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Graduate portfolio from University of Oregon 2011.
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Timothy Harkin, LEED APM. Arch University of Oregon [email protected]
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nw fi lm center
pcca
national museum in oslo
osc
table of contents
STUDIO PROJECTS
nw fi lm center
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This project was the expansion of the NW Film Center, a Portland institution currently based in a small building by the Portland Art Museum. Our project was for a larger center that included extra classrooms, labs, and an auditorium for fi lm screenings. The fi rst phase in the design of the NW Film Center was to watch and analyze a number of fi lms, both recommended and of our own choosing, and to imagine interpreting the fi lm through a physical model. Through model studies and short fi lms we reinterpreted the one of the fi lms as a three-dimensional object or space. I chose the 1976 fi lm “Taxi Driver”, directed by Martin Scorcese and starring Robert DeNiro. Our fi nal designs for the fi lm center were meant to represent our interpretation of the fi lms based on our initial model studies.
PORTLAND, ORFALL 2010CRITIC: BOB HERMANSON
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travis
betsy
iris
other males
1.2.
3.
4.
1.
2.
3.
4.1. isolation2. failed connections3. determined isolation4. violence
fi lm analysis
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The fi lm “Taxi Driver” follows a character named Travis Bickle, a loner who gets a job driving cabs as a way to deal with his insomnia. He views his customers and the rest of New York City with disgust, and purposefully places a barrier between himself and society. Through the fi lm he attempts to break this barrier and make connections with two females, one a pretty campaign assisstant he attempts to date and the other a young prostitute he believes he can mentor. When both attempts fail, Travis lashes out at society by attacking the men in both these women’s lives that he believes are standing in the way of his relationship with them, one is the man running for political offi ce and the other is a pimp.
“taxi driver” interpretation
These models represent the character of Travis as he relates to the rest of society. He is represented by the folding plane, which begins in isolation from the rest of the pieces and after a few failed attempts of connection, reverts back to self imposed isolation and then violence. The other pieces in the model represent the female characters he is attempting to connect to and the male character he sees as in the way.
interpretive models
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1. ENTRY 2. EXHIBIT Space
1.2.
3. 4. SHIPPING/RECEIVING
ARCHIVES EQUIPMENT
STOR.
DVD/REEL LIBRARY
CAFE
WC
WC
STOR.
STOR.
WCWCSOUND
FIXT_CODE FU_TOTAL FU_WASTE FU_HOT FU_COLD FIXT_CODE FU_TOTAL FU_WASTE FU_HOT FU_COLD FIXT_CODE FU_TOTAL FU_WASTE FU_HOT FU_COLD FIXT_CODE FU_TOTAL FU_WASTE FU_HOT FU_COLD
translation to building design fl oor 01
fl oor plans
When translating the fi lm interpretation into an actual
building design, I used the character arc of Travis Bickle
as the basis for the public procession
within the building. The public procession
through the Film Centerweaves and shifts like the
character of Travis. Theeveryday functions of the
building, such as the classrooms and offi ces, are more standard in form. In this way they relate more
to the fi lm’s supporting characters.
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3. MEDIA Path 4. EVENT Area
CONFERENCE
CLASSROOM
OFFICE OFFICEOFFICEOFFICE
EDITING
EVENT SPACEE T ACV S CEE SP ENN PAAEE NTT ACCVV T SS CEEE SPP ENN PAAE
FU_COLD
FU_HOT
FU_WASTE
FU_TOTAL
FIXT_CODE
FU_COLD
FU_HOT
FU_WASTE
FU_TOTAL
FIXT_CODE
FU_COLD
FU_HOT
FU_WASTE
FU_TOTAL
FIXT_CODE
FU_COLD
FU_HOT
FU_WASTE
FU_TOTAL
FIXT_CODE
OPEN OFFICE CONFERENCE
CLASSROOM
EDITING
LOUNGE
WCWC
PROJECTI
ON
REEL EDITING
STUDIO
EXHIBIT SPACE
SCREENING ROOM
CLASSROOM
OUTDOOR STUDIO
EDITING
OUTDOOR STUDIO
fl oor 02 fl oor 03 fl oor 04
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massing diagrams
view from upper level
view of projection wall from entry10
METAL SEAM Roof
STEEL Truss System
CONCRETE AND STEEL Columns
CONCRETE Slabs
METAL GRATE Walkways
KALWall
COATED METAL Panels
IPE WOOD Panel Walls
PLASTIC Stairs/Walls/Shelves
PROJECTION/MEDIA Walls
GLASS/ALUMINUM Curtain Wall
buildingelements
section looking west
section looking south
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model images
fi nal model1” = 10’ - 0”
site model1” = 20’ - 0”
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ne view
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portland centerfor comedic arts
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This studio was taught by local architects from the firm Yost Grube Hall. The focus of the studio was to evolve a building design from a simple diagram. As a starting point, each student was chose to pick a type of action based from one of three categories: displaying objects, reading, or oratory. My category was oratory, and my proposed action was stand-up comedy.Based on initial diagrams analyzing the experience of stand-up comedy, a physical space was created and eventually my task was to design an institution centered around comedic training and the performance of stand-up comedy.
PORTLAND, ORSPRING 2010CRITICS: BRENT YOUNG/MITCH RICHMOND
initial diagrams
sw jefferson
sw b
road
way
1. Source (comedian) emits emotions (through jokes)
2. Recipients (audience) respond (through laughter)
The comedian/audience member connection can be strenghthened in two ways:First, closer proximity to the stage. Second, proximity to others in audience to share laughs
3. Emotions build off of each other, laughs enhance comedian’s act and other audience member’s enjoyment
translation to physical form
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2.1. 3. 4.
translation to stage designstage designconcept models
Based on the idea that diff erent seating arrangements can
lead to diff erent experiences, the auditorium is zoned for
allowing the visitor to choose what type of experience they
want. Tables near the front will off er more interaction with the comedian. Group
settings in the middle will for a communal experience with
other audience members. Private booths in the back are
for those wanting to enjoy the show with a little less
interaction.
The typical back wall of comedy stage is a harsh brick wall that centers all attention
on the comic. This main stage acts as a marquee for Broadway Avenue, lighting
up and projecting the comic’s silhouette on the translucent wall. As a center for comedic
training, the lighting of the wallcan also be used as an
indication of the level of laughter inside the
auditorium, and therefore as a visual cue to strength of the
comic’s performance.
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transformable classrooms
auditorium shell
Aluminum paneled shell Becomes projection wall at night Signage lighting through perforation Steel truss system
Mid-size class with open walls Intimate small class with closed wall
Closed garage door makes it a classroomMezzanine level for viewing comics
The classrooms are for three types of learning: writing jokes, performing prepared jokes, and improvisation. The classrooms are therefore adaptable depending on the class size and the needs of the activity. Upper level classrooms in the mezzanine level are for focusing towards a presenter, but when the garage door is lifted they become additional seating for the main stage. Other classrooms come with movable walls for allowing classes of diff erent sizes and the availability of an open space for improv activities.
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sw view at night
nw view
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fl oor 01 fl oor 02
fl oor plans
fl oor 03
section looking north19
model images
fi nal model1/16” = 1’ - 0”20
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norsk nasjonalmuseum pa vestbanen
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This studio project followed the criteria for a new national museum in Oslo, Norway. The site is 300,000sf located on a fj ord in downtown Oslo, and the musuem program calls for approximately 300,000sf of new building area. In addition to the museum functions, my design calls for a new offi ce building and new apartment complex to make the site a mixed-use development. The offi ce building is constructed over a highway off ramp that was previously a barrier for pedestrian site access. One of the main goals of the site design is to maximize pedestrian accessibility and create a lively 24 hour place.
OSLO, NORWAYWINTER 2010CRITIC: DON GENASCI
Guidelines were created by connecting the site to other local landmarks and major destinations. These guidelines formed the access points of the sites and were drawn through the building to form the circulation paths.
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site plan24
defi ning access points
strengthening street edge buiding program
nearby landmarks
diagrams
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fl oor 01
fl oor plans
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section looking east
fl oor 06fl oor 05
fl oor 03fl oor 02
fl oor 07
fl oor 04
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1. rooftop 2. auditorium
4.
6.
1.2.
3.5.
perspectives
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5. exhibit space
4. museum3. atrium
6. plaza29
model images
fi nal model1” = 50’
site model1” = 100’
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oregon sustainability center32
Floor 00 Floor 01 Floor 02 Floor 03 Floor Typ.
Montgomery St
Harrison St5t
h St
4th
St
This project was for the creation of an Oregon Sustainability Center based on the proposed program for the actual OSC currently in development. The actual project will be a net-zero building hoping to acheive the Living Building Challenge, and our criteria for the project was to create a mixed-use construction with sustainable elements and public spaces. The 10-week studio was divided into two parts, the fi rst was an urban plan based on a the concept of a new Montgomery Street green street, and the second was the OSC building and direct site.
PORTLAND, ORFALL 2009CRITIC: HAJO NEIS
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The fi rst phase of our studio project was to examine the Montgomery green street to determine how it can better connect the Portland hills to the Willa-mette River. My goal was to improveinterruptions in the pedestrianpath by either making them moreaccessible or increasingdensity, which would createa livelier district.
Street Section 1
Street Section 2
Pettygrove Park
Mixed-Use Develop-ment and river connec-
tion
montgomery street urban plan
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OSC design process
Proper defi nition of a public plaza was the carrying concept of the building design. The main mass of the building forms a border around the plaza and existing building. Although seem-
ingly one mass, it is divided into two for access and program separation.
Oregon Sustainability Center
section looking east35
Part of the mission of the OSC is to promote and practice sustainable building ideas. The program calls for heavy use of photo-voltaic panels for on-site energy production, and also calls for the storage, treatment, and reuse of
all rainwater that falls on site. There is also the presence of experimental elements such as piezo-electric panels on the stairs. These panels, which
when connected to the grid and generate electricity by the pressure placed on them, may help encourage use of the stairs, producing small amounts of
electricity and saving electricity that would go to elevator use.
adaptive re-use
water collection
steel exo-skeleton
green roofsgreen walls
piezo-electric panels
photo-voltaic panels
solar panels/light shelves
sustainability concepts
section looking east36
solar
green wall
green roof
glass
structure
core
fl oors
existing
building elements solar studies
nw view
view through alley towards plaza37
model images fi nal model1/32” = 1’ - 0”
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sw view
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