JOHNNY DWYERJOHNNY DWYER DESIGN

johnny dwyer

academic portfolio 2012-2014 completed works from the University of michigan

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resUme

rUgged

neUroplex

made/make/making

san francisco fire department headqUarters

novel indUstries

something aboUt coUrts

close encoUnters

6JOHNNY DWYER

EDUCATION

EXPERIENCE

2060 serenity way, commerce township, mi 48390t: 248-421-8153e: johnnydwyer@me.com

THE UNIVERSITY OF MICHIGAN taUbman college of architectUre and Urban planningmaster of architecture gpa: 3.88

THE UNIVERSITY OF MICHIGAN taUbman college of architectUre and Urban planning2012 bachelor of science in architecturegpa: 3.55

WALLED LAKE CENTRAL HIGH SCHOOLhonors gradUateacademic, music, and inline hockey letters gpa: 3.55

Class of 2014

Class of 2012

Class of 2008

Summer 2014

Summer 2013

Summer 2012

EADO + SIFT STUDIO , Ann Arbor, Michiganintern architect-assist in design and fabrication for marq restaurant renovation in marquette, mi-fabricate material samples, mockups, and on-site furniture + wall systems

LABRA DESIGN + BUILD, Wixom, Michiganintern architect-full fabrication responsibilities of multiple large scale furniture pieces -prepare construction and presentation documents for rausch residence renovation in white lake, mi

ANGELINI & ASSOCIATES ARCHITECTS, Ann Arbor, Michiganintern architect-physical modeling for kuyper hall at dort college, huron river homes-site survey, physical modeling, and construction documents for huron street penthouse condo renovation-various site surveying, drafting, and existing construction documents

JOHNNY DWYER DESIGN

SKILLS

AWARDS +EXHIBITIONS

7THE UNIVERSITY OF MICHIGAN taUbman college of architectUre and Urban planningmaster of architecture gpa: 3.88

THE UNIVERSITY OF MICHIGAN taUbman college of architectUre and Urban planning2012 bachelor of science in architecturegpa: 3.55

WALLED LAKE CENTRAL HIGH SCHOOLhonors gradUateacademic, music, and inline hockey letters gpa: 3.55

SKILLS

AWARDS +EXHIBITIONS

March 2014

2012 - 2013

SKYLAB ARCHITECTURE, Portland, Oregon1 week extern architect-intern for one week through tcaUp externship program-tasks included: client meetings, physical modeling, and visualization

THE UNIVERSITY OF MICHIGAN3d printing specialist-assist students and faculty in all aspects of abs and Zcorp printing including file setup, machine maintenance, and print finishing

DIGITAL:

rhinoceros 5.0

autocad 2014

adobe photoshop

adobe illustrator

adobe indesign

gehry technologies digital project

v-ray

catalyst 3d-printing

2014 2014 2014

2013 2013 2012 2011 2008

taubman college faculty thesis award

taubman college thesis honors award exhibition

super jury exhibition on the picturesque

taubman college student show

shaun jackson architecture of objects memorial exhibition

taubman college student show

taubman college student show

taubman college pre-admission status

ANALOG

model-making

rough carpentry

finish carpentry

fine millwork

tig/mig welding

cnc + hand routing

full scale design+build

industrial sewing

8RUG-GED /r uh g - id/ad j . [most o f ten used in re ference to arch i tec tura l aesthet ic ] fu l l o f roughness ; possess ing character ist ics o f the rough , uneven , crude , or uncomfor tab le var ie ty ; cha l leng ing smoothness ; express ing unpred ic tab i l i t y through odd d ist r ibut ion o f h igh and low [mat ter ] ; embody ing the sp i r i t o f the nature in wh ich i t res ides .

arch i tec ts rare ly embrace the i r regular. instead , we constant ly absta in f rom these abnormal , awkward , or st range sur f ic ia l qua l i t ies in pursu i t o f someth ing more eas i ly d igest ib le : the in f in i te ly smooth and in f in i te ly th ina resul t o f d ig i ta l formal ism. th is not on ly den ies the arch i tec ture i ts des i red sense o f mater ia l i t y , a f fec t , and exper ient ia l d igest ion , but by immedia te ly demyst i f y ing the spat ia l cond i t ions , our cur ios i t ies are sated even be fore they are p iqued . our sense o f imag inat ion and in t r igue towards a tex tured in ter ior i s reced ing and fa l l ing v ic t im to an era o f instant gra t i f i ca t ion and immedia te consumpt ion .

th is thes is looks to des ign and propose the new arch i tec tura l aesthet ic o f the rugged as a means to s low the ra te o f consumpt ion o f arch i tec tura l aesthet ics . th is neo-pr imi t i ve roughen ing o f the in ter ior has the potent ia l to induce new techn iques o f the product ion o f the natura l is t i c by accept ing nature s unpred ic tab le essence as a des ign pr inc ip le . wi th th is , we can fur ther exp lore arch i tec ture s mani fo ld re la t ionsh ip w i th nature and as a resul t , produce the uncomfor tab ly st range someth ing that seems to emerge e f for t less ly w i th in nature .

R U G G E D

Year: winter 2014Course: insides thesis studioAdvisor: ell ie abrons

proposal for a new architectural aesthet ic of the rugged as a means to slow the consumption of architectural aesthet ics and as a result , pose a new type of natural ist ic interior that cult ivates the uncomfortably strange or crude

9 r u g g e d f i r s t f i n d s i t s e l f a t ca b i n a s re t re a t f ro m t h e co n t e m p o r a r i l y s m o o t h

W I L D

t h e r u g g e d w a n t s t o b e a n y t h i n g b u t n o r m a l . n o r m a l i s s o e a s y. . . w h y n o t t a ke t h e c h a l le n g e a n d b e co m e q u e s t i o n a b ly p a l a t a b le a n d h a rd ly d i g e s t i b le ? m a y b e e v e n a l i t t le g ro t e s q u e ?

l e t t h e w i l d r u m p u s s t a r t !

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S TO N E S T U D I E S

s m a l l s t o n e s a n d s w a t c h s t u d i e s s e r v e a s a m e a n s t o ex p lo re d i f fe re n t m e t h o d s fo r s lo w i n g t h e r a t e o f a rc h i t e c t u r a l d i g e s t i o n b y i n t ro d u c i n g c r u d e -n e ss , b e a rd e d - n e ss , a n d u n co m fo r t a b le - n e ss i n t o t h e co n v e r s a t i o n . t h e s t a r t i n g p o i n t s b e g i n t o a l lo w t h e r u g g e d t o e v o lv e i n t o m o re t h a n j u s t a n o b j e c t b u t a c h a r a c t e r , a n d a f fe c t , a n d a n a e s t h e t i c .

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B E A R D E D - N E S S

p o ss e ss i n g c h a r a c t e r i s t i c s o f t h e ro u g h , u n e v e n , c r u d e , o r u n co m fo r t a b le v a r i e t y

e m b r a ce t h e a b n o r m a l i t y. we lco m e t h e r i d i c u lo u s n e ss . U t i l i z e t h e a w k w a rd . a l lo w a q u e s t i o n a b le p a l a t a b i l i t y t o l i v e o n a n d n o t fa l l v i c t i m t o t h e s i m p l i f i e d q u i c k d i g e s t i o n . w h y ca n t t h i n g s b e b e a rd e d ? p l a y w i t h t h e u n k n o w i n g q u a l i t i e s t h a t w e s h y a w a y f ro m a n d s a v o r t h e ex p e r i e n ce . b y s t r i v i n g t o a l lo w m a t e r i a l s t o le a v e t h e i r m e t a p h y s i ca l t r a ce s a s w e l l a s t h e i r t a c t i le o n e s , a n e w a f fe c t i v e ex p e r i e n ce w i t h a e s t h e t i c s co m e s fo r w a rd .

C R U D E - N E S S

e x p re ss i n g u n p re d i c t a b i l i t y t h ro u g h o d d d i s t r i b u t i o n o f h i g h a n d lo w [ m a t t e r ]

U n p re d i c t a b i l i t y a n d i n s t a b i l i t y d o n t h a v e t o b e t h e d e v i l s t h a t w e f i g h t a g a i n s t . i n co r p o r a t i n g t h e m i n t o t h e d e s i g n co n v e r s a t i o n c re a t e s m o re u n d e r s t a n d i n g b e t w e e n m a t e r i a l , p ro ce ss , m a ke r , a n d p ro d u c t . a l lo w t h i s o d d d i s t r i b u t i o n o f o p p o s i t e s t o c re a t e a w h o le g re a t e r t h a n t h e s u m o f i t s p a r t s . a l lo w t h e s o m e w h a t p a t c h y n a t u re c re a t e a n e w t y p e o f c r u d e o r a t t h e v e r y le a s t . . . q u e s t i o n t h e s m o o t h .

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R O U G H - N E S S

fu l l o f ro u g h n e ss

r o u g h n e ss i n t ex t u re , p ro ce ss , t h i n k i n g , a n d fo r m m a k i n g a l lo w s t h e i r re g u l a r i t i e s i n a l l s t a g e s t o co m e i n t o co n v e r s a t i o n . b e s i d e s e m b r a c i n g i r re g u l a r i t y fo r i r re g u l a r i t i e s s a ke , m a t e r i a l s a re n o w a b le t o h a v e m o re a g e n c y i n t h e d e s i g n p ro ce ss b y le a v i n g t h e i r m e t a p h y s i ca l t r a ce s b e h i n d i n t h e w o r k . . . a l lo w i n g o b j e c t h o o d t o e m b e d i t s e l f w i t h i n t h e a rc h i t e c t u re i n s t e a d o f b e i n g p l a ce d i n o p p o s i t i o n t o i t .

S M O OT H - N E S S

q u e s t i o n i n g s m o o t h n e ss

a fa i r l y s e l f ex p l a n a t o r y p o i n t b u t s t i l l o n e w o r t h co n v e r s i n g a b o u t i n t h e e f fo r t t o m o v e a w a y f ro m t h e e f fe c t s o f d i g i t a l fo r m a l i s m . t h i s ca n co m e fo r w a rd i n a n y s u p e r f i c i a l q u a l i t y t h a t p u s h e s a w a y f ro m s m o o t h n e ss a s t h e d e fa u l t d e f i n i t i o n w e h a v e b e co m e u s e d t o s e e i n g .

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W H Y A C A B I N ?

the rugged w i l l f i rst rea l i ze the cab in as re fuge f rom the contemporar i ly smooth , us ing i t as a s i te o f exper imentat ion for th is new arch i tec tura l aesthet ic . Ut i l i z ing the creat ion o f severa l odd ly bearded in ter iors serv ing as spr ingboards for the proposed aesthet ic , new conversat ions surround ing rust ica t ion , mater ia l agency , pa la tab i l i t y , a f fec t theory , and st rangeness come in to the current d iscuss ion and move us away f rom the anachron ist ic conversat ions on hapt ic i t y , tex ture , and t ru th fu lness o f the natura l that p lague the d iscourse .

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A R C H I T E CT U R A L A E S T H E T I C S

why are arch i tec tura l aesthet ics wor th ta lk ing about? espec ia l ly new ones? the b i r th o f new aesthet ics in arch i tec ture not on ly a l lows i t to move forward by s imply br ing ing new i tems in to the current conversat ion but a lso le t us re f lec t on the past methods and bu i ld on them. we o f ten become p lagued by anachron ist ic conversat ions in tex ture , hapt ic i t y , and t ru th fu lness that surrounds work o f th is var ie ty (and aesthet ics as a whole ) but i hope that th is work as wel l as many o ther emerg ing aesthet ics can move us forward in to more in terest ing conversat ions o f a f fec t theory , in ter ior rust ica t ion , mater ia l agency , s t rangeness ,and pa la tab i l i t y w i th in the d iscourse . by embrac ing some o f the qual i t ies that we o f ten push away f rom and a l lowing them toproduce in ter iors o f quest ionable pa la tab i l i t y we can move forward onto ta lks o f the i r use fu lness in d iscourse and how to va l ida te the i r e f fec t i veness w i th in the d iscourse as a whole

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e m e rg i n g f ro m a n ex p lo r a t i o n i n t o t h e t r a n s m i ss i o n o f i n fo r m a t i o n b e t w e e n o b j e c t , e y e , a n d s u b j e c t ; n e U r o p l e x lo o k s t o v i s u a l i z e t h e s e f i n d i n g s i n a n e w fo r m o f re _ o p p ro p r i a t e d i m a g e r y . o p e r a t i n g o n t h e b a s i s t h a t o u r e y e s o f t e n l i e o r t r i c k u s w h e n t h e i n p u t a n d o u t p u t i n fo r m a t i o n w i t h i n o u r re t i n a s b e co m e s co n v e r t e d , b l u r re d , s c r a m b le d , m i r ro re d , o r f l i p p e d t h ro u g h t h e o p t i ca l le n s , t h i s s e r i e s o f s c re e n s o f fe r s a s p a t i a l i z a t i o n o f t h i s p h e n o m e n a ; a c t i n g a s b o t h a n o p t i ca l m e t a p h o r a n d a n o p j e c t .

v i e w e d o n t h e m e t a p h o r i ca l i n fo r m a t i o n s ca le , o n e s y s t e m o p e r a t e s o n a r a n d o m i z e d s c r a m b le p a t t e r n w h i le t h e o t h e r u t i l i z e s b lo c k s h i f t s a n d re o p ro p r i a t i o n o f ro w a n d co l u m n i n fo r m a t i o n i n t o n e w b lo c k s a n d g e o m e t r i e s . i t i s h o p e d t h a t t h e t w o s y s t e m s d e p i c t t h e v i s u a l i n p u t d i f fe re n t l y a n d o f fe r n e w e d i t s o n t h e m a t e r i a l a s w e l l a s h a v e a re co g n i z a b le re l a t i o n s h i p w i t h e a c h o t h e r.

o n a n o p j e c t b u i l d i n g le v e l o r s c u l p t u r a l le v e l , t h e s y s t e m s t a ke t h e fo r m o f a h y b r i d m o v i p lex / c i n e m a s i t u a t i o n w h e re f i l m b e co m e s d i s p l a y e d o n t h e i n t e r i o r w h i le b e i n g s i m u l t a n e o u s ly re f le c t e d i n a s c r a m b le d , re o rg a n i z e d , o r re o p ro p r i a t e d p a t t e r n i n g o n t h e ex t e r i o r. i t i s h o p e d t h a t t h e s e p ro p o s a l s o f t r a n s l a t i o n b e t w e e n i n p u t a n d o u t p u t ca n p l a ce a n e w le v e l o f d i s c u ss i o n o n t h e e d i t i n g o f o p t i ca l e f fe c t s , f i l m a e s t h e t i c s , a u t h o r s h i p o v e r i n fo r m a t i o n , a n d re o p p ro p r i a t i o n o f i n fo r m a t i o n i n t o n e w s p a t i a l i z e d p a t t e r n i n g a e s t h e t i c s .

N E U R O P L E X

Year: fall 2013Course: proposit ions design studio - op_archAdvisor: james macgil l ivray

a spat ial interpretat ion of the transmission of information between source imagery, ret ina, brain synapses, and experience

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a n a lo g n e r v e s fo r t r a n s fe r r i n g d i g i t a l d a t a

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P E R C E P T I O N

t h e re a re t h i n g s k n o w n a n d t h e re a re t h i n g s u n k n o w n , a n d i n b e t w e e n a re t h e d o o r s o f p e rce p t i o n - a l d o u s h u x le y

ta k i n g a m o m e n t t o re f le c t o n a n i n d i v i d u a l s p e rce p t i o n , a s b ro u g h t t o t h e f ro n t o f t h e i r m i n d t h ro u g h t h e i r n e r v e s , b r i n g s o n m a n y m o re q u e s t i o n s o n t r u t h w i t h i n t h e i m a g e . t h e n e r v e s w i t h i n o u r m i n d a n d w i t h i n t h e o b j e c t s e r v e a s t h e m e ss e n g e r s fo r s u c h i n fo r m a t i o n a n d w h i le s o m e t i m e s o f fe r v i t a l i n fo r m a t i o n , o f t e n t i m e s s a d ly s i t i d l y b y w i t h l i t t le re co g n i t i o n fo r t h e i r u s e i n t h e t r a n s m i ss i o n o f s u c h i n fo r m a t i o n .

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I N P U T v S . O U T P U T

w h a t i f o u r e y e s w e re co n s t a n t l y l y i n g t o u s ? a re t h e y ? n e u ro p lex s e r v e s a s a n o p p o r t u n i t y t o v i e w i m a g e s i n a s ca t t e re d , s c r a m b le d , a n d re a p p ro p r i a t e d w a y t h a t b i r t h s n e w i m a g e s f ro m a n o l d . w i t h s u r p r i s i n g re s u l t s , s o m e i m a g e s ( e v e n ex t re m e ly s i m p le o n e s ) b e co m e h i g h ly co m p lex a n d s e e m t o m a t e r i a l i z e t h e m s e lv e s i n a w h o le n e w w a y a f t e r b e i n g p u t t h ro u g h t h e s y s t e m . b y v i e w i n g i m a g e s i n t h i s n e w w a y , co n v e r s a t i o n s o n a u t h o r s h i p o f i m a g e r y a n d a u t h o r s h i p o f w h a t w e s e e co m e s t o m i n d . . . a re w e a l l s e e i n g t h e s a m e t h i n g ?

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0 5 _ f l a m e0 1 _ f l u i d s

0 5 _ l a v e n d e r0 3 _ g a l a g a

0 6 _ s u n s e t0 2 _ w a t e r

0 6 _ p a c m a n0 4 _ r a i n

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M A D E / M A K E / M A K I N Gcollect ion of fabricated objects focused on the interact ion between tradit ional hand craft and contemporary d igi tal craft as collected from academic, personal , and professional work

t i n ke r i n g a s a fo r m o f ex p lo r a t i o n h a s n e a r ly b e co m e a s e e m i n ly u n co n s c i o u s t a s k w h e re h a n d s co m m u n i ca t e t o s e n s e s w h i c h co m m u n i ca t e t o b r a i n a n d s t o re i n fo r m a t i o n fo r l a t e r. . . a l lo w i n g e a c h i n t e r a c t i o n t o i n f l u e n ce a n o t h e r. . . co m p o u n d i n g i n fo r m a t i o n

t h e p a t i e n t a c t o f p o l i s h i n g , f i n i s h i n g , s a n d i n g , w a x i n g , a n d d u s t i n g o f a p ro j e c t i s s o m e t h i n g t h a t ca n s e e m i n g ly l a s t fo re v e r. . . t h a t m o m e n t w h e re t h e p ro j e c t fe e l s d o n e a t t e m p t s t o co n s t a n t l y o u t d i s t a n ce u s . . . t h e s m a l l m o m e n t s o f re a c h i n g t h a t fe e l i n g o f d o n e o r f i n i s h e d a p p e a r s n e a r ly m y t h o lo g i ca l a t t i m e s . . . b u t w h e n re a c h e d , i t ca n b e s e e n t h a t n o t h i n g b e a r s s u c h g re a t s a t i s fa c t i o n

i s t h e re a n y d i f fe re n ce ? d o e s i t re a l l y m a t t e r ? U n d e r s t a n d i n g h o w o n e i n t e r a c t i o n a f fe c t s t h e co n c u r re n t o n e s a l lo w s a w e a l t h o f k n o w le d g e t o g ro w m u c h fa s t e r. . . e m b r a c i n g t h e s m a l l m o m e n t s o f p ro ( ce ss ) a l lo w t h e m o m e n t s o f p ro ( g re ss ) t o h a p p e n m u c h m o re f re q u e n t l y

c o n s t a n t l y m a k i n g b e co m e s a n i m p o r t a n t p a r t o f d e s i g n w h e n n e w i n fo r m a t i o n i s re a l i z e d t h ro u g h t h e m a k i n g p ro ce ss . a l l d e s i g n m u s t b e b u i l t t o b e f u l l y u n d e r s t o o d , e v e n f ro m c r u d e fo r m s o f b u i l d i n g t o h i g h ly - p o l i s h e d o n e s .

Year: 2012-2014Course: gimme shelter, architecture of objects, personalAdvisor: shaun jackson, teman evans, frank dwyer

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g l a ss r o d te n s e g r i t y t a b le s u p p o r t i n g a d e t ro i t e d i s o n m a n h o le co v e r t a b le t o p

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r e v e a l d e s k l a m p u t i l i z i n g ex p o s e d j o i n e r y e le m e n t s i n n o g u i c h i p a p e r l a m p s

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c o l l a p s i b le e m e rg e n c y b a c k p a c k s h e l t e r

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a d a p t a b le b a m b o o j o i n e r y m e n d i n g t r a d i t i o n a l l a s h i n g w i t h m o d e r n fa b r i ca t i o n

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i ke b a n a v a s e m a d e w i t h w a l n u t a n d a c r y l i c t o m i m i c t h e ca n t i le v e re d fo r m o f g r a ss

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40g lo w i n g t h re a d w o r k i n s t a l l a t i o n ex p lo r i n g b l a c k l i g h t e f fe c t s a n d m o i re i n lo w - l i g h t

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a f t e r t h e s a n fr a n c i s co e a r t h q u a ke o f 1 9 0 6 s t r u c k s a n fr a n c i s co a n d m u c h o f n o r t h e r n c a l i fo r n i a co a s t , d e v a s t a t i n g f i re s a l s o b ro ke o u t i n t h e c i t y a n d l a s t e d fo r s e v e r a l d a y s . a s a re s u l t o f t h e q u a ke s a n d f i re s , a b o u t 3 0 , 0 0 0 p e o p le d i e d a n d o v e r 8 0 % o f s a n fr a n c i s co w a s co m p le t e ly d e s t ro y e d . t h e e a r t h q u a ke a n d re s u l t i n g f i re s a re s t i l l re m e m b e re d a s o n e o f t h e w o r s t n a t u r a l d i s a s t e r s i n t h e h i s t o r y o f t h e U n i t e d s t a t e s .

t h i s p ro j e c t p ro p o s e s a n e w s f f d h q o n t h e u n u s e d d o c k s 3 0 - 3 2 i n t h e b a y o f s a n fr a n c i s co . fo c u s w a s p u t o n co m b i n i n g u s e f u l f i re s t a t i o n s p a ce w i t h s le e p i n g q u a r t e r s , t r a i n i n g fa c i l i t i e s , p u b l i c p a r k , d i n i n g s p a ce , a n d a l i g h t e d c i v i c m e m o r i a l t o re m e m b e r t h o s e lo s t i n t h e f i re s .

t h ro u g h t e c h n i q u e s o f ex t e n d i n g c i t y l i n e s a n d i n t ro d u c i n g n e w a xe s i n t o t h e d o c k s , a d i v e d s i t e c re a t e s p o r t i o n s fo r p u b l i c p a r k , c i v i c m e m o r i a l , a n d p r i v a t e f i re s t a t i o n u s e . a l a rg e l i t t r a i n i n g t o w e r s e r v e s a s t h e m a i n i co n i c m e m o r i a l p i e ce a lo n g s i d e o v e r 5 0 0 s m a l le r p o s t s t h a t s p re a d t h e i r w a y i n t o t h e b a y. p a t h w a y d e p re ss i o n s a n d g ro u n d p l a n e a d j u s t m e n t s c re a t e s e co n d a r y m e m o r i a l s p a ce s i n w h i c h n a m e s a re d i s p l a y e d .

t h e n o r t h e n d o f t h e s i t e p l a y s h o s t t o m o s t o f t h e f i re d e p a r t m e n t p ro g r a m s p a ce a s w e l l a s h e l i co p t e r a n d b o a t a cce ss i n ca s e o f e m e rg e n c y. b y p l a c i n g t h i s n o r m a l l y h i d d e n c i v i c p ro g r a m o f t h e f i re d e p a r t m e n t i n c lo s e r p rox i m i t y t o t h e p u b l i c s p a ce a n d t h e re s t o f t h e c i t y , m o re co n s c i o u s u n d e r s t a n d i n g o f t h e w o r k o f t h e s a n fr a n c i s co f i re d e p a r t m e n t i s a c h i e v e d a n d re s p e c t e d .

S A N F R A N C I S C O F I R E H Q

Year: summer 2014Course: archmedium student competit ionTeam: johnny dwyer, brian koehler, sj kwon, sam xu

competit ion entry for a new san francisco fire department headquarters as well as a memorial and publ ic park to commemorate the historic f ire of 1906

43

d e p re ss e d p a t h w a y m e m o r i a l le a d i n g t o t o w e r t h ro u g h t h e f i e l d o f l i g h t s

L I G H T M E M O R I A L

a s e r i e s o f 3 , 0 0 0 l i g h t t o w e r s s p re a d o u t i n t o t h e b a y n o t o n ly a s a re m i n d o f t h o s e lo s t , b u t a b e a co n fo r w h a t i s y e t t o co m e .

46

P L A N N I N G

U s i n g t h e s e r r a ve r b l i s t a s a fo r m - f i n d i n g t o o l , s f f d h q i s a b le t o e m b e d i t s e l f w i t h i n d o c k 3 0 - 3 2 w i t h o u t b e co m i n g t o o o v e r l y d i s co n n e c t e d f ro m t h e h i g h ly u r b a n co n t ex t t h a t s u r ro u n d s i t . s i m p le ex t e n s i o n s o f c i t y l i n e s , t r i m s o f e d g e s , a n d d e p re ss i o n s o f w a l k w a y s c re a t e a n a b b re v i a t e d d o c k s t r a t e g y t h a t a l lo w s s f f d h q t o m o v e a w a y f ro m b e i n g j u s t a n o t h e r b u i l d i n g o n a d o c k a n d m o re t o w a rd s a f u l l ex p e r i e n ce o f a m e m o r i a l a lo n g s i d e o t h e r p ro g r a m s .

47

extension of city grid to bay new re department headquarters

bay addition to city program connection to city landmarks

pier 22 1/2

station 13

station 2

station 8

station 2

sue bierman park

yerba buena park

south park

south beach park and marina

memorial park

north beach: 1.6 mi

yerba buena: 2.5 mi

south beach and Giants Stadium: 1.1 mi

city hall: 2.3 mi

at&t park

bran

nan s

t

brya

nt st

spear st

existing headquarters

new SFFD HQ

extension of city grid to bay new re department headquarters

bay addition to city program connection to city landmarks

pier 22 1/2

station 13

station 2

station 8

station 2

sue bierman park

yerba buena park

south park

south beach park and marina

memorial park

north beach: 1.6 mi

yerba buena: 2.5 mi

south beach and Giants Stadium: 1.1 mi

city hall: 2.3 mi

at&t park

bran

nan s

t

brya

nt st

spear st

existing headquarters

new SFFD HQ

ex t e n s i o n o f c i t y g r i d t o b a y

b a y a d d i t i o n t o c i t y p ro g r a m

n e w f i re d e p a r t m e n t h e a d q u a r t e r s

co n n e c t i o n t o c i t y l a n d m a r k s

48

n o v e l i n d u s t r i e s e m e rg e d a s a co m p a n y i n s p i re d b y t h e n o v e l fa h re n h e i t 4 5 1 b y r a y b r a d b u r y a n d i s fo c u s e d o n t h e p ro d u c t i o n o f u p c y c le d p ro d u c t s f ro m o l d b o o k s . w i t h a v a s t s u r p l u s o f u n u s e d b o o k s i n t h e c h i ca g o a re a , n o v e l i n d u s t r i e s u p c y c le s t h e s e d e a d p ro d u c t s a n d t u r n s t h e m i n t o a v a r i e t y o f d i f fe re n t b a g s , c lo t h i n g , a n d o t h e r t ex t i le - b a s e d p ro d u c t s . e a c h b a g i s b o r n a c u s t o m m a d e p i e ce t h a t i s w a t e r p ro o f , 1 0 0 % re c y c le d , a n d p e r s o n a l i z e d t o t h e u s e r.

w i t h t h e co m p a n y g ro w i n g f ro m t h e g ro u n d u p , b r a n d i n g s t r a t e g i e s w e re i m p le m e n t e d a lo n g w i t h p ro d u c t d e s i g n a n d m a n u fa c t u r i n g p ro ce ss e s . t h e f i n a l c re a t i o n o f a m a n u fa c t u r i n g fa c i l i t y t o h o u s e a l l o f t h e n o v e l p ro d u c t s a l lo w s t h e co m p a n y t o s t a r t p ro d u c t i o n o f t h e s e h i g h ly s p e c i f i c a n d o n e - o f - a - k i n d p ro d u c t s a t a n ex t re m e ly e f f i c i e n t r a t e . w i t h a n a rc h i t e c t u r a l s c h e m e t h a t s l i p s m a n u fa c t u r i n g b e lo w t h e g ro u n d p l a n e w h i le p u s h i n g re t a i l a n d exce ss p ro g r a m t o t h e s u r fa ce , t h e s i t e fo r n o v e l i n d u s t r i e s s e a m le ss ly b le n d s m a n u fa c t u r i n g , a ss e m b ly , re t a i l , p u b l i c p a r k , a n d d i s p l a y s p a ce a l l i n o n e l a n d fo r m b u i l d i n g i n c h i ca g o s b ro w n f i e l d .

t h e m a i n fa c t o r y f lo o r o f t h e fa c i l i t y l i e s o n a s u b t e r r a n e a n le v e l s o t h a t i t ca n t r u ly i n t e r a c t w i t h t h e l a n d f ro m w h i c h i t e m e rg e s . a fa c t o r y t o u r ca t w a l k m o v e s a b o v e t h e fa c t o r y f lo o r a n d c u l m i n a t e s w i t h v i e w s o f t h e m a ss i v e s p i r a l i n g p a g e - co o l i n g t o w e r t h a t p e n e t r a t e s t h e g ro u n d p l a n e a n d b e co m e s t h e i co n i c s y m b o l o f t h e s i t e a n d t h e co m p a n y i t s e l f.

N O v E L I N D U S T R I E S

Year: fall 2012Course: networks design studio Advisor: jennifer harmon

exploring the possibi l i ty of the re-manufacturing of old books into new-age upcycled goods through a branded experience

49

p a g e co o l i n g s p i r a l u s e d i n t h e u p c y c l i n g o f b o o k p a g e s i n t o n e w p ro d u c t s

N O v E LT Y N O S TA LG I A

e v e r y a s p e c t o f d e s i g n f ro m co n ce p t i o n t o re p re s e n t a t i o n m u s t fo c u s a ro u n d t h e g o a l o f re v i v i n g t h e n o s t a l g i c q u a l i t i e s o f n o v e l s a n d u p c y c l i n g t h e m i n t o s o m e t h i n g n e w. . . a n e w t y p e o f n o s t a l g i c m e m o r y.

52

M A N U FA CT U R I N G A N D B R A N D I N G S T R AT E G I E S

i n a n e f fo r t t o f u l l y e n g a g e w i t h t h e u p c y c le d n a t u re o f n o v e ls w o r k s , b o t h t h e m a n u fa c t u r i n g a n d b r a n d i n g s t r a t e g y t a ke o n a n i d e n t i t y t h a t h e l p s t h e co m p a n y re f le c t i t s m i ss i o n i n e v e r y s t e p o f t h e ex p e r i e n ce . t h e m a n u fa c t u r i n g s c h e m e u s e s re a p p ro p r i a t e d b o o k b i n d i n g m a c h i n e r y i n a w a y t h a t a l lo w s t h e s e d e a d m a c h i n e s t o b re a t h e n e w l i fe w i t h a n a l t e r n a t i v e p u r p o s e o f c re a t i n g t ex t i le s f ro m t h e b o o k s t h a t t h e y o n ce b o u n d . . . c re a t i n g a l i t e r a t u re u s a g e lo o p e co n o m y.

53

STEP 1: ACQUIRE BOOK

STEP 2: ARRANGE IN GRID

STEP 3: SEW ALONG GRIDLINES

STEP 4: SILICONE JOIN PAGES

STEP 5: FOLD ALONG PATTERN LINES

STEP 6: SEW EDGE SEAMS

STEP 7: FOLD EDGES OVER AND RESEW

STEP ATTACH BELT STRAP, RIVETS, POCKETS

P R O TO T Y P E P R O D U C T A N D A S S E M B LY P R O C E S S

b y c re a t i n g l a rg e s h e e t s o f s e a le d a n d w a t e r p ro o fe d p a g e t ex t i le s , m a n y p ro d u c t s ca n b e m a n u fa c t u re d . o n ce a b o o k i s a c q u i re d , i t i s a ss e ss e d fo r i t s re d e e m i n g q u a l i t i e s a n d t h e n a r r a n g e d a n d s e w n i n t o t w o l a rg e q u i l t s . t h e s e l a rg e q u i l t s a re t h e n b o u n d b y a s i l i co n e p ro t e c t i o n l a y e r i n b e t w e e n b e fo re t h e y a re s e w n i n t h e i r re s p e c t i v e p a t t e r n s t h a t a re i n d i v i d u a l i z e d b a s e d o n p ro d u c t s i z e a n d s p e c i f i ca t i o n .

54

S I T E S T R AT E G Y

fa ce t e d p l a n e s a n d s l i c i n g w a l k w a y s d i v i d e t h e s i t e i n t o a l a rg e g re e n - ro o f s t r u c t u re a b o v e t h e m a n u fa c t u r i n g f lo o r b e lo w. a l l s i g n s p o i n t t o w a rd s t h e l a rg e co o l i n g t o w e r i n t h e m i d d le a f t e r t h e y c y c le t h ro u g h a l l t h e s i t e s p e e l - u p s a n d l a n d s ca p e i n t e r v e n t i o n s .

55

GROUND PLANE

FACTORY TOUR

PAGE CONVEYOR

RETAIL

FACTORY FLOOR

e x p lo d e d a xo n o m e t r i c d e p i c t i o n o f m a j o r b u i l d i n g e le m e n t s

56

M E R G I N G M A N U FA CT U R I N G A N D A R C H I T E C U R E

t h e b o u n d a r y i n w h i c h m a n u fa c t u r i n g s t o p s a n d a rc h i t e c t u re b e g i n s i s a v e r y b l u r r y o n e . . . o n e t h a t ca n n o t b e e a s y d i s ce r n e d o r o u t l i n e d b y d e s i g n e r , v i s i t o r , o r e m p lo y e e . m e d i a t i n g t h i s b o u n d a r y w h i le s t i l l a l lo w i n g t h e m a n u fa c t u r i n g a n d a rc h i t e c t u re t o l i v e i n t h e w o r l d s t h a t e a c h d e s i re d b ro u g h t i t s e l f i n t o a w o r l d o f h y b r i d i z e d d r y - c le a n e r r a c k s a n d l a n d fo r m b u i l d i n g s . a s e r i e s o f 1 5 p a g e d r y i n g l i n e s t a ke s t h e b o o k s o n t h e i r j o u r n e y f ro m s t a t i o n t o s t a t i o n o n t h e i r p a t h f ro m b o o k t o b a g . t h e s e l i n e s r i s e a n d fa l l t o i n t e g r a t e i n t o t h e a rc h i t e c t u re a ro u n d i t a s w e l l a s re g u l a t e t h e t i m e t h a t t h e d i f fe r i n g m a n u fa c t u r i n g p ro ce ss e s re q u i re . a ca t w a l k a b o v e ( a n d s o m e t i m e s b e lo w ) t h e s e p a g e l i n e s a l lo w s v i s i t o r s t o s l i p b e n e a t h t h e s u r fa ce o f t h e fa ce t e d l a n d fo r m a b o v e a n d i n t o t h e n e w w o r l d o f n o v e l i n d u s t r i e s fo r a fa c t o r y t o u r t h a t p l a ce s t h e m a t t h e o p t i m a l t h i rd p e r s o n v i e w i n g p e r s p e c t i v e fo r t h i s h i g h ly i n d i v i d u a l i z e d m a n u fa c t u r i n g p ro ce ss . a l a rg e co o l i n g t o w e r b e co m e s t h e fo c u s o f t h e s p a ce w h e re t e n s o f t h o u s a n d s o f p a g e s s p i r a l i n t o t h e a i r a s t h e y d r y f ro m t h e i r s i l i co n e b o n d i n g p ro ce ss . . . a l l w h i le b e i n g p u t o n d i s p l a y t h ro u g h a l i t g l a ss t o w e r fo r t h e e n t i re c i t y o f c h i ca g o t o s e e .

57

58

the t yp ica l cour thouse w i th in today s soc ie ty i s based around a very st r ic t se t o f pr inc ip les de f in ing ad jacenc ies , c i rcu la t ion , secur i t y , and h ierarchy. these bu i ld ings waste a great amount o f space by hav ing many rare ly used areas and c i rcu la t ion paths w i th in the bu i ld ing . by implement ing temporary in f la tab le rooms and paths , these cour thouses could have a much more e f f i c ient use o f space . wi th a bu i ld ing hav ing so many uses and purposes , i t i s necessary that i t have many d i f ferent spec i f ied spaces .

however , w i th so many d i f ferent uses , these spec i f ied spaces are not a lways used . by turn ing these rare ly used spaces in to temporary in f la ted spaces , the cour thouse could have a much more e f f i c ient us o f space in and around the bu i ld ing . these temporary in f la tab les could he lp w i th secur i t y a t the sca le o f the b lock , the s i te , the bu i ld ing , a f loor , a pathway , and even a room. wi th the ab i l i t y to have a chang ing p lan and sect ion w i th in the space , the oppor tun i t y for new spat ia l re la t ionsh ips i s a lways present .

th is theory o f employ ing temporary spaces a longs ide the permanent in f rastructure could be appl ied in a var ie ty o f ways in programs ex tend ing beyond the cour thouse . a l l spaces w i th in a bu i ld ing need not be permanent and th is pro jec t urges to be an example o f us ing these techn iques to ach ieve the most e f f i c ient use o f space poss ib le .

S O M E T H I N G A B O U T C O U R T S

Year: winter 2012Course: wallenburg design studio Advisor: kyle reynolds

a proposal for a new Us distr ict courthouse in nyc that repurposes unused courtrooms into publ ic space through the use of inf latable membranes and r igid frame structures

59

w h a t i f co u r t ro o m s b e ca m e i n f l a t a b le b a s e d o n u s a g e ?

R E A CT I O N A R Y

e n co u r a g i n g a rc h i t e c t u re t o re a c t w i t h i t s s u r ro u n d i n g s i s a m u s t i n t h e n e a r f u t u re a s w e a re co n s t a n t l y a s k i n g i t t o p ro v i d e m o re a n d m o re u s e s w i t h i n o u r e v e r c h a n g i n g l i v e s . a re i n f l a t a b le s t h e ke y ? w h o k n o w s . . .

62

M U LT I P L E I N F L AT I O N S T R AT E G I E S

U t i l i z i n g t h e i n f l a t a b le i n w a y s m o re t h a n s i m p le b o u n d a r y p a r t i t i o n s b e ca m e a h i g h p r i o r i t y w i t h i n t h i s p ro j e c t a n d h o p e f u l l y o p e n s u p co n v e r s a t i o n a s t o s o m e u s e f u l n e ss o f s u c h t e c h n o lo g y. U s i n g t h e s e m e m b r a n e s fo r r i o t co n t ro l , h i g h s e c u r i t y t r a n s p o r t , a n d o v e r f lo w s e a t i n g a l lo w t h e i n f l a t a b le t o h a v e m u l t i p le s t r a t e g i e s w i t h i n t h e s a m e f r a m e w o r k .

63

CO M P O N E N T S

c o n s t r u c t i n g t h e w h o le a s s o m e t h i n g g re a t e r t h a n t h e s u m o f i t s p a r t s i s

n o e a s y t a s k . b y b re a k i n g d o w n co m p o n e n t s i n g r i d s ,

co l u m n s , s h a f t s , b u b b le s , a n d p l a t e s , a n e w o rg a n i z a t i o n a l

h i e r a rc h y i s c re a t e d t h a t a l lo w s p ro ce ss t o r i s e f ro m

a l l t h e c h a o s t h a t i s a l a rg e d i s t r i c t co u r t h o u s e .

GRID

SHAFT

BUBBLE

PLATE

WALLS

COLUMN

PRELIMINARY GRID SYSTEM

PERMANENT (NECESSARY EVERYDAY USE)20 JUDGES CHAMBERSCEREMONIAL COURT3 DISTRICT COURTS2 LARGE COURTS3 MAGISTRATE COURTSLOBBYLIBRARY SECURITY CHECK POINTCLERK OF COURTPRETRIALPROBATIONMARSHALL SERVICEATTORNEY OFFICENATURALIZATIONRECORDJURY ASSEMBLYCOURT REPORTERCAFETERIAPARKING

INFLATABLE (CHANGING USE)7 DISTRICT COURTS1 LARGE COURT4 MAGISTRATE COURTSJUDGE CHAMBER EXTENSIONSEXTRA SECURITY CHECK POINTPRESS AREATRAINING CENTEREXHIBITION SPACEPRISONER CIRCULATIONJUDGE CIRCULATIONOVERFLOW VIEWINGRESTRICTED ACCESS BARRIERS

Thes is The typical courthouse within todays society is based around a

very strict set of principles dening adjacencies, circulation, security, and hierarchy. These buildings waste a great amount of space by having many rarely used areas and circulation paths within the building. By implementing temporary inatable rooms and paths, these courthouses could have a much more ecient use of space. With a building having so many uses and purposes, it is necessary that it have many dierent specied spaces. However, with so many dierent uses, these specied spaces are not always used . By turning these rarely used spaces into temporary inated spaces , the courthouse could have a much more ecient use of space in and around the building. These temporary inatables could help with security of the scale of the block, the site, the building, a oor, a pathway, and even a room. With the ability to have a changing plan and section within the space, the opportunity for new spatial relationships is always present. This theory of employing temporary spaces alongside the permanent infrastructure could be applied in a variety of ways in programs extending beyond the courthouse. All spa c es within a building need not be perma nent a nd this projec t urges to be a n exa mple of us ing these tec hniques to a c hieve the most ef f ic ient us e of s pa c e poss ible.

PUBLIC

PRIVATE

RESTRICTED

SECURED

DISTRICT COURTSMAGISTRATE COURTSLARGE COURTSCEREMONIAL COURTSPECIAL PROCEEDINGS JURY SUITEDISTRICT JUDGE TRIAL JURY SUITEMAGISTRATE JUDGE TRIAL JURY SUITEGRAND JURY SUITEJURY ASSEMBLY SUITELOBBYSECURITY CHECKPOINTEXTERIOR PLAZAPROTEST SPACE

PRE TRIAL AND PROBATIONNATURALIZATIONRECORDSCOURT REPORTERSPRESS AREALOADING DOCKEMPLOYEE PARKING

LIBRARYCLERK OF COURTUS ATTORNEY SERVICEJUDGES PARKINGJUDGE CIRCULATION

PRISONER CIRCULATIONUS MARSHALL SERVICEHOLDING

BREATHING COURTHOUSE: NYCJOHNNY DWYER

TYPICAL COURTHOUSE PERMANENT

INFLATEDNEW

PROPOSAL

STRICTWASTEDINEFFICENTUNNECESSARY

FLEXIBLEOCCUPIEDEFFICIENT

ADAPTABLE

4th FLOOR PLANSCALE: 1/16 = 1

CEREMONIAL COURT2 HEIGHT INFLATED BALCONY

INFLATED OVERFLOW SEATING

INFLATBLE EXPANDING PROTEST BARRIERS

air inair out

AIR SUPPLY COLUMNSECTION DETAIL

TYPICAL COURTROOM MODULE

CIRCULATION SHAFT LAYOUT

DUAL ENTRY ELEVATOR

GRAND SPIRAL STAIR

SEATING CHANGES BASED ON SIZE

HOLDNG AND ROBING JURY DELIBERATION

COURTHOUSE SECURITY ZONES

INFLATABLE SECURITY CORRIDORS

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E N G A G I N G T H E S E CT I O N

e n co u r a g i n g e v e r y co m p o n e n t w i t h i n t h e s y s t e m t o h a v e e q u a l o r g re a t e r a f fe c t o n t h e w h o le a l lo w s a s y s t e m t h a t w o r k s a s a l a rg e r u n i t g re a t e r t h a n i t s s m a l le r p a r t s . b y e n g a g i n g t h e s e c t i o n t h ro u g h m u l t i p le s t r a t e g i e s , t h e p ro j e c t i s a b le t o g a i n a ce r t a i n s e n s e o f d e p t h i n u n d e r s t a n d i n g a n d f l u i d i t y i n d e s i g n . e m b e d d i n g i n f l a t a b le s w i t h i n n o r m a l b u i l d i n g co m p e n e n t r y s u c h a s co l u m n s , f lo o r p l a t e s , a n d d ro p ce i l i n g s a l lo w s t h e co n ce p t o f t h e i n f l a t a b le t o a p p e a r v i r t u a l l y a n y w h e re i t i s n e e d e d w i t h i n t h e d i s t r i c t co u r t h o u s e . a s co u r t ro o m s a re co n s t a n t l y s h i f t i n g i n a c t i v i t y s t a t u s , i n f l a t a b le s q u i c k ly b e co m e o n e o f t h e fe w s o l u t i o n s t o c re a t i n g a s y s t e m t h a t a l lo w s fo r m u l t i p le l a y o u t s o f f o f a s i n g le f r a m e w o r k .

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a c t i v i t y i s co n s t a n t l y s h i f t i n g w i t h i n t h e U s d i s t r i c t c o u r t h o u s e i n n y c . . . s o w h y ca n t t h e p l a n s h i f t t o o . w i t h ro o m s , p a ss a g e w a y s , p a r t i t i o n s , a n d b a r r i e r s co n s t a n t l y i n f l a t i n g a n d d e f l a t i n g , n e w o rg a n i z a t i o n a l a n d u s a g e s t r a t e g i e s a re a b le t o t a ke p l a ce . . . re a p p ro p r i a t i n g n o r m a l l y u n u s e d s p a ce w i t h n e w p u b l i c s p a ce .

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p ro p o s e d a s a co m m u n i t y h o u s i n g u n i t i n we s t l a t o s e r v e t h e g ro w i n g e l d e r l y p o p u l a t i o n , t h i s co m p re h e n s i v e h o u s i n g p ro j e c t s e r v e s t o lo o k a t w h a t i t m e a n s t o e n co u n t e r o n a v a r i e t y o f d i f fe re n t s ca le s . w i t h m o s t fo c u s e d p l a ce d o n h u m a n e n co u n t e r s w i t h i n t h e co m p lex , a co u r t y a rd s c h e m e o n a s lo p i n g s i t e t h a t u t i l i z e s b a lco n i e s a n d co m m u n a l l i v i n g s p a ce s a l lo w s o cc u p a n t s t o s h a re e n co u n t e r s i n n u m e ro u s d i f fe re n t s i t u a t i o n s .

w h i le m o s t w i l l n e v e r a d m i t i t , e v e r y o n e e n co u n t e r s a rc h i t e c t u re d i f fe re n t l y. s o m e o n ly re a c t t o fo r m , o t h e r s t o co lo r , s o m e t o ex p e r i e n ce . t h e e n co u n t e r s h e re a t t e m p t t o a l lo w t h e d e t a i l i n g t o p u s h i t s w a y t o t h e f ro n t f i e l d o f i m p o r t a n ce w i t h i n t h e a rc h i t e c t u re e n co u n t e r.

i n t e r a c t i o n s b e t w e e n o cc u p a n t a n d a rc h i t e c t u re a l s o t a ke p l a ce w i t h i n t h e u n i t i n m o m e n t s o f r i c h m a t e r i a l i n t e r a c t i o n a n d h e a v y d e t a i l i n g fo c u s e d m a i n ly i n t h e b a t h ro o m s a n d k i t c h e n s o f e a c h u n i t . o n a n e v e n s m a l le r s ca le , t h e s e d i f fe r i n g m a t e r i a l s o f s t o n e , re c l a i m e d h a rd w o o d s , a n d s t e e l lo o k ex p lo re n e w m o m e n t s o f e n co u n t e r s a n d i n t e r a c t i o n s i n j o i n e r y b e t w e e n m a t e r i a l s .

w i t h m o s t o f t h e d r i v i n g d e c i s i o n s i n t h e p ro j e c t s p i r a l i n g a ro u n d t h e k i t c h e n a s t h e m a i n h u b fo r i n t e r a c t i o n w i t h i n t h e g e n e r a l h o u s i n g t y p o lo g y , t h i s 3 8 u n i t m u l t i - fa m i l y h o u s i n g p ro j e c t h o p e s t o p l a ce fo c u s o n i n t e r a c t i o n a n d e n co u n t e r w i t h i n t h e we s t l a co m m u n i t y.

C L O S E E N C O U N T E R S

Year: winter 2013Course: systems design studioAdvisors: mick kennedy + tony patterson

communal housing in the west hollywood area focused on courtyard interact ions between various age groups while placing an emphasis architectural encounters at various scales

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p o p - o u t b a t h ro o m d e t a i l i n g ( a m o n g o t h e r s ) d r i v e s t h e a rc h i t e c t u r a l ex p e r i e n ce

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e v e r y o n e b re a t h e s a rc h i t e c t u re s a f fe c t s d i f fe re n t l y. . . s o m e t h ro u g h fo r m , s o m e t h ro u g h ex p e r i e n ce , s o m e t h ro u g h co lo r. t h i s p ro j e c t fo c u s e s o n p u s h i n g t h a t a f fe c t w i t h i n t h e d e t a i l i n g o f t h e b u i l d i n g b y a l lo w i n g t h e m t o s p e a k i n v a r i o u s s ca le s o f ex p e r i e n ce t h ro u g h o u t t h e s p a ce .

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t h e u s e o f t h e co u r t y a rd a s a m e a n s t o i n c re a s e t h e a m o u n t o f h u m a n t o h u m a n i n t e r a c t i o n b e ca m e a d r i v i n g fa c t o r i n t h e l a y o u t s t r a t e g i e s o f t h e h o u s i n g u n i t a s a w h o le . h o w e v e r , w i t h t h e s i t i n g fo rc i n g i t t o b u r y i t s e l f w i t h i n a s lo p e d s i t e , t h i s c re a t i o n o f a g r a n d co u r t y a rd b e ca m e a t a s k t h a t ca m e fo r w a rd i n t h e c re a t i o n o f a l a rg e w a f f le s l a b co u r t y a rd a b o v e a n e w ly - c re a t e d a r t i f i c i a l g ro u n d p l a n e b e lo w. U s i n g t h e w a f f le s l a b a s a d e s i g n e le m e n t b y f l i p p i n g t h e o r i e n t a t i o n o f t h e d e p re ss i o n s i n ce r t a i n a re a s a l lo w e d p a t i o s , g a rd e n s , b e n c h e s , a n d t a b le s t o e m e rg e o u t o f t h e a rc h i t e c t u re r a t h e r s e a m le ss ly.

SUNSET BOULEVARD

UNDERGROUND PARKING + RETAILscale: 1/32 = 1

scale: 1/32 = 1

THIRD FLOOR RESIDENTIALscale: 1/32 = 1

FOURTH + FIFTH FLOOR RESIDENTIALscale: 1/32 = 1

MONTEEL ROAD

SELM

A A

VENU

E

71

SUNSET BOULEVARD

UNDERGROUND PARKING + RETAILscale: 1/32 = 1

scale: 1/32 = 1

THIRD FLOOR RESIDENTIALscale: 1/32 = 1

FOURTH + FIFTH FLOOR RESIDENTIALscale: 1/32 = 1

MONTEEL ROAD

SELM

A A

VENU

E

72

M E D I AT I N G S LO P E D S I T E S

l o n g t e r r a ce d b a lco n i e s r u n n i n g a lo n g t h e e d g e p e r i m e t e r o f t h e ce n t r a l co u r t y a rd a l lo w e d fo r a v e r y p e r m e a b le i n t e r i o r /ex t e r i o r l a y e r i n w h i c h d i f fe re n t i n h a b i t a n t s o f t h i s h o u s i n g co m p lex ca n i n t e r a c t . p l a c i n g t h e k i t c h e n s a lo n g t h e s e co u r t y a rd w a l k w a y s re a l l y o p e n s u p t h e b o u n d a r y e v e n m o re b y e n co u r a g i n g a g ro u p co o k i n g co m m u n i t y t h a t e m b r a ce s t h e e n co u n t e r o f t h e n e i g h b o r.

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JOHNNY DWYERJOHNNY DWYER DESIGN