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Architecture Portfolio

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  • 1. form 1.0 culture 2.0 environment 3.0 creativity 4.0 light 5.0 collaboration 6.0 geometry 7.0 joy 8.0 architecture 9.0 BRIAN EAGEN
  • 2. FORM SOHO HOUSING 1.0 based on form and context 3 manifest a housing scheme 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 3rd year / iowa state university enter and interact in this live/work space. This building 2 assemblage incorporates three performance spaces for the artists to faculty / Jason Alread produce their work. The first of these spaces is a traditional black box theatre situated under the lofts. 1 par The second, a dance studio that projects from the corner of the building, has a massive curtain wall program / allowing for interaction with the street level. Finally, a large vertical performance space becomes the focal 1/8” scale model situated in site model point for the building.
  • 3. 1.1 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 sec on of formal par onings
  • 4. plates without food CULTURE MANGIAMO! 2.0 plates at 1:10 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 medium / projec on on plates collabora on / Ben Schwartz opportunity to slow down and savor the 1 experience italy 5th year / rome exhibi on plates at 1:52 food, company, and wine. Throughout my semester in Rome and my travels in Italy, I documented the many hours spent 2 share preparing and consuming Italian cuisine. From cooking for twelve in Via program / Montecatini to plucking a lemon from a Sorrentine tree, the images shown are the dishes as I experienced them. plates at 2:47
  • 5. heat stack summer sun 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 winter sun want design to derive from the Environment in which it resides. The Buffet/Gates House stems ENVIRONMENT from the understanding that the sun is a constant BUFFET/GATES HOUSE 3.0 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 3 create passive solar home advantages. Created under a specific clientèle 2 environmental analysis context and on a real site, this project combines 5th year / iowa state university these elements with environment in a cohesive and 1 client analysis exciting way. thermal mass vents/cold sink faculty / David Block cool summer wind program / solar sec on iden fying hea ng and cooling proper es
  • 6. Various environmental techniques were used in creating the Buffet/Gates House, including direct 3.1 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 first floor plan containing bedrooms, food prepera on and workspaces 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 site plan analyzing shadow condi ons at winter sols ce energy and 22% auxiliary power from natural gas. second floor plan containing entertaining and dining spaces
  • 7. CREATIVITY THEATRE SET DESIGN 4.0 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 collabora on / robert sunderman, adam stacy brothers, jane cox, nick veenstra heffernan, don wa s, nick julesgaard, contrast, theatre is all about storytelling and 1 step out of comfort zone provoking emotion. Theatre presents a palate of stagewest / iowa state university 2 design for the stage tools including script, director and space in which faculty / Robert Sunderman 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. program / Four vastly different shows are documented displaying a wide range of spaces, materials and concepts.
  • 8. the pillowman / designed out of paper and projec ons in thrust tartuffe / designed in 500 seat proscenium theatre 4.1 all in the ming / constructed space from fabric in the round dead mans cell phone / paper and woods construc on in adapted thrust designed curtain threshold ac ng as par on and entry
  • 9. LIGHT LOFT FOR YOSSARIAN 5.0 2 design lo within 16’ x 20’ x 16’ Loft for Yossarian is a project that evolved out of the fictional client Yossarian from Catch-22. The 1 client analysis based off analysis of Yossarian’s character presented the fic onal character opportunity to design a conceptual project about 3rd year / iowa state univeristy light. Light has extraordinary abilities. It can illuminate, define time, create separation, exhibit faculty / Jason Alread confines 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 program / and atmospheric space. Loft for Yossarian taught me about the importance of perceived spaces scanned sec on of model depic ng ligh ng condi on serving as the pathos in architecture.
  • 10. “In the right light, at the right me, everything is extraordinary.” -Aaron Rose 5.1 16’ x 20’ x 16’ lo model box axonometric model interior plan model interior model scan showing facade array
  • 11. COLLABORATION TRA 6.0 ‘Tra’ is the Italian word meaning ‘between.’ The analysis of ‘tra’ spaces was the initial intention for mikaela capobianco, brad banarick, jim tung this studio, however the idea of ‘tra’ was applied 1 define ‘tra’ or between space to numerous other aspects of this project. I first collabora on / alex hale, andrew conze , researched the historical evolution of my ‘tra’ space 4 relate tra and document 6 relate tra and document from a theatre to a modern market and represented 2 graphically document it graphically. Secondly, the drawings were passed to someone else who added the interpretation of 3 swap drawings 5 swap drawings 4th year / rome program their own ‘tra’ to the drawing. I applied sensitive faculty / Karen Bermann 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 program / between peers as their work became a story about places, time and understanding the power of collaboration. first drawing depic ng ‘tra’ space of contemportary and historical environment in plan and sec on
  • 12. second drawing as received second drawing with my itera on 6.1 third drawing as received third drawing completed first drawing completed
  • 13. GEOMETRY CHAPEL IN THE WOODS 7.0 1 abandon preconvieved ideas 3 design based on geometry 3rd year / iowa state university 2 site selec on faculty / Daniel Naegele 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 program / Geometry; specifically, to decentralize the circle. In order to achieve this, I used shifted focal points and directed focus using light aperatures.
  • 14. 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 7.1 between the inner and outer circles. Chapel in the Woods represents my love for understanding and then adapting the rules of geometry. decentralized model plan as situated in site geometric circle circle with moved focal points first plan itera on constructed plan itera on revised plan itera on sec on describing construc on methods
  • 15. -C.S. Lewis “All Joy emphasizes our pilgrim status; always reminds, beckons, awakens desire.” personal study medium / wood, epoxy, fiberglass current JOY program / 1 research boatbuilding cra SEA KAYAK 2 adapt design from Redfish Kayaks 3 build 4 paddle 8.0
  • 16. The Boston New Media Library was ARCHITECTURE BOSTON NEW MEDIA LIBRARY 9.0 my final comprehensive project. It is a 120,000 square foot library that 3 schema c design for 120,000 sq. acts as a contemporary building, accessing all new forms of media collabora on / kate hemker, john hayes and education. I Collaborated 4 comprehensive design with two individuals on this project, 2 analysis of three sites and together we used our skills and new media library 5th year / iowa state university design styles to manifest a solution 1 programming that none of us would have reached on our own. This project was faculty / Tom Leslie influenced by modernism, context and our own architectural desires. Perhaps the most inticing part of program / this process was the Joy of getting to create a public educational center for a city in great need. model rendering of southwest facade in site
  • 17. 9.1 floor and facade detail 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 The facade design evolved out of a need to address the excessive heat gain organize. The atrium also serves as a inherent with a large glazed southerly aspect. The solution took the form thoroughfare for pedestrians of a series of vertical louvers defining one programmatic area, while an occupying the highly frequented intentional moire surrounds another. The moire is a Creative play of axonometric depic ng programma c groupings, boardwalk bordering the southwest Light and Geometry. This facade consists of two perforated zinc screens, moire / an interference pa ern created when two circula on, and core element of atrium edge of the site. off-set two degrees, to create the impression of corrugation. grids are overlaid at an angle
  • 18. Reveals in the programmatic blocks act as 9.2 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, 1/16 scale site model showing rela onships to nearby building and site features structural components and occupancy
  • 19. 9.3 hand rendered sec on showing ligh ng condi ons
  • 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 website / h p://www.brianeagen.com/ a site and the creativity of the designer into a singular idea. As a practitioner of good design, I email / eagenb@gmail.com strive to always produce this high level of phone / 507.398.8241 sophistication and joy in my work.