Alexandra Holliday B.Sci-Arch Portfolio 2024

SELECTED WORKS 2022-2024

EXPLORING SYMBIOTIC RELATIONSHIPS BETWEEN NATURE AND THE BUILT ENVIRONMENT

ALEXANDRA HOLLIDAY

I AM A THIRD-YEAR STUDENT AT FLORIDA A&M UNIVERSITY FROM JACKSONVILLE, FLORIDA.

I DESIGN WITH AN UNWAVERING PASSION FOR PROVIDING CREATIVE, INVITING, AND HARMONIOUS SPACES FOR PEOPLE AND NATURE TO COEXIST.

ALEXEHOLLIDAY.AH@GMAIL.COM

PROFICIENCIES

- REVIT

- RHINO

- MORPHOLIO

- ADOBE SOFTWARES

- LUMION

- HAND DRAWINGS

- GRAPHICS

- SPATIAL ORGANIZATION

less familiar

more familiar

CAMPUS INVOLVEMENT

- AIAS PRESIDENT 2023 - 2024 , 2024 - 2025 ACADEMIC YEARS

- DEAN’S COUNCIL

- SUSTAINABILITY CLUB MEMBER

- CO-STARTERS COHORT INAUGURAL CLASS GRADUATE

- 90.5 ON-AIR PERSONALITY

EDUCATION

- HOWARD W. BLAKE HIGH SCHOOL 2021 SOLUTITORIAN (5.5 GPA)

- FLORIDA A&M UNIVERSITY BACHELOR’S OF the science of Architecture

EXPECTED MAY 2025

/nacher/ noun

1. a primitive state of existence, untouched and uninfluenced by civilization or social constraints

2. the world of living things AND THE OUTDOOR

3. the fundamental character or disposition of a person; temperament

4.. the BASIC character or qualities of humanity

5. THE SET OR INHERENT CHARACTERISTICS OR PROPERTIES THAT DISTINGUISH SOMETHING

BONUS : A KIND OR SORT

TABLE OF CONTENTS

1. MASS TIMBER

BUILD : RESEARCH

FACILITY

APALACHICOLA NATIONAL

FOREST, FLORIDA

2. “SURRENDER”

ANALYSIS : structural and site analysis

spring creek, flORIDA

3. URBAN INFILL : CULTURAL, CLIMATE AND CONTEXTUAL EXERCISE KAGOSHIMA, JAPAN

4. FLOW-STATE OFFICE : MEDIUM SIZE BUILD; CLIMATE RESPONSIVE ASHEVILLE, NORTH CAROLINA

5. KIOSK : SMALLSCALE EASY BUILD; REVIT FAMILY MODEL INSPIRED BY BALI, INDONESIA

BONUS: OTHER CREATIVE AVENUES

MASS TIMBER FACILITY I APALACHICOLA NATIONAL FOREST

DESIGN STUDIO 5

CONCEPTUAL FOCUS AND DESIGN STATEMENT :

The overall conceptual focus is integrating the existing natural environment with the building in a way that has minimal obstruction on what is already there.

Throughout the building(s), there are several opportunities to engage with and appreciate nature from ground level to rooftop. Because this is a mass timber structure, I used several vertical columns at different scales and sizes to allude to the trees found in this area), elevating them from structural to aesthetic.

OBJECTIVES:

- use TIMBER AS A MORE SUSTAINABLE CONSTRUCTION

MATERIAL

- RESPOND TO TOPOGRAPHY AND SITE

- UTILIZE PROGRAM TO INFORM DESIGN

- USING SOCIAL AND CULTURAL PATTERNS AS MEANS FOR DESIGN

- CREATING INDOOR AND OUTDOOR SPACES

VIEW FROM DECK

level two 1/32” = 1’0”

ground level 1/32” = 1’0”

1.

2.

2.

3.

1. Auditorium 2. Laboratory 3. office spaces

1.

level three 1/32” = 1’0”

level four 1/32” = 1’0”

3.

5.

6.

4.

2.

2.

3.

7. 5.

4. welcome center 5. restaurant 6. exhibition 7. terrace

7.

North-west section

1/8” = 1’0”

SURRENDER ANALYSIS I SPRING CREEK, FL ; OYSTER FARM

design studio 3

CONCEPTUAL FOCUS AND DESIGN

STATEMENT : after being inspired by the natural survival instinct of a crab to use its pincher claw, i derived the idea of “surrender.”

at times we are forced to surrender to our surroundings/circumstances as a matter of preservation . throughout the analysis, figurative elements of the pincher claw were taken, as well as, survival elements.

OBJECTIVES:

- UNDERSTAND AND DESIGN FOR THE FLOW OF WATER

- USE INSPIRATION FROM KEY COMPONENTS ON SITE TO INFORM OVERALL DESIGN

- ANALYZE THE SITE AND THE CURRENT CIRCULATION

- EXPERIMENT WITH STRUCTURAL DESIGNS

TO BETTER UNDERSTAND LOAD

LABYRINTH IDEATION

INSPIRED BY ANOTHER SHORE ANIMAL, A HERMIT CRAB, THE SHAPE OF THE LABYRINTH WAS DERIVED FROM THE PINCHER CLAW. WHEN THEIR ONLY DEFENSE RENDERS USELESS, THEY “SURRENDER.” WATER/AIR WOULD SURRENDER TO THE DESIGNED PATH.

OYSTER ANALYSIS

WHEN ANALYZING THE OYSTER ASSIGNED, PICKED OUT THE MOST DEFINING QUALITIES ABOUT THE SHELL TO LATER INCORPORATE INTO THE OVERALL DESIGN OF THE BUILDING. THE MOST NOTABLE QUALITIES ILLUSTRATED ARE: CHANGE IN ELEVATION, OPENING ON A SINGLE SIDE, TEXTURE, AND CAVITIES.

EXPERIMENTING WITH

LABYRINTH PLASTER MOLDS

DOING MORE WITH LESS

STRUCTURAL CANTILEVERS

STRUCTURAL TOWERS

TOWER-CANTILEVER HYBRID

ON TOP OF LABYRINTH

THIRD-FLOOR VIEW

My main inspiration for this site analysis was the water on the site. In these drawings, I wanted to portray movement, connections, relationships, and other behaviors of the water. When on the boat or near the water, it felt as though I was being transported through time while all else was still (first drawing). The water is also located between in the middle of the site, where there are docks which connect the sea to the land. However in this approach, I wanted to portray the way the water connects land to land (second drawing). In the third and fourth drawings, my main focus was the behavior of the water. Water is fluid and also reflective. I believe these two characteristics are more similar than not because fluidity allows for reflection. In my final drawing, I chose to choose a more organic approach to how I believe water behaves. Instead of using what I know about water, I wanted to use what I don’t know but is still possible. Hence the usage of irregular curvatures.

URBAN INFILL I KAGOSHIMA, JAPAN

DESIGN STUDIO 6

CONCEPTUAL FOCUS AND DESIGN STATEMENT : CREATING OPPORTUNITIES FOR PRIVACY WHILE ALSO DISSOLVING THE BARRIER BETWEEN INDOOR AND OUTDOOR SPACES USING TRADITIONAL JAPANESE ELEMENTS AND GEOMETRIES.

TO PROTECT RESIDENTS FROM HIGH VOLUMES OF MOSQUITOES IN THE SUMMER, RETRACTABLE WOODEN SLAT PANELING ARE CONNECTED BY BUG SCREENS. THE ENTIRE FACADE FOCUSES ON VENTILATION AND ABILITY TO CHANGE.

CONSTRAINTS:

- INTEGRATE CULTURAL, SOCIAL, AND URBAN CONTEXT

- USE FREE PLAN AND FREE FACADE

- MINIMUM 500 SQ PER UNIT

- ONE FIRE STAIR, ONE ELEVATOR, PARKING ON GROUND FLOOR

- 2 BEDROOMS, 1 BATHROOM, LIVING ROOM, KITCHEN, DINING ROOM, BALCONY, LAUNDRY

Ground floor Plan 1/8” = 1’0”

APARTMENTS LAYOUT AND FLOOR PLAN 1/4” = 1’0”

SITE Plan

MATERIALS AND INSPIRATION

1. VERTICAL JAPANESE CEDAR WOODEN SLATS, FOR SUSTAINABILITY AND AESTHETIC PURPOSES.

2. SHOJI PARTITION BEHAVIOR (SLIDING AND CAPABILITY TO CONNECT SEPARATE SPACES)

3. VERTICAL GARDENS ALONG THE CENTER OF THE BUILDING TO BRING NATURE INTO THE BALCONY SPACE

PRECEDENT STUDY

KENGO KUMA’S JAPANESE CULTURAL GARDEN VILLAGE; PORTLAND, OREGON

INSPIRATION WAS DRAWN FROM IS THIS GARDEN, AS IT DOES AN EXCELLENT JOB UNIFYING THE NATURAL AND BUILT WORLD. THE WOODEN SLATS THROUGHOUT THE EXTERIOR AND INTERIOR, DISGUISE THE BUILDING AS A COMPANION OF THE SURROUNDING ENVIRONMENT.

4. BALCONY FRAME DESIGN WITH TRANSPARENT GLASS BETWEEN FRAMES

5. BURNED JAPANESE CEDAR FOR EXTERIOR STAIR AND ELEVATOR (FIRE AND WATER RESISTANT)

6. WOODEN CLADDING WITH GLASS FOR NORTH AND WEST FACING FACADES

first iteration :

the overall objective was to INCORPORATE NATURE AND NATURAL ELEMENTS as much as possible TO PLAY INTO JAPANESE RESPECT TO AND ONENESS WITH NATURE. this led to balcony-edge gardens that would hang above the floor below.

critic on design : was less architectural and focused on aesthetics over actual design and functionality.

second iteration :

IN THE NEXT ITERATION, INSPIRATION TAKEN FROM THE JAPANESE CHERRY BLOSSOM TREE AND J APANESE WEAVING WAS INCORPORATED. INSTEAD OF BALCONY GARDENS, A INTERWOVEN METAL WOULD EXTEND FROM THE BURNED CEDAR “TREE” COLUMNS.

critic on design : AGAIN WAS FOCUSED ON AESTHETICS AND ALSO DIDN’T CAPTURE ANY JAPANESE CULTURAL OR SOCIAL DISPOSITION.

THIRD iteration :

STILL TAKING INSPIRATION FROM THE JAPANESE CHERRY BLOSSOM , A MORE LITERAL REPRESENTATION WAS DESIGNED. THE BRANCHES ACTING AS AREAS FOR THE VINES TO PROGRESSIVELY GROWN ON. CONSEQUENTLY, PROVIDING SHADE DURING THE SUMMER MONTHS.

critic on design : HOWEVER, FUNCTIONALITY WAS STILL LACKING AND THIS DESIGN IS MORE APPROPRIATE FOR MAYBE A MUSEUM OR COMMERCIAL SPACE.

FOURTH iteration :

REVERTING BACK TO MY INITIAL RESEARCH ON JAPANESE ARCHITECTURE, SPECIFICALLY INTERIORS, TOOK QUALITIES FROM SHOJI SCREENS . FIGURING OUT WAYS TO INCORPORATE THIS SIMPLICITY AND ADAPTABILITY WAS THE MAIN MOTIVATION. ALSO CONNECTING TO THE THEME OF “NATURE” MORE ABSTRACTLY DUE TO USER AUTONOMY WITH THEIR BALCONY.

critic on design : NEEDED TO SEE WITH OTHER CONTEXTUAL ELEMENTS

“FLOW-STATE” OFFICE BUILDING I ASHEVILLE, NORTH CAROLINA

DESIGN STUDIO 4

CONCEPTual focus AND DESIGN

STATEMENT : THE OVERALL INSPIRATION FOR THIS THREE-STORY BUILDING CAME FROM THE DIFFERENT TYPES OF WORK ENVIRONMENTS: SOLO, SMALL, MEDIUM, AND LARGE GROUPS .

THE DESIGN INCORPORATES OVERHANGS AND WOODEN COLUMNS ON THE SOUTHEAST FACADE TO SHADE FROM SUNLIGHT

TO KEEP THE BUILDING COOLER. SLANTED ROOFS ARE DESIGNED TO CONTROL RAIN AND SNOWFALL, AND THEORETICALLY, BREAK HIGH WINDS.

OBJECTIVES:

- INTEGRATE URBAN AND TOPOLOGICAL CONTEXT

- CLIMATE RESPONSIVE

- MULTIPLE STORY

- USE RHINO - PARKING ON GROUND FLOOR

SECOND FLOOR PLAN 1/8” = 1’0”

Second floor Plan 1/8” = 1’0”

ground floor Plan 1/8” = 1’0”

3.

4.

typical section

1/12” = 1’0”

TYPICAL SECTION

1/8” = 1’0”

CONVERSATION PIT

CONVERSATION PIT numbers = beams letters = columns

NUMBERS: BEAMS

LETTERS : COLUMNS FOUNDATION

FOUNDATION

foundation plan

1/12” = 1’0”

FOUNDATION PLAN

1/8” = 1’0”

600 plf

STRUCTURAL FRAMEWORK

14‘-0” (14‘-0”) = 196 SF

196sf(150psf) = 29,400 lbs

29,400lbs Column Load

FOUNDATION PLAN

1/8” = 1’0”

framing plan

1/12” = 1’0”

14’- 0”

Ra = 600 (14/2) = 4,200lbs

Ra= Rb

JOIST FBD

4’- 0”

FRAMING PLAN

1/8” = 1’0”

CONCEPT DEVELOPMENT

THE INITIAL EXPLORATION WAS ABSTRACT BIO-MIMICRY. FIGURING OUT HOW TO EXPRESS THE BLOOMING OF A FLOWER THROUGH FOLDS AND ACTIONS LIKE “PULLING APART.” ANOTHER FOCAL POINT WAS WALKABILITY ; ENCOURAGING FOOT TRAFFIC OVER VEHICULAR TRAFFIC. AS THERE ARE SEVERAL APARTMENTS SURROUNDING THE SITE. LASTLY, VIEWS AND NATURAL LIGHTING WERE IMPORTANT TO THE INTEGRITY OF THE OVERALL CONCEPT. NATURAL LIGHTING AND WINDOWS ARE KNOWN TO PLAY A KEY ROLE IN THE OVERALL PRODUCTIVITY OF A PERSON. CONVERSATION PIT-LIKE, WORK AREAS THROUGHOUT THE BUILDING CREATE A SENSE OF PRIVACY AND DISTANCE BETWEEN THE OPEN FLOOR WORKSPACE.

MASSING TWO

MASSING ONE

SITE

BALI KIOSK I INSPIRED BY BALI, INDONESIA

CADD FOR ARCHITECTURE

CONCEPT AND DESIGN STATEMENT : FOR THIS KIOSK, TRADITIONAL ELEMENTS FROM THE LOCATION WERE USED IN WAYS NOT USUALLY INTENED BUT REMAINED FUNCTIONAL AND STRUCTURAL.

USING THE TEMPLE-TOP SHAPES AS “COLUMNS” FOR THE ENTIRE KIOSK WAS A WAY TO SYMBOLIZE THE WAY THEY “UPHOLD” BALI’S IMAGE. ALSO, MOST PEOPLE GO THERE WITH INTENTIONS OF GOING ON THE INFAMOUS BALI SWINGS; THEY WERE INCORPORATED AS INTERACTIVE SEATING.

EXPECTATIONS AND CONSTRAINTS:

- DERIVE A DESIGN FROM CHARACTERISTICS SPECIFIC TO THE LOCATION IN AN ABSTRACT WAY

- UTILIZE LIGHTWEIGHT MATERIALS TO ALLOW FOR EASY ASSEMBLY AND DISASSEMBLY

KIOSK

1/4” = 1’0”

WEST ELEVATION

3D Perspective

1/4” = 1’ 0”

3D Perspective

3D Perspective

1/2” = 1’0”

1/2” = 1’0”

Information Station w/ system waterfall

INFORMATION STATION W/ WATERFALL SYSTEM

Information Station w/ system waterfall

West Elevation

1/4” = 1’0”

Floor Plan 1/4” = 1’ 0”

BAMBOO COLUMNS AS ROOF; THE PIECES SLIDE ONTO PAINTED METAL COLUMNS

Bamboo columns as roof; the peieces slide onto painted metal columns

SOUTH ELEVATION 1/4” = 1’0”

South Elevation 1/4”=1’0”

Bali Swing with strong vine like rope and cushioned

Stackable mock andesite temple

Bali Swing with strong vine like rope and cushioned seat

BALI SWING WITH STRONG “VINE” ROPE AND CUSHIONED SEAT

Stackable mock andesite temple roofs

STACKABLE MOCK ANDESITE TEMPLE ROOFS

Stackable mock andesite temple roofs

Stackable mock andesite temple

Temple base with legs at each corner for support structure

Temple base with legs at each corner for support structure

Temple base with legs at each corner for support structure

Temple base with legs at each corner for support structure

TEMPLE BASE W/ LEGS AT EACH CORNER AS STRUCTURAL SUPPORT

OTHER CREATIVE AVENUES

FASHION + ILLUSTRATION

BLOOM FASHION SHOW

‘23 I INSPIRED BY LAND AND WATER; EXPERIMENTAL

i designed and handmade all of the outfits pictured (outside of denim and green bottoms).

HIDDEN IN PLAIN SIGHT SHOW ‘23 I

INSPIRED BY THE SEASONS: FALL, SPRING, WINTER i was a participating designer. these are my designs; each handmade and tailored to each model.

DIRECTOR

i designed the shirts and creative directed the visual campaign.

i work with the kids hall of fame as an illustrator highlighting kids 1-19 on their accomplishments at that age. each illustration is catered to their achievements.