CLAIRE HICKS | DESIGN PORTFOLIO
October 2016 December 2016 December 2016 July 2017 August 2017 September 2017 December 2017 February 2018 March 2018 April 2018 August 2018 December 2018
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tectonics carved pavilion the dead 27’s chakrasana bucharest: a figure ground study expression through line carving daylight life drawing a place to stop: guelph market hall entropy twenty concentric circles columbian exchange museum
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01 August - October 2016 Professor Robert Silance Duration : 2 weeks per project Type: Academic - Individual
TECTONIC EXPLORATIONS This first project in my Introductory Design studio introduced me to three tectonics – different processes used to generate a form. Each were taught with a certain degree of emphasis on the process and system for development rather than the mere resultant geometry. Through these studies, I was challenged to work with both computerized and analog tools in two and three dimensions, cataloging their strengths and limitations and viewing each as equally important aids in design. The translation from one medium to the other prompted me to approach each tectonic study as a deeply iterative process – ultimately placing an emphasis on the dialogue between the analog and the digital.
The first exercise of this series focused on the Carpenter’s Ellipse and developed upon the idea of parametric modeling in its most basic sense. To begin, I created a handcrafted drawing of a series of ellipses utilizing nails and different lengths of string to adjust each width and height. The following phase highly emphasized the use of iterations in the design process while still drawing upon the parameters explored in the beginning phase. I translated my analog drawing into a digital composition, with eight subsequent digital drawings, each subtly tweaking the ellipse series with the goal of morphing a very twodimensional drawing into appearing more three-dimensional.
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1 Carpenter’s Ellipse Drawing, graphite on paper, 18” x 24” 2 Digital Ellipse Iterations
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This exercise introduced the Boolean Operation – the notion of using intersecting shapes to essentially carve one volume out of another. Beginning with a 12” x 12” x 12” base volume, I created both a wireframe and solid-void model each containing four smaller rectangular prisms strictly positioned at right angles. The prisms minimally pierced each face of the cube, yet created a complex void at their intersection – hidden from the outside. The volume was then translated to a digital modeling software where iterations to the design were encouraged. In this phase, I began to add new prisms while also shifting and manipulating the existing four in an attempt to make the complexity of the inside more visible on the outside. The final phase of the exercise shifted back to analog tooling with the creation of a layered hand drawing recording the original Boolean design, the iterations that followed, and the revised version.
3 Boolean Drawing, Graphite and Ink on Paper, 18” x 24” 4 Wireframe Model
5 Solid-Void Model 6 Boolean Process Dagram
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7 Ruled Surface Drawing, ink on paper, 18” x 24” 8 Final Ruled Surface Drawing, ink on paper, 18” x 24”
In this exercise, I explored how curved shapes and surfaces can be created and molded by manipulating a series of straight lines. The process began with a series of handdrafted ink drawings experimenting with different boundaries, line weights, and line spacing. Interested in the inherent volumetric characteristics of the two-dimensional drawings, I translated five of the exact boundary curves from my final drawing onto sheets of acrylic, using string to connect each point. Through this model, I was able to explore and compare the relationship of twodimensional design with three-dimensional tools, noting the strengths and limitations of both.
9 Ruled Surface Process Sketch 10 Final Ruled Surface Model, 10” x 10” x 12”
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CARVED PAVILION
October - December 2016
Following the tectonics studies, I chose to further explore how a Boolean Operation could be manipulated in order to fit a specific program – this time, viewing the void as inhabitable space. The objective for this project was to design a mountainside pavilion with program parameters including a framed view to the east and of the sky, integrated seating, and two entrances. Using the Boolean Operation, I was able to be purposeful and specific with each space I created. This process forced me to view void as space to be experienced; thus, I was challenged to only carve voids that could be used, leaving no unnecessary spaces.
Professor Robert Silance Duration : 6 weeks Type: Academic - Individual
Like my original Boolean project, I began with a simple shape and used a series of smaller intersecting volumes to carve doorways, steps, seating, and voids out of the original block. Through this method, the pavilion’s form became directly related to its spatial properties.
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1 Final Physical Model, Scale 1: 1/2 2 Digital Boolean Form Iterations
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The final pavilion design occupied the top of the site given – to maximize lateral views and minimize obstructive topography. The pavilion met the ground with the help of two structural columns below its south overlook, creating a visual void between the geometric form of the pavilion and the smooth topography surface.
3 Axonometric Joint Detail, White Conte and Paper Collage, 18” x 24” 4 Light Study (7am, 12pm, 7pm), Ink and White Conte on Paper, 7’ x 3’
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5 Roof Plan, Ink and White Conte on Paper, 24” x 24” 6 Longitudinal Section, Ink and White Conte on Paper, 24” x 24”
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7 South Elevation, Ink and White Conte on Paper, 24” x 24” 8 North Elevation, Ink and White Conte on Paper, 24” x 24”
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THE DEAD 27‘S
December 2016
Using my knowledge of drawing and painting and Wilson’s experience in printmaking and stenciling, the two of us collaborated on a fifteen foot spray-painted mural. Based on a previously completed drawing of mine, I began by creating a series of five large threetone paintings on sheets of chipboard. Wilson then cut the paintings into a set of layered stencils. We completed the composition in three hours at the Foundation Walls, an area in Asheville, NC designated for outdoor public art.
Duration: 1 week Type: Collaborative with Wilson Marshall Dimensions: 15’ x 6’ Contribution: Initial design and large scale paintings for the layered stencils. Installation spray-painted with Wilson Marshall. Cutting and layering of stencils by Wilson Marshall.
The mural commemorates five artists who died at the age of 27: Jimi Hendrix (1942-1970), Janis Joplin (1943-1970), Jim Morrison (19431971), Kurt Cobain (1967-1994), and Amy Winehouse (1983-2011).
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1 The Dead 27’s Mural, West Asheville, NC 2 Mural Process Photos
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CHAKRASANA
May - July 2017
This research suggests a means for fiberglass to transition from being a secondary component to a primary building material by developing a process that allows the material to fold like paper. By selectively coating resin on fiberglass cloth, parts can fold along fabric creases, or hinges. The innovative technique eliminates the need for any molds or fasteners, while allowing for infinite variations and flat-packing capabilities. After numerous small scale studies, the work transitioned into a larger inhabitable proof-of-concept built artifact. The first of these artifacts is called
Design Topology Lab Duration: 5 weeks Type: Research Internship Lead Designer: Joseph Choma Team: Claire Hicks, Wilson Marshall, Sarah Nail, Joseph Scherer Dimensons: 16’ x 12’ x 12.5’
1 Final Built Artifact
“Chakrasana” – an accordion arch based on a variation of a folded plate structure. The lightweight, 400 pound, pop-up pavilion was designed, fabricated by hand, and installed by five people within thirty days.
Several material mock-ups were built of variations of folded plate structures. These were presented at the 2017 JEC Future of Composites in Construction Conference in Chicago. After these studies, the work transitioned into a larger inhabitable built artifact, installed on the campus of Clemson University.
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2 Resin Application Process 3 Material Mockups, 4’ x 4’
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Two 54 yard long rolls of 33.3” fiberglass cloth were stitched together using a full flat felled sailing seam to create one continuous 32’ 10” x 21’ 9” sheet, with no material waste. All the edges were precisely sewn to prevent sharp, rough or frayed ends.
Using a painter’s masking tape, a crease pattern was drawn on the fabric surface. The intricate pattern was composed of a total of 875 folds, where each accordion fold had a depth of 5”.
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All the planar portions of the structure were then painted with resin.
After the resin cured, the tape was removed, revealing a crease pattern of fabric seams.
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The structure was folded along the fabric seams and compressed into less than a 12” width. The flat-packed structure was then easily carried by four individuals and transported to the site.
A light scaffolding was constructed on the site in one day. Then, the folded fiberglass was placed above the scaffolding with a team of five. After another day of applying resin to the creases, the scaffolding was removed, resulting in an extremely thin, lightweight structure spanning 16’.
4 Final Crease Pattern overlayed onto final model
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BUCHAREST : A FIGURE GROUND STUDY
August 2017
This study seeks to introduce the figureground map as a tool that can be used to examine urban patterns. The short exercise began with a hand-drawn figure-ground of Bucharest, Romania and encouraged me to discover ties between the city’s history and its figure-ground DNA. I then deconstructed the city’s figures into categories, analyzing and contextualizing each pattern within Bucharest’s contemporary and historical context.
Professor Berrin Terim Duration : 2 weeks Type: Academic - Individual
Located in the heart of Eastern Europe and on the banks of the Dambovita River, Bucharest, the capital of Romania, is situated on a
1 City Extents Map with Hand Drawn Figure Ground Map overlayed
relatively flat piece of land near the RomanianBulgarian border. The city began as a small medeival town and grew radially outward – with major freeways carving concentric rings into the city’s footprint. The onset of Communism in the early 1920’s deeply affected the city of Bucharest – not only politically, but also architecturally. Under the dictatorship of Nicolae Ceausescu, much of Bucharest’s Old Town was demolished and replaced with communist buildings – most notably a 3,930,000 sq ft Palace of the Parliament from which extends a 2 mile boulevard. The Romanian Communist Party fell in 1989, causing Bucharest to become one of the most poverty-stricken cities in Europe.
A major dichotomy in the city of Bucharest appears when comparing its medieval beginnings with its forced Communist structure. The two analyses to the right explore this juxtaposition – the top image depicting the city’s natural organic growth and the bottom image depicting the strict edge condition imposed by the Communist regime that encapsulates much of the city.
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2 Streets, Ink on Vellum, 24” x 24” 3 Urban Walls, Ink on Vellum, 24” x 24”
URBAN TAXONOMY The city of Bucharest, when broken down, can be categorizied into multiple sub-textures that alone can define the city as a whole. The image below depicts six of these textures – with red indicating their bounds and squares indicating their centers.
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NODE OF GROWTH
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In multiple occasions throughout the city patterns of regularity can be extruded. This pattern is a consequence of one of the many Communist building projects in Bucharest.
Many nodes such as this can be seen throughout Bucharest’s figure ground map. This node in particular, is situated in northern Bucharest and is a major point of new growth for the city.
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CENTRAL AXIS
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FORCED NODE
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In the heart of Bucharest, right in the center of Old Town, two major voids meet – one running north-south, the other, east-west.
While most of Bucharest’s nodes are natural and radial in style, this node seems almost forced. Voids do not radiate from the center like most of the other nodes. This, again, is due to Communist systematicization.
REGULARITY
DICHOTOMY As seen in the figure ground analysis, there is a rich dichotomy between the seemingly random speckled masses in Bucharest’s core and the regularized “urban wall” that encapsulates them.
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LINEAR + REGULAR Although much of the city is radial and even sporadic in figure placement, this specific section is quite linear – almost grid-like.
4 Urban Fragments Figure Ground Map
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EXPRESSION THROUGH LINE
September 2017
This exercise explores the representation of weight, tension, texture, and form through the intricacies and variabilities of line. In order to focus almost exclusively on technique, the subject matter – a series of sticks resting on a group of crinkled paper bags – was decidedly simple and was used for each drawing. The first drawing in the exercise challenged me to portray qualitative characteristics of the subject by only using line, barring the addition of any shading. After mastering this technique, the second drawing forced me to experiment with alternative tools for mark-making. This
Professor Kathleen Thum Duration: 1 week per project, 3 weeks total Type: Academic - Individual
1 Still Life 1, India Ink Applied with a Stick on Watercolor Paper
drawing was created using small sticks and pine needles dipped in india ink. The third drawing introduced shading as a tool to accompany and complement the linework, rather than acting as a replacement. Through each project, I was able to be careful and purposeful with each line I drew – ultimately discovering parallels between line weight, line quality, and the subjects’ inherent physical attributes.
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2 Still Life 2, Willow Charcoal on Watercolor Paper 3 Still Life 3, Charcoal Pencil on Watercolor Paper
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Type: Academic - Independent
R I C C I
Duration: 7 weeks
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O S A S S
V I A
Professor Berrin Terim
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The objective for this project was to design a cantina within the dense urban context of Montepulciano, Italy. Because this was essentially an infill project, and thus was limited as far as building form, I chose to focus on the essence of each space – how it felt when occupied and how it related to the purpose of its assigned program. My design centered upon daylighting – both as a means of carving from the void of the site to create the form of each space, as well as governing the program placement within the building. Throughout the project, I began to explore the relationship between daylighting and essence of space – how the two can inform each other and become intertwined.
P I E
October - December 2017
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CARVING DAYLIGHT
V I A
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As a way to begin the project and as a way to attempt to capture the essence of the city that could be reflected in my design, I studied Italo Calvino’s Invisible Cities—specifically the way he chose to describe each place he encountered. Each city is described not in quantifiable attributes, but in memories and senses, in feelings and in metaphors, thus revealing the deeply personal connection one can have with a city, a building, or a space. Intrigued by this approach to defining a place, I sought to write about my own imaginary Montepulciano in a fashion similar to Calvino’s. The following line from my writing began to intrigue me:
In the daytime, sunlight illuminates the city in such a way as to frame the buildings’ tops and cast the bottoms in deep shadow – creating the illusion of two separate entities within each structure. The dimness of the city’s paths seems to draw the eye upward – towards the rooftops and the sky. I then translated this segment into a section drawing (following page) – focusing on how light could enter the building and flow throughout the spaces, leaving some brightly lit and some in shadow. I used curved scoops as a way for form to allude to its purpose – in this case, a literal means of scooping daylight and letting it pour into, onto, or around each space.
1 Final Design, Bird’s Eye View 2 Site Plan, Digital Charcoal Collage, 24” x 24”
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IMAGINARY MONTEPULCIANO cities + memories Proceeding four days to the east, you come upon the city of Montepulciano. With spindling streets and teetering towers, the town is vaguely reminiscent of a spider’s web – precisely woven and incredibly delicate, yet surprisingly resilient. A web that began as a modest place of respite, and grew outward over the years, but not in scale or in stature. The city can not very well be described in one way, for its essence embodies far more than can be recorded on this page. The true city of Montepulciano lies in the feeling of the dew that collects on the cobbles in the morning. The faint yet sweet smell of the miles and miles of vineyards that sweep over the countryside. The patterns of the birds that flock overheard and nestle in the ramparts and steeples. The sound of sleepy shop owners and vendors opening their windows and unlocking their doors at the break of dawn. The taste of a fresh pastry, bought in a cramped and cluttered bakery, that is still warm to the touch. Really, the town of Montepulciano is less a collection of buildings and more a collection of senses—of feelings and of memories. cities + touch
From the moment you enter Montepulciano (and arguably a little before), the air of the city seems tangible – like you could grip it in your palm with ease. It is not as soft as the air in, say, Caggiole or Montefollonico – but rather, the altitude makes it feel hardy and firm – as though it has been deliberately placed and put to good use. An air that you must slightly push through, yet supports your body and seems to simultaneously pull you along with it. cities + smell
Arguably, the strongest sense of the city lies in its smells. Here, I will attempt to record some of the most reminiscent scents that I experienced within the city’s walls: The faint aroma of perfume spilling from an open window in one of the narrow-streeted
neighborhoods. Rubber scraping the cobbles and salty sweat as bicyclists whirl past. The fresh and crisp, yet faint smell of Montepulciano grapes baking in the sun’s heat. The scent of sorbet—of raspberry, of lemon, and of toffee—being eaten by a family sitting on the lawn of the main piazza. cities + sight
In the daytime, sunlight illuminates the city in such a way as to frame the buildings’ tops and cast the bottoms in deep shadow – creating the illusion of two separate entities within each structure. The dimness of the city’s paths seems to draw the eye upward – towards the rooftops and the sky. However, the shadowed streets themselves yield quite an interesting set of views as well. One’s eye can only travel as far as the winding voids allow – inviting one to notice the details of their immediate surroundings and ultimately urging the city to be swallowed in small bites. cities + taste Montepulciano is the taste of an aged and delicate wine. Of a group of street performers dancing in the piazza. Of a slow and dewy morning. The taste of Montepulciano is not necessarily constrained to that of edible substance, but rather, of the flavors that emit from the activity of the city and of its occupants. The essence of each movement, of each song, of each bite, of each conversation adding a unique seasoning to the city itself. cities + sound Deep chimes emit from the bellows of the church on the quarter of every hour. Children giggle and squeal as they skip along the cobbles and mothers groan as they follow. A guitarist strums a buoyant tune in the doorway of an abandoned shop. The winding cobbled streets and lofty stone towers seem at complete odds with the city’s rich saturation of sound. Montepulciano is a city that begs for silence, but is never appeased.
3 Imaginary Montepulciano Section, Mixed Media, 18” x 24”
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4 Carving Light Process Diagrams, Charcoal and Graphite Collage on Vellum, 18” x 24”
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In an attempt to study light and the ways it could fill the site, I crafted a series of subtractive charcoal drawings to help gain a visual and diagrammatic way of understanding its potential. I overlayed possible “scoops” that acted in each scenario as means of channeling the light. I also began to make hand crafted contoured section models out of cardboard. With this method, I was able to be purposeful with each section – building each individual layer upon its predecessor.
My final cantina design centered around two light wells – tapering inward to act as a funnel. One faced the East and the other faced the West. This way, light could be used in different ways throughout the day – utilizing a full range of sunlight. Curved walls accentuated these wells, allowing daylight to cascade smoothly and elegantly from one space to the next.
5 Study Model, Acrylic + Museum Board 6 Contoured Cardboard Study Model
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In my cantina design, light governs program placement. The large, open, public spaces are located at the top of each light well. I wanted these spaces to be bright, comfortable, and welcoming. The more intimate spaces, such as the cellar and the tasting room, are located within concave masses that comprise the light wells, thus shielding it from the “funnel� of light. I wanted these spaces to feel more quiet and free of distraction. The focus of these rooms are on the wine. The retail space pierces through one of the light wells, allowing it to be both on top of and within the curve, and thus acting as a type of intermediate space. This area is meant to be free and welcoming for the masses, but also with a focus on the wine. The curve that makes up the East light well is cut at eye level just before intersecting the retail space, allowing for visitors to, at one point, be able to simultaneously see upwards towards the open balcony and downwards to the cellar (indicated by the orange figure).
7 West Elevation, Via Ricci, Charcoal and Digital Collage 8 East Elevation, Via del Pie al Sasso, Charcoal and Digital Collage 9 Program Placement in Final Contoured Model
WINE CELLAR
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TASTING ROOM
E GATHERING SPACE
ENTRY
BALCONY ETAIL
Floor 01
Floor 02
Floor 03
Floor 04
Floor 05
Floor 06
Section C
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LIFE DRAWING
Spring 2018
The following drawings are part of a semesterlong, in-depth study of the human figure. Throughout the semester, I explored gesture, structure, proportions, and anatomy of the figure and portrait. The course focused on the expressive qualities of drawing the figure through experimentation with various approaches and drawing mediums, while continually emphasizing the importance of drawing from observation. From thirty second gesture drawings to skeletal and muscular system analyses to week-long independent self portraits, the scope and scale of the
Professor Kathleen Thum Duration: 16 weeks Type: Academic - Individual
projects varied – allowing me to fully explore the representation of the human figure and accumulate a multi-faceted and informed approach to drawing from life.
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1 Self Portrait, Watercolor and Graphite on Paper, 24” x 36” 2 Various Gesture Studies, Charcoal and India Ink on Newsprint 36” x 48”
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3 Nude Figure, India Ink on Watercolor Paper, 18” x 24” 4 Self Portrait, India Ink on Watercolor Paper, 18” x 24”
5 Portrait Shadow Study, Charcoal on Newsprint, 36” x 48”
Layered Figures, Graphite and India Ink on 3 Layers of Mylar, 36” x 48”
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A PLACE TO STOP : GUELPH MARKET HALL
February - March 2018
Guelph.
Professor Dave Lee
A town rich in texture and vibrant in culture. A place that is welcoming. Active. Growing. Thriving, even.
Duration: 3 weeks Type: Academic - Individual
But is lacking a connection. A peculiar gap exists within the city’s core – disconnecting its downtown area, residential sector, and riverfront. Through the creation of a new market hall and master plan of the area,
1 Layered Process Sketches 2 Perspective View along Path, Digital Collage
I am proposing a mend to this gap – a stitch within the urban fabric at a scale suitable for Guelph with the intention of fostering community without over-urbanizing. A place to slow down, to wander, and to connect. A path.
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An urban pathway acts as a means of mending the city. Currently, a major barrier exists within the city along the railway – an elevation change as well as a definite edge to Guelph’s downtown. The implementation of a path intends to address this barrier and ultimately connect the city’s major landmarks – the downtown core, the riverfront, the train station, and the historic basilica. The path centers upon the idea of slowness. Rather than providing a straight corridor as a way to connect these landmarks, a winding path is proposed. While a straight path is
3 Master Plan Process 4 Master Plan of Site
direct, it also acts as a “means to an end” – a mere passageway from one landmark to the next. A winding path breaks this idea by providing the opportunity to slow down and wander. Additionally, the width of the path itself fluctuates in order to strengthen the idea of slowness. The swelling of the path indicates a place to gather, to stop, to rest, and to interact. Along these swells, radiating contoured steps provide places to sit and courtyards act as small landmarks along the way. By encouraging the city of Guelph to slow down, the idea of community is strengthened.
straight path – “means to an end”
setting back boundaries creates courtyards
winding path creates “urban pockets” – places to stop
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widening of path encourage pedestrians to slow down + engage
flat path
path peels up to create seating
“peel” becomes more pronounced, allowing the spaces inside to become inhabitable
the offset of contours connects the path to the building – the interior to the exterior
By manipulating contours and peeling the pathway upwards, the market hall itself begins to emerge from the path. Contours that previously indicated a place to stop become more dramatic and thus, occupiable – morphing the path into a market. Through this method, the market hall is able to be integrated seamlessly along the path.
5 Market Hall Interior Effect 5
Floor 01
a. residential unit b. restaurants c. covered, open-air market d. public support e. back of house f. storage g. indoor market h. lecture/performance hall i. administration Floor 02
Section A
Section B
Section C
The program of the market itself is organized in “bands” along the contours of the path, allowing the flow of spaces to follow the path’s grain.
tenants. This also alludes to the master plan’s path logic, with the idea of having boundaries that are pushed back to allow for the path.
There is an inherent heirarchy that must be taken into account when arranging program radially along a central axis. Thus, along the path’s most immediate edges, are the most public spaces – the market and the restaurants. On the edge farthest from the path are the more private areas, such as Back of House.
Ultimately, the idea of a connecting pathway remains paramount. The path swells as it approaches the market, thus indicating a place to stop and to connect. Additionally, the market itself flanks the path to accentuate it.
The residential units are set aside from the market hall to create a sense of privacy for
The significance of the market hall lies in its ability to accompany this path, encouraging interaction and community while also bringing forward the connection that Guelph so desparately needs.
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Stills from Pathway Video
Three individuals are attempting to meet at the local market hall for a bite to eat. The three people will be entering the market from three different access points, each circulating through the market in order to reach a common destination. This video seeks to show the different ways people can interact with the market hall, ultimately highlighting how the market effectively operates in order to tie together the city.
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ENTROPY
April 2018
This project is largely an experiment with gelatin-plate monotyping, a type of printmaking that uses a gelatin matrix and includes a process of applying ink directly to the plate. This particular type of printmaking yeilds only one unique print per run, typically prompting a methodical approach to obtain a single piece. My study inverts this approach, instead focusing on the process – viewing each print of the experiment as a small part of a larger whole. The series of twenty prints was created in one, five-hour long session. Beginning with a pure black plate, each
Professor Todd Anderson Duration: 2 weeks Type: Academic - Individual
subsequent print utilizes a variety of handmade stencils and found objects and are each a direct reaction to its predecessor, resulting in a series that depicts a gradual decline into disorder.
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1 Detail of Gelatin Print, Ink on Paper 2 Gelatin Print Series, 20 individual pieces, Ink on Paper, 9� x 13�
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TWENTY CONCENTRIC CIRCLES
July - August 2018
This research seeks to further refine the technique and craft of folding fiberglass developed during the fabrication of “Chakrasana” the previous summer. The study focused on the creation of the first series of curved crease folded fiberglass structures. With a natural double-curve sadle surface, the technique results in a stronger, sturdier system than that of straight crease folding.
Design Topology Lab Duration: 5 weeks Type: Research Internship Lead Designer: Joseph Choma Team: Claire Hicks, Wilson Marshall, Sarah Nail, Joseph Scherer Dimensons: 4’ x 4’ x 4’
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laser cut masking template
cut masking material with drag knife
roll out 8’ x 8’ fiberglass sheet
trace template
Apply masking material to fiberglass
Apply resin
Apply Bondo to planar portions
Remove masking material
Fold along fabric seams and clamp into position
Apply resin to fabric seams
1 Paper Study Model of Final Form 2 Detail of Final Fiberglass Sculpture
Final Sculpture
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COLUMBIAN EXCHANGE MUSEUM
September - December 2018
Tasked with creating a Columbian Exchange Museum in the heart of Genova, Italy, the challenge of this project was to discover and expose the roots of the historical event and communicate its significance to people today.
Professor Henrique Houayek Professor Luca Rocco Professor Danilo Vespier Duration: 12 weeks Type: Academic - Partner with Wilson Marshall All components of the project were completed with mutual effort.
1 Section D 2 Exploded Systems Diagram
The Columbian Exchange, by definition, is the widespread transfer of commodities, people, and diseases across the Atlantic Ocean. The exchange began with the voyage of Christopher Columbus and the discovery of the Americas.
My partner and I view the Columbian Exchange not as a historical and static event of the past, but rather as a catalyst for a revolutionary way of thinking that is still very relevant today. For this reason, our museum focuses less on a single event and more on a shift of thought and pattern of human behavior.
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To communicate this concept, we designed the interior of the building to prompt the visitor to wander and experience the rawness of this human intrigue first hand. A field of closely spaced columns covers the entire footprint of the building. Suspeneded within this field are gallery floors, separated not by walls, but by level change – creating visual connection and physical separation. In order to open voids within this forest, ellipsoid shaped Booleans cut the columns forming the gallery spaces. Rotating exhibits in these galleries highlight areas of today’s avanteguarde thinking in a variety of fields. The galleries of the museum are organized in a stacked double loop around a large light well. This provokes the viewer to explore in order to discover the final experience of the central void. Once in the void, the viewer can clearly see the series of galleries that border the space and reflect on their journey taken.
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To bring natural light through to the interior forest, apertures cut through the precast modular roof system. Angled in preference to softer northern light and cut to meet the column system at an elegant tangent, the geometry of the void was designed to favor cast fabrication with an easily removable and reusable mold. From one 3D-printed mold, it is possible to cast the entire modular system.
3 Casted Modular Lighting/Structural System Model 4 3D Printed Reusable Mold 5 Casted Modular Lighting/Structural System Model
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Wall Section + Module Formation Diagram
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5 Interior Perspective of Gallery Space, Digital Collage 6 Interior Perspective of Gallery Space, Digital Collage
7 View of Museum through Porta Soprana, Digital Collage
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Interior Perspective of Central Light Well, Digital Collage Interior Perspective of Gallery Space, Digital Collage
10 View through Covered Entry Portal, Digital Collage