architecture/design 2009 -2011

A Portfolio

Edward Burkhead

By

QuiltQuilt

Edw

ard Burkhead

January 2009-November 2011

Enivironment +Space +Desire +Economics +Society +Heroism +Mystery +Aesthetics +Structure +People +Imagination

Architecture

Unless otherwise noted, the designs, thoughts, ideas, sketches, and images contained in this portolio are the work of

Edward

Burkhead

The Quilt/ The Grid/ The Portfolio

The Pit and the

Pavilion

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liminal

therapy Detroit360

CardboardClocks Hybrid

Shelving

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Table OfContents

Luminarium

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DeliriousDining kiloconstructs

E Unibus

Pluram

The Quilt/ The Grid/ The Portfolio

The patchwork quilt brings together unrelated elements: text, images, colors, and patterns. Each element fits into an overall established pattern for the quilt. These elements are brought together to tell a story, not just for aesthetic purposes. Each patch has its own symbolism and meaning, and contributes to the greater story told by the quilt.

The grid is a powerful element of design. It has been used to organize information, space, and even cities. The grid is a simple device, but its flexibile nature accomodates vast amounts of diversity. Within it, anything can happen.

This portfolio is designed as a grid, and intended to function like a quilt. It is not intended to be aesthetically beautiful. It is intended to tell stories. I want it to weave together a patchwork of visual and textual ideas, exploring the different problems and questions that I faced in the projects shown here.

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Quilt

Grid

Color is used to link ideas and information together. Boxes containing the same color are related in some way. This creates a pattern of visual information both within each individual project and across the book as a whole. For example, the blue symbols on this page link together text boxes that discuss how this portfolio functions, while the grey boxes distinguish text boxes which describe my personal reasons for choosing this design for my portfolio. Across the book, solid black boxes with white text indicate the start of a new project.

Text is broken into small pieces and dispersed to complement images, highlight important ideas, and narrate the development of the designs. Different typefaces reflect different trains of thought.

Strategic Graphic Design: How it works

This continuous grid of ideas also tells my story as a designer. I believe strongly in flexibility, working with a variety of ideas instead of a single “big idea”. The design of this portfolio allows me to talk about my projects in a way that reflects how I actually worked on them: non-linearly, jumping around to different ideas, thinking about several problems at once, and frequently backtracking or changing ideas.

October

2011

Images are interspersed with the text to show the development of a project and to display it at different scales of detail. If necessary, particularly detailed or important images can take up multiple boxes on the grid. Additionally, visual cues (such as the capital-I for “image” in this box) are used to visually accent certain text boxes and provide a deeper layer of visual information.

Quilt by Helen Burkhead

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Portfolio

liminal

therapy

Humanos Postizos

Grand Circus Park

As technology improves, we are able to create better and better prosthetic limbs for those who have lost them. These prosthetic people, or Humanos Postizos, are able to walk, run, and even compete in sports. This project postulates a therapy, research, living, and training space for these special people.

Located on a periphery zone in Detroit, one side of the L-shaped site borders on one of its few thriving cultural districts, Grand Circus Park, which includes the Detroit Opera as well as a few museums and sports arenas. The opposite side of the site reaches out to Cass Corridor, an important urban strip which leads to another thriving district near Wayne State University. In between these two “good” zones: abandoned buildings, empty lots, and urban waste.

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Urban ConnectorAt an urban scale, this project sees it-self as an architectural prosthetic for the city of Detroit. By lifting the building into the air, the ground plane creates a connection between Grand Circus Park and Cass Corridor.

The ground becomes a park and creates a path of direct circulation out towards Cass Corridor. The faceted landscape features a forest of structural columns, top-lighting from large light wells, and monumental stairways that serve as gathering zones and points of ingress to the therapy center.

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Layers

Layer Study:The Sandwich, Artistically Considered

By lifting the actual building into the air, this project can be understood both physically and intellectually as a series of layers. There are layers of program, layers of space, layers of material, layers of people, and layers of privacy.

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Layer Two: Therapy Rite of Passage

Layer Three: Living

The next layer houses the research, treatment, and training facilities. The plan is organized around a central courtyard which accesses the circulation cores. Light wells separate the three main programmatic zones, which are further subdivided by the array of structural columns.

The architecture of the therapy center is designed to accomodate and empower people who have experienced traumatic injuries. Conceptually, this building is designed around the anthropological idea of the Rite of Passage, which diagrams human rituals of transition. Each of the three phases of a Rite of Passage: Separation, Liminality, and Incorporation, is architecturally represented in this design.

The final layer of space is also the most private. This layer is dedicated to residential life. Elliptical sleeping pods are set up to house long and short-term patients in a campsite-inspired array. Two quiet roof gardens provide space for leisure and quiet contemplation.

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Separation Liminality IncorporationThe first stage of a Rite of Passage is Separation. The participants in the ritual are physically separated from the rest of society. By lifting the building off the ground, the patients and trainees are physically separated from the world below.

The second stage of a Rite of Passage is Liminality. This stage is characterized by brotherhood, community living, and special circumstances and rules. This project facilitates liminality by creating atypical environments. Clusters of sleeping pods are reminiscent of a tribal campsite, while patterned light effects highlight the space as being different than the space of the world below.

The final stage of a Rite of Passage is Incorporation. After existing in a liminal state the participants are reintegrated with society as changed people. The central courtyard, with its monumental stairs, serves as the point in which rehabilitated prosthetic humans descend back to the earth to rejoin society.

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January-April

2010

The Final Layer: Light

The outermost layer of this deisgn is a white, faceted, steel screen with a pattern of circular openings. These openings modulate in size to respond to control light and view within the spaces. Large openings correspond to light wells and more public spaces, while small openings open to more private areas. In this way the skin of the building becomes a map of privacy and program.

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Detroit360o

Translation: India to Detroit

Leti 360 is a high end resort hotel designed by Studio Mumbai. It is located in the Indian wilderness. After studying its design and construction, we were asked to translate its salient values to the city of Detroit for the design of a mixed-use building featuring a department store on the ground floor and open-plan offices above.

MaterialsLeti 360 employs a minimalistic design that uses local material and techniques to good effect. Thick, dry-stacked stone walls contrast thin, teakwood-framed curtain walls. To translate this design technique to Detroit, we chose to use rough, site-cast concrete panels as structure and a light, maple, curtain wall to allow in light and contrast the heavy concrete.

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Elevations and Plans

Showing material construction, facade composition, and interplay of thick walls and thin walls.

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East

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StructureStructurally, Leti 360 is supported entirely by thick, load-bearing walls. Likewise, Detroit 360 is supported by concrete walls, including two structural circulation cores which support the cantilevers and allow for safe egress.

Passive Heating and Cooling

Passive climate control is very important in the design of Leti 360. To achieve it here, we designed an operable porous sun shade that can control the amount of natural sunlight allowed into the spaces, which varies across each day and season. Operable windows draw air into the space to naturally cool and ventilate it.

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Intensive Green Roof: Terraces

The last inspiration we took from Leti 360 was the use of terraced landscape. There, it serves as a way of using the mountainous site to the design’s advantage. In Detroit 360, the terracing manifested itself as a series of tiered roof gardens which are accessible from the upper office floors.

Engineered Soil

Drainage Layer

Insulation

Waterproong

Raised Floor Joists

Raised Floor Plates

Lightweight Substrate

Filter FleeceDrainage

Moisture Mat

WaterproongInsulation

Vapor Control Layer

Filigree Plate March-April

2011Designed with Kevin Swanson and Brian Suguine.

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CardboardClocks The problem (in theory): design and

build a functioning clock. The problem (in practice): design and build a functioning clock know-ing that you have a variety of large expenses and won’t get paid until the next Thursday, two full days after your clock is due, which in turn means your budget for this project is about eight dollars.

Clock 1

5” x 12” face. 1” thick. Bent wire base support, spray painted black. Hands placed in lower-right hand corner, visually drawing the eye across the blank surface. Lack of hour or minute indi-cators emphasizes simplicity of material

The Solution: design the clock using inexpensive materials.

Cardboard (2 sheets): 6 dollarsWelding Rod (2 rods): 74 centsClock Movement (2): providedBlack Spray Paint: borrowed

Materials & Cost:

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February

2011

Clock 2

5” x 5” face. 1” thick. Bent wire base support, spray painted black. Hands centered in asymmetrical cruciform pattern. Cross indicates time: 3, 6, 9, 12 (and :00, :15, :30, :45). Cross pattern aesthetically transfigures a cheap material into a poetic object.

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Hybrid

Shelving

Geometry and Space

The Hybrid Shelf is a geometric composition of four shelves supported by three aluminum poles. The shelves are arranged to create spaces that accomodate multiple functions. The top shelf (triangle) is intended for general display or storage. The two rectangular shelves beneath it are bookshelves, designed to accomodate books of all heights. The bottom square shelf is designed for the display of a plant or small sculpture.

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Material & AestheticThe shelves are made of MDF board covered on each side with white Formica laminate. The edges of each shelf are left exposed and given a rounded edge to provide an aesthetic of lightness. The three supporting poles are aluminum, and and finished with steel wool. The bottom shelf is cantilevered, which creates the visual illusion of it seeming to float weightlessly.

March-April

2011

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The Pit and the

Pavilion

Remembering

PlansRoof (top) and Ground (bottom) in site.

Poe in Boston

Poe’s Writing

An installation to commemorate the life of Edgar Allan Poe, located in downtown Boston at Edgar Allan Poe Square.

As a form of research for the installation design, we read a variety of stories and poems written by Edgar Allan Poe. We discovered that his stories derive their famous creepiness from the vast amount of sensory detail he chooses to include. Stories such as The Fall of the House of Usher, The Masque of the Red Death, and The Tell-Tale Heart are full of powerful imagery that stimulates the senses.

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Unfolded Section

The Pit and The Architecturethe Pendulum of FictionOur chief inspiration for our installation. The entire story takes place in a single room, containing the titular pit and pendulum. However, the way in which Poe describes the room changes drastically throughout the story.

We wanted to bring the Pit and the Pendulum to life. We translated the four distinct descriptions of the room setting from the story to a continuous pavilion. We manipulated light, ceiling height, and geometry to recreate the experience of the story’s setting.

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Perspectives

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Walking through the pavilion’s changing spaces.

July- August

2011Designed with Julie Chau.

Roof and Pit

In order to make the pavilion more interactive, we designed an inhabitable roof and small courtyard, dubbed “the pit”, to be spaces of social interaction, performance, and activity.

just b/caxonometric 1view of stairs, entrances, courtyard, and rooftop

just b/caxonometric 2stairs, rooftop, room 1 exterior

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Luminarium

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Facade

Ann Arbor

The stone walls before could not be more different than their neighbors clad in glass. Where they expose and invite, these walls are blank. They reveal nothing save for a narrow opening. They are secretive, mysterious, quiet.

State Street, adjacent to the campus of the University of Michigan, is home to a mosaic of shops, restuarants, and local businesses. Here students, tourists, and locals can be found shopping, eating, and wandering on any given day.

This project proposes a tiered park and a Museum of Light Art for this neighborhood.

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Slit

Infill

A winding path is carved into the site. The path achieves three important effects:

1. It connects the back alley to State Street, promoting circulation.2. It prolongs the experience of the architecture, allowing it to unfold in pieces rather than all at once. It encourages exploration.3. It cracks the site open, and allows light to flow in.

The site is narrow: 30 feet wide by 127 feet long. It is sandwiched between a restaurant and a movie theater, bordered by an alley on its western side and State Street to the East.

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PavilionsThe winding path defines three open-air pavilions and a small tower. Each pavillion has a different ceiling height, and is made of rough cut stone. Pillars of varying widths separate pavilion from path, and create different lighting effects and views in and out.

GroundAs you walk along the winding path, you hear the sound of black gravel crunching under your feet. People sit clustered at tables under three pavilions of varying height. You hear the murmur of their conversations as you pass through the shadows of trees and pillars.

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Tiered ParksThe roofs of the pavilions form a series of tiered parks. These parks are linked by a series of stairs that criss-cross the void, and provide views of downtown Ann Arbor.

SkyAt the end of the path you are faced with a crossroads. You have three choices: enter the alley, enter the tower, or climb the stairs to the roof of the final pavilion. You climb the stairs and your feet fall on soft soil. Spread out before you is a series of elevated parks, covered in small trees and tables.

Tower

Sans Roof

The tower is a simple extruded form carved out by the path. On the ground floor it contains a gift shop and information center. The floors above contain an education center, conference room, and offices. The floors below contain storage for artwork to be used in the underground museum

The tower also contains circulation, connecting park to museum.

The outdoor spaces defined by walls.

August- October

2011

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MuseumThe Museum for Light Art requires carefully controlled light levels to function. Painting and photographs require some light, while glowing sculptpures and installations require darkness. The first floor of the museum is lit by a single skylight to provide some natural light for paintings. Below lies a second labyrinth that defines small rooms, each capable of containing their own light art piece without having to worry about visual interference. Like the park above, it is for wandering, exploring, and discovering.

Underground

Labyrinth

You emerge from the elevator into an open hallway lit by the glow of a single skylight. Paintings and photographs of light line the walls around you. At the end of the hallway is a set of stairs leading to a tall, open space containing a large glowing sculpture.

Past the large sculpture lies a dimly lit labyrinth mirroring the wandering path above ground. As you wander it, vivid colors dance forth from various rooms, enticing you to enter and see the wonders they contain.

DeliriousDining

People’s Food Co-op

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Spatial Analysis Space/Program

Refrigerators Cashiers Cafe Salad Bar

Food Co-opThis project is the result of a rigorous study of the relationship between man, architecture, and food. This study began by studying the People’s Food Co-op in Ann Arbor, MI. I carefully measured and studied the space, producing a detailed architectural plan and fragmented sections of the building. I became fascinated by the energy of this relatively small building. It juxtaposes a grocery store with a cafe, and serves as a focal gathering point for the community.

Chicago Deep Dish Pizza

Axonometric Section

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Mozzarella Cheese

Vegetables (Onions, Green Peppers, Mushrooms)

Ground SausageMozzarella Cheese

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Pizzeria Uno’s invents the first Chicago-Style Pizza

1943 1954

Original Gino’s Pizza opens

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Lou Malnati’s Pizzeria opens, Nancy’s Pizza invents the stuffed-crust pizza

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Giordano’s Pizzeria opens

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Connie’s Pizza opens

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Nancy’s Pizza opens

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ChicagoThis project, a mixed-use community center, is located in the city of Chicago on Michigan Avenue across from Grant Park. Chicago is the home of the deep-dish pizza, the Chicago-style hot dog, and a variety of other culinary traditions. The site itself is a large square infill, about 80 feet wide and 80 feet deep.

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Program MassingThe mixed-use community center contains the following programs:

A TV StationA Parking LotA Grocery StoreA Night ClubA Basketball CourtA HotelA Performance Space

My initial attempts at designing this building were based on attempting to express each program through the building’s massing. These masses, in their many iterations, focused on the desirable levels of natural light and privacy for each program, and then joining these programs via different strategies of vertical and horizaontal circulation.

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Dining Table

Community

To continue my study of food and architecture, I produced a series of plan vignettes depicting different dining situations, from dining alone to dining in a large banquet hall. The space represented by the horizontal plane of the table is a powerful physical and psychological tool to bring people together. It generates its own community, its own privacy. It is an architecture that exists without walls.

Capitalizing on the idea of using food to create community, I decided to conceptually center this community center around the idea of dining.

worldhotel

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worldhotel

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5-in-1The five experiences generated by combining programs are:Fragmented Tailgating allows cars to park in small clusters to create intimate tailgating and picnic areas.Lazy-Boy Bleachers allows people to snack from the comfort of tiered sofas while watching basketball or TV.Floating Barbecue is a private dining island for hotel guests.

Private Performance is an exclusive restaurant integrated with small, intimate performance spaces.

Continuous Cafe is a 24-hour coffee shop with a series of hexagonal grottos hosting an artisan market by day and a nightclub by night.

CombinationsLooking back at the lesson of the People’s Food Co-op, I combined programs together in order to generate potentially unique community dining situations. TV Studio met Basketball Court. Park met Parking Lot. Pool met Hotel. Grocery Store met Nightclub. Performance Hall met Restaurant. Each of these situations is spatially and systematically repurposed to create unique dining and recreation experiences.

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1. Hotel Lobbies + Public Pool

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Pool + Hotel = Floating Barbecue

5. Basketball Court + TV Studio = Lazy Boy Bleachers


7. Pool + Hotel = Floating Barbecue

8. Food Co-op + Nightclub = Continuous Cafe


10. Restaurant + Concert Hall = Private Performance


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PlansDepicting each of the five dining experiences.

Elevation1/16” = 1’

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SpaceDrawing on the precedent ideas of Rem Koolhaas’ Delirious New York, this building treats each of the five experiences as its own building, and then simply stacks them. This banal and simple spatial system allows each experience to exist on its own as a complete, independent system. Primary circulation is achieved through the elevator, but shortcuts in the building connect experiences physically and conceptually. These connections create spatial shifts that interrupt the simple stacking of program and reveal the building’s power as a complete whole.

August- December

2011


Section AA

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LightThe primary light source of the building is the series of ribbon windows that make up its main facade. These horizontal bands alternate with bands of color to visually represent the 5-in-1 nature of the building. Two light wells bring light from above into the deep regions of the building.

kiloconstructs

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Organized

1000 x 11

Crime

Eleven students each create 1000 wooden forms using a strict set of rules. These forms are organized, classified, and deployed. They delineate space through sheer volume of numbers. They invade, they disturb, they question, they define the sites in which they are placed. They are pure possibility, infinite iteration.

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Triumphal

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Procession

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From theDetroit:

Ashes

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A City in aDaydream:

Gas Station

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Paper Architecture

January-April2011All, except “Paper Architecture”, designed with Studio Mankouche, Winter ‘11. “Paper Architecture” is solely the design of Edward Burkhead.

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DrawingInfinity1. Each drawing conveys a single idea2. Each idea is part of a larger process3. Aggregating ideas exposes process4. Aggregated drawings create texture5. Drawing becomes architecture

E Unibus

Pluram

initial block with cuts 3 shapes 90 degree angles joined at ends or midpoints

L I C T Z

methodologytypologies

initial block with cuts 3 shapes 90 degree angles joined at ends or midpoints

L I C T Z

methodologytypologies

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Function

Rules System

Fits FormArchitectural Design, in a broad view, is a search for form. It is a narrowing down of possibilities to find the form that most suits the designer’s goals. This project directly opposes that train of thought. It begins with a system of generating thousands of forms, and explores the resiliency of that system. This project has no given site, program, problem, or goal. It simply has form, and seeks to understand what form can achieve. Form does not follow function. Function fits form.

1. Start with a 1” x 1” x 2” block Using this simple set of rules, I was able to generate a set of about 20,000 forms composed of the iterative combinations of my three original pieces: a large rectangular volume, a small rectangular volume, and a thin plane. Patterns quickly emerged as I created these forms. As a way to begin trying to understand them, I organized them into a taxonomy.

2. Cut the block twice

3. Recombine the three resulting forms, joining surface to surface at right angles at edges and median lines.

House

Paperweight

Table

Wall

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What if?In order to test the resilience of this formal system is directly related to its ability to adapt. By adjusting the variables of scale, orientation, material, facade, and program, the system is able to generate mathematically extraordinary numbers of design possibilities. By letting the imagination run absolutely wild---playing the “what if” game--the system can be adapted to nearly any problem and can create possibilities that might otherwise seem far-fetched. The translation from form to architecture is not a clean one. By definition, there is no “right way” to do this. It requires the designer to have the courage to make arbitrary choices, choosing to hold a variable constant in order to explore the potential of others.

ScaleI tested the form system at a variety of scales, from handheld object to building. I decided to imagine them as small houses, scaling them appropriately.

Of course, this choice was arbitrary. I could just as easily have chosen a larger or smaller scale as a starting point and created thousands of paperweights or small tables.

Sort: Separated/Joined

Sort: Plane Orientation

Sort: Families

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Sort: Families

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Sort: Families

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WallOne of the most compelling aspects of this formal system is the thin plane made in the initial cuts. When scaled up to the scale of a small house, this plane becomes a broad wall, a tall wall, a platform, or a ceiling, depending on its orientation. I chose to orient the forms to create broad walls, just thick enough to serve as passageways.

Living Space

Bedrooms

Block Patterns Plan Diagram Butterfly Wall Glass Wall

Rectangle Pattern 1 Rectangle Pattern 2 Rectangle Pattern 3 Rectangle Pattern 4


Square Pattern 1 Square Pattern 2 Square Pattern 3 Square Pattern 4


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Living Space

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Facade

Program

The next step in designing this system was to experiment with different patterns and materials for the outside of the forms. The patterns themselves become iterative, scalable, experiments in their own right.

In order to develop the interior space of the forms, I gave them an overall program, house, and each component a sub-program: living, sleeping, and passage.

House 1 House 2 House 3 House 4


House 12House 11House 10House 9




























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House 4 House 17 House 33

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Designer-ingIn the end, this project becomes far more about process than design in the traditional sense. The value in this work is not in the product, but rather in the exercise in imagination and flexibility it imposes on the designer. By using this sort of process, the designer is forced to evaluate the merits of thousands of possibilities, instead of worrying about just one. Every architectural and design problem implies a nearly infinite number of solutions, and it behooves the designer to bring them all to life, curating them where necessary, playing with absurd ideas and impossible scenarios.

House + WallAt the endpoint of this process, I transformed 51 arbitrary forms generated by the system into fully-designed, two-story houses, and had the framework laid to generate thousands more. This process is not correct or perfect, it is merely an arbitrary series of choices that serve to create architecture from form. These choices, without being constrained by site, can literally go on forever. It is design in a vaccuum.

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AggregationThe WallAfter creating the formal system

discussed in the previous project, one thing became immediately clear: these forms were more powerful together than they were alone.

When aggregated together end-to-end, the large walls that define each house become even larger, continuous entities that define the community and create passageways. These communities are a twist the gated community, a growing phenomenon in American ur-ban and suburban culture. These walls can reate privacy, define territory, and keep outsiders away.

I took the 51 houses I designed, and studied different ways of aggregating them together to create communities.

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BlockStudies

Brick Glass Wood Living Wall

IntrovertedSquare

PocketsWithin/Without

Labyrinth

ExtrovertedSquare

Enclosed CGridLines

GridWithin/Without Lines Pockets

Enclosed CIntrovertedSquareLabyrinthExtroverted Square


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Looking at a variety of precedents, from castles to the Kowloon Walled City in China, I began to generate dif-ferent strategies for aggregating the forms, from hyper-dense grids to open spaces to winding labyrinths. Each aggregation strategy defined a different kind of exterior space.

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Combining these individual communities creates a city of walls and secrets. Each community maintains an identity within the larger system. Each has its own physical space, yet also participates with the spaces defined by other communities.

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Landscape 1: Benches Landscapes Parking Landscape 2: Park

Landscape 3: Chessboards Landscape and Parking Landscape 4: Multiple Pools

Landscape 5: Platforms Landscape 6: Tree Grove Landscape 7: Concert Stage Landscape 8: Cube Stacks

Landscape 9: Single Pool Landscape 10: Walking Path Landscape 11: Fountain Landscape 12: Streetlights

Landscape 13: Basketball Courts Landscape 14: Sand Landscape 15: Streams with Bridges Landscape 16: Watchtower

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The exterior spaces defined by the aggregated houses become designable landscapes. They can be filled with pools, stages, trees, paths, hammocks, basketball courts, beaches, and virtually anything else. They are spaces for small communities to enjoy, a communal backyard.

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Perspectives

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This city is not a model city. It is not designed to necessarily be a great place to live. It is simply a model for generating walled communities and an aggregation of private spaces. This is a city that exists without any logic or code, it is a city that can grow and adapt infinitely. It is a city that celebrates wandering and exploring, a city of diversity and secrecy.

Fanta-city

A Portfolio

Edward Burkhead

By

QuiltQuilt

Edw

ard Burkhead

January 2009-November 2011

Enivironment +Space +Desire +Economics +Society +Heroism +Mystery +Aesthetics +Structure +People +Imagination

Architecture