Lansing Dodd: Design Portfolio for Charleston Fall 2012 B.A. Architecture 2013 Note: When downloaded, please view with the "2 page view" option.

1. REVEAL
o dd
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a rc h i t ect u r e
p o r t f o l i o

4. Define
discover
Design
Deliver
LANSING DODD
PORTFOLIO

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6. ta b l e o f c o n t e n ts
PORTFOLIO
introduction
1-2
STATEMENT OF INTENT
3-4 RESUME
chapter 1
7-13
THE BRIDGES RESIDENCE
a california dwelling
chapter 2
16-22
CYCLE STATION
carolina bicycle institute
chapter 3
25-31
REBUILDING HOPE
emergency shelters
chapter 4
34-40
AWAKENING
harry’s coffee express
chapter 5
43-49 CITY VIEW LOFTS
clemson residence hall
chapter 6
L
52-53 CITY SCAPES
architectural sketches
D

8. STATEMENT OF INTENT: reveal
In the city I was raised, Santa Ana, California, old sepia-toned photographs of the early
nineteen-hundreds and twenties validate the architectural history of the city. The landscape of the
city has changed dramatically, with long avenues of asphalt covering what was once dusty soil, and
parades of horse-drawn carriages replaced by angry rows of traffic and street vendors keeping
up with the lunchtime rush. Despite these inevitable transformations, the architecture remains; exist-
ing as living museums, encapsulating history, exposing the cultural and historical aspects of the time it
was created as well as revealing the unique identity and dynamic diversity of the people of Santa
Ana. For years, these buildings entranced me with their stunning elegance and individuality that was
rarely seen. The iconic Santora Building, a swirling cascade of florid carved stone embedded with the
delicate faces of smiling cherubs, had a soul; it was as expressive as the paintings of the artist studios
within.
In this strip mall, tract-housing and McMansion era, a time when historical
buildings are more endangered than ever, the architecture of downtown Santa Ana held a unique
charm and individuality that allows it to become so treasured. The splendor of this architecture was
first revealed to me when I took an art class in the Spurgeon building, a striking edifice embedded
with a turn-of-the-century clock tower, and looked out the onto the avenues of brick and art deco
storefronts, I pieced together how the architecture of the town was art in its own right, a canvas of
history. Historic buildings like these inspired me to study architecture, and this portfolio is a represen-
tation of my passion for architecture that I have acquired through study, research and designing, and
my work is created through the defined experiences which ultimately form the vocabulary, or lexis,
of the ultimate narrative of my architectural pieces, revealing and uncovering how architecture can
speak to the viewer as each space is discovered.

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11. DEFINITION/BRIDGES RESIDENCE P. 7
BRIDGES RESIDENCE
PROJECT
CLASS
ARCH 115
PROGRAM
SINGLE FAMILY HOME
SITE
LAGUNA BEACH, CALIFORNIA
PROFESSOR
ROSE ANNE KINGS
DEFINITION
The concept of the Bridges Residence began as
a vision of a new California Dwelling which would
engage the site and gracefully respond to its
context, creating a journey through the thoughtful
transition between the southern California coast.
The concept was inspired by the fictional client,
my former high school art teacher, an artist who
wished for an inspirational and elegant residence.

12. P. 10
From the home's breezeway, which frames
the view of the Pacific Ocean, to panoramic
windows which invite sunlight into the interior
spaces, The Bridges Residence is an architec-
tural design that serves as a journey through
the natural beauty of the California coastline.

13. DISCOVER/BRIDGES RESIDENCE P. 9
DISCOVER
With further development in the design
process, the project began to transform
into a "Gallery of the Ocean", blurring the
focus of architecture as enclosing space
and instead encapsulating its natural
surroundings by showcasing the dramatic
Pacific Ocean views at its site.
West Elevation
North Elevation
East Elevation
South Elevation

14. P. 10
Second Floor
Second Floor
First Floor Second Floor
First Floor
Basement First Floor
Basement
As indicated by its sections and floor plans, the
residence connects to a narrative of architec-
ture as a series of transformative spaces which
respond to function and context, the residence
serves as a journey which allows the viewer to
cross a series of bridges which connect the pri-
mary interior spaces and create fluid transitions
within the home.
Basement

15. DESIGN/BRIDGES RESIDENCE P. 11
With further development in the design process,
the project began to transform into a "Gallery
of the Ocean", blurring the focus of architecture
as enclosing space and instead encapsulating its
natural surroundings by showcasing the dramatic
Pacific Ocean views at its site.

16. P. 13
DESIGN
The home utilizes extensive windows,
balconies and patios to interweave
its interior space with the landscape
around it, which enables the home to
live harmoniously with its environment.
Ultimately, the house highlights the
importance of protecting and preserving
the natural splendor of California.

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19. DEFINITION/CYCLE STATION P. 16
c y c l e s tat i o n
PROJECT
CLASS
ARCH 351
PROGRAM
33,000 SQ FT, BICYCLE INSTITUTION
SITE
CLEMSON, SOUTH CAROLINA
PROFESSOR
ROB SILANCE
DEFINITION
An institute which promotes the cycling life-
style by providing a large-scale bike share
network, education space for the craft
of bicycle framing and repair as well as a
hostel for students and visitors of the Caro-
lina Bicycle Institute, ultimately working to
protect the environment and create a bet-
ter quality of life for the residents of Clem-
son and the students of Clemson University.

20. P. 17
LOCATION
DESIGN
I utilized my knowledge of programmatic composition
I gained during past projects in order to efficiently
organize a larger program and create a strong iden-
tity for the bicycle institute, incorporating a geomet-
ric aesthetic which serves as a transition between
my prior architectural designs, such as the Bridges
Residence, a project which provided a greater un-
derstanding of the abstraction of form through expe-
riential pathways, concepts which are embedded into
the design viewpoint conveyed throughout my work.

21. DISCOVER/CYCLE STATION P. 18
DISCOVER
To propel downtown Clemson into the future,
the Carolina Bicycle Institute is composed of
three distinct parts, each serving a unique pur-
pose. The "core" or central space is defined by
its triangulated curtain wall and serves as the
primary space for the Institute, housing the bike
EXISTING share system, bicycle storage and the educa-
tional spaces, which holds classes concentrating
upon designing, creating and repairing bicycles,
with a welding area to provide a hands-on ap-
proach to learning the craft. Lastly, a hostel is
located in the northwest wing of the
PROPOSED FOOTPRINT building, providing housing for
students, guest lecturers and traveling
cyclists at the Carolina Bicycle Institute.

22. P. 19
The Carolina Bicycle institute was drawn from
the inspiration of my analog project of the 18th
century artist, Giovanni Battista Piranesi, a master
of the medium of etching, after examining the site
and its existing context and creating a building
footprint, the structure developed into a testa-
ment to the bicycling lifestyle.
The physical model created for the project expressed the
structural form of the cycle station and articulated the details
of the building.

23. DELIVER/CYCLE STATION P. 20
COPENHAGEN: citybike 1995
2007 PARIS: velib
2007 BARCELONA: bicing
MILAN: bikemi 2008
2010 MINNESOTA: nice ride
DENVER: b-cycle 2010
WASHINGTON, d.c.: capital bikeshare 2010
2011 BOSTON: new
balance hubway
CLEMSON: cycle station 2012

24. P. 22
A series of curtain walls define the front and back elevations
of the Cycle Station, allowing for natural light to enter the core
spaces. For the Cycle Station, research was conducted of to
study past examples of successful domestic and international
bicycle share programs and institutes.
Level 1 Level 2
Level 3 Level 4

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27. DEFINITION/REBUILDING HOPE P. 25
PROJECT
REBUILDING HOPE
CLASS
ARCH 215
PROGRAM
EMERGENCY SHELTERS FOR DISPLACED CHILDREN
SITE
SAMOA
PROFESSOR
ROSE ANNE KINGS

28. P. 26
DEFINITION
Every child needs a place to feel secure and comfortable, especially in the brutal aftermath of a natural
disaster. Rebuilding HOPE is an answer to shelter the approximately 2,000 children who have been
displaced by the Samoan tsunami of 2009.

29. DISCOVER/REBUILDING HOPE P. 27
DISCOVER
Rebuilding Hope is a design for an
individual child’s temporary emergency
shelter that can be mass-produced and
delivered throughout the tsunami affected
areas of Samoa, American Samoa and
Tonga. These units, called “Cubilofts”, pro-
vide the child a deck that functions as a
draw-bridge style door as well as inte-
grate an indoor/outdoor space and a
functional roof that can be set to either
provide a loft as well as storage space
or keep rain out of the structure. This
aesthetically pleasing design is a playful
space that will give displaced children the
optimism to look toward a bright future.

30. P. 28
By arranging the cubilofts in an open
courtyard configuration, the children have a
central space that allows them to social-
ize and play games; enabling them to heal
through social interaction.
DESIGN
The open space within the pallets allow air to flow through the structure,
which provides comfort in the hot and humid climate of Samoa. A tarp can
be used over the structure to keep out rain.

31. DESIGN/REBUILDING HOPE P. 29
MATERIALS AND DIRECTIONS
The temporary structures are
constructed with economical yet The nation of Samoa comes into contact
durable materials such as recycled with cargo ships frequently due to trade,
pallets and recycled shipping rope. which permits both Samoa and other
participating countries giving aid to eas-
ily depoly pre-fabricated roof trusses
and whole pallets on cargo ships for
Samoan children to receive. Pallets are
a recyclable, durable and affordable
material that can be used to create
structures that will protect the children as well
as provide a place to sleep, learn and play.

32. P. 31

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35. DEFINITION/AWAKENING P. 34
awa k e n i n g
PROJECT
CLASS
ARCH 351
PROGRAM
WALK-UP AND DRIVE-THROUGH COFFEE EXPRESS
SITE
ANDERSON, SOUTH CAROLINA
PROFESSOR
ROBERT HOGAN
DEFINITION
With an objective to design a coffee house which rede-
fines the image of a drive-through/walk up cafe, evoking
the movement of the enticing aroma of coffee wafting and
undulating in form, playing to all of the senses, Harry's Coffee
Express in Anderson, SC is a structure in which the viewer
experiences a sense of renewal within.

36. P. 35

37. DISCOVER/AWAKENING P. 36
ROADS
VEGETATION
CONTEXT
DISCOVER
The private spaces are clearly defined, with the office space
and restroom situated adjacent from the kitchen in order to
create a more spacious and functional work space. The seating
area adjacent to the express provides shade, views to the veg-
etation which lie in close proximity to the site, and landscaping
consisting of evergreen trees generates a buffer to prevent the
travel of sound from the bustling shopping center from entering
the seating area. Entering from the main road, curves around
building and provides ample space for cars during early morn-
ing rushes, the site includes vegetation to distinguish itself from
the sea of asphalt which surrounds the site.
The design development began
with the goal of creating a recog-
nizable logo building which would
incite a unique state of mind within
customers, creating an experience
which extends beyond the average
purchasing a daily cup of coffee.

38. P. 37
NORTH ELEVATION 1/8”=1’0” WEST ELEVATION 1/8”=1’0”
SOUTH ELEVATION 1/8”=1’0” EAST ELEVATION 1/8”=1’0”
"Awakening" continues with my design viewpoint of transitions and passages through
architecture through its abstraction of the form of steam rising from a freshly brewed cup of cof-
fee, banding to create a characteristic form ultimately leading the customers to experience an
inviting and calming environment.

39. DESIGN/AWAKENING P. 38
DESIGN
The building interacts with the plaza as a whole yet
distinguishes tself from the bustling stores surrounding the
coffee express, creating a unique experience in which
visitors can transition from a purely commercial atmo-
sphere to a more relaxed experience within the coffee
express.

40. P. 40
1
13
5 5
6 5
7
8 11 12 13 7 10 7
13
2
Efficiency for both employees
and customers is emphasized
within the design and spatial
composition: drive through and
FLOOR PLAN IN SITE 1/8”=1’0” walk-up access for vehicles
and pedestrians are located
on the same axis, creating a
defined customer service area,
as shown in the elevations of
the structure.

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43. DEFINITION/LOFTS P. 43
city walk lofts
PROJECT
CLASS
ARCH 351
PROGRAM
UPPERCLASSMEN RESIDENCE HALL
SITE
CLEMSON, SOUTH CAROLINA
PROFESSOR
ROBERT HOGAN
DEFINITION
City Walk Clemson redefines the upperclassmen space, enhancing the learn-
ing experience at Clemson University by creating communities in which students
can interact, study and learn within the campus’ core, an urban environment
with access to retail, dining and residential buildings. The lofts interrelate with
the sidewalk as well as relate to views of two of Clemson’s most iconic land-
marks, Tillman Hall and Memorial Stadium.

44. P. 44

45. DISCOVER/LOFTS P. 45
DISCOVER
The City Walk Lofts, an upperclassmen
residence hall, was inspired by the
concept of the urban experience within
a rural campus, aooreciating tradition
as well as embracing the future. The
axes of the residence hall were based
upon the locations of two of the most
important landmarks on campus: Tillman
Hall and Memorial Stadium, and the
lofts create a visual connection to these
landmarks through the views that can
be experienced within the spacious
UNIT LAYoUT living room and kitchen located in
each suite.
UNIT LAYOUT
1/4"=1'0"

46. P. 46
TRANSVERSE SECTION LONGITUDINAL SECTION
1/16”=1’0” 1/16”=1’0”
FLOOR PLANS
1/16”=1’0”
5
6
4
Level 1
3
2
LevelS 2-4

47. DESIGN/LOFTS P. 47

48. P. 49
DESIGN PROGRAM - LEVEL 1

Large windows articulate each loft, creating 


a defined pattern on the exterior of the


residence hall marked by the contrast of
building forms which rest firmly upon the
ground while connecting halls of curtain walls PROGRAM - LEVELS 2-4
are juxtaposed against the main building forms,
defining the functions within the building through
structure and materiality.
EGRESS
MOST ACTIVITY
1 ACTIVITY + ACCESS LEAST ACTIVITY
2
3
Precedents

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51. CITY SCAPES P. 52
sketches + drawings
CLASS
VARIOUS
PROGRAM
SKETCHES OF HISTORIC ARCHITECTURE,
ORIGINAL ARTWORK
SITE
VARIOUS
PROFESSOR
VARIOUS
Fragmented, 2012
Graphite on Paper
Art 151

52. P. 53
Sacred Heart Community Center, Augusta, GA

53. P. 54
Rhythm, 2012
Graphite on Paper
Art 151

54. P. 55
Ascend, 2012
Prismacolor Pencil
Art 151