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2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
2012 Portfolio
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2012 Portfolio

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This portfolio comprises projects from my first year in the MArch program at Clemson University. It also includes my final exit project from my undergrad program in interior design. Hope you enjoy …

This portfolio comprises projects from my first year in the MArch program at Clemson University. It also includes my final exit project from my undergrad program in interior design. Hope you enjoy :)

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  • 1. sara ashley hawkinso expand
  • 2. design expands from a single moment,sparking a creation of boundless possibilities
  • 3. table of contentsconnectivity + horizontality of the analogue city 1 geometric integration + extraction 7 visualization + representation 13 spaces of [de]formation 17 spaces of [de]mystification 23 spaces of [de]construction 27 spaces of [de]acceleration 31 the athens rehabilitation center 35
  • 4. connectivity + horizontality of the analogue city c h e l s e a grasslands museum Kunstall in Chelsea, New York MArch 842-- Studio II Criss Mills Spring 2012
  • 5. e x t r a c t i o n This project called for an art exhibit in Chelsea, New York, also known as the Meat Packing District. The site housing the exhibit resides immediately adjacent to the High Line, a public park built on an elevated 1930s rail structure between West 19th and West 20th Street. The scope of the project was to provide a fluid connection with and at the level of the High Line. The project’s design program inquired for a versatile program housing various exhibits. Among the various exhibitions are performance arts, multi-media displays, and public events held for conferences, lectures, and workshops.3
  • 6. The conceptual process began during research over this historyof both the High Line and the Meat Packing District. The High Lineonce read as a very industrial setting; however, it was translated intoa natural setting of a stretched horizontal green space. As the MeatPacking District evolved over the years, it has climbed verticallyon the social scale impacting the surrounding areas of New York.Through the use of horizontal and vertical integreation by meansof an extraction of industrial and natural sources around New York, The program of the interior spaces were set up through theChelsea Grasslands Museum began to build upon itself, allowing use of extracted shapes from the connections among thedistinct connections to the High Line and the surrounding cityscape. industrial and natural points of interest throughout New York. Ground Floor (Street Entrance) Second Floor (High Line Entrance) Third Floor The High Line as it is being raised vertically The High Line as it stands today Longitudinal Section 4
  • 7. The vertical circulation diagram displays the egress routes throughout the building. The main circulation is found centrally in the museum, while there are two emergency stairways located on either side. The program resides in the museum as follows: Orange: Loading/Storage Yellow: Administration Red: Autditorium Blue: Interior Exhibition Green: Restaurant/Cafe White: Lobby/Circulation W 20th Street Entrance Fourth Floor Fifth Floor5
  • 8. Section Model-- Visual Connectivity + Light Study Interior Light Study 6
  • 9. geometric integration + extraction a t l a n t a b r a n c h l i b r a r y Reynoldstown in Atlanta, Georgia MArch 842-- Studio II Criss Mills Spring 2012
  • 10. connection Precedent The site at Reynoldstown This design was an exploration in dynamic public spaces. The program called for a branch library in Atlanta, Georgia where the community would embrace a new learning experience with tactile design. The site was chosen in Reynoldstown, where it would be central to surrounding areas of business, a neighborhood, churches, and a school. With close proximity to all areas, the public nodes ensure consistant use, as well as a safe, walkable space. The initial intent was to derive an architectural structure divided into volumes interconnected by a central circulation space. Diagrams and research guided the design and established a parti to enrich and clarify the final form.9
  • 11. The overall form and function of the building was derivedfrom site geometries and how they react to and work withthe site and its surrounding areas. The main radiating nodalpoints were determined through the use of the trees locatedaround the site. The position of the surrounding streetsextracted the use of a parallel and perpendicular grided system.As the form began to take shape, distinct associations were madeamong the surrounding areas. The horizontally shaped trianglesprovided a relationship between the outer businesses encompassingthe site, and the relationship to the main circulation of traffic.The vertical shapes extracted from the nodal points provided arelationship between the neighborhood and its connection to themain road. It is also the major link connecting the school to theneighbohood with the library presenting itself as the central hub. Floor Plan 10
  • 12. West Elevation South Elevation Transversal Section11
  • 13. East ElevationNorth ElevationLongitudinal Section 12
  • 14. visualization + representation d i g i t a l tectonic fabrication Lantern in the Cityscape MArch 811-- Visualization Douglas Hecker Spring 2012
  • 15. exploration The aim of this project was to improve and explore the synthesis of a variety of digital tools. Various graphic methods and technologies were investigated to critically and intuitively communicate ideas. The resources for this project included Rhinoceros 4.0, Photoshop, and a digital modeling source to successfully render a digital section in an urban context from a Form simple rectangular structure along with fabricating a section model.15
  • 16. SkeletonSkinSection Model Fabrication 16
  • 17. spaces of [de]formation[phyllo]p u l s eart exhibitHigh Museum, Atlanta, Georgia MArch 841-- Studio I Armando Montilla Fall 2011
  • 18. e x t e n s i o n[Phyllo]pulse was an additional art gallery extensionfrom the High Museum of Art housing two piecesof interactive art created by the electronic artist,Raphael Lozano-Hemmer. The two pieces of artworksparked the conceptual process of the structure’sform. The main piece of art is derived from phyllotaxythat was translated into the sculptural shapeof the building revolving solely around a ramp.19
  • 19. Roof Plan Ground Level Plan Basement Level Plan 20
  • 20. Section A Section B21
  • 21. North Elevation East Elevation 22
  • 22. cation the red s u m m e r pavilionJean Nouvel’s 2010 Serpentine Pavilion MArch 841-- Studio I Armando Montilla Fall 2011
  • 23. e m u l a t i o n Chosen from an array of existing pavilions, Jean Nouvel’s 2010 Serpentine Pavilion was thoroughly investigated and documented through a scaled model and drawings. This included gaining a full understanding of how the project “works”--through its organizational logic as well as its structural and material aspects. The analysis and dismantling of the architectural pavilion was reproduced at a scaled 1/4”=1’-0” model by cutting multiple cut sections of the structure, isolating the pieces, and understanding the assemblage through the incorporation of complete working drawings.25
  • 24. Floor Plan showing structure Structural Section ElevationEvoking a strong sense of emotion, Jean Nouvel’s2010 Serpentine Pavilion is a structure of intense colorutilizing many materials and forms. Central to the notionof play, the design of the pavilion is open and spacious,allowing people to move and interact within the spacein various ways. Nouvel expressed the pavilion withbold geometric forms; one of which as a freestandingwall acting as a primary vertical element. As movementand prominent structures are prevalent to the design, arelation is made to Anthony Vidler’s article when he states,“There seems to be no fear that the body is entirely lost:rather the question is one of representing a higher orderof truth to perception of movement, forces, and rest.” 26
  • 25. spaces of [de]construction the yellow s u m m e r labyrinthA Deconstruction of Jean Nouvel’s 2010 Pavilion MArch 841-- Studio I Armando Montilla Fall 2011
  • 26. translation from Jean Nouvel’s 2010 Serpentine Pavilion, the second pavilion was a parallel derivative based on the logic ed in the existing work. Guided by the language, relationships, and organizational strategies used by the original architect, the second pavilion was to share visual relationships/ erences with the original pavilion and its concept.29
  • 27. Transversal Elevation Longitudinal Elevation Floor PlanAnthony Vidler’s article states, “There seems to be nofear that the body is entirely lost: rather the questionis one of representing a higher order of truth toperception of movement, forces, and rest.” This samequote can also relate to the newly [de]constructedmodel further suggesting a forced direction ofmovement within spaces. The maze-like structureexudes a new emotional response of curiosity andperhaps timidity of movement throughout the many erent types of spaces. The free-standing vertical wallis repetitive, creating an implied sense of horizontalityexpressed through the brightly yellow coloredpathway. Vidler explains, “…horizontal structure is awall of nerves from which all layers of urban skin havebeen peeled away.” As an individual travels throughthe space, he/she will experience the layers of skins(repetitive vertical walls) as an intriguing motiveto continue traveling across the bridging pathway,getting “lost” within the forces of static movement. 30
  • 28. spaces of [de]acceleration b o d y - s c a l e - ar tifac t Frames of Frozen Time MArch 841-- Studio I Armando Montilla Fall 2011
  • 29. e v o l u t i o n is design exercise called for the capturing in frames of a series of frozen time moments from a dynamic system with the characteristics and quality of movement. erent morphologies/ gurations, the exercise introduces the element of change/ transformation stemming from a framework of design drivers in order to shape the ideas. As the work is deterministic, the design 1 2 3 decisions are made as a response to a certain need or action, such as engagement of the body. Once the moveable model was made, a series of snapshots were taken to display the movement. Windows Media Player was then used to incorporate the snapshots, as well as a gures, into a movie which included music of choice. e music chosen for the short lm was Hoppipola by Sigur Ros. 4 5 633
  • 30. 7 8 9 1011 12 13 1415 16 17 1819 20 21 22 34
  • 31. the athens rehabilitation center Athens, Georgia To sustain and give refuge to those from the deluge of life’s hardships as a result of poverty and homelessness Undergraduate Work ARID 4650-- Exit Studio Meng’kok Tan Spring 2011
  • 32. transformationMany people are given more than a secondchance throughout his or her lifetime; however, ected by poverty orhomelessness, a second chance of living a lling life is often unwarranted. Living inpoverty or without a home is a continuous ects theirdaily life because their future is so uncertain. t organization, is a placeto take another chance for an individual tobecome better equipped when handling life’smany struggles residing around poverty orhomelessness. With proper services and amplelodging provided, one can begin to rebuild hisor her life as a sustainable individual in society.37
  • 33. As one of the most disadvantaged counties in the state of t froma rehabilitation program designed to help those who areat risk of becoming homeless or those who are currentlyhomeless. The proposed site resides on the north side ofdowntown Athens on Willow Street, the location of walkingdistance from downtown, near the many frequented areasof the homeless around Athens, and also located near oneof the city’s bus stops. The site is untouched and in an areawhere there is not much industry or residential housing,allowing the center to be situated in an environment thatis more private to better accommodate the residents. 38
  • 34. Conceptually derived from the Bible story, Noah’s Ark, The Athens Rehabilitation Center (The ARC) provides for the foundation and path for individualswho are seeking to gain a higher quality in life and society. The ARC acts as a vessel to house, protect, and transform one’s lifestyle in ways a typicalhomeless shelter cannot. As a full rehabilitation facility, The ARC includes many programs that address and solve the problems of homelessness and of x for an ongoing problem, but involves the interaction among a small campus community lling life. Answering the needs of all persons, TheARC is composed of an array of programs for all individuals. Such programs and services include: educational and career advancement, a nutritional nancial services, medical and dental services, and a creative arts center.39
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