C h r i s t i a n G l u v n aD e s i g n P o r t f o l i o

D o m i c i l e 2 : G r a n a n c e R e s i d e n c e

Ta l l a w a n d a O u t d o o r C l a s s r o o m

Te c t o n i c F r a g m e n t : A s s e m b l y

We s t c o t t H o u s e V i s i t o r C e n t e r

L i v e : M a k e C o m p e t i t i o n S t u d i o

F a b r i c a t i o n M e t h o d o l o g y

R e s t r a i n i n g O r d e r

The primary focus of the studio was the exploration of generative form making through Deconstructionist and Phenomenological Practices. Through the deconstruction of plans and sections of famous houses, such as Louis Kahn’s Esthrick House, we developed a shape language that can be used to generate forms, which in turn, created architectural space. The semester was divided into two residential building typologies: the first one being a multi-family housing complex and the other a single-family residence. The single-family residence was for a fictitious wealthy client for whom we were to design their dream house in the Southeast United States.

D o m i c i l e 2 : G r a n a n c e R e s i d e n c e

The forms that I derived from my shape language were extruded shapes that both interlocked and shifted against each other. Through several Boolean Operations, the resulting form created two distinct, interlocking shells and a solid core. Both of the shells and the core help organize the interior spaces and circulation within the house.

The theme that is carried throughout the house is the relationship between balance and counter-balance. This theme not only assists in the structure of the house, but also the placement of the building on the site. The placement and orientation of the house was due to the client’s love of watching sunsets during the summer and the view of the lake: thus, the dramatic overhang over the cliff.

Gallery viewing towards Kitchen Area

Dinning Area viewing towards Living Room

Living Room Alcove

A

A

A C

A C

B B

Section A - A

Section B - B

The main objective of this studio was the exploration of what “shelter” entails. In other words, what makes a building habitable for humans to occupy? To answer this question our project was to design an outdoor classroom building this is sited adjacent to a new high school under construction and a large 100-acre nature preserve. Our challenge was to provide a learning environment that is both sustainable and shelters occupants from the elements.

Ta l l a w a n d a O u t d o o r C l a s s r o o m

The outdoor classroom embodies two opposite constructs, enclosure and open space, and how they can both occupy the same building. Other influences for the aesthetics of the classroom spaces were incorporating cues from E. Fay Jones outdoor pavilions, traditional Japanese architecture and construction, and the adjacent high school.

Te c t o n i c F r a g m e n t : A s s e m b l y

Through regimented physical model building, the studio explored new meanings of building tectonics and detailing that inform structure, connections, forms and space making. This was an opportunity to seek out multiple possibilities of how structures and spaces are assembled. Each student in the studio were then tasked to synthesize their tectonic fragments and details into their own agenda of what tectonics means to them on various scales.

For the first 7 weeks of the semester, each student was to produce a physical sectional model by the end of each week. Everyone then explored tectonic joinery and connections creating spaces with each model iteration. Once all 7 models are assembled together, the different structures and spaces could appear to read as one building.

The second half of the semester was taking what we learned from the 7 sectional models and creating our own agenda for what tectonics should mean. For this portion, my thesis was creating new means of assembly of site, spaces, and structure. My proposal is having the occupants “assemble” the site, spaces, and programmatic elements using a component based structural and enclosure system.

We s t c o t t H o u s e V i s i t o r C e n t e r

After acquiring 3 acres of land adjacent to the historic Frank Lloyd Wright House in Springfield, Ohio, the Westcott Foundation was looking to develop the site. The program for this project was to design a 2,200 sq. ft. Visitor Center that held administrative offices, an educational space, a coffee shop, and a Museum Store with the goal in mind of community education and engagement. The entire semester has explored many design principles that Frank Lloyd Wright used in his designs such as the use of Froebel Blocks, Weaving, and Tartan Grids.

Taking inspiration from Frank Lloyd Wright’s Usonian Houses, the Visitor Center has a split-level layout in order to create a separation between the public and the administrative halves of the building. By doing so, the interior space became more expansive and lofting. The structure and the form of the roof are also light and open to make the interior one continuous space.

L i v e : M a k e C o m p e t i t i o n S t u d i o

The studio’s focus was on an AIA Cincinnati sponsored competition soliciting proposals to transform a neglected warehouse in the Over-the-Rhine neighborhood of Cincinnati into a combined industrial arts center and residential building. The program totaled 48,000 sq. ft. of both residential units and industrial arts space including digital fabrication, woodshop, metal shop, and open workshop spaces.

Since the existing building was a monolithic mass placed up against the sidewalk edge, the first step was to add apertures to allow sunlight into the interior of the warehouse spaces. Planes, masses and voids are used to organize the Industrial Arts Center and Residential Complex and to open up the existing warehouse. The construction of the Industrial Arts Center is modular and component based so other components can be fabricated to construct the residential spaces adjacent to it.

Storefront Medium Living Unit

Southeast Street View

Industrial Art Center Workspace

Live-Work Circulation Connection

F a b r i c a t i o n M e t h o d o l o g y

This Winter Semester sprint course introduced the tools and techniques of Rapid Prototyping and other rapid manufacturing techniques in Architecture. The course was structured as a self-discovery and experimentation with the CNC Router, Laser Cutter, and the Wood shop to create custom Pre-Cast Concrete Panels and other Exterior Envelope systems.

Through experimentation with the CNC Router, I have developed two variations of a faceted surface to illustrate depth of field in pre-cast concrete. The first variation creates a slight indentation in the pre-cast concrete to create the illusion of a concave surface. The second shows two surfaces that are inverted to one another with a distinct plane difference to create shadow depth.

Using the CNC Router to cut each contour/profile of each panel created the pre-cast concrete panels in XPS Foam. Concrete was then poured into the form-work and cured to create the final panel. The profiles and contours can also be milled in thick Acrylic sheets for custom glass patterns or curtain glass.

R e s t r a i n i n g O r d e r

The studio, “Restraining Order” focuses on the design of a monastery complex for the Capuchin Franciscan friars in Milwaukee’s central city. The title alludes to the radical simplicity, austerity, and restraint that govern the lives of the Capuchin Order. The studio’s challenge was to not only design a friary that embodies these principles of the Capuchin Order, but to provide social and spiritual services of the an impoverish neighborhood and negotiate and unforgiving post industrial site.

*In Collaboration with Ben Penlesky

The proposed Monastery site occupies an entire city block in the neighborhood of the Fifth Ward in Milwaukee’s South Side. The neighborhood is a dense urban area with a concentration of lower income families and homeless. The site is on the border of the industrial heart of Milwaukee and a dense residential neighborhood.

I focused on everything that is encompasses the immediate site such as streets and buildings. From examining the context of the site, I discovered that the walls surrounding the side could be used to establish a Tartan Grid on and through the site to set up relationships between the site and the surrounding buildings.

The urban friary is conceived as intertwining wood and concrete forms wrapping three side of the site. The concrete plinth established a firm datum to which the wood penetrates and cards into the concrete plinth creating the Church and the Crypt. The Plinth then folds upward to create the bell tower and the start of the wood superstructure to follow the form of the concrete plinth.

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