Architectural PortfolioJustin Reardon 2o16-2o17

About Justin Reardon As an aspiring architecture student who continues to progress through architecture school, my projects continue to evolve and integrate more and more experience. I am heavily infl uenced by natural views and perspectives, and try to incorporate these views into every project. Though my skills are not fully developed, I have gained a appreciation for Autocad, Revit, and SketchUp. The continuation of my education beyond Diablo Valley College is my main focus, which hopefully will lead me to California Polytechnics in San Louis Obispo.

12Theory Posters

Yosemite Cabin 8

Table Of Content

Mondrian Museum

Charlie Harper

Lecture Series

Photoshop Edit

Brise Soleil

Process Posters

1

2

3

4

5

9

Villa Savoye

Folding Space

6

7

Physical Mondrian Model

1

Mondrian Museum

To begin the Mondrian Model making process, I created three rectangular boxes of the same height, which was inspired by my vision of having 16 feet walls at the end of the process. Then I used the three rectangular boxes to create multiple compositions for the simple spaces. These spaces must include at least two gallery spaces that entails a 300 linear feet walls for showcasing the artwork of Piet Mondrian. The other component of this project that was essential a catalyst to the project was the introduction of a post and beam structure system. Then there were the other restraints for habitation, which includes a cafe area, two bathrooms, two stairs for circulation and fi re escapes, a ticket admissions offi ce, and fi nally the bookstore which markets Mondrian memorabilia. The fi nal constraint on this project was the two story limit, with a circulation path, With all these constraints in mind, I stumbled upon the tilted volume space juxtaposed to the vertical and horizontal spaces below. I was able to set up a column system which separated each column 16 feet away from each other, and spanned the beams almost 40 feet. The window frames of my model also fall on this modular system, being separated by every four feet. The next step was to create the stairs, Ironic right? The stairs were built also on a modular system, they raised up 6 feet, and had about 12 inches of tread. This resulted in a slope of 1/2, which fi t perfectly with the grid if I spanned the stairs from wall to wall.

Parti Models

Double Sized Model

Sketch Up Rendition

Alligator Meets Mr. Bird

2

Charlie Harper (Assignment 104)

The Charlie Harper assignment was assigned after two weeks of adobe illustrator courses. During the course of the two weeks, we created our own fonts, learned how to utilize the pen tool, work with layers to create clipping art that was later used in some renderings of the elevations and fl oor plans to the Yosemite cabin project. The goal of the Charlie Harper assignment was to recreate a piece made by the famous artist himself using his technique of drawing simple shapes and turning them into animals and diff erent natural beings. This project required the use of the pen tool to create these objects, which lead to even more practice with the tool. My favorite part about this assignment was that I could create the image I had initially anticipated in my head. I wanted to create a dynamic relationship between predators and prey, and what better way to do it than to use the alligator of Charlie harper, with my own little creation, the simple mindful bird that rest atop of the alligators vigorous jaw. The background was suppose to illustrate the Louisiana swamp that these two creates are native to. I stayed away from creating a 3 dimensional rendering because that does not illustrate Charlie Harpers technique. After completion, I have much better skills in illustrator, and though it is not my favorite program to work with, I can now utilize the lessons in future projects with the diff erent techniques learned throughout this project.

My Own Text

Tempurature Ventilation and Circulation

diff erepen topracticwas thmy hepredatthe allsimplejaw. Tswamfrom cnot illu A

d thand thnow utechni

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Tempurature Ventilation and CircC culation

Logo Created in Illustrator

Architecture Lecture SeriesArchitecture Lecture Series Diablo Valley College Spring 2017 Semester Diablo Valley College Spring 2017 Semester

ZZaha Hadidaha Hadid

March March 33

LLouis Kahnouis Kahn

March March 1010FFrank Gehryrank Gehry

March March 1717

RRenzo Pianoenzo Piano

March March 2424MMichael Gravesichael Graves

March March 3131

LLe Corbusiere Corbusier

April April 77

AAlvar Altolvar Alto

April April 1414

Every Friday!Every Friday!

Architecture Lecture SeriesArchitecture Lecture Series Diablo Valley College Spring 2017 SemesterDiablo Valley College Spring 2017 Semester

Zaha Hadid

March 3Louis Kahn

March 10Frank Gehry

March 17Frank Lloyd Wright

March 24Zaha Hadid

March 31Zaha Hadid

April 7Zaha Hadid

April 14

Every Friday!Every Friday!

Lecture Series 11 x 17 Poster

3

Lecture Series (Assignment 103)

Assignment 103 of the course was the 11 x 17 poster of the lecture series, hosted every year at DVC. The goal of the project was to utilize Photoshop to create a vivid and captivating poster with a background, incorporation of text, and layer applications. The rules on this assignment were essentially broad, we had to incorporate the time and date each architect would show up, the location of the venue, and how long the lecture would go for. I chose to use some of the most iconic architects in American history today. Prior to working on this project, we had experimented with Photoshop enhancement tools like the levels adjustment layer, the channel mixer, hue and saturation eff ect, and curves layer to create a vivid and appealing image. We worked on a theoretical album cover of the artist of our choice. This lesson taught me to work with gradients in Photoshop, the placement of fl ow lines on the image, and what diff erent hierarchy can do for your posters. Also to add along with this project was the study of color theory and what diff erent eff ects colors have on emotional appeal for our posters. This is what lead me to use complementary colors, or negative colors of each other to make the text pop out in a vivid poster scheme. The fi nal comment I would like to make about this project is that the main focus of my design was to make everything connect to each other in a way that makes the poster fl ow. For example, I aligned all the text with the vertical side of the sky scrapper in the background.

Tech N9ne Album Cover

Photoshop Edited Image

The Glowing Shed

Man Flying In Front of DVC.

Photoshop Edits (Assignment 102)

4

The purpose of assignment 101 was to utilize our newly learned skills in Adobe Photoshop with the blend tool, the stamp tool, and the opacity tools to create an image that is out of the ordinary. The image on the right shows a man refl ected in the glass, falling from the sky, which normally would not be there. I essentially cropped this man out of a previously existing image, pasted him onto this photo taken on the Diablo Valley College campus, and changed his opacity using the blend and lightening tools in Photoshop. During the Photoshop section of the course we also practiced diff erent techniques in enhancement for images. We also learned how to crop out fi gures, and place them according to the horizon of the image. Along with this arrangement, we also learned how to place shapes due to the lighting in each image. I gained the ability to work with clipping masks. The proper use of layers and organization tactics were also very helpful. These techniques help me acquire much more captivating images for my architecture drawings as well. Some applications of these techniques were used in my section drawings, elevations, fl oor-plans, and contextual drafting. Strengthening my Photoshop skills defi nitely enhances my overall quality of work. I spend a large proportion of my time working with shadows in Photoshop which helped me conceptualize shadows for other classes as well.

Men Walking in the Street

Francis Ching House

C d O t M

Brise Soleil Physical Model

5

Brise Soleil Model

The entire Brise Soleil project began with the introduction of regulating lines inside a square box created in the program Vectorworks. Formed from these regulating lines were seperated lines that produced vertical and horizontal loovers. Once each line had been created, it was time to add in the thickness of each wall in the box to create a scaled version of the brise soleil. The next step was to extrude each wall to create a dynamic facade. There is hierarchy in both the wall lengths and widths. Each part of the Brise soleil had to have a1/16” addition to it to compensate for the thickness of the museum board. In order to create the 14x14” box with the Brise Soleil attached to the front, I had to fi rst construct the box. In order to give the box integrity, I had to brace the joints and edges with a secondary museum board cut to be half an inch for both sides. The next step was to create the hole in which the camera would be placed to capture the interior of the box. This cone was created with a fl at top pyramid cut out I had previously made in Archi 130. This project taught me to be more precise with each cut, along with sun patterns in specifi c times. The light study to the right is a 4 hour period that occurs on December 21, the date that marks the winter solstice, and also the shortest day. I noticed that the rays that entered the space were not at a intense angle, but instead the 28 degree angle. The study of light was the fi nal piece to the Brise Soleil project.

Regulating Lines

Sketch Up Model

Watercolor of Brise Soleil

Villa Savoye Physical Model

6

Villa Savoye Model

To begin the process of constructing the Villa Savoye, we fi rst had to do some intesive research about Le Corbusier’s fi ve points in architecture, which I discuss in the later half of the process. After completion of the research, we printed out each fl oor plan of the tri-level Villa to 1/8 of an inch scale. The fi rst fl oor, the servants quarters, consists of a ramp, the spiral staircase, a curtain wall of glass, multiple support columns, and of course, the multiple windows allocated around the perimeter walls. The blown up image to the right illustrates the location of each of the integrate parts of the fi rst fl oor. Although the curtain wall is not visible from the model, it is located on the curved semi circle proportion of nearest the title. Onto fl oor two, which can be seen blown up on the bottom right of this page. To connect these two fl oors in a structural way, we replaced the puny popcycle stick with a 1/4” wooden column. This wooden column also attached the rotating gears, which are invisible due to their functions as motor parts inside the base. These gears allowed for a rotational axis which can be illustrated fully in view 3. The fi rst fl oor is cemented onto the base, while the second fl oor rotates roughly 45 degrees. The fl oor plan of the second level inculdes a covered terrace, the madam’s bathroom, the continued ramp, a salon area, and bedrooms. Also located on the second fl oor was the roof garden which had multiple bedframes that act as pottery for the garden.

Physical Model Third Floor

Villa Savoye Sections

Folding Space Physical Model

7

Folding Space Model

This folding space model was created in my fi rst architecture design class. The process of this model started off with a 8.5 x 11 piece of paper, which we were then instructed to cut and fold this piece of paper in an abstract and unorganized way until we came into a design of a building that had the ability to stand on itself. This part of the process lead me to design some pretty ambiguous shapes and sizes for the model. If we had not started the process in this manner, then I probably would have tried to design the piece outright. The next step in the process was to create a 2 ply model of these folded paper models. In doing this, the structure I had created gained some integrity, and was able to hold up a lot more weight. The transformation from the fi rst model to the second model allowed me to understand what makes a good design infl uenced by hierarchy. After completing the model, I placed color decals around the model to symbolize the modern movement of Mondrian. After this, our next step was to bring this into a watercolor painting. This was the fi rst project in my design class and it taught me many lessons, one of those lessons would be to design from nothing, you must go through a process. The process of making some obscure shape, to the painting all held value in the process. I learned about hierarchy, color relationships, and watercolor techniques.

Watercolor of Folding Space

Study Model Study Model 2

Study Model 3

YOSEMITE CABIN ELEVATIONS

JUSTIN REARDONDVC ARCHITECTURE 135

PLEASANT HILL, CALIFORNIA, 94553

SHEET

of1

1

EAST ELEVATION

NORTH ELEVATION

SOUTH ELEVATIONWEST ELEVATION

1/4” = 1’

4’

2’

1’

24 x 36 Spread Sheet of Yosemite Cabin

The Yosemite Cabin assignment was the last assignment of the class and arguable the most educational project the entire course provided. I say this because it brought together every prior lesson with Illustrator, CAD, and Photoshop to produce multiple views and plans. Assignment 105 the Auto-CAD proportion of the course, which taught me how to create a building in CAD, and use the big plotter to produce a working sheet. While assignment 106 taught me how to create realistic renderings of our buildings on the sight itself. I learned a lot from both of these assignments, one of the lessons being that you can create four elevations based off the fl oor plan by projecting guide lines. I learned how to incorporate a building into the scene by working with the grass and clone stamp to place this cabin in the Yosemite Meadows. I also utilized the clipping mask lesson by placing a concrete texture and wooden panels onto my cabin. After completing these assignments I feel much more adaptable to diff erent programmatic renderings and work sheets. One of the other interesting factors in these two assignments was the ability to create something out of nothing. I chose to make a modern building that had a cantilever second level that runs parallel to the river aside it to captivate natures fl ow. If you take a look at the perspective view up above, you can see this produced in my rendering, This was the main concept that propelled me through the process of designing this cabin.

8

Perspective View

Front Elevation

Section Cut

Yosemite Cabin (Assignment 105 & 106)

Sketch Up Model

Model Pair 3Model Pair 3

Parti Models

Final Model

Model Pair 1

Model Pair 2

Floor PlanDouble Sized Model

9

Mondrian Sketch Up Model

Process for Mondrian

Process Behind the

Brise Soleil

6:00 am 7:00 am

8:00 am 9:00 am

Regulating Lines Wall Lines

Forming lines

Sketchup Model

Physical Model

Sketchup Rendering

10

Brise SoleilProcess for Brise Soleil

11

Process for Folding Space

Page: 2

1. What do Vitruvius, Wotton, Schinkel and Sullivan have in common? Are these values shared by Saint Exupery?

2. How do the values of these authors shape our architecture today? Are their ideas still relevant?

3. What are the fundamental principles of design that Saint Exupery is talking about?

4. What is the relationship of history to the design process? What are some objects or buildings that obey these principles?

5. What is Saint Exupery’s view on process and how it relates to creativity?

6. Refl ect on Paul Valery’s statement in Eupalino, do you think this is true? Can you give examples?

7. What do all of these architects and philosophers have in common? What do they agree on (and disagree on)?

12

Theory Pages 2, 3

or why not.

7. How does correction relate to the process of engineering and design? How many corrections are necessary to arrive at a solution or nished product? How do you know

when it is nished?

.

8. What does Renzo Piano mean when he says reducing structures to their essentials is iconoclastic?

Page: 3

1. How would you de ne e ciency? What types of forms of e ciency are there?

2. How is shape of a structural member related to its strengths? Give examples.

3. What are the aesthetics of the engineer? What are rules that govern good engineering?

4. When is perfection attained in an engineered structure or a form according to Saint Exupery?

5. Is the idea of engineering, reduction of mass and e ciency of material and structure compatible with creating beautiful buildings?

6. Do you feel that the shapes and forms of things that obey natural laws are beautiful? Give reasons why

8. What is a value system(s) that is appropriate for the world we live in now?

9. What does Apollinaire mean when he says “I am everywhere or rather I start to be everywhere”?

10. What is the signi cance of the color white as it relates to the modern conception of architecture as expressed by Van Doesberg?

Page: 5

1. What were the formal language characteristics found in the de Stijl movement?

2. What were the ideals held by the designers in the de Stijl movement?

3. What is the idea of a “distant transformed future”? What is the future about? Is it conceived in terms of a European and North American prerogative?

4. Do you see the future as o ering continuity or as o ering change?

5. How does this relate to the de

Stijl movement and the architects in general? How does this relate to your role as a designer?

6. What is an “architectural value system”?

7. List as many examples of value systems in architectural design as possible.

13

Theory Pages 5, 8

5. What does Ungers mean by architecture that is an event? How is this di erent from architecture in his opinion? What does it mean for a building to interpret the place? Ungers quotes Mies van der Rohe when he says” We shouldn’t have to come out every Monday with a new idea.” What does he mean? What are your opinions? How is re nement important?

Page: 8

1. What is Ungers talking about in section 1? Why would a history of artifacts be disastrous? What is the di erence between a history of ideas and a history of artifacts?

2. What is Ungers referring to when he discusses not “merely

being a technician” what skills is he referring to, what is necessary to distinguish an architect from a technician in your opinion?

3. What other readings relate to Ungers philosophy in this section?

4. What does Ungers mean when he says function is irrelevant? Why are materials and geometry important in his view? What is a metaphor and how does it relate to materials? What were the conclusions he has drawn about an abstract building? How does this relate to the thoughts of Renzo Piano?