Table of Contents
New York Kuntshall 1-10
Asheville Marketplace 11-18
Digital to Analog 19-24
Charleston Waterfront 25-30
Modeling 31-32
Watkins Residence 33-34
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2
ARCH 842Studio II
Kuntshal - New York This project involved the development of a 60,000 sq. foot “Kuntshall” in New York City. A Kuntshall is a museum that has revolving exhibits. Because of the presence and importance of the Highline to this project, the decision was made to cantilever the display space, leaving an unbroken sight line and path from the road to the Highline. An outdoor amphitheater at the base of the service core also acts as a foot to mitigate the overturning moment present in such a severe canti-lever, and o�ers access to the highline from the road.
17 site
ARCH 842Studio II
Kuntshal - New York This project involved the development of a 60,000 sq. foot “Kuntshall” in New York City. A Kuntshall is a museum that has revolving exhibits. Because of the presence and importance of the Highline to this project, the decision was made to cantilever the display space, leaving an unbroken sight line and path from the road to the Highline. An outdoor amphitheater at the base of the service core also acts as a foot to mitigate the overturning moment present in such a severe canti-lever, and o�ers access to the highline from the road.
4
ARCH 842Studio II
Kuntshal - New York This project involved the development of a 60,000 sq. foot “Kuntshall” in New York City. A Kuntshall is a museum that has revolving exhibits. Because of the presence and importance of the Highline to this project, the decision was made to cantilever the display space, leaving an unbroken sight line and path from the road to the Highline. An outdoor amphitheater at the base of the service core also acts as a foot to mitigate the overturning moment present in such a severe canti-lever, and o�ers access to the highline from the road.
The site is surrounded by 10th Ave., and 18th and 19th streets. The fourth side is �anked by the High-line, a raised park on a former railroad trestle that has revitalized the surround area, known as the meat packing district.
5 logic
10th Avenue
18th
Str
eet
19th
Str
eet
LogicThe two variables that de�ne the skin are the circulation behind the skin and the sun angle and intensity. The size of each portal is de�ned by the space beyond. The window opening turns along its bottom left corner as it’s depth increases, depending on sun intensity. This twisting mitigates sun expo-
sure.
GROUND FLOOR PLAN
6circulation
Circulation The �oor plates of the Kuntshal are fractured and ramp up and down, depending on the �oor. Each �oor is connected by a ramp imbedded in the skin. There is an entrance and exit ramp on each �oor, so the service core can be avoided on one’s journey through the nine �oors of the display space.
1ST FLOOR PLANHIGHLINE PLAN
OPEN TOBELOW
7 skin
SkinThe skins punctured to allow direct sunlight into the circulation and indi-rect light into the display area. The depth of the skin is 8 feet, allowing 5 feet for the circulation ramp connecting
display areas
3RD FLOOR PLAN2ND FLOOR PLAN
OPEN TOBELOW
OPEN TOBELOW
CAFE
GIFT SHOP
8
The service core is the main structural element, and is �anked by cantile-vered display space on one side, and all of the other services cantile-vered on the other. Services such as restau-rants, and business and educational consider-ations.
7TH FLOOR PLAN6TH FLOOR PLAN
OPEN TOBELOW
OPEN TOBELOW
LIBRARY/CLASSROOMS
RESTAURANT
ModelConstructed of layered acrylic, the circulation stairs and elevators are highlighted in blue and red in the service core. The skin is modeled with the circulation ramps highlited in blue.
9 model
ELEVATION
9TH FLOOR PLAN8TH FLOOR PLAN
ATRIUM
UTILITY
OPEN TOBELOW
10
ELEVATION SECTION
11
12
ARCH 842Studio II
Asheville MarketplaceArt, Agriculture, Food, Conservation and Sustainability are concepts of great importance to Asheville’s unique population. This design is founded on the idea of creating a space for this diverse and vibrant culture to celebrate their interests and passions. The goal was to create a form that would seamlessly integrate the Market space, Classrooms, O�ces, and Restaurants with eachother and into the fabric of Asheville.
13
SEC
TIO
N C
UT
Patton Avenue
Lexi
ngto
n Av
enue
SITE PLAN
CIRCULATION DIAGRAM
SECTION
EDUCATION
EDUCATION
MARKET
SERVICE
RESTAURANT
RESTAURANT
KITCHEN
PARKING BELOW
14circulation
Circulation
A service spine runs centrally from Patton Ave to the warehouse at the back of the site. This elements splits and de�nes the form, and it is from this that all of the functions are accessed of of o� of.
15
ENTRY FLOOR PLANGROUND FLOOR PLAN
16
WEST ELEVATION
SECOND FLOOR PLAN
Green and Local
Two gaussian curves, wooden and tile, make up the entrance spine. The wooden spine begans to sag and ultimately fall to the �oor, the entire length of which has pockets for agriculture. The windbreaks and light �xtures are designed by local artisans.
17
SOUTH ELEVATION
VIEW FROM PACK SQUAREMARKET ENTRY
VIEW TO WAREHOUSE DOWN LEXINGTON AVE.
18VIEW FROM PRITCHARD PARK
20
ARCH 812Visualization II
Digital to AnalogThe design process can be approached from many di�erent angles. In this exercise we were instructed to create a dynamic boolean form in Rhino. The form was then to be subtracted from a 25x50x100 box. This would be the form of our building. From this point we were to add �oor plates, structure, mullions and glazing elements. This complete building was to then be sectioned and placed into a real world environment utilizing photoshop. Final form was then to be modeled. Shifted circles of varying diameters
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Shifted circles of varying diametersCircles lofted, doubled and rotated
25’ x 50’ x 100’ Form
Boolean di�erence
Sectioned vertically to de�ne structure
22surface, skin to structure
Sectioned horizontally to create �oor plates and structure
Section lines piped
Floor plates extruded
Glazing sectioned
Glazing mullion pipe
Glazing isolatedExterior mullions de�ned
Final
23 digital section, rendering
Exterior mullions de�ned
Final
24fabricating structure
Modeling
Floor plate molds were fabricated using a 3-d printer, as was the interior glazing element. After pouring the �oor plates in concrete, they were placed in a mold fabricated with melamine coated �ber board. A con-crete additive was used for the mix of the base/wall that the �oor plates would cantilever from, in order to add color. A lattice of laser cut chip board was used for the mullion elements.
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26
ARCH 841Studio I
Charleston Waterfront The base of the very popular Charleston Market ends disappointingly at a parking lot, with a cruise ship terminal beyond blocking the view of the water. Charleston does a very poor job utiliz-ing its water front, and in this project we were directed to address the 450,000 square feet between the end of the market, and the water. The star of this project was to be the US Customs house, a massive neoclassical government building built in the late 1800s.
17 arch 841 - visualizationEL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDYE
LE
VA
TE
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
28EL
EV
AT
EChanging the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
IMPORTANT VIEW CORRIDORS CURRENT CHARLESTON COASTLINE
SITE FOOT PRINT CHARLESTON COASTLINE CIRCA 1800
POTENTIAL MARSHLAND AREA SUPERIMPOSED COASTLINES
Design Considerations
The Charleston coastline once reached the market. Piers reached out along the coastline to serve the busy port city. Building up on this site would block the numerous view corridors. These consider-ations led us to decision to excavate to create unique moments, respite from the harsh Charles-ton summer sun. The excavations mimic the piers of old and reintro-duce water to the Market-place. These excavations can be �ooded to provide water features depend-ing on the time of year.
29EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
EL
EV
AT
E
Changing the vertical landscape to elevate the Charleston experience By allowing people to ascend and descend vertically within the landscape you are able to understand the city in new ways and on different levels. You gain new perspectives of the views, confront the city in a his-torical context, and begin to understand the materiality of the city
VIEW ANGLES FROM THE MARKET
AREA CONSIDERED FOR NEW PUBLIC SPACE
OPPORTUNITIES FOR EXCAVATION AND EROSION
HISTORIC FIGURE GROUND STUDY
CONTEMPORARY FIGURE GROUND STUDY
OVERLAY OF OLD AND NEW STUDY
PLAN
30
PLAN MODEL
STAGE AT THE BASE OF THE CUSTOMS HOUSE- WINTER STAGE AT THE BASE OF THE CUSTOMS HOUSE- SUMMER
Final Design
There are four main points of excavation. The �rst runs up to the market and can be �ooded. The second is at the base of the stairs, when not �ooded, can be used as a stage. The excavation on the other side fo the Customs House is planted with Live Oak, creating a unique canopy at eye level. The fourth excavation is a unique under ground system allows respite and services.
31
The Charleston Customs House built in the late 1800s. CAD �le developed for laser cutting from images from Google Earth and �eld measurements.
32
ModelingThe IAC building in New York by Frank Gehry completed in 2009. Modeled in Rhino, then 3d printed, plastered and painted.
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34
ResidentialExperience
The Watkins ResidenceCompleted on Lake Murray in 2011 for Mark Watkins, this residence is a Tuscan Style single family two bedroom. Bracketed porch and eaves provide protection from the southern sun. A large outdoor bar provide unique social space after a day on the lake. Designed completely in Revit, the 3d renderings were a great tool to communicate the design with the client.