Kevin LaferriereUndergraduate Portfolio

2011-2015

DesignHabitat 5: Escambia County Residence

Advisor: Justin MillerSpring 2014, Spring 2015Flomaton, AL

The design of this home was part of the “Green Home Alabama” grant program, which is a partnership between the Alabama Association of Habitat for Humanity (AAHA) and DesignHabitat, an Auburn University program that involves student teams in the design of innovative Habitat homes. The focus of this grant program is to identify and help implement a set of best practices that boost the standard of environmental performance among Habitat affiliates.

Using the Home Energy Rating System (HERS) index as a metric, this home sought to achieve a score of 24 or lower while still accomodating the unique wishes of the client family. Fundamental principles of massing and plan organization were employed to mesh with the house’s climatic context, but the project innovated most in its construction methods and materials. Advanced framing, a double layer of continuous exterior insulation, a conditioned attic, metal roofing, and a rain screen cladding system were some of the methods used in this design. Additionally, high efficiency mechanical and lighting systems were employed whenever possible (heat pump water heater, ductless mini-split conditioning system, LED lighting fixtures).

The house, as built, achieved a HERS score of 46, the lowest of any DesignHabitat residence. With the future addition of a 2k PV array, though, the house will achieve a score of 21.

Flomaton, AL

site plan

cross-ventilation

continuous exterior insulation +high performance windows

clustered utilities

ideal solar orientation +roof angle for future PV

plan.

two bar scheme + circulation spine.porches act as thermal buffers.

tranverse section.

ceiling plane shifts to differentiate public and private spaces.continuous exterior insulation creates a tight “thermal wrap”.

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exposed fastener galvalum roof.

2” rigid exterior insulation + 9 1/4” hi-density batt

pre-fabricated raised heel trusses

advanced framing (studs @ 24” o.c.)

1.5” rigid exterior insulation

rain screen

raised heel trusses create more space between the truss and the head plate to prevent thermal briding and allow the insertion of more insulation.

assembly diagram showing the staggered joints of the double layered exterior insulation.

rain screen diagram

pier foundation negotiates change in grade

connectivity of living spaces + shifts in ceiling plane

spacious screened porch creates unique connection to site

house floats above the site

17th + 2nd Community Wellness Center

Studio: Rebecca O’Neill-DaggFall 2013Birmingham, AL

Health is not simply the absence of illness, but a holistic state of well-being. This proposal, situated at the corner of 17th Street and 2nd Avenue South, advances this thinking about health through program and engagement of the changing urban context. The program is split into two discrete units: public and clinic functions. A central courtyard and roof terraces tie these units together visually and experientially. Nutritional demonstration gardens and ecological gardens engage visitors and promote lifestyles that are healthier for the body and for the environment.

Birmingham’s future is bright. This proposal reinforces existing plans for 17th Street as a “green connector” while also catalyzing activity on 2nd Avenue with public program and architectural presence. The vertical concrete bands that house the windows emphasize verticality to give the proposal a strong urban presence when viewed from a distance. The exaggerated floor plates and brick façade reduce the proposal to a more human scale as one approaches. Along with the expansion of Railroad Park and the Red Rock Ridge and Valley Trail System, this proposal will anchor healthy living and healthy thinking in this growing urban community, advancing wellness both today and tomorrow.

Birmingham, AL

site + program

residential growth

separate public + clinic

activate 2nd avenue

reinforce 17th street master plan

gardens and terraces

context plan

surgery + mental health

aerial view

imaging + oncology

clinic modules

skilled nursing units

public program

second level plan - public program

ground level plan - public + clinic program

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1 cafeteria + gathering2 kitchen3 clinic reception4 clinic modules5 parking garage6 demonstration garden + ecological education7 fitness gym8 wellness libraries9 skilled nursing common area

typical skilled nursing unit floor plan

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cafeteria seating + gathering space looking into demonstration garden

clinic reception looking into central courtyard

section through skilled nursing room and library space showing wall assembly and shading strategy

steel decking (053100)

decorative metal railing (057300)

cast-in-place concrete (033000)

glass-fiber-reinforced concrete panel (034900)

structural steel framing (051200)

cold-formed metal framing (054000)

thermal insulation (072100)

weather barrier (072500)

aluminum-framed storefront (084113)

gypsum board (092900)

metal HVAC duct (233113)

aluminum-framed windows (085113)

glazing (088000)

metal fabrications (051200)

roof terrace overlooking demonstration garden

Poustinia

Spring 2014 - Summer 2014Auburn, AL

Poustinia is the Russian word for “desert”, but for several decades it has been used to describe small, sparsely furnished cabins where one can go to be alone with God. This poustinia was designed and constructed for a family in Auburn, AL. During certain times of year, the fam-ily opens up their home on Fridays to anyone who may want a quiet place to pray, read his or her Bible, etc. The family wanted to take advantage of the beautiful site surrounding the main house and build a structure tucked away in the woods.

The family approached myself and another student who was a graduate from Auburn’s Building Science program to design and build the structure. This project provided the unique opportunity to see a project from concept to completion, work within the constraints of a fairly tight budget, and also allowed me the chance to physically build something that I had designed.

client presentation plan + section

perspectives shown to the client during the approval process

site before construction

girder to post connection process

decking in progress

metal roof installationwall framing

Design Build Institute of America (DBIA) National Student Competition:Residence Hall at the College of William & Mary

Advisors: Ben Farrow, Paul Holley, and Mike ThompsonFall 2013Williamsburg, VA

This design was part of a multi-stage competition hosted by the DBIA. I participated in the competition with three thesis students from Auburn’s Building Science program. The first part involved responding to an RFQ for a hypothetical 80,000 sf housing project on the campus of William & Mary. Forty teams submitted entries in this first phase, but only nine regional win-ners were selected. Those nine teams were then charged with the task of responding to an RFP in an abbreviated time frame. Out of those nine teams, three were selected to present their projects to a jury in Las Vegas, NV at the annual DBIA national convention.

The RFP involved a schematic design component as well as scheduling, phasing, estimating, etc. As the only design student on the team, I was chiefly focused on the schematic design of the building, but I was able to coordinate with the team on the construction management aspects, as well.

The Rural Studio is a design/build program located in Newbern, AL. The third year studio/site project is the Rural Studio Farm, an experimental model of self-sufficiency and sustainable practices. The class of Fall 2012 continued construction of a passive solar greenhouse while also designing its water collection, water storage, and pressurization systems.

In addition to studio and site work, teams of students also researched and replicated renowned chair designs. My team’s chair was Alvar Aalto’s Stool 60. As part of a history and theory seminar class, students were assigned a notable historical house in the region. They then measured, drafted, and rendered the house in watercolor. Weekly fieldtrips with rapid analytical sketching sessions was an additional component of the seminar.

Rural Studio Farm

Studio: Elena Bartel + John MarusichFall 2012Newbern, AL

greenhouse construction

assembling and welding “Foundation Barrels”

assembling roof structure

viewer only sees glorified steel and glass structure from a distance

viewer understands that the berm houses the water when nearby first flush diverter filtration system

rethinking new concrete septic tanks as water storage system

tearaway section perspective showing collection, filtration, and storage systemsimage credit: Stephen Bianchi

plan

stool elevation

chair construction “storyboard” sketches

Cut plywood into 4’ x 3’ sections on table saw.

Cut (2) 4’ x 9’’ sections on table saw. Cut (8) 9’’ x 9’’ squares with table saw. Cut 3’’ x 15’’ x 1/2’’ and 3’’ x 24’’ x 1/2’’ plywood pieces on table saw.

Laminate and clamp (4) 9’’x 9’’ squares using wood glue and allow several hours to set. Re-peat.

Cut straight edges on onto 9” x 9” block using band saw and table saw to establish a 90 de-gree angle.

Scribe radius, insets, and clamping edge onto 9’’x 9’’ block. Use band saw to cut radius. Sand Radius.

Cut, laminate, and clamp block pieces for jig. Screw 3’’ x 15’’ and 3’’ x 24’’ plywood pieces into insets.

Screw jig onto plywood base.

Mark bending point on jig. Screw “stopping block” to keep bends consistent.

Screw Jig onto solid surface (shop table). Cut 36’’ and 22’’ pieces with chop saw. Plane one side. Laminate and clamp. Rip on table saw to 2 1/2” width. Keep re-maining for inserts.

Plane 2 1/2” wide piece to 1 1/8” thick-ness.

Scribe measurements for kerf cuts and co-mensate for table saw radius.

Starting farthest from the fence measure 1/8” inward. Cut to mark using table saw. Repeat for remaining kerfs. Insert thin scraps into each kerf to keep leg stable as it is cut.

Clean out excess left in kerfs by table saw radius using the band saw, pointed chisel, and rubber mallet.

Rip cut inserts at 1/8” thickness using table saw.

Match best fit for inserts and kerfs. Prep steam box and steamer. Wait for vis-ible steam.

Place leg and inserts into steam box. Wait for 1 1/2 to 2 hours.

Remove all pieces from steam box simul-taneously. Set leg onto stopping block and clamp in place.

Generously apply glue to the bottom and sides of insertts. Place inserts into kerfs. Bend each “layer” while also applying more glue.

Allow to set for at least 24 hours (prefer-ably in a warmer environment).

Remove leg from jig. Chop excess from both ends. Sand to provide level surface. Table saw excess from sides.

Remove sub-base from router. Measure and mark bottom of router onto 1/4’’ luan sheet.

From edge of router bit, measure the ra-dius of the seat top (6 5/8”).

Cut 6 pieces of 1’’ x 6’’ birch to 16’’ lengths using chop saw. Compare and pair pieces according to color and grain.

Laminate and clamp. Plane top and bottom surfaces until a thickness of 1 1/4’’ is achieved. Plane side surfaces using jointer.

Apply glue into joints and clamp all 3 pieces together.

Using a table router, cut tongue and groove joints on sides. Check joints and sand down if necessary.

Determine top and bottom surface for seat. Screw circle jig into the center of the bottom surface.

Using plunge router, cut out seat with several passes.

Sand surfaces and fill hole in bottom with wood putty.

Drill pilot holes into leg and seat. As-semble, then disassemble. Apply tongue oil and sand all pieces. Reassemble.

DONE!

A contemporary of Mies, Corbusier, Gropius and other pioneers of the Modernist move-ment, Aalto had a distinctly different view of rationalism and the relationship that archi-tecture should have with nature. Aalto’s ra-tionalism focused on the physical and sub-conscious needs of the user rather than the variables of economy and efficiency; he pro-posed a more “human” modernism. He was intensely interested in mass production and standardization of building parts; however, he always celebrated the unique character of handcraft and uniqueness of each project’s context.

Aalto was a proponent of using natural, local materials. Man-made materials, like tubu-lar steel, were unfit for the human touch. He believed that architecture should stimulate one’s entire being. His architecture and furni-ture, therefore, have a thoughtfully designed tactile aspect.

ALVAR AALTO STOOL 60

STOOL 60 HOW TO MAKE IT

THEORY: MATERIALSTHEORY: ARCHITECTURE

STOOL 60: THEORY

STOOL 60: IMPACT

STOOL 60: INFORMATION BENDING BIRCH WOOD

THE STACKING STOOL

kevin laferriere/quinn mackenzie/trent tepool

Functionalism The chairs are easily stackable and relatively small, allowing for easy storage and saving of space.

TechnologyThe chairs were mass-produced by Artek and employed an innovative “steam-bending” pro-cess.

Poetic + UnconsciousUser only comes into contact with wooden surfaces. Organic curves allude to natural forms. A beautiful object is created when chairs are stacked. Aesthetic beauty coin-cides with basic function.

The production processes that Stool 60 pio-neered revolutionized furniture design. The concept of reproducing handcraft on a grand scale meant that high design could become available to the masses. The steam-bending of the legs and the “stackability” of the stool set a precedent for future designers and a high standard of craft to emulate.

The formation of laminations/layers al-lows wood to be bent into curved shapes by stretching and compression under heat or steam.

The species of wood most generally used by Aalto is birch.

BIRCH• A product of heavily forested Finland• Outstanding qualities of firmness and hard

surface• Unusual pliability• Few knots• Immense gluing strength• Pale yellowish shade

Like many of Aalto’s chairs and tables, Stool 60 is designed to stack in great numbers.

Result: 20 or more stools can be stacked ver-tically to occupy no more floor space than one stool.

This feature is not only convenient for average users of the stools, but extremely convenient for the manufacturer and distributer. It saves space (and therefore costs) at every point: factory storage, crating, transportation, warehouses, and showrooms.

• Designed between 1932-33

• Three-Legged Stacking Stool designed to be mass-produced

• Wood: Solid Birch

• Uses Aalto’s patented laminated bent wood leg

• Dimensions Height: 17-3/8” Diameter: 13-1/2”

• The four-legged version is known as Stool E60

finished aalto stools

Color Theory + Spatial Effect

Seminar: Kevin MooreFall 2014

The following exploration was part of a Sensory Design seminar, which asked students to consider often over-looked design variables such as perception, the intertwined nature of sensory systems, and time. This series of studies sought to uncover the spatial implications of color theory at discrete moments and over time. The basic principle which launched this inquiry was the fact that warm colors appear to advance towards the viewer while cool colors appear to recede. Rather than applying the color to a surface, though, the following devices took advantage of reflected light’s “atmospheric” effect. This reflected colored light becomes a substance that permeates an entire space. While the basic premise was straightforward, many unexpected discoveries were made over the course of the exploration. This was an invaluable lesson. It showed that looking at a simple question in a variety of ways will inevitably yield unexpected results.

These images of Steven Holl’s Chapel of St. Ignatius were the chief inspiration for the experiment. The quality and depth of color created solely by reflected light was fascinating, and the spatial implications were intuitively obvious. Rather than a color being appreciated and understood as surface application, colored reflected light could become a substance that permeates an entire space. I asked myself how this idea could be further explored.

This device was part of a series that looked at both the surface application of color and its behavior in the presence of reflected color. The center square is colored either a cool or warm color. The reflecting side was colored the opposite.

The hypothesis was that the effect of the center and border color would be exaggerated by the presence of its opposite.

As you can see in the pictures to the right, the reflected red light advances and appears to physically fill the void around the border. The blue square in the center recedes and the roles of void and surface are exchanged.

The experiment was taken one step further by applying the principle of complementary colors. Complementary colors have the highest constrast. Orange and blue are complementary colors, as are red and green.The hypothesis, therefore, was that the effects would be even more exaggerated. By comparing these images, it is apparent that the hypothesis was correct.

The next phase was to test the spatial effect of reflected color, while still applying the previous principles of color theory. Different “caps” were created for the viewing tube so that multiple scenarios could be generated rather quickly.

The images above show the effect of caps that were a single color. The device was pointed directly at the sun when these were captured. It was anticipated that the red light would make the space seem contracted while the blue light would increase the space’s depth. The effect, however, was not as pronounced as anticipated.

I didn’t take into account the directionality of the sun’s rays, so re-positioning the viewing tube and allowing the sun to stike the surface obliquely created some unexpected effects. This was the first emergent discovery of the experiment series.

The next series of studies combined the spatial exploration with the principle of complementary colors. This series gave rise to several more unexpected results.

The hypothesis was that the opposite colors would cause the end of the space to seem angled, the warm side advancing and the cool side receding. This effect was not very pronounced, but, again, testing the device in the sun produced some more unexpected results.

These two images are using the same cap. As you can see on the left, though, the angle of the light makes it appear as if there is only one color rather than two.

Here is another example of an emergent effect. Again, these images are of the same cap, but the entire device has been rotated. As you can see, the ambient light and thus the character of the space changes quite significantly.

This image appears once again to show the cap of the final test. The emergent discoveries regarding the sun angle and different colors gave rise to this test. How would the character of the space change over the course of a day when two polar opposite conditions could theoretically exist?

The device was moved in an arc to replicate the motion of the sun, and the following series ofimages were taken at different points along that arc.

While this test was not so precise as to document specific hours of the day or months of the year, it does show quite clearly the drastic variation that such a simple intervention can have on a space.

The images to the right are in sequence. One aspect that these images cannot convey is the transition from one “atmosphere” to the next. This phenomenon can only be captured in video, two of which were included in the original report.

Due to time and material constraints, a mechanism for matching visual effect to time of day and year could not be designed and constructed. However, it is easy to see the possibilities inherent in this simple approach.

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Sketching: Thinking / (non)Thinking

I enjoy a seemingly paradoxical relationship with sketching.

On one hand, sketching is a way of processing information. The transformation of abstract thought into physical artifact, whether an image or an object, allows one to see those thoughts from a different perspective. Inevitably, this process yields unexpected results that wouldn’t have arisen otherwise.

On the other hand, sketching is a way to let the unconcious run free for a little while. The chances of discovery, then, are intensified. Thoughts and ideas are not burdened by preconceived notions, ideas, and subject matter.

Most of the following images are of the latter variety. They are a glimpse into some of my non-architectural daydreams and thought processes.

KEVIN LAFERRIERE6801 Eagle StreetFort Myers, FL 33966

kjl0014@auburn.edu239.462.3482

EDUCATION

AWARDS

ACTIVITIES + INVOLVEMENT

PROFESSIONAL + WORK EXPERIENCE

Auburn University (AU) — Auburn, ALSchool of Architecture, Planning, and Landscape Architecture (APLA)Bachelor of Architecture, expected graduation May 2015

2010 – Present

Fall 2012

Summer 2013

Summer 2014, Winter 2015

Fall 2013

Spring 2011, 2013-15

2010 – Present

2013 – Present

Spring 2013

Spring 2014,Present

Design-Build Institute of America (DBIA) National Student Competition

Auburn Christian Student Center, active member

College of Architecture, Design, and Construction Ambassador

Perkins + Will Architects - Dallas, TX

McAlpine Tankersley Architecture - Montgomery, AL

Rural Studio (Design-Build)

Spring Break Mission Trip Team - Honduras

2nd Place - Presentation in Las Vegas, NV

Study Abroad - University of Arkansas Rome Center

DesignHabitat 5 (AU Partnership with Habitat for Humanity)

Designer: Part of a team of students that designed a Habitat residence. Emphasis was placed upon energy performance and sustainable practices. Currently producing a research document for Habitat affiliates to promote and assist the design and construction of higher performance homes.

Intern Architect: Assisted in the production of drawings in all phases of design and participated in some interdisciplinary coordination. Most of the work was hand-drafted but some digital modeling in SketchUp was implemented.

Intern Architect: Produced construction documents using Revit and assisted with interdisciplinary coordination.

KEVIN LAFERRIERE6801 Eagle StreetFort Myers, FL 33966

kjl0014@auburn.edu239.462.3482

SKILLS

REFERENCES

Chris Tippett, Partner and Project Architect / McAlpine Tankersley Architecture / 501 Cloverdale Road, Suite 201 / Montgomery, AL 36106 / 334.262.8315 / chris@mcalpinetankersley.com

Randal Vaughan, Adjunct Professor + Architect / 878 Peachtree Street, Suite 629 / Atlanta, GA 30309 /404.542.3822 / randal.vaughan@live.com

Justin Miller, Associate Professor + DesignHabitat Advisor / Auburn University / APLA / 104 Dudley Hall / Auburn University, AL 36849 / 334.844.5171 /jkm0001@auburn.edu

Written and verbal communication, hand-drawing (sketching, drafting, and doodling), research, diagramming, lifting relatively heavy objects, and general comedic relief.

Proficient in Revit, SketchUp, Adobe Creative Suite, AutoCAD, and learning new programs quickly. Experience with Ecotect and Vasari.