alessia kunkel p o r t f o
l i o
Master of Architecture Application Architectural Design Portfolio e: alessiakunkel97@gmail.com c: 915.929.2998
site section map: 202 Union Street, San Fransisco, California
202 UNION STREET
Project began with extended studies of plate movement along San Andreas Fault line. Further research was done to better understand underground plate movement. Diagrams explored and manipulated to be used to determine various iterations for building design: plan and elevation. (bottom right image)
STUDIO_V_202_UNION_STREET_SF
STUDIO_V_202_UNION_STREET_SF
pre-thesis studio V professor: Jori Erdman project 05 of 05 Strike slip plates along fault lines move in opposite directions. The concept influenced the idea of opposing programs within the structure: holostic versus tradtional medicine. Programs are also more clearly expressed through vertical and horizontal forms. Two types of underground plate movement diagrams were found: positive, palm tree structure (yellow) negative, tulip flower structure (blue). Curves from the diagrams helped create the forms associated with the building’s unique details.
An array of dirt types were collected from multiple sites in order to create the unique, layered coloration of the rammed earth. The process began with building the formwork for the wall piece. Next we experimented with some cement and the various dirt mixtures with little added water that was sprinkled over the formwork and rammed with the ramming tool — lots of human labor was involved.
materials and methods building professor: Evelyn Tickle in collaboration with Olivia Marino
In this architecture elective, I paired up with Olivia Marino and together chose to research Rick Joy’s Catalina House in Tucson Arizona. We were both drawn to the beautiful hand-built rammed earth walls of the building. The two main objectives of the class were to create digital drawings expressing the building aspects and detail modeling at a chosen scale.
MATERIALS_METHODS_CATALINA
MATERIALS_METHODS_CATALINA
CATALINA HOUSE Rick Joy RAMMED earth height: 3’-0” base: 12”x6”
BROOKLYN NAVY YARD FINAL BUILDING
The goldfish plant rotates with the movement of the sun — gold surfaces on model follow the rays of the sun and rotate on the building throughout the day, constantly changing the building’s overall form.
STUDIO_III_BIOMIMICRY_NAVY_YARDS
STUDIO_III_BIOMIMICRY_NAVY_YARDS
biomimicry studio III professor: Evelyn Tickle site was located in the Brooklyn Navy Yards, loading dock 04
FINAL MODEL: ITERATION 14
Formal and spacial experimentation to use this system to create infinite iterations and forms.
BROOKLYN NAVY YARD PROCESS biomimicry studio III professor: Evelyn Tickle site was located in loading dock 04 in the Brooklyn Navy Yards
STUDIO_III_BIOMIMICRY_NAVY_YARDS
STUDIO_III_BIOMIMICRY_NAVY_YARDS
Process began with the biomimetic characteristics of the goldfish plant. A singular component was composed of folded sets of triangles at either side of an adjustable rod.
bottom left: large-scale group site model bottom right: 3/32’ = 1’ site model
THE WIND ROSE
hampton studio IV professor: Jori Erdman recreation center + disaster relief ACSA Competition Submission
STUDIO_IV_HAMPTON_VA
STUDIO_IV_HAMPTON_VA
Group site model showing distint characteristics on the population and environment within Hampton, VA.
A wind rose: graphic tool used by meteorologists to give a clear view of how wind speed and direction are typically distributed in a location. The left image, Hampton’s wind rose, was used to help create form for the final building structure — section and plan — through a series of iterations.
Process plan drawing
MATERIALS_METHODS_CATALINA
MATERIALS_METHODS_CATALINA
roof plan (blue) | floor plan (green)
CATALINA HOUSE Rick Joy materials and methods building professor: Evelyn Tickle research into Rick Joy’s Catalina House in collaboration with Olivia Marino
axonometric (teal-grey) | sections (yellow) | elevation (red)
A steel frame was carefully planned and designed based off the human ribcage. Image to the left show dimensions of the frame.
MAKING_AND_MEANING_CONCRETE
MAKING_AND_MEANING_CONCRETE
Early studies began with intense experimentation with concrete. Multiple iterations studying both facade textures and voids were achieved with distinct materials. After multiple trial and errors, biodegradable packing peanuts became the final material for the void process.
I used flat, recycled plastic strapping that is often wasted after shipping and manipulated it to design a “skin,� which can expand and contract, mirroring the costal cartilage in a ribcage. The skin is meant to serve as a facade piece on a building. In the final piece, the steel frame and biodegradable packing peanuts were wedged into a wooden mold, later filled by concrete.
ENVIRONMENT + CONCRETE
making and meaning research professor: Evelyn Tickle architectural device designed from the exploring of concrete and environmental damaging materials
04 of 06 FINAL DRAWINGS
STUDIO_I_FLANEUR_FINAL_04_OF_06
STUDIO_II_WERKPLAATS_FINAL_PERU
flaneur studio I professor: William Tate project combined 15 components into 6 drawings, exploring the practice of coding and collage
LAS TERRAZAS DE CANOAS
werkplaats studio II professor: William Tate final project consisted of 15 cabanas, a lighthouse, and a beach house