PORTFOLIOWesley Alan Harkonen

2013

Architecture Studio 100ABob ShepherdSummer 2010Pages: 01-04

Architecture Studio 100BRenee ChowFall 2010Pages: 05-06

Design Studio 11BWalter HoodFall 2009Pages: 07-08

Architecture 140ASusan UbelodeSpring 2012Pages : 09-10

Architecture Studio 100BBRenee ChowFall 2010Pages:: 11-14

Architecture 150Gary BlackFall 2010Pages: 15-16

Architecture Studio 101Darrell FieldsSummer 2011Pages: 17-24

Design Studio 11AJoe SluskiSpring 2009

High School 2004 - 2005

Pages: 25-26

i ii

Architecture Studio 100ABob ShepherdSummer 2010Pages: 01-04

Architecture Studio 100BRenee ChowFall 2010Pages: 05-06

Design Studio 11BWalter HoodFall 2009Pages: 07-08

Architecture 140ASusan UbelodeSpring 2012Pages : 09-10

Architecture Studio 100BBRenee ChowFall 2010Pages:: 11-14

Architecture 150Gary BlackFall 2010Pages: 15-16

Architecture Studio 101Darrell FieldsSummer 2011Pages: 17-24

Design Studio 11AJoe SluskiSpring 2009

High School 2004 - 2005

Pages: 25-26

i ii

e announcement of a competition to design the new Berkeley Art Museum coincided with the beginning of my first architecture studio. e instructor chose to modify some of the requirements for the competition as the conditions for the final project. e site for the new BAM was chosen to be the old Berkeley Printing Plant. One of the design criteria was to use as much of the existing building as possible and upon looking at interior photos it showed that the lighting conditions of the plant were optimal for gallery space. e saw shaped roof filtered northern light into an open warehouse. My design put the large gallery in the existing printing plaplant and used the old structural unit to generate different spatial conditions for the remaining program. I used the orientation and angle of the structural unit in the structural grid to control the amount and quality of light that entered the museum. I turned two saw tooth bays to face each other in order to block the light for the sensitive work gallery where no natural light could be tolerated.

The Berkeley Art MuseumB. A. M.

e announcement of a competition to design the new Berkeley Art Museum coincided with the beginning of my first architecture studio. e instructor chose to modify some of the requirements for the competition as the conditions for the final project. e site for the new BAM was chosen to be the old Berkeley Printing Plant. One of the design criteria was to use as much of the existing building as possible and upon looking at interior photos it showed that the lighting conditions of the plant were optimal for gallery space. e saw shaped roof filtered northern light into an open warehouse. My design put the large gallery in the existing printing plaplant and used the old structural unit to generate different spatial conditions for the remaining program. I used the orientation and angle of the structural unit in the structural grid to control the amount and quality of light that entered the museum. I turned two saw tooth bays to face each other in order to block the light for the sensitive work gallery where no natural light could be tolerated.

The Berkeley Art MuseumB. A. M.

MODELS

MODELS

e Tectonic Gallery is an exercise in the ability to use structural ele-ments as a basis for design generation. e project began with the analysis of the Goetz Gallery by Herzog and De Meuron as a case study for Tectonic Architecture. Upon investigation I discovered the gallery is composed of three tectonic systems. e primary structure is composed of the concrete foundation and two concrete channels that span across it. e secondary system consists of a wooden Vierendeel trtruss that rests atop the two concrete channels. e tertiary system is the exterior façade of glass and wood panels.

In designing the Tectonic Gallery, I used the structural systems of the Goetz Gallery to respond to different programmatic functions. e concrete channels were extruded and exposed between build-ings and acted as the circulation corridors. e Viendereel trusses were partially exposed and cantilevered askew from the concrete foundations underneath. e tertiary system was used to enclose the gallery spaces but reveal the tectonic systems in place. While the GoGoetz Gallery hid the structural system to create an effect the tec-tonic galley intentionally revealed its structure as a logic for desig

TECTONICGALLERY

e Tectonic Gallery is an exercise in the ability to use structural ele-ments as a basis for design generation. e project began with the analysis of the Goetz Gallery by Herzog and De Meuron as a case study for Tectonic Architecture. Upon investigation I discovered the gallery is composed of three tectonic systems. e primary structure is composed of the concrete foundation and two concrete channels that span across it. e secondary system consists of a wooden Vierendeel trtruss that rests atop the two concrete channels. e tertiary system is the exterior façade of glass and wood panels.

In designing the Tectonic Gallery, I used the structural systems of the Goetz Gallery to respond to different programmatic functions. e concrete channels were extruded and exposed between build-ings and acted as the circulation corridors. e Viendereel trusses were partially exposed and cantilevered askew from the concrete foundations underneath. e tertiary system was used to enclose the gallery spaces but reveal the tectonic systems in place. While the GoGoetz Gallery hid the structural system to create an effect the tec-tonic galley intentionally revealed its structure as a logic for desig

TECTONICGALLERY

e final project for my second design studio was a Single Room Occupancy apartment complex located around an old quarry in Oakland California. e assignment began by interviewing six strangers on the street, taking note of their occupation, hobbies, and basic likes or dislikes. Aer selecting the occupants for the SRO the assignment called for cus-tomization of each SRO unit tailored to each unique resident. While the designs of the rooms varied from an acoustically optimized design for a musician to creating a hideaway equipped with an escape tunnel for a wanted criminal, all the rooms shared a response to tthe slope and orientation of the sight.

Single Room OccupancyS.R.O.

e final project for my second design studio was a Single Room Occupancy apartment complex located around an old quarry in Oakland California. e assignment began by interviewing six strangers on the street, taking note of their occupation, hobbies, and basic likes or dislikes. Aer selecting the occupants for the SRO the assignment called for cus-tomization of each SRO unit tailored to each unique resident. While the designs of the rooms varied from an acoustically optimized design for a musician to creating a hideaway equipped with an escape tunnel for a wanted criminal, all the rooms shared a response to tthe slope and orientation of the sight.

Single Room OccupancyS.R.O.

is was a group project with three other individuals. Our goal was to create a beautiful, naturally lit gallery, whose architecture was de-rived from the constraints of the climate. With its proximity to the Great Lakes, Detroit is subject to a large number of cloudy days due to condensation of water vapor off the lakes and experiences small to moderate diurnal temperature swings. To minimize heat loss and

maximize display space, a minimal amount of windows were used, having three choice openings in the building to serve three different purposes. A large window on the south façade is used for passive solar heat gain, a continuous clerestory along the east and north sides pro-vides even, diffuse daylighting, and a long narrow window on the north façade of the building provides a view to the exterior landscape.

We created cshading masks on the south facade to optimize exter-nal heat gain and mini-mize the energy use throughout the year.

We tested various configurations of the interior walls to create the various lighting conditions within the gallery.

is was a group project with three other individuals. Our goal was to create a beautiful, naturally lit gallery, whose architecture was de-rived from the constraints of the climate. With its proximity to the Great Lakes, Detroit is subject to a large number of cloudy days due to condensation of water vapor off the lakes and experiences small to moderate diurnal temperature swings. To minimize heat loss and

maximize display space, a minimal amount of windows were used, having three choice openings in the building to serve three different purposes. A large window on the south façade is used for passive solar heat gain, a continuous clerestory along the east and north sides pro-vides even, diffuse daylighting, and a long narrow window on the north façade of the building provides a view to the exterior landscape.

We created cshading masks on the south facade to optimize exter-nal heat gain and mini-mize the energy use throughout the year.

We tested various configurations of the interior walls to create the various lighting conditions within the gallery.

CENTER FOR COLLABORATIVE RESEARCH

productive work environment. I used the concrete channels for two functions. The channels are primarily circulation pathways connecting the students to the campus while taking them through the buildings with-out interfering with the work going on inside. Some channels have view-ing windows to the work below so students can view the researchers at work. The concrete channels also extend past the footprint of the build-ing and became organizing elements of the site. The concrete paths act as retaining walls to mitigate the sloped site.

The C.C.R. is an institutional building designed to support research that bridges traditional disciplinary boundaries. The site was located between the threshold of campus and Southside Berkeley where the majority of students live.The primary programmatic requirements consisted of three large re-search studios, conference rooms, a public cafe, and a main gathering atria.

Creativity can come form anywhere and the idea behind the CCR is that having as many communal spaces as possible can encourage the cross pol-lination of ideas and lead to a more

The boxes are made of steel viendereel trusses clad in wood panels and house administrative functions as well as a public meeting spaces. The three seemingly distinct masses are con-

nected undergorund where conference spaces and the cafeteria are located.

CENTER FOR COLLABORATIVE RESEARCH

productive work environment. I used the concrete channels for two functions. The channels are primarily circulation pathways connecting the students to the campus while taking them through the buildings with-out interfering with the work going on inside. Some channels have view-ing windows to the work below so students can view the researchers at work. The concrete channels also extend past the footprint of the build-ing and became organizing elements of the site. The concrete paths act as retaining walls to mitigate the sloped site.

The C.C.R. is an institutional building designed to support research that bridges traditional disciplinary boundaries. The site was located between the threshold of campus and Southside Berkeley where the majority of students live.The primary programmatic requirements consisted of three large re-search studios, conference rooms, a public cafe, and a main gathering atria.

Creativity can come form anywhere and the idea behind the CCR is that having as many communal spaces as possible can encourage the cross pol-lination of ideas and lead to a more

The boxes are made of steel viendereel trusses clad in wood panels and house administrative functions as well as a public meeting spaces. The three seemingly distinct masses are con-

nected undergorund where conference spaces and the cafeteria are located.

STRUCTURESStructural Calculation and Testing for Lateral Loads: Designing a Lifeguard Tower: The life-guard tower is designed for Ipanema Beach in Brazil. The assignment called for the the struc-ture to take into account lateral loads gener-ated by a wind gust that is able to generate 40 lbs/sqft of pressure. the requirment was to get the model of the structure to fail within 10% of a 125lb (equivalent wind load) lateral force.My partner and i used structural analysis software (SAP) design to design the The tower as a verti-cal truss to resist the wind forces from any di-rection. The structure is a wooden truss con-nected with only pin joints. My partner and I modeled the structure in Rhino, Imported it into to SAP and used the analysis softwere to size the members of the tower accordingly.

We saw that the lower members re-ceived the greatest internal forces and predicted when one of these mem-bers was sized to 6” square it would fail in tension. We then built a physical model using the sizing we determined using the software and increased the weight of the lateral load in incre-ments of 15 lbs. Our model failed at exactly 125 lbs and we received extra credit for the project.

STRUCTURESStructural Calculation and Testing for Lateral Loads: Designing a Lifeguard Tower: The life-guard tower is designed for Ipanema Beach in Brazil. The assignment called for the the struc-ture to take into account lateral loads gener-ated by a wind gust that is able to generate 40 lbs/sqft of pressure. the requirment was to get the model of the structure to fail within 10% of a 125lb (equivalent wind load) lateral force.My partner and i used structural analysis software (SAP) design to design the The tower as a verti-cal truss to resist the wind forces from any di-rection. The structure is a wooden truss con-nected with only pin joints. My partner and I modeled the structure in Rhino, Imported it into to SAP and used the analysis softwere to size the members of the tower accordingly.

We saw that the lower members re-ceived the greatest internal forces and predicted when one of these mem-bers was sized to 6” square it would fail in tension. We then built a physical model using the sizing we determined using the software and increased the weight of the lateral load in incre-ments of 15 lbs. Our model failed at exactly 125 lbs and we received extra credit for the project.

Before the allotment of a program, the assignment called for a mapping of the context surrounding the site located on famous Telegraph Avenue in Berkeley, CA. Taking note of the counterculture history surrounding the site, I decided to use the Situationist International method of Psychogeography to explore existing relation-ships. I identified to main performers in the area: the ccommercial users, and the revolutionaries. e assign-ment also called for the design of the ink Tank itself. We were given the ink Tank as a typology and were charged with creating our own. Bringing my mapping analysis to the site I decided that I had to include the same duality of Telegraph avenue. Part of the ink Tank program would have to be distributed across the city and public programs strewn about the city would have to have refuge on the site of the ink Tank. I designed my ink Tank to respond to the commercial interests of Berkeley City of. e ink Tank would be located in a tower pushed to the corner of the site and would be charged with the task of creating a brand for the city.

Many cities such as New York have institutions designed around attracting tourists and controlling the image of the city. e counterculture circuit of Berkeley is head-quartered in peoples park located across the street from the site. By stacking the program of the think tank into a tower, room for a public plaza was created. e plaza slopes upward and becomes the roof of the gallery while crcreating a platform for public lectures as well as a place for people to gather and relax. Some of the program that got distributed throughout the city of Berkeley include drug rehabilitation clinics and mobile housing units for the homeless. e Berkeley Brand ink Tank combines the institutionality of the of the program while allowing the people of Berkeley to interact with and change the sisite. e symbiosis is representative of the Psychogeo-graphic maps of Berkeley as well as the nature of the city itself.

Before the allotment of a program, the assignment called for a mapping of the context surrounding the site located on famous Telegraph Avenue in Berkeley, CA. Taking note of the counterculture history surrounding the site, I decided to use the Situationist International method of Psychogeography to explore existing relation-ships. I identified to main performers in the area: the ccommercial users, and the revolutionaries. e assign-ment also called for the design of the ink Tank itself. We were given the ink Tank as a typology and were charged with creating our own. Bringing my mapping analysis to the site I decided that I had to include the same duality of Telegraph avenue. Part of the ink Tank program would have to be distributed across the city and public programs strewn about the city would have to have refuge on the site of the ink Tank. I designed my ink Tank to respond to the commercial interests of Berkeley City of. e ink Tank would be located in a tower pushed to the corner of the site and would be charged with the task of creating a brand for the city.

Many cities such as New York have institutions designed around attracting tourists and controlling the image of the city. e counterculture circuit of Berkeley is head-quartered in peoples park located across the street from the site. By stacking the program of the think tank into a tower, room for a public plaza was created. e plaza slopes upward and becomes the roof of the gallery while crcreating a platform for public lectures as well as a place for people to gather and relax. Some of the program that got distributed throughout the city of Berkeley include drug rehabilitation clinics and mobile housing units for the homeless. e Berkeley Brand ink Tank combines the institutionality of the of the program while allowing the people of Berkeley to interact with and change the sisite. e symbiosis is representative of the Psychogeo-graphic maps of Berkeley as well as the nature of the city itself.

DRAWINGS AND WORK FROM HIGH SCHOOL SKY SCRAPER EMBARCADERO, SAN FRANCISCOHIGH SCHOOL ARCHITECTURE COMPETITION

CHAIR 1: STEEL AND ALUMINUM

CHAIR 2: STEEL AND ALUMINUM

DRAWINGS AND WORK FROM HIGH SCHOOL SKY SCRAPER EMBARCADERO, SAN FRANCISCOHIGH SCHOOL ARCHITECTURE COMPETITION

CHAIR 1: STEEL AND ALUMINUM

CHAIR 2: STEEL AND ALUMINUM