J SArchitecture_Design_Portfolio.

Portfolio for Admission // Fall 2011 // Master of Architecture Degree // Savannah College of Art and Design

//2007-2010// Bachelor of Fine Art in Architecture { {

J SJonathan SandovalArchitecture_Design_Portfolio.

Contents{ {Graphics for the Building ArtsFundamentals 1Fundamentals 3Studio 1Studio 2Studio 3Studio 4

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Other Works

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GRAPHICS for the Building artss

The first course of my Architectural ca-reer and one of the defining courses which helped to set a foun-dation for my love of architecture and the importance that graphic design and typography would take in present-ing my work.

Frogtown Penthouse Loft Savannah, GA

1 Funda-mentals

Throughout the fundamentals I studio sophomore year, we worked with the kit of parts through various exercises and "shake test" after "shake test." These simple parts that in the end would influence a plan, and through investigation of pat-terns of repetition would cre-ate a final plan, which would than be used to design through plan and section. Creating this Center for Bird Study mu-seum and observation tower.

CENTER FOR BIRD STUDY{ {

The final 8x8 scheme used in a linear pattern in the final floor plan can be seen in the foreground. The influences of this piece of the plan can be seen in form and views created in the architecture as linear rays of light and shadow play together creating a strong linear view en framed with a strong envelope, illustrating what design-ing through plan and section creates.

Process of the creation of the plan in which the kit of parts created a linear plan in which the negative space shown in black creates positive open spaces or the white.

Exterior circulation leading to the observation tower.

Afternoon light study perspective

View of the tower from a rear perspective

Funda-mentals

3 Throughout the Fundamen-tals 3 studio, the design in-tent was based upon creating a three-story building containing a ground commercial floor and upper level residences. During the process of the quarter an in depth client analysis, struc-tural frame sizing, and a thor-ough site analysis were taught to be appropriately preformed and related to the design pro-cess throughout.

215 w. Broughton{ {

Interior kitchen view showcasing natural daylight well

Rotate 32˚Broughton St. Section Plan to Site Section

Commercial Floor 2nd Story Residential Floor 3rd Story Residential Floor

MY FINAL ARTICULATION of 215 West Broughton St. lot involved a form, which derived from a rotated 32-degree site sec-tion in relation to the city of Savannah in which the site is located, while also pushing the floor plates back through diagramming the sun path angles, calculated during the site analysis. Furthermore I set the building back further from the lot line creating an open green space with a sculptural live oak tree bringing a new “square” into the ma-terialistic shopping area of Broughton street located in the historic district famous for its green squares. The sculptural live oak was cre-ated to aid the design concept and give the savannah communal feeling while at the same time acting as a faux façade connecting datum’s of the window and roof heights of the surrounding context. The green space aids the clients needs while creating a communal feeling for the users of the commercial space, landscaped with pav-ers to mimic the savannah squares on the 32-degree northern axis creating areas on the green space for tables and chairs to be set.

Model shown de-tailing the new "Broughton Square" and structural tree can-opy. The landscaped pavers serve as areas to place seating for the commercial area and are a direct representation of Telfair square directly behind the site, dissolving down to human scale for the users of the commercial area. The sculptural tree begins to twist organically mimicking a southern live oak like many of the trees situated on the historic squares, turning from faux facade into a canopy for visitors enjoying the outdoor seating space.

STUDIO

1Throughout this fist design studio the culmination of site analysis, creation of various concepts, and a personal un-derstanding of ADA code and affects of materiality in proper circulation were used to help aid the final outcome, which was to design a visitor’s cen-ter for the Savannah Wildlife Refuge located in Hardeeville, SC.

S AVA N N A HWILDLIFE REFUGEVISITORS CENTER{ {

Entrance to the Savannah Wildlife Refuge Visitors Center

10’ 50’ 100’

SITE ANALYSIS{ {

Site OPPORTUNITIES• Within this site there are many trees which set some challenges in building around them, but what is most appealing is the centralized cluster of trees which I would like to try to incorporate into my design.• The flooding of the site during the rainy season is seen as an opportunity, where I can incorporate an observation deck that will be over the swamp that floods.• Given the large amounts of rainfall around the area, I would also like to incorporate the use of gray water in the buildings bathrooms.

Site CONSTRAINTS• The first constraint on the site other than the wildlife may be the placement of the telephone pole/wires (shown in red).• With the large size of the site also comes the constraint of not to placing much of a footprint on the site by designing with less of the architecture resting on the actual site.• Another challenge I see with the parks use of dirt roads for the scenic route is the constant amounts of dust in the air from passing cars which may become a problem for free flowing air through said visitors center.

The final, EMBRACES THE TREES OF THE SITE, in which the buildings form and plan developed from. The form is an abstraction of the southern live oak tree canopy in which the skin of the building acts as the canopy for users of the building protecting them from the elements while embracing natural light into the spaces of the building. The structural arched elements act as the “trunks” and “roots” of the building planting it into the site. The design also includes sustainable features such as a minimal building footprint which is raised fifteen feet at its highest point and held on columns which are the only points planting into the site. At the highest point, the observation deck peers out into marshland towards the southern end of the site fully ex-perienced during the rainy seasons flooding of the marsh. Minimal site footprint and elevation the design includes ramping and ample circu-lation within the spaces and bathrooms embracing ADA specifications.

Entrance Perspective

Longitudinal Section

The plan{ {

Library and information area

Interior of the entrance and lobby areas

STUDIO

2Throughout this design stu-dio the intent was to define the Genius Loci of the site. Through artistic observational exercises, an indepth under-standing and practice of row-ing I was able to feel and get a sense of the mood and feel-ings which were evoked by the sport and site in Thunderbolt, GA.

CHATHAM AREACREW HOUSE{ {

Shell & rack storage area/circulation to dock

CONNECTION, MOVEMENT, & REPETITION conceive the Chatham Area Rowing Association boathouse draws users in through the repetitive facade, which becomes the multi use roof and obser-vation deck guiding the user around the outer spaces of the rowing house onto the dock easily for use during any events such as a regatta being held at the site. This rooftop deck serves not only as circulation for the outside but as a sculptural representation of the sport of rowing with eight main structural columns representative of an eight oar team in the water. This design uses an axial circulation through plan in which users can easily guide an eight rowing shell through the building without the hassle of abrupt turns. This plan allows for easily accessible spaces up to ADA standards as to make the quality of a handicap users experience through the building as pleasant and enjoyable to that of the athletes. Scenic views throughout the facility are framed while providing a cool atmosphere through the use of a louvering system on the south facing facade glazing as a consideration to sustainable design. These factors lead to a functional and enjoyable space that will match the caliber and intensity of athletes that form the Chatham Area Rowing crew team.

plandevelopment

finalplan{ {

elevations

STUDIO

3This studio dealt with the creation of a new cultural arts center in Savannah's historic MLK Blvd. Through observa-tion and an in-depth historical study of the site, I perceived that my design would consist of a design which could be-come an icon and restore the sense of community in this forgotten sector of the city.

S.P.A.C.E.Cultural Arts

Center{ {

View of S.P.A.C.E. across MLK Blvd.

MLK Blvd. W. Hall st. Montgomery st.

MLK Blvd. W. Hall st. Montgomery st.

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Cchosen elevations& diagrams

MLK Blvd.

W. Hall st.

Montgomery st.

TREETOP

TREE TRUNK

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AD AB B DA BA

Solid to Void Rhythm

Solid to Void Rhythm

Solid to Void Rhythm

Implied Motion

Implied Motion

Implied Motion

Scale

Organizing Datum

Transformation

The concept of a CITY WITHIN A COMMUNITY the S.P.A.C.E. cultural arts center thrives on the interaction of users and visitors through solid and voids of the architecture. I envision the visitors of the cen-ter becoming a part of this existing community. Visitors will be intrigued by framed views to preexisting tree canopies, these views become voids within the plan and in-turn creating a more dynamic façade. The basic form of modules, integrate stacking and cantilevering within the form. It will use wide flange steel columns as long span structures, and pre-cast concrete for seg-ments of rooftops and flooring. The facades mimic solids and voids through the materiality. Voids will be done with the use of a metal skin in a dark gun metal color. While glazing is used as a solid, through the expression of users activity being seen in circulation. This makes users seen, as a moving, living, solid skin. I believe that my design of the S.P.A.C.E. cultural arts center will integrate and restore the lively hood on MLK Blvd. and create consistent re-lationships on every street frontage creating a larger community over time. Causing users and visitors to create a relationship through their interactions, thus restoring a sense of pride in the local community.

First Floor

UP

UP

UP

UP

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14Box Office100

Lobby101

Open Gallery102

Studio103 Set Shop

104

Studio105

Green Room106

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25

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Storage107

GroundFloor{ {

Second Floor

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Classroom203

Classrooms202

Open Gallery200

Theatre204

open lobby201

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2ndFloor{ {

DN

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Black Box300

Outdoorperformance area

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Outdoor studioarea303

Outdoorperformance area

301

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Third Floor 3rdFloor{ {

Final Design

Level 215' - 0"

1/4" = 1'-0"1 Grand Stair to Floor Connection

Level 215' - 0"

1/4" = 1'-0"4 Cantilever Beam & Column Detail

Sectionperspective{ {

Final Design

Level 330' - 0"

1/4" = 1'-0"5 Theatre Roof, OWSJ ,& Drop Cieling Detail

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3

1/4" = 1'-0"2 Spider connecting glazing

Level 330' - 0"

1/4" = 1'-0"3

Curtain wall to floor slab & rooftop railing conncetion

Final Design

Level 330' - 0"

1/4" = 1'-0"5 Theatre Roof, OWSJ ,& Drop Cieling Detail

7

3

1/4" = 1'-0"2 Spider connecting glazing

Level 330' - 0"

1/4" = 1'-0"3

Curtain wall to floor slab & rooftop railing conncetion

structure & details{ {

Entrance lobby and Grand Stair to Theatre

Courtyard area of the existing trees

STUDIO

4The LO is a rugged, athletic, crash pad that speaks pure athleticism though the archi-tectural form, inspired by the movement involved in the sport of surfing of which this hos-tel caters to. The Lo is tai-lored to groups of surfers or couples interested in experi-encing one of natures endless playgrounds in the heart of Santa Monica, California.

{ {THE

Exterior hallway to rooms from beach side

StabalizePOP- UP TWIST

POP- UP TWISTStabalizePop-up Twist Stabilize

The Lo in concept was a simple form DERIVED FROM THE SPORT OF SURFING, everything from the plan to form evokes athleticism. The clientèle of The Lo is mainly for the surfing com-munity and anyone interested in the sport and seeing what the city of Santa Monica, California has to offer. With such strong cultural ties to surfing and skateboarding in the surrounding areas such as Venice Beach this hotel had to be athletic, this is the reason users come to Santa Monica. The city is full with a simple life style in which is driven by whether the surf is good that day, because when the surf is good no one works. The form was derived by the three basic moves in surfing, pop-up, twist, and stabilize. With these three basics in hand the ocean truly becomes your playground, and this was my design intent. Creat-ing a hotel/hostel, which was truly for the client and was their play-ground away from the water where the user can come enjoy after a day of surf.

UP

UPN

Ground Floor plan{ {

Site relation to the Beach

DN

Typical Hotel

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Hotel Rooms Floor plan{ {

N

Typical Hotel Room{ {

Interior of a Typical hotel Room

Transverse Section{ {

Exterior entrance to the surf shop

The surf shop

The Restaurant

The Lo from the Beach

CTInCollaborationWithCurtis Richardson&Matt Gipe

Foundation BaseLine

-2' - 6"

Foundation Line0' - 0"

Top of FloorCommercial Space0' - 0 1/2"

1st Floor - OpenOffice Space

15' - 0 1/2"

2nd Floor - OpenOffice Space

28' - 1"

Roof Line41' - 1 1/2"

Bottom of Footing-3' - 6"

1 2 3 4 52A 09

cos Concrete Structural Column18"x18"

cos Concrete Beam12x24

CMU Foundation Wall12"x36"

Cast on Site Reinforced Concrete Foundation Section Cut

cos Concrete Foundation Wall Footing36"x12"

A 093

1A 05

A 061

Foundation BaseLine

-2' - 6"

Foundation Line0' - 0"

Top of FloorCommercial Space0' - 0 1/2"

1st Floor - OpenOffice Space

15' - 0 1/2"

2nd Floor - OpenOffice Space

28' - 1"

Roof Line41' - 1 1/2"

Bottom of Footing-3' - 6"

ABC E1E2 1A 09

Cast on Site Reinforced Concrete Framing Section Cut

A 094

1A 04

A 071

Foundation BaseLine

-2' - 6"

Foundation Line0' - 0"

Top of FloorCommercial Space0' - 0 1/2"

1st Floor - OpenOffice Space

15' - 0 1/2"

Bottom of Footing

5

2nd Floor - OpenOffice Space

28' - 1"

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A - 05.1

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16G 16G 16G

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1ST FLOOR STRUCTURAL PLAN 2nd & 3rd FLOOR STRUCTURAL PLAN

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1ST FLOOR STRUCTURAL PLAN

Level 113' - 0"

Level 211' - 0"

1234

Level 411' - 0"

S.11

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Level 10' - 0"

STRUCTURAL SECTION

CALL OUT OF SECTION 13/4"= 1'0"S.1

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CALL OUT OF SECTION 13/4"= 1'0"S.1

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CALL OUT OF SECTION 13

SITECAST CONCRETE FLOOR SLAB

STEEL WEB FLOOR JOIST

CORROGATED STEEL FLOOR SHEET

STRUCTURAL W12X16 COLUMN

BRICK VENEER

CMUINSULATION

STRUCTURAL W12X16 COLUMN

FINISHED FLOOR

SITECAST CONCRETE FLOOR SLAB

OPEN WEB STEEL JOIST

STEEL BEAM

BRICK VENEERCMU

W12X14 STEEL COLUMN

CONCRETE FOOTING

INTERIOR WALL FACE CMU

SITECAST CONCRETE SLAB

GRAVEL

230

A-022

A-021

Level 113' - 0"

Level 211' - 0"

Level 411' - 0"

Level 10' - 0"

Level 113' - 0"

Level 211' - 0"

Level 411' - 0"

Level 10' - 0"

Level 213' - 0"

Level 311' - 0"

4

Level 422' - 0"

Level 10' - 0"

A D

Level 213' - 0"

Level 311' - 0"

Level 422' - 0"

Level 10' - 0"

Level 213' - 0"

Level 311' - 0"

Level 422' - 0"

Level 10' - 0"

Thermal Air Layer 0' 3"

Rigid Insulation 0' 3"

Vapor/Moisture Barrier (nominal)

Wide Flange Beam/Joist W12x26

Cast On Site Concrete Slab 4"

Thermal Air Layer 0' 3"

Rigid Insulation 0' 3"

Vapor/Moisture Barrier (nominal)

Wide Flange Beam/Joist W12x26

Cast On Site Concrete Footing 6"

Double Hung Window 36"x48"

EASTERN ELEVATION / PARTI WALL SECTION SOUTHERN WALL ELEVATIONNORTHERN WALL ELEVATION

cos Concrete Flooring 4"cos Concrete Flooring 4"

Masonry Brick 0'3 5/8"

Concrete Masonry Unit 0' 758"

Metal Furring 0' 158"

Masonry Brick 0' 358

Concrete Masonry Unit 0' 758"

Metal Furring 0' 158"

works

DJ RegalCentral NJ Area

+ Identity Branding+ Business Card Design+ T-shirt Design

What I Design for Adrenaline Apparel(www.Adrenalinemovement.com)

FreelanceWork withAdrenaline Apparel

• 231 Main Ave •

• ''C

hances Are You Can’t Hang'' •

MANCAMP

MANCAMP

SJ

MANCAMP

• Bay Head •

• 231 Main Ave •

Board shortsDesigned for:Private Client of 231 Main ave.Bay Head, NJ

Freelance& Competition Graphic Design

photography

photography

Architecture is open ended_Design is open ended_And this is my statement.

Architecture and Design are much like broad open spaces with no definition, only a client and its users; this is what I love about being a designer. My architecture is not derived from personal gesture, however it does have all of my artistic investment. My architecture is appropriate to its site, defining a sense of belongingness to its community.