The document outlines various architectural design projects, including art exhibits and community spaces, emphasizing connectivity between industrial and natural environments in urban settings. It describes the design processes for structures like the Chelsea Grasslands Museum and the branch library in Atlanta, aiming to enhance public interaction and community engagement. Additionally, it explores concepts of rehabilitation through the Athens Rehabilitation Center, providing support for individuals facing homelessness, framed metaphorically as a 'vessel' for transformation.

1. sara ashley hawkins
o expand

2. design expands from a single moment,
sparking a creation of boundless possibilities

3. table of contents
connectivity + 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

5. 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

6. 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

7. The conceptual process began during research over this history
of both the High Line and the Meat Packing District. The High Line
once read as a very industrial setting; however, it was translated into
a natural setting of a stretched horizontal green space. As the Meat
Packing District evolved over the years, it has climbed vertically
on the social scale impacting the surrounding areas of New York.
Through the use of horizontal and vertical integreation by means
of an extraction of industrial and natural sources around New York, The program of the interior spaces were set up through the
Chelsea Grasslands Museum began to build upon itself, allowing use of extracted shapes from the connections among the
distinct 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

8. 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 Floor
5

9. Section Model-- Visual Connectivity + Light Study Interior Light Study
6

11. 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

12. 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

13. The overall form and function of the building was derived
from site geometries and how they react to and work with
the site and its surrounding areas. The main radiating nodal
points were determined through the use of the trees located
around the site. The position of the surrounding streets
extracted the use of a parallel and perpendicular grided system.
As the form began to take shape, distinct associations were made
among the surrounding areas. The horizontally shaped triangles
provided a relationship between the outer businesses encompassing
the site, and the relationship to the main circulation of traffic.
The vertical shapes extracted from the nodal points provided a
relationship between the neighborhood and its connection to the
main road. It is also the major link connecting the school to the
neighbohood with the library presenting itself as the central hub.
Floor Plan
10

14. West Elevation
South Elevation
Transversal Section
11

15. East Elevation
North Elevation
Longitudinal Section
12

17. visualization + representation
d i g i t a l
tectonic
fabrication
Lantern in the Cityscape
MArch 811-- Visualization
Douglas Hecker
Spring 2012

18. 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

19. Skeleton
Skin
Section Model Fabrication
16

21. spaces of [de]formation
[phyllo]
p u l s e
art exhibit
High Museum, Atlanta, Georgia
MArch 841-- Studio I
Armando Montilla
Fall 2011

22. e x t e n s i o n
[Phyllo]pulse was an additional art gallery extension
from the High Museum of Art housing two pieces
of interactive art created by the electronic artist,
Raphael Lozano-Hemmer. The two pieces of artwork
sparked the conceptual process of the structure’s
form. The main piece of art is derived from phyllotaxy
that was translated into the sculptural shape
of the building revolving solely around a ramp.
19

23. Roof Plan Ground Level Plan Basement Level Plan
20

24. Section A Section B
21

25. North Elevation East Elevation
22

27. cation
the red
s u m m e r
pavilion
Jean Nouvel’s 2010 Serpentine Pavilion
MArch 841-- Studio I
Armando Montilla
Fall 2011

28. 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

29. Floor Plan showing structure
Structural Section
Elevation
Evoking a strong sense of emotion, Jean Nouvel’s
2010 Serpentine Pavilion is a structure of intense color
utilizing many materials and forms. Central to the notion
of play, the design of the pavilion is open and spacious,
allowing people to move and interact within the space
in various ways. Nouvel expressed the pavilion with
bold geometric forms; one of which as a freestanding
wall acting as a primary vertical element. As movement
and prominent structures are prevalent to the design, a
relation 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 order
of truth to perception of movement, forces, and rest.”
26

31. spaces of [de]construction
the yellow
s u m m e r
labyrinth
A Deconstruction of Jean Nouvel’s 2010 Pavilion
MArch 841-- Studio I
Armando Montilla
Fall 2011

32. 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

33. Transversal Elevation
Longitudinal Elevation
Floor Plan
Anthony Vidler’s article states, “There seems to be no
fear that the body is entirely lost: rather the question
is one of representing a higher order of truth to
perception of movement, forces, and rest.” This same
quote can also relate to the newly [de]constructed
model further suggesting a forced direction of
movement within spaces. The maze-like structure
exudes a new emotional response of curiosity and
perhaps timidity of movement throughout the many
erent types of spaces. The free-standing vertical wall
is repetitive, creating an implied sense of horizontality
expressed through the brightly yellow colored
pathway. Vidler explains, “…horizontal structure is a
wall of nerves from which all layers of urban skin have
been peeled away.” As an individual travels through
the space, he/she will experience the layers of skins
(repetitive vertical walls) as an intriguing motive
to continue traveling across the bridging pathway,
getting “lost” within the forces of static movement.
30

35. 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

36. 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 6
33

37. 7 8 9 10
11 12 13 14
15 16 17 18
19 20 21 22
34

39. 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

40. transformation
Many people are given more than a second
chance throughout his or her lifetime; however,
ected by poverty or
homelessness, a second chance of living a
lling life is often unwarranted. Living in
poverty or without a home is a continuous
ects their
daily life because their future is so uncertain.
t organization, is a place
to take another chance for an individual to
become better equipped when handling life’s
many struggles residing around poverty or
homelessness. With proper services and ample
lodging provided, one can begin to rebuild his
or her life as a sustainable individual in society.
37

41. As one of the most disadvantaged counties in the state of
t from
a rehabilitation program designed to help those who are
at risk of becoming homeless or those who are currently
homeless. The proposed site resides on the north side of
downtown Athens on Willow Street, the location of walking
distance from downtown, near the many frequented areas
of the homeless around Athens, and also located near one
of the city’s bus stops. The site is untouched and in an area
where there is not much industry or residential housing,
allowing the center to be situated in an environment that
is more private to better accommodate the residents.
38

42. Conceptually derived from the Bible story, Noah’s Ark, The Athens Rehabilitation Center (The ARC) provides for the foundation and path for individuals
who 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 typical
homeless 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, The
ARC 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

43. 4040

44. 41
41

45. 42 42

46. 41
43

47. 42
44

48. o
45