Collective Works_Spring 2012
-
Upload
colin-winchell -
Category
Documents
-
view
216 -
download
0
description
Transcript of Collective Works_Spring 2012
-
1 AR 280 Spring 2010: Site Orders Instructor: Kelly BairProject 2: Mapping Site/Constructing Ground Students: Andre Gharakhanian, Brian Hardy, Colin Winchell
635637
637
665667
669671
673675
677679
681683
685687
689691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726 726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750752
754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764766
748750752754
756758760
764766
768
768
768
768
768770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
764766768770
756758
760762764766
768770
772774776780782784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788790
774776
780782784
786788790
792794796798
798
800
800
802
792794796798
778
772774
776
780
800
802
804
806
808810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742746
736
738740744
742746748
750752754754
756758760
762764766
768770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724726
728730732734738740
744742746748750752754
736
Colin Winchell
-
28
Integrate[d] Housing _ Studio 3A _ Fall 2010
38
Progressive Burial Grounds _ Studio 2B _ Spring 2010
50
Pacific Rim Culinary Academy _ Studio 2A _ Fall 2009
60
Cafe Oro _ Studio 2A _ Fall 2009
70
Synthesized Displacement _ Studio 1B _ Spring 2008
80
Museum of Tolerance Renovation _ Studio 4A _ Fall 2011
Piazza Padella _ Studio 4B _ Spring 2012
16
4
Steel Competition _ Studio 3B _ Spring 2011
-
Tibernacky Residence4954 Meridian Street
Los Angeles, California90042
Project Managers:Brittany Clark
Brittney DillonRenel Etniel
Colin WinchellCourtney Power
Design Firm7500 N. Glenoaks Boulevard
Burbank, California91504
86
92Transversed Towers _ Studio 3A _ Fall 2010
Van De Kamps Rehabilitation Center _ Studio 1A _ Fall 2007
100Eroded Conduits _ Studio 2B _ Spring 2010
114Tjibaou Cultural Center Construct _ Materials and Methods _ Fall 2009
122Eames House Intervention _ Design Communications 2 _ Spring 2008
130Found Space _ Studio 1B _ Spring 2008
Construction Documents _ Professional Practice 1 _ Spring 2010
136
Tjibaou Cultural Center Case Study _ Studio 2A _ Fall 2009
108
-
Piazza PadellaRome, ItalyStudio 4BWoodbury University - Study Abroad ProgramInstructor: Paulette SingleySpring 2012
Concept: Temporal ConvergenceProgram: Public PiazzaFocus: Roman CulturePartner: David Hurtado
-
During a semester studying abroad in Rome, Italy, it became quickly evident that Rome exists as a series of stratified lay-ers. These layers express centuries of architecture, art, and history both above and below ground. Through a seemingly everlasting cycle of construction, renovation, demolition, and restoration, the inhabitants of the city are constantly flooded with an immense amount of history and culture. As more of Romes ruins are discovered, they quickly become a spectacle within the city. A mere tourist attraction which can only be gazed upon, rather than physically interacted with. This lack of human contact with the ruins has caused the ruins, and the city for that matter, to become stagnant. A threshold lies between the ruins and the rest of the city, keeping the ruins preserved, but ultimately placing Rome into a frozen state. By eliminating this threshold, Piazza Padella allows for the individual to interact with a series of ruins creating an autonomous and idiosyncratic experience. By placing an outdoor museum through the center of the piazza, users are able to physically touch spolia re-appro-priated from throughout Rome. This museum cuts through the piazza according to public thresholds which exist on the Nolli Map of Rome, cementing it into its own past. As the piazza steps above the museum, moments of reflection both onto the city and into the museum allow the occupant to place themselves physically and historically within Rome. This action of placing oneself into the history of the city allows for a more concise understanding of Rome as a complex system of stratified layers.
Piazza Padella:Temporal Convergence
Context Plan
-
Open Air Enclosed Immersed
Piazza Padella becomes a monument which users can both gaze upon and interact with.
Sunken Ruins
Largo di Torre Argentina Roman Forum Piazza Padella
Enclosed Ruins
ImmersedRuins
-
Open Air Enclosed Immersed
Via Dei Banchi Vecchi
Via Del Pellegrino
Via Di Monserrato
Via D
ei Ca
rtari
Via
Larg
o
Via
Cerri
Via Delle
Prigioni
Via Braveria
Lungotevere Dei Sangallo
Vicola
Della
Scim
ia
Via De
i Gonf
alone
Via Giulia
Via Giulia
Piazza Padella
Zoomed Site Plan
-
By immersing the museum into the piazza, users are able to physically interact with the ruins.
-
Piazza Circulation
Museum Circulation
22
1
1
Zone 1 (+0m)
Zone 2 (+2m)
Zone 3 (+5m)
Zone 4 (+10m)
11
2
3
3
4
4
Museum Building
Existing Church
Leisure Platform
Museum
Restaurant / Bar
Vantage Point
School Addition
Existing Ruins Integrated Into Museum
Zones Created To Esstablish Hierarchy Within Piazza
Organizational Geometry Is Morphed By Museum
Museum Acts As Circulation Datum Within Piazza
Zone 1 (+0m) Museum Circulation Museum Building
Zone 2 (+2m) Piazza CirculationExisting Church
Leisure Platform
Restaurant / Bar
Museum
Vantage PointSchool Addition
Zone 3 (+5m)
Zone 4 (+10m)
Paving Pattern Responds To Morphed Organizational Geometry
Program Zones Organized Along Datum
-
River Zone
-8 meters
Museum Zone0 meters
Main Piazza Zone
+4 meters
+10 meters
Viewpoint Platform Zone
Via Dei Banchi VecchiMuseum EntranceVia Giulia
Main PiazzaMuseum Exit
Viewing Platforms
Lungotevere
+20 meters
Longitudinal Section
-
River Zone
-8 meters
Museum Zone0 meters
Main Piazza Zone
+4 meters
+10 meters
Viewpoint Platform Zone
Via Dei Banchi VecchiMuseum EntranceVia Giulia
Main PiazzaMuseum Exit
Viewing Platforms
Lungotevere
+20 meters
-
As the piazza steps above the museum, it creates vantage points both inward and outward.
Moments of reflection allow users to place themselves physically and historically within Rome.
-
Stairs connecting tiered zones create both paths of circulation and moments of spectacle.
-
Museum of Tolerance RenovationLos Angeles, CAStudio 4AWoodbury UniversityInstructor: Mark Owen / Philip RaFall 2011
Concept: Adaptive GrowthProgram: MuseumFocus: Digital Representation
-
180
180
The Museum of Tolerance is in desperate need of being flipped both vertically and longitudinally. This is to say that it does not function as it currently exists. This flipping is achieved by demolishing the cladding and plates within the building. The existing footprint is maintained and reclad using monolithic glass. This glass serves as a ghost of the existing, paying homage to the original Museum of Toler-ance. The large cantilevers are supported by a branch-like truss system which serves as the skin of the exhibit spaces and conference centers. A recessed frosted glazing system provides enclosure as well as visual separation of the exhibits from the public. In the center of the building is a large atrium. This atrium is the same proportions as the existing rotunda, however, it is twisted and offset as a physical representation of the flipping and rotating of existing program. This atrium serves as the main vertical circulation for the building. When the user enters the building, they are given the option to take the elevator to the floors above, or utilize the sculptural atrium as a means of vertical circulation and interaction. In addition, each floor consists of a large open space around the atrium, encouraging a large amount of social interaction and collaboration. The atrium acts as a thermal chimney which, due to a relatively open floor plan, pulls heat from every floor and exhausts it out the top of the structure. A tessellated waterscape is located on the ground floor, acting as skylights for the administration space below. This allows for the underground spaces to have a large amount of natural daylight and thermal insulation. Re-cessed behind the trusses, a series of glass facades serve as the main enclosure of the building. These glass facades are frosted which allows for a relatively opaque and monolithic building during the day, and a completely transparent and lightweight structure at night. Furthermore, different colors are used to highlight different programmatic spaces at night, allowing for the building to be activated and interactive at all times. The atrium serves as the main structural support of the building. Four large cantilevered box trusses create the exhibit spaces, as well as the conference centers. These trusses are suspended in tension and then tied back to the atrium, where the load is carried to the ground. The existing columns are then repurposed to support the floor plates and provide secondary vertical load transfers. Rather than using conventional column and beam structure, the floors are suspended by branch-like welded steel plates, which mimic the boughs of a tree. This language is then carried into the facade of the building, acting as the struts within the trusses.
Museum of Tolerance:Adaptive Growth
North/South Materiality Flipped
Public/Private Zones Blended
Public/Private Zones Flipped
-
180
180
Public Pavilions Created
Public/Private Zones Flipped Public/Private Zones Striated
-
Lighting/Water Systems
Executive Conference Center
Multi-Purpose Room
Relocated Exhibit Space
Main Entrance
Relocated Offices
Existing Parking
Circulation System
Environmental Control System
Skin/Enclosure System
-
Museum Concealed During the Day
Ground Floor Plan
Main Entrance
Security Checkpoint
Kitchen/B.O.H. Cafe
Cafe Entrance
Restrooms
-
Rooftop Garden/Pavilion
Cultural Resource Center
Relocated Exhibit Space
Cafe
Relocated Offices
Existing Parking
-
Open Floor Plans Allow For Versatile Usage of Space
Spiral Atrium Creates A Central Spine Through The Musem
-
Exhibit Exhibit Exhibit Exhibit
ExhibitExhibit Entrance
Restroom
Exhibit
Restroom
Museum Plan
-
Structure Becomes An Icon Within Los Angeles
Interior Spaces Create Moments Of Release Within Museum
-
Executive Conference Center
Rooftop Garden/Pavilion
MechMech
Terrace Plan
-
Steel CompetitionDowntown Los Angeles, CAStudio 3BWoodbury UniversityInstructor: Daniel RabinSpring 2011
Concept: Inside vs OutsideProgram: Homeless Assistance CenterPartners: David Hurtado, Luis Salas
-
The goal of the steel competition is to create a Homeless Assistance Center In Downtown Los Angeles, that utilizes an interesting approach to steel structure. Our facility employs the homelessness assistance strategy by the Housing First program and its affiliations with Beyond Shelter specifically. The shelter acts as a transitional stage for its occupants. It acts as a referral service that seeks to aid homeless people with their reintegration back into society by assisting in find-ing permanent housing. It deals with a wide range of demo-graphics, focusing on non-drug abusers and others who are focused on getting out of Skid Row. The first step in the Hous-ing First program is crisis intervention, and this is a step that our facility will primarily focus on. Crisis intervention pertains to the homeless demographic that is seeking refuge as a means of stabilizing their lives. People undergo treatment for addiction, abuse, etc. and are then introduced to our facility for temporary housing. This transitional period may last anywhere between one month and one year depending on the needs and progress of each person. Architecturally, the facility is to be determined by the program. It consists of a Solid vs void relationship in which we utilize large voids through the structure as a means of creating framed views and apertures for light. A fifty-fifty relationship is established as a method of transitioning from being constantly outside, to a balance between inside and outside. In other words, in order to ease a homeless persons transition from being con-stantly outside, to being constantly inside, we have created a facility in which that person has a choice to either spend their time indoors or outdoors.
Steel Competition:Homeless Assistance Center
Circulation Study Model
Solid/Void Study Model
Formal Study Model
Conceptual Circulation Study Model
Circulation Void Study Model
Refined Circulation Model
-
Refined Circulation Study Model
Circulation Study Model
Exterior Circulation Model
Solid/Void Study Model
Organizational Study Model
Labrynthial Study Model
Solid/Void Study Model
Bridging Study Model
Refined Solid/Void Study Model
-
AB
C
D
E
F
G
H
J
K
L
M
12
34
5 67 8
9 10
Crocker St.
DINING
KITCHEN
SERVICE ENTRANCE
B.O.H. STORAGE
ADMIN
STORAGE
MEDICAL OFFICE
MEDICAL CLINIC
S. South Pedro St.
E. 6th S
t.
Ground Floor Plan
N0 10 20 40
12
34
5 67 8
9 10
A
B
C
D
E
F
G
H
J
K
L
M
First Floor Plan
N0 10 20 40
JOB TRAINING
HOUSINGSTORAGE
CAFETERIA MEZZANINE
HOUSING
EXTERIORJOB TRAINING
EXTERIORHOUSING
271
287
303
319
335
0 5 10 20
A B C D E F G H J K L M
0 10 20 40 0 10 20 40
-
271
287
303
319
335
0 5 10 20
A B C D E F G H J K L M
0 5 10 20
-
Exterior Spaces are Adapted to Individual Needs
Entrance Void Displays the Duality of Interior and Exterior Spaces
-
Interior and Exterior Spaces are Blended Together
-
Accordion Door
Cafeteria Mezzanine
Exterior Housing
Exterior Job Training
Job Training
Housing
Exterior Job Training
Cafeteria Mezzanine
Housing
Auditorium
Exterior Housing
Exterior Job Training
Accordion Door
Cafeteria
Cafeteria Mezzanine
Exterior Job Training
Auditorium
Interior Housing
Exterior Housing
Job Training
Exterior Housing
Interior Housing
-
Corten Steel Cladding Offers Varying Opacities
-
Integrate[d] HousingDockweiler Beach, CAStudio 3AWoodbury UniversityInstructor: Eric OlsenFall 2010
Concept: Porous BlendingProgram: Multi-Family Housing
Submitted for d3 Housing Competition
-
In response to the increasing population within downtown Los Angeles, it has become evident that multi-family housing is the future of the city. With this, multi-family housing will soon spread past urban downtown and to the beach and suburban communities, eliminating single-family beach front homes. Located at the end of Imperial Highway, Integrate[d] Housing is situated atop the Hyperion Treatment Plant and consists of twenty-five units. The structure bridges across the street and lands on a barren dune under ownership of LAX. It takes these two previously undesirable and forgotten spaces, and transforms them into desirable beach front property. The entrance to the structure is located on the dune side, where a spiral ramp leads up to the parking decks. From these parking decks, an individual is able to access their front doors via a private staircase leading to their unit on the floor above. The units vary from a studio, to a two bedroom unit, and a three bedroom unit with the pos-sibility for a live-work unit. In the center of complex, a large vertical staircase allows access to the parking levels as well as providing spaces for the occupants to interact. On the dune side of the complex there is another staircase descend-ing the northern facade and providing access to various semi-public decks. These decks allow for panoramic views of the beach as well as a pleasant interaction with nature as it is near the Blue Butterfly Preservation. Integrate[d] Housing is wrapped in a high-performance environmental skin which utilizes the constant off-shore breeze, creating passive cool-ing as well as creating a series of framed views of both the beach and the arriving and departing air-traffic. A series of wind turbines are located on the top of the structure, taking advantage of the off-shore breeze in order to provide energy for the complex.
Porous Blending:Integrate[d] Housing
Double Spiral Car Ramp
Exterior Stairs/Public Pavilions
Elevator Core
-
Semi-Public Stairs/Gathering Spaces
Elevator Core
Elevator Core
Perspective Section
Units
Parking
Parking
Parking
Units
Units
-
Units and Parking Alternate between levels.
Program Organization
A series of vierendeel trusses (used at the residential levels) are held using a series of large eleva-tor chases.
Structure
Vehicles use a spiraling ramp. Pedestrians use a series of eleva-tors and stairways to gain entry to units on the parking levels.
Circulation
A high performance skin allows for passive cooling throughout the structure as well as framed views of the beach and air-traffic.
Environmental Skin
Each component comes together to create the housing complex.
Collective Whole
West Elevation
-
0 6 12 24
-
Three Bedroom UnitScale: 1/8 = 1-0
Two Bedroom UnitScale: 1/8 = 1-0
One Bedroom Unit/StudioScale: 1/8 = 1-0
Three Bedroom UnitScale: 1/8 = 1-0
Two Bedroom UnitScale: 1/8 = 1-0
One Bedroom Unit/StudioScale: 1/8 = 1-0
Three Bedroom UnitScale: 1/8 = 1-0
Two Bedroom UnitScale: 1/8 = 1-0
One Bedroom Unit/StudioScale: 1/8 = 1-0
UP
UP
UP
UP
UP
UP
UP
UP
UP
DW
N
UP
UP
DW
N
UP
UP
UP
UP
UP
UP
Three Bedroom UnitTwo Bedroom UnitOne Bedroom/Studio Unit
Unit Level Plan
0 6 12 24
-
Transverse Section A0 6 12 24
-
Structure acts as a Beacon at Night
View from Dune Side of Vista Del Mar
-
Transverse Section B0 6 12 24
-
Large Voids offer Framed Views of Airplanes
Units Accessed via Parking Levels
-
Environmental Skin
Living/Kitchen/Balcony
Living/Kitchen/Balcony
Living/Kitchen/Balcony
Parking
Parking
Parking
Stair/Plumbing Core
Perspective Section
Bedrooms
Parking
Parking
Parking
Bedrooms
Bedrooms
-
Progressive Burial GroundsDebs Park, Los Angeles, CAStudio 2BWoodbury UniversityInstructor: Kelly BairSpring 2010
Concept: Phasing DeathProgram: Cemetery
-
0- 5 Slope
6- 10 Slope
11- 15 Slope
16- 20 Slope
21- 25 Slope
26- 30 Slope
0- 5 Slope
6- 10 Slope
11- 15 Slope
16- 20 Slope
21- 25 Slope
26- 30 Slope
0- 5 Slope
6- 10 Slope
11- 15 Slope
16- 20 Slope
21- 25 Slope
26- 30 Slope
0- 5 Slope
6- 10 Slope
11- 15 Slope
16- 20 Slope
21- 25 Slope
26- 30 Slope
Progressive Burial Grounds takes a different approach to the way in which a cemetery operates. The dead change location periodically parallel to the amount of decomposi-tion that has occurred. Throughout the site there are five different burial types. The newly deceased are placed ei-ther in a concrete clad natural burial plot within the ground or a wall plot located within the loculi. After one year in a ground plot, and two years in a wall plot, a significant amount of decomposition has occurred. At this point, the remains are moved to a smaller plot either located within columbaria (wall plot) or a small inurnment plot (ground plot), depending upon the location of the original remains. after another year has passed (two years for columbaria) the majority of the remains will be bones and at this point the bones are cremated and placed into a small overhead plot where they will reside indefinitely. In order to achieve this cyclical progression formally, a series of modular volumes exist within the site to facilitate these different burial types. The sloped spaces in between these volumes facilitate natural burial plots (Phase 1) while the main circulation side is constructed of the loculi (Phase 1). The supporting members located along the volume serve as the columbaria (Phase 2). The overhead plane is riddled with divets that hold small inurnment plots (Phase 3) that are visible from both above and below the volume. These volumes flank the main circulation through the site as well as stack on top of one another to create the chapel and memorial space. As the volumes step up the hillside they grow in width in order to facilitate the administrative spaces which are surrounded by a series of stepped gardens.
Phasing Death:Progressive Burial Grounds
Graded Slope Study
Existing Slope Study
Site Plan Detail
0 12 24 48
-
Loculi (Phase 1) Columbaria (Phase 2)
Module SectionSite Plan N0 30 60 90
-
Inurnment (Phase 3) Light Well Gabion Wall
Year One (Phase One)
0 4 8 16
-
Gardens
Chapel/Memorial Space
Offices
Restrooms
Loculi (Stage 1)
Columbaria (Stage 2)
Natural Burial (Stage 1)
1
11
1
2
2
3
3
4
4
Gardens
Chapel/Memorial Space
Offices
Restrooms
Loculi (Stage 1)
Columbaria (Stage 2)
Natural Burial (Stage 1)
1
11
1
2
2
3
3
4
4
Gardens
Chapel/Memorial Space
Offices
Restrooms
Loculi (Stage 1)
Columbaria (Stage 2)
Natural Burial (Stage 1)
1
11
1
2
2
3
3
4
4
Entrance SectionNBurial Plan
0 30 60 90
-
Year Fifty (Phase Two)
0 15 30 60
-
Chapel Section
Gabion walls containing inurnment plots. (Phase 3)
Overhead Modules
Large loculi (Phase 1) and colum-baria (Phase 3) offering vertical support. Gabion retaining walls.
Supporting Structure
Regraded earth (Phase 1) and main circulation spine.
Circulation
-
Year One Hundred (Phase Two)
0 15 30 60
-
Pacific Rim Culinary AcademyHollywood, CAStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009
Concept: Fusion/Parts to a WholeProgram: Culinary Institute/Restaurant
-
Auditorium150x50x30
Restaurant100x50x12
Library80x40x15
Learning Kitchen70x50x12
Lounge80x40x10
GardenVarying
Seminar Space35x30x10
Seminar Space35x30x10
Admin Space35x30x10
Food Storage25x20x12
Public Restroom25x20x10
Locker room50x20x10
Locker room50x20x10
Skin System
Program
Circulation
Structure
Cooking is an artform that combines various ingredients to create one cohesive idea. The common strategy of the design and the culinary institute is this fusion of ideas. Programmatic elements are defined as the ingredients of the project and come together to form a cohesive idea from various different elements. These ingredients are tied together using a skin system that defines each space accord-ing to the quality of light needed by the space and unites them together when wrapping the auditorium. The library acts as the main vertical circulation of the building and also the ingredient that links all of the different programmatic elements together. When these ingredients (the program elements and the skin system) come together they create a new idea that no longer represents each individual ingredi-ent but the project as a whole.
Fusion:Pacific Rim Culinary Academy
-
Auditorium150x50x30
Restaurant100x50x12
Library80x40x15
Learning Kitchen70x50x12
Lounge80x40x10
GardenVarying
Seminar Space35x30x10
Seminar Space35x30x10
Admin Space35x30x10
Food Storage25x20x12
Public Restroom25x20x10
Locker room50x20x10
Locker room50x20x10
Skin System
Program
Circulation
Structure
-
Locker Room
Locker Room
Auditorium Entrance
Auditorium
Auditorium Entrance
(Mezzanine)
Auditorium
Library Library
Seminar Space
Seminar Space
Administration
Library
Garden
Lounge
First Floor Plan Longitudinal SectionN
0 3 6 9
-
0 3 6 9
-
Locker Room
Locker Room
Auditorium Entrance
Auditorium
Auditorium Entrance
(Mezzanine)
Auditorium
Library Library
Seminar Space
Seminar Space
Administration
Library
Garden
Lounge
Locker Room
Locker Room
Auditorium Entrance
Auditorium
Auditorium Entrance
(Mezzanine)
Auditorium
Library Library
Seminar Space
Seminar Space
Administration
Library
Garden
Lounge
Locker Room
Locker Room
Auditorium Entrance
Auditorium
Auditorium Entrance
(Mezzanine)
Auditorium
Library Library
Seminar Space
Seminar Space
Administration
Library
Garden
Lounge
High Performance Glazing Gives Privacy During the Day
Second Floor Plan Third Floor Plan Roof Plan 0 9 18 36
-
Transverse Section0 4 8 16
-
Structure Illuminates the Street at Night
Structural Physical ModelDownward View of Library
-
Transverse Section0 4 8 16
-
Cafe OroMetro Gold Line, Highland Park, CAStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009
Concept: SynthesisProgram: Train Station Coffee Bar
-
The goal of this project was to create a counter style caf located on the perimeter of the existing Metro Gold Line in Highland Park, California. The site is the dividing line between business and residential zones in Highland Park and therefore serves as the central hub to various walks of life. The trains are constantly running with people of many ethnicities and all ages using it at different times of the day. Due to this, I felt compelled to create a coffee bar that would remain open at all hours of the day. With trains coming in every ten minutes, it allows for the perfect rest stop for business people and students to collaborate. The caf is constructed of a series of triangle trusses that are cantilevered off of the posts of the existing gazebo. The concrete bar and seating creates this idea of the ground literally extending up toward the steel trusses above, with the two systems reconciling around one another creating the bathroom. Here, concrete walls are enclosed within a large triangle truss with a large steel pivot door. In addition, a series of solar panels are located across the top of the truss system, creating a green energy structure and minimalizing the impact of the architecture on the community.
Cafe Oro:Train Station Cafe
-
View from Street
-
Photovoltaic Panels
Triangle Trusses
Sheet Metal Rain Screen
Seating/Cafe Longitudinal Section
-
0 4 8 16
-
View of Bathroom and Cafe Bar
Floor PlanN0 5 10 20
-
Transverse Section 0 4 8 16
-
View of Cafe illuminated at Night
Program Organization/Circulation Aerial Street View of Physical Model0 6 12 24
-
Displacement ProjectHollenbeck Park, Boyle Heights, CAArchitecture 10BPasadena City CollegeInstructor: Coleman GriffithSpring 2008
Concept: Synthesis - Divergence vs. IntegrationProgram: Rehabilitation Center/Free Medical Clinic
-
30
-60
-90
The external reference is an idea that is taken out of the sci-entific or physical world that is used as a means of deriving a conceptual idea. For this I researched tsunamis and the way in which they interact with the surrounding water and land. By studying the ways in which tsunamis propagate and move through the worlds ocean i was able to construct a concept and a series of conceptual rules loosely based on the behavior of tsunamis. When a large earthquake happens in the depths of the ocean it creates a series of waves in a 360 degree pattern around the fault line. These waves propell themselves outward change shape and pat-tern according to the surrounding land. Due to its massive surface area the waves gain energy and speed as the flow through the ocean creating a massive wave face once it reaches land. Synthesis is achieved when two opposing ideas, influences, or objects merge together resulting in a new whole. When a tsunami approaches land, there is a drawback and a push forward that combine to create this synthesis. As a project, my design is striving to achieve this synthesis in the community. By building a free clinic in the park, it encourages people from around the community and LA to come back to Boyle Heights in order to get help (draw back). They no longer have to travel longer distances to get medical help. In an opposing fashion, the structure will also be home to a drug rehabilitation center. This rehab center is meant to take the people who have been poisoning the community and push them back out into the LA area (push forward). When these two ideas combine, the create a new space that allows people from opposing needs and ideals to come together in this places of synthesis.
Displacement:Drug Clinic/Rehab Center
Site Viewpoints
Viewpoints Extracted
Project Displaced Longitudinal Section
-
30
-60
-90
0 2 4 8
-
AA
B
B
1
2
3
4
1. Public Gathering Space2. Alcoholics Anonymous Meeting Room3. Narcotics Anonymous Meeting Room4. Restroom
Ground Floor Plan
View from Opposing Shore
1
2
3
4
N
0 3 6 12
-
30
-60
-90
Transverse Section0 2 4 8
-
RehabilitationVan De Kamps Bakery, Atwater, CAArchitecture 10APasadena City CollegeInstructor: Deborah BirdFall 2007
Concept: Seductive Reach
-
The goal of this project was to create an entry hall for a rehabilitation center in between the two existing buildings of the Van De Kamps Bakery. Program was limited to a canopy system and a series of meeting spaces. In my design I decided to combine the two ideas into one flowing project. By utilizing my concept (seductive reach) I was able to manipulate the canopy system to create an overhead plane as well as wall and floor planes in order to draw the viewer into the project through bending and twisting spaces. By creating perforations and using different opacities on the system, I utilized light to create both private and public spaces as well as creating circulation paths.
Rehabilitation:Van de Kamps Rehabilitation
Center
Longitudinal SectionSite Plan
N
0 2 4 8
0 10 20 40
-
Canopy Evolution & Manufacturing
The perforations in the canopy were created using a graphic that read Van De Kamps which I then used as a template for the perfo-rations in the canopy itself.
Rear Photo-Composite
-
Aerial View of Physical Model
-
Siedlung Housing StudyStudio 3AWoodbury UniversityInstructor: Eric OlsenFall 2010
Concept: Transversed Towers
-
The objective of the Siedlung Housing Study was to investigate the programmatic qualities associated with multi-family housing. We were given a fictitious site and then asked to create a housing facility consisting of twenty-five units through a series of diagrams and study models. My investigation lead to the idea of Transversed Towers. This concept came from the idea of taking a single tower, and pulling it apart into three separate towers. With this, certain units would bridge the two towers creating a private walkway linking the towers. Due to the fact that certain units bridge between multiple towers, the elevators within each tower would work on a skip stop system, and open to each individual loft. The bottom two levels of the structure are large public spaces that include a lobby and several gallery spaces. The project was designed in order to be integrated into a dense urban site such as Downtown Los Angeles as a means of creating vertical housing for the future of urban living.
Transversed Towers:Siedlung Housing Study
-
View of Project Integrated into Downtown LA
-
Transverse/d/ Towers
Lofts
20 Units
Project Awaiting Approval
Unit Size: 400 - 1600 Sq Ft
/b/ Design
Los Angeles, Ca
Elevator Chases Floor Plates Suspended From Chases Steel Framed Around Floor Plates
Bridged-public Pavilion
Glass Hung From Steel Curtain Wall
Public Pavilion/complex Admin
Elevator
Elevator Stop
Bridged Unit Circulation
Loft Circulation
Singular Tower
Private Residence
Bridged-private Residence
Program Organization
Study Model Progression
Investigation 1An exploration into stacking and offsetting as a means of creating private space.
Investigation 2The idea of stacking is altered by using varying program heights and depths.
Investigation 3Stacks transformed into a series of vertical towers.
Investigation 4Vertical towers reduced to two single towers and several horizontal bars.
Investigation 5Towers adapted to intro-duce formal aspects.
Investigation 6Form introduced to horizon-tal organization.
-
Transverse/d/ Towers
Lofts
20 Units
Project Awaiting Approval
Unit Size: 400 - 1600 Sq Ft
/b/ Design
Los Angeles, Ca
Elevator Chases Floor Plates Suspended From Chases Steel Framed Around Floor Plates
Bridged-public Pavilion
Glass Hung From Steel Curtain Wall
Public Pavilion/complex Admin
Elevator
Elevator Stop
Bridged Unit Circulation
Loft Circulation
Singular Tower
Private Residence
Bridged-private ResidenceInvestigation 7Horizontal form investi-gated further.
Investigation 8A further exploration into horizontal stacking of program bars.
Investigation 9Program arranged into vertical stacks with small bridges linking the towers.
Investigation 10Density of program decreased and form introduced.
Investigation 11Form is refined and given more detail and materiality.
-
View of Downtown LA from Within a Unit
Physical Model DetailProject Situated on Bunker Hill
-
Structure Allows for Complex Light Qualities
-
Site MappingDebs Park, Los Angeles, CAStudio 2BWoodbury UniversityInstructor: Kelly BairSpring 2010
Concept: Eroded ConduitsPartners: Andre Gharakhanian, Brian Hardy
-
1 AR 280 Spring 2010: Site Orders Instructor: Kelly BairProject 2: Mapping Site/Constructing Ground Students: Andre Gharakhanian, Brian Hardy, Colin Winchell
635637
637
665667
669
671673
675677
679681
683685
687689
691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710
710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750
752754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764
766
748750
752754756
758760764
766
7689
7689
7689
7689
7689770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
7647667689
770
756758
760762764
7667689
770
772774
776780
782 784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788 790
774776
780782
784786
788790
792 794796
798
798
800
800
802
792794
796798
778
772774
776
780
800
802
804
806
808
810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742
746
736
738740744
742746748
750752754754
756758
760762
764766
7689770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724
726
728730732734
738740744742746748750752754
736
As a group we focused on three primary ideas: topography, slope, and erosion. We were most interested in the way these three principles worked as a system rather than as individual site properties. We began by mapping the major erosion points within the site as we perceived them. These major points of erosion were broken down into two separate categories: water erosion and a combination of foot traffic/animal paths and water erosion. These paths were then carved out of the contours with a v shape representing the water erosion and a u shape representing the combination erosion. Next a series of vector lines were created as a means of tracing the slope of the site. These vector lines served as the radii of the circles, therefore, as a circle became larger, the slope became more drastic in rela-tion to the surrounding circles. This allowed both for a study of the slope relationships and the way in which water would move through the site. In order to further illustrate the way in which water would act within the site, a series of vectors with arrows were mapped to show major water paths across the site according to our mapping of both the slope and the topography. Engaging the site or looking at it in section it is apparent that there is a steep slope in which inhabitants must traverse. To demonstrate this presence of the erosion paths and severe changes in slope, the sections are created by a series of cuts every ten feet in the site that are then layered on top of one another. This slope rises a little more than 200 feet over a distance of 600 feet, which equates to a one foot rise for every three feet horizontally. This characteristic can be seen in the short sections where every ten foot section is clearly distinguishable. The physical model became an integral part of illustrating these three principles. The topography is represented through vertical contours with the major erosion points cut into the edges. As a means of demonstrating slope and hydrology, a series of lights were placed at major intersections and points of pooling. These lights reflect and refract across the edges of the acrylic in a similar way to which water would pool and erode the site. The wiring for the lights was the traced across the back of the base, tracing the water paths in the same way that was done in the hybrid map. These water/wiring conduits culminate in the parking lot, which is both the starting point and the ending point of the entire site.
Eroded Conduits:Site Mapping Study
Detail of Hybrid Map
-
1 AR 280 Spring 2010: Site Orders Instructor: Kelly BairProject 2: Mapping Site/Constructing Ground Students: Andre Gharakhanian, Brian Hardy, Colin Winchell
635637
637
665667
669
671673
675677
679681
683685
687689
691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710
710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750
752754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764
766
748750
752754756
758760764
766
7689
7689
7689
7689
7689770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
7647667689
770
756758
760762764
7667689
770
772774
776780
782 784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788 790
774776
780782
784786
788790
792 794796
798
798
800
800
802
792794
796798
778
772774
776
780
800
802
804
806
808
810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742
746
736
738740744
742746748
750752754754
756758
760762
764766
7689770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724
726
728730732734
738740744742746748750752754
736
-
80
80
80
74
78
83
134
134
146
146
195
100
98
51
69
167
68
53
139
178
147
252
200
122
850 815 780 760790 634713 680
125
76
10
10
10
10
10
10
10
10
10
Parking Lot View
Valley Base View
Palm Tree View
Valley Path View
Valley Ridge View
Fire Road View
Lake View
Mountain Peak View
Route/Number of Paces
80
80
80
74
78
83
134
134
146
146
195
100
98
51
69
167
68
53
139
178
147
252
200
122
850 815 780 760790 634713 680
125
76
10
10
10
10
10
10
10
10
10
Parking Lot View
Valley Base View
Palm Tree View
Valley Path View
Valley Ridge View
Fire Road View
Lake View
Mountain Peak View
Route/Number of Paces
Map of Viewpoints on Site
-
Main Water Flow
Slight Slope
Steep Slope
Area of Pooling
Water Erosion
Water & AnimalErosion
635637
637
665667
669671
673675
677679
681683
685687
689691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726 726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750752
754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764766
748750752754
756758760
764766
768
768
768
768
768770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
764766768770
756758
760762764766
768770
772774776780782784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788790
774776
780782784
786788790
792794796798
798
800
800
802
792794796798
778
772774
776
780
800
802
804
806
808810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742746
736
738740744
742746748
750752754754
756758760
762764766
768770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724726
728730732734738740
744742746748750752754
736
Main Water Flow
Slight Slope
Steep Slope
Area of Pooling
Water Erosion
Water & AnimalErosion
635637
637
665667
669671
673675
677679
681683
685687
689691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726 726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750752
754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764766
748750752754
756758760
764766
768
768
768
768
768770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
764766768770
756758
760762764766
768770
772774776780782784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788790
774776
780782784
786788790
792794796798
798
800
800
802
792794796798
778
772774
776
780
800
802
804
806
808810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742746
736
738740744
742746748
750752754754
756758760
762764766
768770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724726
728730732734738740
744742746748750752754
736
Hybrid Map of Site Conditions
-
Vertical Contours Represent Topography of Site
Cuts Illustrate ErosionLights Illustrate Pooling
-
Wiring Behind Plexi Illusrates Water Flow
-
Tjibaou Cultural Center Case StudyStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009
Focus: Layers and Veneers
-
Ground Floor Plan
Diagrammatic Floor Plan
Tjibaou Cultural CenterRenzo PianoColin Winchell
Ground Floor Plan
Diagrammatic Floor Plan
Tjibaou Cultural CenterRenzo PianoColin Winchell
This case study was devoted to discovering latent qualities within our respective precedents. I chose to investigate the Tjibaou Cultural Center, designed by Renzo Piano. When taking an in depth look into the project I discovered several intriguing aspects. The double shelled facade of the tjibaou cultural center serves as an exquisite replication of the native huts of the indigenous people of new caledonia. However, the double shell itself is not the main facade of the building. Behind this impervious double shell is a curtain wall of glass louvers imposed within steel framing. My purpose with this case study was to take this screen and study its attributes. I first removed the outer shell from the structure and reversed the material qualities of the double shell. The opaque wooden slats became transparent and the transparent curtain wall became opaque. In doing this, the viewer is given an opportunity to see the complete facade by break-ing down the two shells. Secondly, i investigated the way in which light interacts with the space. The wooden slats make for dynamic lighting in the main space, varying depending upon the time of year. I studied the way the light would interact during the summer solstice and the winter solstice. This was then translated into large wedges of plexi that would represent the level of light protruding into the space as well as the angle in which the light enters the space.
Case Study:Tjibaou Cultural Center
Ground Floor Plan
Diagrammatic Grid Plan
0 20 40 80
0 20 40 80
-
Transverse Section
Pavilion Section0 15 30 60
-
Tjibaou Cultural CenterRenzo PianoColin Winchell
Form/Structure/Screen The double shelled facade of the Tjibaou cultural center serves as an exquisite replica-tion of the native huts of the indigenous people of New Caledonia. However, the double shell itself is not the main facade of the building. Behind this impervious double shell is a beau-tiful facade of glass louvers imposed in steel framing, These circular walls of glass give a beautiful view through the wooden slats of the double shelled structure surrounding it. How-ever, one never quite catches a glimpse of this glass facade due to the matrix of wood on the double shell. My purpose was to take this screen and remove it from the structure itself. In addition, I reversed the material qualities of the both structures making the opaque trans-parent and the transparent opaque. In doing this, the viewer is given an opportunity to see the complete face of the glass louvered walls. By making the double shell into a single two dimensional diagram placed in the existing site grid in front of the main structure, the shell then becomes simply a reference as to what it was before and accentuates the simplicity of the main structure.
Unfolded Facade Model
Unfolding Diagram
-
Tjibaou Cultural CenterRenzo Piano
Colin Winchell
Layers/Veneers
The location of the Cultural Center allows for very dynamic lighting conditions through out
the year. The structure faces southeast allow-ing for light to pour in each morning. By study-
ing the way in which light enters the main struc-tures of the center, I discovered that depending upon the different time of year, light flooded the space in very different ways. The image on the
far left shows the way light enters the space at twelve noon during the winter equinox. It
enters with a relatively low penetration angle completely floods the room. The image in the
middle portrays the way in which light enters the space at twelve noon on during the sum-
mer equinox. The angle at which the light en-ters the space is much higher than that of the winter creating a different sense of light within
the space. By combining the light rays into the same space in the solid for of a diagrammatic physical model, one is able to see the way in
which the light differs depending upon the time of year. By making the light into a solid mate-
rial, it becomes more of a concrete view and the interaction between light becomes much
more clear while still maintaining the inherent qualities represented by the transparent acrylic.
Tjibaou Cultural CenterRenzo Piano
Colin Winchell
Layers/Veneers
The location of the Cultural Center allows for very dynamic lighting conditions through out
the year. The structure faces southeast allow-ing for light to pour in each morning. By study-
ing the way in which light enters the main struc-tures of the center, I discovered that depending upon the different time of year, light flooded the space in very different ways. The image on the
far left shows the way light enters the space at twelve noon during the winter equinox. It
enters with a relatively low penetration angle completely floods the room. The image in the
middle portrays the way in which light enters the space at twelve noon on during the sum-
mer equinox. The angle at which the light en-ters the space is much higher than that of the winter creating a different sense of light within
the space. By combining the light rays into the same space in the solid for of a diagrammatic physical model, one is able to see the way in
which the light differs depending upon the time of year. By making the light into a solid mate-
rial, it becomes more of a concrete view and the interaction between light becomes much
more clear while still maintaining the inherent qualities represented by the transparent acrylic.
Light Study during Summer Solstice Light Study during Winter Solstice Composite Light Study Model
-
Tjibaou Cultural Center ConstructWoodbury Campus, Burbank, CAMaterials And MethodsWoodbury UniversityInstructor: Eric OlsenFall 2009
Focus: Steel JoineryPartners: Alan Chan, Aris Keshishian, Cevak Satourian, Sophia Avila
-
In Materials and Methods, we were given a case study of an existing building and then asked to interpret the material and structural systems inherent within the project in the form of a construct. Our specific building was the Tjibaou Cultural Center, by Renzo Piano. The building is based on a wind driven ventilation system. Through studying the structure, I learned that metal is a material that has infinite possibili-ties of fabrication and design. We also had to work with wood which was much easier to work with. Wood is more forgiving and easier to sand and fabricate. The building itself consists of custom casted metal pieces that were very intricate. The cost of us getting these pieces custom casted was going to be extremely expensive so we took advantage of a water jet machine and cut out the pieces and welded them together ourselves. The metal connections were modeled in 3D first then broken down and cut on the water jet machine. These pieces were then sanded to a fine finish. Then they were then assembled together and welded in place and ground once more. The large wood posts where then attached to these joinery pieces and held in place by the horizontal steel plates. Finally the wooden slats were added to complete the construct.
Steel Joinery:Tjibaou Cultural Center
Construct
-
View of Center Supports of Construct
-
Detail of Steel Footing
Detail of Wooden SlatsDetail of Steel Bracing
-
Transverse Section 0 4 8 16
-
Exploded Axon
Joinery Detail
-
Manufacture
Fabrication
Assembly
A water jet is used to cut the sheet metal into a template for the joinery.
`
The joinery is then com-bined with the wood and anchored into the concrete, completing the construct.
-
Eames House InterventionCharles and Ray Eames House, Malibu, CAArchitecture 12BPasadena City CollegeInstructor: Kelly BairSpring 2008
Concept: Excavation
-
The goal of this project was to create an intervention of the space between the two existing buildings that make up the Eames House in Malibu, CA by using either a stranded or tiled structural system. This system would then be deployed in order to create a seating and gallery space that could be occupiable from both the first and second floors. It began with the investigation of an external reference which would then manifest itself in a way that would create the desired space. A study of the structural qualities of spongy bone was done in order to gain initial design elements used to create the facade of the project. This study helped to give an idea of a stranded system that I would eventually use to create a tiled system connecting the two main goals of the project into one. My Preliminary step in the project was to develop a series of curves that would define the final facade of the project. Once the facade was designed in a two-dimensional manner, the shapes placed strategically on the facade were extruded through the perpendicular vertical face. These zones were then excavated out of the existing structure to create the spaces within the project itself.
Excavation:Eames House Intervention
-
Perspective View of Eames House with Courtyard Intervention
-
Facade Design Existing Structure Extrusion Excavation
Spongy Bone Lifted Diagram Generated Diagram
Precedent Study
Construction Technique
-
Voids Illuminate at Night
Floor Plan0 1 2 4
-
View of Interior Seating Space
Longitudinal Section0 1 2 4
-
Perspective Section
-
Found SpaceArchitecture 10BPasadena City CollegeInstructor: Coleman GriffithSpring 2008
Concept: Cube Excavation
-
Spatial DiagramColin Winchell
Arch10B
Found Space or Forgotten Space is space that one comes across on an everyday basis without realizing the full potential of the space. In this project we were asked to analyze a found space and derive a series of shapes that make up the space. These analytical spaces were then extracted and taken into the digital world and intersected with each other in various ways. The extracted spaces were then placed within a cube and subtracted from the cube in a way that is inherent to the found spaces. The spaces I investigated called for specific sharp angles and intersec-tions that would interact with one another in a similar way to the way these spaces are found in the real world. This cube was then contoured, laser-cut, and spaced on dowels as a means of generating a new artifact of forgotten space.
Found Space:Cube Excavation
Full Extracted Space
Extracted Street Space
Extracted Slope Space
-
Spatial DiagramColin Winchell
Arch10B
Found Space
-
1 Space SubtractedFound Spaces 2 Spaces Subtracted
Interior View of Cube
-
3 Spaces Subtracted
Top Cube Axon Bottom Cube Axon
Excavated Cube Contoured Cube Subtracted Space
-
Construction DocumentsProfessional Practice OneWoodbury UniversityInstructor: Guilio ZavoltaSpring 2010
Partners: Brittney Dillon, Brittany Clark, Courtney Power, Renel Etniel
-
This space is designed as an open floor plan and is organized according to a datum or central axis which the spaces then rotate and shift off of for a choreographer. Requirements: open floor plan, multipurpose and functional spaces, light accentuations, translucent materials, single pitch roof, multi platforms which will be divided by levels and stairs according to a hierarchy.
Danc
e Stud
io/ Li
ving R
oom
Kitch
en
Bed
and
Bath
18" = 1'
Cov
ered
Car
port
Cov
ered
Car
port
Patio
Cour
tyardMain
Ent
ranc
e
Priva
te E
ntra
nce
20'
20'
15'
15'
17'
11'
10'
10'
10' ' 01
(har
dwoo
dflo
oring
)
(har
dwoo
dflo
oring
)
(mar
ley b
oard
floor
ing)
A.100
14
4954
ME
RID
IAN
STR
EE
TLO
S A
NG
ELE
S, C
A 9
0042
SCHEMATIC DESIGN
DATE
A.100
10001JOB NO:
ISSUE
CONSTRUCTION DOC 05.03.10
7500 GLENOAKS BOULEVARDBURBANK, CA 91510
PAGE NUMBER:
PAGE TITLE:
NO.
01
SITE SECTIONSCALE: 1/8" = 1'-0"
14
SITE PLANSCALE: 1/8" = 1'-0"16
Professional Practice was a semester long class in which we designed a simple house on a given site and were then asked to generate all of the construction documents for that house. We went through the entire design process including schematic and conceptual design and then created full scale construction documents containing detailed plans, sections, and wall details for specific instances within the structure. I found working on the wall details to be the most exciting part of the deisgn process. It was very interesting to zoom in and specify every nail and screw that went into one small portion of the building. When working in studio its very easy to ignore these details and it was refreshing to be able to spend time on the little details.
Professional Practice:Construction Documents
Site Plan
N0 2 4 8
-
This space is designed as an open floor plan and is organized according to a datum or central axis which the spaces then rotate and shift off of for a choreographer. Requirements: open floor plan, multipurpose and functional spaces, light accentuations, translucent materials, single pitch roof, multi platforms which will be divided by levels and stairs according to a hierarchy.
Danc
e Stud
io/ Li
ving R
oom
Kitch
en
Bed
and
Bath
18" = 1'
Cov
ered
Car
port
Cov
ered
Car
port
Patio
Cour
tyardMain
Ent
ranc
e
Priva
te E
ntra
nce
20'
20'
15'
15'
17'
11'
10'
10'
10' ' 01
(har
dwoo
dflo
oring
)
(har
dwoo
dflo
oring
)
(mar
ley b
oard
floor
ing)
A.100
14
4954
ME
RID
IAN
STR
EE
TLO
S A
NG
ELE
S, C
A 9
0042
SCHEMATIC DESIGN
DATE
A.100
10001JOB NO:
ISSUE
CONSTRUCTION DOC 05.03.10
7500 GLENOAKS BOULEVARDBURBANK, CA 91510
PAGE NUMBER:
PAGE TITLE:
NO.
01
SITE SECTIONSCALE: 1/8" = 1'-0"
14
SITE PLANSCALE: 1/8" = 1'-0"16
-
BATT INSULATION IN STUD CAVITY (R-13)
3/4" DOUBLE PANED GLASS
ALUMINUM WINDOW FRAME
3/4" PLYWOOD
1/2" CONCRETE PANELS
1/2" ANCHOR BOLT
2" X 4" SILL
#4 REBAR
3 /4" PLYWOOD
1/16" LINOLEUM
1 /2" X 3" BASEBOARD PAINTED
CONCRETE FOOTING
5 / 8" GYPSUM WALL BOARDPAINTED
5 / 8" GYPSUM WALL BOARDPAINTED
SILL PLATE
HEADER
3/ 4" PLYWOOD
1 /2" CONCRETE PANELS
2" X 6" ROOF JOIST
3" RIGID ROOF INSULATION
1 /2" SLATE SHINGLES
ALUMINUM WINDOW FRAME
4'-1 1
/4"4'-
4"2'-
4 5/8"
11 3/
8"2'-
8 7/8"
585'
570' 2" X 6" FLOOR JOISTBATT INSULATION IN FLOOR JOIST CAVITY (R-13)
3'
14'
CONCRETE PANELS 1/2"
PLYWOOD 3/4"
THERMAL INSULATION IN STUD CAVITY(R - 13)
GYP. BOARD 5/8"
SILL 2X4"
ROOF JOIST 2X8"
572'
DOUBLE PANED GLASS 3/4"
PAPER
HARDWOOD FLOORING 3/4"
SILL 2X4"
PLYWOOD 3/4"
5'-2
"
#4 BAR
2X4 SILL
2X4 FLOOR JOISTS
BATT INSULLATION
1'-6"8"
2X4 RIM JOIST
TOP PLATE 2X6"
SILL 2"X4"
WINDOW FRAME 2"X4"
TOP PLATE 2"X4"
ROOF JOIST 2"X6"
PLYWOOD 3/4"
SLATE SHINGLES 1/4"
CUSTOM CURTAIN WALL
6'-0
"6'
-0"
RIGID ROOF INSULATION
WINDOW FRAME 2"X4"
565'
MARLEY BOARD FLOOR 4 1/2"
1'-8"
#4 REBAR
CONCRETE FOOTING
PLYWOOD 3/4"
8"
BATT INSULATION IN FLOOR JOIST CAVITY (R-13)
2X6 FLOOR JOIST 16" O.C
8"
4954
ME
RID
IAN
STR
EE
TLO
S A
NG
ELE
S, C
A 9
0042
Wall Sections
DATE
A.600
---JOB NO:
ISSUE
DATE 03 23 10
7500 GLENOAKS BOULEVARDBURBANK, CA 91510
PAGE NUMBER:
PAGE TITLE:
NO.
01
Wall Section (C.P.)SCALE: 3/4" = 1'-0"15
Wall Section (C.W.)SCALE: 3/4" = 1'-0"6
Wall Section (R.E)SCALE: 3/4" = 1'-0"10
WINDOW FRAME 2X4
WINDOW FRAME 2X4
ROOF JOIST 2X6
TOP PLATE 2X4
CUSTOM CURTAIN WALL
PLYWOOD 3/4
RIGID ROOF INSULATION
SLATE SHINGLES 1/4
SILL 2X4
2X6 FLOOR JOIST 16 O.C.
CONCRETE FOOTING#4 REBAR
Wall Section
MARLEY BOARD FLOOR 4 1/2PLYWOOD 3/4BATT INSULATION IN FLOOR JOIST CAVITY (R-13)
2 X 4 SILL
DOUBLE PANE GLASS
SEALANT
METAL FASTENER
ALUMINUM FLASHING
0 6 12 24
-
1% SLOPE
DOUBLE PANE GLASS 3/16"SEALANT
WINDOW FRAME 2X4
ALUMINUM FLASHING
SEALANT WINDOW FRAME 2X4TOP PLATE 2X4
ROOF JOIST 2X6
METAL FASTENERALUMINUM FLASHING
DOUBLE PANE GLASS 3/16"
1% SLOPE
SEALANT
METAL FASTENERALUMINUM FLASHING
DOUBLE PANE GLASS 3/16"WINDOW FRAME 2X4WALL STUD 2X4WALL STUD 2X4
WALL STUD 2X4
4954
ME
RID
IAN
STR
EE
TLO
S A
NG
ELE
S, C
A 9
0042
Details
DATE
A.700
---JOB NO:
ISSUE
DATE 03 23 10
7500 GLENOAKS BOULEVARDBURBANK, CA 91510
PAGE NUMBER:
PAGE TITLE:
NO.
01
Curtain Wall Meets Roof Detail (C.W.)SCALE: 3" = 1'-0"5
Window Sill Detail (C.P.)SCALE: 3" = 1'-0"14
Bathroom Floor Detail (C.P.)SCALE: 3" = 1'-0"13
Marley Board Floor Detail (C.P.)SCALE: 3" = 1'-0"15
Curtain Wall Structural Detail (C.W.)SCALE: 3" = 1'-0"6
Plan of Curtain Wall Meets Corner (C.W.)SCALE: 3" = 1'-0"7
Window to Sill Detail (R.E.)SCALE: 3" = 1'-0"7
2 X 6 SILL
2 X 8 SILL
STUDIO FLOOR (SEE DETAIL)
5 1/4"
1 1/2"
1"
3/8"
9 1/4"
STEEL CABLES
STEEL STRINGER
STEEL COLUMNS
STEEL BOLTS
STEEL BASE
3/ 4" PLYWOOD
5 /8" HARDWOOD
2 X 4 STUD
1 /4" STEEL PLATE
CANTILEVERED HARDWOOD TREAD
GYP. BOARD 5/8"
HARDWOOD FLOORING 3/4"
PLYWOOD 3/4"
PLYWOOD 1/2"
CONCRETE PANEL 1/2"
WOOD BALUSTER
DOVE TAIL JOINERY
2 X 6 SILL
6"
5 /8" PLYWOOD
3 /4" FINISHED HARDWOOD FLOOR
2 X 6 JOIST @ 16" O.C.
2 X 6 DOUBLE HEADER
FOOTING
2 X 14 STRINGER
2 X 10 LEDGER
2 X 6 JOIST
R30 INSULATION
5/8" PLYWOOD3/4" HARDWOOD
5/8" PLYWOOD3/4" HARDWOOD
5/8" PLYWOOD3/4" HARDWOOD
4954
ME
RID
IAN
STR
EE
TLO
S A
NG
ELE
S, C
A 9
0042
DETAILS
DATE
A.702
10001JOB NO:
ISSUE
CONSTRUCTION DOCS 05.03.10
The drawings and specifications and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe specified project for which they have beenprepared and developed without the writtenconsent of the Architect
Written dimensions shall have precedence overscaled dimensions. The Contractor shall verifyand be responsible for all dimensions andconditions on the jobsite and report anydiscrepancies to Architect.
The drawings and specifications indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.
7500 GLENOAKS BOULEVARDBURBANK, CA 91510
PAGE NUMBER:
PAGE TITLE:
NO.
01
STAIR TO MARLEY BOARD FLOOR DETAIL (R.E.)SCALE: 3" = 1'-0"15
BEDROOM RAILING DETAIL (C.P.)SCALE: 3" = 1'-0"13
CANTILIEVERED STAIR DETAIL (C.W.)SCALE: 3" = 1'-0"6
BALUSTER STAIR DETAIL (B.C.)SCALE: 1 1/2" = 1'-0"14
KITCHEN TO STAIR DETAIL (B.D.)SCALE: 3" = 1'-0"6
2 X 4 SILL
DOUBLE PANE GLASS
1/8 VINYL PERFORMANCE SURFACE
1/8 VINYL PERFORMANCE SURFACE
SEALANT
3/8 TOP PANEL SUB-SURFACE: SEMI-FLEXIBLE
CONCRETE PANEL 1/2
1/2 LOWER PANEL SUB-SURFACE: SEMI-FLEXIBLE
PLYWOOD 3/4
PLYWOOD 1/2
METAL FASTENER
1X3 WEAVE STRINGERS CLEAR SOUTHERN PINE
2X4 STUD
1X3 WEAVE STRINGERS CLEAR SOUTHERN PINE
GYP. BOARD 5/8
1/2 RUBBER SUSPENSION PADS
CANTILEVERED HARDWOOD TREAD
6MM POLYETHYLENE DAMP PROOF MEMBRANE
STEEL PLATE 1/4
6 CONCRETE SLAB
HARDWOOD FLOORING 3/4
ALUMINUM FLASHING
Floor Detail
Stair Detail
0 3 6 12
0 3 6 12
-
Name : Colin Winchell
: Woodbury University School of Architecture - Projected Graduation: Spring 2013
Education
: Jonfonya Design: Intern: June 2010 - January 2011
Architectural Experience
: 3D Modeling - Rhinoceros 4.0 + 5.0, Grasshopper, Revit 2012 Drafting - Autocad 2012, Revit 2012 Rendering - Vray, Maxwell Render, Artlantis Animation - Autodesk Showcase, Unity 3D Adobe - Illustrator cs5, Photoshop cs5, InDesign cs5
Computer Literacy
: 818-522-0598Phone Number
: [email protected] [email protected]
Email
: 2921 Henrietta Avenue La Crescenta, CA 91214
Permanent Address
-
1 AR 280 Spring 2010: Site Orders Instructor: Kelly BairProject 2: Mapping Site/Constructing Ground Students: Andre Gharakhanian, Brian Hardy, Colin Winchell
635637
637
665667
669671
673675
677679
681683
685687
689691
693
695
697
699
701
703
639
639
641
641
643
643
645
645
647
647
649
651
656658
660
660
660
662
662
662
662
664
664
666
666
668
668
670
670
672674
676
676678
678
680
680
680682
682
682 684
684
684
686
686
686
688
688
688
690
690
690
692
692
692
694
694
694
696696
696
698698
698
702702
702
702
702
700
700
700
704704
704
704
704
706
706
706
706
706
708
708
708
708
708
710
710710
710
710
712
712
712
712
714
714
714
714
716
716
716
716
716
718
718
718
718
718
720
720
720
720
720
722
722
722
722
724
724
724
724
726 726
726
726
726
728
728
728
728
728
730
730
730
730
730
730
732
732
732
732
732
732
734
734
734
734
734
734
734
738
738
738
738
738
738
740
740
740
740
740
740
744
744
744
742
742
742
742
742
746
746
746
746
748
748
748
748
750
750
750
750
752
752
752
754
754
754
756
756
746748750752
754
756
758
758
758
760
760
760
762
764
762
764
766
766
752754
756758
760764766
748750752754
756758760
764766
768
768
768
768
768770
770
770
770
770
772
772
772
772
774
774
774
774
776
776
776
778
778
778
778
780
778
776
780
780
782
780
782
782
784
782
784
784
786
784
786
786
764766768770
756758
760762764766
768770
772774776780782784786
788
786
788
788
790
788
790
792
790
792
794
792
794
796
794
796
798
796798
800
800
802
804
806
808
788790
774776
780782784
786788790
792794796798
798
800
800
802
792794796798
778
772774
776
780
800
802
804
806
808810
812
814
816
818
820
822
824
810
812
814
826
828
830
832
834
736
736
736
736
732
738740
744742746
736
738740744
742746748
750752754754
756758760
762764766
768770
736
736
722724726728
730732734736
678
635682684686688635
635688690692694696
698700702704706
708710712714
718720
722
724726
728730732734738740
744742746748750752754
736
-Henry David Thoreau
If you have built castles in the air, your work
need not be lost; that is where they should be.
Now put foundations under them.