Tristan francis portfolio 2015
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Transcript of Tristan francis portfolio 2015
tristan x. francis
m.arch, cal poly
portfolio of works
+ curriculum vitae
tristan x. francis
+1 562 304 8613
1007 E. Ocean #27
long beach, CA 90802
education
master of architecture, emphasis on sustainable architecture, june 2016
california state polytechnic university
pomona, california
bachelor of arts in history, may 2008
oklahoma state university
stillwater, oklahoma
relevant experience
TWO Architecture, design associate, Tulsa, Oklahoma, April 2014 to present
performing a full scope of architectural services for clientele including preliminary and schematic design,
production of drawings for construction, and coordination with clients and contractors.
contact Rick Winn, architect, +1 918 640 7938
Cal poly model shop, graduate supervisor
overseeing and assisting student fabrication and safety.
contact Linc Hoke, +1 909 869 2677, [email protected]
Graduate teaching assistant, Cal poly
assisting professor with class in the history and theory of architecture
contact Sasha Ortenberg, [email protected]
other qualifications and experience
expertise in digital rendering, digitally enhanced fabrication and sustainable/regenerative systems
proficiency in many design software applications such as Autodesk Revit, 3D Studio MAX,
Autocad, and Ecotect; Rhino 3D and grasshopper, VRAY, sketchup, Adobe suite
extensive overseas travel experience and working knowledge of languages including spanish, french, and german
previous page:
“untitled deconstruction”
printed digital composition
featured in “Relier” exhibition
at MIA gallery, Los Angeles
spring 2013
design for Kaneda Museum of
robotics and kinetic objects
Little Tokyo, Los Angeles
digital
Derivative Process Diagrams
Isometric view (45|35|30)1’=1/8” TRISTAN FRANCISKANEDA MUSEUM | 3/15/2013
level31’=3/32”
level41’=3/32”
level21’=3/32”
ground1’=3/32”
basement1’=3/32”
longitudinal section1’=3/32”
level 4 1’=3/32”
level 3 1’=3/32”
level 2 1’=3/32”
level 1 1’=3/32”
level -1 1’=3/32”
longitudinal section 1’=3/32”
siteplan1’=1/32”
cross section1’=3/32”
According to John Kaneda, every mechanical object has an inherent soul. If this is so,, it would be inhumane to not allow a collection of mechanical objects to speak for themselves. With this in mind, the concept for John Kaneda’s personal collection of objects brings the vistors to the forefront of the mechanical-aesthetic experience. To achieve this, the building utilizes a tighly controlled series of spaces to make a vistor keenly aware of sensory experience, and to create a narrative of subjective impressions rather than a regime of dogmatic facts .
sation of movement through space can be best expressed by architectural form. Ultimately, we may conclude that this must involve vectors as expressed by long, constantly changing lines, and a gravity openings and transitions. This gravity may be found through extreme contrasts of scale, awareness of built materials, tactile enclosures, and clear circulation. If this museum is a mechancial object, the aware-ness that you are moving through space must be maintained through the entire experience of the building.
Siteplan 1’=1/32”
cross section 1’=3/32”
circulation diagram
structure- proposed primary supports
cu-ratorial diagram- hybrid narrative/indexical approach, galleries indicated
lighting- proposed primary glazing
design for observation facility
the reserve at rancho mission viejo
digital
fall 2014
RAMP UP
w.c.
galleryEXHIBITION
private
office
conference
office
Bedroom 1
bedroom 2
w.c.
shower
public meeting
STAIR UP
to obs.
LOUNGE
storage
storage
KITCHEN
DINING
observation facilitythe reserve at rancho mission viejo
2 x 6 pacific birch slats- typ.
W10x30
2” insul. glass wall
WINDOw bracket
glass wall mullion
concrete footing
facade bracket
proposed wall detail
3d concept sketch and construction
drawings
residential remodel and addition
at TWO Architecture
summer 2014
GRADE (VARIES)
COMPACTED
BACKFILL
4" PERF. PVC IN GRAVEL
WRAP W/ FILTER FABRIC
UNDISTURBED SOIL
BASEMENT LEVEL
STONE VENEER
8" CONCRETE WALL W/ #5
@ 12" O.C. EACH WAY
STONE SILL @ 45° ANGLE
COPPER SILL FLASHING
HARDBOARD SOFFIT AND
CONTINUOUS 2" VENT
(MATCH EXISTING)
1"X2" CEDAR FASCIA
(MATCH EXISTING)
WOOD CLAD WINDOWS
(MATCH EXISTING)
COPPER SHINGLES ON MIN. 30# SATURATED FELT
UNDERLAYMENT ON 3 4" T. + G. PLYWOOD ROOF DECK
OVER 2" x 10" RAFTERS @ 16" O. C.
FULL BATT. INSUL.
2 X 12 @ 16" O.C.
34" IN. HARDWOOD FLOOR
(MATCH EXISTING)
OVER 118" T. + G. PLYWOOD FLOOR DECK
2X8 CLG. JOISTS @ 16" O. C.5
8" GYP. BD. CLG. AND
INTERIOR WALL (SMOOTH)
1'-4
"
2'-0"
1'-2
"
6" X 18" MICROLAM
1" X 10" CONTINUOUS CEDAR TRIM
STACKED FASCIA
2" X 4" SOFFIT FRAME
12" HARDBOARD SIDING
(MATCH EXISTING)
COMPACTED BACKFILL
116'-1"
CLG. JOISTS
110'-1"
TOP WALL
8" BATT. INSULATION @ RAFTERS
12
14
108'-0"
HEADER HT.
(VERIFY - MATCH EXISTING)
100'-0"
FINISH FIRST FLOOR
2" X 4" ROUGH ALDER TRIM
(MATCH EXISTING)
2" x 8" TREATED PLATE
ANCHORED TO TOP OF
CONCRETE WALLPROVIDE WATERPROOF
MEMBRANE ON CONCRETE WALL WHERE
ANTICIPATED TO BE BELOW GRADE
98'-11" (±)
BRG. HT. FLOOR JOISTS
(MATCH EXISTING)
90'-10"
TOP SLAB @
NEW MECHANICAL ROOM
89'-8"
TOP FOOTING
106'-6"
TOP MICROLAM BEAM (BRG.)
2 · 1" X 10" CEDAR SOFFIT PANELS-
CUT TO MEET AT CENTER LINE
6" X 6" STEEL COLUMN W/
CORNER BRACKETS TO SUPPORT
BEAMS IN TWO DIRECTIONS AND
BASE PLATE ANCHORED TO TOP
OF CONCRETE WALL
STONE VENEER WRAP AT COLUMNS
STONE FLOOR ON FULL SETTING BED
OVER 4" CONCRETE SLAB
4" CONCRETE SLAB W/ #4s
@ 16" O. C. E. W.
4" GRANULAR FILL
#4 x 48" BENT DOWEL
@ 24" O. C.
8" CONCRETE WALL W/ #5s
@ 12" O. C. EA. WAY
#4 X 48" BENT DOWELS
@ 24" O. C.
3 · #5 - CONTINUOUS WITH #3 TIES
@ 24" O. C.
6" CMU WITH FULL MORTAR
FILL AT BELOW GRADE AREAS
1" x 4" CEDAR TRIM
24
24
8
40
3 · #5 - CONTINUOUS
WITH #3 TIES@ 24" O. C.
#4 X 48" BENT DOWELS
@ 24" O. C.
96-5"
TOP FINISH PATIO
95-6"
TOP CONCRETE WALL
HEIGHT VARIES - 90'-0" AT LOW POINT
VERIFY W/ EXISTING SITE CONDITIONS
12
18
COPPER SHINGLES ON MIN. 30# SATURATED FELT
UNDERLAYMENT ON 3 4" T. + G. PLYWOOD ROOF DECK
OVER 2" x 10" RAFTERS @ 16" O. C.
3'-2"
#4 CONTINUOUS HORIZ @ 12"
O.C. EA. FACE
#5 VERTICAL @ 12"
W/HOOK EA. FACE
3'-2"2'-4"
2" CLR.
#5 @ 12" O.C.
5 X #5 CONT.
#4 DOWELS @ 16" O.C.
#5 @ 12" O.C.
5" CONCRETE SLAB W/
#5 @ 8" O.C. EA. WAY
3 X #5 CONTINUOUS
NOTES:
· 9'-2" EXISTING FLOOR TO FINISHED FLOOR
(90'-10") IN BASEMENT
2" (TYP.)
3"
3"
6"1'-0"
100'-0"UPPER FINISH FLR.99'-8"
TOP SLAB
98'-4"TOP CONC.
WALL
95'-8"TOP CONC.WALL
94'-4"TOP CONC. WALL
90'-0"TOP FTG.
92'-6"TOP CONC.WALL
90'-4" (91'-2" @ POOL DECK)
92'-6"TOP CONC. WALL
91'-0"TOP SLAB
93'-2"TOP SLAB
1'-4
"
96'-6"TOP CONC. WALL
97'-2"TOP SLAB
99'-3"TOP CONC.
WALL
6" 1'-0" 4"
1'-10"
1'-4
"
4" 6" 8" 4"
1'-10"
sustainability case study of Cesar Chavez
Library, Phoenix, AZ
with Cyrus Azari and Damian Corona
GLASS CURTAIN WALL
maximizes penetration of
natural light. Daylight when available is uti-
lized as a primary source of lighting and is
supplemented by high efficiency artificial
lighting. During optimal conditions daylight
accounts for 75% of the interior lighting.
CONCRETE MASONRY WALLS
minimize the noise pollution
from outside sources
WATER COLLECTING ROOF
has a slight grade that collects rainwater
and returns to the lake through a catch-
basin. 37,000 square foot roof collects
water that is stored in the adjacent artifi-
cial lake. The water is used for irrigation
of a variety of native drought tolerant
plants in the local landscape. The irriga-
tion system is automated to response to
changing seasonal demands which re-
sults in a 50% reduction of water usage.
Additionally, low flow toilets, waterless
urinals, and sensor controlled facets
reduce the buildings water usage by 30%
compared to a conventional building.
0’ 25’ 50‘ 75’
LEGEND
1. Entry Plaza
2. Entry
3. Service Desk
4. Computers
5. Book Stacks
6. Staff Patio
7. Meeting Room
8. Media Stacks
9. Reading Patio
10. Children’s Area
11. Teen Area
12. Book Drop
13. Sculpture
14. Exhaust Air Boxes
15. Gutter and Catchbasin
16. Lake
17. Earth Berm
18. Parking Lot
19. Book Drop Drive
20. Break Room
21. Edge of Roof (Above)
22. Air Intakes
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Materials and construction
Concrete, steel, and aluminum were chosen on the
basis of their aesthetic, durability, low maintenance
needs, recyclability, and local availability. A waste
reduction plan was implemented during construction.
NS SECTION 1/16”=1’-0” WE SECTION 1/16” =1’-0” NORTH ELEVATION 1/16”=1’0”
Protection from summer
sun is essential to minimize heat gain100F
85F
85F
Air exhasusted from inside is harvested
and recycled to temper outdoor reading
patio
TEMPERED MICRO CLIMATE
Adjustable Spot Diffuser
Water Harvesting (Direct Irrigation)
Distribution every 4’, perforated pipe
Manifold
Condensation
from mechani-
cal units
Desert Museum Palo Verdes
Annual Rain 12”-15”
Monsson Rate 1”-4” per hour
Duration 1 minute to 1 hour
Water falls from roof gutter to splash
basin
Water in basin overflows to existing lake
no plants
Roof Gutter
Irrigation system draws water from lake
Water Harvesting (Roof-top Rainwater)
Lake
CESAR CHAVEZ LIBRARYCESAR CHAVEZ LIBRARYCESAR CHAVEZ LIBRARYLAVEEN, ARIZONA
CYRUS AZARI
DAMIAN CORONA
TRISTAN FRANCIS
ARC 503 SP 2013
SUSTAINABLE DESIGN INTENT
Extensive overhangs significantly reduce direct solar gain, passively reducing glare and direct heat gain.
Roof top water collection system provides water for water fixtures and site irrigation.
Cooling demands are relieved through large portions of the structure being embedded into earth berms.
WIND WHEEL FOR JULY, AREA OF PHOENIX, AZ
Placement of air intakes facilitates passive cooling during prevailing western summer winds.
The mechanical cooling systems are computer controlled to take advantage of the frequent
relatively low morning temperatures of the desert climate.
tio
m
dd
d
llee
NOISE CONTROL BERM
Noise
Views
The Earth Berm helps prevent noise polution to enter directly into the building, diverting it upwards. Sloping natural
mounds along the east and west external walls act as a thermal mass that reduces losses by conduction therefore
easing the demand on mechanical systems.
travel sketches, various
ink and watercolor on paper
parametric design for
acoustic ceiling panels
utilization of grasshopper and
digital fabrication methods
with Corey Pope
proposed development project
for San Luis Obispo, California
digital
with Yuri Way
place mapping
selection from submission
EDRA urbanism competition
with Pam Nayangcharoen