Rebecca Cook is a 19-year-old sophomore architecture student from Charleston, South Carolina. She completed her first physical model for an architecture class that embodied her straightforward and symmetrical design style. She later created two study models that led to her final project, which began exploring materiality and texture. Her project was designed as a spiritual place set in nature, like the Grand Canyon, that incorporated the styles of Mondrian and Koolhaas as well as elements of the Aztec god Ehecatl. Through the design process, she aimed to merge inspiring ideas through the theory of transcendentalism. Her portfolio case was designed to mimic her transformation in styles from orderly to more abstract, maintaining basic principles while allowing

2. arch251f09 Tectonics
Rebecca Cook
Montilla
My name is Rebecca Cook. I am 19
years old and I am a sophomore at
Clemson University. I am from Charles-
ton , South Carolina and I have lived
there my entire life. I love the city of
Charleston so very much that I hope to
one day practice architecture in Down-
town Charleston. I would describe my
design style as very straight-forward,
contemporary, and colorful.

3. Pause
Rebecca Cook
Montilla
This first physical model I ever built for an architec-
ture studtio class embodies the mindset I started
Arch251 with. I liked for things to be very semetrical
and I was always hesitant to try anything that could
have been considered “rule breaking”.

4. Itinerary
Rebecca Cook
Montilla
Cellphone’s Dead
Beck
Three photos of your film analysis model justified as
you see here. Distribute them evenly, and align them
top and bottom. Size may vary as long as the top is as
it is shown here.
I completed two study models that when combined would
eventrually lead to my final model. It was this project that first
began my exploration of materiality and texture.

5. Threshold/ Surface
Rebecca Cook
Montilla

6. Door Window Stair
Rebecca Cook
Montilla
My project was designed to be a place for people to go to experience nature, look within themselves, and connect
with their religion. I imagine it being located in a setting such as the Grand Canyon, allowing for a view that is
both vast and incredible. The whole structure engages the styles of Mondrian and Koolhas, and also incorporates
the natrual elements thought to be controlled by the Aztec god, Ehecatl. The idea of transparency is also evident
throughout, ensuring that the structure does not in any way take away from the surrounding landscape.

8. Piet Mondrian Rem Koolhaas Ehecatl
T “leaving the field to line, “leaving the field to line, “leaving the field to line,
R
colour and light” colour and light” colour and light”
-The Production of Space -The Production of Space -The Production of Space
Piet Mondriaan Piet Mondriaan Piet Mondriaan
I A group of art students
gather at the structure
A group of art students
gather at the structure
A group of art students
gather at the structure
L
which exhibits one of which exhibits one of which exhibits one of
Mondriaan’s most famous Mondriaan’s most famous Mondriaan’s most famous
pieces. They are engulfed pieces. They are engulfed pieces. They are engulfed
by the bold style of Mon- by the bold style of Mon- by the bold style of Mon-
O
driaan which consists driaan which consists driaan which consists
of thick black lines and of thick black lines and of thick black lines and
rectangular shapes rep- rectangular shapes rep- rectangular shapes rep-
G
resented in the three pri- resented in the three pri- resented in the three pri-
mary colors. They are en- mary colors. They are en- mary colors. They are en-
gulfed by the art not only gulfed by the art not only gulfed by the art not only
because the painting is because the painting is
Y
because the painting is
almost life size, but also almost life size, but also almost life size, but also
because the structure it- because the structure it- because the structure it-
self mimics Mondriaan’s self mimics Mondriaan’s self mimics Mondriaan’s
distinctive style through distinctive style through distinctive style through
its form, as well as the its form, as well as the its form, as well as the
stained glass panel in its stained glass panel in its stained glass panel in its
upper half. upper half. upper half.
Transcendentalism

9. Through my design process I aimed for a feeling
of cohesiveness between my inspiring artist,
architect, and god. I merged these three ideas
process together through the theory of transcendentalism:
the idea that while appreciating the beauty
of nature you can experience religion,
the natural world, and the beauties of the
world that are often portrayed through art.

12. Portfolio Case
Rebecca Cook
Montilla
I designed my portfolio case to mimic my transformation as an architect during Arch251. Much like my style in
the beginning, my case begins as a simple stack of frames in an orderly fashion. Each frame has magnets on all
edges, allowing for the simple case to be transformed into almost any shape or display imaginable. While still
maintaining its basic principles of solid black frames, as I maintain my basic style, my portfolio case, much like
myself, can now be transformed into abstract designs for experimentation purposes while being able to easily
return to its original form.

13. In it’s most playful form, my
portfolio container will be able to
snap into the shape of a cube.
Because the frames are double
sided, in this form you can pick
and choose which pages of
the portfolio will be displayed.
In it’s most simple and
transportable form, my portfolio
container will stack with all six of
the frames back to back. In this
form the only page that will be
displayed will be the cover of the
portfolio and the very last page.
This last example of a form
that the portfolio container
can take exemplifies the idea
of many forms that it can
take on. The frames can be
arranged in a vertical format or
a horizontal format depending
on the presentation space.