D AV I D A L L E N B U R N S | U n d e r g r a d u a t e A r c h i t e c t u r e P o r t f o l i o

C O N T E N T

01 Energy Efficient by Design London Summer Studio

02 Westcott House Visitor Center Architecture Design Studio | Springfield, OH 03 Lane Live-Work | Artist Community Interdisciplinary Design Studio 04 Architecture of a Smaller Scale Mallet Robert Bruce Thompson Lighting Competition Froebel Gift Set 05 Peaslee Neighborhood Center | Lobby Installation Over-the-Rhine Design Build Studio

06 Voulkos Sculpture Cover Fallingwater Design Build Studio

Burns, David Architecture Portfolio12445 Dunham Road Mount Vernon, OH, USA740 398 4682 • burnsda@miamioh.edusee electronic portfolio at http://issuu.com/davidallenburns/docs/davidburnslargeportfolioissuu

0 1 E N E R G Y E F F I C I E N T B Y D E S I G N

LocationCanary Wharf, London, UK

Problem To create a mixed use building in the business district of London that resolves issues regarding energy efficiency. Primarily the structure needs to present innovative ideas about new sustainable systems and must also uphold the needs of the design firm Square Circle.

Solution Form follows function. The concept is to process wind energy, and use it to power a thermal energy system. The structure of the building not only provides new answers to wind energy, but also adheres to the clients design atmosphere. All these drawings were produced by myself.

Summer 20155 Week Project

Systems Diagram

A. Facade Ventilation B. Wind Energy Turbines C. Wind Capturing Structure D. Wind to Thermal Energy ConverterE. Thermal Energy Storage

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The west facade faces the edge of the River Thames. The concept takes in wind from the southwest affecting the overall planning of the building. The structure also uses stack effect in the main lobby as another source of sustainable energy.

The section perspective shows how the edge of the building is being cantilevered due to its specific structure. This allows for a double hanging facade to exist between the wind energy turbines and allocates different levels of space for the client.

Square Circle’s office space resides on the second and third floor of the building. Both floors share the north staircase and an open to above lobby space.

0 2 W E S T C O T T V I S I T O R C E N T E R

LocationSpringfield OH

Problem The Westcott House Foundation is currently working on designs for a Visitor Center. My task was to create a site and a building, which would include employee offices, an education center, multi-use spaces, and a bookstore. The space also needs to functionally serve the community.

Solution To apply Frank Lloyd Wright design pedagogy, such as weaving and crystallization, to the site plans and building structures. The building uses modern construction methods, which strongly relate to human scale and proportions, but also relates the building back to the site. All these drawings were produced by myself.

Fall 2014Semester Project

Visitor Plan KeyA. Side Entrance from SiteB. Bookstore/ CafeC. Storage ClosetsD. Restrooms E. Multipurpose RoomF. OfficesG. Conference RoomH. Video RoomI. Classrooms

Site Plan KeyA. Westcott HouseB. Pre-existing Activity LawnC. Visitor Center D. Sculpture Garden EntryE. VFW Parking Lot F. Sculpture PlatformG. Boardwalk / BioswaleH. Education LawnI. Solar Decathlon HouseJ. Prairie Walk Entry

Site PlanThe pre-existing Activity Lawn is to be used for public events. The sculpture garden features community based work and the bioswale runs under the boardwalk, providing space for excess water.

Visitor CenterThe process was developed between sketching and modeling. The concept is to create a line within the building that frames the Westcott House for the viewer. The Visitor Center keeps a low identity at the sidewalk, but then accentuates the presence of the Westcott House at the lower level. The move also creates an equal divide between public and private space.

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East Elevation

Scrap Model Detailed Scrap Model

0 3 L A N E L I V E W O R K

LocationOxford, OH

Problem The Lane Public Library has just finished construction for a new building this year. Therefore, the previous structure to house the library is vacant. This interdisciplinary design studio’s role was to redevelop the building into an artist live work community.

Solution In our group of four, architect, interior designer, and two graphic designers, we developed the building into a modern painting studio, to house 8 couples. The bottom floor of the building is open to the public, including a tea counter, whereas the top is primarily for private use. All drawings in this project were produced by myself unless stated otherwise on the drawing.

Group Members & RolesDavid Burns: ArchitectCristin Lombardo: Interior Design Kathryn Reese: Graphic Design Daniella Conti: Graphic Design

Spring 2015

Floor 1

Floor 2

Lane Live-Workartist community

Lane Studios will incorporate a strong relationship between public and private spaces. The idea of a private to public gradient within the space is important in the physical location of the spaces but also in their uses. At the top of the gradient and the building, the spaces and artworks are very private and individual. Each person has their own space to do their own art; the individual experiences from which artists create their work are essential to building the experiences had by the public. As you move down the gradient and through the building the spaces become more public, first mingling with other live-in artists in communal kitchenettes, bathrooms, or social rooms then eventually reaching an area that is fully open to the public where the artist’s work and abilities come fully together in the gallery and classroom spaces.

Lane Live-Work utilizes a soothing color palette of blue, gray, and yellow to create a relaxing artist community. The branding and architecture focus on transitional qualities such as layering and private-to-public spaces to create a collaborative environment.

Tranquil, Transitional, Harmony, Coalesce, and Adaptation

Existing Conditions Identity Map

Mech./HVACTea Storage and Employee O�ces

Classroom Storage

Class room #1 Class room #2

PUBLIC Entrances

PRIVATE Entrance

Elevator

Tea Counter

Gallery

Public Space

Private/Living

Wayfinding

Entrance SignGallery Card

Gallery

LobbyWayfinding

Directory Sign

Tea Counter Wayfinding

Entrance Sign

Products

Paint Palette

Products

Tea BoxesCupsTea Bags

DiagramsConcept Statement

Daylight Material Intervention

Buttress Diagram

Circulation Path of Public

Circulation Path of Residents

Circulation Diagram

Tea Counter Gallery Studio Exterior Back Exterior

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Infusion

Gallery

Tea Counter

Art ShowcaseLane Live-Work

StudiosLive-Work

Artist CommunityArtist Community

live-workLane

Infusion tea counter

Galleryart showcase

Studiosapartment living

I began this project with a site study abstraction (on title page) looking at how the building’s form is embedded into its context. As the group proceeded, we wanted to expand upon that energy as we designed the site. The overall theme continued to be about organic shapes moving throughout a rectilinear form.

Structurally, the concept is to divide public and private space with the first and second floor. Below is a gallery, classroom, and tea counter, and above are studio apartments for the residents. The drawings to the left show where we started planning redevelopment, and thinking about form.

Our graphic designers combined our thoughts about organics & edge to create our Lane Live-Work logo. As we started making final work, similar ideas were also reflected in the intentions behind our elevations and section drawings. From logo to branding, the graphic concept continued into the interior design of the tea counter, where we thought about opacity and color.

West Elevation South ElevationEast Section

Logo created by Daniella Conti

Tea boxes created by Daniella Conti & Kathryn Reese

0 4 S M A L L S C A L E D A R C H I T E C T U R E

DescriptionA series of mini projects that took place in various studios. Each project was assigned to help me understand the quality of architecture emphasized at a smaller scale. The work explores the finer details of assorted materials. All drawings in this project were produced by myself unless stated otherwise on the drawing.

Projects Mallet | Extension of the Body | Summer 2014 Robert Bruce Thompson Lighting Competition | Spring 2015Froebel Gift Set | Fall 2014

Section Plan

Mallet | Extension of the Body was a part of the Fallingwater Studio, where my professor asked me to create a tool that related to me physically and mentally. I’ve always viewed myself as a rigid person, with awkward proportions. This helped me develop a mallet with unbalanced weight, purposefully allowing me to hit harder with the large end, and tap lightly on the other.

The Robert Bruce Thompson Lighting Competition occurred in the middle of Lane Live-Work. The objective was to create a hanging and wall mounted light fixture for a wine bar. The wall-mounted fixture is about indirect light and relates to a closed bottle of wine. The hanging fixture then celebrates wine pouring around the cup with copper sheathing swirling around the glass bowl. Both fixtures can be taken apart easily, and use LED lights.

The Froebel Gift Set was a group project at the beginning of the Westcott Studio. The process made us think about the importance of minuscule details, and gave us an instrument for design. We used the Froebel Gift Set to investigate the crystallization of nature, and how geometric properties can be applied to our overall design. The image patterns from left to right are Expansion and Centralization.

0 5 P E A S L E E N E I G H B O R H O O D C E N T E R

LocationOver-the-Rhine, Cincinnati, OH

Problem The Peaslee Neighborhood Center has been a non-profit community organization for 20 years, providing after school programming for all ages. The center resides in a 1960’s modern elementary school, and needed the first floor lobby to provide gallery space for students work, and to also work as a reception area.

Solution To keep the lobby space as open as possible, and to suggest a coherent void between the gallery and reception. We explored the use of magnetic surfaces for pin up spaces, and applied the tectonics of the design to the rest of their needs. I was strongly involved in the work displayed in this project. All drawings shown in this project were produced by myself unless stated otherwise on the drawing. Fall 2015Semester Residency Program

R E F L E C T I O N

After living in Over-the-Rhine for my fall semester, this is my final reflection of the experience.

Throughout my life I’ve heard people compare their personal experiences to a new set of polarized lenses. Peers return from their study-abroad trips and announce that their time across the pond has appended a different color to their perspective. It’s an additive process that keeps what you have already learned and gives you something extra to keep in your pocket when it’s needed. However, when I think of my time here in Over-the-Rhine, the comparison is just the opposite. I feel a polarized lens has actually been removed from my vision and a new level of clarity and truth has been added to my perspective instead.

At my last journaling session, I was given a prompt that asked me to choose three things to take with me when I leave. I chose “big words, conversations, and empathy.” The first thing I saw when I removed my polarized lens was a world of racism. Through the courses, I learned that the civil rights movement never ended, and racism has been at the forefront of this country from the beginning. But let’s be real, it took more than reading from a book to understand the concepts of neo-colonialism. It took more than a film to understand that oppression lays beneath the facades of the newly developed downtown. Most that I learned came from interactions with people, who have been at the spearhead of activism since the days of buddy gray.

The daily conversations with Over-the-Rhine residents have provided my life with clarity. In a conversation with a man who spent fourteen years in prison for shoplifting, I discovered truth. I found closure when my peers and I helped a traumatized woman home with the assistance of two men, who were experiencing homelessness. Then, above all, I discovered empathy when I realized that every person in this city is a beloved human being, that deserves more than they are given. I’ve always thought I could be there to help someone when they needed it. But this experience has made me understand that there is no level of help that is greater than walking side by side with the people in your neighborhood.

On the last day of our studio, while our architecture group was boring holes in the walls of the Peaslee Neighborhood Center, a woman with wisdom beyond her years told me something that stuck. She said that college students, above the rest, have the most power to make change in the community. If college students didn’t fight for the freedom of African Americans, she said that she would still be sitting at the back of the bus. She made it clear that my role as an individual with resources and knowledge is to “stand up for the people who can’t stand anymore.”

As architects, we have the choice to design within our own heads or with respect and empathy towards others. The beauty of getting out of a studio and into the real world is that my stance will affect the daily routines of human life. The work we did at Peaslee is about people. It’s about the need to open up a room to welcome all members of the neighborhood and to provide yet another space for people to sit and have a meaningful conversation.

So much of my clearer lens calls for change that it is overwhelming at times. As I finally reflect on my time here, I realize that I don’t feel wiser, nor smarter, and it doesn’t seem like I’m going to walk away from this experience and say, “ah, well that was nice.” My back has been broken and my bones have been rattled; yet it feels amazing. I was given so many tools this semester, and yes, when I first picked them up, I hurt myself, and maybe even bled a little bit. But now I know how to use those tools, and I’m excited to teach others how to use them as well. When I took off the polarized lens, I realized that the truth is permanent. I don’t intend on ever putting the lens back on my perspective, because that would be choosing to live a lie, utterly ignoring the fact that this year I grew in Over-the-Rhine.

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A. Soffit constructed of unistrut and track lighting.B. Curved pieces of plastic for the soffit. C. New lighting and fans D. Curved metal to be used for gallery pin up space.

The conversation started with the allocation of space inside the lobby. The idea present in the hand diagram is to layer each element of the room, to create a narrative. The gallery starts outside and runs down the west wall, around to the other side, and through the rest of the building. There was a special relationship between the columns and the wall and it was too small of a space to move behind, so we thought about form flowing past it.

As we progressed further with the design build, our work became more specific. The materials changed to perforated metal, to increase the visibility of the brick wall. Also, we wanted the connection points of all the metal panels to be seamless. Images show how we used folds to create connections.

The final works at the Neighborhood Center consisted of the magnetic panels, and finished soffit work on the ceiling plane. The soffit was composed of unistrut and acrylic translucent plastic allowing the ceiling to lower itself before the viewer enters the hallway. The space is currently in use as the Center continues to work with members of the community.

0 6 V O U L K O S S C U L P T U R E C O V E R

LocationMill Run, PA

Problem At Frank Lloyd Wright’s Falling Water House, there sits a ceramic sculpture, designed by Peter Voulkos, at the guesthouse pool, which needs seasonal protection. It requires a cover to protect it from the rain, debris, and wild animals.

Solution To create a cover that interacts with the need to protect the sculpture from the rain, and the guest pool. The form also needs to speak for the sculpture when it can’t be seen, and also act as a visual cue amongst visitors. Our group was divided into teams, and I specifically worked on the creation of the copper roof, and assisted with the assembly of all parts. I also took studio photos of the finished product, and the final site pictures.

Summer 2014

Photo taken byKhaliunaa Ganbold

Copper Roof

Waterproof Membrane

Redwood Structure

The goal of the roof is to keep the ceramic sculpture protected from water at all times. The water slides down from the roof and into the hole at the end, then out through the crease in the sculpture and into the pool. We started making chipboard mockups, and then practiced folding metal with aluminum.

The scupper (image to the right), projected the water from the roof, into the pool. The intention was to let water drip into the pool, and celebrate a moment that happens around the rest of the Falling Water House.

With a continuous focus on detailing, the group was successful in creating specific moments between the copper and redwood.

T h a n k Y o u 12445 Dunham Road Mount Vernon, OH, USA • 740 398 4682 • burnsda@miamioh.edu