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Second Year, Design Three

Critic: Lauren Mitchell

Savannah, GA

Analyzing movement of the vagabond, the wandering gestures hinder a systemic path. This ambiguous means of movement is directly related to the path and movement of the bicycle. Ground elements are the necessary instruments for controlling or interrupting this meandering path-type. While the nature of travel is inherently erratic by the bicycle, the ground begins to tame and dictate the path based on conditions such as smoothness, ramps, steps, porosity, etc. The staggered and unpredictable path of a pedestrian contradicts the ordered path the ground sets for the bicycle further marking the restricted itinerary of the bicycle.itinerary of the bicycle.

THE BICYCLE EXPERIENCE

wandering paths of the city Entry from front: Bike-like path immediately experienced

Entry from rear: Wanderer space depicted; invasion onto sidewalk.

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The i t inerary and path of the bicycle vs the pedestr ian begin to generate a programmatic path within the bicycle&soup shop. The dichotomy of a constantly moving, unscripted path of the pedestr ian and the l inear structure of the bicycle’s movement orders the the circulat ion of the shop. This layered circulat ion becomes a visual performance as the bicycles move natural ly along ramps and horizontal planes, whi lewhile the soup and people move through a vert ical shif t . When motion is absent, the bicycles become display and the shop becomes a reservoir, gathering the paths into a common knot.

STORAGE & RESERVOIR

map of city wandering experience_group work

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Even in the desert, where life can be utterly absent, sound exists. Nomads describe the experience of the desert as ‘the absence of silence’, where the heartbeat pumps a constant rhythm through the body emanating sound throughout. This minimalist approach to sound is comparable to the contemporary composer John Cage’s piece ‘4:33’, where music is defined by the term ‘chance sound’, or the sound created by the uncontrollable elements (environment, score interpretation, performer’s choice). Chance sound inextricablyinextricably links the listener to the music because of the idea that music is made by the accumulation of all sounds, inherently involving one’s immediate environment with the constructed sound.

NETWORKING BODIES OF SOUND

Carving into the desert landscape, this music compound acts as a vessel for sound, housing operable and stationary components that become an interactive part of the desert landscape further linking one’s surroundings with the sounds they are [not]constructing.

sound exit study

Second Year, Design Four

Critic: Martin Gundersen

Gobi Desert

concentration of sound

compound core section model

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10am

12pm

3pm

5:30pm

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the whistling wall sound investigation of private rooms

infiltration of wind

intersection/communal spaceentry to private work spaces

Harvesting winds from the West and Northwest sides

of the Gobi Desert, this vessel for sound begins to

become an instrument itself. Winds invade and

puncture the outer skins to create a prevailing whistle

which change intrinsically with the wind intensity. In

this retreat for the curious composer, occupants begin

to maneuver a wind wall, covering up holes with their

hands,hands, changing pitch and intensity, and can begin to

synchronize a harmony; becoming an interactive

environment between person and building.

FLOOD OF WHISTLING

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As a pavi l ion for the World’s Fair Exposit ion, this tower begins to redefine the way in which humanity comes together to discuss i t ’s own understanding of i ts current state and of i ts future. With an overlying theme of altruism, one programmatic focus, for example, is meditat ion (for the individual and for a group) and is si tuated in the tower so that a restr icted view of the horizon can enhance the experience of this pract ice by redefining horizon as a new ground. The tower aims to redefine the vert ical space to implement reorganization of social spaces, creating interact ion and intersection within thethe vert ical sect ion. Nature and science are scattered throughout the tower to imbed a r ich interact ion between person and pavi l ion. This assemblage of shared space, shared program, and shared experience recreates social standards and understanding of nature in relat ion to humanity.

TEMPORARY PAVILION WITH ALTRUISTIC SUGGESTIONS

vert ical exposure to framed sky

planetarium

progression of exhibit ion placement analysis

display for onemeditat ion pods

arbortorium narrow horizontal view of ci ty

Second Year, Design FourCritic: Martin GundersenWorld’s Exposition

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integrate, fuse, envelop

nest, contain

cult ivate

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17 Third Year, Design FiveCritic: Ron HaaseSanta Fe Lake, FL

interconnectedness of ground and sky fog marks boundaryfog penetrates threshold animate / waft

PATH FOR MANY

PATH FOR ONE

garden zone garden zone

Looming and wafting blankets of fog dictate the path through the site informing the location of the Buddhist compound components. Building as origin and the Buddhist idea that everything stems and emanates from a causal center/ core/ seed determines the trajectory of ‘path for many’ versus the ‘path for one’. Destination becomes the origin of fog, the Santa Fe Lake, where the cypress knees and moss create an intermediate scale ofof space, further defining the linkage between the complex and nature.

emergence of fog

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The two building complexes do not only mark the idea of origin/seed, they become

nodes of buddhist notions described through mediation of nature, garden, and

building. Nature becomes the scripted/marked paths which are carved into the

centers of each complex and slowly becoming the intermediary outdoor gathering

spaces; the garden. Building then opens outward to accept the slow inward shift of the

garden further allowing for the pervasion of path.

Karmapa’sKarmapa’s complex (path for one) is secluded and mystic, further embodying the path

away from origin and allow for his position to be unobstructed by creating the core out

of a negative/carved garden space with a wrapping notion. His path for one is marked

only by the frame or end of his complex’s garden to ensure the line between nature

and man remain blurred.

PATH FOR ONE_ RETREAT / VIEW / REPOSE

path for many path for one

site map

communal prayer pond (unbuilt) communal lake sanctuary (unbuilt)

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The Main Hall complex is nested within a clearing barely

puncturing the forest. This complex embodies the seed and core of

the entire site where the gatherers begin here and then dissipate

into the rest of the site like small embers. During sunrise, Buddhist

followers collect here and wander outward in a flock toward the

clearing and inevitably to the water, a progression through the

foggy paths to witness the phenomenon enter the site through the

lake’s edge.lake’s edge.

PATH FOR MANY _ FLOCK / SWARM / ASSEMBLE

second floor

first floor plan

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A MUSEUM TO REFLECT CHANGE GATEWAY / MONUMENT

gesture of embracevolatility response to site

This project aims to achieve Precedence/ the act of establishing foundations for the development of a new type of culture that instills a sense of grounding within a community of peoples & to bring to light the importance of the civil rights for peoples of all races, backgrounds, genders, orientations, and beliefs. Executing an architectural in congruence in to the context to extend an everlasting imposition on the National Lawn reinforcing thethe establishment of precedence set forth by the civil rights movement.

Marking the ground in order to establish Memory/ a means by which to access the past to inform the present or future/ to perpetuate progression through active remembrance/ the act of remembrance on account of the shared experience. This civil rights center generates an architecture that extrude objects from a constructed context of historically significant moments relating to the civil rights movement, carving and extruding the ground to achieve a memory wall/built ground experience. Movement through the raised ground ensures the total embodiment of the collective experience as well as being embedded withinwithin a dynamic web of precedence, this civil rights center establishes its monumentality on the National Lawn through the convention of a gateway that aims to evoke the collective memory.

NOMAS Competition 20086 Team MembersWashington DC.

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Third Year, Design SixCritic: Levent KaraCharleston, SC

3facade study / human figure approaching / occupant’s view / occupant to be framed by the street facade

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transparent curtain

punctured canopy

mass gathering boxes

view/directional walls

promenade study through building envelope

translucent section cut

framing elements

enevelopeSituated in an exposed lot, the intervention connects the view to the water to the view of the city through a large overhanging gesture which forms an urban window.

Mimicking the same carved notion of the ground plane the upper level of the temporary exhibition space suggests, and reaches through the clear line of sight the site inherently has.

Sitting within the larger urban context, the exhibition space peeks outward through a set of urban windows yet respects the conservation of view on the longer sides to preserve privacy within a public viewing territory.

Passage through the site is a carved notion following the main Charleston axes. The entry facade is pushed back in order to accept the shift of view and the reaching notion of the volume that hovers.