins to break into an intoxicating frenzy, finally bursting in the early hours of the morning, and clumsily digesting it’s excrements towards the neighboring regions, south of the downtown area. Here in Brookings, South Dakota we find an area without order, unfiltered as chaos drifts into the surrounding areas. What this bodily entitiy is missing is a liver, a place where architecture can aim to filter and support the surrounding region. The Living Filter strives to find a balance for the area, still giving room and a comfortable place for these chaotic activities can take place while also finding a sense of regulation, safety and order and the residences of Brookings are condenced through the area.

A perspective view of the building gives viewers an idea of how these organic and static forms can be seen from the street where the surrounding bars can be accessed..

THE LIVING FILTER

The first floor site plan depicts how the organic spaces interact with the static spaces, separating the reseach facility from the nightclub and bar area. Through collage building geometric, spacial, and navigational information could be dissected to shape the entirety of the design.

The Living Filter is meant to be a bar and nightclub while also serving as a drug research facility. Here, the two parties can begin to play off of each other with one providing research and clients while the other provides safety and regulation for the surrounding area. Residences of Brookings will be given the opportunities to receive psychiatric and medical help from the research center while those interested in the intoxicating thrills of the nightlife have the chance to enjoy themselves and find safety and solace if need be. This studio disected many aspects of the surrounding context to bring a contemporary idea to life through collage mapping, contextual site studies, and stylized architectural visualization.

Below is a visualization of the nightclub and bar area of the building shown through a section cut. Researchers, students, or educators will be able to habitate the organic spaces to catch a glimpse of the nightlife below.

REBUILDING DIESTE

Eladio Dieste, Uruguayan architect and engineer created some of the most dazzling stone and brick architecture throughout history utilizing curvular forms through brick. This project sought to reexamine these

by intermingling historical photographs of the construction of Dieste’s Church of Christ the Worker, with technical programs such as Revit, Rhino, and Photoshop. Through this process the elements used during

Through section drawings of the form used to construct the ceiling of the Church of Christ the Worker, we are able to get a better understanding of the overall structure of the form.

This three- dimensional Revit drawing shows the intersecting wood pieces underneath the roof of the form and how they work together with its curvature

construction of the church can be better understood so the construction process can be illustrated by Photoshop through a collage of construction images and computer built forms and the forms were dissected.

A reflected ceiling plan of the Church of Christ the Worker shows the scaffolding had to be moved approximately five time as the ceiling construction progressed. The scaffolding needed to be moved in a linear fashion.

THE CHAPEL OF HIRED FEET

occer is a religion in Latin America. It is the emotional and spiritual anchor of millions of people across social and economic classes. In today’s soccer landscape, the most famous saints or players are products who sell products. This project is an open-air chapel situated at the SE corner of the Estadio Centenario, a cathedral of world soccer. The chapel is designed to hold the physical remains of pre-modern soccer players. Saints that have fallen into oblivion or forgotten. In Montevideo, another intense soccer game has ended. As the crowd piles out from the stands of the Estadio Centenario, some are overcome with the thoughts and responsibilities of tomorrow. The players will not join the crowd as they make their way to the public buses or walk home contemplating a loss or win. Saints don’t share the same ground as ordinary people. In the 19th century and the first half of the 20th century, players were earthly saints who simply played soccer. Some players worked on the docks, at grocery stores, taught at schools, or worked construction. Their life existed outside of the global professionalism that has gripped world soccer. This chapel is a nostalgic look at a time when players were cultural products, instead of commercial bargaining chips.

At first glance, the structure looks weathered and broken the exterior concrete texture resembles a jumbled rat-nest of material. It is not jumbled, but it is messy – not the small Argentine wonder, who makes 40 million euro a year. Upon closer inspection, the concrete structure is composed of four large, concrete vaults. Each vault made up of four legs, meeting at a single point, guided upwards by a smooth interior. Their 16 concrete legs, crumble before they meet the ground of the chapel. Each vault is suspended 10 feet about the ground by 8 interconnected wooden leg extensions. A type of prosthetic scaffolding, which grips and cups the crumbling legs. Above the same wooden scaffolding separates these large pieces of concrete, making a 10 foot wide separation between the four vaults.

A reflected ceiling plan of the chapel shows the upper scaffolding that forms a ten foot gap between the concrete pieces and the leg extensions cupping the crumbling legs.

Another view of the interior of the chapel shows the intermingling between smooth and crumbling edges. The glow of the golden light shows warmth and hopefulness for the future of world soccer and the social differences between player and fan.

THE CHAPEL OF HIRED FEET

The chapel sits in the south east corner of the space occupied by Estadio Centenario. From this position it can easily be seen rising adobe the street , enhancing its mystical quality. With this installation the parking lot has been removed and a pathway , along with further vegetation has been added in its place.

As fans cast their eyes over the scaffolding, they follow the rays of sunlight that strike the public ground below. The suspended forms above and a series of burial niches that hold the remains of players organize the public ground of the chapel. At the center of this four-sided, gently sloped ground is the 1950 world cup trophy. The trophy harkens back to a time when soccer players and fans shared more similarities than differences, their fears and responsibilities were connected. In today’s world, everything that moves carries some sort of commercial message. To this effect, the sanctity of soccer itself has come under fire. A monetary divide has begun to spring-up around the sport, those on the field basking in wealthy lifestyles while many fans struggle to live.

Below is a representation of the reburial of Anibal Paz, a Uruguayan soccer player in the 1950 World Cup. Some of his family and fans have come to honor him on this dreary morning. He will be buried below next to the trophy he fought to win in 1950.

Above is a representation of the nocturnal nature of the chapel. After watching a long and exciting game of soccer the descendants of Anibal Paz have come to pay their respects to their cherished hero. They become fixed in a state of nostalgia as the golden light above showers down onto them.

MAISON CURUCHET 26

onstructed by one of the most world-renowned architects of the modernist age Le Corbusier, the Maison Curuchet was built in 1949 and is located in the city of La Plata, Argentina. Le Corbusier had designed the house for Dr. Pedro Domingo Curuchet after taking a trip to Buenos Aires to redesign the urban layout of the city. The house was envisioned to work as both a living space for the doctor and a space for his practice. To fully make this project work Le Corbusier split the building into two different pieces, the smaller, front portion of the house being made into an office space and garage for the doctor while the large rear portion of the house made into a private living space for him and his family. The overall shape of the house forms ideally into its urban context, forming rectangular yet triangular shape. The main idea for this studio project was to gain a greater insight on the modernist ideals of Le Corbusier as an architect and to practice modeling and representation in the computer modeling program known as Revit. With this program the overall buildup and structural properties of Maison Curuchet could be better understood. The column system put into place by Le Corbusier is a genius way of making it possible to generate a free architectural plan.

With the program Revit, Le Corbusier’s Maison Curuchet could be broken down into sections to fully understand his use of public and private spaces.

MAISON CURUCHET The project also looked at solid to void relationships with a series of negative space models being created to better understand the spaces inside. To emphasize site and context minimalistic buildings were put into place on either side of the Maison Curuchet. After the model was finished animations dissecting the building into parts and elements were made along with several material explosions. Material explosions helped us to gain a better understanding of the floor plans, topography, and different material connections.

The Revit model of the Maison Curuchet shows how

building was designed to specifically fit and adapt RGENTINA the - 1949 / LE CORBUSIER its surroundings and context 019 - REX /into Do ARCH@SDSU

2019:02:08 STATIC MODEL

This profile shot of the Maison Curuchet depicts the material collage of glass and bis-soleis Le Corbusier repeatedly used throughout his architectural practice.

An explosion shows the Maison Curuchet and the material and elemental collaboration used in Le Corbusier’s architecture of the building. Th e image helps to depict the structural column system and how its use gives way to a free plan.

BERLIN: THE JUDENGANG

onstructed out of steel framing and sheetng, this structure connects two important and historically resonant views in Berlin. These views include the Kollwitzplatz playground towards the frontand the Juedischer Friedhof cemetery From the sidewalk the viewer will descend a staircase into the tower and up a series of switchback stairs. Once at the top the viewer descends another staircase towards their first perspectival view, the cemetery. After this view one will turn back towards the street where the second perspectival view will appear up ahead of the Kollwitzplatz playground. While the main circulation helps to symbolize the burial and heavenly ascension of the Jewish afterlife, the two perspectival views aid the viewer to find significance from the youth of Berlin in 1945 to the children of Berlin today. ffThis project focused on a site in Berlin, Germany, aiming to compile the historical tragities of the city to design a building that could fit into the site without disturbing too much of the sacred ground. THis site was used as a gateway for the jewish members of the city into the Juedischer Friedhof cemetery that lies behind the walls of various buildings of the site. This lond slender passage is now covered by a large gate with the minimalistic sign of a jewish star.

One of the main concerns of this project was whether the architectural design should serve the main purpose of the gate in place today and cut off the public passage into this cemetery on the site or to have design a building that would open the site to the public once again. This project aims to once again open the gateway allowing not only the passage of visitors to and from the cemetery but the passage of time. The past and present of this site carry vastly different histories. With the youth of the city now basking in the warmth of the park in Kollowitzplatz, some are unaware of the sacrifices children of the past gave in a time of war now buried in the cemetery and out of sight.

This exploded plan shows the large structure being disected, a large steel frame holding these metallic encasings together while a large footing holds the structure firmly in the ground.

A section cut can be seen here chronically depicting the descension and ascension of the jewish afterlife while highlighting two key views that help the site serve as a gateway between past and present.

BERLIN: THE JUDENGANG A casual wanderer looks above to witness the gentle light of dusk seem into the large vertical space through the Star of David, depicting the ascension into the afterlife.

Visitors become enveloped in this heavenly light as it is refracted around the interior of this metallic encasing. Names of the children killed in Berlin’s battle are represented along the inner wall of this pinhole of light.

A deeply moved visitor begins the descent back down the structure. The golden light of dusk envelops the space breaking through the vertical and horizontal openings to the outside .