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Graduate Design Portfolio William Cox


Interventions A-Political Pavilion Democracy Free Speech Modularity

4-9

Artifacts Gallery For One Artwork

10-15

Hidden Room

16-21

Pool Mashup

22-27

Compression Expansion Directionality

Form Finding From Sound Reflect, Capture, Disperse Evolutionary Solvers

Refraction of Light through Water

Explorations Dutch Violin Digital Fabrication Traditional Making

16-21


Conceptual Interaction Diagram ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

William Cox & Zai Du Maji


A-Political Pavilion

A place where anyone can pin up or pin down posters. A place of expression and discourse. An extension of the lineage of democracy. Its roots being of Athens, Greece, its etymology ‘demos’ ‘kratos’, or people power.

Model Photograph ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

05 William Cox & Zai Du Maji


Union Perspective ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

William Cox & Zai Du Maji


Union Axon

scale: 1” = 30’-0”

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

07 William Cox & Zai Du Maji


Hamilton Close-up Axon

scale: 1” = 1’-0”

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

William Cox & Zai Du Maji


Hamilton Axon

scale: 1” = 30’-0”

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

A-Political Pavilion

09 William Cox & Zai Du Maji


14th & R Axon ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

William Cox


Gallery for One Artwork The Aim of this project was to create a gallery that responded to the artwork, and the site, while not competing with either. It is only there to enhance the experience, and not be the experience, eliciting a response of ‘“Huh?, Wow.” rather than: “WOW!, huh?”’ Expansion

Lie

d

Compression Compression

Se

ati

ng

y

ller

Ga

Normative Walls To Emphasize Sculptural Qualities

Maintain Outside Visibility & Light

l

ica

an

ch

Me

Ou

tdo

” ’-0

15

Sh

or

Se

ati

ng

eld

0 0’-

4 40 ’-

on

keep at close proximity to user once inside

0”

Directional Output & Input

5’ Min 10’ Max

Create Elipse

Offset Z

Rotate X,Y

Loft

Artist Spacial Qualities Analysis

11

Robust Structure

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

William Cox


Latitudinal Section ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

William Cox


Perspective and Model Photograph ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

11 William Cox


Longitudinal Section ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

William Cox


Hanger Tie Assembly To Support Stairs Radiant Cooling 2” avg. Rigid Foam Insulation 12” Deep Precast Roof Members

Assembly Section Elevation ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Gallery For One Artwork

15 William Cox


Is there someone else here? MURMERED ROOM

I hear footsteps, but don’t see anyone?

Where does this go to? REVERBERANT ROOM

what’s under here?

DRY ROOM MUFFLED ROOM

They just vanished?

Latitudinal Section ARCH 500_fall 2018

Professor David Karle

0’ 1’

3’

7’

HIDDEN ROOM

Hidden Room

William Cox


Hidden Room

Circulation Studies

Capture

Definition: Hidden is something that is always present but is revealed through a process of negation.

Disperse Reflect

Thesis: Through the curation of sound, its reflection, dispersal, and capture, perceptions of space and self can be manipulated to bring forth what is normally imperceptible.

Analysis of Project Scope ARCH 500_fall 2018

Professor David Karle

Hidden Room

17 William Cox


MUFFLED ROOM PERSPECTIVE A

ENTRANCE TO HIDDEN ROOM ENVELOPED

DRY ROOM LADDER UP TO ROOM 3 REVERBERANT ROOM

+1’-0”

PERSPECTIVE B MUFFLED ROOM BELOW

+12’-0”

+2’-0”

+12’-0”

+0’-0”

+1’-0”

TRANSITIONAL SPACE ECHOED

EXIT TO EXTERIOR

16’-0” Floor Plan

4’-0” Floor Plan

0’ 1’ 0’ 1’

ARCH 500_fall 2018

3’

Professor David Karle

7’

3’

7’


ROTATED ISOMETRIC: LIGHT THROUGH FOLDS LIGHT TO MUFFLED ROOM

+26’-0”

UP FROM REVERBERANT ROOM

3

MURMMERED ROOM

LIG

+24’-0”

HT

IN

FU

LT R

AT I

ON

TH

RO

UG

H

FO

LD

S

DN TO ROOM 4

+27’-0”

LIGHT INFULTRATION THROUGH FOLDS TO MURMMERED ROOM

+0’-0” 4

28’-0” Floor Plan 0’ 1’

3’

7’

Floor Plans & Model Photographs Hidden Room

19 William Cox


Working with the idea of shaping experience through sound, Cox created five rooms within one artifact, including one which is ‘hidden.’ This relationship of 4 to 1 allows for the acoustic interconnection between the 4 Rooms and The Hidden Room isolates the experience to reveal different perceptions of sound, space, and self by means of negation. These manipulations bring forth what is normally imperceptible. Sound is integral to our perception and understanding of spaces and how we place ourselves within volumes and environments. Through formal manipulations Cox employed properties of acoustic reflection, dispersal, and capture to alter the initial transmission of the user’s footsteps to create distinct spatial experiences. These spatial experiences or rooms are as follows : Dry, Reverberant, Murmured, Muffled (4 Rooms), and Enveloped (1, Hidden Room). This adherence to sound as the driving design has sculpted flowing, weird geometries which are organic in essence. The aim was to create a single gestural artifact, making the shell, floor planes, and thresholds work in concert to channel, amplify, and manipulate sound. Because of the strict adherence to acoustic qualities, thresholds entice the user to slips or squeezes between spaces. Movement within the rooms pulls and pushes the user towards different whispers, remnants, and non­ visual proof of their own and other’s occupation of the space. This bleeding of space within the 4 Rooms is contrasted by the acoustic quality of the Hidden Room. Here the user is enveloped in a singular room, allowing them to identify the source of sound and the visual and acoustic perceptions match in accordance with each other. The acoustic qualities of this artifact at times subvert and at times merge with the visual experience creating possible discordance or harmony between competing perceptions of space. At moments the user does not know where or who produced the sound or even if it is coming from themselves. This physical reverberation of sound is even noticed within the body, leading to a push and pull between the user and the space. This project contributes to the typology of acoustically responsive buildings outside of the realm of concert halls. Considering sound within a space not only produces interactive ones, but can also lead to spaces which have an empathetic

quality where the needs of the user better mesh with the intent of the program.

ARCH 500_fall 2018

Professor David Karle

The form finding process was guided by manipulating the shape to increase length of sound reflection (creating reverberant spaces) or curating specific spots to reflect sound directly back to said spot. Using Ladybug Raytracing to simulate sound reflection and Galapagos Evolutionary Solver to manipulate control points to achieve maximum length or closeness to sound source this organic form was derived.


Sectional Curvature

Sectional Analysis

0’ 1’

Hidden Room

3’

7’

21 William Cox


Perspective ARCH 500_fall 2018

Professor David Karle

Pool Mashup

William Cox


Pool Mashup

Roof Louvers Private bath- Hot

The Typical angle of view for competition swimming is from below. What opportunities can arise if the relationship between the viewer and performer is switched. Now Lane pools are elevated allowing for light infiltration. A new method of viewing and lighting design are then created. 12.5m Lane Pool x2 25m Lane Pool Private Bath - Cold

Typically

What if? Diving Pool Lobby Lockers Changing Rooms Admin Storage

Spacial Quality Analysis ARCH 500_fall 2018

Professor David Karle

Pool Mashup

23 William Cox


Vis ito r

Push

in

m Ad

ge

ra Sto

ve

User

Di

ew -Vi Sit

led

l pu ce walk n a y e tr bb en sid Lo er m Us k fro c Ba ck ba o

fH

ou

se

Fr

on

to

fH

se

yee plo

Em

ou

Massing Process

ARCH 500_fall 2018

Professor David Karle


12.5m Lane Pool at 30’-0” Placed at front to entice Visitors in.

Wrap

12.5m Lane Pool at 30’-0” placed to enhance light quality of diving pool space

Stack s th Ba ers ck Lo

t Ho ld Co

Water surfaces reflected on roof to inform glazing

Viewport added to enhance interaction from above and below

ob

dascu rk red

diff

us

ed

dir ec

lig t ht

25m Lane Pool at 30’-0” placed to guide users through corridor

Massing Process Hidden Room

25 William Cox


C

C DN DN

8

C

DN

C DN

DN DN UP UP

C

DN DN

DN

UP

UP UP UP

UP

6 6

6

3 3

3

UP UP

UP DN DN

1

1 1

1

UP

UP

1 1

1

UP UP

1

UP UP

UP

DN

UP

5 2 2 5 5

DN DN

1 2 3 4 5 6 7 8

Diving Pool Lane Pools Private Baths Front Desk Viewing Area Lockers Admin Storage

C in Level A-1 dm

ge

ra Sto

4

C On Grade

ve

Di

ew -Vi Sit

5

DN DN

DN

4 4

A

5 5

5

Push

4 4

2

Vis ito r

B

DN

4

C Level 1

C Level 2

User

led

l pu ce walk n a y e tr bb en sid Lo er m Us k fro c ba

yee plo

Em

ARCH 500_fall 2018

Professor David Karle

C Level 3


Noon Noon Noon Noon Noon Summer Summer Summer Summer 12.5m Lane Pool at 30’-0” Summer Sun Sun Sun Placed atSun front to entice Sun

Visitors in.

4 pm Winter Sun 4 pm Winter Sun

4 pm 4Winter pm Winter 4Sun pm Winter Sun Sun 4 pm Winter Sun 4 pm Winter Sun

Wrap

Entrance to seating

B

Front Desk Check-in

Front Desk Check-in

Front Desk Check-in

Entrance to seating Front Desk Check-in Front Desk Check-in

Front Desk Check-in

Entrance to seating Front Desk Check-in

Entrance to seating Entrance to seating

Entrance to seating

Entrance to seating

12.5m Lane Pool at 30’-0” placed to enhance light quality of diving pool space

A Section A

mer Performer

Performer Light Performer Rays Performer Light Performer Rays LightLight RaysLight Rays Rays Light Rays Performer Light Rays

ur

Vouyeur Vouyeur Vouyeur Vouyeur Vouyeur

Vouyeur

Stack s Section th B Ba

rs ke

t Ho ld Co

Water surfaces reflected on roof to inform glazing

Viewport added to enhance interaction from above and below

Section C

c Lo

25m Lane Pool at 30’-0” placed to guide users through corridor

Floor Plan and Sectional Atmosphere Pool Mashup

27 William Cox


Dutch Violin The Dutch Violin sets out to modernize the violin, which has been stuck in the romantic period for the past 300 years. It is a product of interpreting the phenomenal experience of playing and listening to sound through means of material manipulation. This was a study on how to incorporate digital design into the knowledge loop of traditional techniques and methods of violin making.

Process Dutch Violin

29 William Cox


31 Dutch Violin

William Cox

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Graduate Design Portfolio - William Cox  

Graduate Design Portfolio - William Cox  

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