Timothy "Mo" Harmon, Design Portfolio
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current sample of design studio work (2011 - 2012)
Transcript of Timothy "Mo" Harmon, Design Portfolio
university of california, los angeles - fall 2012design studio / professor roger shermaneight week project
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THE NEW NEIGHBORS “The New Neighbors” works against the one-to-one relationship between geometric primitive and housing unit typical of student projects. Instead, this project breaks down that relationship, dissolving the boundaries in the process. In doing so, the identity of the individual is dissolved in favor of promoting the identity of the collective. Relationships with neighbors are promoted and connected in different ways.
In order to create this strategic planning, rules were established to generate iterative geometric primitives while maintaining calibrated geometric relationships across the site. These variably discontinuous adjacencies activate the street for pedestrians, create legible entrances to home offices, and allow for cars to slip underground to parking below. Away from the street, these shifting voids offer courtyards of various size and program. On the second level (second Landscape), the blue tunnel voids offer elevated garden spaces shared between elevated neighbors. Finally, the third Landscape focuses inward, offering more isolated and private dwelling spaces.
OR
OR OR
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OROR15'
29'
"depth" varies between 15 and 19 feet
aligning to alternating corners
"width" varies between15 and 19 feet
"depth" varies between 14 and 56 feet
42' 58'
15'
11'
15' 14'
24'19'
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"depth" varies between 14 and 24 feet
11'
30'
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14' is minimum to allow for circulationand comfortable living spaces
if not street-facing, depth equals depthof 1st layer; varies between 14 and 24'
removal of specific third levelsincreases visual privacy of others
allows for more visual privacy
19' allows for moreaudio privacy
if street-facing, extends to street centerline; varies between 29 and 56'
if street-facing, extends to street centerline; varies between 29 and 56'
24' maximum allows for daylighting
15' allows for more daylightingwithin and under the third level
LS_3
LS_2
LS_1
“rules” of operation three distinct Landscapesiterative geometric primitives
oblique sectionnorth-south
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plan drawing (LS3)cut 36’ off ground
plan drawing (LS1)cut 3’ off ground
plan drawing (LS2)cut 19.5’ off ground
site plan drawing 4
oblique sectioneast-west
physical modeletched layered acrylic
physical modelpainted bass wood
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I created a porous mass in which living units find themselves and neighbor relationships are flexibly connected. Units cross over the deliberately discontinuous landscapes. There are three distinct landscapes, which offer unique visual experiences. These landscapes further promote the assertion of community by level over the assertion of the individual unit.
The first landscape (LS1) runs primarily north-south, while shifting east-west to create openings and semi-closures. This shifting strategy activates the street and opens courtyards away from the street, connecting groups of neighbors together. LS2 features large voids running east-west, visually connecting rows of neighbors while physically connecting pairs of neighboring units via roof terraces.
LS3 is a scattered non-directional pattern of pixels, offering more privacy and directing their focus inwards. Neighbors viewed are skewed from their direct neighbors by the shifting logic of organization.
“generic unit” plan36’ off ground
“generic unit” plan25’ off ground
“generic unit” plan14’ off ground
“generic unit” plan3’ off ground
“generic unit” section
perspective viewfirst roof terrace (LS2)
two “housing units” sharing one geometric unit
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This project was for UCLA’s Structures Core Studio. The program is an electric car assembly plant and showroom, sited in downtown Los Angeles.
This project makes use of a multi-layered structural system. Conical section glulam arches carry vertical loads from the steel diagrid shell. Three divisions of span dictate a different number of diagrid divisions as well as the number of slits in the shell. These slits are inserted with a truss system to help the diagrid carry the load over the larger spans. The slits also serve to bring north-eastern light into the building.
At the valleys of each bay, the diagrid transitions into a trussed beam which spans between the conical section glulam members. The depth of these trussed beams is given by a proportional relationship to the span.
COMPOSITION OF STRUCTUREuniversity of california, los angeles - winter 2011design studio / professor hadrian predockeight week project
(left) exterior perspectiveground floor plan drawing
projectmaterial storage
showroomproject
shaping studio
fiberglass
photo studio
shipping and loading
project
Santa Monica Freeway
Lemon Street
Mateo Street
Damon Street
milling
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interior perspective - assembly spaceglulam conical section diagram
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Vertical loads transfer from steel diagrid to steel truss to glulam conical section members. Horizontal forces in the primary direction are resisted primarily by the glulam members, which act as a portal frame. Horizontal forces in the secondary direction are resisted by the combination of sheer walls between glulam members and trussed steel beams which gain depth at their ends to provide moment support. Mezzanine and showroom floors are suspended on tension cables attached to elliptical steel tubes.
trimmedfor varying depth profile
moment connection
pin connection
CROSS-LAMINATED TIMBER (glulam)produced from kiln-dried finger jointed spruce/fir planks which are sorted and cut into sheets. These sheets are then stacked at right angles and glued under a high pressure bonding system in perpendicular layers.
BENEFITStruly sustainable alternative to traditional materialscost and time savingsprecision - CNC cutstructural strength - bi-axial performance
PRODUCTIONcut into sheets 54’ x 9’8” (16.5m x 2.95m) 3 - 9 layers 2.1” - 12” (55 - 300mm)
west - east section perspective
physical modelbuilt at 1/16” = 1’
(above) physical modelinterior perspective, construction details
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Experientially, the space is organized with a directional bias. In one direction, the glulam conical sections read with thickness as graphic pattern. In the secondary direction, the glulam members are thin and read as thin lines. Shear walls and steel trusses also respond to this directional bias emphasizing thinness or graphic thickness. Light streaming in from the crescent slits in the envelope and the design of curvilinear stair runners reinforce the graphic quality of the conical section’s continuous curvature.
structural analysis and optimization diagramsusing Grasshopper and Kangaroo Live Physics
(right) composite perspective
diagrid center-line geometrygravity analysis
diagrid center-line geometrygravity analysis
original inflationpre-stress
“optimized” inflationpre-stress
original inflationgravity analysis
“optimized” inflationgravity analysis
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Each Product (physical model, three drawings) displays an aggregation which is highly related to the others’, but is still unique. Rather than thinking of the physical Product as the “model” and the drawings as representations of that model, the four Products here are neither models nor representations, but are different iterations of the same system.
The physical Product uses a rigid rule set to govern its growth. Drawing 1 displays those connections present in the physical model, and additionally explores alternative connection strategies physically possible but not actually present in the physical Product. Drawing 2 aggregates using that original list of connection options, but does so in a more controlled manner than the physical so as to increase clarity of the connection strategy.
physical model“Drawing 1 and 2”organizational diagram drawings
(right) “Drawing 3” - experiential drawing
TANGENTIAL AGGREGATIONuniversity of california, los angeles - fall 2011design studio / professor georgina huljichthree week project
Drawing 3 takes on all the possible connections explored in Drawing 1 to produce an aggregation mainly built of strings of Primitives. These strings bend, twist, turn, branch, bundle and dead end, forming a different aggregation not previously explored with this project.
Drawing 3 tells two narratives: it displays the narrative of the Primitive’s aggregation in three-dimensional space, and highlights the anomalies in the system; secondly, it explores a narrative of drawing convention and representation. This second narrative does more than highlight specific moments in the field; it changes the moments producing a richer field. Hierarchy and differentiation are created with the division, deletion, addition, and manipulation of line work to produce a lineage of points, lines, surfaces, and volumes. Moments are isolated and expanded to obscure and enunciate the intricacies of the representation.
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east-west section perspective
As the waters surrounding Manhattan rise, the city’s edge will be redefined. Eventually the water will rise high enough to claim many of the streets, requiring New York to open up to radical possibilities.
Despite its initial appearance, this form is not a landscape but a building; it is a building that operates in a different logic than traditional buildings. This allows the project to simultaneously act as a field - which promotes movement and flow, entering and exiting - and as a figure - a singular form which is identifiable and complete.
The project builds off the concept of continual surface. The bands of surfaces unite together blurring themselves and distinguishing themselves at different moments, always allowing access through the space to be uninterrupted. Space is defined by horizon lines, rather than vertical walls.
ON THE EDGEuniversity of michigan - winter 2011design studio / professor rosalyne shieheight week project
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physical modelbuilt at 1/32” = 1’
ground level plan drawing
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exterior perspectivescurrent and future water level rises
north - south section drawing
As the waters rise closer to the roof surface, the relationship between the water and surface begins to act like a beach. The proximity of two separate worlds charges this edge. Additionally, the roof surface
becomes the datum on which new construction can take place. The placement of beach sand reinforces the idea that the interior of the building is now the “underground.”
Additionally, the chances of storm surges and floods increase. In order to protect the two Manhattan blocks circled by the building, storm walls drop down and keep water out. this provides shelter for long term periods of time.
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aerial drawing - future 8’ water level riseaerial drawing - current condition
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This project organizes space primarily through the plan. Curves, materialized as bent plywood, laminate and delaminate as they flow through the space making spatial and physical connections to the given site’s walls and columns. The moments of lamination express themselves as curvilinear fillets, defining buffer zones of voided space. These spaces are not only evident in plan, a view which no occupant will see. The walls drop down to reveal the voids and the delamination process to occupants of the space.
This project is also focused on sidedness. Each surface has a front face and a back face. The laminated plywood behaves as a multiple layer skin (double, triple, or quadruple skin). As one side of the skin peels away from the opposite skin, an eerie blue inside reveals itself to the occupants of the lounge, making them hyper-aware of the physical process of lamination.
interior perspective, west-east section(right top) interior perspective, context floor plan, physical model
(right bottom) floor plan drawing
DELAMINATED BEASTuniversity of california, los angeles - fall 2011design studio / professor georgina huljichfive week project
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MASKuniversity of california, los angeles - spring 2012design studio / professor mohamed sharifsix week project
in collaboration with MEGAN LEPP and JULIE MITHUN
This is a study for a façade appliqué, or mask, that may be used as an enhancement to the character and environmental performance of preexisting normative buildings in a temperate climate. Drawing cues from Sir Nicholas Grimshaw’s high-tech British Pavilion for the ’92 Seville Expo, our project developed into a lightweight, soft-tech kit-of-parts assemblage comprised of four types of components. The components, analogous to cartilage, muscle, artery, and bone, form a puffy and translucent layered system. This system evokes a sense of suppleness and buoyancy by transforming the typically angular skeletal frame into a bubbly skin.
The exterior surface engages the viewer with multiple levels of detail. From afar, the system registers as a smooth, puffy silhouette, which softens the boxy nature of the building behind it. From a closer view, the ETFE pillows virtually disappear, revealing the intricately detailed acrylic elements and their embedded infrastructures of light and air.
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detail section drawingdrawing in collaboration with Julie Mithun
(left) physical model on displayapprox size 4’ x 4’ x 8’
cartilage panelization
arterial infrastructure
planarized back panels
skeletal system
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perspective viewwest facade
exploded axon detaildrawing by Megan Lepp
detail perspectives
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perspective viewnorth facade
ETFE detail drawingsdrawings by Megan Lepp
isometric drawings
Morphologically, the project focuses on a corner entry where the geometric billowing invites access through multiple thresholds between interior and exterior space. In elevation, a gradual transition occurs from a regular taut arrangement of vertical cartilage fins on the west façade to a softened composition of swollen, horizontal
windows on the north façade. The vertical fins block out the harsh low-angle western sun but maintain outward views while the large apertures on the northern façade provide more generous, glare free views. The mask interweaves endo- and exo-dermic systems to create interplay between pillow and cartilage; the cartilage dominates the western elevation and recedes on the northern elevation
as the pillows grow and the ETFE frames push out to expose themselves. On the inner-facing skin surface, translucent planarized panels complete the layered composition, creating a more geometric faceted surface to relate to the existing normative curtain-wall system.
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