Interstice

PORTFOLIO [inter]STICE

WESLEY ALEXANDER HASSELL

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M.ARCH CLEMSON UNIVERSITY 2014

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PORTFOLIO OF SELECTED WORK

[inter]STICE Interstice is defined as space between space. I like to think of it as the positive-negative or solid-void relationship architecture creates in urban and suburban spaces. The experiential quality of architecture has always been important to me - and how movement through space is defined by architecture and its experience.

Architectural Intern

CON T E N T SAlexander Hassell Wesley 131 Freedom Drive - Apt. E Clemson, SC 29631 919.417.3384 1. Interlocking Forms - Appalachain Community Center 4

wesleyhassell59@gmail.com

PRE-GRADUATE DESIGN

Education

Graduate

Clemson University

Clemson, SC Master of Architecture Exp. graduation date: May, 2014

Undergraduate/ Extended Education University of California, Berkeley Berkeley, CA

[IN]Arch Summer Institute for Environmental Design STUDIO WORKPost-Baccalaureate Architectural Studio

Summer 2010 2. [inter]FORM Architectural Kunstahl Museum design -East High Carolina Line Park NYC 8 University Greenville, NC 3. Approach and Arrival B.S. Design Business District Urban Brewery - Downtown Greenville, SC Drafting 14 Architectural Design and May, 2008 4. Extraction - Spaces of [de]Formation High Museum Addition - Atlanta, GA 28

International Competitions 5. Performance - ArchMedium Paris Market Lab - Paris, France - Cooking school/ Restaurant

32

Other 6. From Form to Architecture - Visualization 7. Still-Life - Site Sketches

38 40

Novemeber 2003 - August 2004 Raleigh, NC Built a large scale site model, took site measurements and sketches.

Michael Hining Architects Architectural Intern September 2002 - August 2003 Chapel Hill, NC Architectural drafter. Corrected redlines. Took site measurements and sketches.

Computer Skills AutoCAD/ Autodesk (12 years experience) Autodesk Revit Rhinoceros Google Sketchup Adobe Photoshop Adobe Illustrator Adobe InDesign Word Excel

Accreditations LEED AP - Homes Top Secret - Level 3 Clearance ADDA Certified Architectural Drafter ADDA Certified Mechanical Drafter

References available upon request

FA I R F I E L D C O M M U N I T Y C E N T E R I N T E R L O C K I N G C O M M U N A L S PA C E S Fairfield Lake, NC Non-Academic Fall 2010, 5 weeks Individual

[inter]LOCKI A study on the design of interlocking volumes which share a common centralized space. Linear circulation connects clustered volumes with intimate spacial consideration to its contextual surroundings. An architectural form was envisioned which facilitates community-use with existing natural moments of grandeur.

ING

PARTI

FIRST FIRSTFLOOR FLOOR

SECONDFLOOR FLOOR SECOND 12

9 8 12

10

8

9 7

UP

6

DOWN

11

5

5 4 KEY 1. OFFICE 2. STORAGE 3.

MEN’S BATHROOM 4.

WOMAN’S BATHROOM 5. ELEVATOR 6.

ENTRY/ LOBBY 7.

RECEPTION DESK 8.

COMMUNITY CLASSROOM 9.

MEETING/ CONF. 10. STAIR 11.

2ND FLOOR LOBBY 12. PATIO 13. KITCHEN 14.

GRAND PATIO 15.

ART GALLERY 16.

COAT ROOM 17.

MULTI-PURPOSE ROOM

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13

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3 2

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14

1

public spaces veritcal circulation admin/ private

12

8

6

17

13

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4 5

LONGITUDINAL SECTION - NORTH

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2

14 1

NYC HIGHLINE KUNSTHAL MUSEUM OF ART EXHIBITING ARCHITECTURE New York City, NY Highline Park Academic Spring 2012, 7 weeks Individual

[inter]FORM

?

SITE

A study on the dialogue between form and function.

Circulation is just as important as anything else in a museum. This was a form generated from experiential movement through space. How people interact with their “linear” environment and how people inherently “want” to interact with a physical structure.

How can art exhibit architecture?

EXTENSION

Design Consideration How do you design for transparency within a traditionally enclosed space? What if I design an “experience” - with the circulation between art spaces defining form.

GUGENHEIM +

MOMA

EXPERIENCE

REPLICATE + ROTATE + TRANSLATE

SITE

CONCEPT: VOLUME WITHIN A VOLUME I proposed a space consisting of 3 volumes. One volume setting up the exterior shell and form. The other two volumes acting as one interstitial zone of transitioned floor slabs (or gallery spaces). The experience is the vertical circulation - which takes you within this interstice, bluring the interior exterior condition.

NEW MUSEUM

ART - CONTEXT

B-B FIRE STAIR 19TH STREET FIRE STAIR 20TH STREET

19TH STREET LOBBY - INFO

BATHROOM LOBBY LARGE ELEVATOR

TRANSLATOR

19TH STREET ENTRANCE

A-A

AUDITORIUM

SERVICE- STORAGE

20TH STREET

19TH STREET

WORKSHOP

LARGE ELEVATOR

BACKSTAGE/ STORAGE

20TH STREET ENTRANCE 20TH STREET LOBBY - INFO

A-A

Ground Floor Plan Auditorium and Service Level

B-B

East Elevation High Line Facade

North/ South Elevations High Line Approach Elevations

19th Street Entrance

FIRE STAIR 19TH STREET

FIRE STAIR 19TH STREET

FIRE STAIR 20TH STREET

CLASSROOM

FIRE STAIR 20TH STREET

CLASSROOM

CAFE AND RESUARANT KITCHEN

GIFT SHOP

LARGE ELEVATOR

ELEVATORS

TICKETING CAFE

MUSEUM OFFICES

LARGE ELEVATOR

OPEN TO BELOW

LARGE ELEVATOR

LARGE ELEVATOR

ELEVATORS MUSEUM SPACE

HIGH LINE RESTUARANT

MUSEUM SPACE

RAMP

ENTRANCE

HIGH LINE PARK

First Floor Plan

High Line/ Ticketing Level

SecondFloor Plan

Typical Museum Space Layout

Longitudinal Section A-A Section Thru Interstitial Space

Transverse Section B-B

Section Thru Fire Stair and Floor Elevator

SKIN

SKIN RAMP EXPERIENCE ART

MAIN STREET BREWERY A P P R O A C H A N D A R R I VA L Downtown Greenville, SC Academic Fall 2012, 14 weeks (Full Semester) Individual

APPROACH AND ARR REDEFINING AN EDGE

R E D I R E C T I N G C I R C U L AT I O N

An architectural study on the typology of an urban brewery. Traditionally a typology reserved for restored warehouse districts located on the periphery of downtown/ urban spaces, brewery design has managed to avoid a specific typology of modern design. Since the late 80’s and early 90’s small business/ microbreweries have grown in popularity and the evolution of these breweries into larger spaces has demanded the architectural profession to evaluate the social tool of brewing beer and its connection to the built environment.

My analysis of downtown Greenville and the given site started out as a focused interpretation of the urban fabric and how people moved through it. In order to design a brewery I felt it was important to make it into an experience - a space where someone can either enjoy a pint, a meal or sit back and relax away from the busy day.

I looked at the site as a solid volume through which site forces, urban nodes and interactions influenced the final form; so that in the end the final space interacted with the context of the city of Greenville so harmoniously that the form became the product of a cities social interactions and physical/ meta-physical interpretations. An interplay of public and private spaces was envisioned, where the interlocking nature of this space informed an experience where the process of making a brew you were drinking was happening right before your eyes. Yet, this interaction was not just a visual effect but also tactile and didactic - a full body escape from the ordinary.

SIT

E

Downtown Parking and Enterainment

SITE PEDESTRIAN CIRCULATION

SIT

E

Business District

IMMIDIATE NODAL INFLUENCE

Falls Bridge and Restaurants VIEW SHED CUT

RIVAL

DOWNTOWN GREENVILLE, SC

Our site is positioned in the middle of Main Street and a strip of restaurants and entertainment venues. I defined this urban interaction as an urban node in itself, a series of points and destinations for any downtown user to gather (Linear Node). Across the intersection of Broad Street and Main Street is the Peace Center, a theater, plazza, and overall entertainment destination at specific times of the day and week (Situational Node). A couple blocks south along Main Street is the most popular tourist destination in Greenville, SC. The Falls Creek Bridge is a structural and architectural marvel and attracts constant pedestrian traffic (Major Urban Node). I wanted a space for gathering and viewing much like the major nodal experience at Falls Bridge, so I decided to design a complex which contained a central courtyard with visual transparency to the brewing tanks and process.

Along with this communal influence, I decided to seperate the public and private spaces as if they were ends of a magnet, pulling foot traffic through and circulating them through, constantly aware of the product they could potentially purchase. The porosity between which blurred the definition of a border between two different spaces informing an interplay of intrigue and reward.

8

9

MAIN STREET

10 3 2 1 5 4 6

7

BROAD STREET

BREWERY ELEVATION RENDERING

SITE PLAN 1. BREWERY 2. MULTI PURPOSE COURTYARD 3. TAPROOM AND RESTAURANT 4. GIFT SHOP/ ADMIN 5. ENTRY PLAZA 6. COMMUNAL PLAZA 7. ADMIN/ STAFF ENTRY 8. SECONDARY COURTYARD ENTRY 9. SERVICE ACCESS 10. GRAIN SILOS

2

MAIN STREET

9

3 8

5

1

7

STREET LEVEL PLAN

4 6

5

1.

2.

3.

4.

5.

6.

7.

8.

9.

BREWERY SPACE LOADING DOCK UNCONDITIONED STORAGE CONDITIONED STORAGE BATHROOMS ADMIN OFFICES BATHROOM VESTIBULE HEAD CHEF OFFICE STORAGE

BROAD STREET

I wanted a space for gathering and viewing much like the major nodal experience at Falls Bridge, so I decided to design a complex which contained a central courtyard with visual transparency to the brewing tanks and process.

“My analysis of downtown Greenville and the given site started out as a focused interpretation of the urban fabric and how people moved through it. In order to design a brewery I felt it was important to make it into an experience - a space where someone can either enjoy a pint, a meal or sit back and relax away from the busy day.�

13 12 UP

2 8

1

9 DN

10

8

11

3

7

UP

MAIN STREET

5

COURTYARD LEVEL PLAN

6 5 2 DN

UP DN

14

BROAD STREET

BREWERY MEZZANINE AND COLONADE

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2.

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14.

MULTI PURPOSE COURTYARD MEZZANINE ENTRY BREWERY FOYER BREWERY SPACE GIFT SHOP TAPROOM/ REST. ENTRY WAITING AREA/ ELEVATOR TAPROOM LOUNGE TAPROOM BAR BATHROOM LEVEL ENTRY RESTAURANT LEVEL ENTRY SECONDARY COURTYARD ENTRY RESTAURANT SUPPLY LOADING DOCK STREET FRONT PLAZA

11

12 13

6

2

DN

4

MAIN STREET

DN

8

7

10

DN

DN DN

9

5

3

1 DN

MEZZANINE LEVEL PLAN

4 3

2 4

BROAD STREET

ROOF LEVEL @35’-0”

MEZZANINE LEVEL @12’-0” COURTYARD LEVEL @4’-0”

1.

2.

3.

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MEZZANINE PATIO MEZZANINE MEZZANINE ENTRY OPEN TO BELOW - BREWERY SPACE ELEVATOR SERVICE ELEVATOR STAIRCASE ENTRY RESTUARANT SPACE RESTUARANT PATIO OPEN TO BELOW - TAPROOM LOUNGE RESTAURANT KITCHEN KITCHEN/ TAPROOM CHILLER MEETING ROOM

BREWERY MODEL PICTURE #1

AT L A N TA H I G H M U S E U M E N T R A N C E E X T E N S I O N ART INTO FORM Atlanta, GA - High Museum Academic Fall 2011, 4 weeks Individual

A study on how architecture and natural elements dictate movement within spaces and exterior conditions.

The High Museum in Atlanta, Georgia is a very rectalinear site. Origininally designed by Richard Meyer, later added on by Renzo Piano. I chose to design the structure within as much organic/ fluid movement as possible, as to emulate circulation in “motion” - an organic flow of open space.

After analyzing the entire site and the given conditions I felt it was important to give the site a sculptural “beacon” which guides you through and into the courtyard space - directing you toward the main museum entrance.

TRANSLATION OF ART INTO ARCHITECTURAL FORM

BRANCUSI - BIRD IN SPACE

GEOMETRIC EXTRACTION

Extraction of a given art piece within the High Museum

Translation of the art works fluid motion and defined edges.

DIAGRAMS

FLOOR PLAN SCALE: 1/8” = 1’-0”

1 6 2

A

4

5 7

8 2 CONSTANTIN BRANCUSI BIRD IN SPACE

1

N

IO AT

3

L CU

CONCEPT DERIVATIVE

AXIS

CIR

1 WEST ELEVATION

6

N

TIO LA

U IRC

AXIS

C

INTERPRETATION Formulation of the derived lines and edges to create interior/ exterior spaces

I felt it was important to create an BUILDING SECTION - A interior space in which art work was visible from the exterior - blurring the traditional museum definitions of an enclosed art gallery.

A final product was established which informed am “approach and arrival” aspect to the High Museum front facade. A patron of the museum would see this “apenditure” of the museum from afar and upon arrival, volumetric transparency would then guide them through.

6

4

5 7

2 2

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8 5

WESLEY ALEXANDER HASSELL

1

3

PA R I S M A R K E T L A B Archmedium Design Competition Paris, France - Saint Germain Market Academic Spring 2012, 2 weeks Group

PERFORMANCE

OPEN

PA R I S M A R K E T L A B - R E S TA U R A N T + C O O K I N G

Paris, France

Greenery

Academic Project - 8 Person Group My Role: Rotation design and Renderings Clemson University Tutor: Armando Montilla Spring 2012, 3 weeks

ETFE

A study on the dialogue between cultivation and service; in connection with the experience of a full coarse meal.

How can we make this restaurant an “event”?

Our design team desided to divide each coarse of a meal into seperate floors of the existing building. By doing so the user “experiences” the meal, by circulation within the building. We gave this division a visual introduction from the street by rotating each floor plate about the axis of the main entrance - creating plots of land for culinary cultivation on each floors exposed roof (post rotation). shortening the distance between farm and dinner plate was paramount in design process.

DESERT A skin was envisioned “growing” from the entrance courtyard and funneling back through the building.

This skin became performative by acting as the conduit for post consumer waste. Each floors kitchen deposits their food waste into a shoot which is funneled beneath the building to a bio-digester.

LEVEL

DINNER LEVEL

The resulting bi-product gas, organic waste is then reused throughout the building as stove top gas and farming fertilizer. Further ehancing the performative score of the building.

APATIZER LEVEL

AUDITORIUM LEVEL

MARKET/ ENTRANCE

PV

ROOF FARMING

Intimate kitchen Patron interaction

Dinner level - Experience

Existing Building

New Building

bio-digester

Skin - funnel performative system diagram

OTHER 1. From Form to Architecture - Visualization 2. Still-Life - Site Sketches

38 40

FROM FORM TO ARCHITECTURE VISUALIZATIONS

Academic Project - Individual Clemson University Tutor: Doug Hecker Spring 2012 The aim of this course/ project was to develop and improve our capacity for the digital and graphic representation of our work. In doing so, we were given an assingment to explore Rhinoceros 3D graphic software in stages.

The first stage was to derive a form from a solid volume that has had multiple organic shapes extruded through it. After stages of materiality and structural detailing, we were instructucted to digitally render our form as well as construct a true to detail section mock up.

1. FROM SOLID VOLUME TO UNDEFINED FORM

2. MATERIALITY

3. PHYSICAL MODEL - SECTION

START

ROTATE

4. FORM IN URBAN CONTEXT

STILL LIFE SITE SKETCHES

Non Academic Project - Individual Various Years of Work

Statue of Saint Jerome Embassy Row Washington, DC

Statue of “Fallen Gladiator” National Portrait Gallery Washington, DC

Statue of “Fisher Girl�

National Portrait Gallery Washington, DC

Site Sketch - Columns at National Cathedral National Cathedral Washington, DC

WESLEY ALEXANDER HASSELL

ยบ

M.ARCH CLEMSON UNIVERSITY 2014

ยบ

PORTFOLIO OF SELECTED WORK