CHLOE SIAMOF
CHLOE SIAMOF chloe.siamof@gmail.com | (920) 915 1441 chloesiamof.com
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TABLE OF CONTENTS FALCONWORKS THEATER
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QUARRY HOUSE
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THE DOMINANT VOID
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PERFORMANCE LANDSCAPE
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THE VILLA IN THE LANDSCAPE
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BIANCHETTI HOUSE
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FALCONWORKS THEATER Critics: Turner Brooks & Adam Hopfner | Fall 2015 Falconworks is a community-focused theater company in Red Hook, Brooklyn that utilizes the active industrial site of the Gowanus Bay Terminal and its decommissioned grain elevator as its primary performance space. Offered a permanent home on the site, the new building will act as both a performance space and community center. The theater's siting and design is inspired by the existing monumental piles of gravel, which mask one's view of the grain elevator and create a dramatic reveal as the corner is rounded. Replacing the gravel piles is a solid rubble wall and an auditorium whose roof folds open so that the 100ft tall elevator becomes the backdrop of the main stage performance. In addition to replacing the gravel piles, the building is situated along two axes of walking traffic that connect the building to the road and facilitate movement to the adjacent parks with an interior street, as shown by the site diagrams on the following pages. On one side of the “street,� masked by a rubble wall, is the classroom and rehearsal spaces. As community members walk through the building, they interact with Falconworks members crossing the hall between the rehearsal spaces and the auditorium, further breaking down the barrier between actor and audience.
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Top : Southern entrance from path, the former site of large gravel piles
Bottom: View of theater looking south
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Perspective looking out from within the auditorium
CLASSROOM
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CLASSROOM
REHEARSAL SPACE
REHEARSAL SPACE
RESTROOM
RESTROOM
BOX OFFICE
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QUARRY HOUSE Critics: Turner Brooks & Adam Hopfner | Fall 2015 Situated in a natural alcove of the decommissioned, picturesque portion of Stonycreek Quarry in Branford, CT, the small dwelling mimics the faceted rock around it, sitting just inches above the water. Accessed by boat, the panels of the house open to reveal its interior and to adjust the amount of natural light admitted into the structure throughout the day.
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View of the quarry, looking south
Corresponding view of the dwelling, looking south
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Close-up of dwelling with side open and boat docked, looking north
Top: Northern view of dwelling, Bottom: View looking out from house
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Top: Plan view of quarry house, Bottom: Detail of hinge and panel tectonics
Roof panel opening and boat docked, looking south
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THE DOMINANT VOID Critics: Turner Brooks and Adam Hopfner | Fall 2015 Utilizing raw furring boards, the dominant void is a full-scale installation that aims to create a sense of space that is more palpable than the structure itself.
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PERFORMANCE LANDSCAPE Critics: Joyce Hsiang & Jennifer Leung | Spring 2015 PART ONE Exploring the relationship between narrative and time, an opening scene from the film “American Beauty� was analyzed and translated into a topographical basrelief. The bas-relief is a full-scale, one-to-one architectural element. Portions of the relief move along tracks, obscuring both the underlying windows and grid system generated by the scale of various framing systems in the scene: window mullions, a camera screen, and a picture frame.
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PART TWO The movement of the concrete bas-relief is expanded into an omni-directional performance landscape. The five main masses, or platforms, are connected by a "path;" however, at scale, the path is only a foot and a half wide. The treacherous path instead functions as a visual connection between the platforms. The complete route of the path can only be viewed from the highest central platform.
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THE VILLA IN THE LANDSCAPE Critics: Bimal Mendis & Trattie Davies | Fall 2014 THE ROOM A country villa derived from an inherited kit of parts precedent study of Frank Lloyd Wright’s Fallingwater, specifically the kit’s three-dimensional gridded landscape. The first step was creating a circulation room utilizing the kit of parts. The ceiling of the room undulates like the bed of the river below Fallingwater but maintains the 2x, x rhythm of the grid of the initial kit of parts in the spacing of the wall planes.
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THE VILLA In the villa, the 2x, x grid is traded for an airy planar system and a secondary system of raised earth. Space is created by repetitive wall planes and carving through extruded ground.
The villa, west elevation
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The villa, perspectival view of west elevation
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THE LANDSCAPE The design series culminated in the creation of a site that mediates between villa and landscape. The earth creeps up between the planar walls to form enclosure and peels away at points of reveal.
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The villa in the landscape, west elevation
Sectional study
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Section
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Detail of villa’s ground floor carved space
Ground floor plan, villa in the landscape
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BIANCHETTI HOUSE ANALYSIS Critics: Emmanuel Petit & Victor Agran | Spring 2013 A semester long formal analysis of Swiss architect Luigi Snozzi’s Bianchetti House in Locarno, Switzerland. The building’s massing distribution and motion were analyzed through model-making and drafting. Models shown were included in Petit’s retrospective book.
Left: Massing model, perspectival view Right: Circulation axonometric drawing
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Section of Bianchetti house, looking west
Massing Model, elevations
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Plan drawing of Bianchetti House
Massing Model
Following spreads: Motion (contour) model, perspective and plan views
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