ANNE GREENE ARCHITECTURE & DESIGN
EDUCATION
EXPERIENCE
Brooklyn, New York 781 698 8003 greene.annem@gmail.com
Pratt Institute / B.Arch / 2018 Brooklyn, NY GPA 3.6 Visual Designer / Helix Agency • Created storyboards for three infographic videos • Designed banner ads for a/b testing in four sizes • Designed a logo, a complete website, and a branding strategy for a lawyer
May ‘17-Sept ‘17
Junior Printer / Voxel Magic • 3D printed on Form 2 and Makerbot printers • Managed new and ongoing client requests for 3D printing services • Optimized CAD files in Preform and Makerbot software
Jul ‘17-Sept ‘17
Interior Design Intern / Andrew Gitzy Design Interiors • Created construction drawings specifying wall and floor tiling layouts, fixture locations, and finishes • Created technical drawings for custom vanities
Jun ‘16-May ‘17
Intern Project Manager / Design Ivy Hume • Created design development and construction drawing sets for a bathroom renovation • Coordinated between the client and the contractor • Conducted site visits for surveying and construction supervision
May ‘16-Aug ‘16
Data Manangement Intern / REX Labs, inc. • Managed the media linked to the user posts for an ios app • Designed a city guide featuring real posts from the app
RECOGNITION
Feb ‘16-Oct ‘16
Architectural Intern / ROART • Drafted initial elevations and plans for buildings • Created design development drawing sets for mid-size residential buildings
Mar ‘15-Aug ‘15
President’s List / Pratt Institute Presidential Merit Scholarship / Pratt Institute
Aug ‘13-Present
Publication in InProcess 20* • Work published in five spreads
May ‘16
Scholastic Art Awards* Boston Regional Awards, Boston, MA • received silver key award and honorable mention
May ‘12
*The 20th annual book of Pratt Institute UG Architecture outstanding student work
*Annual awards granted to students who produce outstanding work in art
SKILLS
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Autodesk Maya Autodesk Revit Autodesk Autocad Makerbot Preform / Form 2
Adobe Illustrator Adobe Photoshop Adobe Indesign Adobe Bridge
Rhinocerous 5 V-Ray Maxwell Render Microsoft Excel
CONTENTS
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Tourist Amenities / Architecture
2017
16
Arts & Sciences Building / Architecture
2017
26
Public Housing Redevelopment / Architecture
2016
36
Columbia University Boathouse / Architecture
2016
46
Student Housing / Architecture
2015
56
Temper / UI Design
2016
58
RK Law / Graphic & Web Design
2017
60
Dyslex / Interaction Design
2015
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TOURIST AMENITIES | MERGING URBAN LAYERS ROME, ITALY
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TOURIST AMENITIES | MERGING URBAN LAYERS ROME, ITALY
Provide the visitor with an experience that cannot be found at any other location. Envelop somebody into the history of the city so that the moment of revelation at the final destination along this procession is so full of meaning.
The site of the Rione di Borgo in Rome, Italy provided a myriad of urban conditions to consider in the design for a unity of amenities geared at enhancing the tourist experience in the vicinity of Saint Peter’s Basilica. The location of the site is between the aggregated medieval fabric of Trastevere to the south and the finely articulated twentieth century fabric, prompting the design to respond to the threshold condition. It is also a point at which two prilgrimmage routes, the historic Via Sancta and nineteenth century Corso Vittorio Emanuele II, terminate and thus must be resolved into the fabric. Taking from the principles that guided the demolitions of the nineteenth century, the diradamento edilizio or “thinning out” of the construction, and dissasociating the site from the sventramenti fascisti, fascist demolitions, the redesign of the site aimed to add back elements that reflected the spatial qualities found in the adjacent urban fabrics. A sensitive hand must be applied to such a controvertial area of historic Rome. Through studies of the area around Sant’Andrea della Valle in the centro storico, it became apparent that a piazza can act as a moment of respite along a procession and the curvature of streets created by an additive process of masses produces apertures that guide the procession. Three main programmatic elements direct the procession through the site: a caravanserai, or roadside inn, an information center with a theater, and an exhibition center. The forms that envelop the program create a perceptual experience as they allude to the destination of Saint Peter’s Basilica on one end and Castel Sant’Angelo on the other, but never reveal the entire view. They act as lenses that control the procession.
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Studies of spatial qualities in the vicinity of Sant’Andrea della Valle in the historical center of Rome. Analysis inluded indirect entry into open piazza spaces and exterior corridors.
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V
V
nolli plan conditions, 1748 current conditions design proposal
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Site plan with corresponding transverse sections
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Entry into information center Interior of exhibition center
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Grade level plan
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ARTS & SCIENCES BUILDING | INTERSECTION DEERFIELD, MASSACHUSETTS
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ARTS & SCIENCES BUILDING | INTERSECTION DEERFIELD, MASSACHUSETTS Iterations of massing designs in relation to site conditions allowed a strong syntax of design vocabulary to develop and flourish in the design of the Arts & Sciences building.
Aesthetic, atmosphere, and specificity. The design for the Arts and Sciences Building at Deerfield Academy exploited the site conditions of the middle school campus for the landscape to be an integral part of the circulation. The gallery and grand staircase weave into the wing of classrooms and labs, creating a dynamic movement and breaking a linear system.
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Gallery
Grand Staircase
Music Classroom
First Floor Hallway
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PUBLIC HOUSING REDEVELOPMENT | INTEGRATION BROOKLYN, NEW YORK
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PUBLIC HOUSING REDEVELOPMENT | INTEGRATION BROOKLYN, NEW YORK
Must we accept public housing for what it is? Is there nothing that architecture can do to address a problem that architects themselves essentially created?
By integrating multiple housing typologies into the site adjacent to the towers and designating the open space to specific land users, there is a hierarchical system that orders the site. In the physical sense, the step-down from the towers to the streets is mitigated and ordered by the different typologies-midrise commercial/residential, midrise perimeter block, and lowrise terrace house. On the interior of each block, the courtyard space has designated users, providing a sense of ownership to each user. The lowrise terrace houses have a garden both within the boundary of the house and beyond it, extending their engagement into the courtyard. The midrise commercial/residential units have a double-shared, walled yard that protrudes out into the main courtyard. What is left is for the tower inhabitants and is furnished with benches, cafes, and pathways. The short ends of the blocks are left open to welcome users into the courtyard, and the first floor or each tower has been punched through and made porous. The only commercial areas are on the north and south boundaries and along gold street, the artery running through the site. The goal of this project is to reinvent this public housing site with consideration for land ownership and thresholds between the public and private realm. The users will have the option to engage with each other in the open space or remain in their designated areas if they desire privacy.
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Grade level plan
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Second level plan
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COLUMBIA UNIVERSITY BOATHOUSE | ADAPTATION INWOOD, NEW YORK
COLUMBIA UNIVERSITY BOATHOUSE | ADAPTATION INWOOD, NEW YORK
IN COLLABORATION WITH SAMANTHA CALABRESE The connection between land and water is explored in the way that the building creates visual vignettes and physical reactions. The land and water on the site react and adapt to seasonal changes, so the building adapts in congruence with the use of mechanical elements.
Integrating land mass and built structure was key to the core design principles of this project. The natural landscape was exaggerated to physically involve itself with the manmade elements. Berms act as structural anchors on which the horizontal plinth of the boathouse sits, while water from the bay is invited to flow around them. These modifications to the landscape create a smooth flow from the atheltic complex to the north and east into the natural landscape of the bay to the west. The program of the boathouse is centered around the rowing tank, which is an indoor practice room for the rowing team. It is a transparent box that sits within a large berm and overlooks the bay, immersing the rowers into a space that mediates the land and water. Workout spaces, offices, and locker rooms surround the tank on the upper level, and storage rooms for the equipment are situated beneath this level and are surrounded by walls that are half natural land mass and half mandmade. The Columbia University Boathouse is not only a facility for the use of the Columbia University Rowing team, but also for the community. From both access points - on top of and below the hill - it expresses in itself a constant mediation between two states.
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STUDENT HOUSING | ATRIUM OPENING BROOKLYN, NEW YORK
STUDENT HOUSING | ATRIUM OPENING BROOKLYN, NEW YORK
As part of a comprehensive design studio, the project was held to a high level of standards for the inclusion of all necessary mechanical elements and for the consideration of site conditions that would affect the building footprint and massing. All design development was overseen by Robert Siegel.
The proposal for student housing for Pratt Institue situated on the corner of Myrtle Avenue and Grand Avenue required a knowledge of zoning laws and district code requirements in order to properly evlauate site conditions. The site is split between two lots with separate requirements for light & air and FAR. The design solution considers the open environment within the building, orientation to the Manhattan skyline, daylighting techniques, structural & MEP fundamentals, quality of life and efficiency within units. A major component in our solution is the central atrium, which allows for light to penetrate the core and for circulation to be directed around a large wall that has the potential to house sustainable infrastructure such as a green wall. The units range in size depending on occupant type and include single-bed double-dorm suites and sized single-bed double-apartments (kitchenettes included).
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UI DESIGN | TEMPER APP Temper is here for roommates to
connect
with
each
other
privately about all the duties and responsibilities
associated
with
living with multiple people under one roof so that tension is eliminated and communication is easy. Full disclosure can be achieved with the use of all of Temper’s organizational and communication tools.
WIREFRAMES The initial concept was centered around communication.
DESIGN The final design focuses more on the management aspects of Temper with “Quick Add” rent, bills, and duties and a clear list of priorities. In the use of a calming color palette and clean typeface, the design aims to relieve stress and tension.
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BRANDING | RK LAW Helix Agency deliverables: stationery, business cards, website, brand voice
STREAMLINING THE LOOK OF ELDER LAW Conducted during my time at helix agency,
the
branding
strategy
created for Regina Kiperman sought to be a clear, simple, and immediately comprehensible
representation
of her new practice. Regina is an awarded and experienced lawyer in new york whose no-bullshit attitude led us to design with clarity and sharpness.
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upper clasp
10 pt font hole
mid clasp lower clasp
11 pt font hole 12 pt font hole
PRODUCT DESIGN | DYSLEX “We suggest that dyslexics have different learned patterns of perceptual masking rather than higher level cognitive defect. In ‘A View on Dyslexia’, we describe, a perceptual non-reading measure which reliably distinguishes between dyslexic persons and ordinary readers. More importantly, we describe a regimen of practice with which dyslexics learn a new perceptual strategy for reading. By now six studies on dyslexic children and adults demonstrate the regimen’s efficiency.” -Gadi Geiger
PRODUCT HISTORY Gadi Geiger has investigated an aspect of seeing while reading, which can think of as the field of vision. Ordinary readers develop a way to see a limited amount of characters and learn to remember words as visual units. Duks Koschitz invented a reading card using his parameters and I explored modifications to the design to reach the optimal ergonomic level. Initial research credit to The Center for Biological & Computational Learning (CBCL) at M.I.T. Further research conducted as Research Assistant to Duks Koschitz at the Design Lab at Pratt Institute PRODUCT DEVELOPMENT The intention began with two simple goals: to produce a tool that is small enough to fit in a credit card that is as ergonomically efficient as possible. In order to make the tool most effective, multiple iterations were made specific to three types of font sizes. The hole is based at size 10 pt and expanded to fit sizes 11 and 12. Its placement was determined by the line of the handle that is to be folded up and pinched by two fingers.
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