Charleston Portfolio: Lansing Dodd
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Charleston Portfolio: Lansing Dodd

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Lansing Dodd: Design Portfolio for Charleston Fall 2012

Lansing Dodd: Design Portfolio for Charleston Fall 2012
B.A. Architecture 2013

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    Charleston Portfolio: Lansing Dodd Charleston Portfolio: Lansing Dodd Document Transcript

    • REVEAL o dd d ng n si laa rc h i t ect u r ep o r t f o l i o
    • Definediscover Design Deliver LANSING DODDPORTFOLIO
    • 01 3802 3903 4004 4105 420607 43 4409 4510 4611 4712 4813 4614 5015 511617 52 53181920 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37
    • ta b l e o f c o n t e n ts PORTFOLIO introduction 1-2 STATEMENT OF INTENT 3-4 RESUME chapter 1 7-13 THE BRIDGES RESIDENCE a california dwelling chapter 2 16-22 CYCLE STATION carolina bicycle institute chapter 3 25-31 REBUILDING HOPE emergency shelters chapter 4 34-40 AWAKENING harry’s coffee express chapter 5 43-49 CITY VIEW LOFTS clemson residence hall chapter 6L 52-53 CITY SCAPES architectural sketches D
    • STATEMENT OF INTENT: reveal In the city I was raised, Santa Ana, California, old sepia-toned photographs of the earlynineteen-hundreds and twenties validate the architectural history of the city. The landscape of thecity has changed dramatically, with long avenues of asphalt covering what was once dusty soil, andparades of horse-drawn carriages replaced by angry rows of traffic and street vendors keepingup with the lunchtime rush. Despite these inevitable transformations, the architecture remains; exist-ing as living museums, encapsulating history, exposing the cultural and historical aspects of the time itwas created as well as revealing the unique identity and dynamic diversity of the people of SantaAna. For years, these buildings entranced me with their stunning elegance and individuality that wasrarely seen. The iconic Santora Building, a swirling cascade of florid carved stone embedded with thedelicate faces of smiling cherubs, had a soul; it was as expressive as the paintings of the artist studioswithin. In this strip mall, tract-housing and McMansion era, a time when historicalbuildings are more endangered than ever, the architecture of downtown Santa Ana held a uniquecharm and individuality that allows it to become so treasured. The splendor of this architecture wasfirst revealed to me when I took an art class in the Spurgeon building, a striking edifice embeddedwith a turn-of-the-century clock tower, and looked out the onto the avenues of brick and art decostorefronts, I pieced together how the architecture of the town was art in its own right, a canvas ofhistory. Historic buildings like these inspired me to study architecture, and this portfolio is a represen-tation of my passion for architecture that I have acquired through study, research and designing, andmy work is created through the defined experiences which ultimately form the vocabulary, or lexis,of the ultimate narrative of my architectural pieces, revealing and uncovering how architecture canspeak to the viewer as each space is discovered.
    • c e d en si e r1 rech a pt g es r id b
    • DEFINITION/BRIDGES RESIDENCE P. 7 BRIDGES RESIDENCE PROJECTCLASS ARCH 115PROGRAM SINGLE FAMILY HOMESITE LAGUNA BEACH, CALIFORNIAPROFESSOR ROSE ANNE KINGS DEFINITION The concept of the Bridges Residence began as a vision of a new California Dwelling which would engage the site and gracefully respond to its context, creating a journey through the thoughtful transition between the southern California coast. The concept was inspired by the fictional client, my former high school art teacher, an artist who wished for an inspirational and elegant residence.
    • P. 10From the homes breezeway, which framesthe view of the Pacific Ocean, to panoramicwindows which invite sunlight into the interiorspaces, The Bridges Residence is an architec-tural design that serves as a journey throughthe natural beauty of the California coastline.
    • DISCOVER/BRIDGES RESIDENCE P. 9 DISCOVER With further development in the design process, the project began to transform into a "Gallery of the Ocean", blurring the focus of architecture as enclosing space and instead encapsulating its natural surroundings by showcasing the dramatic Pacific Ocean views at its site. West Elevation North Elevation East Elevation South Elevation
    • P. 10 Second Floor Second Floor First Floor Second Floor First Floor Basement First Floor BasementAs indicated by its sections and floor plans, theresidence connects to a narrative of architec-ture as a series of transformative spaces whichrespond to function and context, the residenceserves as a journey which allows the viewer tocross a series of bridges which connect the pri-mary interior spaces and create fluid transitionswithin the home. Basement
    • DESIGN/BRIDGES RESIDENCE P. 11 With further development in the design process, the project began to transform into a "Gallery of the Ocean", blurring the focus of architecture as enclosing space and instead encapsulating its natural surroundings by showcasing the dramatic Pacific Ocean views at its site.
    • P. 13DESIGNThe home utilizes extensive windows,balconies and patios to interweaveits interior space with the landscapearound it, which enables the home tolive harmoniously with its environment.Ultimately, the house highlights theimportance of protecting and preservingthe natural splendor of California.
    • n io e r2 stat ptc ha le c yc
    • DEFINITION/CYCLE STATION P. 16c y c l e s tat i o nPROJECTCLASS ARCH 351PROGRAM 33,000 SQ FT, BICYCLE INSTITUTIONSITE CLEMSON, SOUTH CAROLINAPROFESSOR ROB SILANCE DEFINITION An institute which promotes the cycling life- style by providing a large-scale bike share network, education space for the craft of bicycle framing and repair as well as a hostel for students and visitors of the Caro- lina Bicycle Institute, ultimately working to protect the environment and create a bet- ter quality of life for the residents of Clem- son and the students of Clemson University.
    • P. 17 LOCATION DESIGN I utilized my knowledge of programmatic composition I gained during past projects in order to efficiently organize a larger program and create a strong iden- tity for the bicycle institute, incorporating a geomet- ric aesthetic which serves as a transition between my prior architectural designs, such as the Bridges Residence, a project which provided a greater un- derstanding of the abstraction of form through expe- riential pathways, concepts which are embedded into the design viewpoint conveyed throughout my work.
    • DISCOVER/CYCLE STATION P. 18 DISCOVER To propel downtown Clemson into the future, the Carolina Bicycle Institute is composed of three distinct parts, each serving a unique pur- pose. The "core" or central space is defined by its triangulated curtain wall and serves as the primary space for the Institute, housing the bike EXISTING share system, bicycle storage and the educa- tional spaces, which holds classes concentrating upon designing, creating and repairing bicycles, with a welding area to provide a hands-on ap- proach to learning the craft. Lastly, a hostel is located in the northwest wing of the PROPOSED FOOTPRINT building, providing housing for students, guest lecturers and traveling cyclists at the Carolina Bicycle Institute.
    • P. 19The Carolina Bicycle institute was drawn fromthe inspiration of my analog project of the 18thcentury artist, Giovanni Battista Piranesi, a masterof the medium of etching, after examining the siteand its existing context and creating a buildingfootprint, the structure developed into a testa-ment to the bicycling lifestyle. The physical model created for the project expressed the structural form of the cycle station and articulated the details of the building.
    • DELIVER/CYCLE STATION P. 20 COPENHAGEN: citybike 1995 2007 PARIS: velib 2007 BARCELONA: bicing MILAN: bikemi 2008 2010 MINNESOTA: nice ride DENVER: b-cycle 2010 WASHINGTON, d.c.: capital bikeshare 2010 2011 BOSTON: new balance hubway CLEMSON: cycle station 2012
    • P. 22A series of curtain walls define the front and back elevationsof the Cycle Station, allowing for natural light to enter the corespaces. For the Cycle Station, research was conducted of tostudy past examples of successful domestic and internationalbicycle share programs and institutes. Level 1 Level 2 Level 3 Level 4
    • o pe h r3 ng di e ptch a il e bu r
    • DEFINITION/REBUILDING HOPE P. 25PROJECTREBUILDING HOPECLASS ARCH 215PROGRAM EMERGENCY SHELTERS FOR DISPLACED CHILDRENSITE SAMOAPROFESSOR ROSE ANNE KINGS
    • P. 26DEFINITIONEvery child needs a place to feel secure and comfortable, especially in the brutal aftermath of a naturaldisaster. Rebuilding HOPE is an answer to shelter the approximately 2,000 children who have beendisplaced by the Samoan tsunami of 2009.
    • DISCOVER/REBUILDING HOPE P. 27 DISCOVER Rebuilding Hope is a design for an individual child’s temporary emergency shelter that can be mass-produced and delivered throughout the tsunami affected areas of Samoa, American Samoa and Tonga. These units, called “Cubilofts”, pro- vide the child a deck that functions as a draw-bridge style door as well as inte- grate an indoor/outdoor space and a functional roof that can be set to either provide a loft as well as storage space or keep rain out of the structure. This aesthetically pleasing design is a playful space that will give displaced children the optimism to look toward a bright future.
    • P. 28 By arranging the cubilofts in an open courtyard configuration, the children have a central space that allows them to social- ize and play games; enabling them to heal through social interaction.DESIGNThe open space within the pallets allow air to flow through the structure,which provides comfort in the hot and humid climate of Samoa. A tarp canbe used over the structure to keep out rain.
    • DESIGN/REBUILDING HOPE P. 29 MATERIALS AND DIRECTIONSThe temporary structures areconstructed with economical yet The nation of Samoa comes into contactdurable materials such as recycled with cargo ships frequently due to trade,pallets and recycled shipping rope. which permits both Samoa and other participating countries giving aid to eas- ily depoly pre-fabricated roof trusses and whole pallets on cargo ships for Samoan children to receive. Pallets are a recyclable, durable and affordable material that can be used to create structures that will protect the children as well as provide a place to sleep, learn and play.
    • P. 31
    • pt e r4 i ngch a ken awa
    • DEFINITION/AWAKENING P. 34awa k e n i n gPROJECTCLASS ARCH 351PROGRAM WALK-UP AND DRIVE-THROUGH COFFEE EXPRESSSITE ANDERSON, SOUTH CAROLINAPROFESSOR ROBERT HOGAN DEFINITIONWith an objective to design a coffee house which rede-fines the image of a drive-through/walk up cafe, evokingthe movement of the enticing aroma of coffee wafting andundulating in form, playing to all of the senses, Harrys CoffeeExpress in Anderson, SC is a structure in which the viewerexperiences a sense of renewal within.
    • P. 35
    • DISCOVER/AWAKENING P. 36 ROADS VEGETATION CONTEXT DISCOVER The private spaces are clearly defined, with the office space and restroom situated adjacent from the kitchen in order to create a more spacious and functional work space. The seating area adjacent to the express provides shade, views to the veg- etation which lie in close proximity to the site, and landscaping consisting of evergreen trees generates a buffer to prevent the travel of sound from the bustling shopping center from entering the seating area. Entering from the main road, curves around building and provides ample space for cars during early morn- ing rushes, the site includes vegetation to distinguish itself from the sea of asphalt which surrounds the site. The design development began with the goal of creating a recog- nizable logo building which would incite a unique state of mind within customers, creating an experience which extends beyond the average purchasing a daily cup of coffee.
    • P. 37 NORTH ELEVATION 1/8”=1’0” WEST ELEVATION 1/8”=1’0” SOUTH ELEVATION 1/8”=1’0” EAST ELEVATION 1/8”=1’0”"Awakening" continues with my design viewpoint of transitions and passages througharchitecture through its abstraction of the form of steam rising from a freshly brewed cup of cof-fee, banding to create a characteristic form ultimately leading the customers to experience aninviting and calming environment.
    • DESIGN/AWAKENING P. 38 DESIGN The building interacts with the plaza as a whole yet distinguishes tself from the bustling stores surrounding the coffee express, creating a unique experience in which visitors can transition from a purely commercial atmo- sphere to a more relaxed experience within the coffee express.
    • P. 40 1 13 5 5 6 5 7 8 11 12 13 7 10 7 13 2 Efficiency for both employees and customers is emphasized within the design and spatial composition: drive through andFLOOR PLAN IN SITE 1/8”=1’0” walk-up access for vehicles and pedestrians are located on the same axis, creating a defined customer service area, as shown in the elevations of the structure.
    • f ts K lo e r5 L a pt WAch I TY C
    • DEFINITION/LOFTS P. 43city walk loftsPROJECTCLASS ARCH 351PROGRAM UPPERCLASSMEN RESIDENCE HALLSITE CLEMSON, SOUTH CAROLINAPROFESSOR ROBERT HOGANDEFINITIONCity Walk Clemson redefines the upperclassmen space, enhancing the learn-ing experience at Clemson University by creating communities in which studentscan interact, study and learn within the campus’ core, an urban environmentwith access to retail, dining and residential buildings. The lofts interrelate withthe sidewalk as well as relate to views of two of Clemson’s most iconic land-marks, Tillman Hall and Memorial Stadium.
    • P. 44
    • DISCOVER/LOFTS P. 45 DISCOVER The City Walk Lofts, an upperclassmen residence hall, was inspired by the concept of the urban experience within a rural campus, aooreciating tradition as well as embracing the future. The axes of the residence hall were based upon the locations of two of the most important landmarks on campus: Tillman Hall and Memorial Stadium, and the lofts create a visual connection to these landmarks through the views that can be experienced within the spacious UNIT LAYoUT living room and kitchen located in each suite. UNIT LAYOUT 1/4"=10"
    • P. 46TRANSVERSE SECTION LONGITUDINAL SECTION 1/16”=1’0” 1/16”=1’0” FLOOR PLANS 1/16”=1’0” 5 6 4 Level 1 3 2 LevelS 2-4
    • DESIGN/LOFTS P. 47
    • P. 49DESIGN PROGRAM - LEVEL 1 Large windows articulate each loft, creating   a defined pattern on the exterior of the  residence hall marked by the contrast ofbuilding forms which rest firmly upon theground while connecting halls of curtain walls PROGRAM - LEVELS 2-4are juxtaposed against the main building forms,defining the functions within the building throughstructure and materiality. EGRESS MOST ACTIVITY 1 ACTIVITY + ACCESS LEAST ACTIVITY 2 3 Precedents
    • g s in r aw + D r6 a pt e h esch tc s ke
    • CITY SCAPES P. 52 sketches + drawings CLASS VARIOUS PROGRAM SKETCHES OF HISTORIC ARCHITECTURE, ORIGINAL ARTWORK SITE VARIOUS PROFESSOR VARIOUSFragmented, 2012Graphite on PaperArt 151
    • P. 53Sacred Heart Community Center, Augusta, GA
    • P. 54Rhythm, 2012Graphite on PaperArt 151
    • P. 55Ascend, 2012Prismacolor PencilArt 151