Architectural Design PortfolioPasadena City College, 2011

PrologueAs a student, i've always fascinated and interested in new ideas and design innovations that can be best described as the marriage between nature and structure. A significant increase in interest in sustanible and enivornmentally-friender design solutions surfaced as the human race moving steadily into the first few decades of the 21 century. The world that we live in has now faced many unprecen-dented challenges- social, economical and envirnomental issues are the few to come to mind.

I share my mutual sentiments with Shigeru Ban's iconic saying "I don't like waste" and althrough simple, that phrase reasonates in myself very strongly. It is the main driving force behind me, as a student designer, to pursuit design solutions and innnovations that are not only unique, but also sen-sible and with due respect to its users and their experiences. The word "waste" can be viewed very subjectly, but as a architecture student i see it as the very reason to subconciously reminding myself to design with efficiency of space use and the harmony of environmental realities and structure.

The two design studio projects in the portfolio would underake the challenge of spatial effiency. The main recurring theme from these two projects are the efficiency of space use, utilizing environmental conditions, site realities, and enhance user experience through design innovations. I also can't stress the importance that i want to give the users the freedom to choose to use the interior spaces the way they wanted, while embracing their personal needs and preferences, all without compromises and constraints.

As a student, i aim to continouly and vigorously to improve and learn what lies before me.The path to success will only show itself when one try with all their might and do with all their hearts.

AcknowledgmentsVarious people have made contributions in the making of my portfolio, both directly or indirectly. It is with my great pleasure to announce the name of people who offered help for valuable suggestions, recommendations, and to overcome my self-uncertainties.

Special thanks to Joao Velazquez, personal friend and peer at PCC, for his courtesy and effort to work with me and improve the organization of the portfolio; Paul Tuason, another personal friend and peer, for offering suggestion and recommendations for content improvements; Qasem Baouni, of the teacher assiant at PCC, for his tremendous effort in helping the students in studio and offering consulations in the design process; Coleman Griffith, Director of PCC architecture program, as well as a porfessor in studio classes, for the program to shape me as a student as i am now. And finally, Liz and Miriam of the personal counselors at PCC psychological services for their emtional support. Also my parents, Ben and Mary, for their support on my education and devotion as loving parents; my siblings, Tom and Lisa, for helping me out when the need arises.

And of course, all the great people i'm fortunate enough to have known and offered help, even if their names i cannot remembered or recalled. Nevertheless, they do deserve being mentioned.

"The success of the masterpieces seems to lie not so much in their freedom from faults-indeed we tolerate the grossest errors in them all-but in the immense persuasivenss of a mind which has com-pletely mastered its perspective."

Virginia Woolf, From "The Death of the Moth"

Contact Information:John Hublugreen.design@gmail.com(626)222-4348

Software skills:Adobe Photoshop, Adobe Illustrator, Adobe Indesign, AutoCAD 2012,

Rhinoceros 4, Maxwell Render 2

Area of Interest:Sustainable, environmentally friendlier design, recycled building materi-

als and home housing/civil design

Education:2nd year student designer

Personal Hobbies:

Free-hand landscape sketches, marker rendering

Table Of Contents:

Plywood Fabrication Design: The Tablair....................................Page 56-57

The Eames House Case Study....................................................Page 52-53

The Boiler House Core.................................................................Page 26-37

The Art Gallery: Personal Artworks..............................................Page 60-63

The Haven of Intergrity-Pan Pacific Regional Park......................Page 10-25

The Found Space.........................................................................Page 46-49

10B Sequence of Spatial Order...........................................................Page 40-43

20B

20B

10B

12B

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Art

The Haven of Integrity - Pan Pacific Regional Park Arch. 20BFall 2011Instructor: Coleman Griffith

Second Stage: Site analysis of exisitng conditionsFirst Stage: Conceptual word development

HEIGHT REFERENCE AT THE SITE

The Haven of Intergrity-Pan Pacific Park

Description: The Pan Pacific Park, is located at a juncture between the Grove to the west and resi-dental homes to the east. The park itself presents opportunities with the theme "transition" as it is a pulic park frequented by its local residents as well as visitors for various activities. Objective: Locate and enact a design solution for a place of transitional healing that best fits within ex-isitng site condition with the theme "transition" and "reunion." The architecture should accommodate the needs of program of choice and offers a place for troubled individuals to undergo transitional re-habiliation.Process:First Stage: Developing concept. The main idea of the word map is processed from the following words: transition, reunion, and halfway house. Compatibilitism is emerged from words during the transition, with bi-nuclear words repulsion and at-traction.Second Stage: Site Analysis. The site is looked at the regional for existing circulation at the site. Exist-ing conditions on the site are documentd, analyzed for known constraints (physical limitations) and re-alities (exisitng buildings and physical features)

SITE PLAN

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Constraints

FRONTAL VIEW

Circulation Flood zone Zoning GridSite facilities Wind flow

Realities

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Beverly Blvd.

3rd St.2

The Grove Drive.

Gardener st.

100,000sqft75,000sqft50,000sqft25,000sqft

125,000sqft

150,000sqft

United States Postal Service

Baseball Field

Residence

Pan Paci�ce Recreational Complex

Fairfax Branch Library

Senior Center

Third Stage: Design development. The site is fur-ther analyzed for potential concept application. The dimension of the site, the perimeter of the design placement are realized before proceeding to solv-ing programmatic issues and its effect on exisitng conditions at the site.

SQUARE FOOTAGE ON THE SITE

repulse

attract

attract

repulse

attract

attract

repulse

attract

“compatiblism” zone

Applying concept

site datumactivity existing conditions

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privacy

access to parking

temperature

traffic/noise

transition

accessibility

vegetation

neighborhood context

a b c da2 c2

best good bad

a

b

c

d

a2 c2

PAN PACIFIC PARK SITE MODEL, GROUP MODELMatrix diagram

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Perimeter development

Bounding box based from the matrix diagram Bounding Box leveled to site datum Site constraint: the flooding zone

Final Stage: Design development. The site is ana-lyzed at local scale for the effects of physical/envi-ronmental conditions. The diagrams below depict-ing the process of applying concept, manipluating form and surface and developing the parti.

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SITE PLAN, REGIONAL SCALE

Site conditon: sun light Site conditon: wind tunnel Attraction (red) vs. repulsion (blue)

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SOUTH VIEW

Conceptal Sketches: concept drawings are invalu-able tool in aiding proposed design to the problem.Drawing can can encourage designers to be free to express whatever design ideas in theri heads. This is different than computer-aided software as it is often used to propose a finalized solution rather than thinking about the problem.

Conceptual sketches of sectional development

FORM AND SPACELANDSCAPE AND ENVIRONMENTAL CONDITIONS

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MASSING MODEL FOR SPACE PLANNING

Conceptual Floor Plan Sketches

FIRST LEVEL BOTTOM LEVEL

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BOTTOM LEVEL FLOOR PLAN

WEST ELEVATIONSECTION A

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INTERIOR RENDER AT GROUND LEVEL

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SECTION B EAST ELEVATION

GROUND LEVEL FLOOR PLAN

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INTERIOR RENDER OF UPPER LEVEL

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UPPER LEVEL FLOOR PLAN

SOUTH ELEVATION

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INTERIOR RENDER FACING THE LIVING ROOM

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PAN PACIFIC HAVE OF INTERGRITY NIGHT VIEW

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The Boiler House CoreArch. 20BFall 2011Instructor: Coleman Griffith

First stage: Research and Concept Development

SITE PLAN

Color changing of a chameleon's skin

The Boiler House Core

Description: Reinventing and re-innovating archi-tectural design soultions with transformable/flexible spaces as the primary goal. The Boiler House will house a new architecture school for students and faulty at Pasadena City College. The design will re-volve around a cluster of support spaces or "core".Objective: Design an architecture school that will accommodate the needs from both students and faculty staffs. Efficiency of space usage and trans-formable spaces are key highlights.Design Process:First Stage: Concept Development and Diagram-ming. "Adaptability" emerged from external ref-erence "chamelon's color change" and learning theme "operant conditioning", is chosen as the concept of the design.Second Stage: Site Analysis.The site is looked at the regional for existing circulation at the site. Light-ning condition is an important factor here as it helps in determining the movment of the wall/roof panels throughout the course of the day.Concept: Chameleons are born with special cells that have a color, or pigment, and under the chameleon's outer skinthat is know as chromato-phores. The top layers of chromatophores have red or yellow pigment and the lower layers have blue or white pigment. When these pigment cells change, the chameleon's skin color changes. Mes-sages from the brain tell the cells to enlarge or to shrink, as well as letting cell pigments mix like paint. A chemical called melanin also helps cha-meleons turn color. Melanin fibers can spread like spiderwebs through layers of pigment cells. Their presence causes skin to darken.

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Second stage - Lightning Study

Circulation Light studies - Dawn Noon Dusk

MAIN ENTRANCE

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Final Stage: Fabricating transformable roof + wall panels, and with the core as the main control mach-anism. From concept "adaptability, the wall/roof panels manifest the idea of being able to adapt for various conditions throughtout the day. These pan-els can be controlled via the electric motor located a the core. Studi0 and class spaces are normally folded away and are expandable when need rises.

Exploded Axonometric Perspective

Roof and Wall

The Core

Shell

Platform

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Interior Rendering: Ground Floor

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Bottom Level Floor Plan

Long Section A, showing sequence of transformation from (1)start to (3)end

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Ground Level Floor Plan

Interior Rendering: Bottom Level

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Roof Plan

Upper Level Floor Plan

Short Section B, showing sequence of transformation from (1)start to (3)end

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Interior Rendering: Upper Level

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Pasadena School of Architecture night view

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Sequence of Spatial OrderArch. 10BFall 2008Instructor: Coleman Griffith

Ground level Second levelBasement level

The Mosewich House, located at British Colum-bia, Canada. Designed by D'Arcy Jones Design. Single-family dwelling, 2003-2004

First Stage

Mosewich House Floor Plans

Spatial Sequence Model

Description: Exploration of the interior spaces of modern home of choice and the study of spatial properties such as circulation, private and public spaces, as well as sequential acessibility of these spaces.Objective: Development of understanding of spa-tial relationships in a given common interior space and revealation of sequenial order through the use of both digital and physical model.Process:First Stage: Identifying Spaces. For the first part of the spatial study the circulation is examined criti-cally since it's defining the experience of accessing spaces.Second Stage: 3D Model DiagrammingImages of spatial diagrams in 3D solids of spaces of private, public and circulation, are shown for comparison.

THE MOSEWICH HOUSE DIGITAL MODEL REPLICA, AS SPATIAL BLOCKS

Circulation and spatial diagrams

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All SpacesPrivate + CirculationPrivate only Private + Public

Second Stage

EXPLODED AXONOMETRIC VIEW

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(1) Model with nothing removed (2) Front courtyard is removed

Final Stage

(3) Kitchen, two story space and family room are re moved

(4) Living room+two story sapce and stairway are removed

Final Stage: Spatial Sequence Digital Model, the revelation of spatial sequence. Rendered images with dissembling diagrams below narrate how spaces are accessed sequentially. Notice that cir-culation block (in red) will be removed before public spaces (in blue) do so and how the users access spaces in a sequencial manner.

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(8) Model with all spatial blocks removed(7) Basement hallway is removed(6) Studio and Study are removed(5) Second story hallway is removed

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The Found Spaces Arch. 10BFall 2008Instructor: Coleman Griffith

(2) Spatial obejcts selected(1) Found spaces are documented

First Stage

The Found Spaces

Description: Locating and identifying spaces that are often overlooked and ignored of their potential as functional spaces in their respective environ-ment. The spaces are then documented and digi-tally constructed as three dimensional objects.Objective: Gather fogotten spaces and transform them into three-dimensional contour objects and subtract them from a cube.Process:First Stage: Gathering Fogotten Spaces. The site of chosen found spaces is located in Pasadena City College; the picture shows the view of Shatford li-brary facing south. Mutliple pictures are made into a collage.Second Stage: Digital Documentation. Showing documented and illustrated found space objects in sequence, presenting the progression of objects being transformed.

PCC LIBRARY

(3) Spatial objects rearranged

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(3) Spatial obejects rotated (4) Spatial objects placed (5) Objects differenced

Second Stage

(6) Cube is contoured

PERSPECTIVE VIEW

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Final Stage: The rendered interior view of the cube. After being subtracted and contoured, view of the cube interior is shown here. This view, in particular, effectively defines differences in spatial relationships such as postive vs. negative spaces and solid vs. void.

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The Eames House Case StudyArch. 12BSpring 2007Instructor: Peter DeMaria

Description: This home is designed by Charles and Ray Eames, the landmark of modern architec-ture of the mid-20th century. The case study ana-lyzes spatial properties of interior spaces.Objective: Constructing a 3-D replica model of the Eames House using digital software. The spatial re-lationships inside the house are closely examined.Process:First Stage: Plan and Section DrawingsThe drawings will become the foundation for build-ing the 3-D digital model. Precision is important here as there are parts of the house that require attention to detail.Second Stage: Construction of the Digital ModelExhibiting the series of images of the model in se-quential order of how the house would be built in actuality, as well as digitally.Final Stage: Digital Model RenderingThe digital model is rendered with the aid of a com-puter software.

First stage: drawings Second stage: construction

(1)Building the trussesEleavtionsFloor Plans

The Eames House Case Study

THE EAMES HOUSE, AXONOMETRIC NIGHT RENDER

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(2)Building ground floor pavement and rooftops (3)Adding interior spaces, floors and walls (4)Adding exterior window frames (5)Adding exterior window glasses

THE EAMES HOUSE RHINO 3D MODEL

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Plywood Fabrication Design: The TablairArch. 14Fall 2009Instructor: Coleman Griffith & Dinicio Valdez

24.000096.0000

24.0000

48.000012.2500 11.7500 12.2500 11.7500

23.0000

10.0000

4.0000

15.0000

5.3633

First Stage: Conceptal sketch Second Stage: Planning and measurement

Measurement

Plywood Fabrication Design: The Tablair

Templates

Description: The design project focuses on creati-ing a prefab object that can be a scrupture, a fur-niture piece or anything that cab be held together. There's a size constraint in which how big the ply-wood panel is used. Objective: Using no hardwares and glues, create a design with a 8'x4' plywood that can be self-sub-stained structurally.*"Tablair" is a hybrid word of "table" and "chair"

Design Process:First Stage: Exploring Design Ideas.The main goal of design focuses on being efficient without sacrificing functionality and dualibility. The pencil sketch shows the early stage of development of the furniture that is intended to be a dual-func-tioning piece.

Second Stage: Planning and Configuring. The plan drawing shows how the design is being used on a 8'x4' plywood, with measurements included.

Final Stage: Rendered Digital Model and Assem-bly The *Tablair is a dual-purpose piece in one sleek, sustainable design. The hybrid design of the Tablair pushes the boundaries between the desk and table to the limit. It's both decorative and func-tional, and while being very resource efficient at the same time.

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Perspective view Showing removable chair Chair detached from the table Chair in seating configuration

Final Stage

The efficienicy of material use: During the fabrica-tion process the tablair uses about 7.5 of all 8 2'x2' pieces, or about 93% usage in material.

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The Art Gallery: Artworks from 2006 to Present

Still Life- High Contrast ObjectsCompleted in summer 2007Medium used : charcoals, pencil

Still Life- High Reflectivity ObjectsCompleted in summer 2007Medium used : charcoals, pencil

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Still Life- Shiney objectsCompleted in summer 2007Medium used : color charcoals, pencil

Still Life- Landscape SketchCompleted in summer 2007Medium used : charcoals, pencil

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Still Life- High Reflectivity Metal ObjectsArt 18 Instructor: Joel BellMedium used : Markers, fine tip pen and white gouache

Still Life- Wooden ObjectsArt 18 Instructor: Joel BellMedium used : Markers, color pencils

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Still Life- Assorted ObjectsArt 18 Instructor: Joel BellMedium used : Markers, color pencils, fine tip pen and white gouache

Still Life- Assorted Objects Art 18 Instructor: Joel BellMedium used : Markers, color pencils, fine tip pen and white gouache

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FIN!