CORINNE SNYDER (850) 304-3490 1325 Porter Street Apt B Richmond, VA 23224
U F | U N D E R G R A D UAT E CORINNE SNYDER
QUALIFICA 4
CORINNE SNYDER MArch Applicant csnyd@gmail.com 1325 Porter Street Apt B Richmond, VA 23224
ATIONS EXPERIENCE
UNIVERSITY OF FLORIDA B.A. ARCHITECTURE JARED DUCOTE ARCHITECTS HKS ARCHITECTS UF_SOA TEACHING ASSISTANT UOFU GRADUATE ASSISTANT
INVOLVMENT
HABITAT FOR HUMANITY COLLEGIATE CHALLENGE AIA RICHMOND CHAPTER MEMBER STUDENT REPRESENTATIVE ACOC COMMITTEE UF REC SPORTS OFFICIAL
AWARDS
AIA LEHMAN SUNDAY PRIZE HONORABLE MENTION UF ARCHITRAVE PROJECT PUBLICATION FLORIDA ACADEMIC SCHOLARS AWARD EAST ASIA STUDY ABROAD DEANS LIST
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CONTENT 01
URBAN SEAMS
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02
FRAGMENTED REFUGE
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VARIANTS OF DISPLAY
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CULTURAL LINKAGE
LO G I C - W I L L- G E T-Y B . - I M A G I N AT I O N EVERYWHERE
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WOVEN STRUCTURES
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EAST ASIA STUDIO
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EXTRA WORKS
YO U - F R O M - A -TO - W I L L -TA K E -Y O U
-ALBERT-EINSTEIN
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S E PA R AT E - DA R T
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URBAN-SEAMS
FA S H I O N - I N S T I T U T E - A N D H O U S I N G - C O M P L E X J O I N T- P R O P O S A L-W I T H - L AU R A - R O D R I G U I E Z
Studies of clothing stitches seams were drove the key joints in this project [Dart, Placket, and Pleat]. The Fashion Institute joins two elements: the institute and the three residential towers. Each tower houses on of the three main programmatic elements of fashion design [Design, Craft, and Performance]. A fourth element the [Pattern Room] becomes an essential connection between Craft and Design institutes. Where each tower meets the institute a unique seam in invented.
I N T E R LO C K - P L E AT
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P E N E T R AT E - P L A C K E T
URBAN-SEAMS D
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P
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Joint studies investigated how fabric seams could be translated into spatial and structural conditions. Different materials were used to investigate possibilities for attachment. The separation joint between the performance tower and the institute was derived from a darted fabric seam. This seam creates more space accommodating recesses or protrusions from surfaces or joints. This separation lifts the tower from the Performance Institute creating a void with circulation stitched through the space connecting tower to institute. DART /dart/:noun: 1.a small fold put tucking fabric into a point to take in ease and provide shape to a garment. They are frequently used in clothing to tailor the garment to the wearers shape.
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URBAN-SEAMS P L A C K E T - P E N A T R A T E The tower comes down to meet the institute housing the design program to penetrate creating an opening for public access into the institute. Spacially giving way for the volume of the student lounge to intersect into the entrance to the institute, displaying the student activities to the visitors of the institute.
PLACKET /’plakit/:noun: 1.an opening or slit in a in a garment, covering fastening or giving access to a pocket, or the flap of fabric under such an opening.
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URBAN-SEAMS P L E A T - I N T E R L O C K A pattern maker transitions between the designer’s concepts and the finial product. The pattern maker must work with the design and craft elements in order to create a plan taking a a two - dimensional representation of an idea and create a three- dimensional product. The institue housing the pattern room conceptually uses pleating or interlocking concepts to joint the craft and design spaces. The pattern room is lifted slightly and is folded over to the design center , folding into the space with a bridge. PLEAT /plet/:noun: 1. a double or multiple fold in a garment or other item made of cloth, held by stitching on the top or the side
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FRAGMENTED -REFUGE U R B A N - H O U S I N G - W I T H M I X E D - U S E - A N D - R E T A I L The tower is fragmented into two elements jointed by an exterior balcony space. The lower section remains a porous filter creating shelter [refuge] from the street, but still relates the occupant to the immediate context [community] engaging the occupant with views of the street while buffering them from the intensity. The upper fragment of the tower completely separates occupants from the immediate context and instead makes connections to the larger city-scape [habitation].The lower common space acts as a filter connecting to the back alley. While sifting people through the perforated walls it creates a buffer zone. By removing occupant from intensity of the street, they become an observer. The perforated skin obscuring views inward but allowing selected views outward.
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FRAGMENTED -REFUGE S H E L T E R E D - V I E W S
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U R B A N - S L O T STACKED-ART-GALLERY WITHGROUND -LE VEL-BAR/C AFE This urban infill in downtown Gainesville, Florida becomes an exaggeration of the different layers of display presented in the surrounding stacked context. As it progresses upward each level of the incision shifts to provide different variants and interactions of display. The ground level turns the corner of the transparent storefront by creating a recessed void housing an indoor outdoor bar. A solid volume housing the permanent gallery protrudes over it. Above repetitive windows create a perforated envelope to reveal activity in the interactive visiting gallery. The top level creates display within itself providing a split level, allowing the inhabitants to become part of the exhibit to the viewing occupants above.
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L E V E L - 1
L E V E L - 2
L E V E L - 3
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SECTION A
SIDE
YARD
C U LT U R A L- L I N K AG E
P E R F O R I N G - A R T S - G A L L E R YA N D - C U LT U R A L- C E N T E R Derived from the Charleston side-yard, the outdoor stage links the programs of service and performance by connecting the performance stage to the loading dock, blurring the boundaries between the two. This allows the act of preserving and servicing art to become the performance. The remaining yard, a void in the building mass, creates a trans-formative civic space and a new side entry condition into the main gallery.
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SECTION B
WOVEN-STRUC TURES P A R A M E T R I C - D E S I G N
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E
A
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U R B A N - D E V E L O P M E N T O F - S M A L L - W I L D - G O O S E - PA G O TA - C O M P L E X D E S I G N -T E A M - L E A D - W I T H - G A B R I E L A - G U L L I E N - A N D - S O P H I A - C A N E
The manner in which a city is structured determines how one orientates and identifies oneself in a place . In the old historic core in the city Xian, the buildings as figures formulate the urban blocks; the courtyards, street and open plazas formulate the urban grounds. The smaller urban blocks get bigger as one moves away from the center of the city. As the city expands radially two city walls encapsulate the growth. In this second ring effect one can see the difference in figure ground as the buildings eventually become less true to the figure/ground relationship, and become more objectified. The Small Wild Goose Pagoda is a substructure existing within the city. It exists is on a historic site containing a collection of ancient buildings housing a temple complex. Each of the proposed building sites in the Small Wild Goose Pagoda Complex embodies a condition present in the city structure of Xian. The Urban Village reflects the small scale figures tightly knit together present in the ancient inner wall. The relationship of the figures further informs a layered communal culture shared by the inhabitants. The Collections of Courtyards investigates the relationship between a looser knit figure ground where streets and courtyards emerge, creating meeting places for larger groups to organize. The meandering garden becomes an open ground with objects placed in it giving the inhabitant little direction or program.
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A CC OOLUL ERCTTYI OA NR-DO SF
B
MIANDERING G A R D E N
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U R B A N V I L L A G E
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P R O C E S S O F - M A K I N G F U N C T I O N A L - F O R M S Concept is always present in any creative work. The process of my architectural design is directly connected to the process of making. With each medium comes a different way of expression of concept. The invention of a ceramic work questions the tactile experience we get when we hold one of these objects. Perhaps creating a greater level of intimacy with them with not only the sense of touch but also the ritual of use. Included in this ritual is furniture, challenging not the way we hold the object but how the object holds us. And finally the question answered by the stance to convey these emotions and experiences through a flat medium such as oil painting.
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