Final Project

For this project, I explored in detail one pool room of my bathhouse design for studio, using perspectives, a plan, and an exploded isometeric diagram.

Assignment No. 7

The large perspective looks into the main pool room in my bathhouse for studio, toward the waterfall and dorr to stairwell at the end of the room. The smaller line drawings show perspective views from different places in the room.

(Posted late due to problems with blogger loading images)

Assignment No. 6

Day-time view of the main pool room in my bathhouse design for studio.


Night-time view of the same room.

Mid-Term Project

The two pages of my presentation.

Assignment No. 4

Illustrator/Photoshop Renderings

Section Perspective

Interior Perspective



Entourage Figures for Computer Drawings

A Man Reading Newspaper
A Small Cypress Tree

A Pigeon

Assignment No. 3

In this assignment, I modified my decentralized scheme from assignment no. 2 by hollowing out the components and pushing and pulling walls, ceilings, and floors from these components. In this way, I tried to create areas of inhabitable space forming an overall "continuity of space," as required. Then, I used Adobe Illustrator to create a section perspective with a solid section cut and poché.

Plan view from Sketchup.

Elevation from Sketchup.

Immersive perspective from Sketchup, showing the long corridor on the side of the building opposite that shown in the elevation.

Second immersive perspective (2-point), from the elevated platform within the large cube farthest to the right in the elevation.

Section perspective from Sketchup.

Refined section perspective with poché and all, from Adobe Illustrator. (I was unable to prevent the background from showing, since such an option was not available when exporting a .tif file from Sketchup.)

Assignment No. 2

Centralized Scheme
In this scheme, I attempted to create a composition that is as centrally-organized as possible, given the long site and required components in the kit of parts. The composition is symmetrical in both the long and short directions with ones attention drawn toward the cluster of the three large cubes in the center of the design.

Isometric view

Plan view

Longitudinal elevation

Exterior eye-level view

Immersive view: looking along the top of the glass box, along the edge of the narrow solid box.

Another immersive view: looking along the edge of the glass box from the level of the base.


Distributed Scheme
In order to make this composition decentralized, I placed the three large cubes and some of the small cubes in a rhythmic pattern, so that attention would not be drawn to any one part of the composition in particular.

Isometric view

Plan view

Longitudinal elevation

Exterior eye-level view

Immersive view: looking upwards inside one end of the glass box.

A second immersive view: looking out through the glass box from one of the spaces between two large cubes.


Hybrid Scheme
For this scheme, I made the composition symmetrical from the long side with a fairly massive grouping of several small cubes and one of the large cubes, drawing your attention to this center. However, I tried to divide this attention to some extent with the large, raised cubes on either side of central figure, creating a composition with elements of both centralized and distributed schemes.

Isometric view

Plan view

Longitudinal elevation

Exterior eye-level view

Immersive view: a shot down the narrow corridor between the long, narrow box and some of the small cubes.

Another immersive view: showing the view from the top of the narrow box and within the glass box.

Assignment No. 1

Subtractive Approach
For this approach, I carved out portions from the original 32' cube to create the horizontal and vertical voids as well as to define the necessary vertical and horizontal elements. The horizontal void progresses somewhat diagonally through the cube, while the vertical void descends essentially straight down the center of the cube, widening out at the bottom.

Isometric View: shows the horizontal void extending through the cube.

Elevation: shows another side of the cube, not seen in the isometric view, with an opening of the horizontal void being the large shaded square on the right.

Elevation: the final vertical side, whose recesses and protrusions create a sense of symmetry.

Immersive View: a view from the lowest and widest portion of the vertical void up through the shaft.

Immersive View: looking through the horizontal void, and also showing the intersection between this space and its vertical counterpart.


Additive Approach
I began with a 32' cubical frame and an 8' solid cube for this exercise. I extended from this original cube to create the final form. This form is ultimately more open than the previous one. A fairly wide horizontal void extends directly through the cube as does the vertical shaft.

Isometric View: one of the openings of the horizontal void can be seen here, as can the top opening of the vertical void.

Elevation: the other main opening of the horizontal shaft can be seen in the center of this horizontal face.

Elevation: showing the two large rectangular recesses on this side. Within the right-hand one, part of an additional side opening into the void space can be seen.

Immersive View: a view from the top of the form, looking down the vertical void to its very bottom.

Immersive View: looking across the horizontal void toward the side opening (right) and one of the large openings (left).