selected works: alison nash 2014
Alison Nash, LEED AP ID+C Cornell University MArch (Professional) January 2014 315 Elmwood Ave. Ithaca, NY, 14850 m: 607-319-9919 | e: agn2@cornell.edu www.linkedin.com/in/alisonnash
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MArch Thesis
BEETROPOLIS: Comb Encounters of the Third Nature, Los Angeles Advisors: Associate Professor Aleksandr Mergold and Visiting Critic Bet Capdeferro Fall 2013
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Vertical Design Studio VI Madrid Re-Used
Legazpi Mountain Visiting Assistant Professor Iñaqui Carnicero Spring 2013
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Expanded Practices NYC Studio V Re-Envisioning the Insalubrious Valley: Newtown Creek
2034 (retro)grade park//skater village Visiting Critics Timothy Bade, Jane Stageberg, Martin Cox Fall 2012
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Dean’s Council AAP Food Truck
GLOW Truck Student designed food truck, lead designer/ organizer Spring 2012 - present
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Elective Seminar Digital Palettes
Elfreth’s Alley, partner XiaoXiao Li Visiting Instructor Amber Bartosh Spring 2012
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Integrative Design Practices Studio IV
Rabbit Ridge Vineyards: A Seneca Lakes Winery Associate Professor Vincent Mulcahy, and Visiting Critic Luben Dimcheff Spring 2012
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Theories & Analyses of Architecture I
Intercession II: Crime. Architecture as the scene of a crime. Hitchcock’s Rebecca at Schindler’s Lovell Beach House Associate Professor Val Warke Fall 2010
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Core Design Studio I Game Theory
Elevator Game and Olin Library facade Associate Professor Andrea Simitch Fall 2010
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BEETROPOLIS: Comb Encounters of the Third Nature, Los Angeles 08/2013 - 12/2013 MArch Thesis Cornell University Advisors: Associate Professor Aleksandr Mergold Visiting Critic Bet Capdeferro
In a city where mountain lions live in foothill parklands and freeway numbers are used as landmarks, the threatened bee and urbanism collide. The mediterranean climate of Los Angeles sets the stage for optimum conditions for many kinds of flora, fauna, and forms of animal life.
Nature in urban environments like Los Angeles is often characterized as the distant view of mountains, a wilderness area untouched by mankind, as pests, or the weather. Like gardening, beekeeping practice reveals an understanding that nature is both a material and a representation of culture that humans can The miniature —feral honeybees and manipulate in a benevolent manner. other native pollinators— play a role in condensing the vastness of the even An aim of the project is to establish nature density of inhabitation and the cultural not as a background but reveal nature diversity of Los Angeles into public sites as a material: this realization serves to of encounter with the untamed wildness subvert the cultural opposition of MAN of nature. and NATURE. The collapse of the panorama and the petite, an interplay between projection and proximity, and the placement of Beetropolis interventions alter our perception of man’s connection with underlying ecosystem networks.
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Can a publicly accessible bee-garden and apiary act as a place where humans can interact with and recognize natural systems— instead of the passive act of viewing nature as a palliative?
MArch Thesis | BEETROPOLIS 1.1 Pure Geometry in landscape, collage (5 in x 5 in) Ordered and regular geometry at a certain scale marks a human presence. Peephole to bees in tree, collage (5 in x 5 in) Feral bees make hives inside hollowed trees.
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1.2 Honeybee/ Human worlds, digital collage The large and small scales of landscape collide. The distant hazy view of the mountains in Los Angeles aligns with the daily forage flights of the tiny honeybee over long distances.
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MArch Thesis | BEETROPOLIS 1.3 / 1.4 Map of Open Spaces in Los Angeles County Using GIS data and mapping other data sources an area of intervention was determined (indicated by shaded circles). The three rings are typical forage radii for honeybees daily flights. Some mapping was compiled using data not
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available in GIS: a list of community gardens, and Google maps aerial images. Honeybee population density in L.A. (inset- left)
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MArch Thesis | BEETROPOLIS 1.5 Forage Calendar Grid of Pollinator-friendly California native and wildflowers appropriate for Los Angeles (left) charted by bloom season, elevation (right). Stripe color approximates bloom hue.
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1.6 The World of the Honeybee Honeybees have different jobs at each life stage. These social insects collect sap from evergreen trees, water, flower nectar and pollen to sustain life and to accomplish the colony’s reproduction.
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1.7 Process models Beetropolis iterations and tests of operation and form using plexi-glass, paper, and foam.
SITE/ South Central Vacant Lot gnomon // sun garden // apiary // dance language // weather
SITE/ E. 97 St. Watts, Railroad hive // flower apiary // bee sense // perception
SITE/ Stanford Avalon Com-munity Garden Power Corridor high voltage power corridor // observation tower apiary // forage 1.7
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1.8 Three Sites Map: South Los Angeles Each site marked in red. The dotted circle’s radius is appx a 20 min walk. The radius of the larger circle is one mile, indicating the most frequent area for honeybee forage.
MArch Thesis | BEETROPOLIS
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1.9 Site Model, wall mounted Paper, paint, plexiglass. 36 in. d. The flower garden was modeled with strips cut from a painting on paper.
1.10/ 1.14 Site Model, details Gnonom and apiary (yellow plexi hives) Gnomon shadow, benches and garden strips
1.11 View through Gnomon This perspective through the gnomon looking north, native pollinator wall is visible on the left.
SITE/ South Central Vacant Lot gnomon // sun garden // apiary // dance language // weather This site is characterized by a gnomon structure that acts as a sun indicator for humans. The stacking structure recalls the frames in box apiaries used by beekeepers to enable honey harvest and management of the hive. The gnomon structure also features habitat for other pollinating bees native to California.
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MArch Thesis | BEETROPOLIS 1.12 Site Perspective The people visible here were captured from Google Street view: this vacant lot already is used as a gathering place.
1.13 Waggle dance diagram, detail Honeybees communicate the direction and distance of forage in relation to the hive by translating the sun’s azumith to a vertical angle danced on the surface of the comb. Some “marathon
dancers” continue to dance even at night, indicating that the honeybee has an innate knowledge of the earth’s movement in relation to the sun.
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1.15 Site Model, detail Paper, paint, plexiglass. 36 in d. The flower garden was modeled with strips cut from a painting on paper.
SITE/ E. 97 St. Watts, Railroad hive // flower apiary // bee sense // perception Pollinators and flowering plants have co-evolved: nutrition and reproduction are intertwined. The darkened interior of this apiary structure simulates the sensory experience of inside a hive for the human visitor. The hum of the honeybees in their hives fills the interior. The interior’s elevated platform features in-wall hives for beekeeping.
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1.16 Site Perspective The apiary with elevated hives and flower garden is open to passerby and is an oasis of nature in the regular grid of fenced private lots in South Los Angeles.
MArch Thesis | BEETROPOLIS 1.17 Hive Apiary Interior Perspective Shafts of daylight travel across the interior walls as the earth moves around the sun. An elevated platform allows the visitor to observe and experience the world of bees from a safe distance while
also allowing an intimate encounter for the beekeeper on the platform level.
1.18 Site Model, details Frames structure the garden landscape. The hive also provides an elevated platform from which to observe the garden from above.
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1.19 Observation Tower, Garden 1.20 Model detail: tower and apiary
observation
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MArch Thesis | BEETROPOLIS 1.21 Apiary perspective The elevated apiary opposite the observation tower provides a sheltered and open location for beekeeping.
1.22 Model Detail Paper, paint, plexiglass. The observation tower (left) and apiary (right) are interconnected and raised above the garden level.
1.23 Site Model, wall mounted Paper, paint, plexiglass. 36 in d. The flower garden was modeled with strips cut from a painting on paper.
SITE/ Stanford Avalon Community Garden Power Corridor high voltage power corridor // observation tower apiary // forage A tall high-voltage tower on the site makes visible the scale of city infrastructure. The Stanford Avalon community garden extends for miles through this corridor. Like the power grid, the apiary with observation tower acts like small-scale infrastructure by connecting natural resources to the neighborhood’s residents.
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In the last fifteen years, the city of
Legazpi Mountain // Madrid Re-Used
Madrid has experienced two extremes: a short period of excess when the city invested more in infrastructure and public buildings than every before, and the current economic crisis characterized by a transformation of design strategies by fostering interventions in its existing heritage.
01/2013 - 5/2013 Vertical Design Studio VI Cornell University Visiting Assistant Professor IĂąaqui Carnicero
The site, the former Legazpi market distribution building, is bordered by the renovated and renewed Matadero art complex (a former slaughterhouse) to the east and the present terminus of the new Madrid Rio linear park along the river to the south. The studio investigated how to re-utilize this structure by combining the past and the present, and considering the existing building as a potential part of the new design proposal.
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The building intervention concept began with a series of collages to settle quickly on a formal strategy for design. Decisions relating to an extensive program brief, a desire for creating a permeable and flexible building open to the public on the ground floor were conceptualized using the metaphor of the mountain. A two week field trip to Madrid and other locations –including many markets– in Spain: Toledo, El Escorial, Cordoba, Granada, and the Alhambra helped to place the project in its cultural and historical context.
Vertical Design Studio VI | Madrid Re-Used 2.1/ 2.2 Mountain on building collages Collage was used to test formal ideas early in the design process and also as a visualization tool for the design presented for final review.
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2.3 Site plan Zooming out to landscape scale inspired the form of the project. Plan indicates Legazpi site in relation to urban circulation axes and the new facade of Madrid: the riverfront.
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2.4 Sketch model, paper
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2.5 Site, Roof, and Garden plan
Vertical Design Studio VI | Madrid Re-Used 2.6 / 2.8 First floor plan Program Diagrams
2.7 Process Sketch From the metaphor of a mountain, the operations of fracturing, the forms of peaks and valleys informed the placement of circulation, program areas, and skylights.
ROOF PLAN Circulation
FIRST FLOOR Circulation Artist Lofts - Domestic Artist Lofts - Work Offices/ Classrooms
2.6 GROUND FLOOR Circulation Artists Lofts - Work Shops Cafe/ Restaurants Auditorium Library Market Exhibitions
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2.9 Final model (two views) White walls are new interventions, all dark materials are the original building. Smoked plexi for the exterior walls allows a view into the interior of the model.
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2.10 Building Section Library, Auditorium, open air cafe with new roof structure shown with view through to inner courtyard.
Vertical Design Studio VI | Madrid Re-Used 2.11 Site Model overview and detail Constructed of thick grey wool felt, the model’s materiality lends a softness to the vast scale of the site. The site is bordered on the southwest by the Madrid Rio, the west by the recently created art and cultural center, Matadero
(former slaughterhouse buildings), and to the north, a busy yet unremarkable traffic circle and bus connection pavilion. Connection to these surrounding neighborhood loci are crucial to the proposal’s viability.
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2034 (retro)grade park // skater village Re-Envisioning the Insalubrious Valley: Newtown Creek 08/2012 - 12/2012 Expanded Practices NYC Studio Cornell University Visiting Critics Timothy Bade, Jane Stageberg, Martin Cox
Lying on the border between Brooklyn and Queens, the Newtown Creek, a federal Superfund site, is a vital piece of New York City’s urban infrastructure and a frontier where the City’s industrial past confronts the most urgent questions about its future development. The studio investigated the latent potential of Newtown Creek to sponsor new kinds of urban architecture and public space. Projecting forward to the near future year 2034, the remediation of the creek is scheduled be complete and the impacts of climate change are expected to be significantly more evident. The project imagines a future where the edge between the constructed city and the water is remade in response to shifting patterns of use, climate change and the opportunities afforded by questioning the conventional distinctions between industry and recreation, architecture and infrastructure, land, and water. Additionally, the necessity of overlap between working and living, industry and recreation, is assumed to be imperative for the vitality and sustainability of the city. 2034 (retro)grade park interrogates the future of public space and includes
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tectonic proposals for future rising water levels. Emerging from a desire to weave together diverse neighborhood social groups, to respond to the existing industrial context, and to choreograph views of surrounding industrial waterfront activity, the project builds upon the existing Nature Walk, the only public access point on Newtown Creek. The landscape and the building play with the tropes of wall as protection and barrier and landscape as dirty or textured. Moments of hardscape in the landscape facilitate actual play by encouraging speed of movement on skateboard, rollerblade, or bicycle. The project’s landscape forms encourage the infiltration of unexpected and informal uses of landscape and building. The geometric and smooth interweaving of the landscape continues to the public canteen floating pavilion on the waterfront. In addition to its function as a skating surface, the industrial building’s smooth lower face guards the site from the impacts of flooding.
Expanded Practices: New York Studio | 2034 (retro)grade park // skater village 3.1 Texture studies: model and photo An early massing model, styrofoam, cardboard, and paint. 2D texture study: archaeology collage- years of subway poster layers exposed.
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3.2 Index cards of ideas and site sketches An early exercise in the studio was to use index cards as a charrette tool to quickly sketch out ideas.
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+ 26’-8” + 17’-2” + 5’-11” + 0’-0”
+(30’-0”)
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3.3 Sketch model (top), paper Sketch rendering (below)
3.4 Program diagram, floor plans (key, right)
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Industrial Lofts Public Areas
Rest/ Gathering
Live | Work Lofts
Circulation Zones
Expanded Practices: New York Studio | 2034 (retro)grade park // skater village 3.5 North-South Section Section cut between the entrance to the public walk on the south (left) to Newtown Creek on the north (right). Existing walled elevated public access (far left).
3.6 Landscape collage model 3.7 Landscape vignette sections- East-West
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+ 13’-0” + 3’-0” + (3’-0”)
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GLOW Truck // AAP Food Truck Project 02/2012 - present Dean’s Council special projects committee Cornell University Advisors: Dean Kent Kleinman Visiting Critic Luben Dimcheff (Summer 2012) Associate University Architect Andrew Magre (Charette Feb 2012) Participants: Charette: Logan Axelson, MRP, Rachel Bacus, BArch, Nicholas CassabGheta, BArch, Alex Chen, BArch, Piotr Chizinski, MFA, Lily Chung, MArch, Benjamin Cummins, MRP, Amie Cunat, MFA, Maren Hill, MRP, Mia MiYoung Kang, MArch, Alison Nash, MArch, Mary Esther Palumbo, MArch, Chris Ray, MArch, Jake Rudin, BArch, Andrew Sullivan, MArch,Thomas Tumelty, BArch, Da Ying, BFA. Design: Alison Nash Mia MiYoung Kang Piotr Chizinski Nicholas Cassab-Gheta Construction documents: Alison Nash Piotr Chizinski Nicholas Cassab Gheta Construction/ delivey adminstrator: Assistant Dean of Adminstration, Peter Turner
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Like light attracts a moth, the Glow Truck is a beacon of light that will lure those that are hungry for a meal, a snack, warmth, or a social atmosphere. Its warm light will create an environment that encourages people to congregate and socialize, activating the space between our college’s buildings. Enchanted by the idea that interior movement can be registered on the exterior shell through a silhouette effect, we proposed cladding a standard chassis with a translucent material with light fixtures placed inside. Resulting light effects include the evidence of interior movement through shadows, silhouettes, of equipment, or a warm glow that spills onto the pavement.
the idea of an alumni-donated, studentdesigned food cart for Milstein Plaza. In order to involve a broad range of AAP students in the design process, an all-AAP student charette was held on a snowy February 25, 2012. At the charette, many ideas were discussed and mapped onto a large drawing on the wall, a GIGA map. This process informed all the design decisions that were made, helped to reveal what was important, and most importantly, facilitated discussion amongst students across departments.
During the summer of 2012, three students were hired by the college of Architecture, Art, and Planning to complete design development and produce construction documents. During this four week period, As small and mysterious lighted beacon we decided and documented every detail installed on the Arts Quad will alert of the trailer: from its axel to its door passerby that the Glow Truck is open, hardware. enticing everyone to experience the gathering space of our college. Also as part of the project was extensive testing of the panel assembly to ensure The project began in December of 2011 an even glow that could be dimmed at a when three students on the college’s cost that was not prohibitive. This involved Dean Council: Benjamin Cummins, MRP, sourcing lighting and mocking up various Piotr Chizinski, MFA, and Alison Nash, products both at the food truck fabricator’s MArch were approached by the dean with shop and on-site on the plaza.
AAP Dean’s Council | GLOW Truck 4.1 Charette Feb 25 2012
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4.2 Site Plan: Glow Truck The food truck sits behind Sibley Hall and so is hidden from the Arts Quad. Pedestrians catch glimpses of the truck through the undercroft of Milstein Hall.
4.3 Glow Truck: Charette collage Created during the charette to convey our glow truck concept.
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4.4 Milstein Plaza The plaza behind Sibley Hall is over the Milstein Gallery space and can be viewed from the Milstein Studio plate.
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4.5 Perspective from photocollage
under
Milstein
4.6 Food truck wall section at service window
plate,
AAP Dean’s Council | GLOW Truck 4.7 Food truck floor plan The Food truck features a full-service kitchen and sanitary facilities for food preparation, storage, and service.
4.8 Exploded Axionometric Modular LED fixtures installed on the interior skin behind the “glow” panels can be dimmed independently. Concept Diagram, 2012 (below, left)
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Elfreth’s Alley partner: XiaoXiao Li 01/2012 - 05/2012 Elective Seminar: Digital Palettes Cornell University Visiting Instructor Amber Bartosh
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Elfreth’s Alley is a historic landmark in the city of Philadelphia. We were struck by the difference between the quaintness of the alley today with its neatly painted shutters and cheerful flower boxes and images from the 1920s before the alley was designated for preservation. We used this contrast between the neglected, gloomy, and boarded-up past and the present polished historicism as a territory for our exploration and as inspiration for the mood of our final image.
In this visual representation seminar, we followed a step by step process to learn, work with and between various software programs designed for animators to create a final large scale rendering.
5.1 Occlusion rendering We used the elevation drawing as a guide to manipulate the surface of the cloth draped over the alley buildings.
5.2 Painted rendering The surface was painted with drawings of trees, organic colors, and textures of cobblestone and other effects that expressed our concept.
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Digital Palettes | Elfreth’s Alley 5.3 Elfreth’s Alley Final image.
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5.4 Elevation drawing Cornice and trim profiles from the interior were drawn on the exterior of the buildings and used as a guide for the cloth manipulations and painted layers.
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Rabbit Ridge Vineyard// A Seneca Lake Winery 01/2012 - 5/2012 Integrative Design Practices Studio IV Cornell University Associate Professor Vincent Mulcahy, and Visiting Critic Luben Dimcheff
Beginning with collage and modelmaking, play was an important step in the development of a finger lakes winery into a rock-like form well-integrated with the surrounding slope of Seneca Lake. In addition to reinforcing the design concept, the partially in-ground building strategy fulfilled the programmatic requirement for cool temperature processing and barrel storage areas.
modern technology and resilient, siteenhancing systems. These tours of the vineyards and our facility demonstrate how a building can integrate and enhance the local and wider ecosystem. Tour highlights include our on-site water treatment greenhouse, green roof tasting deck, composting toilets, solar hot water wall, and displays and a newspaper that explains material, energy, and construction strategies that lighten our footprint on the earth.
The following fiction, my project narrative, was written to describe programmatic intention and establish the character of Recalling ancient civilizations that valued the site. birds and animals for their waste’s contribution to fertilization of the land, Rabbit Ridge Vineyards is an exclusively the farm will include habitat for rabbits, red wine making winery. Our vineyard bats and other animals that bring organic offers an enhanced visitor experience in benefits to the land. addition to world-class tasting and sale of Seneca Lake’s “Banana Belt” Vinifera red Visitors can also experience this wines. spectacular, glacially formed landscape by tasting its fruits: our sophisticated wine is Daily educational self-guided tours of the created using modern organic methods. award-winning LEED platinum facility and Our day-lit tasting room is the heart of our grounds enrich the visitor’s understanding vineyard and a comfortable place to enjoy of how our earth-based certified organic the spectacular view of Seneca Lake. wine-making practices integrate with
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Integrative Design Studio | Rabbit Ridge Vineyard 6.1 Rock Book Conceptual Model Carved Foam building massing model Concept study, collage Collage of photos from site visit printed on vellum with overlay drawing.
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6.2 Rabbit Ridge Vineyard: Winery building Day and Night views Day and night renderings from lake slope, looking north-east.
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6.3 North-South Section 1. Reflecting Pool 2. Pool Liner 3. Green Roof 4. Production Clerestory Windows
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5. Tasting Room 6. Gutter 7. Wall Trellis 8. Basement Mechanical Room
Integrative Design Studio | Rabbit Ridge Vineyard 6.4 Daylight model photos Photos of a physical model were compared with digital renderings (bottom right)
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6.5 First Floor Plan 1. Entrance Patio 2. Gallery Hallway 3. Public Restrooms 4. Catering Kitchen 5. Tasting Room
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Circulation to Production Open to below Raised Walkway to Office Office Office Restroom Green Roof public garden
6.6 Building massing model Carved from rigid foam insulation, side view (below) and top view (above), midterm
Integrative Design Studio | Rabbit Ridge Vineyard 6.7 Site Plan Key at bottom of page.
6.8 Site plan: large scale Sun path overlay (red) and prevailing winds (W and NW). Building site 2 km from lakeshore (orange), vineyards (purple), roads (brown), creek (blue).
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Existing Utility Lines Public Entrance Roadway Grass Paved Parking Reflecting Pool Service Entrance Roadway
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Existing Swale, Watershed Boundary Green Roof, optimized for future PV or Solar Hot Water 8. Farm Equipment Garage 9. On-site water treatment greenhouse,
constructed wetland 10. Pond: fire supression, ground source heat pump system 11. Vineyards 12. Views of Seneca Lake
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Intercession II: Crime Schindler’s Lovell Beach House // Hitchcock’s Rebecca 08/2010 - 12/2010 Theories & Analyses of Architecture I Cornell University Associate Professor Val Warke
House: Place: Time:
Manderley // Lovell Beach House Cornwall England // Newport Beach, California 1938
This series of paintings of the Lovell Beach house imagine the house as a setting for the story of Daphne du Maurier’s Rebecca, and the 1940 film by Alfred Hitchcock of the same name. The film and novel are a gothic narrative set in a mansion in Cornwall England. The storyline uncovers the mystery surrounding the death of the title character, Maxim de Winter’s first wife, and her lingering memory that continues to haunt Maxim, his new bride, and Mrs. Danvers, the housekeeper.
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In both the film and in the Lovell Beach house, visual framing devices create points of view: in the film, a windshield frames the first view of Manderley and a window acts as a threshold between life and death. At the Lovell Beach house, the view of the wild ocean is tamed by the regularity of the geometry and the visual heft of the concrete structural frame. The geometric regularity of the window muntins also evokes a cage. Surveying views could become cinematic within the interior and function as framing devices for the action of the story in a similar manner to how Hitchcock created tension and suspense using cropping, light and shadow in Rebecca.
Theory & Analyses of Architecture I | Intercession II: Crime 7.1 Rebecca’s Ghost Rebecca’s presence is everywhere in the house, now the home of the newly married Mrs. de Winter.
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7.2 Dream Sequence: Rebecca’s night disappearance The new Mrs. de Winter’s dream image: what might have happened the night Rebecca disappeared.
7.3 Mrs. Danvers burns down the Lovell Beach House The housekeeper sets fire to the house at the conclusion of the film and remains inside as it burns.
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Game Theory // Elevator Game, Olin Library Reading Room 08/2010 - 12/2010 Core Design Studio I Cornell University Associate Professor Andrea Simitch
The studio began by creating a game required to transform in three dimensions during play. My game was inspired by computers on elevators that efficiently calculate a passenger’s most efficient route to their destination. By sliding all four shafts up and down and aligning pieces in center shaft with matching color on exterior shaft, player wins when all colored pieces have been slid to side shafts in matching squares. The game produced was used as a primitive, a “generative object within which is embedded the conceptual,
8.1 Books slide in and out of shelves, Olin library 8.2 Conceptual game model, cardboard
material and operational strategies of this space of play.” The primitives Space of Play and the Game served as the conceptual instigators, the system generators. The “system” generated from the game has affinity with the shelves and rows of books in the warehouse-like Olin library stacks. This primitive, its subsequent Space of Play, and their rules of transformation were used to imagine new reading rooms within the existing Olin Library facade on Cornell University’s Arts Quad.
8.3 / 8.5 Game model at rest, in play
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Core Design Studio I | Game Theory 8.4 Olin Library reading room model Color/ stripe weaving process
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8.6 Final reading room/facade floor plan, fourth floor The arts quad, north facade is activated with new reading rooms and stripe facade
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8.7 Olin Library facade elevation
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8.8 Backlit Facade model Served as a key for plan and section play
8.9 Game model, in play
Core Design Studio I | Game Theory 8.10 Final Review model With removable room/facade components 8.11 Process weave model (below and right) Test of stripe “ rule� with facade proportions
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8.12 Process collage: game, drawing, and Olin facade 8.13 Process weave model Strips of colored paper were woven into facade and could be moved back and forth
Alison Nash, LEED AP ID+C Cornell University MArch (Professional) January 2014 315 Elmwood Ave. Ithaca, NY, 14850 m: 607-319-9919 e: agn2@cornell.edu www.linkedin.com/in/alisonnash