YSOA M.ARCH 2nd Year Portfolio [Michael Harrison]

MICHAEL HARRISONSELECTED WORKS || 2013-2015

University of MichiganTaubman College of Architecture and Urban Planning Bachelor of Science in Architecture2009-2013

Yale School of Architecture Master of Architecture 2013-2016

3UPENN SCHOOL OF DESIGN4

DANCE MACHINE14

ELI WHITNEY MUSEUM20

OHARE ORNAMENT28

MINIMAL DWELLING34

STEREOTOMIC HOUSE44

GRID + GROUND48

VENNESLA LIBRARY50

PARTIAL FIGURES54

CHIRAL FIELDS56

PROJECTION62

VISUALIZATION64

FORMAL ANALYSIS68

ORNAMENTAL TAXONOMIES74

UPENN SCHOOL OF DESIGN

Located at the edge of the University of Pennsylvanias campus quadrangle, this project for an architecture and design school takes a strong presence on the site as a slightly symmetrical winged building. Seeking to increase the differentiated qualities of the campus and the street, the school presents itself differently to each side of the commu-nity. The interior then becomes an investigation of forced perspective and how different systems of organization con-tend with one another in plan.

The corten steel paneling tessellates and wraps the exteri-or while wrapping back inward. The panels are at moments perforated to allow light to trickle in while concealing light fixtures and hvac equipment in the folding walls of the in-terior.

FALL14 || MARK FOSTER GAGE || PHILADELPHIA, PA

5 corner entry rendering

7 cross sections and site plan, quad night render

9 stair, top and bottom

summer_morning summer_noon

summer_evening winter morning

winter_noon winter_evening

autumn_morning summer_sunrise

11 floor plans, site model photo and study models

13 review space render

DANCE MACHINE

Dance Machine is a venue for the study and performance of contemporary dance, located in Manhattan, adjacent to the High Line. The project is viewed as an experiment in stereotomic carving and projection of solid and void.

The mass is a simple trapezoidal extrusion of the site which is treated as solid, banal program. The projection of a public stair up and through the building crosses the performance space and is further intersected by four large light wells. The interior thus becomes a complex fragmented cave bringing together performance, pedestrian and light.

FALL 13 || BEN PELL || NEW YORK, NY

15 interior rendering of dance hall

17 interior renders, section mode, site

19 plans, solid void axon, section perspectives

ELI WHITNEY MUSEUM

The existing Eli Whitney Museum campus is comprised of a series of existing sheds along the banks of the mill river. The mission of the museum is to provide programs for a wide range of ages and skill to explore and experiment. Youth after-school and summer programs provide opportu-nities to make simple machines, play with water tables or machine parts with larger and more complex equipment.

This addition to the campus is intended to provide auxilia-ry learning and gathering spaces while engaging students and visitors with views of East Rock Park, located to the east, across the Mill River. The building is comprised of four sheds, playfully arranged via rotation and displace-ment. The result is a space large enough to accommodate gallery gatherings and disjointed enough to allow for mul-tiple groups of students to experiment and make autono-mously.

FALL 13 || BEN PELL || HAMDEN, CT

21 exterior rendering across river

23 longitudinal sections

25 site plan, floor plan, exterior night render

27 interior rendering

OHARE ORNAMENT

Contemporary ornamentation is skin deep. Pattern-making on otherwise uninteresting buildings has become a hasty means of seduction. Historical notions of hierarchy in or-nament have been almost entirely consumed by skin-deep facades. The logic embedded in more traditional orna-mentation (degrees of coverage and detail, expression of structure, repetition and variation) has evaporated in favor of wrapping paper, indifferent towards the architecture.

One of the most pervasively ornamented typologies in architecture is transit space. Train stations, having gone through their boom years prior to the explosion of moder-nity, retain ornament as a carrier of values specific to their destinations. However, air travel went through its own rapid expansion coincident with the rise of modernism. For a plu-rality of reasons we find that few airports make any effort towards ornamentation.

This project, for the Chicago Ohare airport terminal arriv-al, attempts to present a means of ornamenting otherwise underwhelming architecture. The ornament is comprised of repetitive geometry arrayed in various capacities at the ter-minal entrance. The sweeping drape of the addition loosely follows the ceiling profile of the terminal, adjusting to the different logics of the structural grid that exists on the interi-or and exterior threshold. These otherwise neutral columns are encased in vertical stainless steel members capped with the bent chevron figure arrayed about the ends of the columns.

SPRING 14 || KENT BLOOMER || CHICAGO, IL

29 front arrival rendering

31 tessellation, plan, elevation and render

33 arrival rendering

SCRANTON FRONTAGE

BACKYARD

OWNER LIVING UNIT OWNER LIVING UNIT BACKYARD

MINIMAL DWELLING

Our project consists of two volumes, one suspended within the other, pinned together with an efficient stem of bundled utility connections. From the street, the building is scaled to its context and the relationship of the tenant unit within the owners larger frame is clear.The owner occupies the first floor with ample access to sheltered outdoor areas that expand the perception of inte-rior volume. Inside, a long double height space links front, side and rear porches and reflects light down into the kitch-en and living areas.The tenant unit upstairs features two generous porches and is visually distinguished from the owners space by a lighter material palette. As the owners family grows, the upstairs unit easily recon-figures into two bedrooms and the owner can occupy the entire house.

SPRING 14 || ALAN ORGANSCHI ET. AL || NEW HAVEN, CT

Team members: Luke Anderson, Luis Salas Porras, Megan McDonough, Jessica Angel, Justin Oh, Katie Stege, Andy Sternad

SCRANTON FRONTAGE

BACKYARD


35 exterior rear yard night render

37 first and second floor plan

39 front elevation and longitudinal section

+10'-4"LEVEL 2

LEVEL 1+1'-4"

+0'-0"GRADE

CONTINUOUS METAL FLASHING



PRE-MANUFACTURED WINDOW ASSEMBLY

EXTERIOR BALCONY FRAME ASSEMBLYHORIZONTAL 2x6 MEMBER SLOPED 2%MOUNTED TO 1x6 STUD FRAME @ 6" O.C.1x6 STUD FRAME @ 24" O.C. - FLUSH W/ INTERIOR WALL FINISH

1" SHIPLAP WOOD SIDING3/4" WOOD FURRING1" RIGID INSULATIONAIR/VAPOR BARRIER1/2" PLYWOOD SHEATHING2x6 STUD WALLSPRAY FOAM INSULATION1/2" GYPSUM FINISHED WHITE

TYP. EXTERIOR WALL ASSEMBLY

TYP. INTERIOR WALL ASSEMBLY3/4" FINISHED PLYWOOD

2x4 STUD WALLSPRAY FOAM INSULATION

3/4" FINISHED PLYWOOD

1" HARDWOOD FLOOR FINISH2" SPACERS

RADIANT FLOOR HEATING SYSTEM1/4" PLYWOOD SUBFLOOR

2x8 JOISTSBATT INSULATION

1" WOOD FURRING3/4" FINISHED PLYWOOD

TYP. FLOOR ASSEMBLY

SLAB ON GRADE5" CONCRETE SLABRADIANT FLOOR HEATING SYSTEM1" RIGID INSULATION

1" RIGID INSULATION1/2" PLYWOOD SHEATHING

CONTINUOUS AIR/VAPOUR BARRIER

PRE-MANUFACTURED GLASS SLIDING DOOR WINDOW ASSEMBLYFLUSH WITH CONCRETE FLOOR SURFACE + WOOD DECK

TENANT UNIT LIVING AREA

OWNER UNIT ENTRY

OWNER LIVING UNIT

SCRANTON FRONTAGE

BACKYARD


+10'-4"LEVEL 2

LEVEL 1+1'-4"

+0'-0"GRADE




PRE-MANUFACTURED WINDOW ASSEMBLY

EXTERIOR BALCONY FRAME ASSEMBLYHORIZONTAL 2x6 MEMBER SLOPED 2%MOUNTED TO 1x6 STUD FRAME @ 6" O.C.1x6 STUD FRAME @ 24" O.C. - FLUSH W/ INTERIOR WALL FINISH

1" SHIPLAP WOOD SIDING3/4" WOOD FURRING1" RIGID INSULATIONAIR/VAPOR BARRIER1/2" PLYWOOD SHEATHING2x6 STUD WALLSPRAY FOAM INSULATION1/2" GYPSUM FINISHED WHITE

TYP. EXTERIOR WALL ASSEMBLY

TYP. INTERIOR WALL ASSEMBLY3/4" FINISHED PLYWOOD

2x4 STUD WALLSPRAY FOAM INSULATION

3/4" FINISHED PLYWOOD

1" HARDWOOD FLOOR FINISH2" SPACERS

RADIANT FLOOR HEATING SYSTEM1/4" PLYWOOD SUBFLOOR

2x8 JOISTSBATT INSULATION

1" WOOD FURRING3/4" FINISHED PLYWOOD

TYP. FLOOR ASSEMBLY

SLAB ON GRADE5" CONCRETE SLABRADIANT FLOOR HEATING SYSTEM1" RIGID INSULATION

1" RIGID INSULATION1/2" PLYWOOD SHEATHING

CONTINUOUS AIR/VAPOUR BARRIER

PRE-MANUFACTURED GLASS SLIDING DOOR WINDOW ASSEMBLYFLUSH WITH CONCRETE FLOOR SURFACE + WOOD DECK

TENANT UNIT LIVING AREA

OWNER UNIT ENTRY

OWNER LIVING UNIT

41

SCRANTON FRONTAGE

BACKYARD


front, first and second floor renders

43 construction perspective and variability studies

Michael HarrisonCritic: Moore

STEREOTOMIC HOUSE

Stereotomic House attempts to make the minimal dwelling large, stealing space from its surroundings through repet-itive subtractions. The home uses calibrated voids to pro-duce semi-private spaces for both owner and tenant. Each operation uses the negative to answer individual concerns related to space, program, and environment. Through sub-traction, the house remains minimal in its enclosed volume while maximizing its presence on the site and views to the exterior.

SPRING 14 || JOEB MOORE || NEW HAVEN, CT

45 volume axon and site model photos

SUMMER SOLSTICE WINTER SOLSTICEEQUINOX12:0009:00 15:00 12:0009:00 15:0012:0009:00 15:00

FIRST FLOOR PLANSCALE: 1/4=1

SECOND FLOOR PLANSCALE: 1/4=1

Michael HarrisonCritic: Joeb Moore

ARCH 1012b

LONGITUDINAL SECTIONSCALE: 1/4=1

TRANSVERSE SECTIONSCALE: 1/4=1

CARVING ADAPTATIONS

ENVIROMENTAL SYSTEMS

HEAT GAIN WATER SUPPLY

INTERIOR SECTION PERSPECTIVESSCALE: 3/8=1





ARCH 1012b



CARVING ADAPTATIONS








ARCH 1012b



CARVING ADAPTATIONS




47





ARCH 1012b



CARVING ADAPTATIONS








ARCH 1012b



CARVING ADAPTATIONS



INTERIOR SECTION PERSPECTIVESSCALE: 3/8=1plans, sections and sun study axons

GRID + GROUND

Given no program and an abstracted site of an inclined plane the goal was to consisely induce particular architec-tural qualities. Using a grid that oscillates between opacity and openness, the structure is a test of a bay or cubic lat-tice system of space making.

FALL 13 || BEN PELL

49

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model photos and plan oblique

VENNESLA LIBRARY CONSTRUCTION

This model studies the coupling of Helen and Hards hy-brid rib system with the technical layering of the building envelope in the design of the Vennesla Library in Vest-Ag-der Norway. All structural, technical, and programmatic elements within the library are consolidated into a series of ribs. These ribs fluctuate in size, angle, and program-matic construction to define space within the building. Our section model illustrates the representative differences be-tween such spaces; cutting through a transition point in the building, the model shows how the ribs change from book-shelves from seating, evolve in size and angle, and interact with the extensively layered building envelope.

SPRING 14 || ALAN ORGANSCHI

Team members: Michelle Gonzalez, Katie Stege

51 basswood section model

53 model detail photos and detail axon

PARTIAL FIGURES

The proliferation of the alibi in architecture has been well established as a means for giving legitimacy to formal prop-erties of architecture. Through a series of digital manipula-tions and exploitations of existing recognizable figures, this project aims to make uncomfortable ideas about universal beauty and human form through procedural glitching. By slicing and stretching, repeating and revolving the aggre-gate finds new aesthetic relationships among its parts.

SPRING 15 || MARK FOSTER GAGE

55 busted glitch

CHIRAL FIELDS

Chirality is the name given to molecular structures whose ingredients are identical but whose arrangement is sym-metrically mirrored. Molecules exhibiting chirality have vastly different outcomes when in contact with biological processes.

These drawing experiments look at how initially symmetri-cal fields can yield a variety of distorted outcomes as the result of identical processes. The goal was to create draw-ings that invoked slightly different distortions of space, time and motion.

FALL 14 || VICTOR AGRAN

57 alpha and beta

59 process drawing matrix

61 a a, b b, c c, d d, e e, d d

PROJECTION

Techniques of drawing and projection were the subject of analysis through weekly drawing exercise. The movement of platonic solids in space, composition and translation were used as a means by which to begin to think about movement, rhythm and distortion. Inherent to each draw-ing is different rule-based logics which gradually distort the clearly intended rules of projection.

FALL 14 || VICTOR AGRAN

63 pierro method and taylor method

VISUALIZATION

Through the course of weekly drawing exercises three top-ics of geometric types were investigated. The first, a cubic lattice structure based on Gordon Bunshafts Beinecke Li-brary, the second, infinitely periodic minimal surface tes-sellations, and finally combinations of topography and to-pology.

FALL13 || KENT BLOOMER AND SUNIL BALD

65 cubic lattice drawing

67 IPMS and topology drawings

FORMAL ANALYSIS

Examining several Renaissance works of architecture by seminal Italian architects, the work of the course focused on weekly assignments that compared formal characteris-tics of each work. Ultimately the analysis attempts to parse out the use of elements and space as a way of distinguish-ing between degrees of homogeneous and heterogeneous space.

FALL 13 || PETER EISENMAN

69 palladio, il redentore and san giorgio magiore

71 alberti, bramante and laurana

73 guarini, bernini and rainaldi

ORNAMENTAL TAXONOMIES

A hybrid of prior interests in distorted fields and ornamenta-tion, Ornamental Taxonomies utilizes the coding language of Processing to produce iterative drawings in real time. The result is a collection of drawings and data that will be used to influence surface articulation and possible novel forms of ornament.

SPRING 15 || MICHAEL SZIVOS

75 one to twelve

77 thirteen to thirty six

Documents

YSOA M.ARCH 2nd Year Portfolio [Michael Harrison]