pcc architecture portfolio

ACADEMIC DESIGN PORTFOLIO

AMANDA CLAYPASADENA CITY COLLEGESPRING 2009 - SPRING 2011

MINIMAL SURFACESPASADENA CITY COLLEGEARCH 12BPROFESSOR BAIRSTUDENT AMANDA CLAYFALL 2009

Project description: Create an art pavilion using built minimal surfaces in the footprint of the Villa NM building that was studied in a previous project.

Project concept: Take designed minimal surface shape which has been created from original minimal surface and use to create enclo-sure for building in a way that creates a usable and pleasing form while following programatic constraints.

Program: Building should have a reception area, artwork viewing areas and enclosed spaces for storing artwork.

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1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE

TOP FLOOR SITE PLANSCALE

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RIGHT ELEVATION LEFT ELEVATION

BACK ELEVATION

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FRONT ELEVATION

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PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY

01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on di�erent scales.

FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.

IN THE MIDDLE LEVEL THE CUBE’S DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.

ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.

MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS

ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE

COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)

COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)

ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE

COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)

ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE

COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)

TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT

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Process of creating manta minimal surface object from original minimal surface.

The original minimal construction object is used to create the walls of the house by using it as a modular element on di�erent scales.

For the lowest �oor a single unit is used for each wall. The unit is streached in one direction to become the length of the wall and the width of the unit is halfed to allow walking space inside the room.

In the middle level the cube’s dimensions stay in their original porportions for the length, and two re�ected units are used for each wall.The width of the units on this level are also halved to allow for more room on the interior.

On the uppermost �oor a block of eight units creates the long walls, with the units stacked in two rows of four on top of eachother. Each of the units is re�exted to create the others. On this level the original width of the units is kept to provide varialtion in the interior experience.





Placement of minimal surfaces within the original Villa NM footprint to create walls.

For the lowest floor a single unit is used for each wall. The unit is stretched in one direction to become the length of the wall and the width of the unit is halved to allow walking space inside the room

In the middle level the cube’s dimensions stay in their original por-portions for the length, and two reflected units are used for each wall. The width of the units on this level are also halved to allow for more room on the interior.

On the upper floor a block of eight units creates the long walls, stacked in two rows of four on top of each other. Each of the units is reflected to create the others. In this levelthe original width of the units is kept to provide variation in the interior experience.

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Designed minimal surface construct to be used in building process

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Bottom Floor Plan Middle Floor Plan

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Short section Long section

Top Floor Plan

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CUBE PROJECTPASADENA CITY COLLEGEARCH 10BPROFESSOR COLEMAN GRIFFITHFALL 2009

Amanda ClayArch 10B10/7/09Found Space Collage

Amanda ClayArch 10B10/7/09Found Space CollageGeometry

AMANDA CLAYARCH 10B10/13/09

ASSEMBLED SHAPES VIEW 1 ASSEMBLED SHAPES VIEW 2 ASSEMBLED SHAPES VIEW 3

Project description: Find an area of unplanned space and create a photo collage of the volumes of space it encompases. Take the volumes and manipulate them inside of a box to create negative volumes. Finally, split both the combined manipulated volumes and the differenced box into layers to create a working template.

Concept: take found shapes and using a 3D modeling program, distort the shapes to create unique volumes. Utilize these volumes to explore the idea of negative space within a cube. Work to create interesting experiential spaces within a simple cube while learn-ing to use a modeling program and learning to set up lazercutting templates. Shapes start out roughly rectilinear and become more dynamic and curved throughout the manipulation proccess.

Found space between houses Found volumes within space before alteration Found shapes altered from original form and combined to create unique volumes

Found shapes altered further and placed inside cube

Found shapes cut by cube bounding box and split into layers

differenced cube altered shapes cut by cube bounding box

AMANDA CLAY ARCH 10 B 10/29/09PERSPECTIVE VIEW 1

FABRIC FORMWORKPASADENA CITY COLLEGEARCH 14PROFESSORS COLEMAN GRIFFITH AND DIONICIO VALDEZSPRING 2010GROUP PROJECT

Project Goal: Learn the properties of fabric casting and how this mode of casting cement can influence the project as opposed to the traditional formwork casting. Create a system which supports itself and plant life in an interrelated system.

Project Description: This was a group project with six students work-ing together. We decided to create a modular system using the fabric casting method. One of the main goals of the project was to figure out how we could show the attributes of fabric in the final cement model, and utilize these attributes to influence the creation and design of the project.

This model was originally a sphere, with four arms, but when it broke it inspired our design in unforseen ways. `

This sketch came from the disscusion about the sphere arms and how they could be used to create a repetitive system utiliz-ing both sides of the curve, as well as the hanging aspect of fabric and how it could be used to collect either plants or water.

This was the last of the study models that did not look like our final project. However, from this reworking of the sphere model, we came up with a physical example of how pieces could interlock and work together to create a system. The holes in the pieces are meant to hold the plants, with the roots sticking down through the holes to recieve either water or soil, depending on the method of nutrition used.

In the final design, the method of construction allowed gravity to pull extra concrete down to the legs of the form, buldging at the bottom where it needed the most stability and thinnng at the top where it needed to be thinner.

Building Process

Variations of stacking

Formwork stretched over ball and base Concrete is poured into formwork and sets Concrete dries and fabric will be cut offConcrete pour bag is inserted into top of formwork

Bodies and SkinsPASADENA CITY COLLEGEARCH 12BPROFESSOR BAIRFALL 2009

created six feet long with seven control points on each, evenly spaced.

On each line, one control point is taken up

second lines are mirror images of eachother, and the third and fourth are mirror images of eachother.

side is moved, and on the second two lines, the middle point is moved

2) The lines are then arranged vertically so that mirror image lines are next to eachother, and with the altered point pulled to the same side.

Also, the curves are enclosed on either end

create the corners of the box.

3) Next the lines are rotated 90 degrees to vertical.

4) Each curve is turned 90 degrees left or right, alternating in directionwith each curve, except for the straight curves.

Amanda ClayArch 12B 02.0 bodies and skins

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Project goal: Learn how to manipulate lines and create original sur-face skins resulting from deliberate movements of lines. Create a cube withfour sides originating from built skins and top and bottom flat. Project description: Create a skin by deliberatly manipulating lines and lofting them together. With this manipulation, the constructed skins are then used to create volumetric bodies. Process of converting lines to planes to volumes is studied and developed upon.

Lines are created by altering specific points within line

Lines arranged with mirror images next to eachother

Next the lines are rotated 90 degrees to vertical.











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Next the curves are lofted together to create a planarsurface

This surface is then mirrored six feet away to createthe opposite side of the square.

Finally, the existing two sides are copied and rotatedto create the missing sides and a �at top and bottom are added.










Each curve is turned 90 degrees left or right, alter-nating and straight lines put on either sideht curves.

Next the curves are lofted together to create a planar surface

This surface is then mirrored to createthe opposite side of the square.

Finally, the existing two sides are copied and rotatedto create the missing sides.

Spatial Sequence ModelPASADENA CITY COLLEGEARCH 10BPROFESSOR GRIFFITHFALL 2009

Project Goal: Understand volumetric spaces within buildings and how they interact. Learn to build a model out of wood and acrylic, focusing on accuracy and craftsmanship.

Project Description: Take an existing building, the La Baita Lodge, and diagram the spatial sequences within the building to understand how spaces interact with eachother. After diagraming spaces, create physical wooden model to show circulation, public interlocking spaces and private spaces. Each type of space is shown with a different mate-rial.

First Floor Plan of La Baita Lodge

Circulation and Public Spaces in Sequence

Entry Hallway Enter Main Public Room Within Main Public Room

Second Floor Plan of La Baita Lodge

ADJACENT SPACES

SPACES LINKED BY A COMMON SPACE

SPACE WITHIN A SPACE

INTERLOCKING SPACES

Amanda Clay Arch 10B Mr Gri�thSpatial Relationships

CIRCULATION

ADJACENT SPACES



INTERLOCKING SPACES


CIRCULATION

ADJACENT SPACES



INTERLOCKING SPACES


CIRCULATION

ADJACENT SPACES



INTERLOCKING SPACES


CIRCULATION

INTERLOCKING SPACES SPACES LINKED BY A COMMON SPACE

ADJACENT SPACESSPACE WITHIN A SPACE

CIRCULATION




CIRCULATION




CIRCULATION




CIRCULATION


Exit Main Public Room Exterior Balcony Hallway to Private Rooms Private Spaces

Elevation of La Baita Lodge

pcc architecture portfolio

Documents

original minimal surface

manta minimal surface

place latest

original width

degrees usingwing edge

designed minimal surface

rotation axis rightrotate

original porportions