Embed Size (px)
DESCRIPTION
Â
Citation preview
JORDAN [email protected]
608 | 886 | 7537
2309 garfield ave, apt. 2minneapolis, minnesota 55405
M. Arch, BDA
This book is a chronological account of projects throughout my education at the University of Minnesota. The projects here represent my best work but more importantly they show the massive potential for growth in skill over a relatively short amount of time. My goal moving forward is to become immersed in a team that continues to accellerate the development of craft. The best work, even when done individually, is alwasy a product of a generative environment.
contents
1 - 2 | rome’s urban web
3 - 4 | stepping stone
5 - 6 | artificial thicket
7- 8 | north-side net zero
9 - 10 | BAAR
11 - 12 | concrete
13 - 20 | industrial hybrid
21 - 28 | sub - recreation
29 - 48 | AUTHORIZED PERSONNEL ONLY
50 | resume
rome’s urban web | center for a green economy
This project begins the summary of my student work not for it’s depth of investigation or resolution, but because it marks the initial spark of passion for architecture that fueled my graduate experience. The project was completed over a four month study-abroad in Rome. The site was Via Portuense, a street with a vibrant and eclectic economy of recycled reused everything. The design seeks to give place to this thriving community and incorporate new econo-mies, like terrace farms and housing, into the already bustling street.
1
mixed income residential restored education center gondola transportation hub
sun-space + greenhouse rain-water harvesting trelliscommunity terrace farm
2
east | west section
This concept dealt with creating a piece of architecture that grows out of its surrounding context. The building leverages on site limestone other materials that directly reflect site conditions and existing features like the stone stair above. Functionally the nook that the building is set into allows for an intimate spatial condition with beautiful view sheds, and also reconnects three levels of a park that is currently difficult to navigate.
fall studio 2011 | stepping stone restaurant
existing stone stair
3
1.5” = 1’ sectional detail model 1.5” = 1’ sectional detail model 1/8” = 1’ building model
4
This proposed cladding system utilizes found drift wood that endeavors to allow ecosystems to inhabit it. The sticks are placed at varrying degrees and sizes to allow for a variety of bird species to nest. The glowing ends attract their food source, insects. Droppings and collected dirt provide a base for plant and vine growth.
catalyst 2012 | artificial thicket
photograph: night5
A
B
C
D
E
F
E
G
H
I
J
K
L
M
N
O
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
A
B
C
D
E
F
E
G
H
I
J
K
L
M
N
O
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
A
B
C
D
E
F
E
G
H
I
J
K
L
M
N
O
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
A
B
C
D
E
F
E
G
H
I
J
K
L
M
N
O
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
1: drift wood 2: zip-tie strapping 3: plywood frame | cnc 4: stick sizing + organization
5: frame grid numbering
FRAME
THE PIECES
SECURE
MATERIAL
4”
8” nylon straps
BACK FRAME3’-5” x 3’-0”
MISSISSIPPI RIVER DRIFTWOOD
4’-0” x 3’-0”FRONT FRAME
A1
23
45
67
8
12
34
56
7
910
B
C
D
E
A
B
C
D
A1
23
45
67
8
12
34
56
7
910
B
C
D
E
A
B
C
D
6: drift wood element alignment 7: drift wood placement + securing
8: completed assembly model | rhino + grasshopper
6
UP
DN
44 SFBathrm
34 SFMud Rm
153 SFKitchen
388 SFDining/Living Rm
24' -
4"
15' -
8"
3' - 1"
14' - 2" 8' - 2"
4' - 0" 1' - 0 7/8"1' - 0" 3' - 8 1/2"
4' -
7 1/
4"3'
- 0"
6' -
8 1/
4"4'
- 0"
11' -
0 1
/2"
4' -
0"
6' - 4" 3' - 0"
1' -
10"
3' -
4"1'
- 0"
4' -
0"2'
- 0"
3' -
3"3'
- 4"
1' - 6" 3' - 4"
DN
10' -
6"
13' - 6"
9' -
10"
11' - 5"
11' -
10"
130 SFBedrm
122 SFBedrm
176 SFMaster Bedrm
4' - 0"
2' -
0"
4' -
0"
3' - 3"
44 SFBathrm
4' -
5"4'
- 0"
1' -
7 3/
4"4'
- 0"
1' -
7 3/
4"4'
- 0"
3' -
2 1/
4"3'
- 0"
10' -
1 1
/2"
4' -
0"5'
- 7
3/4"
4' -
0"5'
- 2
1/2"
3' - 0" 3' - 4"
1' -
6 1/
2"3'
- 4"
10' -
9 1
/2"
24' -
4"
1' - 6" 3' - 4" 3' - 11 1/4" 4' - 0"
4' - 0" 2' - 1"
UP
128 SFBedrm
69 SFUtility Rm
10' - 11"5' - 10"
5' -
6"11
' - 1
0"
425 SFFlex Rm
5' -
0"5'
- 0"
3' - 0"
2' - 10" 5' - 8"
This net zero home in the north-side neighborhood of Minneapolis was designed with partner Habitat for Humanity. The design was built and a 1-year post occupancy study has shown that it does indeed achieve a net-zero energy use through sustainable building techniques and technologies.
north-side net zero | habitat for humanity house
basement plan 1st floor plan 2nd floor plan
7
500 sq ft solar array
64 sq ft solar thermal panel
R100 energy heel truss roof
R40 2x6 stud wall 4 in. exterior foam
sirius low u-value windows
R40 12 in. poured concrete foun-dation 6in exterior foam
8
The project is a soccer academy in a low income Buenos Aires neighborhood. The building form is representative of the nexus of inter-activity between all of its users; private boarding students and the low-income community that surrounds the complex. Ideally these new facilities promote interaction across social barriers via Argentina’s first love: futball.
competition entry - summer 2013
ARCHMedium 2013 | BAAR
9
10
1: support screen 2: manipulate form x2 3: combine manipulations 4: free standing form
5: house form work6: pour mixture + embed reinforcing
7: remove form work
white cement + fiber glass white & grey cement white & grey cement
This project was an experiment in a thin shell wall panel system that contradicts the preconceptions of concrete. at 1/16” inch the panels are light and of flowing form. The second, larger iteration, acts as a sculptural marker, potentially used for wayfinding. The form making process is de-signed to be variable and suit specific needs of a site.
concrete | light stone
11
12
The act of inhabiting an existing place is inherently transformative and results in a hybrid condition. This project leverages existing structural artifacts as an organizational, tectonic, and aesthetic framework.. Inudstrial structures, contemporary architecture, and a return to the historic ecosystem give the site and project an identity that communicates much and informs the water research that it facilitates.
winner of the Design Democracy Fellowship 2014
wetland research center | industrial hybrid
13
14
site plan15
second floor plan third floor plan
16
existing
new structure
new volume
1/4” detail model
1/4” detail model
17
18
east | south building | west
south building 1
2
2-3/4” x 5-1/2” stainless steel tubeinsulated glass unitadhesive attached anodized aluminum extrusion
structural steel decking2” concrete2” extruded polystyrene insulationweather resistant barriergravel bed
east elevation
3
4
2’ stainless steel floor joiststructural steel decking 2” concrete2” extruded polystyrene insulation3” concrete topper w/ 1” pex tube radiant heating
existing steel beam
7 existing concrete foundation and topperexisting concrete footing2” concrete slab on gradeweather resistant barrier2” extruded polystyrene insulation3” concrete topper w/ 1” pex tube radiant heating
5
6
2’ steel angle bar truss
3” insulated metal panel w/ corrugated profile6” steel channel 24” o.c. w/ cellulose batt insulation1/2” plywood sheathing5/8” gypsum finish
1
23
4
5
6
7
8 9
11
1213
10
12
3 5
67
8
9
10
11
12
13
14
15
16
17 18
19
20
21
22
1
23
4
5
6
7
8 9
11
1213
10
12
3 5
67
8
9
10
11
12
13
14
15
16
17 18
19
20
21
22
19
west | north building | east
1 2
3
4
5
56
7
8
9 10
11 12
13
14
15
16
17
18
1
23
4
5
6
8
7
9
20
+ + +
RETAIL
ECONOMY
PUBLIC
RENTALS
TRAININGRETAIL
REPAIRS
DINING
JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER
JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER
JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER
EVENTS / FESTIVALS / FILMS / MUSIC
WORK SHOPS + TRAINING
CLIMBING
CLIMBING
SKATEBOARDING
ICE CLIMBING CLIMBING ICE CLIMBING
OUTD
OOR
INDO
OROU
TDOO
RIN
DOOR
OUTD
OOR
INDO
OR
ICE SKATING
ICE SKATING
ICE SKATINGCURLINGCROSS COUNTRY SKIING
ICE SKATINGCURLING
CROSS COUNTRY SKIING
CANOE / KAYAK TRAINING
CANOE / KAYAK TRAINING
SKATEBOARDING
SKATEBOARDING
ICE CLIMBING
SKATEBOARDINGSHELTER SKATING SHELTER SKATINGEVENTS / FESTIVALS / FILMS / MUSIC
CLIMBING
CLIMBING
WORK SHOPS + TRAINING
EVENTS / FESTIVALS / FILMS / MUSICWORK SHOPS + TRAINING
CANOE / KAYAKSAILINGICE SAILING ICE SAILING
design duluth | sub-recreationThis project subverts the existing infrastructure and landform to create place informed architecture that satisfies recreational and economic needs. Three sites connect unused land in low-income West Duluth, bringing new attraction and public amenity where it is most needed.
context and existing recreational services major site connections
activity calendar - year round use
material cues economic flows subversion of existing conditions21
climbing center that takes advantage of existing climbing sites and trail infrastructure
skate center that inhabits an EPA superfund site and connects to existing hiking trails
sailing center that embodies industrial history and reconnects the city to the river
program nodes - scale shifts
22
the ely peak intervention features an indoor climbing center, complimented by support services such as equipment repair and rental as well as training programs
the building acts as a trail head for existing climbing sites
a satellite building inhabits a repurposed train tunnel and provides services in the field
site section
site plan
23
1 2 3 4 5 6 7 1 2 3 4 5 6 1 2 3 4
1 - climbing center
2 - shop / repair
3 - camp / shelter / staging
4 - camp / shelter / staging
24
the dwp intervention features an indoor skate park and equipment repair or rental
a cafe and boardwalk service the general public and connect the outdoor skating elements to the indoor park
of particular interest is the underpass skate program which holds the opposite end of the sites path
site section
site plan
25
1 2 3 4 5 6 7 1 2 3 4 5 6 1 2 3 4
1 - skate park / cafe
2 - picnic nook
3 - poplar nook
4 - skate nook
5 - dwp trail nook
6 - 35w overpass skate shelter
26
the dock 7 intervention inhabits an abandoned pier on the st. louis river and features kayak and sail boat activity
to activate the entire strip multiple programmatic zones have been introduced in addition to the primary use
important landscape features such as the mounds and poplar groves create formal ties to the site’s historic use
site plan
site section
27
1 2 3 4 5 6 7 1 2 3 4 5 6 1 2 3 4
1 - kayak rental
2 - climbing mound
3 - shelter / lockers
4 - community center
5 - skate spot / shelter
6 - riparian legacy mound
7 - boat launch / boat storage
28
Subterranean worlds are an old curiosity; the basis of much mythology and legend. The mystery of these places, whether real or fantasy, thrives in the collective conscious of us all. The chill of not knowing is a visceral sensation; especially when accompanied with the simple thrill of being where you should not be.
The surface of Minneapolis - St. Paul obscures its own subterranean landscapes, shrouded in mystery, ripe with myth and complexity. Layers of utility - water, gas, electricity, sewers, and storm drains wind their way through the soft sandstone and along the bluffs of the Mississippi River. This infrastructural labyrinth mingles with natural caverns, eroded by the water that flows through the bluffs into the river.
These caves and underground streams have a history that has grown since before the city, that now sits above it, emerged. Some caves were used for the sacred meetings of local Native American tribes and were said to be the dwelling places of old gods. During pro-hibition these same spaces were used by smugglers to move in secret through the tunnels that had recently started to hollow out the rock beneath the city. Today the system is con-trolled more diligently and many of these curiosities have been sealed off from the surface. Where once a small kayak could make its way from a storm drain in Lake Calhoun, up an underground stream more than a mile into the heart of downtown Minneapolis, there is now a gate. The result of erecting barriers to the underworld is the creation an under-ground playground for those ambitious enough to subvert them.
29
UNDERGROUND ENTRANCES
THE LABYRINTH
30
CONCEPTUAL ELEVATION
PROPOSED ELEVATION31
N N
LEVEL 7 - SHARK CAGE
LEVEL 5 - GALLERY
LEVEL 3 - TRENCH
LEVEL 0 - SCAR
LEVEL 1
LEVEL 2
LEVEL 3
LEVEL 4
LEVEL 5
LEVEL 6
LEVEL 7
32
The obvious use for the adapted space is as a gallery; one that holds artifacts, both historic and contemporary, that help tell the tale of the underground. Some portions of this new gallery are precariously accessible, a potential target for the graffiti artists that already operate covertly in the storm drains of the city. The program is simplistic but elegant in that it can shift and change its contents with the attitudes of its inhabitants. The major elements are paths that suggest, but don’t dictate, an experience that might coerce a childlike curiosity from any number of explorers.
PATHS
PUBLIC PATH
SCAR PATH
33
SHARK CAGE + BIRD’S NEST PATH
An intriguing moment in the extensive network of voids is a trench, 80 feet deep, where the back wall of an abandoned jail is pulled away from the bluff, presumably as a security measure to prevent imaginative inmates from escaping into the lattice of tunnels beyond. The spatial condition created by these sealed barriers is a series of thresholds - the bluff, the wall, the jail, and the surface. Imagining what is behind these barriers, what wonders extend into the dark, demands that control be skirted in the name of exploring the mysterious.
TRENCH
34
The storm drains at the bottom of the vault make a second exit but also compose the third path, dubbed the scar. The scar is a more delinquent path engaging visitors in a more tactile way. The storm drains here are explorable and covered in graffiti.
1 | ENTRY UNDER
1 2
1 - ENTRY UNDER
35
Viewing lanes are carved open along the tunnel, making visible the vertical scale of the retaining wall.
2 | SCAR
3
2 - SCAR
36
It would not be abnormal to happen upon someone painting the walls of this path that follows the tunnel into the bluff and eventually back into the bottom of the new vault.
3 | STORM DRAIN
3 - STORM DRAIN
37
The shortest of these paths, dubbed the shark cage and the bird’s nest, runs the gamut of spatial change within the building in the span of 8 feet. Just inside the plaza level entry is an opening that leads into a dark subterranean room. The room is the space where the jail adjacent Wabasha Bridge is propped up above the bluff rock. Giant beams 20 feet deep are close overhead as they hold up the road above. The shark cage is a screened platform that looks out over this dark, compressed subterranean void that is representative of what may come deeper into the building. Six feet further and a second threshold leads to the bird’s nest; a precarious walkway suspended under the bridge 80 feet above the ground making the scale of vertical occupation known.
4 | SHARK CAGE + BIRD’S NEST
4
4 - SHARK CAGE + BIRD’S NEST
38
The longest of these paths is meant to be a comprehensive experience of all the concepts explained above. The beginning is at the level of the city, in a plaza surrounded by poles of light. These poles order the public space and give clues to the structural grid beneath. As you descend into the building views across a space that is created by two wings of the existing jail allow glimpses into old cells, new galleries, and the exposed storm drains below.
A | PLAZA
The path moves across the wings of the old jail by exposed walkways that hang where the panopticon of the existing jail once stood. All of this new transparency, altered by various levels of screen, flies in the face of the buildings original purpose. The erosion of the jails barriers, walls, and secure elements demonstrates architectural subversion and breaking down imposed control.
B | PANOPTICON
A B39
B - PANOPTICON
A - PLAZA
40
C
Once across the hanging walkway a vaulted room composed of what is left of the existing jail. Antithetical to the building’s original controlling intent, this new grand space is the product of eroding old floors and walls.
C | GALLERY
C41
C - GALLERY
42
The path is very visible here and can be seen winding out to the edge of the building. This is where the cells of the old jail still stand, however they are no longer separated by thick parallel walls. The path cuts through the shared walls of the cells, and allows movement through them, contrary to their original purpose.
D | CELL
As the path winds around the outside edge of the building a mysterious opening slides into view. This portal leads to the pivotal moment in the project; the trench. This important connection is treated with a simple walkway and a small scar in the bluff which marks the entry to the underworld. A grate 80 feet above, at street level, provides just enough light to make the scale of this hidden intervention comprehensible.
E | TRENCH
D E43
E - TRENCH
D - CELL
44
The tunnel that leads through the bluff compresses as it approaches a new vault. While this underground intervention is large, it is also singular in order to preserve the mystery and unknown nature of the existing underworld. The placement of this void encompasses an intersection of the existing tunnels at all elevations.
F | INTERSECTION
The path continues to wind around the edge of the vault giving glimpses of forms in the dark void. Again, screens are used to obscure and frame views ultimately driving curiosity and exploration.
G | PODIUM
F G H45
G - PODIUM
F - INTERSECTION
46
H - OCCULUS
GRATE
A podium at the bottom of the vault represents the big reveal. Free of screens and obscuring walls, the view up to the street, 100 feet above, is pierced by the new tunnel extrusions, all made visible by the oculus shining light down into the dark. The rumble of vehicles on the street, the dripping water, and the observers own footsteps echo through the vault enhancing the phenomenological experience and capturing the essence of the underworld.
H | OCCULUS
47
SITE CONDITIONS
6
VAULT INSERTION
1
23
4
5
VAULT AXON
5 - STORM DRAIN
1 - TCTR 2 - WATER
4 - GAS
3 - ELECTRIC
6 - WABASHA BRIDGE
Other paths through this complex labyrinth exist. These are self made experiences created through voluntary exploration. This last level engagement encompasses the willingness to get lost in this system of subverted control. The ambitious adventurer might find their own way into these spaces; skittering across inaccessible walkways and finding hidden openings to spaces not designated for the public. These levels of access and engagement provide a changing experience for a range of audiences. The essence of the underground, its histories and myths, have been captured here. What was hidden is revealed yet retains its mystery. The barriers of control give way to subversion and the phrase AUTHORIZED PERSONNEL ONLY no longer applies.
THE LABYRINTH
48
JORDAN [email protected]
608 | 886 | 7537
2309 garfield ave, apt. 2minneapolis, minnesota 55405
education
extracurricular + awards
work experience
skills + software
references
University of Minnesota - College of Design 2014 - master’s of architecture 2011 - bachelor’s of design in architecture
M. Arch, BDA
fellowships + awards 2014 - Richard Morrill Master’s Final Project Award 2014 - Design Democracy Fellowship 2013 - Bill & Elizabeth Pedersen Fellowship 2013 - Saul Parness Fellowship
teaching assistant 2014 - design fundamentals 2 - Andrea Johnson 2013 - design fundamentals 1 - Lisa Hsieh 2012 - architectural history - Leon Satkowski
architectural intern - MSR - minneapolis dec. 2013 - may 2014 - Eric Amel U of M Raptor Center - U of M Bee Discovery - U of M Bee Lab predesign - schematic design - programming - visualization - detailing - marketing
architectural intern - Architecture Field Office - minneapolis may 2013 - sep. 2013 - Mic Johnson schematic master plan for Stadium Village schematic design - representation - 3d modeling
rendering contract - U of M Department of Pediatrics - minneapolis may 2013 - sep. 2013 concept design for minnesota state fair retro-fit laboratory schematic design - 3d modelling - representation - marketing
fabrication - CDES - minneapolis - AIA Honor Award may 2013 - dec. 2013 - Adam Marcus Centenniel Chromograph physical fabrication - digital fabrication tools - assembly staging - documentation
9 yrs - autocad9 yrs - adobe creative suite6 yrs - physical modeling6 yrs - sketchup2 yrs - rhino + grasshopper2 yrs - revithobby - drawing - painting - sketching
Sharon Roe, M. ArchDirector of BDA ProgramUniversity of Minnesota - [email protected] 747 3779
Jeffery K. Mandyck - AIAPrincipalCunningham Group Architecture, [email protected] 379 3400
Eric Amel - [email protected] 225 1051
Ozayr Saloojee, M. ArchAssociate ProfessorUniversity of Minnesota - [email protected] 625 0690
50
JORDAN [email protected] 608 | 886 | 7537
2309 garfield ave, apt. 2minneapolis, minnesota 55405
M. Arch, BDA
