Dale Strong Projects Portfolio

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WORKSAMPLES

DALE

STRONG

01 Dale Strong

Arup Downtown LA Offi ce 02

Practice / Proojects

Practice

03_Zago Architecture_Arup Downtown LA Offi ce

19_Zago Architecture_Property with Properties

23_Zago Architecture_A Confederacy of Heretics

27_Zago Architecture_Taichung Cultural Center

37_Zago Architecture_Kinmen Port Terminal

Projects

47_Of Marginal Interest_with Andrew Zago

58_Rapture’s Delight_with Ben Nicholson

69_Working Blue_with Andrew Zago and Jeffrey Kipnis

85_Eli Broad Los Angeles Contemporary Arts Museusm with Erin Besler and Russell Thompson

100_Downtown Athletic Club_with Darin Johnstone

117_Cooper Union Dormitory_with Ramiro Diaz Granados

03 Dale Strong

Arup Downtown LA Offi ce

This project began as many others usually do, at least as far as I know, with a discussion between the architect (us) and the client, in this case Arup. However, Arup is not a typical client for an architect, infact, they are typically the consultant. What made things funny was that they were also the consultant. Their interest was two fold. First, they wanted to have an offi ce space that refl ected their ideas about engineering while also provided them with a fl exible enough environment to be able to meet with clients or stop in quickly to catch up on work while commuting across town. Our interest was parallel with theirs only we also wanted to create a space that was as dynamic and challenging structurally as many of their projects. The result was this renovated offi ce space. Part of a tower at 811 Wilshire originally designed by Victor Gruen and Associates, it now contains three large multi-use pieces of furniture in addition to two conference rooms, a kitchen, and a small offi ce. The use of the largest offi ce space, inhabited by the extra large furniture, is as an activity based work environment. Both us and the client considered the typical open offi ce as too open, the verticality of the furniture provides the users with moments of privacy and separation while also creating space for meetings with multiple people. The three large pieces of furniture came to be known as the mon-goose, cobra and sheep, as can be seen in the color axonometrics to the right. This furniture contains all of the functionality needed in the space, including storage, electricity, data, sitting and standing height desks, as well as inputs for projectors.

Offi ce / CollaboratorsZago ArchitectureLocationLos Angeles, CAProgramCommercial Offi ce SpaceArea2,500 sq.ft.StatusCompleted January 2014BudgetN/AKey ConsultantsArup EngineeringMike O’Connell Woodworking


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Floor Plan


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Color Floor Plan

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Plan desk diagram


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Desk height diagram

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Possible uses of the space



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Below: Desk folding geometry diagramOpposite: Choisy drawings of two furniture pieces

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Folded joint diagram



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Practice

Above: Study modelOpposite Above: Full scale construction mock up

Right: Rendering

19 Dale Strong

MOMA Foreclosed - Rehousing the American - Property with Properties

Property with Properties is a project for Rosena Ranch, a develop-ment left largely unfi nished when the 2008 housing crisis struck. The project challenges standard features of the modern suburb such as individual owner-ship, property divisions, and detached houses with driveways through a com-mitment to “relax the boundaries” of the suburb as found. Through doing so, a richer mix of uses, housing types, living situations, and landscapes is pro-posed. Working with “misregistration” - a term referring to a printing-process error that leads to blurred images - as a metaphor, a system was developed through the manipulation of housing types as well as property divisions which lead to a diversity unknown in the landscape of sameness of the suburb. The proposal focuses on the scale of the individual home as well as the scale of the site overall. Using the developer house to begin to produce confi gurations shifting from row houses, to duplexes, to single family houses, a novel means of achieving the classic the classic suburban goal of merging indoors and outdoors is accomplished. Meanwhile, the planning of the overall site is adjusted to create more circuitous and narrow roads versus the usual developer focused cul-de-sac. Wildlife as well as seasonal rivers are permit-ted to move through the site in natural channels, permeating the boundaries of the suburb so that it begins to cohabit the natural splendor of the adjacent mountains rather than isolating itself from them. Through this new suburb of richly patterned environment and life-style, the property is given more properties.

Offi ce/CollaboratorsZago ArchitectureProjectConcept Housing DevelopmentLocationRialto, CaliforniaProgramSingle and Multi Family HousingArea1,500 - 3,000 sq.ft per unitStatusExhibited at the Museum of Modern Art, May 2011 - February 2012

Property with Properties 20

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Property with Properties 22

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Above and Below: Final Model PhotographsOpposite: Study Models

23 Dale Strong

A Confederacy of Heretics - A Getty Pacifi c Standard Time Exhibit

The fi rst exhibition to open in the Getty-initiated Pacifi c Standard Time Presents: Modern Architecture in L.A. series, A Confederacy of Heretics examines the pivotal role played by the temporary gallery held in the home of architect Thom Mayne for several weeks in 1979. Los Angeles’ fi rst gallery exclusively dedicated to architecture, the Ar-chitecture Gallery staged ten weekly exhibitions on both young and established Los Angeles practitioners, featuring the work of Eugene Kupper, Roland Coate Jr., Freder-ick Fisher, Frank Dimster, Frank Gehry, Peter de Bretteville, Morphosis (Thom Mayne and Michael Rotondi), Studio Works (Craig Hodgetts and Robert Mangurian), and Eric Owen Moss. Opened with a lecture by another young architect, Coy Howard, public presentations by architects to accompany their exhibitions were hosted at SCI-Arc, then located on Berkeley Street in Santa Monica. An immersive showcase of spectacular models, drawings and media was mounted in two spaces located on the SCI-Arc campus, the main gallery and the Kappe Library Gallery. The exhibition presented a collection of models, drawings, and

other materials shown during the original 1979 exhibitions, including drawings and models of Eric Owen Moss’ Morganstern Warehouse, Pinball House and Pasadena Condominiums; multimedia studies of Frederick Fisher’s Caplan House and Observa-tory; large-scale models and drawings of Studio Works’ South Side Settlement House and Nicollet Island project; Prismacolor renderings of Roland Coate’s Cabo Bello pro-ject; drawings of Eugene Kupper’s UCLA Extension Building; and additional projects representing each of the participating practices. These objects were executed across a wide spectrum of formats and media, and many of them had not been exhibited since 1979. Boasting photographic documentation, video recordings, and important commentary from the period by Los Angeles Times critic John Dreyfuss, this ex-hibition aimed to neither to canonize the participating architects nor to consecrate their unorthodox activities. Rather, these rarely seen artifacts provided a unique lens through which to re-examine some of Los Angeles’ most well known architects at a pivotal moment in the development of late 20th century architecture.

Offi ce / CollaboratorsZago ArchitectureTodd GannonEwan BrandaClientSouthern California Institute of Architecture and the Getty FoundationLocationSouthern California Institute of Architecture, Los Angeles, CA

ProgramArt and Architecture ExhibitArea5,000 sq. ft.BudgetN/AStatusCompleted March 2013

A Confederacy of Heretics 24

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A Confederacy of Heretics 26

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Taichung Cultural Center

Our proposal for a new cultural center for the city of Taichung is a sculptural icon that can be recognized as such from any perspective within the city. It’s organization is split into two halves, connected by bridges the same scale as the mass containing the individual program. At the top of the building is the library reading rooms and stacks, and at the bottom is the museum. The building itself is formed to appear to sit precariously atop a plinth that is con-nected directly to the large park adjacent to the site. This allows for uninter-rupted travel from the park into the building. I’m going to be honest here...(not to mean I wasn’t being honest earlier), we were really interested in proposing a building based on contortion (yes the people that climb into small boxes and can kiss their own asses). Formally, it is something that has interested me for a few years and Andrew for many years. We recently fi gured out several techniques for creating these contortions, which land in a novel location somewhere between dutch archi-tectural formalism and 90’s deconstruction. Maybe it could be called play-fulism, if you enjoy going into the bottomless pit that is jargon. Either way, it is a fascinating problem, and we believe it is structurally attainable using large vierendeel trusses. There still needs to be some more detailed work and discussion done with the engineers around this problem, but since we did not make it into the second phase of this competition we were unable to continue that pursuit.

Maybe next time...

Offi ce / CollaboratorsZago Architecturewith Jonah RowenYu LiEthan LiEli Peter ParkProjectInternational CompetitionLocationTaichung, TaiwanProgramMuseum and LibraryArea100,000 sq.m.StatusSubmittedKey ConsultantsArup Engineering

Taichung Cultural Center Competition 28

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37 Dale Strong

Kinmen Port Terminal

This new passenger center for Kinmen is an exciting and evoca-tive new port-of-call for Chinese and International cruise lines. The project creastes a modern international-class terminal to enhance the tourism and recreational opportunities of the Kinmen area. First impressions are important. This passenger center rises like a beacon in Shueitou Port, welcoming visi-tors from Taiwan and abroad. Its sweeping iconic form announces Kinmen’s position as an international travel and recreation destination, and serves as a gateway to a duty-free island for fi ne shopping, quality island living, and a special cross-strait duty-free trade zone. The facility stands as proof of a com-mitment to a sustainable future. It helps create a pleasant harbor landscape and a quality environment for port operations. The project’s concept is to create a “Humen”, or mutual gate for the passage to and from Taiwan. The building is formed from two volumes - one oriented towards the sea, the other towards the land - that interlock inside the building. Like two hands clasping, this is a gesture of warm welcome, mak-ing the entry to and exit from Taiwan a friendly, well organized, and inspiring experience.

Kinmen International Port Terminal Competition 38

Practice

Offi ce / CollaboratorsZago Architecture

with Tyler McMartinDavid Eskenazi

Yu LiPeter Park

ProjectInternational Competition

LocationKinmen, Taiwan

ProgramInternational and Domestic Port Terminal with Retail

StatusSubmitted

Area42,500 sq. m.

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Of Marginal Interest: Foveal and peripheral conditions in a strong-form context

a priveleged postion in the center of the interior spcae to its margins. This decentralization may also fi nd its parallels in the visual fi eld. In the mature painting of Mark Rothko, for example, the activated fi eld of the painting is a t the periph-ery. But unlike the strategy employed in the sectional object where the object in the center has great visual interest, the center of these paintings create a blankness. This atmo-spheric voiding of the center in deference to the edge is their primary, and unsettling effect. This can be imagined in contrast to an effect often seen in fi lm noir, where a sharply defi ned fi gure emerges from a dark and indistinct backgroun. These peripheral and weakened effects will be the subject and material study for this studio.

47 Of Marginal Interest

This studio takes up an investigation of weak and marginal architectural effects in a context of strong form. The project is a competition for a new central library for the city of Helsinki, Finland, currently underway. In the center of the city , the site sits adjacent to important projects by Eliel Saarinen, Alvar Aalto and Steven Holl, among others. Architecture’s effects operate largely at the cen-ter of visual interest. I is in the central cone of vision (the fovea) that perspective is created and in which architectural assemblies are imagined. One consequence of the sectional object, a long standing series of investigations which seeks to confound the hegemonic dominance of objects by making them an interior condtion, is that the occupant is shifted from

Of Marginal Interest 48

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57 Rapture’s Delight

Studio Who Stays & Who Goes: Rapture’s Delight

In New Harmony, Indiana there is a sublime and ridiculous bath house that gives shelter and comfort to all of the city’s residents in the event of the rapture. This architecture takes shape in a familiar form, the barn, the granary, the gabled roof. But there is something more intriguing about it, or maybe it is something wrong with it. The architecture is strange, it is neither an aggregation of same or similar parts nor is it a modernist box. It’s exterior stands on end, intense with geometry and color but in a seemingly un-organized way. It is as if the building is trying to say something.

To someone not familiar with the site of the bath house it seems terrifying but to the residents of New Harmony it is their safe haven and place to have fun. The fl opidarium is a space that is constantly fi lled with excited people, belly fl opping until there is no beer left. It can even be used for the Redneck Olympics and all of its events. Just on the other side of the fl opidarium’s walls is a frigidarium large enough to fi t 450 people. It will be fi lled once the rapture has struck

with New Harmonists seeking refuge from the deluge of city dwell-ers. The tepidarium can be found hovering above the frigidarium inside of a form well known to a majority of the New Harmonists. Tourists would be fascinated by the spaces surrounding it but con-fused as to what it was they were looking at due to the impossibility to take its entire form in from any particular point.

The entrance is another culturally confusing element. Using the stat-ues of both venus and david joined around a gold plated kalishnikov its structure is both sign and symbol. Only those who know what lies beyond it would dare enter it, knowing that a fantastic experience awaits them on the other side.

This architecture is an attempt to turn the experience of the rapture upside down. For residents of New Harmony it offers a place to escape, relax, and delight during what is supposed to be the most terrible time for humankind.

Rapture’s Delight 58

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ProjectsTypes of activities possibly taking place w

ithin the Bathouse

Roof

Pla

n at

Mid

term


Roof Plan at Final


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9’-00”

18’-00”

27’-00”

36’-00”

45’-00”

54’-00”

63’-00”

A-A


Long

itudi

nal S

ectio

n

9’-00”

18’-00”

27’-00”

36’-00”

45’-00”

54’-00”

63’-00”


ProjectsInterior of the Flopidarium

Transverse Section


Vario

us v

iew

s of

the

entr

y


ProjectsExploded Axo of the Bath House

Working Blue

This thesis is investigating formal architectural conditions existing between abstraction and legibility which challenge notions of sobri-ety and solemnity in architecture. The context of the site, located at the Museum of Fine Arts Houston, is architecturally earnest with the likes of Mies Van der Rohe’s Brown Pavilion and Raphael Moneo’s Audrey Jones Beck building. To counter the seriousness of the sur-rounding and help lighten the mood this thesis will make a serious attempt to introduce comic and licentious characteristics to the new building.

69 Working Blue

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Eli Broad Contemporary Art Museum

The premise of this studio was a straightforward one, design a museum to house the personal collection of the Eli and Edyth Broad on a site directly across from Frank Gehry’s (and Broad funded) Walt Disney Concert Hall. Although the program was fairly simple to deal with, the bigger issues became how to deal with the intensity of the adjacent concert hall and at the same time add something interesting to the Grand Avenue cultural district. To taclke this issue my partner, Erin Besler, and I began with a study into aperture. We researched how apertures had been used in the past in museums and how by focusing our attention on what an aperture does and could do for a museum that could drive

the entire design. What we discovered was that the aperture could be used not only to let light in but also to deform the exterior of the building in violent ways indexing what type of program is happening behind the building’s surface. Something that happened during this process of violent deformation was that new unorthodox space began to appear creating moments where light could be refl ected, or spaces of contemplation, or meeting spaces. The effect of this deforma-tion is not quite ornament, and not quite functional but something inbetween and defi nitely worth looking into a bit closer.

85 Eli Broad Contemporary Art Museum

Eli Broad Contemporary Art Museum 86

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1

10

T/BUILDING+ 63’

ADMIN

GRAND AVE

+ 37’

+ 30’

MEZZ

HOPE STREET+ 16’

+ 12’

+ 6’LOWER GALLERY

+ 0’LOWER GRAND

-8’STORAGE

-24’PARKING L1

1

17

1

1

4

5

5

-38’PARKING L1.1

-52’PARKING L2

1 GALLERY2 SERVICE CORRIDOR3 CRATING/PACKING4 STORAGE5 PARKING6 RESTAURANT (BEYOND)7 ADMIN8 LOWER GRAND AVE9 UPPER GRAND AVE10 HOPE STREET

SECTION1/16” = 1’-0”

0 FEET4 8 16 32


1 1

6

2 3 8

9

1


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DN

UP

UPUP

DN

1

1

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MAIN FLOOR PLAN1/16” = 1’-0”

0 FEET4 8 16 32

1 GALLERY2 COAT CHECK3 RECEPTION4 ADMIN5 RESTAURANT


DN5

1

1

2

3

GR

AN

D A

VE


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OPENINGS

ART DISPLAY

VERTICAL CIRCULATION CORE

PARKING

STORAGE

SERVICE CORRIDOR

LARGE GALLERY

SMALL GALLERY

PUBLIC SPACE

PUBLIC SPACEGALLERY

RESTAURANT



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ProjectsSection M

odel photographs

99 Downtown Athletic Club

Downtown Athletic Club

Organizational Systems was an exploration of fundamen-tal architectural design techniques. The interrelationships between geometry, form, tectonics, and materiality was explored as it related to organizational systems and emergent systemic behaviors driven by programmatic content, structural logics and physical setting. The fi rst kind of organization we looked at were top-down and bottom-up systems. After studying these systems we

were then asked to create a material study by applying a set of operations to a given material with the objective of generating proto-architectural models. After many failed attempts, I developed a study using maple veneer. To try to understand what kind of architectural effects this model could have, I built it in three dimen-sions in Rhino and then generated different hidden line drawings from the model.

Analog Modeling Process

Digital Modeling Process

Connection Type A

Connection Type B

Downtown Athletic Club 100

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PERSPECTIVE


SECTION

PLAN


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Skateboard

Rock Climb

Public

Admin. & Equipment



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Skateboard

Rock Climb

Public

Admin. & Equip.

Based on the material study, program, and local site conditions, the thesis of this project became a proposal for a recreation center that links seamlessly to the urban fabric with a circulation that twists and bends it’s way from the street level up through the program and back out again. It contradicts norms by placing skateboarding program off of the urban fl oor but also provides a skate plaza that can be accessed seamlessly from the street. In this case a program of skateboarding, rock climbing and horse shoes was chosen to add a legitimate recreation center for activities that need some kind of sanctuary within downtown Los Angeles. Skateboarding is a predominantly urban practice and the way that skateboarding reinterprets urban conditions was a signifi -cant parameter in this design and thesis. The continuity of the urban fabric up into the architecture itself is extremely important. It allows the lines between the street and the interior program to be blurred. Skaters can enter the building without ever stepping foot off of their

boards as well as leave the building without abandoning theirboards. In addition, the building also acts as a ‘live billboard’ with moments of transparency allowing for direct viewing of skateboard-ing as well as skate videos projected onto its transparent surfaces. Another activity the building accomodates is Rock Climbing. Typically, if you are in an urban locale, Rock climbing is an activity that one can only participate in if you travel to a park or mountainous area. This building looks to blend the rock climber’s obstacles into the architecture. Buried within its core, yet accessible directly from the street level, is the rock climbing wall. Finally the activity of horseshoes is a welcome addition to the program. Horse shoes is a leisure activity that can be enjoyed by everyone. Also, it can be played easily even after an exhausting and almost always brutal day of skateboarding and/or rock climbing. In addition, this typical picnic activity is well complemented by a frosty beer or two or three or four.

INGRAHAM ST

PARKING

BIX

EL

ST

ALLEY

ALLEY

7TH ST

WILSHIRE

INGRAHAM STT

WILSHIRE

ALLEY

N


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FP 1 @ 1/16” = 1’-0”

ENTRANCE 1

ENTRANCE 2

ENTRANCE 3

SKATE PLAZA

B

A

B

AUP

FP 2 @ 1/16” = 1’-0”

ADMINISTRATION

CAFE

RR1 RR2

UP

UP

UPB

A

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Second Floor Plan

First Floor Plan

MINI RAMP 1

MINI RAMP 2

FP 3 @ 1/16” = 1’-0”

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UP

UP

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MULTI PURPOSERR1 RR2

FP 4 @ 1/16” = 1’-0”

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DN

DN


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Fourth Floor Plan

Third Floor Plan

Section A-A @ 1/16” = 1’-0”

16’-0” A.F.F.

0’-0” A.F.F.

32’-0” A.F.F.

44’-0” A.F.F.

56’-0” A.F.F.

CAFE.RR 2

ROCK CLIMB

RR 1MULTI-PURPOSE AND VIEWING ROOM

MINI BOWLMINI RAMP


Section B-B @ 1/16” = 1’-0”

0’-0” A.F.F.

16’-0” A.F.F.

28’-0” A.F.F.

40’-0” A.F.F.

52’-0” A.F.F.


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Skate Plaza

Glazing

Levels

Enclosure

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Entry and Admin

Mini - Ramp and Mini - Bowl

Multi - Purpose and Cafe

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1 Primary Circulation

2 Rock Climb Core

2

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3 Building Systems Core

4 Elevator Core

3

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5 6’ Mini-Ramp with Cradle

6 4’ Mini-bowl

7 Flat Bars

8 Pyramid

9 Hubba

10 Ledge @ 1’-4” Height

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12

Handrail

12 Fire Stair


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Cooper Union Dormitory

This project is a dorm for 1000 students from the Cooper Union located in three contiguous blocks in the Lower East Side of Manhattan near the intersection of Delancey and Essex streets. Urbanism was very important from the beginning in this project and the design approach stemmed from an interest in two classic urban architectural manifestos, Manhattanism and Metabo-lism. The formal design approach developed from a logic of the tryptych and tessellation fi elds. The urban effect this project is attempting to achieve is based both on the idea of congestion being good, found within Manhattanism, and the notion of repetition and prefabrication found within the manifesto of the Metabolists. However, the project sub-verts the idea of a one to one relationship between tectonic unit and living unit (plug-in unit found in Metabolism) to favor the idea of one tectonic unit encompassing multiple (3 to be exact) living spaces. Each living space within the tectonic unit offers its own unique architectural qualities including different views, bathrooms, amounts of light, built in furniture, and privacy. In addition, this being a dorm, each unit will be shared by up to 4 people at a time. Formally the tectonic unit is a trippley periodic tessellation, meaning it can be aggregated in all three directions, x, y, and z. Its form is not variable, which is very important to its prefabrication intent, however, two very important architectonic elements of the unit are, its orientation and its envelope.

The fi rst layer of the building is the tessellated living units, except for the roof where they become porous to allow for light and views of the city. This entire layer is tilted 3 degrees around all axes, lifting and rotating the layer away from delancey, exposing the en-trance to the train station and access to the retail and gallery space at and below grade. Within this shell of living units is large open space for the students to have the freedom to explore and do what ever else they want. Additionally, these interior spaces are double height allowing for sports, art, or other more extreme activities to take place. The disconnect of the exterior and the interior, both in form and program is directly related to Manhattanism. It can inhibit things like the architectural ‘lobotomy’ and space being used for things that no architect could have ever dreamt. Overrall the building is a very straight forward program-matic mass, exactly the same as Le Corbusier’s Unite d’Habitation. There is retail on the bottom, dorm in the middle, and outdoor space at the top. But there is one additional program that shakes up the original developed by Corbusier, and that is a Public theater on the roof. The public has access to this theater and exterior roof scape at all times of the day and night. Finally the materials and colors of the facade help to priveledge the fi eld as opposed to the individual unit allowing for graphic fi gures to emerge from the fi eld instead of the massing itself being fi gural. The architecture and materials of the unit allow for multiple urban atmospheres to be created, depending on the orienta-tion of the viewer. These ideas and concepts were inspired by the tryptych study done at the start of the project, shown below.

117 Cooper Union Dormitory

ENTRYTHEATERPARKING EXIT

ENTRYTHEATERPARKING EXIT

PEDESTRIAN / B

IKE

PEDESTRIAN / B

IKE

PUBLIC APPROACH

SERVICE ENTRY

SUBWAY

AUTOPUBLIC APPROACH

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DORMITORY UNITS

INTERIOR SEPARATION/ VOID SPACE/INFRASTRUCTIORE

FLOOR PLATES

COMMERCIAL/GALLERY SPACE


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1

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20 ‘-0”

00 ‘-0”

40 ‘-0”

60 ‘-0”

80 ‘-0”

100 ‘-0”

120 ‘-0”

140 ‘-0”

1 - DORMITORY2 - PUBLIC PARK3 - THEATER4 - SEMI-PUBLIC SPACE5 - PARKING6 - SUBWAY7 - ENTRY8 - GALLERY SPACE9 - RETAIL SPACE

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44

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7

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3 2

23

1 - LIVING SPACE2 - PUBLIC SPACE3 -INFRASTRUCTURE / CORE SPACE4 - SHARED KITCHEN AREA

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20 ‘-0”

00 ‘-0”

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80 ‘-0”

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120 ‘-0”

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9

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EAST ELEVATION


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NOTES

Notes

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Documents

Dale Strong Projects Portfolio