Portfolio // Le Phuc

A collaborative collection of undergraduate projects in Environmetal Design

Le T. Phuc

Architecture & Design

Archit

ecture

can t

ell a

story.

A r c h i t e c t u r e i s t h e c o m m u n i c a t i o n o f a s t o r y - a p r a c t i c e o f t r a n s m i t t i n g e x p e r i e n c e f r o m o n e p e r s o n t o t h e n e x t , f r o m g e n e r a t i o n t o g e n e r a t i o n . A t t h e c o r e o f t h e s e e x p e r i e n c e s , w e a l l h a v e i n c o m m o n f a m i l i a r y e t u n i q u e v o c a b u l a r i e s , v a l u e s a n d b e l i e f s t h a t h a v e a l l b e e n s y n t h e s i z e d i n l a n g u a g e a n d a r t .

A r c h i t e c t u r e i s a s t o r y p r e s e n t e d i n t h e l a n g u a g e o f t h e t e c t o n i c , m a d e r e a l b y t h e p h y s i c a l a n d p h e n o m e n o l o g i c a l . A r c h i t e c t u r e i s a s t o r y t h a t e v o k e s t h e s u b l i m e a n d t h e s i m p l e . I t f a c e s s o m e o f t h e m o s t d i � c u l t q u e s t i o n s o f t h e w o r l d t o d a y. A r c h i t e c t u r e i s f a c e d w i t h l i m i t a t i o n s , s u c h a s m a t e r i a l s , p h y s i c s , a n d p r a c t i c a l i t y ; s t o r y t e l l i n g h a s n o l i m i t a t i o n s . O n l y t h r o u g h a m a n ’s i m a g i n a t i o n , h i s p a s t , a n d h o p e s f o r t h e f u t u r e , c a n w e l o o k a t t h i s s t o r y t e l l i n g , a s g u i d a n c e a n d i n s p i r a t i o n . . . To r e w r i t e t h e p a s t , w h i l e s t i l l e x p e r i e n c i n g a n e w f u t u r e . . . i n a r c h i t e c t u r e .

T h i s p o r t f o l i o i s a n i n v e s t i g a t i o n o f h o w a r c h i t e c t u r e c a n t e l l a s t o r y t h r o u g h p r o c e s s a n d p r o d u c t p e r f o r m e d i n m i x e d m e d i a . I t i s a l s o a s t o r y o f m y d e v e l o p m e n t a s a d e s i g n e r f r o m y e a r o n e t o p r e s e n t d a y.

C o n t e n t s 0 1B l a c k N a r c i s s u s

0 2H o u s e o f t h e F u t u r e

0 3A q u a t i c C e n t r e

0 4A c o u s t i c Wa l l Tr e a t m e n t

0 5B I M a n d I n t e g r a t e d P r o j e c t D e l i v e r y T h e s i s

0 6

C i n e m a t i c A r c h i t e c t u r e 0 7

B r a z i l i a n R e s i d e n c y

0 8Te c t o n i c s o f M a t e r i a l s

0 9M o d u l a r I n s t a l l a t i o n

1 0L i t e r a t u r e a n d A r c h i t e c t u r e

1 1T h o m a s Pa r k Pa v i l i o n

1 2Pe r s o n a l Wo r k

0 1N a r r a t i v e T h r o u g h D i g i t a l Fa b r i c a t i o n

B l a c k N a r c i s s u sYe a r T h r e e / / Fa l l 2 0 1 1 / / G a b r i e l E s q u i v e l

How can we communicate a stor y through the process of d igita l fabr icat ion? How can digital fabr icat ion teach about architec ture?

The precedent came from looking at contemporar y fashion sensibi l i t ies and techniques thinking of i t as an “haute couture” sur face. We also took a look at the 1947 Michael Powel l �lm “Black Narc issus,” where a group of nuns t ravel to a remote locat ion in the Himalayas to “domest icate” the local people and environment, only to �nd themselves increas ingly seduced by the sensual i t y of their surroundings. What was impor tant about the �lm was understanding the power of “sensat ion”, the recognit ion of your des i res to the point of se l f- contemplat ion; an aesthet ic d isplacement, you see your sensual se l f in the work as an ac t of narc iss ism. Narc iss ism as a natural condit ion of se l f-admirat ion and a distor ted sel f f rom real i t y, which i t i s more about the absurdit y of the “c ultural” concept in a pursuit for an argument of beaut y.

This projec t i s a garden of contemplat ion where the sur face of re�ec t ion is the piece i tsel f. The piece is joyous and ominous, i t attrac ts and repels because i t sense of super �cial ornamentat ion. I t c l imbs up the wal l caress ing i t. This p iece does not operate within the not ion of e�ec t ( l i teral re�ec t ion) but through a�ec t, a t rue moment of qual ia .

N a r c i s s i s m : S e l f - A d m i r a t i o n

Air-Intake Supply

Return Air Distribution


Conceptual form one O ption one O ption t wo

1

2 3

3

2

1

Air-Intake Supply



O n e

Two

Th re e

Fo u r

1 . Z i p p i n g p i e c e s t o c o n n e c t t o t h e m s e l v e s t o b u i l d t h e f o r m

2 . M a p p i n g o u t l a y o u t o f t h e p i e c e s t o s u c c e s s f u l l y p u t t o g e t h e r t h e f o r m

3 . C N C c u t t i n g t h e p i e c e s f o r a s s e m b l y

4 . D e t a i l e d i m a g e o f t h e c o n n e c t i o n f r o m o n e p i e c e t o t h e o t h e r

R e n d e r i n g

Air-Intake Supply



Air-Intake Supply



A i r � o w D i a g r a m

In Black Narc isuss, I was able to explore the aspec ts of parametr ic des ign us ing digital fabr icat ion. D ur ing the

durat ion of this projec t I volunteered in par t ic ipat ing in, I was exposed to the computer programs of R hino and

Grasshopper. S cr ipt ing was a lso a key e lement in the digital fabr icat ion process.

O b j e c t i v e s E x p l o r e d

0 2N a r r a t i v e T h r o u g h F i b r o u s F o r m a t i o n

D i g i t a l Fa b r i c a t i o nYe a r T h r e e / / S p r i n g 2 0 1 2 / / G a b r i e l E s q u i v e l

H o u s e o f t h e F u t u r e : Fa b r i c a t i o nThe design was prompted by the quest ion, “How can we design a house in ex treme environments that necess i tate the use of h igh per formance composite construc t ion whi le explor ing the generat ion of �brous assemblages through high populat ion agent-based methodologies?”

The design methodology involved feedback bet ween three main areas of des ign exper imentat ion: 1 . Mult i- agent generat ive des ign algor i thms, 2 . Expl ic i t d igita l model ing, and 3. Composite �ber fabr icat ion exper iments. The design prompted an organizat ion of matter that drew from an understanding of micro -struc tures such as those found in butter �y wings; where color and pattern are determined through the organizat ion as a geometr ical con�gura-t ion rather than through chemical attr ibutes such as p igmentat ion. In the fabr icat ion process, exper imentat ion in di�erent t ypes of res in and �berglass was examined. The process i s doc umented and narrates the future of des ign.

F o r m

P r o t o t y p e s

Air-Intake Supply



Z b r u s h E x p l o r a t i o n s

L i n e w o r k

Air-Intake Supply



E x t e r i o r R e n d e r i n g

In the House of the Future, I was able to explore the mixed medias of expoy res in and �ber glass. In the sec t ion of the house, d i�erent uses of res in and �ber glass were manipulated to achieve the form. The computer program used to create the form was Maya and the tex ture was created us ing ZBrush.


P r o j e c t O n e

O n e

Tw o

T h r e e

F o u r

F i v e

1 . Z i p t y i n g f o r m i n p l a c e 2 . C N C f o r m s c u t a n d c o v e r e d i n t r u c k b e d l i n i n g 3 . M a t e r i a l e x p l o r a t i o n o f d i � e r e n t t e x t u r e s s o a k e d i n c a r r e s i n a n d p l a c e d o n f o r m4 . A s s e m b l i n g o f t h e f o r m ’s p i e c e s5 . M a n i p u l a t i n g c a r r e s i n t o r e d u c e a i r b u b b l e s u n d e r s u r f a c e o f t h e s k i n

P r o j e c t Tw o

O n e

Tw o

T h r e e

F o u r

F i v e

1 . F o r m c o v e r e d i n � r s t l a y e r o f e p o x y r e s i n a n d � b e r g l a s s 2 . C o l l a b o r a t i o n o f r e d u c i n g b u b b l e s i n e p o x y r e s i n a n d � b e r g l a s s3 . U n m o l d i n g � b e r g l a s s f r o m f o r m s b y e x c e s s e x p o s u r e t o h e a t4 . Tu r t l e w a x i n g f o r m s t o e n s u r e f o r e a s y u n m o l d i n g o f � b e r g l a s s a n d r e s i n5 . L a y i n g c o a t o f f a b r i c o v e r � r s t l a y e r o f � b e r g l a s s a n d r e s i n

0 3N a r r a t i v e T h r o u g h S i t e

A q u a t i c C e n t e rYe a r T h r e e / / S p r i n g 2 0 1 2 / / J a s m i n e B e n y a m i n

G i b b o n s C r e e k : A b a n d o n e d F u t u r e sThe of ten-s impl i�ed not ion of s i te merely in re lat ion to a not ion of formal and v isual contex t i s chal lenged in this projec t. How can the concept of s i te speci�cit y be examined in both the meaning and appl icat ion of “s i te” and “speci�c?” How can designers consider s i te as landscapes to be construc ted rather than just occ upied?

Gibbons Creek Reser voir i s home to the Texas Munic ipal Power Agenc y coal power plant. The creek is man-made and dependent upon the power plant for aquat ic l i fe as wel l as steady income. I t i s s i tuated across f rom the pr imit ive camping s i te and the swimming zone. How can the power plant and the surrounding nat ive area be used as a des ign tool for the aquat ic center rather than just land to be occ upied?

I t i s a combinat ion of nature and industr y; ins ide and outs ide; phenomenology of both a phi losophical des ign and industr y. The aquat ic center combines nature and industr y in the ins ide and outs ide spat ia l organizat ion. I t considers the subl ime of nature versus industr ia l izat ion, as wel l as ever ything that inc ludes i t (pol lut ion, dead, capital ism, etc) .

C o n c e p t u a l M o n t a g e

C o n c e p t u a l S p a c e

P R I V A T ESEMI-PRIVATEP U B L I C A R E AP U B L I C / S E M I P U B L I C

S p a t i a l O r g a n i z a t i o n

Publ ic

Semi-Pr ivate

Pr ivate

In the aquat ic centre projec t, I foc used on combining the landscape and the struc ture as one. The programs used in this projec t were AutoC AD and Revit Architec ture. The idea of publ ic and pr ivate spaces and isolat ion were manipulated as wel l.


0 4N a r r a t i v e T h r o u g h Tr a d i t i o n

A c o u s t i c Wa l lYe a r F o u r / / S u m m e r 2 0 1 2 / / M a r k C l a y t o n

A c o u s t i c Wa l l Tr e a t m e n tWe proposed a mult i- func t ional wal l t reatment to be instal led in the Langford Bui lding of Texas A&M Univers i t y. This wal l t reatment would ser ve as an acoust ic wal l to ideal ize the reverberat ion t ime in a c lassroom and also as an ornamental p iece to showcase the Texas A&M campus comrader y.

Texas A&M is a school based upon tradit ion. Generat ion upon generat ion of famil ies draw upon these t radit ions to be the dr iv ing force of comrader y in the univers i t y. The campus i tsel f, paral le ls the student body tremendously through i t ’s architec ture. In creat ing the sur face des ign for the acoust ic wal l, the �rst step involved mapping four bui ld ings in the architec ture school and four secondar y bui ld ings of h istor ical impor tance. The sur face sought to emphasize the apparent movement of the architec ture program across campus. A 5x5 mock up of the wal l sec t ion was construc ted and the process was doc umented.

A s s e m b l y b e g a n w i t h o r g a n i z a t i o n o f t h e p i e c e s a n d t h e n � n d i n g t h e c o r r e c t j o i n t f o r

t h e c o r r e c t t r i a n g l e . T h e j o i n t s u s e d a r e c i r c u l a r d i s k t h a t a r e w e d g e d i n t o t h e t r i a n g l e s

t o b e s e l f - s u p p o r t e d . T h e “ r i b s ” o r t h e s c a � o l d i n g b e h i n d t h e s u r f a c e u s e s a s i m i l a r

s l o t t i n g t e c h n q u e t o h o l d t h e c o n n e c t i o n . E a c h o f t h e t r i a n g l e s w e r e a s s e m b l e d i n t o

s e c t i o n s o f f o u r , t h o s e f o u r s e c t i o n s w e r e t h e n a s s e m b l e d i n t o t h e o v e r a l l s u r f a c e .

A s s e m b l y

R e n d e r i n g s B u d g e t

The new building construction contract form of Inte-

grated Project Delivery (IPD) was investigated through a

series of interviews of architects, contractors, and univer-

sity system representatives. Integrated Project Delivery is a

business model that brings together all stakeholders in a

design and construction project, including owner (or

client), builders, designers, and consultants. By reducing

incentives for con�ict, it provides a continuity of informa-

tion �ow from start to �nish, and eliminates most of the

opportunity for communication error. I t enables greater

optimization of all needs from start to �nish and facilitates

incorporation of sustainable strategies. One of the recom-

mended practices in IPD is the use of Building Information

Modeling (BIM.) Research investigated the inducements

and barriers to adoption of BIM and IPD for campus facili-

ties design, construction and operations.

Three Texas university systems (both private and

public) participated as well as a variety of architects rang-

ing from medium �rms to larger �rms as well as contrac-

tors. The method that these three university systems were

chosen ( Texas A&M University System, the University of

Texas System, and Rice University) was based on the size

of the university system.

Texas A&M University system and the University of

Texas System are the two largest systems in Texas. They

were ideal candidates for the study because they provided

projects that fall into the multi-million dollar range. A

private system was also ideal in this research to show the

dynamic between public and private sectors. Data was

collected through one-on-one, casual interviews with a

variety of architects, contractors and university system

members. The selection of architects and contractors

ranged from medium sized �rms to international sized �rms.

For the university system members, the universities that

were interviewed were Texas based; Texas A&M University,

the University of Texas, and Rice University. Participants

responded to semi-structured interview questions on the

topics of IPD, BIM, and the future expectation of the two in

sessions ranging from 20 minutes to one hour and a half in

length. The interviews were recorded, and the data was ana-

lyzed to identify experiences and attitudes with respect to

IPD and BIM.

The goals of these interviews were to determine

whether the uses of BIM and IPD in the work place are ben-

e�cial for the architecture industry as a whole and if there

will be any further advances with this new form of project

delivery.

After in depth analysis, it can be determined that for

not just the university system owners (in both private and

public) but for architects and contractors collectively, the

utilization of BIM and IPD principles are incredibly bene�-

cial for the industry. BIM and IPD principles have proven to

reduce project schedule, allow for better collaboration

among the team, and in some cases, reduce cost. The

sur face has only been scratched in terms of BIM and IPD. The

advances that BIM and IPD will have in the future will

increase project quality in all aspects from design to com-

pletion. BIM and IPD principles have helped reduce cost,

speed decisions, and increase quality in not only design but

also in construction and construction management.

The hope for the future of BIM and IPD goes beyond

the level that BIM is currently being utilized. In higher edu-

cation, owners expect in the future these 3D BIM models

that are being shared between the architect and contractor,

will help in facility management and deferred maintenance.

Owners hope that one day the “information” part of BIM will

be investigated more to be able to identify manufacturer,

label, l ife expectancy, and price of these building compo-

nents after construction completion. The sur face has only

been scratch in regards to utilization of BIM and IPD princi-

ples. I t is hoped that the use of BIM and IPD principles be a

standard of practice in the near future.

D e t a i l s

A c o u s t i c a l A n a l y s i s

I d e a l R e v e r b e r a t i o n










































IPD and BIM.





delivery.


























In the acoust ical wal l t reatment projec t, I explored a more sc ient i�c

approach to sound reverberat ions. Also, the form was produced us ing paramet-

r ic des ign in the computer program Revit. Also, acoust ical analys is

sof t ware was ut i l ized.


0 5N a r r a t i v e i n t h e Tr a d i t i o n a l S e n s e

B I M & I n t e g r a t e d P r o j e c t D e l i v e r y i n H i g h e r E d u c a t i o n

Ye a r F o u r / / S p r i n g 2 0 1 2 - Fa l l 2 0 1 2 / / M a r k C l a y t o n










































IPD and BIM.





delivery.



































































IPD and BIM.

A b s t r a c t , O b j e c t i v e s , a n d C o n c l u s i o n s





delivery.



































































IPD and BIM.





delivery.



































































IPD and BIM.

R e s e a r c h P l a n s a n d M e t h o d s This research will investigate the extent of which IPD

with BIM implications are a successful form of project deliv-

ery and also whether those directly involved (architects,

contractors, owners, and engineers) are for or against the

new contract form in higher education.

The research conducted will involve interviewing 40 partici-

pates that vary from di�erent university system members,

architects, and contractors. Companies include the Univer-

sity of Texas System, Texas A&M University System, Rice Uni-

versity System, HOK, Gensler, Kirskey Architecture, SHW

Group, BRW Architects, Skanska Construction, J.T Vaughn

Construction, Linbeck, and many more.

Research Methods Include:Literature Review

University ApprovalInterviewing Design

Data CollectionData Analysis

Thesis Composition

Thesis Approval





delivery.



































































IPD and BIM.





delivery.



































































IPD and BIM.

0 6

Ye a r Tw o / / Fa l l 2 0 1 2 / / G a b r i e l l a C a m p a g n o l

U r b a n R e f u g eS a o Pa u l o R e s i d e n c y





delivery.



































































IPD and BIM.

“ B r e a k i n g t h e B o x ” - F r a n k L l o y d Wr i g h tThis projec t explores the concept of �nding refuge in the contemporar y c i t y. S ao Paulo is the largest c i t y in the southern hemispheres and Americas. With a ver y smal l square footage and a s i te in the middle of downtown S ao Paulo, how can the design communicate a space of urban f reedom from the hust le and bust le of c i t y l i fe? How can architec ture set the not ion of p lace? Place being an area of permanent stabi l i t y in the ever changing c i t y of S ao Paulo.

The solut ion: a combinat ion of c i t y and suburban; the contradic t ion of the t wo places meeting. Tradit ional S an Paulo bui ld ing mater ia ls consist of concrete because of the exposure to high humidit y throughout the year. Wood is a t rdit ional ly bui ld ing mater ia l used to generate a f r iendl ier, and more invit ing place. The jo ining of the t wo elements internal ly and ex ternal ly, c reate a harmony yet st i l l c reat ing a sense of p lace; a sense of belonging to the c i t y.

P U B L I C

P R I VAT E

E C O N O M I C S

WORKSHOP

BDRM BDRM

GARAGE

BATH

VERANDA LIVING

B E D R O O M S





delivery.


























In the Brazi lan res idenc y, I explored the aspec ts of sustainabl i t y in the computer program Revit. This i s an ear l ier projec t, therefore, the basic objec t ives that were explored was the ut i l izat ion of space, movement, �ow, and nat ive bui ld ing mater ia ls.


Topsoi l

Weather ing

S ource Rock

Plant level

Growing medium

Fi l ter sheet

D rainage layer

Protec t ion layer

Waterproo�ng

Roof construc t ion

Green Roof D etai l

B r a z i l i a n R e s i d e n c y M o d e l

0 7A F o r m o f P h y s i c a l D i a l o g u e

C i n e m a t i c A r c h i t e c t u r eYe a r Tw o / / S p r i n g 2 0 1 1 / / J a s m i n e B e n y a m i n

C i n e m a t i c A r c h i t e c t u r e“Cinematic architec ture confronts the stable with the temporal. I t a ims to dissolve or expose the concept of a stat ic mater ia l world through a buzz of constant change….cinematic archi-tec ture is a form of physical d ia logue. And l ike any dialogue i t should lead to a higher level of knowledge and understanding…”– Pascal S choning, Manifesto for a Cinematic Architec ture

The explorat ion of “c inematic architec ture” through heterogeneous media prompted the redesign of the Q ueen Theater in Br yan, Texas. The scope of the work asked for an instal lat ion for c inematic v iewing within the Q ueen Theater. How do architec tural and �lm space col l ide? With this col l i s ion, this instal lat ion was explored not only as a process that spans the tra jec tor y of des ign, construc t ion, and occ upanc y, but a lso – and perhaps more fundamen-tal ly- as a d ia logue bet ween people and space; a stor y.

S e c t i o n a n d P l a n s

I n s p r i a t i o n R e n d e r i n g s

0 8Te c t o n i c s o f M a t e r i a l s

Ye a r O n e / / F o u n d a t i o n S t u d i o

E x p l o r i n g N a r r a t i v e T h r o u g h E x p e r i m e n t a t i o n

T h e Te c t o n i c s o f M a t e r i a l s a n d L i n e sThe nex t several exper imental uses of mater ia ls were prompted to invest igate how di�erent uses of medias and var ying dimensional i t y can teach about architec ture.

The goal of these mater ia l exper iments were to highl ight t radit ional uses of bas ic mater ia ls and translate them into architec tural inspirat ions re lated to common words. In this par t ic ular case, the words selec ted were: accrete, f rac ture, and fold, a l l which can become architec tural. An explorat ion of re lat ionships bet ween the words, their de�nit ions, and how they can re late to mater ia ls found in t radit ional ly bui ld ing construc t ion (concrete, steel, and lumber) was analyzed. Af ter looking at the di�erent bui ld ing mater ia ls at a microscopic scale, i t can be concluded that architec tural inspirat ion can be drawn s imply through the tec tonics of the mater ia ls and how they can mimic the qual i t ies of the construc t ion mater ia ls.

Accrete: To make larger ; to grow together ; to fuse // Lumber

Frac ture: The ac t or process of breaking; a break , rupture // Concrete

Fold: To bend over or double up; to place together and inter t wine // Steel

F o l d M o d e l

A c c r e t e M o d e l

F r a c t u r e M o d e l

0 9N a r r a t i v e T h r o u g h I n t e r d i s c i p l i n a r y S t u d i e s

M o d u l a r I n s t a l l a t i o nYe a r Tw o / / Fa l l 2 0 1 2 / / G a b r i e l l a C a m p a g n o l

1 2

4

U n i o n o f M a t h e m a t i c s a n d A r c h i t e c t u r eThe design was prompted by the idea of, “How can an instal lat ion teach about architec ture?” More impor tantly, how can we, modern day designers, c reate a cohesive harmony bet ween the di�erent sc iences, mathematics and ar t through architec ture?

In an explorat ion of re lat ionships bet ween mathematics and architec ture, the idea of this instal lat ion was to capture motion. The goal was to highl ight architec tural synthesis, or more expl ic i t ly, the re lat ionship bet ween the Fibonacci sequence and motion.

1 0L i t e r a t u r e

C o l o r I n A r c h i t e c t u r eYe a r Tw o / / Fa l l 2 0 1 2

T h e s i s An invest igat ive study of color and meaning in architec ture: To what

ex tent does feel ing direc t ly l ink meaning dichotomy in architec ture with the

a id of color being used as a pr ime example?

I n t r o d u c t i o n An invest igat ive study wi l l be used to analyze to what ex tent does

feel ing direc t ly l ink meaning in architec ture and how the a id of color i s used

as an example of meaning dichotomy. D ichotomy can be de�ned as “a div is ion

into t wo mutual ly exclus ive groups or ent i t ies.”1 What this entai ls i s the

spl i t t ing of a whole into t wo separate par ts that may or may not connec t with

each other. There are t wo forms of what can be considered dichotomy; jo int ly

exhaust ive and mutual ly exclus ive. Jo int ly exhaust ive means that ever ything

must belong to at least one piece and mutual ly exclus ive means nothing can

belong to the same par t at the same t ime. The dichotomy within the meaning

of the words “meaning” and “feel ing” in architec ture is proven to be jo int ly

exhaust ive; they belong to the same par t or the other ; a d iv is ion. They are

di rec t ly re lated to each other in the sense that one cannot happen unless i t i s

a�ec t ing the other. O ne of the main arguments that wi l l be disc ussed is

whether or not color i s used to di rec t ly l ink meaning and feel ing as the same.

Histor ian and author Char les Jencks was quoted as saying, “ I t i s c lear in fac t,

that because meaning is a func t ion of soc ia l contrac t, architec ture can s igni fy

in other ways a lso, through the medium of st y le.”2 The de�nit ion of soc ia l

contrac t impl ies that indiv iduals unite into a soc iet y by a process of mutual

consent. I f the major i t y of a whole is agreeing or having a cer tain mindset on

cer tain issues, then i t i s more than l ikely that that cer tain issue or mindset

wi l l be the r ight one. The power that the major i t y of the whole has, i f taking

into considerat ion Jenck ’s model of soc ia l contrac t, i s that they de�ne the

meaning of cer ta in objec ts or people. O ne argument that i s d isc ussed to fur ther

prove the previously stated c la im is the comparison of connotat ive de�nit ion

and denotat ive de�nit ion and how they can be appl ied to architec ture. In this

argument, color symbol ism and psychology is braised upon, but the bulk of the

argument lays in the comparison and how it re lates to architec ture. The second

c la im that i s d isc ussed is color d ichotomy.

Color can be used as e i ther a modi�er of architec ture or an as a id to

di rec t ly l ink feel ing and meaning as one. The use of color as an a id for evoking

feel ings within a human are broken down into three major fac tors ; s ize and

propor t ion, targets and backgrounds, and color temperatures. As for the

example of color being used as a modi�er in architec ture, the main aspec ts that

are considered are the designer- col lec t ion, the architec ture, the inter ior- décor,

the label, the locat ion, the room, and the color ways. The last c la im towards

color in space is an analys is of an opposing s ide that c la ims color has no e�ec t

on feel ing, hence, having no re lat ion to the meaning of architec ture. Ozenfant

descr ibes in his ar t ic le Colour S ol id it y: the Appearance of Architec ture, that the

color we see on the facades of architec ture is merely v i r tual. There is no

re lat ion to t rue feel ing. I t i s then disc ussed that the use of color as symbol ic

and therapeutic i s another c la im used to prove that feel ing direc t ly l inks to

meaning.

1 1C o n g l o m e r a t i o n o f M a n a n d N a t u r e

T h o m a s Pa r k Pa v i l i o nYe a r Tw o / / Fa l l 2 0 1 2 / / G a b r i e l l a C a m p a g n o l

E x p l o r i n g N a r r a t i v e T h r o u g h N a t u r eHow can we communicate the idea of nature inter t wining with the bui l t environment? To recognize an element of nature, such as a butter �y, yet not being a di rec t representat ion of i t? D oes the jux taposit ion of nature and the bui l t environment take away f rom one another?

In this proposed struc ture, the e lements of nature are inter laced within the latt ice struc tural wal ls of the pavi l ion. Butter �y patterning is abstrac ted and, in some c i rc umstances, super imposed as wel l as re�ec t ing in the voids of the latt ice. The idea is to communicate the bui l t environment and nature, into one cohesive stor y.

S e c t i o n

P l a n

E l e v a t i o n 1

E l e v a t i o n 2

1 2Pe r s o n a l Wo r k

I n t e r i o r Pe r s p e c t i v eC a n v a s B o a r d w i t h c o l o r Pe n c i l

1 2 ” x 1 2 ”

L o t u s F l o w e rC a n v a s B o a r d , O i l Pa s t e l s , a n d Wa t e r c o l o r Pa i n t

2 4 ” x 2 4 ”

A b s t r a c t Pe r s p e c t i v eS k e t c h Pa p e r a n d C o l o r Pe n c i l 1 2 ” x 1 2 ”

L a n g f o r d Pe r s p e c t i v e D r a w i n gS k e t c h Pa p e r a n d Pe n c i l

2 4 ” x 2 4 ”

E x p l o r a t i o n o f J u b i l a n t a s a F o r mM u s e u m B o a r d 1 0 ” x 1 0 ”

E x p l o r a t i o n o f J u b i l a n t 2 DC a n v a s B o a r d a n d I n k

2 4 ” x 2 4 ”

Te a m C o l l a b o r a t i o nModular I nsta l lat ionJess ica EmersonAmy Whitman

Black Narc issusD ylan WeiserEr in TempletonHugo FabianMegan Arr ingtonM iaomiao XiaoCat lan FearonArnold Ghi l

House of the FutureFabr icat ion:R yan Wi lsonK ar la Cast i l loK athy XiaoJorge CruzSteven ScibonaEr ic OppermanShane BearrowMatt OmeoduAdr ian Cor tez

Acoust ic Wal l TreatmentK athy XiaoK ar la Cast i l loJuan GuerraVic tor Bal ld ioHannah WoodsMel issa Webb

“. . . i f I c o u l d t h i n k w h a t I w o u l d d o, o t h e r t h a n a r c h i t e c t u r e , i t w o u l d b e t o w r i t e a n e w f a i r y t a l e , b e c a u s e f r o m t h e f a i r y t a l e c a m e t h e a i r p l a n e , a n d t h e l o c o m o t i v e a n d t h e w o n d e r f u l i n s t r u m e n t s o f o u r m i n d s . . . i t a l l c a m e f r o m w o n d e r.” – L o u i s K a h n

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