Depth is an architectural quality created by progression, delineation, and repetition. This project explores depth through the design of three major elements- floor, wall, and roof. Each element is created using one or more aspect of depth and combined to produce a house which is an integral part of its site. / Master of Architecture

"Between the Ocean and the Bay" is about a design process enabling the designer to see and know through three different graphic methods. The thesis concentrates both on the design of a specific structure, and on the ability to develop a design through two and three dimensional graphic manipulations. The three design methods are sketching, three-dimensional modeling, and computer drawing. All three have their unique qualities and all are effective. The Sketching method evolved through observing, seeing and drawing architecture in western Europe. The intimate visual process formulated a greater sense and comprehension of architecture. The on site drawing experience initiated this particular design expression. Furthermore the fragments of architecture recorded in these visual sketches became a vocabulary for all future designs. There are two kinds of three dimensional models. The first is for displaying a building or a project as an object in three dimensions. The second is a sketch, which is a fragment of a whole building or an idea. Fragmentary modeling provides a simple method of combining three dimensional elements enabling one to scrutinize them as they become part of a whole composition. This method of modeling allows the observer to see the spatial relationships between each element and the form as a whole. Modeling is a tactile experience. This physical involvement brings to the design a tangible relationship that develops scale and proportion. Fragment modeling was used in the development of the house between the ocean and the bay. Computer drawing produces two dimensional drafted plans or wire frame models that are viewed from infinite angles and then reproduced. Computer drafting lacks immediate tactile involvement of the other two methods of design discussed here. The results can appear to be flat and not dynamic. However, the computer provides discipline; by forcing one to make decisions on a design, it organizes abstract visual thoughts. There was a point in the designing of the house when turning to the computer to explore order was essential. The house between the ocean and the bay developed by employing the three different yet complementary design tools. Sketching was the strongest tool to explore a design problem through quick immediate production. Modeling forced the realization in space of the strengths and weaknesses of a design. The computer drawings in this project helped control the final shape of the house simply by forcing decisions and creating order. Each of these methods is productive by itself and together as they meld and feed on each other to create the product. / Master of Architecture

This inquiry attempts to examine different aspects of architecture and an understanding of space by exploring architectural expectations. The process described herein depicts the struggle to find a translation between two languages, one verbal and one visual. The key to my search was a constant set of ideas. The challenge was first to discern, and then to learn to use, the tools that would become my guide to the language of architecture. / Master of Architecture

The thrust of this project is twofold. The first is to create an addition to a reconstructed two-story log house. The second is to locate this structure upon the site in such a manner as to enhance the experience of its presence during approach. The first goal is addressed by connecting two appendage structures to the rear facade of the log house by means of a narrow transitional space. The intent is to maintain this transitional space as an architectural connection between the greater masses without allowing it to become a dominant element. The arrangement of the addition massing respects the prominence of the original log structure and compliments its dog-trot configuration. The shapes of the addition masses, freestanding studio/utilities building, deck area and pool also respond to the vehicular path which culminates in a circle. The second goal, the positioning of this structure within the boundaries of the selected site, was greatly facilitated by the site's numerous attributes. These range from the historical precedent of a previous log dwelling built upon the grassy knoll of choice to the natural enclosure of the site. A U-shaped, deciduously forested valley of dramatic slope along the three enclosing sides, the site provides a seasonally changing backdrop within which the entire structure can be experienced. Further enclosing this valley along the fourth side is a small, treelined river whose woody screen is permeated only in one small spot by a ford, which had been the site's previous access. / Master of Architecture

The medium of photography provides a first vehicle for the study of architectural and visual form. Through its employment, initially in a spontaneous and instinctive manner but with increasing understanding and awareness over time, a groundwork is laid for visual design in other media. Continuous tone pencil drawing becomes the means to realizing the lessons learned through these photographic exercises. Through this instrument, subsequent studies reveal the need for architectural design to evolve as discoveries of place rooted in a visual seed anchor point and evaluated by the same visual judgment developed in the earlier photographic work. Beginning with fragmentary images, the range of inquiry in the drawings broadens over time to encompass ever larger concerns in the design of architectural places. Reaching fruition in the design of a small retreat house, this process of study initially undertaken in photographic observation, following by drawn fragments and finally entire places, represents a paradigmatic approach to developing a working method of architectural design. The discovery of this design approach through the execution of the thesis itself constitutes the underlying theme. / Master of Architecture

Master of Architecture

The presence and placement of elements and setting up a contrast of the old to the new, presents an opportunity to explore an existing ruin. This thesis book is a presentation of exploration and findings. contrast. 1 to compare in order to show unlikeness or differences note the opposite natures, purposes, etc... presence n. 1. state or fact of being present, as with others or in a place;...; 3. immediate vicinity; close proximity '..identification is related to bodily form, whereas orientation apprehends spatial order. We could also say that they correspond to the architectural function of 'embodiment' and 'admittance'. Any environment thus, embodies meanings, at the same time as it admits certain actions to take place.' — C. Norberg-Schulz, The Concept of Dwelling / Master of Architecture

A philosophical standpoint that directly informs the design method: concern to invoke genius loci, to make a specific place, to give appropriate expression to architectural form. There is an attempt to remain in touch with what, in another age, would be described as romantic: the emotional appeal of nature, collective archetypal aspects of human culture, and the individual creative impulse. Polarities figure prominently : positive / negative, formal/random , orthogonal / organic. These are not all-out oppositions but symbiotic dualities--sides of the same coin. Orthogonal formality is posed against the site's natural vagaries. The positive is defined precisely by the negative: it needs the presence of the negative in order to register, and vice versa. The siting of the building, its various materials and its different outlooks are all chosen with the aim of putting those who will inhabit it in touch with their surrounds, the genius loci. / Master of Architecture

Thesis (M. Arch.)--Virginia Polytechnic Institute and State University, 1993. / Vita. Abstract. Includes bibliographical references (p. 51). Also available via the Internet.

What is architecture and to what does it aspire? It is the human endeavor which creates places that stimulate the senses. A touch, a scent, a sound, a sight (light and darkness)—each serves to make one more keenly alive. The senses, too. can arouse memories. In this house there are three paths. Each path captures a particular part of the natural environment to arouse sensations. The path that goes through the family rooms is the path of light and darkness. Two light-wells above channel the sun onto the path. As one walks down this path, one sees bright spots coming from the light-wells, marking the entrance to the living and dining rooms. Once one arrives at either entrance. one can also feel the warmth of the sun. The path to the bedrooms is the path of smell and sound. In the spring, one smells the wild flowers as the breeze carries their fragrance across the path through the windows on either side. In the summer. one hears the birds play among the long stems of the flowers. In the fall, the dry stalks brush quietly against each other in the wind. The path to the studio makes direct contact with all parts of the natural environment. On this path, one smells the air of the different seasons. The orange light gently glows on the walls and the path as evening approaches. In the fall,showers of leaves cascade in the wind. / Master of Architecture