ARCHITECTURE + DESIGN

Jonathan Chambless

5301 US Highway 35 South, Muncie, Indiana, 47302

jcchambless@bsu.edu

cell: (765)-520-1532

ARCHITECTURE + DESIGN

Jonathan was born October 24, 1994, to his parents Jeff and Kristi in the small town of Middletown, Indiana. He has two sisters and one brother: Katlynn, Jakob, and Kamille. Jonathan married his wonderful wife Cambry in May of 2014. They are currently living in Muncie, Indiana where he is studying for an undergraduate degree in architecture at Ball State University. Jonathan has always loved creating, designing, engineering, and constructing anything he can get his hands on. He was also extremely interested and involved in sports throughout high school and plays basketball and volleyball in many leagues around the Muncie area. His strong-willed persona, competitive nature, and his open minded attitude extend through his ideas and theories about design into the composition of his work. Jonathan is proficient in his ability to grasp new concepts and rapidly understands anything new that comes his way. He enjoys challenges in his work and pushes himself to accomplish new heights each and every project. Jonathan also savors any opportunity to educate and encourage others around him, including colleagues and students at a younger level, and benefits a great amount from those opportunities. Jonathan loves what he does, who he is, who he has become, and the dream of impacting and impoving the lives of others through design and architecture.

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Check me out:

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03Folding Japan

Hardwood 60

Torus Treehouse

13 Exploring TransformationsDigital Fabrication

The Art of Architecture

Site PlanN

Indiana

Morgan County

The Indiana Hardwood Lumbermans Association is a society that was started in 1899 when about a dozen Hosiers decided to hold a meeting to discuss marketing hardwoods at a national market. Today the IHLA is a relevant, member-driven trade association, whose members share a passion for creating the worlds finest hardwood products. The project incorporates all the ideals of the IHLA putting the focus on the high quality hardwood products grown and manufactured in Indiana. The structures design is based in principles of a managed forest, or tree plantation, describing the form of the building with the gridded nature of the plantations. The building includes two exhibition spaces, a museum showing the history of Indiana hardwood, a training sawmill and classroom spaces foe future lumberman, and outdoor spaces for annual lumberjack competitions. The spaces are all defined by the shape of the grid, and the placement of each space within the grid then defines the views impressed on the visitors. The primary material of thestructure is concrete, which again drives the focus on how the building is planned based on the sustainable managed forest. The IHLA hardwood museum and exhibition center is a great place to learn about the types of hardwood and how it is processed into the final product.

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Indiana Hardwood History Museum And Exhibition Center Hardwood Design Competition - Indiana Hardwood Lumbermans Association

Ground Floor

Second Floor

Third Floor

Lower Level 1

Lower Level 2

West Elevation

Section A

Section B

South Elevation

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A typical managed forest or tree plantation is planted in rows of a right angle grid. The design is based on this concept but the grid is alligned in a hexagonal or triangular pattern.

The projects design is based on the simplistic folding technique developed by designer Paul Jackson in his book: Structural Folding Techniques for Designers. The thought behind the fold is taking a rubber cube and streching it by two opposite corners or edges to the desired skew. I took the folding technique he had defined and applied my own demensions and angles to fit best in the context. I then took the shape and started to develop all the possible end conditions and mid-sections, shown to the right, which can be streched and scaled in any direction to fit any possible constraint. This also creates a modular form that can be adjusted by the designer or client depending on what end condition and size of the structure. In the case of the program for this design, the spaces were developed to

fit the needs of the two brothers. One of the brothers needed a space that can control noises coming into the space and also noises in the space. The other brother need space to do large art, indoor and outdoor, for projects that involve harmful fumes or chemicals. The building is also occupied by a store, owned and operated by the two brothers uncle. Both the brothers, and their uncle, are compasionate about the automotive world, especially the types of cars produced and raced in Japan. The design accomodates the needs and wants of the occupants, and it provides spaces for large groups of freinds and family to be entetained.

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Entry Level: Store Area

Second Level: Living Space for theTwo Brothers

Second Level: Studio One Loud Artist

Third Level: Studio TwoLarge Artist

Artist 2: Ayano: Younger Brother: Passionate & Artistic Ayano is more on the extrovert side of design, trying to break out his own brand on the canvas of a car body. The aspirations of his brothers work strongly influence the way his art takes ahold of the vehicle.

Shop Owner: Uncle Yuuma: Relaxed & Truthful Yuuma is the uncle of the two artist. His shop, filled with high end proformance parts for automobiles help fund the boys works and designs. He is the main owner of the structure and rents out the appartment space to his nephews.

Artist 1: Michiko: Older Brother: Smart & Mechanical Michiko is an aspiring mechanic looking into the future of automobles. Using his brothers artistic concepts and pactices, the two work togeter to develop new designs and innovations.

Level 1

Level 2

Level 3

07

Creating and building models is one thing I find extremely helpful in understanding a design. When in the process of designing quick and expressivephysical modeling is an easy and effective for me to communicate ideas. I enjoy the process of making models. It is an art in iself and helps me and my colleagues understand concepts and ideas of projects. I also like to comunicate my ideas using graphics and vector images. This type of drawing allows the design to express the qualities of material, color, shadows, and environment. The Japan folding house is the first project where I used this type of presentation to communicate my design. Using this graphic style along with my model making skills provides an opportunity for me to comunicated my designs clearly.

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The torus is given implicitly as the set of points on circles of radius three around points on a circle of radius five in the xy plane:

0 = ( x2 + y2 + z2 + 16)2 100( x2 + y2 ) Slicing with the z = 0 plane produces two concentric circles: x2 + y2 = 22 and x2 + y2 = 82

Slicing with the x = 0, and or y = 0, plane produces two side-by-side circles: (y 5)2 + z2 = 32 and (y + 5)2 + z2 = 32

Two Villarceau circles can be produced by slicing with the plane 3x = 4z. One is centered at (0, +3, 0) and the other at (0, 3, 0); both have radius five. They can be written in parametric form as:

(x, y, z) = (4cos v, + 3 + 5sin v, 3cos v) and (x, y, z) = (4cos v, - 3 + 5sin v, 3cos v) The slicing plane is chosen to be tangent to the torus while passing through its center. Here it is tangent at (165, 0, 125) is uniquely determined by the dimensions of the chosen torus, and rotating any one such plane around the vertical gives all of them for that torus.

intersection is about a moment in which two concepts collide with each other. The idea of a surface-to-strucure methodology of design is predominately focused on this project. The mathematical proofs of villarceau circles combined with a common command in 3d modeling, polar array, reveals these interesting intersections among multiple surfaces. Once this form is established, a triangulation of three layers of surfaces are extracted from the torus form. A ground plane is then introduced in which the structural capabilities surfaces and surface sections are revealed.

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The design is a system of layered planes defined by the torus formality established earlier in the project. Each of the four sections of the treehouse is composed of three planes, which are at individually perscribed angles, that intersect and overlap when being constructed. The planes are constructed using two layers of OSB sheathing that are cut to fit on one four foot by eight foot sheet. The pieces are then mechanically fastened together and sliped into the slots of the other two planes. Once a section is constructed it is placed onto the framing of the treehouse which is attatched to the tree.

Understanding the scale of the structure was the next portion of the design. The original thought was one of an airport terminal, however as the project developed the scale of the arch began to magnitate towards a much more intimate scale that creates a smaller overall spatiality. Due to the new scale of the structure and the parameteric formation of the structure, the product was given the appropriate name intersection, which immulates the ideas incorporated into the design and the feeling derived from the paillion, better known as a treehouse.

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JUST EXPERIMENT

Tessellations are geometric patterns that can repeat forever. When captured in paper, beautiful pieces of art are created in intricate pleats and folds. - Eric Gjerde

The design methodology of folding is a method I have been excited about since my first year in architecture school. The act of folding is a process that is not typical. It is not additive or subtractive, or even constructive, however it is transformative in its own nature. The idea of the methodology is to find form through folding, then apply a material to support the form you have created. I wanted to develop the technique so that not only am I using it to find form but the methodology carries through, the transformative nature. Ron Resch, an artist, computer scientist, and applied geometrist explored folding. His interest, and mine, revealed the technique of tessellations. A tessellation is a geometric design folded from a single sheet of paper, creating a complex repeating pattern of shapes from folded pleats and twists. They range from simple square tilings to extremely intricate pieces. The diagram to the left shows the tessellation I used to develop this project. Instead of creating a new fold, I decided to reverse engineer and extract one tiling, also known as a molecule, to derive the design.

From this single molecule, I developed six different orentations, or arangements, all of them stiming from the same tesselation pattern. Ideas and questions about the implications of this form began to appear in my thoughts. I pushed in the direction of disaster relief. The designs were simple enough to assemble and trasport easily and quickly, and the ability to manipulate the form also make it ideal for a relief situation. Each form can relate to a specific task such as shelter, transition, or health-care and food distribution.

DIGITAL FABRICATION

The simple abillity to produce a model serves my design process well. By using multiple softwares and fabrication methods, I have learned much about the digital fabrication methods. Software such as Rhinoceros, Grasshopper, and 123Dmake has allowed me to produce quick and well represented designs and ideas. Also studing different types of fabrication methods such as waffling, stack-slicing, and 3D printing has revealed many oportunities for me to expand on complex ideas. Shown here are few of the multitude of products I have created using these softwares and methods of fabrication.

Exploring forms by layering cardboard sheets is valuable to the way I develop ideas. This is a common practice in digital fabrication because it is quick and descriptive of form allowing us to identify comunication among objects.

ArtandA

rchitecture

Architecture is art, nothing else. -Philip Johnson

If a building becomes architecture, then it is art. -Arne Jacobsen

To me, design is a theory... about understanding.

I once noted that beauty directly streams from understanding, and when we, as people not designers or architects, see anything, and then we do not understand it, it is chaotic. Then there is a moment which that thing reveals itself to us, the moment in which we understand, even though it might not be a full comprehension. That moment and that thing is now erupts in beauty. In this project we experimented with the simple ideas focused around developing rendering skills. However, I found something deeper while I was creating this piece. First, I developed a single geometric, prism-like form, that had a thickness and also had qualities of a red-tinted glass. I then multiplied and manipulated the prism and oriented 8 of them together. I found that this project meant more to me about what architecture truly is about. Creating a piece of art. Architecture means so much more to me now that I understand this, and as I continue to learn and grow my designs fashion themselves to me quickly and clearly. Without any doubt I can strongly say that this is one of my simplest projects but also one of the most important to me.