portfolio
annabadyoczek
a r c h
portfolio
annabadyoczek
arch
theater
chair museum platform
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tower form
sketch about
theater U N t h e a t e r t h e s i s
This thesis was to me, more than anything else, a pursuit of fascinations. I began with an obsession with stairs: exploring different types, the symbology associated with them, and why I was so adamant about making every fire stair beautiful. This led me to a program and a site - a theater on the corner of Swann St. and 14th St. in northwest Washington D.C.; a building necessitating stairs, in an area of the city that was full of artists and theaters, but which lacked a movie theater. I was compelled to design a magical building, a movie theater of building elements as characters. My professors urged me to choose an opening night movie as inspiration for the design; I was instantly enamored with the idea of designing around Alice and her Adventures in Wonderland. To me, the characters, puns, and riddles in the book were perfect to imagine as the columns, walls, and stairs of my building. This allusion eventually morphed the building into two theaters, an above ground movie theater and a below ground performance theater. As I worked, I had two very important (and related) revelations. First, that a theater is very similar, both in function and layout, to a church. The layout of the building, therefore, I designed like that of a church or a temple. I constantly explored opposing worlds; the above ground dreamworld vs. the below ground reality, the inner sacred world vs. the outer public realm. The essence (the spirit, or soul) of the building is Alice. Second, I feel the most spiritual when I am designing. I realized over time that it was equally important to me to learn how to make my drawings feel as it was to design the building itself. My thesis became art IS religion.
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theater
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south elevation, grand staircase and movie screen as seen from Swann St.
opposite page, clockwise from top left: north elevation: concrete partition wall separating theater from surrounding buildings
east and west elevations
east and west sections showing two-sided movie screen
pages 6-7: page 6: horizontal section through upper movie theater and lower performing arts theater page 7: left: floor plans, from top: level 5 (top of movie theater), level 0 (ground floor), level -1 (top of performing arts theater) above: site plan, corner of 14th St. and Swann St.
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grand staircase on the south side of the upper movie theater (exterior view) grand staircase on the south side of the lower performance theater (interior view)
basic layout of program elements section model facing south
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conceptual section for the underground space - what it should be and how a staircase should change as a person ascends
opposite page: theater section alluding to the idea that art = religion
section of light+shadow facing 14th St.
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chair
achairforalice
In the spring of 2010, I decided that I needed to learn how to think more 3-dimensionally. This prompted me to take two additional classes in addition to thesis; REVIT and product making. In REVIT I used the computer to visualize my building at a large scale; in product making I designed and built with my hands at the smallest scale - a piece of furniture inside of my building. I chose to design a chair for Alice. Her world is constantly changing - the floors become walls, walls become ceilings. She is also always growing or shrinking, so a change in scale was necessary for her chair. The design of the chair incorporates the idea that the wall and the floor are interchangeable; there are 8 legs total, 4 of which support the seat and 4 that climb up an adjacent wall. The “floor” and “wall” seats of the chair are mirror images of each other, except one end has legs that are half as long. This allows the chair to be flipped and the seat can be lowered or raised depending on Alice’s size. In reality, it is simultaneously child- and adult-sized. The seat and back of the chair are made of layers of bent plywood that were glued together over an inverse mold. The legs and screws are both made from aluminum. All elements were built in the wood+metal shop.
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chair
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detail of screw with reveal
chair for adult-sized Alice
detail of the legs and screws
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detail
chair for child-sized Alice
process of bending and gluing the wood over the mold
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museum
a r t g a l l e r y cubewithinacube
A sculpture gallery for Virginia Tech will be home to five Calder, five Giacometti, and five Henry Moore sculptures. The site is located off of W Campus Drive, across from the drillfield. As I started designing, I knew that I wanted one great room for the exhibition and the other public spaces, with the circulation on the outside. In order to have one great room but still separate the gallery from the ticket counter and other pragmatic spaces, I chose a “cube within a cube” scheme, where the inner cube is the gallery space, and the outer cube makes up the walls of the museum. The outer cube is a brick structure with two thick inhabitable walls, within which are two fire stairs, an elevator, a reading room, offices, a conference room, and restrooms for the public. The inner cube/gallery space is a hanging metal space frame, through which the art can be seen, and which can be seen from W Campus Drive. Rossi’s Modena Cube was an obvious inspiration, as was MFO Park by Burckhardt+Partners with Raderschall Landscape Architects, the Church of the Sacred Heart in Munich by Allman Sattler Wappner Architects, and the middle school in Riva San Vitale, Switzerland by Giancarlo Durisch. Throughout the design process, I was especially enamored with the idea of having one long staircase situated between two very tall walls with openings, and this became the concept for my main fire stair, as well as a place for the supporting rooms in the museum.
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museum
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opposite page, clockwise from top: cube within a cube study two tall walls cube within a cube concepts a stair between two walls 360 degree views conceptual museum idea
viewing gallery stair detail 17
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2nd floor (top floor) of the museum: top of viewing gallery and library
1st floor: bottom floor of viewing gallery and offices+conference room ground floor: reception, toilets, large open gallery space beneath floating viewing gallery
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site plan conceptual section
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platform café,boatdock, andpromenade
A new café, plaza, boat ramp, and walkway are designed for the shoreline in Riva San Vitale, Switzerland. The shape of the platform outlines a square, with an imposed grid made up of piers, columns, lamps, benches, and openings that frame views. The platform extends the existing shoreline, creating a habitable space over the water. A café is located on this platform. Breaking the formality of the square, the café has two angled fronts: that facing the water and that facing the town. These walls directly face the fronts of Santa Croce and the Battistero, two historically significant buildings in Riva San Vitale, pointing visitors toward these two landmarks. Mimicking the horizon, the platform and café remain low to the ground and horizontal, thus not obstructing the view of the water from the town. This idea is also present on the interior of the café; a long ribbon window provides a framed view of the water and horizon beyond. The most significant experience for the passenger at the boat dock is that of embarkation. Passengers on boats embark and disembark on the ramp on one corner of the platform. Embarking is done by walking past the café and into a corridor which begins in the dark and moves toward the outdoor light. In the corridor, there is a ribbon in every plane: the roof channels and their supports are spaced apart, creating a ribbon of light overhead and onto the floor below; a ribbon gap perpendicular to these channels (and parallel to the walkway) is overhead and below (as an opening to the sky and a recess in the walkway), which allows water to penetrate the corridor, spill down grooved ribbon channels in the wall, and collect in the ribbon basin below. This basin also responds to the change in water levels of the lake; when the water level is high or it is raining, the channel will fill up, and when the water level is low, the channel will remain dry. Changes in the environment will be more perceptible, allowing the visitor to be more in tune with the surroundings. These ribbons allow the visitor to experience a slower progression from indoor to outdoor space, from ground to water, and dark to light, maximizing the sensation of each. The ribbons also extend into the interior of the café through the openings in the roof, lighting the café in the daytime and reinforcing the window with the view of the horizon. These three elements - the horizontal platform, square column, and ribbon window - offer a more three-dimensional experience of the shoreline at Riva San Vitale, reinforcing the flatness of the water, the verticality of the town, and the views of the horizon.
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platform
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corridor with ribbons in every plane
site plan of the cafĂŠ, plaza, boat ramp, and boardwalk in the context of Riva San Vitale
opposite page: early plan and elevation
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café and platform longitudinal section interior section facing the water
early conceptual sketch of the contrast between the landscape (mountains) and the café (platforms)
opposite page: final plan 1. plaza 2. café 3. kitchen 4. restroom 5. ramp 6. dock
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tower a v i s i t o r ’ s c e n t e r f o r v i r g i n i a t e c h
The site for the new Virginia Tech visitor’s center is located on the corner of Price’s Fork Rd. and the entrance to the Inn at Virginia Tech. In order to create a prominent beginning to the campus, as well as a central location for acquiring information, the visitor’s center must become an icon and a beacon for visitors that do not know the area. I chose a tower because its height can make it visible from larger distances, most notably Route 460, which is the main route to the Virginia Tech campus. The tower’s height also provides visitors and employees a larger range of views of the surrounding area, which is valuable to those seeking to learn more about the campus and town, as well as enjoy it from an unusual vantage point. The tower design focused on separating the program elements, and designing spaces unique to each function. The tower is divided into two main sections: the lower floors, which are geared toward the visitors, and the upper floors, which are employee areas. The visitor areas include a reception and exhibition area, an auditorium, and a rooftop viewing deck and café. The employee areas are made up of multiple office floors and a conference room. The design is a solid with subtracted voids, which make up the different spaces (floors). These voids are removed in response to two main ideas: light and view. Each floor’s function determines which idea its design responds to – for example, an office floor, which has inhabitants on a near daily basis, responds to the view, while an exhibition space reacts to light. The tower is oriented in the cardinal directions, providing views to the south and east of the Virginia Tech campus, and views to the north and west over the commercial area of University City Blvd. towards the mountains. The first office floor, the 7th floor, angles towards the mountains in the northwest. The 8th floor provides a direct view of the duck pond, which is located between 27 and 53 degrees southeast of the tower. The 10th floor responds to the 34 to 41 degree southeast location of Lane Stadium, and the 11th floor windows are directed 8 to 27 degrees southeast giving a direct view of the drillfield. The 12th floor viewing deck and café, located at the top of the tower, will provide visitors and employees with a 360° view over the town of Blacksburg, alternating views of each of the previous views.
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tower
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model of the tower
detail of the windows, and how they angle based on their function
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floors 1-4 (public): reception, exhibition space, assembly hall floors 5-8: conference room, office with mountain view, office with view of the duck pond floors 9-12: bathrooms, office with a view of Lane Stadium, office with a view of the drillfield, viewing deck and café with a 360° view over the town of Blacksburg
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f o rm p
l
a
y
My first year of graduate school (and architecture studio) was filled with questions. What is a platonic form? What makes a beautiful pen box? How does constructing a form influence a design for its stand? Building forms in the wood shop allowed me to explore these ideas, and play not only with form and design but also construction.
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form
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redesigned pen box
iteration #2 iteration #3
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stand for a platonic form
translucent screens
translucent screens create bold shadows
a platonic form made of multiple pieces - a platonic form of motion
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sketch
a r o u n d t h e w o r l d
I studied abroad in the spring of 2009. My group was based in Riva San Vitale, Switzerland, a small town about twenty minutes drive from Como, Italy. Most of our time, however, was spent traveling - we started in Munich, and then traveled (among other places) to Salzburg, Venice, Basel, Barcelona, Paris, and Berlin. I set a personal goal to sketch every building and place we went to, and during this process fell in love with architecture.
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sketch
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barcelona from the top of parc guell from memory: the baths at vals / peter zumthor
la tourette chapel / le corbusier neue nationalgalerie, berlin / mies van der rohe
opĂŠra nouvel / jean nouvel
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monte tamaro chapel / mario botta
st. benedict’s chapel / peter zumthor holocaust memorial, berlin / peter eisenman + buro happold
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siena plaza del campo section of building layers
altar, chapel in mogno / mario botta
siena plaza plan+elevation
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lyon-saint exupĂŠry airport / santiago calatrava treptow crematorium / axel schultes
contemporary arts center cincinnati / zaha hadid la tourette / le corbusier
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about a d e s i g n e r w i t h e n g i n e e r i n g e x p e r i e n c e
I think a quote by Howard Thurman explains it perfectly: he says “Don’t ask what the world needs. Ask what makes you come alive, and go do it. Because what the world needs is people who have come alive.” I live to design. That’s a broad statement, because I have always had a broad range of creative interests - I love art (drawing, painting, photography), fashion, and most of all, architecture. I love anything creative with soul. I love the idea that design determines the way we live - it’s easy enough to see how the iPhone changed the way we look at the cell phone. For me though, having the ability to create spaces in which people live is the most exciting way to have an impact on the world. A space influences the emotions of those within it; it can be warm and inviting, austere or monumental - and buildings inherently voice the most important ideals of the culture in which they exist. Seeing and trying to understand other cultures may be why I fell in love with architecture. I was born in Poland and having grown up bilingual and bicultural has taught me that there is always another way to look at the same thing. I fell in love with traveling at a very young age, and have since traveled many places in the world. I take any chance that I get to explore, learn, and be inspired by other places. I studied abroad in Switzerland (and from there visited Germany, France, Italy, and Spain), and since then have visited Egypt, Tanzania (where I climbed Mt. Kilimanjaro), and most recently, Ethiopia. To me, a great design is a beautiful solution. While my heart thrives on creating, my mind is consumed with problem-solving. For this reason, I love to understand how things work. I decided before I went into architecture that I would learn how it worked, so I did my undergraduate degree in civil engineering. When I went into the MArch program, I felt confident drawing on my past knowledge. These two degrees together have made it possible to achieve the designs that are the most beautiful to me - the ones where the solution is simple even though the problems are complex.
E annabadyoczek@gmail.com T 571 244 5499 W www.annabadyoczek.carbonmade.com http://issuu.com/annabadyoczek/docs 41
about
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e d u c a t i o n
Anna graduated from the M.ArchIII program at Virginia Tech in January of 2011. She attended the main campus in Blacksburg, VA for the first year and a half, then continued in Riva San Vitale, Switzerland at the Center for European Studies and Architecture (CESA) in the spring of 2009. She then completed her thesis at the Washington Alexandria Architecture Campus (WAAC) in Alexandria, VA, where she received the Crystal Award for Outstanding Thesis.
In 2007, Anna completed her civil engineering degree at the University of Virginia. There, she pursued her love of architecture by participating in the ecoMOD project (design/build of sustainable housing) on the structural team, which included presenting at the Undergraduate Research Network (URN) symposium on a structural building systems analysis with regards to affordable, sustainable, and modular design (2006). This, along with other history and design classes, allowed her to get a minor in architecture. She also studied Hurricane Katrina and its effects on New Orleans in a January term course, of which one week was spent in New Orleans helping three high schools merge into one and assisting in the demolition of damaged homes (2006). During this time, she passed the EIT exam, and became AutoCAD Level 1 certified.
m a s t e r o f architecture
v i r g i n i a t e c h
b . s . c i v i l engineering universityofvirginia
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professional
b u i l d i n g s t r u c t u r e s teachingassistant
v i r g i n i a t e c h
i n t e r n landdevelopment t i m m o n s g r o u p
i n t e r n miningengineering freeport-mcmoran
Blacksburg, VA Jan-Dec 2008 Steel and Wood: graded homework and wrote sets of notes distributed to students. (≈30 hrs/wk) Concrete: ran weekly and pre-exam help sessions, gave and graded tests. (≈15 hrs/wk)
Charlottesville, VA Sep 2005 - May 2007 Conducted traffic studies, performed extensive AutoCAD work including lot layout and design, road design, and time of concentration and drainage area calculations. (≈24 hrs/wk/school year, full-time/summer)
(Formerly Phelps Dodge Morenci) Morenci, AZ May 2005 - Aug 2005 Worked in the Plant Engineering dept. of the copper mine. Final project consisted of handling all the safety requirements for a new pump booster station, which included finding sources of potable water for an eyewash station and shower, designing the location of a water line, hiring contractors to complete the project, and procuring safety signs and other safety equipment. (50 hrs/wk)
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