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Second Year, Design Three
Critic: Lauren Mitchell
Savannah, GA
Analyzing movement of the vagabond, the wandering gestures hinder a systemic path. This ambiguous means of movement is directly related to the path and movement of the bicycle. Ground elements are the necessary instruments for controlling or interrupting this meandering path-type. While the nature of travel is inherently erratic by the bicycle, the ground begins to tame and dictate the path based on conditions such as smoothness, ramps, steps, porosity, etc. The staggered and unpredictable path of a pedestrian contradicts the ordered path the ground sets for the bicycle further marking the restricted itinerary of the bicycle.itinerary of the bicycle.
THE BICYCLE EXPERIENCE
wandering paths of the city Entry from front: Bike-like path immediately experienced
Entry from rear: Wanderer space depicted; invasion onto sidewalk.
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The i t inerary and path of the bicycle vs the pedestr ian begin to generate a programmatic path within the bicycle&soup shop. The dichotomy of a constantly moving, unscripted path of the pedestr ian and the l inear structure of the bicycle’s movement orders the the circulat ion of the shop. This layered circulat ion becomes a visual performance as the bicycles move natural ly along ramps and horizontal planes, whi lewhile the soup and people move through a vert ical shif t . When motion is absent, the bicycles become display and the shop becomes a reservoir, gathering the paths into a common knot.
STORAGE & RESERVOIR
map of city wandering experience_group work
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Even in the desert, where life can be utterly absent, sound exists. Nomads describe the experience of the desert as ‘the absence of silence’, where the heartbeat pumps a constant rhythm through the body emanating sound throughout. This minimalist approach to sound is comparable to the contemporary composer John Cage’s piece ‘4:33’, where music is defined by the term ‘chance sound’, or the sound created by the uncontrollable elements (environment, score interpretation, performer’s choice). Chance sound inextricablyinextricably links the listener to the music because of the idea that music is made by the accumulation of all sounds, inherently involving one’s immediate environment with the constructed sound.
NETWORKING BODIES OF SOUND
Carving into the desert landscape, this music compound acts as a vessel for sound, housing operable and stationary components that become an interactive part of the desert landscape further linking one’s surroundings with the sounds they are [not]constructing.
sound exit study
Second Year, Design Four
Critic: Martin Gundersen
Gobi Desert
concentration of sound
compound core section model
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10am
12pm
3pm
5:30pm
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the whistling wall sound investigation of private rooms
infiltration of wind
intersection/communal spaceentry to private work spaces
Harvesting winds from the West and Northwest sides
of the Gobi Desert, this vessel for sound begins to
become an instrument itself. Winds invade and
puncture the outer skins to create a prevailing whistle
which change intrinsically with the wind intensity. In
this retreat for the curious composer, occupants begin
to maneuver a wind wall, covering up holes with their
hands,hands, changing pitch and intensity, and can begin to
synchronize a harmony; becoming an interactive
environment between person and building.
FLOOD OF WHISTLING
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As a pavi l ion for the World’s Fair Exposit ion, this tower begins to redefine the way in which humanity comes together to discuss i t ’s own understanding of i ts current state and of i ts future. With an overlying theme of altruism, one programmatic focus, for example, is meditat ion (for the individual and for a group) and is si tuated in the tower so that a restr icted view of the horizon can enhance the experience of this pract ice by redefining horizon as a new ground. The tower aims to redefine the vert ical space to implement reorganization of social spaces, creating interact ion and intersection within thethe vert ical sect ion. Nature and science are scattered throughout the tower to imbed a r ich interact ion between person and pavi l ion. This assemblage of shared space, shared program, and shared experience recreates social standards and understanding of nature in relat ion to humanity.
TEMPORARY PAVILION WITH ALTRUISTIC SUGGESTIONS
vert ical exposure to framed sky
planetarium
progression of exhibit ion placement analysis
display for onemeditat ion pods
arbortorium narrow horizontal view of ci ty
Second Year, Design FourCritic: Martin GundersenWorld’s Exposition
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integrate, fuse, envelop
nest, contain
cult ivate
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17 Third Year, Design FiveCritic: Ron HaaseSanta Fe Lake, FL
interconnectedness of ground and sky fog marks boundaryfog penetrates threshold animate / waft
PATH FOR MANY
PATH FOR ONE
garden zone garden zone
Looming and wafting blankets of fog dictate the path through the site informing the location of the Buddhist compound components. Building as origin and the Buddhist idea that everything stems and emanates from a causal center/ core/ seed determines the trajectory of ‘path for many’ versus the ‘path for one’. Destination becomes the origin of fog, the Santa Fe Lake, where the cypress knees and moss create an intermediate scale ofof space, further defining the linkage between the complex and nature.
emergence of fog
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The two building complexes do not only mark the idea of origin/seed, they become
nodes of buddhist notions described through mediation of nature, garden, and
building. Nature becomes the scripted/marked paths which are carved into the
centers of each complex and slowly becoming the intermediary outdoor gathering
spaces; the garden. Building then opens outward to accept the slow inward shift of the
garden further allowing for the pervasion of path.
Karmapa’sKarmapa’s complex (path for one) is secluded and mystic, further embodying the path
away from origin and allow for his position to be unobstructed by creating the core out
of a negative/carved garden space with a wrapping notion. His path for one is marked
only by the frame or end of his complex’s garden to ensure the line between nature
and man remain blurred.
PATH FOR ONE_ RETREAT / VIEW / REPOSE
path for many path for one
site map
communal prayer pond (unbuilt) communal lake sanctuary (unbuilt)
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The Main Hall complex is nested within a clearing barely
puncturing the forest. This complex embodies the seed and core of
the entire site where the gatherers begin here and then dissipate
into the rest of the site like small embers. During sunrise, Buddhist
followers collect here and wander outward in a flock toward the
clearing and inevitably to the water, a progression through the
foggy paths to witness the phenomenon enter the site through the
lake’s edge.lake’s edge.
PATH FOR MANY _ FLOCK / SWARM / ASSEMBLE
second floor
first floor plan
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A MUSEUM TO REFLECT CHANGE GATEWAY / MONUMENT
gesture of embracevolatility response to site
This project aims to achieve Precedence/ the act of establishing foundations for the development of a new type of culture that instills a sense of grounding within a community of peoples & to bring to light the importance of the civil rights for peoples of all races, backgrounds, genders, orientations, and beliefs. Executing an architectural in congruence in to the context to extend an everlasting imposition on the National Lawn reinforcing thethe establishment of precedence set forth by the civil rights movement.
Marking the ground in order to establish Memory/ a means by which to access the past to inform the present or future/ to perpetuate progression through active remembrance/ the act of remembrance on account of the shared experience. This civil rights center generates an architecture that extrude objects from a constructed context of historically significant moments relating to the civil rights movement, carving and extruding the ground to achieve a memory wall/built ground experience. Movement through the raised ground ensures the total embodiment of the collective experience as well as being embedded withinwithin a dynamic web of precedence, this civil rights center establishes its monumentality on the National Lawn through the convention of a gateway that aims to evoke the collective memory.
NOMAS Competition 20086 Team MembersWashington DC.
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Third Year, Design SixCritic: Levent KaraCharleston, SC
3facade study / human figure approaching / occupant’s view / occupant to be framed by the street facade
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transparent curtain
punctured canopy
mass gathering boxes
view/directional walls
promenade study through building envelope
translucent section cut
framing elements
enevelopeSituated in an exposed lot, the intervention connects the view to the water to the view of the city through a large overhanging gesture which forms an urban window.
Mimicking the same carved notion of the ground plane the upper level of the temporary exhibition space suggests, and reaches through the clear line of sight the site inherently has.
Sitting within the larger urban context, the exhibition space peeks outward through a set of urban windows yet respects the conservation of view on the longer sides to preserve privacy within a public viewing territory.
Passage through the site is a carved notion following the main Charleston axes. The entry facade is pushed back in order to accept the shift of view and the reaching notion of the volume that hovers.