Architecture Portfolio


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Architecture Portfolio

  1. 1. BRIAN EAGEN form culture environment creativity light collaboration geometry joy architecture 1.0 2.0 3.0 4.0 5.0 6.0 7.0 8.0 9.0
  2. 2. 1/8” scale model situated in site model FORM 1.0SOHO HOUSING faculty/JasonAlread 3rdyear/iowastateuniversity program/ 1par 2assemblage 3manifestahousingscheme basedonformandcontext The SOHO Housing project became a study about physical and visual threshold. In a city where space is precious, I searched for ways to entice passersby to enter and interact in this live/work space. This building incorporates three performance spaces for the artists to produce their work. The first of these spaces is a traditional black box theatre situated under the lofts. The second, a dance studio that projects from the corner of the building, has a massive curtain wall allowing for interaction with the street level. Finally, a large vertical performance space becomes the focal point for the building.
  3. 3. From the three performance spaces emerge a set of Forms that creates a roughly radial symmetry. Each formal block acts as an independent entity, but upon intersection they create nodes of activity. Each of these intersections responds by pulling negative space out of the solid forms. These negative spaces then became important features, functionally as entries and stages. 1/16” massing model showing final scheme 1.1 sec on of formal par onings
  4. 4. CULTURE 2.0MANGIAMO! collaboraon/BenSchwartz medium/projecononplates 5thyear/romeexhibion program/ 1experienceitaly 2share Mangiamo! is a project that exhibits the idea of Culture at one of its most basic roots; the need to eat. The meal has great cultural significance in Italy, acting not only as a time to replenish, but also as an opportunity to slow down and savor the food, company, and wine. Throughout my semester in Rome and my travels in Italy, I documented the many hours spent preparing and consuming Italian cuisine. From cooking for twelve in Via Montecatini to plucking a lemon from a Sorrentine tree, the images shown are the dishes as I experienced them. plates without food plates at 1:10 plates at 1:52 plates at 2:47
  5. 5. vents/cold sink heat stack summer sun winter sun solar sec on iden fying hea ng and cooling proper es thermal mass ENVIRONMENT BUFFET/GATES HOUSE faculty/DavidBlock 5thyear/iowastateuniversity program/ 1clientanalysis 2environmentalanalysis 3createpassivesolarhome 3.0 cool summer wind The need for environmentally sensitive design has never been more apparent. I believe that it is not enough to just seek to lessen impact, but instead want design to derive from the Environment in which it resides. The Buffet/Gates House stems from the understanding that the sun is a constant source of energy that we can harness. The house attempts to use the natural bounty of passive solar technology without sacrificing key aspects of good design; specifically privacy, views and locational advantages. Created under a specific clientèle context and on a real site, this project combines these elements with environment in a cohesive and exciting way.
  6. 6. Various environmental techniques were used in creating the Buffet/Gates House, including direct gain and localized Trombe wall features. This house is 1202 square feet with 628 feet of south facing glass. It would be primarily built out of local wood, concrete (as a thermal mass) and glass. The site is located on the south side of a 1.5 mile northwestern Iowa lake. Because of the spectacular views to the north, the house also contains large amounts of northerly glazing. To achieve the advantages of a solar section, the floorplan is very open and allows for convection heating to extend from the first to the second floors. It is equipped with a heat stack for the summer months and a cold sink for the winter. Upon completion, this house is expected to be heated with 66% passive solar energy, 12% internal energy and 22% auxiliary power from natural plan analyzing shadow condi ons at winter sols ce 3.1 first floor plan containing bedrooms, food prepera on and workspaces second floor plan containing entertaining and dining spaces
  7. 7. CREATIVITY 4.0THEATRE SET DESIGN faculty/RobertSunderman collaboraon/robertsunderman,adam heffernan,donwas,nickjulesgaard, stacybrothers,janecox,nickveenstra stagewest/iowastateuniversity program/ 1stepoutofcomfortzone 2designforthestage Creativity in architecture can be found in numerous places; concept, facade, programming, etc... However, there is sometimes a lack of narrative in many architectural spaces. By contrast, theatre is all about storytelling and provoking emotion. Theatre presents a palate of tools including script, director and space in which to work. Because of the ephemeral nature of the stage there is more freedom to be ambitious with ideas that could potentially fail. Recognizing that creativity involves taking risks has pushed me to break out of my comfort zone. Four vastly different shows are documented displaying a wide range of spaces, materials and concepts.
  8. 8. the pillowman / designed out of paper and projec ons in thrust tartuffe / designed in 500 seat proscenium theatre all in the ming / constructed space from fabric in the round dead mans cell phone / paper and woods construc on in adapted thrust 4.1 designed curtain threshold ac ng as par on and entry
  9. 9. scanned sec on of model depic ng ligh ng condi on LIGHT 5.0LOFT FOR YOSSARIAN faculty/JasonAlread 3rdyear/iowastateuniveristy program/ 1clientanalysisbasedoff ficonalcharacter 2designlowithin16’x20’x16’ confines Loft for Yossarian is a project that evolved out of the fictional client Yossarian from Catch-22. The analysis of Yossarian’s character presented the opportunity to design a conceptual project about light. Light has extraordinary abilities. It can illuminate, define time, create separation, exhibit texture and much more. In this project the facade became a series of mirrors that casts light into different locations of the loft according to the time of day. It experiments with ideas of transparency and atmospheric space. Loft for Yossarian taught me about the importance of perceived spaces serving as the pathos in architecture.
  10. 10. “In the right light, at the right me, everything is extraordinary.” -Aaron Rose axonometric model interior plan model interior16’ x 20’ x 16’ lo model box 5.1 model scan showing facade array
  11. 11. first drawing depic ng ‘tra’ space of contemportary and historical environment in plan and sec on COLLABORATION 6.0TRA faculty/KarenBermann collaboraon/alexhale,andrewconze, mikaelacapobianco,bradbanarick,jimtung 4thyear/romeprogram program/ 1define‘tra’orbetweenspace 2graphicallydocument 3swapdrawings 4relatetraanddocument 5swapdrawings 6relatetraanddocument ‘Tra’ is the Italian word meaning ‘between.’ The analysis of ‘tra’ spaces was the initial intention for this studio, however the idea of ‘tra’ was applied to numerous other aspects of this project. I first researched the historical evolution of my ‘tra’ space from a theatre to a modern market and represented it graphically. Secondly, the drawings were passed to someone else who added the interpretation of their own ‘tra’ to the drawing. I applied sensitive methods of graphic representation to weave my information into each given drawing out of respect for the Collaborative atmosphere. Finally, ‘tra’ became synonymous with the cooporation between peers as their work became a story about places, time and understanding the power of collaboration.
  12. 12. second drawing as received second drawing with my itera on third drawing as received third drawing completed 6.1 first drawing completed
  13. 13. GEOMETRY 7.0CHAPEL IN THE WOODS faculty/DanielNaegele 3rdyear/iowastateuniversity program/ 1abandonpreconvievedideas 2siteselecon 3designbasedongeometry Chapel in the Woods is a small non-denominational space created to provide a location for meditation. My intent for this project was to play with Geometry; specifically, to decentralize the circle. In order to achieve this, I used shifted focal points and directed focus using light aperatures.
  14. 14. decentralized model plan as situated in site The dome-style roof houses a traditional oculus aperture, while a light lens rises from behind the altar to create a differing aperture. These not only allow natural diffused lighting in the space, but also define the localities of front, back, up and down. The outer rooms act as a poche for the interior meditation space and allow for circulation to happen along the exterior wall. The remaining spaces between the rooms act as physical and visual thresholds for the transition between the inner and outer circles. Chapel in the Woods represents my love for understanding and then adapting the rules of geometry. geometric circle circle with moved focal points first plan itera on constructed plan itera on revised plan itera on 7.1 sec on describing construc on methods
  15. 15. JOY 8.0SEA KAYAK personalstudy medium/wood,epoxy,fiberglass current program/ 1researchboatbuildingcra 2adaptdesignfromRedfishKayaks 3build 4paddle “All Joy emphasizes our pilgrim status; always reminds, beckons, awakens desire.” -C.S. Lewis
  16. 16. model rendering of southwest facade in site ARCHITECTURE 9.0BOSTON NEW MEDIA LIBRARY faculty/TomLeslie collaboraon/katehemker,johnhayes 5thyear/iowastateuniversity program/ 1programming 2analysisofthreesites 3schemacdesignfor120,000sq. newmedialibrary 4comprehensivedesign The Boston New Media Library was my final comprehensive project. It is a 120,000 square foot library that acts as a contemporary building, accessing all new forms of media and education. I Collaborated with two individuals on this project, and together we used our skills and design styles to manifest a solution that none of us would have reached on our own. This project was influenced by modernism, context and our own architectural desires. Perhaps the most inticing part of this process was the Joy of getting to create a public educational center for a city in great need.
  17. 17. The Formal organization of this building was based upon affiliations and adjacencies. Public space, new media and the library proper create three cubic rectangles sliding past each other. Tying these programs together is an atrium element which acts as a visual corridor to orient and organize. The atrium also serves as a thoroughfare for pedestrians occupying the highly frequented boardwalk bordering the southwest edge of the site. axonometric depic ng programma c groupings, circula on, and core element of atrium 9.1 moire / an interference pa ern created when two grids are overlaid at an angle floor and facade detail The facade design evolved out of a need to address the excessive heat gain inherent with a large glazed southerly aspect. The solution took the form of a series of vertical louvers defining one programmatic area, while an intentional moire surrounds another. The moire is a Creative play of Light and Geometry. This facade consists of two perforated zinc screens, off-set two degrees, to create the impression of corrugation.
  18. 18. Reveals in the programmatic blocks act as identifiers for pedestrians who visit nearby Boston landmarks. Throughout this project we made numerous decisions based on fitting the project within the Cultural context. A few of these choices include the height of the building, access to nearby landmarks, material usage and perceived comfort. We address Environmental conditions in a similar manner. This building is equipped with various types of sun screens, passive ventilation techniques, thoughtful landscaping and numerous indoor/outdoor spaces. These designs are all part of developing an Architectural solution that is both sensitive to the client’s desires and assertive of my style as a designer. 1/4 scale sec onal model showing two main facade elements, structural components and occupancy 9.2 1/16 scale site model showing rela onships to nearby building and site features
  19. 19. hand rendered sec on showing ligh ng condi ons 9.3
  20. 20. My intention as a designer is to create works that are sensitive to the contextual fabric in which they reside. I believe that all good design must address present day problems including energy shortages, a fragile environment and cultural differences. However, this does not necessitate sacrificing key qualities of good design. Instead I look upon these restrictions as opportunities from which a creative problem solving process may evolve. Architecture is the complex process of resolving the desires of a client, the needs of a site and the creativity of the designer into a singular idea. As a practitioner of good design, I strive to always produce this high level of sophistication and joy in my work. phone/507.398.8241 email/ website/hp://