stitching architecture
DESCRIPTION
Collection of undergrad studio work Clemson UniversityTRANSCRIPT
ARCHITECTUREITECTUREITECTURESTITCHINGINGSTITCHING
STITCHING ARCHITECTURETHIS COLLECTION OF WORK
EXPRESSES MY PASSION FOR
ARCHITECTURE. WHAT I LIKE
ABOUT ARCHITECTURE IS HOW
ONE IS ABLE TO BE INSPIRED
BY ANYTHING MEANINFUL IN
RELATION WITH THE CONSTRAINTS
AT HAND.
EAMEAM
ITECTUREING
ITECTUREING
01 02
02 04
PIN
E_TR
EES R
OO
TS E
XPL
.
SOCIOCULTURALASPECTS OF PLACE
SYSTEMS/EXPERIMENTATION
01 ARC[H]inge CHARLESTON,SC02 CREATIVE CORRIDOR CHARLESTON,SC
04 A KITCHEN ALIVE AIAS COMPETITION
03 PARADIGM SHIFT CLEMSON,SC
02 03 04
04 06 08
ENVIRONMENTAL PSHYC.
[ALGEA
]_EN
ERG
Y S
OU
RCE
WEEKS
GROUPMEMBERS
05 MODULAR INTERVENTION ASHEVILLE, SC 06 ROOTS_BREAKING THE NORM CLEMSON, SC
CULT
URE
[BASKET
WEA
VING
]
ERGO
NO
MIC
S
PIN
E_TR
EES R
OO
TS E
XPL
.
ARCH_872 MATERIALS + ASSEMBLY
ARCH_424 PRODUCT DESGIN
CENTENNIAL EXHIBITION: fabrication, graphic design
FULL_SCALE
PROTOTYPING
ARC[H]inge: RECONNECTING THE PUBLIC REALM WITH THE WATER
CLEMSON UNIVERSITY FALL _ 2012PUBLIC VENUE, CHARLESTON SC
EDGAR MOZO LANSIN DODD
[ ]
ARC[H]INGE EDGAR MOZO
VIEWING CORRIDORS
MACRO:
VIEWING CORRIDORS
MICRO:
`v
In order to forge an even stronger bond between the city
of Charleston and the environment which surrounds it,
a series of piers dissolve into the ocean, extending the
urban grid from the peninsula. These pathways from the
circulation pattern from Market street to the piers, which
interwine through level changes, allowing for interaction
with the marsh as well as panoramic views from specific
moments through out the piers.
AR
C[H
]in
ge
`v
VIEWING CORRIDORS
MOMENTS RELEASE / COMPRESS
ARC[H]INGE EDGAR MOZO
COLUMN WALLS
CENTRAL BEAM
WOOD DECKING IS PARALLEL TO THE STREET, FORGING AN AXIAL RELATIONSHIP TO THE CITY
ARC[H]INGE EDGAR MOZO
e]-
2.5’ 5’0’
�0’5’2.5’0’
e]-
2.5’ 5’0’
CREATIVE CORRIDOR:GENERATING A CREATIVE HUB FOR LIKE-MINDED PEOPLE
CLEMSON UNIVERSITY FALL _ 2012MULTIPURPOSE SPACE, CHARLESTON SC
EDGAR MOZO DIANE ROSH
CHARLESTON URBAN FABRIC
ALLEYS
BRIDGES
PRIVATE/PUBLIC COURTYARDS
COLONNADES
CASE STUDIES: CREATIVE SPACESPIXAR ANIMATION STUDIOS + FOWLER ARTS COLLECTIVES + ENVIRONMENTAL PSYCHOLOGY
CREATIVE SPACES HAVE = OPEN CIRCULATION + SPATIAL HIERARCHY + LIGHT + VISTAS + OPEN STUDIOS ARE = POROSE + MALLEABLE + OPEN !
CREATIVE CORRIDOR EDGAR MOZO
The creative corridor is an extension of a future develop-
ment by a couple of entrepreneurs that see the possibili-
ties of developing the connection between Downtown
Charleston and North Charleston. The site will act as a
creative hub for like-minded people. From Scientist to lo-
cal artist, the design hopes to help the inhabitants have
a close connection to one another in order to generate
moments of true inspiration within each field. n oramic
CR
EA
TIV
E C
OR
RID
OR
ST
REET
HISTORIC BUILDING ORIENTATION
NEIGHBOR BUILDING ORIENTATION
STUDIO/RESIDENTIALMULTIPURPOSECOMMERCIAL
CREATIVE CORRIDOR EDGAR MOZO
CREATIVE CORRIDOR EDGAR MOZO
PREFAB-UNIT: 42’X 21’
PARADIGM SHIFT EDGAR MOZO
E X C E S S B I O M A S S D I N N I N G H A L L S
C U R R E N T A P P R O A C H
P R O P O S E D A P P R O A C H
U LT I M AT E G O A L
C O 2 :
A L G A E
B I O M A S S F R O M D I N I N G H A L L S
B Y- P R O D U C T : O I L
:
CLEMSON UNIVERSITY SPRING _ 2013INFRASTRUCTURE, CLEMSON SC
EDGAR MOZO JONATHAN SHAFFER ARIF JAVED
PARADIGM SHIFT:A SHIFT IN THE TRANSPORTATION PARADIGM
CLEMSON UNIVERSITY SPRING _ 2013INFRASTRUCTURE, CLEMSON SC
EDGAR MOZO JONATHAN SHAFFER ARIF JAVED
PARADIGM SHIFT:A SHIFT IN THE TRANSPORTATION PARADIGM
PARADIGM SHIFT EDGAR MOZO
E X C E S S B I O M A S S D I N N I N G H A L L S
C U R R E N T A P P R O A C H
P R O P O S E D A P P R O A C H
U LT I M AT E G O A L
C O 2 :
A L G A E
B I O M A S S F R O M D I N I N G H A L L S
B Y- P R O D U C T : O I L
:
CLEMSON UNIVERSITY SPRING _ 2013INFRASTRUCTURE, CLEMSON SC
EDGAR MOZO JONATHAN SHAFFER ARIF JAVED
PARADIGM SHIFT:A SHIFT IN THE TRANSPORTATION PARADIGM
PA
RA
DIG
M S
HIF
T
PARADIGM SHIFT EDGAR MOZO
PARADIGM SHIFT EDGAR MOZO
PARADIGM SHIFT EDGAR MOZOPARADIGM SHIFT EDGAR MOZO
CLEMSON UNIVERSITY SPRING _ 2013INFRASTRUCTURE, CLEMSON SC
EDGAR MOZO NICK TAFFEL DAVID HERRERO JOEL POMENVILLE
A KITCHEN A LIVE:MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES
7.5” MODULE ALLOWS FOR FLEXIBLECONFIGURATION
36” 30”
6” GAP ALLOWS COUNTER TO BE 36” or 30” WALL SECTIONELEVATION
ELECTRICAL OUTLET SYST.
TYP. FRAME WALLMODULAR WALL SYST.
MOUNTING BOLTS
PARADIGM SHIFT EDGAR MOZO
Elderly
Couple
with
Larg
e
Fam
ily
Middle
Aged
Couple
with
Kid
s
Youn
g
Couple
Accesibility
More Space
Lower
Counters
Cabinet
Space
Cost E
ffici
ency
Spa
ce
Flex
ible
Arr
ang
emen
tC
ou
nte
r S
pa
ce
average height male5�-9 1/2�
Elevation B1/2�=1�
Our goal as designers in this competition was to provide
a kitchen design that can grow and change in a flexible
manner with our clients. Instead of trying to design one
kitchen that could fit all of this, we thought that it would
be better if our kitchen could move and live with the resi-
dents. designing a kitchen with a modular system that
could accomodate a family that wanted to live in a house
for many years.
Elevation B1/2�=1�
Elevation B1/2�=1�
average height male5�-7�
PARADIGM SHIFT EDGAR MOZO
CLEMSON UNIVERSITY SPRING _ 2013ALL IN THE SPECTRUM, CLEMSON SC
EDGAR MOZO
MODULAR INTERVENTION:
MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES
S7VEN SENSES
SIGHT
HEARING
TOUCH
EQUILIBRIUM
TASTE
INTUITION
SMELL
S T I M U L A T I O N
NEUROTYPICAL
PERSON WITH AUTISM
SIGHT
TOUCH
INTUITION
HEARING
EQUILIBRIUM
A M B I E N T B O X
M U T E B U B B L E
VARIABLES
MODULAR INTERVENTION EDGAR MOZO
CLEMSON UNIVERSITY SPRING _ 2013ALL IN THE SPECTRUM, CLEMSON SC
EDGAR MOZO
MODULAR INTERVENTION:
MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES
S7VEN SENSES
SIGHT
HEARING
TOUCH
EQUILIBRIUM
TASTE
INTUITION
SMELL
S T I M U L A T I O N
NEUROTYPICAL
PERSON WITH AUTISM
SIGHT
TOUCH
INTUITION
HEARING
EQUILIBRIUM
A M B I E N T B O X
M U T E B U B B L E
VARIABLES
MODULAR INTERVENTION EDGAR MOZO
human scale MUTE BUBBLE + AMBIENT BOX
MUTE BUBBLE
1/4 H 1’
10
’
10
’
10’
5.7' 3.7'5'555 '4.3434.3 3757 555 43 '4357 5'557 'AGE = 59
1317
= HEIGHT
ACOUSTICS MUTE BUBBLE
THE SPHERICAL SHAPE OF A A SPACE
MODULAR INTERVENTION EDGAR MOZO
human scale MUTE BUBBLE + AMBIENT BOX
MUTE BUBBLE
1/4 H 1’
10
’
10
’
10’
5.7' 3.7'5'555 '4.3434.3 3757 555 43 '4357 5'557 'AGE = 59
1317
= HEIGHT
ACOUSTICS MUTE BUBBLE
THE SPHERICAL SHAPE OF A A SPACE
MODULAR INTERVENTION EDGAR MOZOMODULAR INTERVANTION EDGAR
locatio n NEW YORK, NY
POPULATION - 8,244,910location Asheville, NC
POPULATION - 84,458
MODULAR INTERVENTION EDGAR MOZO
locatio n NEW YORK, NY
POPULATION - 8,244,910location Asheville, NC
POPULATION - 84,458
MODULAR INTERVENTION EDGAR MOZO
LOCATION: CLEMSON UNIVERSITY CLEMSON, SC 34 40’ 32.92” N 82 50’ 30.08 W
ROOTS_BREAKING THE NORM:
REDESIGNING A SANCTUARY FOR A NON_DENOMINATIONAL CHURCH
CLEMSON UNIVERSITY FALL _ 2013
EDGAR MOZO
PARTI
URBAN/SUBURBAN/RURAL CAMPUSCLEMSON UNIVERSITY
POPULATION [2013] : 22,413
URBAN/SUBURBAN/RURAL CAMPUSCLEMSON , SC
POPULATION [2012] : 14,089
ORIENTAION AND SITE ANALYSIS:
SENECA
GREENVILLE
RADIAL CAMUS LAYOUT
Area: 7.915 sq
CENTRAL
: summer
: winter
: north_east prevailing winds
GEOMETRY STUDIES FROM ADJECENCIES _programatic constrains _site study_exterior circulation _ landscape
: roads/traffic
_shortleaf pine _eastern white pine
ROOTS EDGAR MOZO
?
THEORETICAL BIAS
“
CONCEPT:
THE DESIGN FOR THE NON-DENOMINATIONAL CHURCH ORIGINATED FROM
A DETAIL STUDY OF THE SITE, AND WAS THAN DEVELOPED BY A SERIES OF
STUDIES: PROGRAM, DAYLIGHTING, NATURAL VENTILATION, CIRCULATION,
ETC... THE DRIVEN FACTOR FOR THE DESIGN WAS DOMINATED BY THE WAY IN
WHICH THE TALL SLENDER TREES MEET THE SLOPED GROUND ON THE SITE. DUE
TO THE SLOPE OF THE SITE , THE ROOTS ALTER THE SLOPE AND CREATE THEIR
OWN PLANE NOT ONLY PHYSICALLY BUT VISUALLY AS WELL BY THE CONTRAST
CREATED BETWEEN THE BRIGHT GREEN GRASS AND THE BROWN LAYER OF DEAD
NEEDLE LEAFS.
“”
POROUSE TO LIGHT
ROOTS EDGAR MOZO
c
d
e
f
g
hi
jk l
A
b
A
P-A
P-B
P-C
P-2
P-1
1
2 3
4
5
FRAMING PLANS
ARCHITECTURAL PLANS
sanctuarysanctuary
prefunction
FELLOWSHIPOFFICEBATHROOMS
1/8” = 1’ - 0”
1/8” = 1’ - 0”
FOUNDATION
0-0’ FLOOR
ROOF
FOUNDATION
0-0’ FLOOR
ROOF
A 0 2’ 4’
WALL SECTION 1/2” = 1’ - 0”
ROOTS EDGAR MOZO
NORTH ELEVATION
NESTED COURT YARD : This exterior court yard aids the nesting experience found in deep roots. Even though the two spaces are clearly define the ornamental staircase really
emphasizes and connects the court yard with the interior spaces
SOUTH ELEVATION
ROOTS EDGAR MOZO
CENTENNIAL EXHIBITION:ASSISTANSHIP POSITION FOR THE CENTENNIAL EXHIBITION INSTALLATION
CLEMSON UNIVERSITY JULY_2013 - SEPT_2013
FACULTY: NICK AULT, DANIEL HARDING
STUDENTS: EDGAR MOZO | ELLIS TAYLOR | RACHEL GAMBLE | LAUREN KENNER
CENTENNIAL EXHIBITION: graphic design
FULL_SCALE
CENTENNIAL EXHIBITION EDGAR MOZO
GRAPHIC DESIGN
_the task involved
analysing and studying
New York Time’s news
papers. In addition
the boards showcased
the creation and
recognitions achieved
by Clemson’s satelite
programs like Charleston,
Genova, Barcelona,
architecture+health and
influencial people like
Harvey Gantt and Harlan
McClure
CENTENNIAL EXHIBITION: fabrication
FULL_SCALE
PROJECTOR JIGS: fabricating two different jigs for two different projecting angles.
METAL WORK: Cutting, tapping/threading metal rods that support the tracks of LEDs. Drilling holes on steel plates for the arms to be bolted on the walls.
CENTENNIAL EXHIBITION EDGAR MOZO
ASSEMBLY: contributed in the assembly of two prototypes for the LEDs lighting support and the final assembly of the installation
ARCH_872 MATERIALS + ASSEMBLY
ARCH_424 PRODUCT DESGIN
PROTOTYPING
BASIC GEOMETRY THE SIMPLE GEOMETRY OF THE
PEN ROSE TESSELLATION IS MODIFIED TO ACHIEVE A
SPECIFIC AMOUNT OF LIGHT REQUIRE FOR THE PROGRAM
MATERIALS + ASSEMBLY:
ARCH_872CLEMSON UNIVERSITY FALL _ 2013
EDGAR MOZO
THE SIMPLE GEOMETRY OF THE PEN ROSE TESSELLATION IS
MODIFIED TO ACHIEVE A SPECIFIC AMOUNT OF LIGHT REQUIRE FOR THE PROGRAM
MATERIALS + ASSEMBLY EDGAR MOZO
ARCH_872 MATERIALS + ASSEMBLY
ARCH_424 PRODUCT DESGIN
PROTOTYPING PRODUCT DESIGN:
ARCH_424CLEMSON UNIVERSITY FALL _ 2013
EDGAR MOZO
THE IDEA:
RESEARCH_The material use for the prototype will be pine wood, and the use of the table saw, band saw, chop saw and sanders are some of the tools that are going to be use in the process of creating the joinery and edges. The design should be open to other materials, types of wood,and wood stainer. For the joints I’m using the mortise and tenon in order to have a strong and clean seamless join.
the materials used are going to be wood and concrete. These two materials gives the tactile experience a rich-ness impossible to achieve with one material.
PRODUCT DESIGN EDGAR MOZO
DESIGN PROCESS: RESEARCH_ITERATIONS_PROTOTYPE
LLSTOL by Niko Klansek
PRECEDENTS
material contrast precedents
ITERATIONS_
1
2
3
SIMPLIFYING PROGRAM/FUNCTION?
MAKING DESIGN MORE ERGONOMIC UNDER FABRICATION CONSTRAINS?
AESTHETIC APPROACH TO A STRUC-TURAL INFILL?
1’ - 10”
18”
18” 18”
32”LASER CUTTER BED*
2’ - 4”
ARCH_872 MATERIALS + ASSEMBLY
ARCH_424 PRODUCT DESGIN
PROTOTYPING PRODUCT DESIGN:
ARCH_424CLEMSON UNIVERSITY FALL _ 2013
EDGAR MOZO
FABRICATION PROCESS:
PRODUCT DESIGN EDGAR MOZO
MATERIALS: _PINE PLYWOOD 4X4_CARDBOARD_CONTACT CEMENT
TOOLS: _LASER CUTTER_CNC ROUTER_CLAMPS
TOTAL COST:
$ 33.56
EAMmasque