Here’s my model from studio–the drawings will be up later:
I haven’t posted in a while because I have been super busy.
In my studio this semester, we have participated as decathletes in the DOE’s Solar Decathlon. I went to DC for over a week in the middle of the semester to help assemble the house there in preparation for the competition.
Now we are working on a project that may change into a built project over the course of the next few years if everything turns out favorably. ALCOA, the aluminum manufacturer, was watching the decathlon studio over the past couple of years, and have communicated to the school that they may want to have the students design a similar small, zero energy housing unit to showcase their company (and especially their aluminum).
We all chose our own sites, and the other studio was doing an urban studio, so I chose to place my houses in downtown Maryville, TN. Because of the city context, I chose to follow the row house typology–a project into lightweight modular urban infill. This is my project so far–the process is still ongoing, so I will have to make many more changes before the end (in fact, a lot of it changed drastically today after my latest desk crit:
This was a wall section I worked on with a classmate for my materials class. It was taken from a design by a Scandinavian architect named Sigurd Lewerentz. We poured the walls from hydraulic cement–not very easy at this scale… We took four tries to get it right because the concrete wasn’t completely flowing into the mold. The base is built up from MDF and hummosote, and the flooring material was made from hardi-backer. The roof is made from bass wood that we clear-coated to represent a standing-seam copper roof.
Here’s the final version of the Center for Professional Ethics I will be presenting tomorrow at 2:30…
I’m a bit exhausted now, so I’ll let the pictures speak for themselves.
Yesterday we had a process review for a new project on the same site at Emory University. This project is larger (7000 sq. ft.), and takes up more of the site in front of Cannon Chapel. The project was an Ethics building, and I started with the idea of a moral compass. This gave me two directional systems, one for the orthogonal relationship with the quad–this represents Man in his relationship with other men. The second is on a true north-south axis, and it represents man’s relationship with God.
These images were from the review–they will be changed a lot before my final review:
This is what my finished project for the Emory Quad looks like…
We were playing for the first time with more computer generated boards for our final presentation–before this point, we were discouraged from using the computer until we could learn the basics of drafting by hand and have better coordination between our eyes, our minds and our hands. The philosophy of the school is that we communicate best when we can graphically represent ourselves through our drawings–and the use of the computer is a good tool for that end, but relying solely on the computer for our designs limits our capabilities as designers. Now that we have achieved some level of proficiency with our drawing/drafting skills, we are being encouraged to branch out with the computer as just another tool in our quest to be able to represent the concept graphically.
The earlier design I posted has gone through some tweaks, including achieving a better height ratio against the surrounding building facades and a screen that shades from the harsh sunlight from the south, east and west–it carries over into the north, but the screen is more broken up on the northern face, where not as much screening from the light is necessary. The screen is meant to be of a terra cotta material mounted on a steel frame–but a lighter, more beige color than the terra cotta roof tiles that you usually see, which matches the colors of the stone facades that exist in the quad a little better. Placement of the long tiles in front of the windows is meant to seem randomized, but there is also a deliberate placement in certain points to accentuate the views from different positions in the building. At places where the occupants may be sitting, the placement of the tiles is gapped at the eye level of a seated figure, and where the highlight of the motion through the building is meant to be experienced through standing or walking, the eye level of a standing figure is framed through the terra cotta pieces. The light through the terra cotta tiles would also create very dramatic shadows and dappled lighting throughout the building.