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Final Proof UGH

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the question Is it possible to construct a heighten sense of connectivity and belonging of the project site and its program with its inhabitant through a heighten degree of hepatic, optic, and cognitive (even metaphysical) experience (a temporary departure from the ordinary) that will result in its greater use and appreciation of the place?

hypothosis It proposes this could be best achieve through three design strategies. a) The building subtly engage the site as to almost disappear as landscape that carves into the ground. b) A series of zones (differentiated by its program) that has noticeable difference in its sensational and metaphorical qualities by a quasi-hieratic arrangement of wrappers around a rhythmic structure (concrete, wood, and glass surrounding structural concrete walls and vierendeel trusses). c)surround and stimulate the inhabitant, further intensifying the zone’s sublime quality.

INSTRUCTOR: Fred Pearsall COURSE: Arch Design Studio IV/ Velux CompetitionRECOGNITION: Finalist (12/140 students)

PUBLIC AQUATIC CENTERSMYRNA

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Atlanta

Symrna

N

wrappersand later inside the building, to drown out completely)

(resulting in reducing cognitive noise)

(which direction should it turn, where should it bend, etc) .

jonquils

program: 50,0005 POOLS

, 2 DECKS SHOWER/LOCKER ROOM & SAUNA 3 OFFICES, 2 CLASSROOMS, SERVICE & MAINTAN-ECE ROOM, 12 PARKING SPACES

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ROOF DECK/LAP POOL provides a private open platform where one can liberally use its space. As required by the program, this area is the primary outdoor meeting/event space for various functions for the new Smyrna Town Center and Smyrna Parks & Recreational Department.

LIGHTING STRATEGY The light in the pool area must be a soft diffused light, as harsh direct lights creates an undesirable condition for competitive swimming. It is divided into many sectors that could be turn off/on as to

providing adequate lighting.

wood wrapper wraps around the shower/locker/sauna rooms (servant spaces) and the concrete structural walls (stereotomic)

glass wrapper wraps around the (served spaces)

and the vierendeel trusses (tectonic)

STRUCTURE two opposingtypology of structure concrete walls vs stainless stell vierendeel trusses (stereotomic vs tectonic) arranged in a rhythmic order

S3 (ramp)

S4 (children’s pool)

S5 (olympic pool)

S6 (diving pooll)

S2 (entry)

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diagram BODIES OF WATER(CYAN); SHOWER/LOCKER ROOM(GRAY)

diagram CIRCULATION(CYAN)

diagram JONQUIL FIELDS(CYAN); DECKS(GREY)

PERSPECTIVE SECTION (c)

PLAN

SECTIONS

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A B

CD

A B

C DE

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FE

B

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CONCRETE WALL

WOOD WALL

GLASS WALL

elevation (UNWRAPPED)

A

A

B

B C D

DB A

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C D

C E

E F

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axiometric

elevation FRONT

elevation BACK

section

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NATURE EDUCATION CENTER

DUNWOODYthe question One questions the possibility of reconstructing the apparent poplar relationship of building and its natural site as to be seemingly together that not only will the

cycles of the “Living Machine”?

hypothosis The strategy was to organize the program into two separate entities, a closed-in green-house that is built into the ground and dilating plinth that connects back into the existing trail.

program: 15,000 GROSS sqft2 PONDS (TIDAL WETLAND, FLOW WETLAND), DECK, INDOOR OBSERVATION SPACE (FORCLASSROOM AND EXHIBITION), SERVICE TANKS (ANAEROBIC SEDIMENT TANK, CLEAN WATER STORAGE TANK, SOLIDS STORAGE TANK, BIO-FILTER TANK) CONTROL/MAINTENANCEROOMS

INSTRUCTOR: Harris H. Dimitropoulos COURSE: Arch Design Studio V

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In order to lessen the environmental impact, a rigorous study of the projects site’s topography was done. By careful mapping of the plinth footprint, a contorted path emerges that widens and narrows back into the walkway; which is further evident by the snake-like retaining wall that serves as a structure wall for the green-house.

SECTIONS

PLAN

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BOTANICAL GARDEN The trail lends itself to become series of gardens displaying the indiginious trees and shrubs of Georgia. The inhabitant of the obersvation space and surrounding plinth can observe the larger species with a larger perspective, before walking out and seeing them face to face, enhancing the understanding of it.

LIVING MACHINE PROCESS (greywater from the stream & used water) is collected into a) the anaerobic sediment tank, where (to be broken down and used as compost later)

further oxidized breaking down the biological contaminants. It continues to b) an outdoor wetland with aquatic plants that provide a habitat for micro-organisms that eliminates the contaminates and soak up minerals and heavy metals like lead, mercury, and copper (later harvested by burning the plants). It travels to c) a wetland in a greenhouse, where aquatic life eliminates the micro-organisms, converting them into

d)water the botantical gardens. Some of the water goes into the e)the f) clean water storage tank which can be used to supply the bathrooms and drinking foutains.

GREEN HOUSE is contorted and supported by the concrete retaining wall, that is carved into the ground. It houses the indoor wetland and the control center for the living machine.

GLASS HOUSE is a steel truss system, that appears to

classrooms or an exhibition space.

PLINTH

a

b

c

d

e

f

C

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a) its plan through diagrams, and on b) its spacial qualities by making a physical model.

COURTYARDS , nested between the bedroom/living rooms, are slightly sunken.

CONCRETE WALLS are precast, which are tappered on the top. The slits in between the concrete panels provide day light while keeping the interior space private.

PRECEDENT ANALYSIS

SCHINDLERHOUSE

INSTRUCTOR: Jude LeBlanc COURSE: Arch Design Studio I

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835 North Kings Road West Hollywood, CA 90069

FIREPLACEAdditionaly to the living rooms, and bed rooms, the outdoor space becomes also a room.

Language “L” is used through out the

program.

CIRCULATION PRIVATE OUTDOOR SPACE for both families and the guest. Furthermore,

spaces

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FIREPLACEAdditionaly to the living rooms, and bed rooms, the outdoor space becomes also aroom.

Language “L” is used through out the

program.

CIRCULATION PRIVATE OUTDOOR SPACE for both families and the guest. Furthermore,

spaces

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the question Can artifacts(installation/furniture) alter the status quo of an in-between space(courtyard) while being sensitive to its project site’s

(materiality and culture) that leads to the enhancement of its use both spontaneous(pleasure) and premeditated(rational)?

hypotothesis This can be achieved best by using a repetitious interactive system that is a) (unpredictability) , yet b)

(order).

COURTYARD INSTALLATION

COA {COLLEGE OF ARCHITECTURE}

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4”

32”

2”

16”

16”

SECTION

CONCEPTUAL PROGRESS DIAGRAM The source was the simple bench. The goal was to construct an artifact that could be both comfortable, yet be versitle and mobile.

COMFORTABILITY was a key issue; through out the process, industrial design students and professors were consulted to insure an adequate erogomatics

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AXON

Since this is S 1.53 ft3

and used lightweight

concretee 60 lb/ft660 lb/3this should way about 94

ib if we include the weight of steel e ht f ttereinforcment + etc.nt

We could totally work together and rearrage eaall eaour seats just for fun!o

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a b c d e

.75” Steel Bar

.25” Steel Bar

.75” Steel Rod

.25” Steel plate

Base

SECTIONS

SECTIONS

56”

12.5”

16”

1”

The ellipsical shape emerged by multiple factors a) that from the center only one inch drop was allowed in the 16 inch diametric area, b) high enough to be used as an constructing element yet low enouch to be a seat, c) narrow enough to hold considerable weight, d) yet curved to be perceived as a contigent whole.

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A

b a c d e f g h i j k

f g h i j k

BOTTOM

TOP

JOINTS The ends of the artifact are circular so that when there is no gap when the connection is made. The connector is a solid steel rod that allows 360 degrees of rotation.

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A

B

C

D

j

i

k

l

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b

a

c

d

e

f

g

h

MOLD

PRODUCT

When making the mold, the degree of curves of the mold had to be examined and re-examinded, so that the equipment we were using was able to cutout the mold. Therefore, making of the mold process was an intergral part of the design, as it troubleshooting led to altering and tweeaking the design.

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ASSEMBLY DIARAM

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WALL ASSEMBLY

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WALL ASSEMBLY

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ENCLOSURE

LECTURE

PLAYGROUND

INDIVIDUAL GROUP STUDIO CLASS

ENCLOSURE

STUDIO CLASS

LECTURE

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RESCRIPTION: using one of the urban thematics in invisible Cities by Italo Calvino, one developed quick sketches and montages using Paris as the palette. The goal was to initially record instances around the city (related to particular theme) through out a long period of time and later, using the materials/data gathered, to translate

The most ideal locations happened to be courtyards, or series of courtyards: A) Jardin des Tuileries, B) Jardin du Palais Royal C) Musee du Louvre, and D) Centre Pompidou. By reorganizing one aspect of all four courtyard, and arranging them sequence by moments not by locations, a convincing narrative emerged, This gave arise to an ideal system, where anyone could take out a certain moment and connect it with the same type of moment at a completely different geographical location, creating a narrative that was authorless yet singularly coherent.

CUTSTUDIO: Cinema+Urbanity+Technology

DON’TSTOPANDGO

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JARDIN DU PALAIS ROYAL

JARDIN DU PALAIS ROYAL

COURTYARD BEHIND THE MUSEE DU LOUVRE

COURTYARD BEHIND THE MUSEE DU LOUVRE

COURTYARD BESIDES CENTRE POMPIDOU

COURTYARD BESIDES CENTRE POMPIDOU

JARDIN DU PALAIS ROYAL

ELEVATION/JARDIN DES TUILERIES

SECTION/JARDIN DES TUILERIES

GROUND/JARDIN DES TUILERIES

COURTYARD BEHIND THE MUSEE DU LOUVRE

COURTYARD BESIDES CENTRE POMPIDOU

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LA GRANDE ARCHE

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HOTEL CONCORDE LAFAYETTE

SECTION

PARIS

HAUTS DE SEINE

PARIS URBAN DESIGN STUDIONEUILLYSURSEINEINSTRUCTOR: Ron Kenley COURSE: Arch Design Studio V (MASTER LEVEL COURSE)

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EXISTING

AFTER

PARIS CITY BORDER NEUILLY-SUR-SEINE

(Paris Métro Line 1) M1: Les Sablons

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LA DÉFENSELE SEINE

M1: Pont de Neuilly M1: Esplanade de La Défense M1: La Défense

M1

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EXISTING NEW

THE QUESTION (Neuilly-sur-Seine vs La Defense on Charles de Guile)

THE INITIAL ANALYSIS (Neuilly-sur-Seine vs La Defense )

THE METHOD (chosen not by its typology but for the its sectional spatial quality)

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SANNA Icourtyard. The relationship of the light structures and ground is intimate, relating close to the body. The polar densities provides moments of intensity and heighten sense of knowledgment. From this sections additional sections were layered in which a coherent yet dynamic schema emerges that metamorphoses into a unique built environment with its own order, that brings about new opportunities. In which other sections were integrated.

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an attempt was mad to construct a connection between (exterior and interior).

CROSS SECTION

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OMA l LES HALLES proposal layered the sub-terrain with the surface. By implementing OMA’s proposal into the existing courtyard in-front of Le Grand Arche, the once separated sub-terrain and surface was layered that resulted in a space that had greater intensity. The porous condition provided an urban place that can accommodate greater density, and doverse programs.

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