David FolsomPORTFOLIO

David FolsomPORTFOLIO

History. Cities. Culture.

In order for an individual to be suc-cessful in their occupation, they must have passion. Passion in many ways is the offspring of living a life of purpose and having a vision for the better future. The study and pursuit of architecture has given me a passion for the subject matter and a greater vision for my existence.

My love of architecture evolved from my love of history and cul-tures. Cultures are often times defi ned by their architecture and that architecture tells a sto-ry about what a culture values.

The medieval cities in Scotland, told me that these soaring walls and castles acted as mighty fortresses in a time when protection was para-

mount. The famous skyscrapers of New York reveal a time when Amer-ica was bent on showing our fi nan-cial dominance and ingenuity to rest of the world. The story of the Ma-yans was made evident to me in their ancient capital city of Chichen Itza. Their precision and attention to detail was incredible. (Pictured left is from the temple of one thousand pillars.)

Architecture can be iconic or mun-dane but it all tells a story. This grouping of projects tells the story of my architectural discovery. What I love about my study and pursuit of architecture is that with every work, I grow as a designer. The next proj-ect is usually conceived with more insight than the last. This pursuit is a continual evolution of my own culture.

ContentsLa PyramideChicago’s Philharmonic HallBrookline Ridge WineryGalileo PavilionMarvin Hall AdditionA Modern KitchenAppendix

La PyramideIndividual project

La Pyramide is prototype structure designed to accommodate for a growing population of hu-mans and in response to potential environmen-tal challenges that future humans will face. The design also considers future issues such as ter-rorism and defense like medieval based cities.

The form and structure is a result of a thesis re-search project on High Tech architecture. Buck-minster Fuller’s Tetrahedron City and Triton city are precedents of a city in the form of a pyramid based in water. Desalinization and land scarcity would make building communities on the water advantageous and would also provide a level of defence.

There are many High Tech features to this build-ing. The lattice work of structural steel is explic-itly expressed through vierendeel trusses that buttress themselves against each other and are bridged to the core. The foundation is concrete and set on a system of piles that must travel 20 meters into the bedrock of the ocean fl oor. The top fi ve levels of the building all rotate to provide occupants with a 360 degree view of Rio De Ja-neiro. In the central core, a platform 120 feet in diameter slowly ascends and descends to allow occupants to socialize in a party setting as they travel to their destination.

The goal is to build a building that would provide a safe spectacular place to live and also generate tourist revenue. It will perhaps draw more tour-ists than the Eiff el Tower.

Site and First Floor Plan

Section

Structural Model

Chicago Philharmonic HallIndividual project

Conceptualized as the “Machine for Mu-sic,” the design goal of this project is to create a structure housing a 2,000 seat philharmonic hall, that would adapt to its surroundings while creating a spectacle.

The site is on the shore of Lake Michigan in Chicago, Illinois. The new philharmon-ic hall is envisioned as another Chicago city landmark that would rival the Willis tower, the john Hancock building and the bean.

There are many mechanized parts of this building that adapt to the weather, sun-light, and or functions taking place in the building. The fl anks of the building open up to allow patrons with 360 degree views of Chicago and lake Michigan. Dur-ing intermission, the roof of the building opens up to allow star gazing through the glass enclosure of the music hall. For the socializing patron, a deck will extend out cantilevered over lake Michigan before, after and during the performance.

First Floor Second Floor

Third Floor Fourth Floor

Fifth Floor

Music Hall Floor Plans

ProgramThe program of the philharmonic hall includes; 2,000 seat hall, multiple size dressing rooms, green room, small music hall for practice, restaurant, sky lounge, conductor lounge and fi rst class parking garage.

Building Transforma ons

Opening Wings and Roof Panels

Extending Deck Bar and Lookout

Concept mode

Initial Concept Sketch

el

Brookline Ridge WineryGroup, fi ve week project

The program for the winery on the prairie is to create a gravity fl ow winery that con-tains; grape receiving and crushing area, fermentation tanks, vintner lab, bottling, a barrel cellar, etc. The site is locate ap-proximately forty miles south of Kansas city, Missouri. The wine maker is hoping to promote wine tourism with his winery.

The goal is also to create a building that would be completely self sustaining also contributing power back onto the grid. Our initial process started with visiting a couple wineries and researching on the process of gravity fed wine making. The design is aimed at creating a dialogue be-tween production and consumption. The waving pavilion ties the production facil-ity to the glass encased offi ce and tasting area to create a central space for gather-ing and potential parties.

Plans and Section

Final Model

Interior Processing Space

The goal for the Galileo Pavilion is to create an environment which is a node of activity and interaction on the campus of Johnson County Community College. The building, situated to the south the campus main quad, incorporates and enhances the existing Galileo sculpture designed in the 1980’s by sculptural artist Dale Eldred. The design amplifi es the artist’s concept of working with the sun by showcasing the sun sculpture in the center of the main courtyard.

The original intent was to create proto-typical modular classrooms that could be dropped anywhere on campus and would adequately meet the needs of the college. Upon further investigation, a specifi c site was chosen and a more permanent build-ing was designed. While the building retains its modular form, it is being con-structed on site. The building is approximately 3,300 square feet, housing two twenty fi ve oc-cupant classrooms, a student lounge/ ex-hibition space, coffee bar and conference room. The building is designed to be pas-sive haus certifi ed and leed platinum.

Galileo Pavilion

Section

Plan

1. Passive Solar Design.a Summer Solstice: 75 °.b Winter Solstice: 28 °2. Photovoltaic Solar Panels3. Living Roof4. Wind Turbine5. Cross Ventilation6. Cool Earth Tubes7. Thermal MassStone gabion wall8. High performance glazingTwin wall construction, operable windows9. Evaporative Cooling10. Radiant Heating-Cooling11. Super Insulation12. Energy Recovery Ventilator13. Rainwater Harvesting and Retention14. Draught Tolerant Landscaping

The proposed 30,000 square foot Marvin hall expansion building at the university of Kansas accommodates the ever growing needs of the architecture and urban plan-ning departments. The building weaves its way into the university context by pro-viding an inviting quad and enhancing circulation paths frequently traveled by students and faculty. The four story stu-dio tower provides occupants with views of the Kansas prairie South of Lawrence, KS and views of the rest of the campus.

The program of the building was broken up into two wings and a prominent stu-dio tower. The north wing houses faculty offi ces while the south wing houses the architectural library, computer lab, con-ference room, and exhibition space.

Many environmental factors were used in the design of this building. Special con-sideration was given to passive heating and cooling techniques, rain water har-vesting and renewable energy production methods.

Marvin Hall Addition

Section

Plan

Exploded Axonometric

Programmed Spaces

Shading Elements

HVAC

Structure

Green Roofs

Site Circulation

Rain-Water Harvesting

Circulation and Egress

This kitchen design was for a client that had just purchased a new cape cod style home in Roeland Park, KS a suburb of Kansas City, MO. The 1,500 sq. ft. house needed to be completely updated.

Working directly with the goals and ideas from the client, the design concept was to design a kitchen of modern style that would open up the space and function as an eat in kitchen.

The traditional cabinets are hinged on the interior to allow for ultra clean lines and the hardware are stainless steel handles. The counter tops are made of concrete and are anchored by a large white por-celain apron sink. There are two sets of shelves: the lowest shelf is pure cantilever anchored with lag screws and acts as the shelf for all manner of cups and glasses, the second shelf is a maple veneered open shelf that houses plates, bowls, etc.

It is a modern kitchen with a very inviting appeal.

A Modern Kitchen

3D Model of KitchenMaterial Palette

CVEducation

2002-2006 BSBA Marketing, Kansas State University

2009-2012 Master’s of Architecture, University of Kansas

Work Experience

2011-2012 Architecture Intern, Studio 804

2010-2011 Graduate Teaching Assistant for Building Technology

Course, University of Kansas

2004-2011 Ran Contracting Business for Residential Remodels and

Construction, Design Contracting

2006-2008 Business to Business Sales Representative for Metlife

Group Employee Benefi ts

2005-2005 Marketing Intern for Joe’s on Shannon in Melbourne, Australia

Achievements/ Community

LEED Contributor. Studio 804, Center for Design Research, Fall 2011

Public Relations and Membership Chair. CSI, University of Kansas Chapter, Spring 2012

J Gordon Moorman Scholarship Recipient 2011-2012, Academics and Interest in Green Design

Greenbuild Volunteer. Toronto, Canada, 2011 Greenbuild Conference

Publications

Lesnikowski, Wojciech. “New Philharmonic of Chicago - Three Concepts.” Archivolta Feb. 2011. Web.

*Cover and feature article

Professional skills

AutoCad + Revit 2012 + 3ds Max 2012 + Sketch up + Adobe Creative Suite + Microsoft Offi ce Suite

AppendixGalileo Pavilion CD’sHigh Tech ResearchPhotographyArtSketches

Galileo Pavilion CD’s

High Tech Architecture High Tech Architecture for the 21st Century:

Architecture in the Digital Age

From an architectural movement that fi rmly established itself in the 1970’s, High tech architecture has lead to some awe inspiring structures. “High Tech” was a term that was derived from architects catching the wave of Alternative energies, new construction methods, and newer technologies. As a style, the High Tech architecture from the 1970’s to 2000 was a manner of designing that usually used steel and glass explicitly expres-sively. It adhered to a strict honestly of expression and made use of industrial technologies. As Colin Davies puts it in his book, “High Tech Architecture”, the style could “be defi ned in purely personal and historical terms as the label we apply to almost any building designed in the last twenty years by Richard Rog-ers, Norman Foster, Nicholas Grimshaw, or Michael Hopkins.” There are also many other architects who designed in this style at the time but these aforementioned gentlemen were the ac-knowledged leaders of this movement. In the contemporary age, High tech architecture has come to mean so much more than structurally expressive structures made of steel and glass. With technologies in the twenty fi rst century, High Tech archi-tecture maintains its adherence to expressive structure and fl exible uses but forms of modern are taking many new and exiting shapes. It is High Tech Architecture in the digital age.

This is a sample of my research thesis of my last semester of university stud-ies. The aim of the re-search was to discover what High Tech architecture is and fi nd current examples of the style. Much atten-tion was given to structure and the characteristics that qualify buildings as “High Tech.”

Research also included a look at structures that were the forefathers of the architectural movement towards High Tech. Ex-amples included; the Eiffel Tower, Tetrahedral City by Bucky Fuller, Jean Prouve’s Maison du Peuple, Centre Georges Pompidou, Lloyd’s of London and the Hong Kong Bank by Sir Norman Foster.

30 St. Mary Axe,

London, UK

Norman Foster

The structure of the building is what really makes this building unique and interesting. The building has a steel framed central braced core, containing lifts, risers, and stairs. From this central core, radial steel beams span onto a perimeter of columns which carries the fl oor plates of lightweight concrete. This building is a version of a hull and core structure that takes thirty six outer columns and forms them into a self bracing diagonal grid structure similar to the form explored in Foster’s Humana Building. Unlike the usual Cartesian repetition of standard joints, the connections are complicated and made up of computer controlled fabricated connections. The design of the structure was elongated when constructed compacted into its fi nal resting place as calculated.

Like Foster’s Swiss Re Headquarters in London, the Hearst tower is structurally framed with a diagrid structural system which utilizes twenty percent less steel than a traditional Cartesian style construction. Along with the use of less steel on the project, Foster claims to have used steel with a recycled content value of up to eighty percent. Other environmental attributes that are characteristics of the tower are; a radiant heating and cooling system which uses rain water collection to circulate through Polyethylene tubing embedded under the fl oors, conduc-tive limestone paving in the atrium, and rainwater harvesting for plants and the atrium water feature. The building has been designed to use twenty six percent less energy than a typical offi ce building in New York, New York. In 2006, the Hearst tower became the fi rst LEED Gold skyscraper in New York according to the United States Green Building Council.

The seventy seven meter tall structure is broken into two sections. The underground portion of the palace houses a 1,500 seat opera hall with an auditorium and performance equipment design by Anne Minors Performance Consultants and acoustics by Sound Space Design. The structure making up this bottom portion is concrete and has been engineered to withstand the extreme high and low temperatures of that region. The top portion, the exposed pyramid is a fi ve storey steel structure made up of triangles. The fi ve stories are as high as the base is wide. Each triangle of the structure is twelve meters on each side. The lower three stories of the pyramid are clad in pale granite. The upper two stories form a glazed apex and are glazed with stained glass doves by British artist Brian Clarke. The pyramid is to be the centerpiece of the Kazakhstan’s presidential park.

Hearst Tower

New York, NY

Norman Foster

Palace of Peace and Reconciliation

Astana, Kazakhstan

Norman Foster

Khan Shatyr Entertainment Center

Astana, Kazakhstan

Norman Foster

The Khan Shatyr Entertainment Center is said to be a symbol of Kazakhstan’s bright future. At an estimated cost of $400 million, the large tent-like cable-net structure designed by Foster and Partners is located at the north end of the new city axis and has a height of one hundred and fi fty meters. The structure encompasses an area in excess of 100,000 square meters. Held up by a large mast of three trusses, the envelope of the center is made up of three layers of ETFE and is designed to shelter the enclosed programmatic spaces from the harsh weather extremes of Astana and. The ETFE is translucent and allows daylight to wash the interiors and the climate controlled water parks. The design of the center allows the occupants to feel as if they are in the summer heat all year long even while it is -35 degrees Celsius outside.

Torre Agbar

Barcelona, Spain

Jean Nouvel

The structure of the Torre Agbar is quite sophisticated. It is made up of two structurally rein-forced concrete hulls. It is much like Norman Foster’s Swiss Re skyscraper in London with a strong central core housing services and circulation for the building which the fl oor plates ex-trude out from to the outer structure, only made up of concrete. Like the Gherkin, there are no vertical columns in the offi ce spaces throughout the building. The structural loads are carried from the inner core to the outer structure. The perimeter concrete structure is pierced by 4,400 different window openings in irregular fashion creating variation to otherwise conventional of-fi ce fl oors. At the thirtieth level, a crown of steel and glass replaces the reinforced concrete.

Tour Sans Fins

Paris, France

Jean Nouvel

In order to achieve the objective of having no origination point and having no ending point, Nouv-el played with building tectonics and used different structural systems. The building does not rest on the ground to average observer, but vanishes into a crater in the ground which is twenty fi ve meters deep and just a few meters wider than the tower. The skin of the building is what really gives the building it’s origin less quality. The base the tower is clad with grey granite which gives way to a softer limestone as it ascends. The limestone gives way to a screen printed glass that eventually transforms into clear glass. The effect is a building that kisses the sky. This building has a tower of Babel like quality, reaching up to heaven. Unlike a tower of masonry, this 425.6 meter building of glass simply passed God’s gaze.

London Bridge Tower aka. The Shard

London, UK

Renzo Piano

In 2009, construction on the London Bridge Tower began. A tower that has come to be known as the Shard, a name given to the tower by the buildings architect, is a spire of glass emerging out of the Southwark area. The building is 309.6 meters tall and has seventy two habitable fl oors. With an area roughly 110,000 square meters, the tower acts as a vertical city housing shops, offi ces, hotels, restaurants, museums, and residential units. The structure is predominately made up of steel with and core of reinforced concrete. The concrete hull actually rests atop a structure of steel. At ground level, occupants feel as if they are traversing through a forest of slender steel columns. The façade is a curtain wall system made up of White Iron free glass. This glass will retain a clarity of refl ected light and create and will shimmer different shades throughout the day.

World Trade Center 3

New York, NY

Richard Rogers

The real attraction of the building is the three fl oor lobby space that offers a big picture window to the World Trade Center Memorial across the street. The glazing system for the lobby space is a cable net tension system which further emphasizes the connection to the memorial. Upper level fl oors will straddle those beneath in a ‘podium building formation, lending the tower a distinct interlocking nature and facilitating the high occupancy of the offi ce fl oors. The building was to be projected as LEED Gold under the United States Green Building Council and utilized the PureCell System for power genera-tion. Overall, this was to be a real gem for the area and was projected to be the fourth tallest tower in New York but it will be yet another sad story for diffi cult economic times in the city’s history.

Turning Torso

Malmo, Sweden

Santiago Calatrava

The core is an enormous concrete pipe, with an inner diameter of 10.6 metres and walls which gradu-ally go from 2.5 metres in thickness at the bottom to about 0.4 metres at the top of the building. Inside the core there are lift shafts and staircases. The structural slab is fi tted around the core. The forms for the structural slab are shaped like slices of a pie, and together they form an entire fl oor. The forms were rotated 1.6 degrees for each fl oor in order to create the characteristic twist of the building. The most obvious element of structural expression on the building is the outer steel support which is linked together by a spine. The steel support transfers shearing forces to the supporting concrete core. The total weight of the steel support frame is approx. 820 tons. The facade is made up of 2,368 glass windows and 2,313 aluminum panels. Due to the twisting of the building, the facade is double curved. In order to follow the twist of the building, the windows are leaning either inwards or outwards, de-pending on which side of the building they are on.

Burj Al Arab

Dubai, UAE 1999

W.S. Atkins and Partners

The building is a braced framed structure comprising of two wings housing the hotel accom-modations. In the void of the v-shape is the soaring 180 meter tall atrium. The exoskeleton structure of the building is expressed and looks like the structure of a wind surfi ng sail. Atop the building, a large cantilever carries the loads of the hotel’s 360 degree restaurant and the helipad situated on top. Many wind tests were done to locate the primes spot for a helipad, due to the ferocious wind coming of the desert and in from the sea.

Glasgow Wing Tower

Glasgow, UK

Richard Horden

The tower is shaped like an aerofoil with computer controlled motors to turn the tower into the wind in order to reduce wind resistance and improve stability through aerodynamic forces. The structure of the building also needed to be very light due to its rotating capabilities. The structure is a three-part system braced by secondary tubes to form a vertical, space-frame truss capable of resisting lateral loads and twists. The tower has a central stairwell and two lifts with a twelve person capacity.

Diagonal Zero Zero

Barcelona, Spain

Enric Massip-Bosch

The structural system of the building is a tube in tube scheme, with a bearing central core and a perimeter structure along the façade. The exterior structure is made up of two different but equally expressed systems. The small slender vertical interior pillars take on the compres-sive forces and the external diamond lattice cross bracing structures bear horizontal forces and torque. The greatest concentration for the cross bracing structural system is concentrated mostly on the bearing elements in the lower half of the tower. The fl oors are solid concrete slabs that transmit horizontal forces to the central core. The facade is a modular curtain wall made of white aluminum profi les and extra transparent glass with white ceramic paint serigraphy, according to a vertical pattern that reinforces the slenderness of the building. The inner struc-ture is placed every 1.35 meters and in combination with the exterior structure, a pattern is developed that contributes to the diffusion of solar light and controls glare to the interior spaces.

Deutsche Post Building

Bonn, Germany

Helmut Jahn

The most interesting and high tech elements of the building are how this building is able to use forty percent less of typical operating costs for the same build costs as comparable to a conven-tional building. The heating and cooling system is quite sophisticated and would need to be for an all glass build-ing that utilizes less power in operation. The concrete fl oors have cast iron water fi lled pipes that heat the building. Also, the concrete mass of the building acts as a thermal fl ywheel. The double envelope system is utilized to use stack ventilation to help cool the building. The space between the innermost wall and outer wall is heated and naturally forces an up draught to expel the hot air from the interior spaces. Stack ventilation is also a by product of the large central atrium spaces and further reduces heating and cooling costs.

Pyramid of Light

Wojciech Lesnikowski and David Folsom

Prototype

There are many high tech features to this building. David Folsom, studied many high tech build-ings during the execution of the design and incorporated the design elements that a character-istic of the so called High Tech style. The Lattice work of structural steel is explicitly expressed throughout. There are two structural systems seen in the design. The fi rst is the primary struc-ture of the building which is composed of a strong central steel framed core and a perimeter structure of a network of steel vierendeel trusses that buttress themselves against each other and are bridged to the core. The foundation is concrete and set on a system of piles that mush travel 20 meters into the bedrock of the ocean fl oor. Engineers of the day are completely blown away by the marvelous feet involved in creating and Island and then building a 350 meter tall pyramid atop it.

Monk at Buddha Tooth Relic Temple

SingaporeJanuary 2011

Next Page

Top: Marina Bay Resevoir from Marina Bay Sands

Bottom: Marina Bay Sands from across resevoir

Photography

Buddha Statue with effects from Buddha Tooth Relic Temple

SingaporeJanuary 2012

Portal at St. An-drew Cathedral.

Scotland, UKAugust 2008

Mary Queen of Scots hideout

Scotland, UKAugust 2008

Art

Sketches

WORKS CITED FOR RESEARCH THESIS PAPER

Books:

Piano, Renzo, and Philip Jodidio. Piano: Renzo Piano Building Workshop, 1966 to Today. Kö ln: Taschen, 2008. Print.

Wells, Matthew. Skyscrapers: Structure and Design. New Haven, CT: Yale UP, 2005. Print.

Harriss, Joseph. The Tallest Tower: Eiffel and the Belle Epoque. Boston: Houghton Miffl in, 1975. Print.

Bolloch, Joelle. The Eiffel Tower. Milan: 5 Continents Editions, 2005. Print.

A Study of a Prototype Floating Community. Cambridge, MA, 1968. Print.

Fuller, R. Buckminster. Ideas and Integrities, a Spontaneous Autobiographical Disclosure. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print.

Davies, Colin. High Tech Architecture. New York, NY: Rizzoli International Publications, 1988. Print.

Foster, Norman. Norman Foster. Berlin: Ernst, 1989. Print.

Websites::

http://www.jeannouvel.com/english/preloader.html

WEICHSELBAUM, SIMONE. “The Incredible Shrinking Building.” Daily News. New York Daily News, 22 Jan. 2012. Web. 19 Apr. 2012. <http://www.nydailynews.com/real-estate/3-wtc-incredible-shrinking-

building-article-1.1010082>.

“3 World Trade Center || About the WTC || World Trade Center ||.” || World Trade Center ||. Web. 19 Apr. 2012. <http://www.wtc.com/about/offi ce-tower-3/3-world-trade-center-design>.

“3 World Trade Center.” 3 World Trade Center. Rogers Stirk Harbour + Partners. Web. 19 Apr. 2012. <http://www.richardrogers.co.uk/render.aspx?siteID=1&navIDs=1,4,25,1261,1479>.

“HSB Turning Torso.” HSB Turning Torso. HSB. Web. 19 Apr. 2012. <http://www.hsb.se/malmo/turningtorso/in-english>.

“Burj Al Arab.” Emporis. Web. 23 Apr. 2012. <http://www.emporis.com/building/burjalarab-dubai-unitedarabemirates>.

“Glasgow Science Centre:what’s on at the IMAX, Science Mall & Glasgow Tower.” Glasgow Science Centre. Web. 27 Apr. 2012. <http://www.glasgowsciencecentre.org/glasgowtower.aspx>.

“ArchDaily: The World’s Most Visited Website for Architects.” ArchDaily. Web. 27 Apr. 2012. <http://www.archdaily.com/148680/torre-diagonal-zero-zero-emba/>.

http://www.eltriangle.eu/cat/notices/2011/01/telefonica_estrena_seu_a_catalunya_amb_l_edifi ci_torre_diagonal_zerozero_20333.php

“Post Tower.” Emporis. Web. 29 Apr. 2012. <http://www.emporis.com/building/posttower-bonn-germany>.

“Post Tower.” Wikipedia. Wikimedia Foundation, 18 Apr. 2012. Web. 29 Apr. 2012. <http://en.wikipedia.org/wiki/Post_Tower>.

“THE COLLECTION.” MoMA.org. Web. 29 Apr. 2012. <http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:8135>.

Vegesack, Alexander Von., D’Ayot Catherine. Dumont, and Bruno Reichlin. Jean Prouve: The Poetics of Technical Objects. Weil Am Rhein: Vitra Design Museum, 2005. Print.

“Offi ce De Tourisme De Clichy La Garenne.” Clichy. Web. 29 Apr. 2012. <http://www.clichy-tourisme.fr/fr/la-maison-du-peuple,article-584.html>.

www.rsh-p.com/Projects/Lloydsof london

“Hongkong and Shanghai Bank Headquarters.” Foster Partners. Web. 01 May 2012. <http://www.fosterandpartners.com/Projects/0501/Default.aspx>.

Rogers, Richard. “Centre Pompidou.” Centre Pompidou. Web. 1 May 2012. <http://www.rsh-p.com/work/all_projects/centre_pompidou>.