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Collection of work completed during the Master of Architecture program at Texas A&M University
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heather lynn davisdesign portfolio
heather lynn davisdesign portfolio
DIGITAL FABRICATION
DIGITAL PROJECTS
ANALOG PROJECTS
GRAPHIC DESIGN
> Urban Artery | 2011
> Center for the Arts | 2009
> Negative Cube | 2010
> Nooka Showroom | 2010
> Ligament of the City | 2009
Studio projects showcasing digital modeling
and rendering skills in various software.
Urban Artery | 2011
COMMITTEE LOCATIONGabriel EsquivelJohn NicholsShelley Holliday
Houston, TX
Explore the application of biomimetic principles as a theoretical basis for formal computational design.
DESIGN INTENT
SOFTWARE UTILIZEDAutodesk Maya, Rhinocerous 4.0, RhinoScript, Grasshopper, VRay
The grand effect of computation on the field of design within the past twenty years is indisputable. Still, this effect has remained passive, as technol-ogy has generally served to replace analog tools, playing a more efficient version of the same role within traditional human designing.
Traditional formal design falls into the category of abductive reasoning—possessing a certain subjectivity based on the designers’ cognition and theoretical background. As computation is, by nature, non-subjective, it has lacked this necessary basis for formal design. This project explored the application of biological precedents as a theoretical basis, developing a formal design strategy through computation [1].
Historically, architects and designers have often borrowed ideas and sensibilities from the field of biology. This relationship, however, generally reaches only the superficial level, resulting in a normative architectural system “dressed up” in a biomorphic skin. Rather than giving precedence to the generation of form and then materializing it subsequently, in this project, a bridge’s form, structure, and materiality were derived simultaneously from a series of algorithms that mimicked the operations of biological evolution: selection, reproduction, and mutation [2]. The form was intelligent and efficient—informed and altered by real data from the program and context [3].
This design strategy allowed for the emergence of “complex, non-linear global systems” [3]. These biomimetic algorithms can become a blueprint of instructions that can be informed by data from any environment or program, making this strategy transferable to all contexts, at all scales [3].
EXISTING BRIDGE
1. Gero, J. Research methods for design science research: computational and cognitive approaches. University of Sydney.2. Weinstock, M (2008 March/April) Metabolism and morphology. In Hensel, M, Menges, A (Eds) Versatility and vicissitude: performance in morpho-ecological design. Architectural Design, 78 (2): 26-33.3. Jones, P, Sabin, J (2007) LabStudio: nonlinear biosynthesis. University of Pennsylvania.
GRADUATE THESIS
Thesis research paper submitted to Fifth International Conference on Design Computing and Cognition (DCC’12).
Publication selection to be announced March ‘12
ABSTRACT
610
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CLUSTER STUDYCENSUS DATA ANALYZED FOR ZIPCODES WITH MOST POTENTIAL FOR PEDESTRIAN INFRASTRUCTURE DEVELOPMENT
Urban Artery | 2011
45
RESIDENTIAL
POINT OF INTERESTVIEW OF DOWNTOWN
0100200400800
45
20
40
0
20
40
20
40
0
2040
TOPOGRAPHY0100200400800
TRAFFIC
HEAVY TRAFFIC LIGHTER TRAFFIC WATERWAY PEDESTRIAN PATH
PRIMARY LAND USE
COMMERCIAL MIXED COMM / RES RESIDENTIAL PUBLIC / PARK
PRIMARY LAND USE
LEVELS
SKYLINE
INTERSTATE BRIDGES
EXISTING BRIDGE
PEDESTRIAN PATHS
WATER LEVEL
BRANCHING + SWARMING IN NATURE
The mechanical appearance and behavior of steel, glass, sheet metal, and fasteners is replaced with a new language of blending based on compositing synthetic and biological materials, not in layers but in new molecular arrangements. The combinatorial range of capacities and aesthetics of polymers, resins, rubbers, silicone, cartilage, and cuticle puts into question the tired frame-and-infill model of design, which is based on extreme disparity of material capacities within hierarchical assemblies.
The basic materials of biology have much lower densities than most engineering materials.They are successful not so much because of whatthey are but because of how they are put together.-Michael Hensel
CENTROID BRANCHING ALGORITHM
RECURSIVE BRANCHING ALGORITHM RECURSIVE ATTRACTOR HYBRID
SCRIPTING RESEARCH
1. select starting line2. angle of branches3. scale amount4. number of generations
1. select starting line2. angle of branches3. scale amount4. number of generations5. select attractors (repellers)6. threshold distance
1. select curves2. number of generations3. attraction threshold (attractors/repellers)4. attraction threshold (curve points)5. distance for vector to move6. curve degree
CURVE ATTRACTOR ALGORITHM
REPRODUCTION:
MUTATION:
SELECTION:
MUTATIONSELECTION REPRODUCTION
EMERGING PATHWAYS
100 ft 50 025
Living biological systems are based on a complex organization involving the integration of form, behavior, and environment. This complexity is “heterogeneous, with many varied parts that have multiple connections between them, and the different parts behave differently, although they are not independent”. These complex systems are layered in such a way that one system operates as the environment for another system, but they are not completely hierarchical. Each layer, or system, is integrated through multiple connections, both with the layer serving as its environment as well as with the layers it contains. Due to this complex integration, the systems are dependent upon each other and evolve interactively. Form, material, structure, behavior, and environment become integrated components of a single, complex system [4].
4. Hensel M, Menges A, & Weinstock, M (2010) Emergent technologies and design. New York, NY: Routledge. 13-20
Center for the Arts | 2009
LOCATION
PROFESSOR PROJECT DURATIONCraig Babe
College Station TX
5 weeks
Long, very narrow site in front of parking garage.
Should p ov de ampl public space for sitting reading a d socia izing
Design p ogrammat cally by massing and arranging necessary spaces, then wrapping them in a skin.
DESIGN REQUIREMENTS
SOFTWARE UTILIZEDAutodesk Revit Google Sketchup, VRay
My design interacts with the surrounding area in several ways. When driving by on University Avenue the interior of the build-ing is revealed through the wire mesh shading system. The large translucent north wall of the performance space serves as a digital billboard but during perfor-mance becomes a window into the silhou-etted a tivitie taking place inside. Addi-tionally, the western end of the building is raised off of the ground, providing a shaded outdoor space to be used for a sculpture garden or for outdoor activities.
Locat t t on
Spec a L g, v r
S o l p o de mp e pu lic sp ce
M des g :
l s h t a Cente th Arts s ld , e p o ethe a lo
og m upon whi h base our des s. P o sso
h il i h d l k l
i d b s i l t
i k o d h M t h
a W s t
f i gh h
g t Ad i l t d f t b l n i d
f of t i i d d t
l l
g
Sp ci Long, v y na
for sitt ng reading nd social z
Draw the pu ic n from the
y design: Afte a ef y cons er ng a
lass wha
g e i
Professor Babe introduced us to a ew method of design b sed on rogram Ra her
es e g g g g mp
p g n e y t a w
n g a ve y ng by U y
, n e or f e d g g
g s e d y w o l
un p n d e
p ga r
SITE PLAN
PRELIMINARY PLAN& SITE ANALYSIS
PEDESTRIANCIRCULATION
VEHICULARCIRCULATION
Pro es or: abe
p rements:
Sh for si ng readin an
nor hgat
cla s w at a n er for he Ar
r i desi Pro essor Babe introduced us to a new met od of design ba ed on
ith o i d f
t ld h ld o l k es gned by ma
y di
W d i b U Avenue en erior of he u ld n s re ealed thro gh the w re me h shad ng sys em. dditiona ly, t e we tern e d f the building is aised o f of the ground p o ding a s aded outdoo spac o be used fo a c lp u e ga en or out oo ac iv s
,
g
l g g
l o t
A ter car fu ly consider ng
lass w a a Cen er r the Arts
e ig s
P o e sor r d ced o a new metho of des gn based on p g g ng w p e d
b d
wrapp g a skin around them. My esi n te cts wit he
ro d g n a w y d i g n s y
h d i e l h h i
i l we ern e d o he bu di s r ed off f he o nd r din a shaded outd or space to be us d for a culpt re garden o o o tdoo activi es.
hicu ar Circul
LE CIRCULAT ON
s r: Bab
L ng very na
Shoul o de m le p b c s ace
g
c as what a en er f the Ar s sh uld be we put to ethe a loose
e g
f
i g d k ke g y g g
l l i k
i c ro di l
W en d in by on Uni er it Avenue he enterior o the bui d n is re ealed th oug he wire mes shading syste . Add tionally, he wes ern e d o the bu ding s ra sed of of the gr und, pro ding a s a ed ou do space be us d o u g o
e rian Circ tio
n ysis
S Pl
PRELIMINARY ELEVATION
Center for the Arts | 2009
performance area
studio space
loading
wood shop / studio
gallery
roof-top cafe
resource / media center
office space / restrooms
classroom space
covered outdoor area
INTERIOR RAMPS
r
r
NORTHERNLIGHT
WESTERNLIGHT
N
1
2
3
45
6
7
8
9
10
11
12
13
14
15
7654321
outdoor sitting areaoffices / public restroomslobbygallerystorageloadingwood shop / sculpture
LEVEL 1 10ft
1098
classroom arearesource / media centerstudio space
LEVEL 2 20ft
1211
studio spacestudio space
LEVEL 3 30ft
13 performance areaLEVEL 4 35ft
1514
outdoor eating / sitting arearoof-top cafe
LEVEL 5 50ft
0 10 25 50
N
1
2
3
45
6
7
8
9
10
11
12
13
14
15
7654321
outdoor sitting areaoffices / public restroomslobbygallerystorageloadingwood shop / sculpture
LEVEL 1 10ft
1098
classroom arearesource / media centerstudio space
LEVEL 2 20ft
1211
studio spacestudio space
LEVEL 3 30ft
13 performance areaLEVEL 4 35ft
1514
outdoor eating / sitting arearoof-top cafe
LEVEL 5 50ft
0 10 25 50
N
N
MESH SHADING DETAIL
Negative Cube | 2010
PROFESSOR
PROJECT DURATION
Mark Odom
2 weeks
Create a design through which to explore the concept of “edge”.
DESIGN REQUIREMENTS
SOFTWARE UTILIZEDAutodesk Maya, Mental Ray
I chose to explore the concept of “edge” through the creation of a negative space. Within this negative space exist a wide variety of edge conditions, with functions undefined. By making the space rather small and confined, the user is forced to interact with the edge in some way.
2010
Create a design through which to
3D RAPID PROTOTYPECUBENEGATIVE
Negative Cube | 2010
COLOR VARIATIONSSECTIONS
TEXTURE VARIATIONS SEMI-TRANSPARENT
Nooka Showroom | 2010
PROFESSOR
SOFTWARE UTILIZED
Mark Odom
Continuation of “Negative Cube” project.
Apply ideas explored in previous assignment to a showroom for “Nooka” products.
DESIGN REQUIREMENTS
Autodesk Maya, Rhinocerous 4.0, VRay
The “Nooka” brand prides itself in being a very unique product line - unique both from other brands and within the brand itself. Each product has a very unique look and feel, which spurred my design concept of the creation of an “experience cube” for each product. Each cube strives to create an atmosphere that encompasses the feel of a specific Nooka product. The customer, then, could enter multiple cubes, choosing a Nooka product based on the experience of the display space.
“ ZEM ” CUBE
“ ZEB ” CUBE
THE “ ZEM ” THE “ ZEB ”
Ligament of the City | 2009
PROFESSOR
PROJECT DURATION
Gabriel Esquivel
8 weeks
Encourage new growth in undeveloped area of downtown Houston
Study of form and aeffect.
Provide exterior p blic space.
DESIGN REQUIREMENTS
SOFTWARE UTILIZEDAutodesk Maya, Rhinocerous 4.0, VRay
I thought of the bu lding as a ligament of the city stretching, contracting, and pulling the city together. Additionally, the building functions as a flower of the c ty brignt and vibrant, t blooms new life into th s area of Houston
The building s aesthetic is based on the tiger lily, a fitting flower” considering the resemblance of it’s buds to muscles or “ligaments”. The building is covered in two skins: a perforated skin to control light in the gallery areas, and a striated skin for the areas where light is less important.
I chose to raise the center of the building off the ground, creating a large, shaded exterior space for the public.
En o
d
d si
i n a eas and a ink tw en down own and t e developed a , u a
I h l gament of the
b t an vib an it blooms new nto s area of ouston. The buil ng s aes e ic is b s
g fit c l i
musc e igame s” he bui is red in two ki o o g ga
ki area w lig t s less or I c o e to rai he center of th bui ding off the ro nd, creating large, shad d exte or pace for h
l
Stretch
Connect
Bloom
Location ou ton X
p a ea of do nt
tudy of fo m and ef e
Pr vid
My design chose site B ba ed on s oxim-
elt hat the buildl ng s oul act as nk be wee down own a d the s developed a ea, drawi g peop e ar d t di g
d e t of he i stretchi g
ons as a flower of he city nt and ib an it blooms ne life his area of Housto
e bu lding’s aes het c is base on ti er l y a f t ng “flower cons d-g the es mbla ce of t s buds to c es r gaments e build ng
ove ed n o skins: a er a ed gh ga ry
a a d k e w gh o
c e ra i g e g , a g
e, e x
PARKING
HOSPITAL
INTERSTATE
CONVENTIONAREA
DOWNTOWN
LOCATIONHouston, TX
Locati n Ho ton TX
Spec al Requ rege new rowth in un
d f f t
My d sign
s and hosp al a u ld ing s oul ct s e wee down own nd he
b l
ought of t e bu ldin as a
Add tiona ly, the uilding
s as a flowe of the city d vibran , it b ooms new life
area o Houston ldin s aes he ic is based on
ly, a f tting flower cons d- re nce s
o gam ild g d i s p t
ro g h ga y n e e lig s p
o g u
e ch B
LigamentOF THE CITY
LigamentOF THE CITY
LigamentOF THE CITY
Ligament
Ligament of the City | 2009
level 1
level 2
level 3
a
ba main entranceb permanent galleryc auditorium entranced auditoriume sculpture garden
cd
e
f
g
h
i
j
k
lm
n
f temporary and video galleryg main lobbyh permanent galleryi indoor / outdoor cafej permanent gallery
k permanent galleryl temporary gallerym permenant galle yn permenant galle yo permenant gallery
o
> Artist Compound | 2009
> Eccentric House | 2008
> Kitchen Design | 2008
> Various Hand Drawings
Early studio projects showcasing skills in hand-modeling and hand-drawing.
Artist Compound | 2009
LOCATION
PROFESSORS PROJECT DURATIONGerald MaffeiJohn Fairey
Peckerwood Gardens, Hempstead, TX
3 weeks
Create three units in an artist compound, each containing a l ving and working space. Three visiting artists (a painter, a musician and a fashion designer) would each have a unit to live in from October - April
Must incorporate nine cacti into arrange-ment.
f
stead TX
rea d
Thr in
Bu get 40,0 0
M esign I h li i
n q arte in c u it W t r
Hempstea
Requat t ree un g
k Th i t
Budget $ 0,000
My d sign: h li i
uarter n a h unit W ter
DESIGN REQUIREMENTS
BUDGET$40,000
I chose to separate the living and working quarters in each unit. Water runs off the steep butterfly roof of each unit and is collected in a cistern. Each unit is oriented roughly north/south so that ample northern light is allowed into the work area and the cooling effects of the south breeze can be maximized.
Each unit is made up of four cinder block walls which will store heat during the day and release it at night. The other walls are clad in glass with a system of sliding plywood panels that can be pulled close at night to keep heat trapped inside.
SITE MODEL
Artist Compound | 2009
GRAPHITE RENDERING
FURNITURE DESIGN
Bed, desk, chair and shelving design to be used in each of the housing units.
Use only 1x4 yellow pine.
Simple connections only for easy on-site assembly.
Eccentric House | 2008
LOCATION
PROFESSOR PROJECT DURATIONGerald Maffei
Colorado River bankAustin, TX
5 weeks
SQUARE FOOTAGE1000
My clients are an eccentric couple who love nature. I designed for this eccen-tricity by relating the form of the house itself to nature, and also allowing the clients to interact with nature as much as possible through the design.
The central portion of the house, containing the living area, closet space and bathroom, relates to the ground with its low ceilings, dense limestone walls, and cobblestone flooring. The bedroom and kitchen relate to the air and sky as they are lighter structures with vast amounts of glass and high ceilings.
The house is built with post-and-beam construction, disrupting the site as little as possible. The central portion of the house is covered in a green roof. The two leaf-shaped butterfly roofs collect water in cisterns which is then used to water the green roof and landscaping.
FINAL MODEL
PRELIMINARY SKETCH
SKETCH MODEL
SITE MODEL
g
Kitchen Design | 2008
LOCATION
PROFESSOR PROJECT DURATIONGerald Maffei
Seattle, WA
4 weeks
1 wheelchair-bound family member.
Face-to-face interaction possible while preparing meals.
Lounge area in kitchen.
DESIGN REQUIREMENTS
SQUARE FOOTAGE200
For my design I chose to put a contempo-rary twist on the traditional craftsman style of architecture which is popular in the Seattle area.
All countertops and appliances are fully accessible to the wheelchair-bound family member. In addition, there is at least 4 ft of circulation space all around the kitchen to allow the wheelchair-bound family member to easily move around and help with meal preparation.
A large outdoor patio area is equipped with a fireplace, grill, and outdoor food preparation and storage areas so that the family can dine outside on nice days.
DETAIL DRAWINGGlass Awning System
SKETCH MODEL
FINAL MODEL
FINAL MODEL
Kitchen Design | 2008
RENDERINGS (prismacolor)Bridge Design | 2009
DETAIL DRAWING (graphite)Railing Detail | 2008
ANALYTICAL DRAWING (prismacolor)“Run Lola Run” Plot Analysis | 2008
EXPLORATORY DRAWING (watercolor)“Morphosis” Sensibility Study | 2008
Various Hand Drawings
> Posters
> Packaging & Branding
> Logos
Variety of graphic work showcasing skills in two-dimensional design, layout and branding.
Posters
Packaging & BrandingCHARACTER SERIES | 2007
visual arts association
Band Logo“When Heaven Falls”
based in Fayetteville, Arkansas
VERVEGRAPE
energy water
VERVEWATERMELON
energy water
VERVEKIWI
energy water
VERVESTRAWBERRY
energy water
VERVEPINEAPPLE
energy water
LogosENERGY WATER SERIES
BAND LOGO | 2008
| 2007
VISUAL ARTS ASSOCIATION LOGO | 2007
> Azimuth Wall | 2011
> La Riviera | 2010
Digital design executed at full scale using CNC routing and other digital-to-analog fabrication techniques.
Azimuth Wall | 2011
LOCATION
SUPERVISORS
SOFTWARE UTILIZED
Gabriel EsquivelCarol Lafayette
Azimuth Cafe, College Station, TX
Rhinocerous 4.0, Autodesk Maya, Mastercam
STUDENT LEADERSHeather DavisMatthew MillerChris GasswayKarine Bashoyan
www.ateliermanferdini.com
http://www.youtube.com/watch?v=OX4pr6XsXFMVIDEO
http://archone.tamu.edu/MORE INFO
DESIGNERSElena ManferdiniEugene Kosgoron
Student leaders assisted in writing the initial project proposal and budget, and presented these items to the college for approval. Upon approval, student leaders worked to produce a series of prototypes, communicating directly with Elena Manferdini’s team to solve design and construction issues encountered. The finalized design was then fabricated with the help of several students participating in the Artist in Residence program. The student leaders were responsible for organizing work schedules, material transport, setting up files for CNC routing, quality control and overall fabrication management.
Azimuth Wall | 2011photos by Marcel Erminy
PROTOTYPE 1
Aluminum scratched easily - needed plastic coating.
“Ears” overlapping bend lines wouldbe bent - must not overlap.
Newer bending machine needed.
PROTOTYPE 2 PROTOTYPE 3 PROTOTYPE 4
Petals intersected - more tolerance needed.
Tabs were difficult to bend accurately.
Detched petal-to-petal tabs allowed more tolerance + more accurate bends.
Very tight/difficult fit on structure with attached petal-to-structure tabs.
Final test.
All tabs detached - multiple flowers fit on structure easily.
FABRICATION | StructureDiagrid | 1/2”x4’x8’ plywood, 1/2”x5’x10’ MDFSupport Structure | various 2x yellow pine
Diagrid |Top Half Diagrid |Bottom Half
Support Structure
Petal Sorting and Assembly
Structure Check and Petal Application
Securing Completed Wall and Vinyl Installation
La Riviera | 2010
LOCATION
SUPERVISOR
SOFTWARE UTILIZED
Gabriel Esquivel
Bryan, TX
Rhinocerous 4.0, Autodesk Maya, Lamina, Mastercam
TEAM MEMBERSKy CoffmanHeather DavisDustin MattizaMatthew MillerJeffrey QuantzMichael Tomaso
http://theoremas-gabe00fab.blogspot.com
http://www.suckerpunchdaily.com
MORE INFO
Commissioned by local restaurant, La Riviera, to renovate their entry space, the concept behind the project was to produce a new atmosphere more sensual and suitable for the type of food served. Some of the sensibilities explored were pastry techniques like fondant, frosting and cake ornamentation. The reason behind the research was to produce a series of sensations using materials and form or specific perceptions, sensations and actions, basically interpreting wall, furniture and ceiling surfaces as frosting and fondant with orna-ment.
The project’s scope included a new bar, wall ornaments and a ceiling installation. Due to an extremely tight budget, the team devel-oped innovative processes to reduce cost while achieving the desired atmosphere.
Search “La Riviera” at:
Suckerpunchdaily
Theoremas
La Riviera | 2010
