Professional Documents
Culture Documents
Corbin Keech University of Pennsylvania - Postprofessional Masters of Architecture
Corbin Keech University of Pennsylvania - Postprofessional Masters of Architecture
01 _ Hudson River House 02 _ Courtyard Prototype 03 _ Station Five 04 _ UO Athletic Medicine Center 05 _ 14 Parcels 06 _ Project Chaboo 07 _ Extra-curricular
Kansas / Oregon
Corbin Keech 01
01
Light studies
An underlying design objective was to more clearly understand the notion of dwelling. In order to do so, careful study was placed on the quality of light within the house. The more private spaces have deliberately limited views and access to light. Such measures evoke a sense of submersion, creating an atmosphere ideal for privacy, intimacy and repose. Conversely, public areas were conceived as wholly transparent, separated from the landscape by a minimal threshold.
07:00
10:00
12:00
15:00
Daylight study
Physical model, looking west Hudson River House . Academic . Corbin Keech 03
The roof plane serves to moderate the condition of sky relative to earth and earth relative to sky. Furthermore, both the form and function of the building rhyme with the landscape; the domestic spaces remain burrowed and heavily enclosed while the more social spaces enclosure dematerializes to reveal the landscape beyond. Essentially, the house maintains a necessary parallel relationship to the sites gentle slope and extraordinary panorama. East elevation
Plan
02
FILM The objective was to create both a building and a script. Here, the story influenced the shape of the building, and the shape influenced the story. Several short films and design exercises culminated with the production of three components; the design of the courtyard building, a short film that took place within the building, and a physical model of the building. The class built one large-scale model, the framework that housed our individual models. Software used _ 3dStudio Adobe Premiere Pro Discreet Combustion
Film sequence
00:10
00:20
00:30
00:40
PROGRAM My facility was a shop for a furniture designer and fabricator. The front half of the building is programmed for the delivery of raw materials, storage, production, and display of finished furniture. The rear space, containing living spaces and an exterior garden is separated from the production spaces by a 6-thick wall of stacked-slate.
00:50
01:00
01:10
01:20
Boundary / Transition
02:10
02:20
02:30
02:40
03
01 DESIGN / DOCUMENTATION PROCESS We were exposed to the constraints of building code, egress, and the design and layout of mechanical systems. This process required the production of an initial set of design drawings and concept models, as well as a final set of construction documents and presentation model. Ground floor structure and administrative offices, reception, and cistern tower for rainwater harvesting.
02 Ground floor structure and program plus apparatus room and hose drying tower.
04 South elevation Second floor program, including firefighters sleeping quarters, locker room, shower, storage, dining and indoor/outdoor lounge.
05 Exterior framing and skin of interlocking aluminum panels and inset frameless windows.
06 Ceiling and roof, with sloped channel towards cistern tower for rainwater capture. Second floor plan Station Five . Academic . Corbin Keech 10
04
Thousands of anodized aluminum rods were screwed into pre-drilled acrylic panels, a composition forming the Oregon O. Photo by Basil Childers
APPLICATION OF OREGON IDENTITY Athletic records are fused into the fabric of customized benches. Glass screens help delineate different spaces within the facility. A wall composed of various widths of white oak echoes the movement of the bench, symbolizing one large sinuous muscle. Conceived as an unraveling roll of tape, an internally-lit, white corian bench weaves through the space and serves as the binding element between adjacent areas. Thousands of significant Oregon athletes and coaches names are sandblasted into the glass, reinforcing the notion of timelessness and permanence not just within Oregons athletic program, but in all of sport. In essence, the architecture and materials were infused with a story to relay and extend the legacy of Oregon athletics.
MDF ceiling panels, routed with thousands of holes, forming the statue-of-liberty and hook-andladder plays.
Taping and therapy tables, with built-in mechanized equipment, adjusts to accommodate varying heights, weights and sizes of athletes. The white corian bench weaves through the lounge area, bridging the main circulation spine and the taping/therapy room
2 5 Each column was shrouded in leather, sewn together in the same style as a football
Stainless steel door pull, in the shape of the Oregon O. Customized supergraphics for way-finding and facility identity.
Names of significant University coaches were branded into the conference room wall with a cattle prod. 6
Signatures of current coaches collected and laser-etched onto wall-hung stainless steel sheet.
9 10
10
The Oregon O appears on the bottom of the hot and cold plunge pools, a composition of yellow tile against black. University of Oregon Athletic Medicine Center . ZGF Architects . Corbin Keech 12
Oregon team colors and regional materials are omnipresent. Sheets of acrylic hang from the ceiling, glowing with screen-printed green and yellow paint. Glass block windows behind wood slats allow warm western light to illuminate the space. A waterfall divides the hot and cold pools in the foreground from the therapy pools beyond. Televisions are recessed into the walls, allowing athletes to watch their movement on the underwater treadmills. *
A recessed mirror opposite the juice bar reflects the Oregon O and is framed by hidden closet storage above and below. White oak planks were left untreated and arranged in a pattern along the main hallway that resembled the striations of a muscle. * *Photo by Basil Childers University of Oregon Athletic Medicine Center . ZGF Architects . Corbin Keech 13
Juice bar, made of white corian, with swiveling barstools and bar-kick adorned with laseretched leather. Athletic records are etched into the stools, while notes and inspirational language gathered from Oregon athletes and athletic staff were collected for the bar-kick etching.
05
PROCESS Difficult site conditions and insufficient views provided for a design process more focused on the house as an object. Essentially, the building became a sculpture with a singular expression, enlivened by the light from above. --To the right is a diagram of the transformation of a 24 x 36 x 40 cube into the final sculpted object. BOX SLICE! PUSH! INSERT!
OPEN!
OPEN MORE!
ENTRY!
SCULPT!
CONSTRUCTION Restricted views created an opportunity to capture light from above. Conceived as a monolithic sculpture, the dwelling would be sheathed in a luminescent polycarbonate skin, reinforcing the intent to create a simple, yet expressive object. The south wall is torqued inwards, creating a sliver of open space is for a bamboo garden. Further, a singular triangular opening is a subtle invitation to explore within. The dwelling is programmatically simple; the ground floor contains a kitchen, dining and storage. The first level holds a workspace and gallery, and the second level the bedroom and shower.
Physical model, with south wall ghosted to show the interior space and structure.
06
PROCESS As I vacillated between sketches and 3d studies, I simply decided to disassemble and reconfigure the original design. Two foreign elements - one that echoes the original form and another that is divorced from the original - work to create a distinct but recognizable expression. Above all, the additions are intended to work in concert with the Chaboo and to supplement its proportion and materiality.
Watercolor study
Watercolor study
Final exhibition, March 3, 2009 Photograph by Harold Wood Project Chaboo . Independent . Corbin Keech 19
07
Extra-curricular Independent
Watercolor, mixed-media, sculpture and graphite serve as alternative means of creation beyond architecture, and signify different stages of my artistic development. Between documentation of travels, the reproduction of dynamic historical spaces, and simple compositional attempts, I have embraced different methods of studying the world to which I have been exposed.
Graphite on paper, 18 x 18 Santa Maria della Piere, Arezzo _ Italy, April 19, 2005
Rotterdam
Bologna
Paris
Plaster Study _ 2009 Plaster was poured into pieces of panty hose and then assembled in a box, creating different interlocking forms.
Graphic montage _ 2005 In an effort to document and memorize my seven months of travel in Western Europe during 2005, I utilized watercolors, graphite and mixed-media techniques as I travelled.