DYLAN R

A R C H I T E C T U R E P O R T F O L I O

D Y L A N R Y A N

100B - RUDABEH PAKRAVAN

GOOD FOOD < > CITY AS ORIENTATION3 - 6

ASAKASUSA STUDY < > PRECEDENT7 - 8

100A - MICHELLE CHANG

PROJECT 3 - LIBRARY < > THE NEW PUBLIC SPACE9 - 16

PROJECT 2 - STAIR < > SEQUENCE17 - 20

PROJECT 1 - DOUBLE NEGATIVE < > FORM AND MOVEMENT21 - 24

SPAIN SUMMER STUDIO - ALEJANDRO JASBON

LAS DUNAS25 - 28

MERCADILLO29 - 32

CONSTRUCTION - DANA BUNTROCK

WOOD < > METAL < > CONCRETE33 - 34

ARTWORKS35 - 38

GOOD FOOD

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Orientation is the determination of the relative position or direction of a thing. In the project, contrasting with the fixed orientation of the existing

city, I explore a non orientation or re orientation rooted in perception. The program is organized, beginning in the basement theater, on a gradient

ranging from communal to self serving space, ending at the fourth floor gallery. The first system created to regulate the perception of orientations

are the ten splayed walls at converge at an approximate and arbitrary point but does favor a North-West orientation to maximize natural lighting

and ventilation potential. A secondary system of governing lines running North to South intersects and carves thresholds into the walls creating

windows, doors, ledges, seating etc. The quality of these apertures change with the vertical gradient; At the bottom, where the building is physically

connected to the city fabric, there is fewer visual connection, and at the top, although you are not physically connected you are visually connected

to the entire San Francisco Bay Area. The third system, lines running West to East, combines with the second system to construct program equip-

ment placement, skylights for greater natural lighting, as well as a floor etching to orient yourself to these systems within the building.

ASAKUSA STUDY

LIBRARY

AN ATTEMPT TO UNDO THE BINARY OF THE SOLID-VOID

AS WELL AS UNDERMINE THE DIAGRAM OF A DOUBLE

HELIX. THE CONTINUOUS SPIRAL IS CREATED FROM

A SERIES OF DE LAMINATED FLOOR PLATES GRIDDED

ACCORDING TO THE SITE THEN SPLIT ALONG POINTS

THAT COMPRESS AND EXPAND AS WELL AS COLLIDE

AND SEPARATE THE AMBIENT LANDSCAPE IS LIKE AN

EXTENSION OF THE PEDESTRIAN THOROUGHFARES OF

THE TENDERLOIN. VISITORS CAN WANDER ALONG THE

SLOPING PATHS AGAINST A STATIC POCHE OF BOOKS.

O’FARRELL

OLIVE

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PROGRAM

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LOBBY

COMPUTER LAB

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0” .19” .38” .56” .75”

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STAIR

THE CIRCULATION OF THE STAIR PROJECT WAS BASED

ON THE PREVIOUS PREMISE OF THE THREE BANDS

WHOSE INTERSECTIONS WERE A RESULT OF EACH

BANDS TWO PIVOT POINTS.

THREE INTERSECTING BANDS DYLAN RYAN

SOUTH ELEVATION1’ : 4”

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DOUBLE NEGATIVE

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LAS DUNAS

BURIED UNDER THE SAND DUNE PARK ARE PHOENICIAN RUINS AND WHOLE SECTIONS OF CITY. THE PROGRAM CALLED FOR A PUBLIC THEATER AS WELL AS SPACE TO DISPLAY AND PROTECT RUINS DURING EXCAVATION. USING VIDEOGRAPHY AND OTHER SITE STUDIES TO

INFORM MY DESIGN I CREATED A SERIES OF MOMENTS. THE INTENT IS TO SHOW HOW A VISITOR WOULD PROG-RESS THROUGH EACH SPACE. LIKE THE DYNAMIC LAND-

SCAPE OF THE PARK, EACH MOMENT IS RELATED BUT CLEARLY DIFFERENT. I FOCUSED ON THE IDEA OF LAYER-

ING, AS THE SITE IS CONSTANTLY BUILDING.

MERCADILLO

MERCADILLO

USING VIDEOGRAPHY TO TELL THE NARRATIVE OF THE WEDNESDAY MARKET AS AN EVENT THAT CREATES BOUNDARIES, BOTH PHYSICAL AND EXPERIENTIAL, AS WELL AS BREAKS THEM. them.

MOVING FROM TWO-DIMENSIONAL DIAGRAMS OF THE EVENT, I CONSTRUCTED SPATIAL MOMENTS THAT SPOKE OF THE TEXTURES OF DIVISIONS AS WELL AS THE BALANCE OF SPATIAL SEPARATION AND THE TENSION THAT ENSUES.

USING VIDEOGRAPHY TO TELL THE NARRATIVE OF THE WEDNESDAY MARKET AS AN EVENT THAT CREATES BOUNDARIES, BOTH PHYSICAL AND EXPERIENTIAL, AS WELL AS BREAKS THEM. them.

MOVING FROM TWO-DIMENSIONAL DIAGRAMS OF THE EVENT, I CONSTRUCTED SPATIAL MOMENTS THAT SPOKE OF THE TEXTURES OF DIVISIONS AS WELL AS THE BALANCE OF SPATIAL SEPARATION AND THE TENSION THAT ENSUES.

Project 1: THE RUBE GOLDBERG MACHINE

Daisy Ocampo I Dylan Ryan I Ratidzo Venton I Somaya AbdelganyGSI: Pete Samuelson I Instructor: Dana Buntrock

Arch 160 I Spring 2014

EVOLUTION of DESIGNoutside of the shop, and our group’s general inexperience in working with wood construction, we built our Rube Goldberg contraption primarily with a system of butt joints, uniting the end grain of one board with the surface plane or edge of another. These are arguably the simplest and easiest joints to make. In our process, we first cut and surfaced our boards to the appropriate dimensions and then assembled our pieces with wood glue to keep them steady before reinforcing the butt joints with staples (from a staple gun) and nails hammered into our connections, which we implemented at angles for greater structur-al integrity. The necessity of a strong joint was most evident in the particular moment within our design where the croquet ball drops about 12 inches into a gap and lands inside of an open box-like crevice. The box needed to be carefully

INITIAL DESIGN PROPOSAL

FINAL PROJECT DESIGN

WOOD

The best place to begin Rube Goldberg was at Mcbeath. We came with flexible design ideas knowing that the cost and availability of the wood would alter our original plans.

The growth and manufacturing characteristics of wood create discontinuities in its structure. e encountered crooks and bows in our longhook members since our wood was salvaged.

A Rube Goldberg Machine should ideally be highly calculated in order to preform. Wood, being a natural material is much less predicable in terms ofdimensions and distortion than other building materials. Every component needed to be repeatedly tested.

First we applied wood glue and shot nails vertically through the hook, but then the two weight suporting planks fell off. As we were driving larger nailsthrough inthe same direction, Dana came over and suggested we nail themat an angle. They did not fall apart again, however our craft could havebeen better.

Wood is a Natural Material

Testing

Learn by Mistake

3 Weeks

Design with what is Availible

ALUMINUM

Aluminum comes in a wide range of extruded shapes and attractivefinishes. We chose to use angles for our structure which are a fairlycommon shape. Other groups however fabricated their own shapes in shop because it is very expensive to create a small quantity of custom extruded shapes.

Aluminum’s is considered an incredibly lightweight material because of itsstrength to weight ratio. In hindsight we could have achieved the same amount of strength and stability with even less material.

The erection of our structure went quickly and much more smoothly than the wood project due to aluminum’s regularity and simple connections.

Discussing ideas and working alongside the shop workers emphasized the importance for designers to communicate with experienced andknowable professionals from other specialties we are trying to gain insightinto for our designs.

Precision of Aluminum

Collaboration

Over Designing

2 Weeks

Aluminum Variety

CONCRETE

Concrete took much less time than we had anticipated to mix and pour. The majority of the time was allocated to letting it cure. A site’s Gantt chart needs to account for the 28 days required for concrete to reachits designed strength. Much of the work depends on the concrete properlycuring.

When the concrete mixture is carefully calculated and the process is correctly carried out concrete can be very precise. Having no prior knowledge of mixing concrete, we experimented with different mixes.

After seeing the failure of our bridge we could clearly see what we shouldhave done differently. We had only placed rebar at the corners which madethe platform of our bridge more vulnerable under stress as the mesh didnot handle the tensile load as effectively.

Concrete formwork and reinforcing uses large quantities of other materialslike wood, steel, and plastic because concrete itself has no inherent form.a lot of waste is produced if formwork is not reused for multiple casts.

Time Management

Chemical Processes

Three Buildings in One

Failure

Dylan RyanSomaya Abdelgany, Ratidzo Venton, Daisy Ocampo

GSI: Peter Samuelson5 Weeks

CONCRETE

Concrete took much less time than we had anticipated to mix and pour. The majority of the time was allocated to letting it cure. A site’s Gantt chart needs to account for the 28 days required for concrete to reachits designed strength. Much of the work depends on the concrete properlycuring.

When the concrete mixture is carefully calculated and the process is correctly carried out concrete can be very precise. Having no prior knowledge of mixing concrete, we experimented with different mixes.

After seeing the failure of our bridge we could clearly see what we shouldhave done differently. We had only placed rebar at the corners which madethe platform of our bridge more vulnerable under stress as the mesh didnot handle the tensile load as effectively.

Concrete formwork and reinforcing uses large quantities of other materialslike wood, steel, and plastic because concrete itself has no inherent form.a lot of waste is produced if formwork is not reused for multiple casts.

Time Management

Chemical Processes

Three Buildings in One

Failure

Dylan RyanSomaya Abdelgany, Ratidzo Venton, Daisy Ocampo

GSI: Peter Samuelson5 Weeks

WOODMETAL

CONCRETE-WORKING IN A TEAM, I RESEARCHED MATERIAL

PROPERTIES BEFORE DRAFTING AND TESTING MUL-TIPLE DESIGNS OF CONSTRUCTION DETAILS.

-USING DATA COLLECTED FROM OUR EXPERIMENTS, MY GROUP MINIMIZED BUDGETARY EXPENDI-

TURE AND MATERIAL WASTE WHILE FABRICATING THE MOST VISUALLY LIGHT STOOL EXCEEDING

STRENGTH REQUIREMENTS.-WE ACCOMPLISHED THIS BY FOCUSING ON THE

DETAILS OF THE CONNECTIONS IN A CLEAN DESIGN AND ALLOWING THE INHERENT BEAUTY OF THE

ALUMINUM TO BE MOST PROMINENT.

ART