Brittany Coudriet Portfolio

BRITTANY COUDRIET PORTFOLIO

STILLNESS

: 10 weeks

: Wendy Ornelas, FAIA

: Runner-up, Annual Bowman Competition

: Fire Station + Art Gallery

: Wamego, Kansas

The humble town of Wamego, Kansas is transitioning their volunteer team of firefighters to full time employees and need a permanent home for these heroes. Living and working in the same place uncovered a need to emphasize the transition between on duty and off duty spaces. This allows firefighters to have space to process and heal from traumatic calls.

By mimicking the gentle stimuli we find so healing in nature, this fire station shifts the brain’s focus from triggering sensory memories to gentle stimuli. In summation, this place will facilitate healing for the Wamego’s healers.

FENESTRATION STUDY

SHADE/SHADOW STUDY

w a m e g o, k s

autumn’s breeze travels undisturbed carting with her browning leaves local crickets softly purrrrr singing memories of warmer days in miniature unmown meadows between cracked concrete the air smells of nothing?

crinkled leaves scrape across the rugged asphalt asphalt which holds the distant pitter patter

of tiny feet from a shaded afternoon park

mimicking the children, squirrels chatter bouncing between lush ash branches then blaring

two rust colored engines cry as their wheels chug past blue and red ribbed structures

the low hum of a passing truck carries a quick whiff of diesel

it’s worn tires skid around the corner

then the breeze returns

with her, three golden leaves playfully dance along fifth street the low hum of pool equipment s l o w s here, the crickets and I are home

grounded in the rooted comfort of stillness

ash street alley

NORTH ELEVATION, REVIT + PHOTOSHOP COLLAGE

EAST ELEVATION

B. L03 - STILL HILLS GALLERY

A. NW ENTRY ENTRANCE

‘AHA HO’ONA ‘AINA

Duration

Instructor

Awards

Program Location

: 8 weeks

: Genevieve Baudoin, AIA

: First Place, Annual MANKO Competition

: Ahupua’a Magistrate’s Land Court

: Anahola, Kauai, Hawaii

Located Northeast of Anahola Bay on the island of Kauai, the purpose of this land use court is to redistribute land to the indigenous people of Kauai. It is important to keep inhabitants of the court visually close to the land in which they are discussing.

To do so, the architecture provides various levels of enclosure through an operable teak facade. The operable louvers blur the lines of inside and outside - reminding court goers of the inherent value and sacred nature of this land.

“ALI’I KA ‘AINA; HE KAUWA KE KANAKA”

Land is a chief; man its servant.

C4X4.5 STEEL CHANEL

1-1/2" X 4-1/2" TEAK LOUVER, CLR STAIN

STEEL BAR STOCK STOPS

STAINLESS STEEL SPACER OPERABLE TRACK, PER MFR

STEEL CHANEL

C9X13.4 STEEL CHANEL

STEEL BAR STOCK STOPS

TECHNICAL NORTH ELEVATION

FIXED TEAK FACADE - PLAN DETAIL

OPERABLE TEAK FACADE - PLAN DETAIL

EAST-WEST SECTION FACING NORTH

B. PORCH + RAIN WATER COLLECTION, FACING SOUTHWEST

A. LUAU SPACE, FACING SOUTH

ROCK STACKING

Humans have been stacking rocks since the beginning of our evolution. From the Inca trail in the Andes to Acadia National Park in Maine, stacking rocks afford meaning making. This movement requests the onlooker to pause and evaluate before moving on. It is brief, but powerful.

The architecture in response to rock stacking is a shelter for nomadic sheep herders in Scotland. Shepherds have historically relied on carins to provide way finding for other travelers. This trivial act is elevated to sacred ritual here - offering sheep and shepherds a moment of stillness to participate in the ritual of rock stacking.

MAKING BODY SCHEMA

OBSERVATIONAL RESEARCH

BODY SCHEMA

This term, in the study of architectural atmospheres, refers to the idea that our bodies and brains evolved outside and are therefore continuously cognitively impacted by our environments.

FORM STUDY B, CLAY AND PAINT

LIGHTWELL FACING SOUTHEAST, MODEL IMAGE + PHOTOSHOP COLLAGE

ENTRY/EXIT CONDITION, MODEL IMAGE + PHOTOSHOP COLLAGE

ATMOSPHERE SKETCH, WATERCOLOR + PASTELS

EAST-WEST SECTION FACING EAST, WATERCOLOR + PASTEL

Oddity, the Wichita youth playhouse, uses the same principal of a scavenger hunt to illicit surprise and discovery. Select spaces are afforded views into other spaces. These intertwining peek-a-boo moments spark curiosity. In this playful environment, we are inspired to lead with imagination, connecting otherwise disconnected ideas.

Intertwining provides new ways of learning and growing, allowing us to better experience our direct environment and the world.

IMAGINATION

creating worlds we embody

INTERTWINING programs of the youth playhouse promote IMAGINATIVE LEARNING through moments of DISCOVERY .

INTERTWINING

Our curiosity leads to imagination. Imagination creates new neural pathways, growing us to better experience ourselves, humanity and the world.

L01 TO L1.5 CIRCULATION + VIEWS

BASEMENT + L01 CIRCULATION + VIEWS

B. ENTRY APPROACH

A. NW ENTRY ENTRANCE

222 DEXTER

Role

Project Phase

Project Type

Location

: Podium Facade Design, Material Selection, & Visual Storytelling

: Schematic Design - Construction Documents

: Mixed-Use, Residential High-Rise

: South Lake Union - Seattle, WA

222 Dexter connects to its context at two distinct scales. The first is the scale of the podium which is informed by the neighborhood fabric and streetscape. The brick, concrete and metal are tactile, responding to the pedestrian realm.

The second scale is that of the tower, where a broader view of our environment is experienced. Shifting, angular forms relate to the dynamic qualities of the sky and distant mountains.

IGU Spandrel Glass - to match

Crystal Grey Tint Vision Glass

Aluminum - Dark Gray

Cable Mesh Flush Guardrail

Brick Veneer - Stacked Bond

UW CROSSING

Similar to a crack in the Seattle sidewalk, UW Crossing serves as a sanctuary amongst a dense urban fabric. This proposal envisions urban infill as an opportunity for heightened connection to place and nature. Two towers straddle a mid-block connector that links prominent pedestrian routes with the University of Washington.

Bridging this connector, a floating oculus joins the residential and office programs of the adjacent buildings. The towers are carved into prismatic shapes to optimize views for residential units and access to daylight for the pedestrian realm below.

50,000 BC

Vashon Glacial sheet creates Green Lake, in the University District.

8,000 BC

Duwamish tribes live in longhouses and fish salmon along the future Lake WA Ship Canal.

Duwamish land is surveyed and platted on US grid.

The then-called "Brooklyn" area, ship canal, & lakeside industry are annexed into Seattle.

The neighborhood is deemed "University Station" after the trolley waiting house.

An initial radial UW plan by Olmsted Brothers contrasts with the University District's strong grid running North-South.

Students participate in the final "Campus Day" by clearing stumps & brush.

Modern housing & businesses support the 40,000 student population at UW.

01. GENERIC

This base model exemplifies maximum zoning capacity for the site.

03. FISSURE

Building form is carved away for maximum solar exposure into the mid-block connector

02. FRACTURE DIAGRAM DIMENSION DETAIL

DIAGRAM DIMENSION DETAIL

Maximizing FAR, floor plates are shifted to create opportunities for outdoor amenities with distant views.

DIAGRAM DIMENSION DETAIL

DIAGRAM DIMENSION DETAIL

04. OCULUS

The final design features a mid-block connector which continues the existing urban pattern of its East neighbors.

FINE ART

Marina Abramovic performed a piece in which she sat across an empty chair meant for a member of the public to occupy and silently stare into her eyes. “People have so much pain inside them that they’re not aware of,” Marina says. As she suggest, pain can be an opportunity for strength and more importantly, creativity.

Similarly to Marina, fine art acts as a bridge into my lived experience and an avenue to express my emotion in different mediums.

BASILICA DI SAN LORENZO FACADE INK WASH, GRAPHITE, WATERCOLOR

UNSEEN, ACRYLIC PAINT

UNTITLED, GRAPHITE

S. 50th Cir.

white siding with a quaint garden box adjacent the door encircled by leafy emerald hostas four wood studded walls enclosed my young kingdom cedar patio steps have splintered from many nebraskan winters dad trimmed two feet off a salvaged front door this me-sized door holds a dented sphere handle plexi windows wear job site scratches with pride

here

i am fully expressive i am emboldened i am

+ organizer

+ ambiance designer

+ chalk wall eraser

+ periwinkle door unlocker

in reality, i am ten

in my masterfully scaled playhouse, i am big.

i know these walls and these walls know me

i feel a m p l if i e d

Tasked with articulating our first meaningful spatial encounter, the following is my found memories of the single room dollhouse designed, sourced and constructed by my father for me at age 3.

some spaces today remind me of white siding plexiglass window panes & muggy summers when i felt big

+ splintering cedar

warmed by amber summer rays

+ a dented brass handle

moments today remind me of + ribbed hostas

rebar with fingers who previously grazed the splintered timber patio at south 50th circle

i touch creased concrete and steel

today

FIRST SPATIAL ENCOUNTER

HOUSE OF SILENCE

The House of Silence serves as a peaceful refuge for public use in the midst of a dense, urban environment. The rammed earth structure is simultaneously monumental and intimate, taking precedent from the contemplative qualities of the Hagia Sophia.

Sound within the building is choreographed. Public circulation is denoted with echoing weathered steel, while private spaces, such as the personal chapels, are void of all exterior noise.

WEATHERED STEEL 3”RIGID INSULATION 5/8” EPDM

STEEL ANGLES 6”CONCRETE SLAB 3”DECKING W8 BEAM

A-1

STEEL WALKWAY WALL SECTION

LINCOLN, NE RELIGION DEMOGRAPHICS

BATT INSULATION

6” POLISHED CONCRETE

3” METAL DECKING

W8

STEEL PLATE

2” RIGID INSULATION

RAMMED EARTH

REBAR 24” O.C.

RAMMED

Professor

Project Date

Project Type

Location REDACTED RETREAT

: Peter Olshalvsky

: Spring 2013

: Hobbyist Retreat

: Rural Lincoln, NE

Doll collecting gives freedom to project one’s experiences onto an inanimate object. It is for this reason children vicariously live through the adventures of superhero figurines and elderly women embody the youthful ambiance of thier porcelain dolls. Doll collecting is not unlike the act of redaction. Upon redaction, the viewer is challenged to fill in the blanks with their own thoughts and meaning.

The wooden ribs in the retreat impact the user’s perception, much like the act of doll collection. Sound and sight change as the user walks up the stairs and into the doll collector’s work space and storage area.

CRYING AT NOTHING BUT COLORS3

assigning each painting to a specific stat ion. One would say “Crucifixion,” and another “Deposition,” even though they were all empty blank rectangles. Did he think of his pictures that way, as abstract stations of the cross? Rothko told her he did not want titles, but that he had proposed putting numbered plaques on the fl oor in front of each painti ng. It wasn’t clear what would happen, he said, but it looked as if the plaques were going to be put on the outside walls of the chapel, so no one would know which painting stood for which station. (As it turned out, no labels were used, inside or out.)

Jane wondered what to ask next: if he wasn’t interested in what other people were saying about art and religion, and if he didn’t care whether his paintings were identified with the stations of the cross, then how did he think of his work? She knew that he was a friend of Barnett Newman’s, and that they had often been compared to one another. Had he seen Newman’s series of the Fourteen Stations of the Cross ? No, he had intentionally avoided them in order to remain, as he put it, “within my own experience.” Was he then a religious man? When he first got the commission for the chapel, he told them he was not. “My relation with God was not very good,” he told her, “and it has gotten worse day by day. I started out thinking the paintings should have a religious subject matter, but they became dark, on their own.” An odd idea, that paintings would get darker in order to avoid being religious. She thought again of the strange feeling, and her tears. Maybe she could draw him out by taking about the paintings themselves. She praised them, saying they were “darkly luminous,” and wondered how he gave some a silvery gleam, and made others velvety dark. But he was not about to tell her what he was doing.

“It’s just the paint,” he replied. She remained a while longer, talking abou t trivial things—his gallery, the rent on the studio—and left when the afternoon gave way to night.

Two years after that interview, in February 1970, Rothko slit his wrists in a little bathroom just off the room where they had been talking. Almost exactly a year after that, the chapel was dedicated in Houston. Rothko never visited his chapel, and no one will ever know what he would have thought. People said the pictures looked bleached and flat. Jane attended the opening and felt only a “blast of Texas light.”

A visit to a damp chapel. There is no survey to prove it, but it is likely that the majority of people who have we pt over twentieth-century paintings have done so in front of Rothko’s paintings. And of all Rothko’s paintings, people have been moved most by the fourteen huge canvases he made for the chapel that now bears his name. (The runner-up would be Picasso’s Guernica; I think it would come in a distant second.) It’s hard to get a sense of the place from photographs, and I decided if I was going to understand what people have said about it, I had better spend some time there. I booked a flight for early April so I wouldn’t be

HOT ROLLED STEEL BLACK CHERRY