Portfolio B. Architecture Rice University 2005 - 2011

SETH GOODMAN2005-2011 Bachelor of Architecture Rice University

SETH GOODMAN2005-2011 Bachelor of Architecture Rice University

[email protected]+1 512 228 77121009 Corsaire Cove, Austin Texas 78734

1 = 100Site Plan

A

Main Street Metro Rail

MOTORCYCLE MUSEUM nonya grenader danny samuels

GREENHOUSE PAVILION FALL 2006

SPRING 2006

douglas oliver james ray

DOWNTOWN AQUARIUM douglas oliver james ray

TRANSIT CENTERSPRING 2007

FALL 2006

gordon wittenberg michael morrow

SLABSPACE christopher hight michael robinson

RESOURCE ACADEMY SPRING 2008

FALL 2007

dawn finley

carlos jimnez michael morrow

ELMS AT THE VILLAGE SPRING 2009

FALL 2008

william t. cannady

nbbj seattle

troy schaum

THE GREAT EQUALIZERSPRING 2011

FALL 2010

pierre david john casbarian

MANNAFOLD

IMCH-MUSIC CENTER

2009-2010 PRECEPTORSHIP

AB

C

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6 5 4 3 2 1

e design for this hotel in the southern suburbs of Paris was the result of a rigorous iterative process. Each step involved minimal changes from the last so as to render each change clear and deliberate. e hotel was to accommodate ve stars or classes of guest rather than catering to a single market In the rst phase many paper guras were produced to explore the spacial relationships between these dierent visitors. e hotel gura was not necessarily meant to literally represent the design. I used my explorations to develop situations where each star had a separate space but by twisting and shearing these spaces, each was given a view of the other. In the second phase, a series of site gura were used to show the projects response to the site that I selected. Finally, the design was developed through many sections and excluded plan drawings entirely.

1

1 2 3

4 5 6

7 8 nal

2 3 4 5

6 7 8 9 10

11 12 13 14 nal

e hotels design is based on the premise that architecture is not an eective agent of social mobility on its own. Instead, this project seeks to encourage a political solution by increasing the legibility of social inequality in architecture. It is not a proposal for a permanent way of life but rather a lter which proposes alternative societies to those who pass through it. Additionally, by selecting this particular site and aording certain views through the building to the public, the project seeks to reclaim the large adjacent cemetery as a space for the living. Parisian cemeteries represent some of the best examples of French landscape design and are not only used for mourning, but the surroundings of this particular cemetery have discouraged its use as a park space.

clockwise from top: two views of the nal site gura; folding diagram for site gura; diagram showing the ve stars and their respective consumption of private and shared space and star color key; nal site guraopposite page clockwise from top left: hotel star gura iterations; site gura iterations; site plan

one star

two star

three star

four star

five star

room common

space

THE GREAT EQUALIZER SPRING 2011 pierre david john casbarian

section AA

1

2

3

4

5

6

7

8

nal

1

2

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4

5

6

7

8

nal

section CC

section DD

section EE

section GG

section HH

section 44

section 66

section 22

section JJ

Performative skin systems were the focus of this studio. e program called for forty thousand square feet of garden growing surface to be incorporated into the design of a restaurant, bar, and cafe which would serve the produce. The rest of the large site would complement the bayou park across the street by providing an additional outdoor music venue for the festivals held there. Office space was also included in the program to serve the non-profits responsible for overseeing and promoting the parks development.In approaching the requirement for a performative skin, I wanted to attempt something more radical than a high-tech greenhouse and began to dene performative in spacial and experiential terms as well as thermal and climatic. I designed a system which would accommodate both plants and people on top of it while acting as a lter for the spaces below. e skin, which resembles stacked egg crates which have been molded to a specic shell form, serves as a three dimensional corrugation that allows light and breeze to pass through while creating depth in individual divots in which to pot plants. A modied raised oor system can be added to allow human occupants to traverse the roof and inhabit sloped areas which in one instance form the auditorium. e repeated eye-shaped courtyards provide structural support by extending to the ground. ey also create pockets of sunlight below, and a surface for growing plants that, because of its shape and southward orientation, provides shading during the summer while gathering direct sunlight during the winter. ese pieces create a repetitive eld underneath (inspired by the Cordoba mosque or the Kapalicarsi market in Istanbul) that hosts farmers markets, semi-outdoor dining, and educational and fund raising activities associated with the non-prot oces.

MANNAFOLDFALL 2010 troy schaum

Sketch 1 shows the rst concept for the shape of the courtyards. ey are intended to respond to the geometry of the suns movements in Houston so as to provide a surface for plants that is shaded during the withering heat of summer yet receives full sun during the winter. Drawing 12 is the nal solution showing sun paths and shadow studies for dierent times. Sketch 3 shows that these courtyards take advantage of prevailing winds to create pressure dierences that help ventilate the space beneath. Sections 4 (early), 5 (intermediate), and 6 (nal) show how the shape evolved to create more inhabitable space and the optimum angle for growing while providing shade. Rendering 7 shows an early aggregation of the courtyards.e unique corregation pattern of the outer skin is porous while creating thickness that hosts growing plants and walkways for people. Because it acts as a giant brise soleil, the glass partitions underneath that divide air conditioned program from the rest of the space can be ultra-clear without incurring massive solar heat gain. As shown in the sections, air conditioning and other services are provided from the plenum space and garage below. Sketch 8 is the rst indication of the corregation geometry in plan. Rendering 10 is the earliest digital image of the skin. e curvature became steeper and thus more sturcturally sound in 11. e horizontal plates between courses were removed in 9 to allow greater openness.

1

2 3

4

5

6

December 21

June 21

8:00 am 10:00 am 12:00 pm 2:00 pm 4:00 pm 6:00 pm

7 98

10 11

12

3

18

18

.5

11.618

1.25

6.4

1

1

1.3

6.4

6.75

5.25

1

1

6.4

22.2

11.6

11.2

31.3

14 ma

x4

variab

le4

19.9 33

.25

33

.5

2.5

14.3

variab

le

7.2

variab

le

1.5

45

36tongue & groove

embedded casings for tension cables

variable thickness to accomodate cables while reducing mass

torus for transferring cable direction

drainage hole

cable holes

cloche greenhouse

different soils to suit crops

metal frame with cement infill

adjustable height

assembly

typical block

connector

tension cables

5-axis water jet cuts unique pieces

rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth

raised platform infill

anti-slip pad

bracing or tension members

transparent seal

3

18

18

.5

11.618

1.25

6.4

1

1

1.3

6.4

6.75

5.25

1

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7.2

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36tongue & groove




drainage hole

cable holes

cloche greenhouse



adjustable height

assembly

typical block

connector

tension cables


rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth


anti-slip pad


transparent seal

skin system piece taxonomy

3

18

18

.5

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1.25

6.4

1

1

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1

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1.5

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36tongue & groove




drainage hole

cable holes

cloche greenhouse



adjustable height

assembly

typical block

connector

tension cables


rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth


anti-slip pad


transparent seal

3

18

18

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36tongue & groove




drainage hole

cable holes

cloche greenhouse



adjustable height

assembly

typical block

connector

tension cables


rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth


anti-slip pad


transparent seal

skin system piece taxonomy

3

18

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.5

11.618

1.25

6.4

1

1

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6.4

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1

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4

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1.5

45

36tongue & groove




drainage hole

cable holes

cloche greenhouse



adjustable height

assembly

typical block

connector

tension cables


rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth


anti-slip pad


transparent seal

3

18

18

.5

11.618

1.25

6.4

1

1

1.3

6.4

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1.5

45

36tongue & groove




drainage hole

cable holes

cloche greenhouse



adjustable height

assembly

typical block

connector

tension cables


rubber gasket

acrylic

typical block

connector pieces

planting fill

soil

gravel

drainage

cloth


anti-slip pad


transparent seal

After developing the shape of the corrugated skin, I designed a system of parts from which to construct it. e basic unit is a precast concrete block. ese are held together by tension cables run through tubes cast in the blocks and metal connectors positioned at the corners. e cables anchor the assembly to the ground a create a kind of truss inside the blocks. Various inlls such as the planters and walkable platforms are also detailed. Transparent acrylic seals can be wedged between blocks to separate air conditioned space from the outside.

1. sketch from first day of project 2. courtyards as aggregated pods 3. pods with hard and soft edges

4. inner skin pulled away from planted shell5. roof concept with different surfaces6. concept for a grid cells with variations

7. first sketch of cells in a grid8. penultimate roof plan9. final roof plan

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A

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0 10 20 40 80

9

9

9

1. office 2. break area3. bar + lounge4. dining room

5. cafe6. kitchen7. walk-in cooler8. office

9. restroom10. auditorium11. farmers market pads

12. loading13. garage access

final ground floor plan

To create a half sized mock-up of the metal connector piece, I decided to use translucent resin to expose the interior intricacies. e mold was made using a powder type 3D printer which uses inkjet heads to print thin layers of binder onto layers of powder. e powder mold was then coated in liquid rubber and release uid to prevent the resin from penetrating the mold. Because of the geometry of the piece, the mold had to be destroyed to remove the nished mock-up.

mock-ups + models

To create a half sized mock-up of the concrete block that forms the shell/skin, I rst had to make the mold. I used a 3-axis CNC router to shape blue insulation foam. Because of the depth restrictions of the router and material, multiple pieces had to be stacked and glued. I sanded the pieces to remove the ribs that result from the routing process and coated the mold in liquid rubber and release uid. A cement patching product know as rockite (used for a smoother more even result) was poured into the concave half of the mold. e other piece was pushed down into the concrete forcing it up to ll the mold. e correct volume was calculated using the computer model.

Cellular plastic sheets make a serviceable approximation of the texture of the plastic 3D print segment model on the next page. Layers were laser cut to make the topography of the outer shell. A light box helps to reect worms eye views and when illuminated highlights the openings and reveals dierences in thickness. e quick approximation allowed the overall design to be evaluated and for another iteration to be made based on that evaluation.

I realized a detailed portion of my digital model via a rapid prototype machine. e prototyper lays down molten ABS plastic and a support material that acts as a temporary scaolding where there are voids in the piece. e nished print is immersed in an alkaline bath that dissolves the support material leaving only the plastic. Due to the size restrictions of the print bed, this model was completed in two runs of thirty hours each. A small test piece was made beforehand to conrm that the nal result would not be too fragile. e lower right hand picture is a digital rendering of the piece shown for comparison.

During my year at NBBJ, I was privileged to be able to focus almost exclusively on a single project: the new courthouse for the San Joaquin County Superior Court of California in Stockton. My time on the project spanned from the beginning of schematic design until the middle of design development. e majority of my work consisted of modelling in Revit the court sets and vertical circulation, creating physical models for study and presentation, and attending meetings with, and helping to respond to, input from consultants. e opportunity to participate as a member of a project team aorded me experience with professional working relationships and a perspective of the evolving life of a project and the unexpected challenges that it can face.

sectional perspective of the entire digital model of the Stockton project; represents the work of the entire project team

PRECEPTORSHIP2009-2010 nbbj seattle

Accessibility to the raised judges bench and the clerk and witness stands proved to be one of the greatest challenges in designing the courtroom. A full scale mock-up was constructed and modified to illicit feedback from the client group and evaluate the design as it evolved. The mock-up also included the raised back corridor where ramps and stairs required tight tolerances to comply with code. The clerestory windows intended to bring daylight into the center courtrooms were built as well to evaluate whether they would prove distracting to the jury.When I first began work on the courthouse, much study had already been done on the configuration of the courtroom. While sight lines between the

various parties involved in a court session are paramount, the judicial officers also

desired that the form of the courtroom express the gravitas of the space

and its function. Working under the direction of

the principals and drafting from

their sketches, I helped create numerous iterations of the

courtroom. I modelled each iteration in Revit, created a document set for the construction of a courtroom mock-up, rendered images for client meetings, and produced a short animation.

Level0' - 0"

3MU5

4MU5

2' - 6"8' - 6"7' - 3"6"4' - 8 3/4"3' - 9 3/4"

2' - 3"

1' -

4"2'

- 6"

2"

2' -

6"

2' -

6"8"

SCALE: 1/4" = 1'-0"3 BACK ELEVATION

Level0' - 0"

4' - 4 1/4" 3' - 9" 5' - 6 3/4" 2' - 7" 4' - 11 3/4" 3' - 11"

3' -

8"

4' -

0"

3' -

0"

7' -

8"

SCALE: 1/4" = 1'-0"1 FRONT ELEVATION

MU71

MU8 4

MU83

MU8

2

MU8

1

UP

UP

5' -

0 3/

4"7'

- 5"

21' -

7 1

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4' -

9 3/

4"9'

- 6

1/2"

15' -

7 1

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17' -

6"

10' -

3 1

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8' - 9" 10' - 8" 14' - 7"

9' - 11 1/2" 8' - 6" 15' - 6 1/2"

MU63

MU61

MU62

UP

3' - 0" 2' - 9"

MU73

clockwise from top right: plan from the court-room mock-up set [Revit]; views of the construct-ed mock-up in various stages [photography by others]; two elevations of the judicial bench opposite top: screen shot of an animation of the courtroom design [3D Studio Max]opposite bottom: axonometric projection showing a mock-up to be built within an existing room

UPDN

UPUPUP

UPDN

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* 0 854* .'$

UP

UP

UP

514 SFSeating

1085 SFCourtroom

469 SFHolding

7304 SFPublic

525 SFSeating

1099 SFCourtroom

14240 SFOffice

282 SFHolding

TrafficCounter

Entry -CentralControl

Entry -Vestibule and

Screening

Circulation

Judge andStaff ParkingRamp to B2

Court SecurityOperations

Staff Showers

FoodConcession

Staff WorkoutRoom

FacilitiesManager

Loading Dock

Self HelpCenter

Circulation

FF +5

LoadingBay 1

(12x40)

LoadingBay 2

(12x32)Trash/Recycling Bay 3 (12x32)

Ram

pDo

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Ram

pDo

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5% Ram

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Elec. IDF

Dept Program 4,517 SFActual 5,672 SF

Dept Program 1,625 SFActual 620 SF

Dept Program 564 SFActual 565 SF








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a s

Eve

Hi nm

an

0'4'

8'16'

32'S

CALE :1/8"=

1'-0 "

top: blocking diagrams showing rough programmatic layouts on various floors in early schematic designbottom: diagram of different zones used in plumbing occupancy calculations underlaid with a revised plan

opposite page top to bottom: plan showing the relationship between the earlier blocking diagrams and a more developed floor plan (this was used to perform modified BOMA calculations for the client); 11th floor plan showing room numbers; floor finish plan

Room name

150 SFUse Group

300

A 0'

- 0

5/32

"

B 0'

- 0

5/16

"

C 0'

- 0 1

5/32

"

101

D 0'

- 0 1

5/32

"

Room name

150 SFUse Group

300101

D2 0

' - 0

1/4

"

C2 0

' - 0

1/4

"

B2 0

' - 0

5/3

2"

A2 0

' - 0

3/3

2"

Hide Big 0' - 0 5/8"

Hide Big 0' - 0 5/8"

Hide Small 0' - 0 5/8"


Hide Big 0' - 0 5/8"

Hide Big 0' - 0 5/8"


Hide Big 0' - 0 5/8"



Room tag contains labels corresponding to many parameter values given in the project

1

The visibility of the individual labels can be toggled and either the small or large set of labels can be used2

A formula associated with each label adjusts its spacing based on which other labels are toggled on3

Many different types of tags can be easily created, and changed frequently without creating gaps, by simply checking the information to be displayed

4

BIM softwares allow large amounts of information to be integrated with the drawings. In order to be effectively used, designers must create objects that are imbedded with this information. Using the parametric features of the software, one master element can be easily modified for many situations. Two examples of such elements that I made can be seen along with the process that created them. Room tags in Revit can display various data that are useful both in documentation and while designing. Since not all information is needed at any given time, I designed a tag that allows users to quickly toggle which parameters are displayed.

Bench is created and stretched to a certain width

Seating capacity is calculated based on the width and a variable seat size parameter then rounded to the nearest whole seat

An array of lines displays the correct number of seats spaced according to the seat size parameter

The calculated values can be displayed as a number using a specially created revit furniture tag and can also be tallied in schedules

1

2

3 4

Over the course of the project, the size and shape of the spectator gallery changed multiple times; specialized courtrooms featured different galleries and had different seating requirements. Additionally, seating capacity is calculated differently in several circumstances. (for example, plumbing versus egress requirements) I created a spectator bench family in Revit which automatically calculates its seating capacity and graphically indicates each individual seat in order to facilitate iteration of the courtroom design.

left: 3D view of a stair transfer that I worked to solve [Revit]middle: portion of a sheet from the 50% DD set showing enlarged plans and sections of a stair [Revit]right: exhibits from a series showing lines of sight between key locations for people of various height [Revit and Illustrator]

DN

UP

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DNUPDNUP

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Level 118' - 0"

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Level 352' - 0"

Level 469' - 0"

Level 586' - 0"

Level 6103' - 0"

Level 7120' - 0"

34 3.7

Level 118' - 0"

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223 YALE AVENUE NORTHSEATTLE, WASHINGTON 98109PHONE 206 223 5555FAX 206 223 5000










DRAWN BY:

PROJ. NO.:

DATE:

PROJ. ARCH.:

DWG.

DWG.

CONSTRUCTION MANAGER:

CIVIL ENGINEER:

STRUCTURAL ENGINEER:

MEP:

LANDSCAPE ARCHITECT:

REV DATE DESCRIPTION

LOW VOLTAGE / AV:

ELEVATOR:

COURT PLANNER:

LIGHTING:

SURVEY:

BLAST:

LIFE SAFETY:

7/15

/201

0 5:

01:2

4 P

MD

:\sgo

odm

an\R

evit

Loca

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s\10

0360

_00\

Stoc

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oodm

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Goo

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.rvt

180 E. Weber Ave.

Author

100360.00

07/14/2010

Designer

STAIR PLANS,SECTIONS, ANDDETAILS

A7.12

NewStockton

Courthouse

TurnerSacramento, CA

PsomasRoseville, CA

Thornton TomasettiLos Angeles, CA

IBE Consulting EngineersSherman Oaks, CA

Burton & CompanySanta Monica, CA

50 % DESIGNDEVELOPMENT

AVSDiamond Bar, CA

Lerch BatesBothell, WA

Jay FarbsteinPacific Palisades, CA

NBBJ LightingSeattle, WA

PsomasRoseville, CA

Eve HinmanSan Francisco, CA

Schirmer EngineeringTorrance, CA

SCALE: 1/4" = 1'-0"1STAIR 2 - LEVEL 1


SCALE: 1/4" = 1'-0"3STAIR 2 - LEVEL 5-11

SCALE: 1/4" = 1'-0"4STAIR 2 - LEVEL 11.5

SCALE: 1/4" = 1'-0"5STAIR 2 - SECTION 1



DN

DN

DN

Scale: Date: March 4, 2010 1/8" = 1'-0"

SightlinesAOCNew Stockton Courthouse

SCALE: 1/8" = 1'-0"1 Juror Sightline B

B

B

Much of my time at NBBJ was spent drafting from the sketches of senior designers and checking the results for code compliance and square footage. Towards the end of my time I had the opportunity to try to solve some stair transfers on my own. While I was not always successful, I learned much about juggling structural, mechanical, and code requirements and was able to more fully utilize the benefits of 3D modelling in design. In addition, I worked to create sheets for the submission sets as well as other exhibits to support client needs and design analysis.

DN

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DNUPDNUP

UP

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DNUP

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3.7

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3

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3.7

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3

Y

3.7

XV 5A7.12

3

4

Y

3.7

XV

1A7.13

2A7.13

Level 118' - 0"

Level 235' - 0"

Level 352' - 0"

Level 469' - 0"

Level 586' - 0"

Level 6103' - 0"

Level 7120' - 0"

34 3.7

Level 118' - 0"

Level 235' - 0"

Level 352' - 0"

Level 469' - 0"

Level 586' - 0"

Level 6103' - 0"

Level 7120' - 0"

2

3

4

Y

3.7

XV

5A7.12

3

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3.7

XV 5A7.12











DRAWN BY:

PROJ. NO.:

DATE:

PROJ. ARCH.:

DWG.

DWG.

CONSTRUCTION MANAGER:

CIVIL ENGINEER:

STRUCTURAL ENGINEER:

MEP:

LANDSCAPE ARCHITECT:

REV DATE DESCRIPTION

LOW VOLTAGE / AV:

ELEVATOR:

COURT PLANNER:

LIGHTING:

SURVEY:

BLAST:

LIFE SAFETY:

7/15

/201

0 5:

01:2

4 P

MD

:\sgo

odm

an\R

evit

Loca

l File

s\10

0360

_00\

Stoc

kton

-Cor

e-sg

oodm

an\S

tock

ton-

Cor

e-S

Goo

dman

.rvt

180 E. Weber Ave.

Author

100360.00

07/14/2010

Designer

STAIR PLANS,SECTIONS, ANDDETAILS

A7.12

NewStockton

Courthouse

TurnerSacramento, CA

PsomasRoseville, CA

Thornton TomasettiLos Angeles, CA

IBE Consulting EngineersSherman Oaks, CA

Burton & CompanySanta Monica, CA

50 % DESIGNDEVELOPMENT

AVSDiamond Bar, CA

Lerch BatesBothell, WA

Jay FarbsteinPacific Palisades, CA

NBBJ LightingSeattle, WA

PsomasRoseville, CA

Eve HinmanSan Francisco, CA

Schirmer EngineeringTorrance, CA



SCALE: 1/4" = 1'-0"3STAIR 2 - LEVEL 5-11

SCALE: 1/4" = 1'-0"4STAIR 2 - LEVEL 11.5

SCALE: 1/4" = 1'-0"5STAIR 2 - SECTION 1



During my year at NBBJ I spent significant time in the model shop creating many different kinds of models with various quality and scheduling requirements. With the guidance of the shop staff, I learned much about the craft of model making. By the end of my time I was building models almost entirely myself such as the Stockton, Sacramento, and Redding site models.

above: southwest view of a working model for the Stockton courthouse [walnut, satellite image on chipboard, and printed photo paper on acrylic]below: model of the Stockton courthouse entry lobby used to study different escalator configurations [laser cut acrylic and foam core]

opposite spread clockwise from upper left: site model for an RFP for a courthouse project in Sacramento, California [cherry and satellite image on paper]; interview model for a prospective courthouse in Redding California[basswood and satellite image on chipboard];rapid prototype of a courtroom option; concept models by others set in a site model which I built in Revit and produced using a 3D printer.

clockwise from top left: typical oor with model underlay; wall section; pencil and ink facade and plan study; reected lighting plan

precast copingflashingcounter flashingblockingmembrane roof

ballast

weep hole

7-5/8x4 CMU wall

#7 rebar @ 12 O.C.

flashing

steel anglemasonry ties

@ 24 O.C.2 ridgid foam

insulation

1/2 board

steel stud wall

1/2 gypboardtile

2 air gap

8x3-1/4 steel tube

weep hole

awning window

custom sliding mirror

cast stone sill

granite counter

moisture barrier

sprayed insulation (noise dampening)

7 concrete slab

8-5/7x6 CMU

cieling tiesfurring @ 12 O.C.

1/2 gypboard

1. living/dining2. kitchen3. bedroom4. study5. game room6. laundry7. HVAC/hot water8. electrical9. garbage

1

2

33

49

5

7

8

67

clockwise from top: north elevation; south (street) elevation; photo of model from courtyard (north) side; model photo of kitchen and dining room

is was a comprehensive studio which included guest lectures and feedback from structural, mechanical, and facade engineers as well as two Houston developers. e program called for a four unit condominium building designed with wealthy retirees in mind. e building is sighted near Rice University in Houston. e basic footprint of the building was given and students were encouraged to emulate the style of a modern master (in my case Louis Kahn).

000222444222

ELMS AT THE VILLAGESPRING 2009 william t. cannady

whole spread - top from left: section AA; section BB; street elevation.bottom from left: basement plan; ground oor; mezzanine level; top oor

B

B

5

6

7 810

2

9

1. Library2. Restroom3. Mechanical4. Lightwell5. Lobby6. Exhibition Space7. Gift Shop

8. Loading9. Courtyard10. Cafe11. Office Suite12. Multipurpose Space13. Performance

A1

3

22

4

is project sits on an inll site in Houstons midtown and was designed to house a music interpretation center where music would be performed and discussed. e program includes a performance space with an emphasis on its exibility, an exhibition space, a multipurpose space which can host a lecture, a small cafe, a gift shop, a music library, and a courtyard. Additionally, the nal design was to include HVAC, structure, and plumbing systems.With this project, I was intrigued by the surrounding neighborhood, an oasis of eclectic businesses in an otherwise fairly barren part of the city, and the requirement for a courtyard. I drew inspiration from the biergartens of central Texas that I know well and where I have enjoyed many dierent genres of music. e courtyard is on a low wooden deck and has a canopy of lights overhead as many Texas biergartens do. I designed the cafe and courtyard to operate somewhat independently of the rest of the project and to act as a kind of lure or gateway to encourage people to explore the center.

1122

A

12

13

Wall

IMCH-MUSIC CENTER FALL 2008 carlos jimnez michael morrow

1 2

3 4

5 6

e courtyard and cafe are accessible from the street yet are not fully exposed to it. From there you can see into the lobby and exhibition space and may investigate it if you wish. While performances would be held in the courtyard and exhibition spaces, the more formal performance space is above on the third oor, where it can also spill over into the multipurpose space. On a mezzanine level in between are the administrative suite, a restroom and a balcony which overlooks the spaces below. e performance space has a thickened wall covered by a metal mesh behind which can be put equipment for performances such as acoustic panels, speakers, smoke machines, colored lights, etc.

left to right: framing diagram; study model; water systems diagram; HVAC diagram; detail wall section.opposite page: model photos location on axonometric projection: 1. main performance space2. mezzanine overlooking courtyard3&4. courtyard as seen from exhibition space5. street view 6. street view at night

clockwise from top left: site plan; early model; later model from two views; sketch of regular classrooms hosting aggregated vocational classrooms (yellow); longitudinal section

is semesters problem was to design a vocational high school specializing in training students for green collar jobs on a three block site in mid-town Houston. I chose to focus on soil and water resources which are waning in both availability and quality. I proposed a curriculum that combined agriculture, municipal water and sewage treatment, and the rehabilitation of polluted land. I attempted to integrate some of the proposed solutions to these problems (such as an infrastructure of urban agriculture that simultaneously lters waste and grows food) into the school as both functioning systems and laboratory space for the students. As can be seen by comparing the earlier designs to the left with the nal project on the facing page, the geometry of these spaces changed radically throughout the semester and the constant re-designs ultimately worked to my disadvantage.e nal result is a terracing, mostly exterior, serpentine element which is the above mentioned system-laboratory that attaches to, and punctures through, an otherwise regular building with two courtyards. Two thickened bands accommodate larger program elements. Pods of classrooms along the serpentine element house vocational classes while the rest of the building hosts more traditional classes.

1 = 100Site Plan

A

Main Street Metro RailMain St. streetcar

clockwise from top left: rendering of courtyard from library; top oor plan; ground oor plan; cross section; longitudinal section

RESOURCE ACADEMYSPRING 2008 dawn finley

is project had two phases. e objective of the rst was to generate a novel organizational logic which could serve as a new architectural type. is type was then diagrammed. Variations could be generated by deforming the original diagram. For the second phase these developments were used to design a resort community on an abandoned amusement park. e site is organized as a eld of parallel strips. e strips can fold upwards to create buildings, bend back on themselves to form cantilevered balconies, and dip down to make depressions in the landscape. Each individual strip responds to the shape of its immediate neighbors so that gradual variations from one strip to the next create movement in the buildings and landscape. Occasionally this continuity is broken to create shears that, coupled with collisions of separate buildings, create moments of increased interest and interaction that host various community program.e buildings structure is a series of trusses that each contain in its shape two dierent sectionsone for the strip on either side. e trusses are spanned by the outer skin. e slabs undulate in plan semi-autonomously from the skin and periodically penetrate it to create balconies. A second skin which denes the air conditioned envelope of the units sits behind the outer skin.

main walkwaysretail

community space

opposite pagetop: illustration showing progressively more layersmiddle: sectional renderingbottom: 5 plan views showing the diagrammatic bones of the type deformed in various ways with the results shown above

top: site diagrams with various planning aspects-1. general layout and density; 2. vehicular access; 3. pedestrian access and non-residential programmiddle: diagram of water management strategybottom: rendering of a typical building and reservoir

main car thouroughfares

alleys

metro-rail

parking

*

*

SLABSPACEFALL 2007 christopher hight michael robinson

clockwise from top left: plan; conceptual rendering of dierent levels of the plaza; rendering from between the two bridges; section BB; study models for station shelter

A

A

B

B

clockwise from top left: birds eye rendering; circulation diagram; site plan highlighting topography; portion of section AA; section BB

is project is an intermodal transit center sited just north of Houstons downtown near a section of the bayou system that the city is developing into park space. Creating a major public landscape element was a requirement. Commuter rail, street car, rapid bus, city bus, intercity bus, and parking were to be accommodated. An existing heavy rail line could not be moved. e central focus of the design is a large terracing plaza that connects the bayou park to the city. It integrates the need to cross either under or over the railroad with recreation spaces and small food kiosks. Each level of the terrace has a unique program and material palette. Both the rail and a street bridge cross the lowest level of the plaza. A ramp between the two bridges conveys pedestrians to the transit stations on either side. One side serves municipal transport and the other accommodates intercity transit. A large sawtooth roof covers the transit spaces and is designed to permit solar panels to be mounted on its south-facing slopes.

Amtrak and Commuter Rail

MetroRail

Bus Rapid Transit

Local Buses

Regional Buses and Taxi

Through Traffic (Main Street)

TRANSIT CENTERSPRING 2007 gordon wittenberg michael morrow

clockwise from top left: plan at -6 meters (entrance); -3 m; +5 m; sketch showing 3 pronged service core and tanks; earlier sketch showing the beginnings of that concept; site model showing buildings relation to bayou and downtown

[gro

und

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e op

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f

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1

e program for this project was a public aquarium in downtown Houston with the mission of educating visitors about Texas marine ecosystems and the threats they face. e building was to include four large tanks (one for each major ecosystem in Texas), an open air dolphin tank, an aviary, numerous smaller tanks and the required mechanical, service, and administrative spaces.I attempted to choreograph the order in which visitors experience the exhibits in order to maximize their pedagogical impact. e outside walls are clad in cor-ten steel which encompasses the building like a folding ribbon. e building is iconic when viewed from afar but mysterious and somewhat forboding on approach. e front wall actually leans over visitors as they descend six meters to the entrance, eectively severing them from the world above and immersing them in the underwater world. ey enter a large atrium lit from above by the buildings lone window (which looks into the aviary).Starting at the deep sea tank, the ecosystem farthest from human inuence, visitors make their way through the coral reef, swamp, and barrier island displays following an ever widening trail left by humanity. ey are then reintroduced to the city on the xeriscaped green roof which proposes a gentler solution to oodwater management than the paved bayou below. Finally the visitors descend through the aviary before exiting. e aquarium exhibits are sandwiched between the mechanical systems below and veterinary spaces above. e two service areas are linked by a three pronged service core in which the ancillary tanks are embedded.clockwise from top: ground level plan; detail of cor-ten panels; ramp descending to the entrance; sketch showing tanks around a central element

a. deep sea tankb. coral reefc. wetlandsd. bay ecosystemse. dolphinsf. aviary

1. pump room2. feeding / veterinary3. auditorium4. loading5. access to tunnels

2

a

b

c

d

e

f

4

DOWNTOWN AQUARIUM FALL 2006 douglas oliver james ray

spread: early storyboard showing pre-design intent linked with the corresponding nal spaces in the sections and model.

entrance

lobby

1

222

2 4

5

6

deep sea tank coral reef wetlands1. pump room2. feeding/veterinary3. auditorium4. loading5. tunnel system access6. offices

13

22

2

6

lobby

bay ecosystems

e assignment was to design a research and display pavilion for the study of wetlands ecosystems and the promotion of conservation. e primary purpose of this building is to allow the public to view research being conducted and not the research itself. It was to be engaging, accessible, and demonstrative. e three part program included a greenhouse, laboratory, and visitors area. Rainwater collection and natural ventilation and shading for all areas was also required. e greenhouse was to be sited in Houston, and I conjectured that the pavilion would exist in a public park.

clockwise from top right: plan (ink on vellum); section; intermediate study model; early study model; concept sketch

opposite page-clockwise from top: site plan; model detail of shading structure over reservior; model detail of greenhouse structure; model photo showing operable louvers of the lab

e crystalline greenhouse serves to spark curiosity from afar as well as to question the standard greenhouse shape. It is sheltered from full sun by both the enclosed laboratory and the shading structure over the visitors area. e inward slanting roof collects water while drawing visitors in and focusing visual attention on the contents of the greenhouse. On the southern side it also takes advantage of the Venturi wind eect to funnel prevailing breezes during the summer months into the greenhouse and through the operable louvers on the lab.

GREENHOUSE PAVILION FALL 2006 douglas oliver james ray

e assignment was to design a gallery for a private collection of motorcycles and associated archives. e elongated site is an inll lot with street access on either end, one a level higher than the other. Ramps were required in lieu of an elevator to allow movement of the motorcycles. e building is separated into two zones: on the southern end is a triple height space which serves as the main entry and accommodates small gatherings. From the second oor a ramp penetrates the middle of the space in a dramatic move meant to be the focal point of the design. It allows one to be in the void rather than to simply observe it, and from that location, most of the collection can be seen. e rest of the building houses the program on three levels and is lit mostly by light diusing from the atrium.

clockwise from top: model photograph showing longitudinal section; top oor plan (ink on vellum); cross section; north elevation; model photo of south elevation

clockwise from top: early study model; view of the atrium from outside; view of atrium and ramps from above skylight; axonometric projection (ink on vellum)

MOTORCYCLE MUSEUM SPRING 2006 nonya grenader danny samuels

Documents

Portfolio B. Architecture Rice University 2005 - 2011