BLANKSTUDIO
Manifesto
BLANKstudio is an interdisciplinary design studio intent on providing a solution to extensive professional collaboration between numerous fields that might not commonly have the opportunity to work together – as a means to propagate a new design identity for Jackson, Mississippi. Located at the very heart of Jackson, directly across from Smith Park and on axis with every major landmark in the city from the Two Museums to the Capitol Building, Fair Grounds, Art Museum, Governor’s Mansion, and more, BLANKstudio maintains three big ideas to manifest the philosophy of collaboration into the built form. The two main elevations, East and West, and the central atrium space are designed to inspire curiosity, wonder, questioning, and deception.
The West facade is designed entirely on visibility from the outside into the spaces. 9 points from around the project site were taken to essentially build the form from the outside in, and the types of spaces created internally are dependent on what people can & cannot see from the outside – a facade built for that particular site that would not function properly if located elsewhere. The form is intended, upon approach, to be confusing and inspire questions like “why do that? What does this mean? Why the false sense of symmetry?” To influence visitors to continue looking at the facade as time passes and never blindly enter the building. The back facade, while facing an alley, is designed with the same curiosity in mind, but with a different approach. A completely flat facade with simple windows speckled across in a unique composition challenges the viewer to try and understand this building. The alignment to the adjacent building and vertical repetition at some points gives the viewer a false sense of knowing where the levels are, but at those levels, suddenly a window breaks where that floor should be – all in favor of keeping viewers asking, “where is the floors of this building?” The central atrium continues this technique of deception with its shift in materiality at ground level and upper levels, the disallowing of “pancaking” the floors, the plywood material that shifts with distance, and the structure of the floating skylight which appears to be held by the acoustic fins themselves.
The next big idea for BLANKstudio is the diversity of the program. What type of space does a landscape architect and a furniture designer need to collaborate...? With such extensive collaboration and numerous creative minds in one building, diversity in the work environment is critical. Everyone needs to be able to find their place to be effective and efficient within the building, and BLANKstudio boasts everything from a standard office environment to total isolation spaces to total public spaces, as if in a coffee shop, and several more. The built environment of a building such as this must allow for any means of collaboration required which leads to the final big idea.
Flexibility. I began by thinking about how the philosophy of collaboration could physically manifest into the built form, and the atrium became the first example as it borders on installation and architecture and acoustic design and interior design. Who’s responsible for that type of thing, anyways? Next, the structure began falling in several of the spaces around the building, so BLANKstudio uses those columns to begin defining the bounds of space and boundaries as a level of enclosure. From there, establishing different levels of enclosure and spatial definition realized four levels. First, floor to ceiling walls. Second, smaller moveable partition walls such as cubicles or rolling walls. Third, the structure begins to split the space. Lastly, BLANKstudio uses interior vegetation and planters to begin defining spaces, boundaries, and edges – creating another level of enclosure and giving intent or purpose to the landscape architecture of the building; however, to maintain flexibility within the building so that designers may adjust as needed, most of the planters are moveable and can be shifted however needed – allowing infinite numbers of organizations and spatial creation within the building. BLANKstudio, as documented, is one of the possible solutions.
Added to the functionality of the structure, stormwater management, mechanical systems, and others, BLANKstudio arises as the manifestation of collaboration, curiosity, and flexibility to give Jackson the design identity it desperately needs because as it is now, Jackson is a BLANK slate for artistic intervention and opportunity.
BUILDING RENDERS
PROGRAMMING INFORMATION, SITE INFORMATION, PRECEDENTS, ETC.
One of the critical facets of BLANKstudio is the approach from outside the building. As the facade is designed specifically for one site, the physical approach varies by both proximity and direction. The rendering above illustrates the complex nature of the facade, intended to inspire curiosity so that visitors and users never stop truly looking at the building. Entering the same building a thousand times typically means people stop truly looking and attempting to understand the building. BLANKstudio intends to prevent that so the wonder in its intent is never lost. The interior rendering below documents how multiple practices (architecture, landscape architecture, interior design, and engineering) begin to collaborate in the creation of space itself.
ELEVATION DESIGN TECHNIQUE
The primary elevation is designed with 9 external points ranging across Smith Park and the blocks - based on the furthest visibility to see the entire building. These points are then used to create the facade and the subsequent spaces within based on the level of visibility into each of the spaces. This move effectively creates a space specifically designed for this one site.
BASE
1ST FLOOR FACADE PLAN DESIGN
2ND FLOOR FACADE PLAN DESIGN
3RD FLOOR FACADE PLAN DESIGN
4TH FLOOR FACADE PLAN DESIGN
5TH FLOOR FACADE PLAN DESIGN
FACADE DESIGN - PLAN
SECTION 1 FACADE DESIGN
SECTION 2 FACADE DESIGN
SECTION 3 FACADE DESIGN
SECTION 4 FACADE DESIGN
SECTION 5 FACADE DESIGN
FACADE DESIGN - SECTION
The sketches above show the design technique in plan and section for each level of the building. Combining these drawings into one composite produced BLANKstudio’s primary facade, entirely based on exterior visibility.
FINAL FACADES AND ROOF PLAN
FIRST FLOOR DIVISIONS
MEZZANINE DIVISIONS
SECOND FLOOR DIVISIONS
THIRD FLOOR DIVISIONS
FOURTH FLOOR DIVISIONS
FIFTH FLOOR DIVISIONS
ROOF LEVEL DIVISIONS
INTERIOR SPACE PLANNING
The sketches above show much of how the studio manifested its current layout. With the structure, walls, and primary rooms in place, the next level is to determine how each space is to be organized with furniture; however, the aforementioned spatial definition and collaborative manifestation proposed a new idea. Using the interior vegetation and planters to begin defining spaces in a manner less extensive than a floor to ceiling wall. The top right sketch illustrates the ground plane - critical to receiving community engagement. Two large trees, required per zoning ordinances, frame the entrance in both plan and elevation alongside a proposed speed table to cross North Congress Street. Since BLANKstudio is on the centerline of one of Smith Park’s primary entrances, a speed table would allow users to cross the street safely without having to travel half a block away to the nearest intersection. Two street parking spaces frame the edges of the building, and at the outer edge of the sidewalk are two planters with purple muhly grass to create a sort of enclosure when walking along the sidewalk. Furthermore, this move also creates a barrier between pedestrian walks and the street while funneling visitors directly into the building’s entrance. These sketches also show the alignments for each of the planters and furniture, while still maintaining the mobility of said planters. In essence, the design of interior spaces within BLANKstudio is not THE solution but rather A solution. The bottom right sketch illustrates the preliminary idea for the roof - creating safety enclosure without walls. Much of the vegetation and solar panels act as barriers to prevent accidents. The drawings to the immediate left are the remaining interior layout for each of the floors.
FINAL FLOOR PLANS
The six floor plans and site plan illustrate the overall layout for each floor of BLANKstudio, including the large variety and diversity of work environments. One of the major ideas or goals for BLANKstudio is allowing enough diversity in the work environments so that each designer and user can find his/her own space to be most productive and efficient, as opposed to typical office layouts where one size does not fit all. The spaces range from the standard work environment to fully public spaces, similar to that of a coffee shop, to completely isolated dark workspaces for those who prefer silence and seclusion to get work done. The intent is that users may chose a permanent space to work, if desired, or they may choose temporary locations based on the need of current work being produced. To further the technique of collaboration manifesting into the built form, planters are placed throughout the building to begin defining and creating the boundaries of space - a collaboration between architecture and landscape architecture. This project establishes multiple levels of spatial definition; the first level is floor to ceiling walls, the most common practice, followed by shorter, movable partitions like that of cubicles. The third level of spatial definition is the structure of the building. In order for the building to stand, sometimes columns fall within rooms and spaces, so to utilize those moments as points of pause of division is to take advantage of accidental opportunities. The final level is experimental and could vary in technique, but BLANKstudio utilizes interior planters, both fixed and mobile, to suggest one solution for how the spaces might be established. Critical to the success of experimental collaboration is flexibility in the work environment. What type of space does a sculptor and a graphic designer need to collaborate? The answer is both uncertain and fluid, so allowing the planters to move (light green) provides the opportunity for infinite orientations and organizations of spaces; therefore, BLANKstudio provides all four levels in conjunction with the diverse spatial types.
SECTIONS
PRECEDENT ANALYSIS
CONCEPT
REFINEMENT
ANALYSIS
ANALYSIS
ANALYSIS
PRELIMINARY DOOR SKETCHES
One of the primary elements for this capstone project is the design of a public door. When discussing and debating what elements of a door make it appear public and analyzing a collection of public doors from both Jackson and across Europe, BLANKstudio maintains that transparency is NOT a key factor in making a door public but rather scale, weight, artistic moves, materiality, and asymmetry are some of the facets that make doors “public”. With that analysis complete, the door design to the right became the first physical manifestation of BLANKstudio’s philosophy and approach to design. The door is designed with a simple square composition, arguably the most visually understandable shape depending on scale and perspective distortion. The varying squares of different depths create various hierarchies across the door so that the viewer’s eye moves from point to point. To reinforce this move, vertical elements are introduced to create a dialogue with the facade fins as well as the atrium’s fins. However, hidden at various points around the door are little gems, some more prominent than others, such as the name of the studio, the word “WELCOME”, and the artist’s logo - all oriented to keep users looking to try and find all the hidden gems on the door. Even a pattern visible only from below, by a child perhaps, reinforces the idea that truly understanding BLANKstudio cannot happen with one visit.
FULL SCALE DOOR MODEL
These images show some of the hidden gems around the door, such as the name of the studio. The material for the door, in reality, is a bronze copper alloy. The goal for the material is to create the weight and scale common to the public doors analyzes, but also to maintain both the deep warm hues of bronze and the green patina that emerges with aged copper. The door handle is designed to disappear within the composition until directly in front of the handle with a wrapping grip behind a solid square (see below). Rather than a solid metal door, these are two sheets of cast metal on a hollow metal frame to reduce some of the weight.
ACOUSTIC FIN INSPIRATION MODEL
This model began as an experiment for a personal art piece, but spurred another entire line of thought that would feed the design of the acoustic fins within the atrium, per the aforementioned philosophy. At this scale, these are simply pieces of paper, but the background material, in this case a 3d printed mount, only became visible when looking directly between the fins. If looking at any angle, the paper appeared to create a solid surface projected beyond the actual one. With adjustments to scale and functionality, this model is the original inspiration for the most important space within BLANKstudio. Recognizing the fragility of paper and the small size, a much sturdier material is required for an atrium space. Furthermore, physical interaction with the acoustic fins, disregarding the wooden ones at ground level, is minimized as they hang in places primarily beyond an arm’s reach.
This is a representational model discussing mankind’s perception of space. Much of the time, space is perceived as a stagnant, unmoving collection of pieces, but the reality is much more complex. Space does not have a dimension, orientation, or limitation beyond the imagination. This model maintains that what we think we know about how a space works and functions and how it truly does is beyond the upright three-dimensional plane. There is no up or down just as there is no stagnancy to space. Regardless of if the changes are perceptible to the human eye, spaces physically change constantly. Every day, the materials and form warp and distort at microscopic levels. Furthermore, human perception of space is ever-changing. While I may think of the space as stagnant, my perception of a space today is different than it will be tomorrow and yesterday. My memory of that same space from the day before and my prediction for the space in the future are also completely fluid - resulting in the conclusion that space has no permanence or true objectivity in both physical form and perception. The impermanence and challenging of our perception became the guiding principle for the two primary forms within BLANKstudio - the facade and the atrium. Both are designed to, hopefully, be seen differently every day so as to ensure users never stop truly looking at the building.
The original goal for creating this model was to reinterpret the relationship the spaces within BLANKstudio could have to one another. Each of the colorful shapes on the model represent a space within the program based on a proportion reasonable to their use. The axis or plane for each piece is determined by the level of privacy required or desired for each space. While not an accurate representation of a building form, much of the relationships and philosophy pulled from this model did feed BLANKstudio’s approach.
SPATIAL PERCEPTION MODEL
FIBER CEMENT FACADE SAMPLES
The primary facade material is a fiber cement panel system from Equitone, ideal for Mississippi’s varying humid climate. As the material expands and contracts very minimally with changes in temperature, this material is ideal for BLANKstudio as the joints can be minimized and become nearly imperceptible to the human eye from moderate distances. Furthermore, to take philosophy from Robert Irwin, the clasps on the back of each panel are customizable, so selecting a lighter clasp in a typically shadowed joint with further reinforce the facade as a single material nearly void of joint. Nevertheless, joint lines can be found on the top right rendering.
WHAT WE EXPECT
THE REALITY
CHALLENGES TO THE PERCEPTION OF STANDARDIZATION
These two bricks confused just about everyone in the studio, until I presented their philosophy. Historically, brick construction was done as a structural technique. The bricks function perfectly in compression and poorly in tension, much like concrete. However, in modern day construction, bricks are hung onto another structure and serve no structural purpose at all, yet designers still use bricks. When studying standard brick construction, they are typically used in one, maybe two, orientations and various courses, but that determination of orientation is simply a construct of mankind’s standardization in the building industry. All too often, people think of the divisive nature of bricks along one particular axis (see above), but the true divisive capabilities of a brick are only bound by man’s ability to use them in innovative manners and orientations. Once again, designers rely on standardization without considering the possibility of that brick beyond its normal use. That axis of division, in reality, is a man-made construct, for that axis is actually infinite and can cut the brick in a multitude of directions. It is very uncommon yet powerful to see a brick mortared on its 2/3 axis.
This simple demonstration with bricks is a metaphor for BLANKstudio’s philosophy to challenge viewer’s perceptions. Do not settle for standardization. Do not stop thinking about the space you occupy. Do not blindly walk through a room without feeling and attempting to understand that room. Do not forget the various elements that compose the place you occupy. Do not misunderstand. Do not create spaces that are overwhelming and distracting, but rather that inspire and cultivate though and provocation. Challenge what you think you know in how a building should work, but do not forget to allow enough reality for the building to actually function. Just because something has been done a certain way for a thousand years does not mean it cannot be improved. Use the information and technology at our contemporary disposal to improve upon, develop, reinterpret, and take precedent from the successes of the past. Jackson already has ample infrastructure, but what it lacks is the creative minds to determine how it should be used and inhabited. Jackson is a clean slate for innovative thinking, as it does not have a cohesive design identity - hence BLANKstudio.
EXPERIMENT ON ATRIUM SURFACE MATERIAL
(LEFT) This painted board is an experiment to determine the actual materiality and finish of the central atrium space. The raw material is white birch plywood, and the white strips are different acrylic white paint & water solutions to produce a gradient of coverage. The goal is to produce a finish that appears as plywood at a very particular distance and appears as a simple white surface beyond that distance. Given the relative and approximate distance viewers will see this material within the atrium, a 50% water & 50% paint solution will provide the intended effect. Essentially, seeing this material at two different distances will provide two different materials entirely - reinforcing the curiosity driving the design.
(RIGHT) The two upper sketches are the preliminary examinations of wall construction and acoustic analysis. The first decision when designing each space is to determine what level of acoustic isolation it should have and whether to absorb or reflect the noises within that space. The dark workspaces, idealizing complete isolation, would need as much noise absorbed within the space as possible to prevent distraction. The public workspaces, however, do not need as much absorption. Some of the primary sources of noise within the building itself: mechanical noise, construction/renovation, phones, radios, televisions, printers, voices, and walking. Some of the exterior sources of noise: planes, traffic, construction, dogs barking, music, park events, city events, sirens, and mowing grass, among others. Multiple different interior wall assemblies are proposed, and after careful review with an acoustician, the final solution culminates into a double metal stud with an air gap sandwiching a layer of mineral fiber insulation. With various cladding materials depending on programmed space, the cladding will vary per room, but when possible, materials will be hung on resilient clips rather than directly to the stud. Furthermore, the interior walls will go all the way to the floor structure rather than stopping above the wire-hung ceiling to prevent further noise transmission. The preliminary system for the exterior fiber cement cladding is shown in the bottom right drawing.
ATRIUM CONSTRUCTION DETAILS
DIRECTION 1 PRELIMINARY SKETCH
DIRECTION 1 REFINEMENT
DIRECTION 1 SOLUTION
DIRECTION 2 PRELIMINARY SKETCH
DIRECTION 2 REFINEMENT
DIRECTION 2 SOLUTION
FIRST FLOOR MECHANICAL SYSTEMS
MEZZANINE MECHANICAL SYSTEMS
SECOND FLOOR MECHANICAL SYSTEMS
THIRD FLOOR MECHANICAL SYSTEMS
FOURTH FLOOR MECHANICAL SYSTEMS
FIFTH FLOOR MECHANICAL SYSTEMS
(LEFT) The structure for the entire building is wide-flange steel framing with metal decking and a concrete topper for the floor structure. Much of the roof is a green roof for various small species of vegetation. The primary, unmovable walls within the building are designed as double-stud lightweight steel sandwiching a layer of mineral fiber insulation with two layers of gypsum (variable by space) suspended on resilient clips. The wall and floor design is to guarantee acoustic control within each of the spaces. At the points where longer spans are needed for the atrium, 30” steel girders are attached to the four concrete cores and columns, concealed within a wall spur with cove lighting throughout. The details also illustrate how the acoustic fins are attached with simple screws and clamps, similar to alligator clamps. The steel connections are seat angle connections and steel cleat connections for beams/girders to columns. The building implements multiple types of insulation for both building efficiency and to prevent sound transmission between floors and walls. All of the studs and walls use standard batt insulation, mineral fiber insulation, rigid insulation, or a combination.
(LEFT) The handrails are designed in conjunction with the wall structure to ensure visual continuity, with a light cove at ground level. To the right, the roof and skylight assembly where the wall visibly steps back to reinforce the perception of the acoustic fins holding the skylight up. Visible below is the standard wall to floor connection for the atrium space, including the blocking to allow for angled walls and the resilient clips holding the plywood sheathing for the atrium space. Canting the wall for the extra-large girders also allowed space for electrical/mechanical ducts to run through the building.
(TOP RIGHT) These sketches illustrate the thought process and design technique for the atrium’s form. The left sketches are designed to carefully control daylight entering the space at both the summer and winter solstice. The form allows the most light to hit the fins, creating variance, but also reflects that light deeper into the building. The right three sketches are cut along the other axis and are designed for viewer visibility. Multiple different types of spaces are created based on this visibility, per the program’s required diversity in public access. These sketches became the preliminary design for the atrium.
(BOTTOM RIGHT) BLANKstudio utilizes a vertical distribution system for the heating/cooling as opposed to a horizontal system to allow less interior space to be occupied by mechanical rooms and to keep all the mechanical noise outside of the building - creating quieter spaces within. The dashed black line on the drawings indicates the three different sectors, and the three mechanical rooms supply for one sector of the building. This also allows for three smaller exhaust points to reduce pressure differentiation rather than one large system.
ATRIUM RENDERINGS
These renderings illustrate the experiential qualities of being within the atrium at various levels as well as the philosophy of the design. The fins along one axis are intended to be continuous and wrap the entire space through the entire building and all the way to the street outside as one continuous ribbon. To root the fins to a larger philosophy, the colors are critical to their success. As this project is based in Mississippi and many of the practitioners within the building deal with construction, taking a photograph of the famous Mississippi red clay and pulling the fins’ colors from that image, paired with their acoustical functions, allowed the fins to become the heart of the building, not part of the building. With such vibrant colors, a cleaner brighter background prevented discomfort.
The rendering in the bottom left shows much of the curious moves for the atrium, such as the skylight. The structure for the skylight is a steel frame, but the fins are oriented to conceal the steel frame so that it disappears, unless standing directly under the structure between two fins. In essence, this move makes the skylight appear to float above the space - held up by the acoustic fins themselves. The treatment of the walls at the skylight reinforces this move by stepping back out of viewer’s site several feet below the skylight. The bottom left rendering also shows a break in the fins, but that break is only visible from above, as below it appears as a simple line.
STORMWATER MANAGEMENT SECTION
STORMWATER MANAGEMENT PLAN
FIRST FLOOR LIFE SAFETY PLAN
SECOND FLOOR LIFE SAFETY PLAN
TECHNICAL DRAWINGS
These drawings depict some of the technical aspects that help the building function such as the storm-water management. Nearly all of the water on this project site is either absorbed into the vegetation or collected in cisterns at the back of the building or behind the entry canopy to use as non-potable water for vegetation and plumbing throughout the building. With so much vegetation both interior and exterior, reducing water costs as much as possible is critical for efficiency.
The following photographs illustrate how the design manifested into a built physical sectional model. The context is intended to be completely white so as not to distract from the building itself in any manner, and the people & cars are a light blue to highlight the movement and life of the building. All too often, models and drawings are done void of life which is never how buildings are inhabited.
FRONT
OVERALL
OVERALL
ABOVE
ELEVATION
PERSPECTIVE
PERSPECTIVE
ENLARGED
ABOVE
ELEVATION
PERSPECTIVE
SECTION 1
SECTION 2
SECTIONAL ALIGNMENT
SECTIONAL CLOSE UP
SECTIONAL CLOSE UP
SECTIONAL CLOSE UP
SECTIONAL CLOSE UP
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
ENLARGED
MODEL IMAGES
PROJECT BOUND
OVERALL RENDERING
SITE ANALYSIS
CONCEPTUAL FRAMEWORK
CONCEPTUAL REFINEMENT
FORM DEVELOPMENT
CONCEPTUAL COMPOSITIONS
RENDERING
BUILDING 1
BUILDING 2
BUILDING 3
BUILDING 4
AXONOMETRIC SECTIONS & FLOOR PLANS
RENDERING
PROGRAMMING DRAWINGS
SERIAL SECTION
STRUCTURAL DRAWINGS
EXPLODED AXONOMETRIC
PROGRAMMING & STRUCTURAL INFORMATION
METAL CLADDING SYSTEM FULL SCALE MODEL
CONNECTION A - PARAPET
CONNECTION B - FLOOR TO FLOOR
CONNECTION C - SOFFIT
CONSTRUCTION DETAILS
CRITICAL DIPTYCH
MATERIAL SELECTION & ANALYSIS
HVAC SYSTEMS
STORMWATER MANAGEMENT
MATERIALS & SYSTEMS
RENDERING
BUILDING 1 CODE ANALYSIS
BUILDING 2 CODE ANALYSIS
BUILDING 3 CODE ANALYSIS
BUILDING 4 CODE ANALYSIS
ADA & CODE ANALYSIS
INTERIOR RENDERING
RENDERING
SOUTH VIEW
NORTH VIEW
RENDERINGS WITHIN THE WALL
VEGETATION DESIGN & RESEARCH
ABOVE
INTERIOR
OVERALL
PERSPECTVIE
ELEVATION
ABOVE
PERSPECTIVE
OVERALL
SECTIONAL MODEL
ABOVE
PERSPECTIVE
OVERALL
OVERALL
OVERALL
OVERALL
BUILDING MODEL
FUSE.
FUSE. is more than a design for one location on the Mississippi Gulf Coast. It is a new way of thinking, living, and designing with the goal of advocacy for the systems that protect citizens at the forefront. Essentially, how can the approaches to resiliency, stormwater management, solar power, and everyday life blend together in a cohesive whole. Highlighting the systems, making everything visible and beautiful, provides the intended advocacy and fosters community engagement. Designed at the welcome point to Gulfport, the intersection of Highway 90 & Cowan Road, this design interprets the values and traditions currently existing on the coast as a means to propose a new, urban development that reinvents and specializes the Gulf Coast with the character of Mississippi history. At the largest scale, FUSE. softens and naturalizes the coastline to a predevelopment condition. The existing barrier islands with idealized beachfronts justifies the significant loss in the landlocked commercial beachfront while still allowing for development along the water’s edge, a crucial economic driver for Gulfport and Biloxi. At the 30-acre scale, building development and orientation is conceptualized as a grand scheme replicable along the coastline. Rather than running from the valued coastline for fear of flooding, FUSE. proposes a very large platform built into the Mississippi Sound structured alongside the hardscape development. As a resiliency strategy, the structures grow taller and larger as they move toward the coastline, with no structure or habitable space below the 8’-0” A.S.L. elevation. Using a base flood elevation of 26’-0”, the coast-front buildings all orient outward toward the Gulf of Mexico or to the natural surrounding landscape. Instead of allowing the buildings to sit on giant stilts, disproportionate to human scale, the buildings all host a series of three platforms of varying scales and heights that still provide the required flood elevation while visually appearing more appropriate to the human eye. The development as a whole is a network of resiliency systems, stormwater management systems, and flood protection blended together to create an identifying landmark for the Mississippi Gulf Coast, and a reinterpretation of the phrase “Welcome to Gulfport”.
MULTI-SCALE PERSPECTIVES
This poster illustrates how the design works at multiple scales, and where each smaller piece fits into the larger whole. The 30-acre axonometric shows the platform priorly mentioned, and the 10-acre illustrates the cohesive building typology. To the right, a before and after illustration taken from the exact same spot where the emphasis on walkability and the beginnings of a new urbanist philosophy begin to show through.
PLAN DIAGRAMS
Showing the exterior ground level and interior vertical circulation, the top plan introduces the interconnected elevated walkway between buildings. The intersection, redesigned into a roundabout, creates the node or recognizable moment, the new welcome point with the buildings radiating outward. The bottom drawing documents the stormwater management network by typology, size, and calculation.
PODIA
Above, the podium network split into three 8’, 12’ and 26’ increments, as opposed to the awkward one, as well as the main building form, circulation highlighted as visual elements, a sail-shaped viewing platform, and building cap mimicking the movement of waves with occupiable space below. Each background shade of red indicates the potential for each piece of building to flood based on storm frequency.
SOLAR POWER
The design proposes building-integration and solar shading along walkways and parking (highlighted in orange). The top diagram shows the sail-shaped fins that shade the Western and Southern interior while allowing views outward. The circular form shades the elevated walkway connecting the structures. In total the solar panels provide 64% of the power needed for the entire development.
DUTCH EMBASSY
NAMBA PARK
SYRACUSE CENTER FOR EXCELLENCE
PRECEDENTS
STREETSCAPE
URBAN SPACES
STORMWATER MANAGEMENT
SKETCHES
ABOVE
PERSPECTIVE
PERSPECTIVE
SECTION
STREETSCAPE MODEL
ABOVE
PERSPECTIVE
PERSPECTIVE
ELEVATION
BRIDGE BREAKWATER
ABOVE
PERSPECTIVE
SECTIONAL PERSPECTIVE
ELEVATION
WALKWAY BREAKWATER
OYSTER BREAKWATER
ABOVE
ISOMETRIC
SOUTH ELEVATION
EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
ROUNDABOUT
OVERALL PERSPECTIVE
BREAKWATER PERSPECTIVE
S.W.
30-ACRE MODEL
The 30-acre model begins to show how the natural systems intertwine with the built development and how building size increases closer to the shoreline. Since the currents in the Mississippi Sound run from East to West, the platform, visible above, will allow sand to build on one side (reinforcing the naturalized element) while pulling sand away on the other (allowing for boat traffic).
ABOVE
PERSPECTIVE LOOKING NORTH
Utilizing a green/gray/blue hybrid infrastructure, the design includes multiple, smaller seawalls at higher elevations acting as seating in public spaces and retaining walls for the infiltration ponds. The water facing edge now hosts a curved front that reflects water backwards better than a straight vertical wall. All the breakwaters are oriented and designed to be touched, seen, walked on, and interacted with.
SOUTHWEST ISOMETRIC
SOUTHEAST ISOMETRIC
PERSPECTIVE
WATER FOLLY
NORTHEAST ISOMETRIC
NORTHWEST ISOMETRIC
10-ACRE MODEL
The sculpture at the center of the development and roundabout, a Richard Serra style for representation, allows people to interact with all facets of the design, an anachronism for the wholistic system’s intent. For the colors of this model, the brown represents the landscape, white the hardscape, black the building circulation and solar panel orientation for understanding the overall composition. Large openings between buildings sharing the same platform give a hint of “the beyond,” in this case the ocean, thereby directing people in various directions and threshold experiences.
PERSPECTIVE
PERSPECTIVE
PERSPECTIVE
SOLAR SHADE PERSPECTIVE
Shown are the fins for solar panels and shading as well as the other covered walkways. The vertical circulation is intentionally left open to signify that enclosure may not always be required.
At this scale, the elevated walkway over the roundabout is constructed with customized columns. Infiltration planters start to thoroughly populate the development and streetscapes, and greenery begins to show, designating the stormwater management locations.
OVERALL PERSPECTIVE
OVERALL PERSPECTIVE
OVERALL PERSPECTIVE
RAMP TO SCULPTURE
ELEVATED WALKWAY
MORPHING COLUMNS
INTERIOR CIRCULATION
SOLAR FINS
PERSPECTIVE TO NORTH
EXTERIOR CIRCULATION
3-ACRE MODEL
How do we create an experience unique to the Mississippi Gulf Coast that respects the tradition and history while proposing an urban lifestyle? How can we develop protective systems in a symbiotic relationship with residents and visitors?
CADENCE BANK PARKING
RENDERING
Parking garages are among some of the most harmful and unhealthy buildings ecologically and environmentally. Without excellent ventilation, the fumes from vehicle exhaust will sit and dwell in these spaces before dissipating into the larger atmosphere. And with rain, all the chemicals building in the structure are washed into the surrounding environment and landscape. This project aims to reinterpret what a parking garage could look like as well as reduce some of the environmental ramifications. Large concrete panels with asymmetrical reveals and slight protrusions and intrusions cling to the exterior of the building as a way to allow ventilation and conceal the inner garage without completely enclosing the structure.
SITE & CONTEXT PLAN
NORTH
Designed as an addition to a Cadence Bank in Starkville, Mississippi, the parking structure has 153 parking spaces, 45 electric car chargers, space for up to 25 bicycles, a 5,000-gallon water retention tank, a wetland, over 2,500 sq. ft. of solar panels, a pervious concrete system on ground level, permeable pavers on public walking spaces, 5 retail spaces, and over 15 different species of local, resilient plants and greenery. All of these elements combine to redefine what a parking garage could be, and while still not great for the environment, this is a step forward.
The primary structural system is precast concrete with double-tee slabs and 12" columns, but most of the cladding is a tree-farm raised cypress with spar-urethane coating that allows a slow wearing over time to emphasize the natural aspect and soften the harsh concrete edges. The project faced some criticism for the use of wood on a parking garage, but exhaustive research and precedence proved the reduction of concrete not only increased the environmental benefits but the sense of hierarchy as well.
FIRST FLOOR PLAN
SECOND FLOOR PLAN
FIRST & SECOND FLOOR PLAN
THIRD FLOOR PLAN
ROOF FLOOR PLAN
THIRD & FOURTH FLOOR PLAN
NORTH
The large precast panels act as an overhang shielding the harsh western sun, while providing a visual element that follows the contours of the site and street without excessive excavation. The most difficult question for the garage, though, is how to connect and relate it to the existing Cadence Bank? Since the existing bank is also clad in concrete panel, the new garage will use a different concrete but same proportion for the shape on the north side of the garage. To connect the two structures, a large overhead steel frame with a welded steel mesh interior, following that same street angle, attaches to the roofs of both buildings. Within that steel mesh is series of green vines hosted from planters on the roof running across the gap acting as a shade.
RENDERING
WEST ELEVATION
NORTH ELEVATION
SOUTH ELEVATION
NORTH & SOUTH ELEVATION
EAST ELEVATION
To make the concrete panels more accessible, the planters and staircases use the concrete as a siding to allow occupants the opportunity to touch, see, and experience the panels first-hand. The project also explores the various ways humans interact with plants and vegetation by placing the most tactile, and visually pleasing greenery at eye level and accessible for different forms of interaction: touch, smell, sight, and even taste for a few interested parties.
RENDERING
Some of the plant species included for the project:
Eastern Redbud (Cercis Canadensis)
Crepe Myrtle (Lagerstroemia)
Flowering Dogwood (Cornus Florida)
Big Bluestem (Andropogon Gerardi)
Sideoats Grama (Bouteloua Curtipendula)
Firewheel (Gaillardia Pulchella)
Crossvine (Bignonia Capreolata)
SECTION 1
SECTION 2
RENDERING
While providing power to the parking garage and retail spaces, the rooftop solar panels are also designed as a shade for vehicles to park under along with the vines growing along the perimeter of the structure. The water that is not collected by the retention tank is directed and drained into the wetland on the East as well as planters around the building.
SECTIONAL AXONOMETRIC
PLAN DETAIL
CONSTRUCTION DETAILS
As an added layer of stability, the longer panels host a steel space frame type bracing as well as reinforced steel mesh cast into each panel.
CONSTRUCTION DETAIL
CONSTRUCTION DETAIL
CONSTRUCTION DETAILS
The permeable paver and pervious concrete system (visible in the construction detail above) act as a filtration system via multiple layers of aggregate varying in size before either returning to the groundwater or into a perforated underground drainage system leading to the wetland. The system prevents water from pooling on the surface and prevents ice accumulation in colder weather. Concerns have been raised about maintenance, but the system only requires biannual flushing with a truck working similar to a streetsweeper.
RENDERING
BIRD'S EYE PERSPECTIVE
SOUTHWESTERN APPROACH
NORTH STAIRCASE
SOUTH STAIRCASE
RENDERINGS
THIS PROJECT WON THE 2021 SPRING PCI DESIGN COMPETITION AT MISSISSIPPI STATE UNIVERSITY
AN URBAN DWELLING
THE DWELLER’S RELIEF
The relationship between public and private perspective relies solely on the dweller’s relief. Those characteristics initiating the deep exhale of a return home or the change in stature from leaving. To dwell is to understand one’s own frame of mind physically, aesthetically, spiritually, and emotionally for the organizational and architectural characteristics to follow. Much like the architect preferring simple, clean geometries or the musician preferring deep textures and acoustic supremacy, the dwelling relies on the dweller. Every dweller’s relief is disparate, so designers must rely on the small attributes to manifest their intentions. Elements as minute as entry, organization, natural lighting, access to fresh air, and the balance of public to private existence must establish interchangeable traits applicable to most dwellers. Moreover, these interchangeable traits must enhance the dweller’s relief. The dweller’s relief alludes solely to the persistent emotions encountered within a space. The comfort of home and the anticipation of public contact.
The relationship between public and private perspective relies solely on the dweller’s relief. Those characteristics initiating the deep exhale of a return home or the change in stature from leaving. To dwell is to understand one’s own frame of mind physically, aesthetically, spiritually, and emotionally for the organizational and architectural characteristics to follow. Much like the architect preferring simple, clean geometries or the musician preferring deep textures and acoustic supremacy, the dwelling relies on the dweller. Every dweller’s relief is disparate, so designers must rely on the small attributes to manifest their intentions. Elements as minute as entry, organization, natural lighting, access to fresh air, and the balance of public to private existence must establish interchangeable traits applicable to most dwellers. Moreover, these interchangeable traits must enhance the dweller’s relief. The dweller’s relief alludes solely to the persistent emotions encountered within a space. The comfort of home and the anticipation of public contact.
FIRST FLOOR PLAN
SECOND FLOOR PLAN
FIRST & SECOND FLOOR PLAN
RESIDENTIAL LEVEL PLAN
SINGLE UNIT PLAN
RESIDENTIAL LEVEL PLAN & TYPICAL UNIT PLAN
NORTH
The entire concept for the building is natural light, open space, creativity, viewsheds, and comfort. To break away from typical dense design, frequently uncomfortable and cramped, the building is narrow but tall – a method allowing each resident to have his or her own corner that feels separate from the surrounding residents.
RENDERING
This building intends to merge the idea of community while allowing ample private space for an escape. The angles and form, however, allude to Chicago’s long history as a modern art metropolis.
WEST ELEVATION
NORTH ELEVATION
Instead of implying that the strange form does not reference surrounding context, consider why it should not as a local structure but does as a regional one. Why should the building not be a work of art, as is typical in Chicago, and why would residents not enjoy a reinterpretation of dwelling?
RENDERING
The building references the balance between order and chaos. Between monotony and anarchy. The relationship between too much context and not enough. The idea states that if every building uses similar forms, architecture becomes monotonous. If every building is unique and outlandish, cities become confusing and unsettling. All the surrounding context is orthogonal, straight-forward, easily understood. Therefore, the act of disruption that this building offers is crucial and ideal.
SECTION A-A
The exterior skin, composed of horizontal black quartzite natural stone strips approximately 3 inches wide, contrasts to the interior sinker cypress natural wood of 12 inches wide to further differentiate public and private space by displaying hard and soft textures, respectively. The dense, heavy, dark stone delineates the exterior form while the softer, warmer cypress comforts the interior residents. Lastly the materials provide climatic benefits by the dark stone absorbing heat in winter while the cypress provides a warm womb-like interior envelope.
ADA PLAN
VICINITY MAP
ADA UNIT PLAN & VICINITY MAP
AN ARTIST COLONY
RENDERING
PRELIMINARY SKETCHES
To find the relationships between site, precedent, materiality, ecology, and bio-morphism, these designs push the idea that form is simple to viewer but complex to designer. Each dwelling and workspace, secluded without connections to each other, emphasize the focus required for creativity to flourish; however, the communal space and gallery offer artists the opportunity to gather. A study on the cruciality of a public and private space equilibrium.
WRITER'S STUDIO
The writer's studio allowed the most freedom for the space's parameters. Silence, a comfortable space, a desk, shelves, and a contemplation space are the primary requirements for writing, and this home provides exactly that.
AXONOMETRICS
3D PRINTED SCALE MODEL
BOATMAKER'S STUDIO
The boat maker requires the largest amount of space as well as access to water for his work. The existing stream provides the perfect opportunity, and the main doors to his workspace open entirely to allow easy removal of the boats.
3D PRINTED SCALE MODEL
INSTRUMENT MAKER'S STUDIO
The instrument maker's studio uses the forms of opera houses and symphony spaces as well as acoustic materials to reflect interior sounds and prevent exterior ones.
AXONOMETRIC
WATER MILL GALLERY
The communal gallery space takes an existing mill ruin and combines the new structure to the old in a way that highlights the history of the existing site.
AXONOMETRIC
RENDERING
SOLAR RADIATION
RELATIVE HUMIDITY
TEMPERATURE
WIND ROSE
ENVIRONMENTAL ANALYSIS
Each dwelling is studied and compared with four environmental factors: wind, temperature, radiation, and relative humidity to provide the most comfortable space for the artists.
THE NATIONAL ARBORETUM GALLERY
COMPOSITION
The design process resembles that of pyramid. The foundations or base for that pyramid are the overall functions and ideas for the building: the concept. What should this building say, and exactly how should viewers see it. The form and layout of the building are the next step up, followed by the construction and detailing. The National Arboretum Art Gallery started as a study on the basic proportions of a quadrilateral shape, followed by the different possible compositions and combinations of those shapes to form an art gallery complex ideal for both painting and sculpture.
SITE PLAN
NORTH
With a small water stream flowing between the complex, the project studies human manipulation of movement through the spaces. Partitions and pathways guide viewers through the space in a particular way to avoid being centered on the entire structure as well as blocking visibility to the final platform until right before reaching it. A different take on the idea of compression and release, with the release instead being a climactic view to the last platform showcasing a finale sculpture by Brancusi.
STRUCTURAL VIDEO RENDERING
The internal structure for the main gallery is lightweight steel framing with a natural slate cladding on the outside. For those days where the weather permits, a large rising glass door on the north side of the main gallery opens to allow fresh air into the space while still preventing any direct daylight from harming the interior paintings.
GALLERY PLAN
NORTH
The entire complex hosts a primary gallery space and sculpture garden, a series of gardens and platforms for viewing sculptures, a final platform for the most significant sculpture, an uninterrupted stream flowing through the center, office space for the curator, four restrooms, and storage space.
SOUTH ELEVATION
EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
GALLERY PLAN
The main gallery's East and North facades are covered with glass and clerestories to allow in natural light but use diffusers for softening. The only entrance to the entire complex is a large, canted wood wall on the south side, shaped to pull people into the space much like a funnel.
FRAMING AXONOMETRIC
SECTION 1
SECTION 2
BUILDING SECTIONS
SITE SECTION AA
EXTERIOR WALL PARTITION
On the existing Arboretum are these vibrant exterior walls that separate the different spaces and glow when hit by the sun. To relate the new gallery complex with the existing arboretum, these walls surround the perimeter of the main sculpture garden as a way to both navigate viewers and transform the built work into artwork.
CONSTRUCTION DETAIL
FLOOR PLAN DETAIL
CONSTRUCTION AXONOMETRIC
A PAVILION: REDUCE, REUSE, RECYCLE
FULL SCALE MODEL
Using cardboard quite literally pulled from dumpsters and grocery store warehouses, this project proves the colloquial "one man's trash is another man's treasure", but sometimes that trash needs a few modifications before earning such a distinguished honor. The challenge for this project was to create, design, and develop a full-scale pavilion tall enough for a person to walk through with strictly scrap cardboard and adhesives or jointery. It must also be completely designed using one simple replicable shape or form.
SECTION
Instantly, the manipulation of different triangles provided the strength and stability required, considering its reputation as the strongest shape, and eventually a pyramid-like form emerged that could be rotated and mirrored to create a flat surface.
The idea behind the overall form was to continue emphasizing the triangular shape which proved successful, so what happens when two cards are placed against each other? Entire multi-level "houses" can be built. This pavilion uses the same technique, except the two "cards" or triangular walls are actually connected and joined at the peak; hence a portable, moveable structure comes to life.
FULL SCALE MODEL
To emphasize the tactile interaction preferred, the pavilion is tall enough to enter at full posture but requires bending to exit the other side, an idea commonly forgotten in buildings. How does one interact with not just the people in the building, but the building itself?
A HIDDEN FOREST FOLLY
SITE PLAN
Sometimes the found objects turn out the most unique and fascinating. No one expects to stumble upon a hidden forest folly in the deep woods of Mississippi. Some of the best designers and architects can manipulate buildings to blend with the landscape (or vice versa), and the relationship with nature drives this project. The entrance, a solid wall with a small, punched opening. Passing through signals a shift from an exterior to an interior space.
ELEVATIONS
SITE SECTION
The lines of sight upon entering provide three options. Turn left into a recessed garden surrounded on three sides by walls, the top of which at ground level. Keep going straight through the folly as if no discovery was made. Turn right to a space framed by walls showcasing a grand view out into the surrounding wilderness.
MODEL PHOTOS
As is common with forest or water follies, the intention is to wander, turn corners, get lost, and explore. It is a space of discovery. The small partitions are placed precisely to prevent any overall views of the folly. The only way to experience the entire structure is to walk through and interact with it first-hand.
IN THE LIKENESS OF RICHARD MEIER
MODEL PHOTO
Looking at a design project through the lens of a different, already successful designer lends the opportunity to observe architecture in a different light. It is much easier to look at a precedent for inspiration than be challenged to "design as this architect would" in the literal sense. This project takes the methodology and philosophy of Richard Meier and culminates in a completely new building. Factors of entrance, threshold, experience, scale, texture, material, color, light, detailing, and function by the source must all be observed and criticized before implementation. The most difficult question when studying precedence: "How can this building join the Meier collection without directly plagiarizing the work?"
FIRST FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
MODEL PHOTO
ELEVATION
The scope for this first design project is simple. Design a sacred space, threshold, vertical movement, and entrance as Richard Meier would. Determine the essential elements and defining characteristics that make a space sacred. Silence, movement.
MODEL PHOTO
Much like the monks on pilgrimages to Santiago de Compostela, the three levels are to act as an ambulatory for contemplation and peace; inspired by the medieval cathedrals. However, the materiality and texture is intended as a smooth highly reflective white surface bouncing and tunneling light through the space. The three levels become progressively smaller in scale to signify an increase in importance like the forbidden city in China.
SECTION
Following the impression of Meier and Frank Lloyd Wright, the main relieved entrance creates the sense of compression and release upon entering the main stair hall, but the same technique repeats when entering the sacred space. Exterior, compression, release, stair hall. Stair hall, compression, release, sacred space.
MODEL PHOTOS
The beauty of a first-year student's design project is the opportunity and ability to ignore all technical aspects required for the building. No considerations for electrical equipment, structure, building code, zoning, budget, or even restrooms are required for a first-year project, offering the opportunity for uninterrupted focus on what the building should be and do.
