Amy Hostetter
SECOND YEAR ARCHITECTURE PORTFOLIO University of Oklahoma College of Architecture Fall 2014-Spring 2016
TABLE OF CONTENTS 3 5 7 9 11 15
ORGANIZATION
with Line, Surface, and Grid
ORGANIZATION of Space ITERATION and TRANSFORMATION APPLICATION of Construction Knowledge INSPIRATION from Precedent Studies INCORPORATION
into Existing Context
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ORGANIZATION
using Line, Surface and Grid
The very first semester was spent exploring patterns of organization using basic elements such as lines, surfaces and grids, and simple shapes such as squares and rectangles, in order to create more complex assemblies. We were encouraged to use dierent rules to create order in numerous assemblies in SketchUp. Ranging from simple repetition to exponential variations, increasingly complex designs were developed.
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Observation Space within a Grid This project began with an assigned context that was a basic grid of eight squares across by eight squares down. The minimal programmatic requirements asked only that there be an observation space that was raised above the ground plane and the vertical circulation that would be required to make it accessible. The grid was meant to serve as context. One could circulate in the grid, through the grid, around the grid, or in this case, on the grid. The stairs wind their way up the faces of the grid, using it as a guideline for where they go next. Meanwhile, the landings of the stairway protrude slightly outside of the gridlines to serve as pockets from which to observe the intended view. This project not only helped with organizational skills, but also served as an introduction to working within a given context, although not a specific site at this time. 4
ORGANIZATION
of Space
Section
First Floor Plan
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Second Floor Plan
Museum Project The final project in the first year’s second semester was the most programmatic project thus far. The idea was to design a museum in which four artists could reside and have studio spaces in which to produce work. Required spaces included a gallery, cafe, and lobby, as well as the artist’s living quarters and studios. The first exploration of relating spaces in a building to one another began with many sketches of possible programs. The final design roughly separates public and private space with a solid wall that pierces through both levels. Public spaces are situated in the front half, with a very open plan and a gallery that literally opens wider toward the front, while the artists’ spaces remain relatively simple and secluded away from the front to provide maximum privacy.
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ITERATION and TRANSFORMATION
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Architecture as Object This final project for the first semester Design I class explored how linear elements, and later in the project planar elements, could be used to define a space in an open and ambiguous site. The goal was not to create a building but rather a unique space with a distinct feel to it. There was a process that involved multiple iterations of study models in order to experiment with dierent ideas. Here there is a sequence where the linear elements begin in a random pattern, then in a curved pattern, and finally in more rigid nets to enclose the space. When planar elements are introduced, this transforms the space into a more enclosed environment. In order to prevent the space from feeling like a simply enclosed building, the surfaces turn out away from the center of the structure to open it up while still defining a space.
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APPLICATION
of Construction Knowledge
Our second semester Methods II class taught us about materials and the construction process, with a particular focus on light wood construction. The second project in the course was to design a second story studio space with vertical circulation and several cantilevers, then model it to scale using accurate light wood framing techniques. Attention to detail was paid in framing doors and windows, spacing studs and joists, and understanding some basic structural principles with the floor and roof cantilevering from the structure in several places.
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INSPIRATION
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from Precedent Studies
Window Box Project This project in the first semester of second year took the precedents of Le Corbusier’s Villa Savoye and Josef Albers’ painting “Homage to the Square (La Tehuana)” pictured above, combining the ideas within both into a light-manipulating window box. Both precedents had similar organizational properties of an irregular grid system and hierarchy, as seen through transformation drawings between the two. The resulting window box highlights the grid in both, and the hierarchy of Villa Savoye’s curved walls and vertical circulation as compared to Albers’ color scheme. 12
INSPIRATION
from Precedent Studies Baltic Way Memorial Project
The final project in Design III was based on the competition to design a memorial for the Baltic Way Movement. A precedent with symbolism relevant to this event was chosen, in this case a tree, symbolizing the connectivity of all parts of the trees in the same way that all of the people in this historical movement were connected. This was the first project that used a precedent to derive our own building design. Also developed during this project were skills related to rendering and designing competition boards.
Series showing process work inspired by a tree’s form and Le Corbusier’s Villa Savoye hybrid plans.
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INCORPORATION
into Existing Context Oklahoma City Infill Project This was the first project the class was assigned that had a definitive site. A movie viewing space and arts plaza were to be situated in a long, narrow space between two existing buildings. The challenge here was fulfilling the program, respecting the context, and defining a language that would connect the two opposing surfaces. Here, a set of long overhead elements raised on columns guide visitors into the site, while maintaining continuity between the two existing buildings. Angled brick pavers in the plaza and along the walkways also help to emphasize the lines of connection between the two facades.
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Eureka Springs Community Center The final second year project further explored how a new building can be constructed in an empty space between two existing buildings. It was important to respect the surrounding buildings and the atmosphere of the town, while still meeting the programmatic requirements and defining one’s own language. The process began with several weeks of parti sketches and diagrammatic drawings to explore how the spaces could relate to the given context as well as each other.
The spaces in this infill building have an interlocking relationship to one another as many of the existing buildings in Eureka Springs seem to have with one another. There are a variety of levels to the building, because the town by nature has varying, almost undulating, planes on both the ground and building facades. The new construct respects the faces of the historic neighboring buildings and maintains enough space between them in which one can stand and admire them. Also, the creative spaces maintain clear views out large areas of glazing to encourage a connection to nature.
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