Cynthia George | Architecture Portfolio | 2018

CHG C Y NTHIA • H E L E N A • G E O R G E

ARCHITEC TU RE P O R TF O LIO • 2017- 18

(609)619-1127 CGEORGE@SYR.EDU

LIST OF PROJECTS HANNOVER PAVILION: THE SWISS SOUND BOX PETER ZUMTHOR, 2000

MUSEUM ISLAND: T W I S T E D FA U X CONTEXTUAL S O H O FA C A D E HANNOVER RE-CONSTRUCT 0’

0’

2

2

RECONSTRUCTED PILE PROJECT 1

1

-5’9”

3

-5’9”

3

0’

5

4

1: studio 2: pavilion 3: pavilion 4: studio 5: studio 6: library 7: pavilion

0’

5

-9’10”

1’5.5”

6

-9’10”

4

1’5.5”

6

MUSEUM ISLAND: TWISTED FAUX Based in the heart of Berlin, the location of this site has a history of a strong, definitive language of architecture.

This central borough of Berlin had many of these old, iconic buildings destroyed and was faced with the challenge to recognize the area’s history as well as the city’s need to develop to fit its future. This design of a community arts center uses the form and facade of the site’s previous, demolished building. These are then transformed into a new, unprecedented form thus interrupting the landscape of its surroundings.

COURSE: ARC 207 PROFESSOR: MAYA ALAM SEMESTER: FALL 2017 INDIVIDUAL WORK EXTERIOR VIEW

SITE RESEARCH

The central borough of Berlin known as Mitte is known for its many historically rich buildings, such as the Berliner Dom on Berlin’s famous Museum Island.

During World War II and the Cold War, much of Berlin was demolished, especially these old buildings that distinguished Mitte as a cultural hub of Berlin.

In an effort to rebuild the area into the beautiful place it once was, many destroyed buildings were rebuilt exactly as they were before the wars, thus creating empty shells that no longer served their purpose, known as “historical fakes”.

The site had an arts center called Bauakademie, which, after its destruction now has printed representations of the facades attached to scaffolding as a temporary solution to the problem all of Mitte currently faces.

PLAN OBLIQUE

IMAGE DISTORTION/IMAGE MAPPING When moving closer to the core of the design, the image of the facade of Bauakademie becomes more and more distorted.

FORMAL EVOLUTION

SECTIONAL CHUNK MODEL

FLOOR PLANS

ascending clockwise from bottom left

2

2

1: GALLERY 2: STUDIO 3: CLASSROOM 4: LIBRARY 5: OFFICES 6: WORKYARD 7: BATHROOM

1 4

7

7 4

2

2

1: GALLERY 2: STUDIO 3: CLASSROOM 4: LIBRARY 5: OFFICES 6: WORKYARD 7: BATHROOM

7

7

2

3

5

2

1: GALLERY 2: STUDIO 3: CLASSROOM 4: LIBRARY 5: OFFICES 6: WORKYARD 7: BATHROOM

1

7 7

3

2

2 2

6

1: GALLERY 2: STUDIO 3: CLASSROOM 4: LIBRARY 5: OFFICES 6: WORKYARD 7: BATHROOM

7

7 4

4

UNROLLED SECTION

75’6 60’ 57’3 54’

47’3 39’ 37’6 35’ 33’6 30’

21’6

15’

7’

2’

-8’

-15’ -19’

-28’ -31’

-51’3

CONTEXTUAL SOHO FACADE This infill, integrated facade is located in the SoHo neighborhood of Manhattan, which is known for its distinctive fabric of its buildings’ facades. This design pulls directly from the typical form of the SoHo facade to be able to connect itself into its surroundings, while introducing a new language of spatial conditions within the building. The basic shape of the facade is also used to create multiple, separate structural systems to further distinguish the spatial conditions of the design’s interior.

COURSE: ARC 108 PROFESSOR: YUTAKA SHO SEMESTER: SPRING 2017 INDIVIDUAL WORK

FORMAL ANALYSIS

The facade’s basic form is taken directly from the context of SoHo’s typical facade. From this comes a dynamic form with three main components: a vertical and horizontal element and glass.

CONCRETE CANTILEVER GAP METAL TIES

GLAZED CURTAIN WALL

FLOOR PLANS ascending

CONCRETE SUPPORT CONCRETE ANCHOR

The form translates into three separate structural systems that correlate with its basic components: a heavy cantilever tied down at one end, a column-grid that supports floors 2-4, and the glazed curtain wall.

LONG SECTION

CONCRETE CANTILEVER GLAZED CURTAIN WALL

CLOSED COURTYARD

GLAZED CURTAIN WALL

COLUMNAR GRID

HANNOVER RE-CONSTRUCT This construct uses similar tectonic strategies as Peter Zumthor’s Hannover Pavilion at the Expo in Hannover in 2000, which is made entirely of series of wood stacks to create walls permeable to sound. These series of walls alternate directions to create three types of spaces based on the adjacent walls’ orientations. The design of the construct evolves the tectonics of the walls to create more variation in the openness of spaces in between the walls, which is represented in different styles than the precedent.

COURSE: ARC 207 PROFESSOR: MAYA ALAM SEMESTER: FALL 2017 INDIVIDUAL WORK

PRECEDENT:

NEGATIVE SPACE STUDIES

PILING FORMATION

WOOD PILES

SECTIONS

AXONOMETRIC

CONSTRUCT:

TRANSFORMATION OF WOOD STACKS

NEGATIVE SPACE STUDIES

PILING FORMATION

EXPRESSION OF FORM

RECONSTRUCTED PILE PROJECT Using a similar language of how slabs are stacked on top of one another in the Hannover Construct, this art center’s form stems from a simple piling of volumes on top of one another. This pile project is then transformed via slicing and stretching to create a more dynamic form. The form is then situated in the site to create patterns of the original piling’s legibility, and it is used to dictate the language of the interior program and circulation patterns.

COURSE: ARC 207 PROFESSOR: MAYA ALAM SEMESTER: FALL 2017 INDIVIDUAL WORK

SITE ANALYSIS

Visibility patterns of the site from its surroundings

Dominant pathways of visibility, along which the form is oriented

FORMAL ANALYSIS

STUDY MODELS

FLOOR PLANS

ascending clockwise from right

1

3

2

1

34’3”

4 32’1”

7

5 38’9”

6 34’3”

1: CLASSROOM 2: GALLERY 3: TERRACE 4: STUDIO 5: TERRACE 6: ADMIN. OFFICES 7: GALLERY 8: TERRACE 9: TERRACE

8

91

4 1

2

3

5’2.5”

5

6 8’9” 10’3”

1: STUDIO 2: TERRACE 3: TERRACE 4: TERRACE 5: CLASSROOM 6: GALLERY 7: CLASSROOM 8: TERRACE

8

7

10’3”

0’

2

1

-5’9”

3

0’

5

-9’10”

4

1’5.5”

6

7

1’1”

0’

1: STUDIO 2: PAVILION 3: PAVILION 4: STUDIO 5: STUDIO 6: LIBRARY 7: PAVILION

SYRACUSE UNIVERSITY SCHOOL OF ARCHITECTURE 120 HANKINS ROAD HIGHTSTOWN, NJ 08520 (609)619-1127 CGEORGE@SYR.EDU