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d a n i e l s o n s
amy danielsons
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portfolio
architecture
table of contents
contents
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.............. westcott house
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. . pedestrian bridge p39 p49 photo graphy
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spa design
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. .hand . . . media
. . . . . . . .shawnee . . . . . . .pavilion . . . . . . . p17 p9
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design + build p21 p17 . . . . . . . . . . . . . . . . . . . . . .
amydanielsons architecture portfolio p39 p25
M I A M I
adaptive reuse
. . . . . . fallingwater . . . . . . . . . . . . . . p13 p21
professional practice
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U N I V E R S I T Y
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danielsons amy C
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daniela8@mail.uc.edu +1. 513.478.6946 www.amydanielsons.com
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E D U C A T I O N UNIVERSITY OF CINCINNATI
Master of Architecture, May 2014 Graduate Assistant, 2013-2014
MIAMI UNIVERSITY, Oxford Ohio
B.A., Architecture, May 2011 Magna Cum Laude
P R O F I C I E N C Y
E X P E R I E N C E LEED GREEN ASSOCIATE
MARCH 2012
MARKS THOMAS ARCHITECTS - BALTIMORE MD JUNE 2012 - DECEMBER 2012 - CO-OP
Project designer for the schematic design and construction administration phases of the SEED Ohio and Maryland Schools, including submittal review, on-site construction management, and presentation to SEED School clients.
AutoCAD, Revit, Rhino (fundamentals) SketchUP, Artlantis Render, Adobe Creative ow and Mac OS. Suite, Microsoft O
Developed digital perspectives for the adaptive reuse of a historic warehouse in Baltimore utilizing a combination of Revit and Artlantis Render.
Experience in all project phases, conducted site survey, pencil and watercolor rendering, model craft, woodshop, and design details.
GBBN ARCHITECTS - CINCINNATI, OH
I N T E R E S T S Draw and paint, primarily with pencil and watercolor. Studying classical piano for 12 years. Taught beginning and intermediate piano for seven years. Cincinnati Half-Marathon, Miami University Triathlon. Casual photographer.
HONORS UNIVERSITY OF CINCINNATI SCHOLARSHIP
DECEMBER 2011 - MARCH 2012 - CO-OP
Collaborated with project team to develop aRevit model for the design of a new clinical research lab for Cincinnati Children’s hospital. Responsible for the documentation of several LEED credits and prerequisites for a new urology building in No rwood seeking LEED certi Edited construction documents and helped prepare ASI bid packages.
SCHICKEL DESIGN COMPANY AUGUST 2009 - DECEMBER 2009 INTERN
SANFORD Z. FRIEDMAN AWARD
Developed residential drawings for the firm’s urban renewal project at 1421 Race Street, in Over-theRhine, Cincinnati Ohio.
RUSSEL AND ADA EVANS SCHOLARSHIP
Modeled interior spaces utilizing computer modeling software to facilitate the design process.
SEPTEMBER 2011- ARCHITECTURE MAY 2010- ARCHITECTURE
MAY 2009- ARCHITECTURE
CRANBROOK HEALTH W E L L N E S SC E N T E R +
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FALL 2012
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cranbrook 1
environment
As the primary programmatic space, the fitness studio marks the intersection of the site’s primary and secondary axis. The design responds to the environmental aspects of the site primarily through daylighting control. The long axis of the building is oriented north-south, paralleling the secondary site axis and enhancing the line of sight through the building’s height and orientation.
structure
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Perpendicular to the secondary site axis the structure is exposed as if the building were sliced open, revealing the simplicity of the design. The studio’s structure is truthfully expressed as an ephemeral inner layer supported by a series of simple trusses wrapped by horizontal wooden louvers. The east-west facades, which parallel the axis, are more plastic, obscuring the structure by the wooden louvers.
3construction
The building consists of two primary layers: an inner semi-transparent box enveloped by a denser slatted facade. A contrast between the lighter interior liner and the darker exterior wrapper is expressed on the southern facade of the studio as the glass box extends beyond the wooden wrapper and creates a dialog with the axis it parallels.
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environment
structure
construction
health+wellness C R A N B R O O K
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C A M P U S
RELAX BY DESIGN The health and wellness center is designed as a hypothetical addition to Eliel Saarinen’s Cranbrook Campus in eastern Michigan. The design synergizes aspects of environment, structure, and construction into a single composition.
The design intent of th about the true struct materials. The interio
revealing little le and cleanly detailed, mp i s is r rio te ex e Th e y. ted by the rawness of th nded in the human bod ua ou nt gr ce is ac us d, mp te ra Ca b k le oo ce br is at Cran d and assembly he spa + wellness center rast, structure is expose nt co er perspective. In . ing ild bu e th of tside world from an inn ou e th of s ot sh tural nature or program ap sn ng al, purposefully frami or is intimate and person
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estrian pedbridge e x t e n d i n g
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In the fall of 2008 I designed a pedestrian bridge near one of the main entrances of Miami University’s campus. The design was based on the form of a traditional covered bridge, specifically, a similar structure near the edge of campus. However, rather than recreate this traditional bridge, I altered the form based on the bridge’s structure. I expanded the idea of a simple box, twisting it to create a dynamic geometry which embraced the pedestrian within and created a unique relationship between the viewer and the streetscape.
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breaking the BOX
recreate. reinterpret. reinvigorate. traditional form inspires the creation of a new structure. A dynamic pattern of rotated squares, aesthetic yet inherently structural. It is
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people crossing
corner connection detail
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DESIGN + BUILD STUDIO F
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fallingwater
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DESIGN + BUILD STUDIO
j a p a n e s e In the summer of 2010, I explored how human proportions can encourage interaction with architecture by designing a kinetic shelter. Located adjacent to Frank Lloyd Wright’s Fallingwater House in Mill Run Pennsylvania, the structural members are an intensification of the traditional finger joint, inspired by the tangled complexity of the surrounding forest members. Each piece is intertwined to create a dynamic structure as the seat gently reclines to accept the human figure resting against it.
exploring the human form through a study of organic a
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b a s e d o n a c r e a t i v e m o d i f i c a t i o n o f t h e traditional finger joint, d e s i g n b e c o m e s a n i
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nal finger joint, inspired by the tagled complexity of forest timbers. each piece is intertwined to create a dynamic structure as the seat gently inclines to accept the human figure.it is
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corner detail
organic
perspective
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landscape
B E N D I N G
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F O L D I N G
mmaakki ni ngg ppl al accee
S T U D I O
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Landscape and architecture form a tectonic bond.
Structure is defined by site.
I began this project by studying the manner in which nature and architecture are inherently interrelated. I then used the process of paper folding as a metaphor for the intertwining relationship of nature and structure, tied together by the bending and folding of architecture and landscape to design a pavilion for Shawnee County Park in southwest Ohio.
The pavilion design evokes the experiences of light and shadow as well as the ceremonial earth mounds, built by the Shawnee Indians. Each fold within the pavilion was an interpretation of the hypothetical convergence of site topography with the Shawnee earth mounds, resulting in the soft curvilinear form of the pavilion. The manner in which light interacts with the design mimics the soft shadows which filter through the tree canopies.
Each crease on a piece of paper creates an irrevocable memory line. Similarly, as a person enters a place they interact with the structure. Their physical image is reflected throughout the space while the person’s intangible thoughts- their inner reflections- are simultaneously folded and reflected by their engagement within the space.
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The pavilion’s form illustrates a dynamic choreography of collision between the surrounding landscape and the experiential qualities of the site. The structure is literally folded out of the landscape.
paper folding study
a metaphysical response to site, historic, and emotive relationships to create a park pavilion. inter twining the rich culture and histor y of the Shawnee Native Americans. I t is
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folded
pavilion “folds� out of landscape p19 p11
HISTORIC RESTORATION O
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The focus of the studio was centered on the renovation of historic structures, our designs were sensitive: uniquely tailored to the needs of the people. We redesigned the interior of a corner building to provide a multi-use community center for the local residents, renovated the building’s corner entryway, and designed and fabricated a copper sunflower sign for the exterior façade. The renovation of the building beget an powerful center for the community and initiated collaboration between the local community and residents, fostering healthier ways to integrate the two by forming a unique bond and establishing a shared sense of community pride.
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residency program
interior of coppr sign fabricating the
SUNFLOWER SIGN
The focus of the design + build studio was centered on the renewal of a multi-use building in Over-the-Rhine, near downtown Cincinnati. We renovated the building’s corner entryway, designed and fabricated a copper sunflower sign for the exterior façade using water-jet technology, and restored three of the original exterior windows. We rearranged the interior plan to provide a space for neighborhood council meetings and designed an exhibition area to showcase artists renditions of Over-the-Rhine, thus empowering the local community.
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renewal
1300 VINE STREET
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sustai nable S O C I A L D E S I G N U
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p e t e r scartridge factory H I S TO R I C
r er ev vi ti at al ilzi ez e
P R E S E R VAT I O N
In the summer of 2009 I was awarded a selective research grant for the Adaptive Reuse of the Historic Peters Cartridge Factory in Kings Mill, Ohio. I collaborated with a faculty mentor within Miami University’s architecture department. “Aged buildings are the living history of a town, and when forgotten or destroyed, part of the community is lost as well. The intent of my redevelopment of the historic buildings was not to erase their former identity. Rather, architects and urban planners must go beyond simple measures of sustainability, adaptively reusing what once was and reviving it; evoking a more prosperous future than the former structure and its inhabitants had previously imagined.” ~Undergraduate Summer Scholar’s Research Essay
The intent of my Summer Scholars project was to utilize the concept of sustainable architecture by realizing the potential abandoned buildings hold, revitalizing rather than razing them.
form and massing model
The final proposal was a richly woven arrangement of history and community, applying the requirements of the local historic building code in a manner which encouraged the celebration of the arts and fostered community involvement. p18
farmer’s market
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+ artist lofts (in-house studios) + roof garden
+ museum shop + farmer’s market
+ art gallery + fabrication studios
+ commercial arcade + restaurant and outdoor courtyard
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westcott house F . L . W R I G H T
temporary pavilion design As a studio, we developed a master plan for the land directly north of the Westcott House, a 1908 residence designed by Frank Lloyd Wright.
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l al anndds sc ca appe eW a t e r a n d l a n d
scape have an organic affinity-They are distinct to the area they occupy, imbuing each place with a specific function, yet also unifying the gardens as a single entity integrally connected by a part-to-whole
relationship
The gardens are a reflection of the grid taken from the house, illustrating light and shadow as well as order and emotion. The plan is an abstraction of the Tartan System, transforming nature into an emotive design process.
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westcott house
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F . L . W R I G H T
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1 westcott house 2 reflecting gardens 3 carriage house 4 westcott exhibition pavilion 5 temporary pavilion
6 education program 7 outdoor education space 8 solar decatholan pavilion 9 stepped gardens 10 visitor’s center
11 edible gardens 12 multi-purpose parking area 13 parking
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site master plan
experience
The master plan is an adaptation of the grid taken from the westcott house, illustrating light and shadow as well as order and emotion.
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westcott house
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F . L . W R I G H T
Lighting is the defining element of the education program. An outdoor stairwell divides the two spaces, altering their facades in an effort to increase lighting. The reading room features a floor to ceiling glass wall, supported by glue-laminated columns. The spaces between each wooden post becomes an intimate nook for reading. The on-site education program is composed of a series of three interlocking spaces with two main functions. One serves as a reading room while the other is a multi-media computer center and an small outdoor cou.rtyard and grand stair splits the two spaces.
lighting studies
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education center - reading room
Lighting is also an integral element of the design. The exterior walls are built to emit small pinpoints of light, merging with the natural landscape, evoking the soft flicker of summer fireflies caught in the tall grass or, during winter months, the subtle glow of a constellation.
lighting
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PRO + FESS IONAL PROFESSIONAL PRACTICE
p39 PROFESSIONAL PRACTICE
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GBBNArchitects
hheeaal tl thhccaar ree
3 3 2 E . 8 t h S T R E E T C I N C I N N AT I O H 4 5 2 0 2
Through the University of Cincinnati’s cooperative-education program, I interned with GBBN Architects Inc. in the winter of 2012. Focused within spectrum of healthcare design, I helped develop a 3d building model utilizing Revit software. C H I L D R E N ’ S
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Office Environment and Design Ethic The Cincinnati-based firm fosters global perspectives and collaborative design on both a regional and international scale. The firm strengthens its design ethic through its emphasis on multiculturalism. Its design professionals represent a variety of countries and the firm currently has four locations across the US as well as an office in Beijing, China. The firm values global design collaboration by transferring its staff between the China and US offices. Many of the design professionals spend a portion of each year working in China and vice versa. Additionally, the firm promotes constant global interaction through its unique design process, sending the work overseas each night for the other office to design and review.
Children’s Hospital: Collaborative Design Approach The hospital embraces design collaboration by utilizing an Integrated Design Process (IDP) as part of its goal to achieve LEED certification. The design benefits from the diverse expertise of professionals representing a variety of areas within the building process including, but not limited to architects, engineers, construction managers, landscape designers, environmental analysts, and code officials. **all images courtesy of GBBN Architects Inc.**
Whole building design challenges all the members of the planning, design, and construction team to look at the design from many different perspectives, it is
I modeled a multi-story interior stair and experiemented with parametric family components to shade the glass facade encasing the stairwell.
integrated
I utilized Revit’s model-in-place component to implement the curtain wall panels at the building’s main entrance.
I used AutoCAD and Revit to incorporate a toposurface into the model.
REVIT
BUILDING INFORMATION MODELING
**all images courtesy of GBBN Architects Inc.**
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working neighborhoods IN
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1 8 1 4 D R E M A N A V E N U E C I N C I N N A T I O H 4 5 2 2 3
process work
sustain able
DESIGN
During the summer of 2011, I worked as an architectural intern for a non-for-profit organization, Working in Neighborhoods (WIN). I drafted the plans as well as interior sections and elevations for the renovation of a century old, formerly mixed-use building in South Cumminsville- a small community just northwest of Cincinnati. The project is on schedule to be under construction in 2012 and will be one of many houses to be sold through WIN’s low-income neighborhood revitalization program.
The project is hoped to achieve a level of LEED certification, however, the final level is dependent on available grant money. The unit’s roof will have a section for solar panels and the remainder will be converted into an all-season green roof with plants native to southern Ohio. A small garden plot is between the house and an adjacent garage. All appliances are planned to be energy star certified.
existing condition
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I t involves perception, not only of the past, but of its presence.The past should be altered by the present as much as the present is direc ted by the past. I t is
adaptive reuse
unit 1
level 1
unit 2
level 1
unit 2
PU S H
interior renderings
level 2
the design
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. ISTORICAL
PRAGMATIC
UNIVERSAL
SUSTAINABLE
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schickeldesign
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bike proposal for washington park
DESIGN (ing) en route
During the spring of 2011, I worked as an architectural intern for Schickel Design Company. I contributed to the redevelopment of a former bakery on Race Street in dowtown Cincinnati. I helped create residential plans and interior kitchen elevations and sections for the project. I also created a variety of schedule sheets and helped to prepare the construction documents. While the drawings went out for bid, I worked on a proposal for bike paths sharing city streets. I diagramed the safest routes and rendered a proposal for a future bike check point at Washington Park.
map of recommended bike paths
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proposed advertisement
I t is the flexibilit y, not the fixit y of the past that offers a sustainable process to renew our sense of self. We reinvigorate and reinter pret tradition through
vicinity site plan
urban renewal
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1421 Race Working Drawings **all images provided by Schickel Design Co.**
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hand a media
DO what you love . Drawing is part of who I am, it’s what I love to do. I have a particular passion for capturing the expressions and emotions displayed within a person’s face. I’ve experimented with pencil and charcoal, watercolor, paper collage-work, and a few lighting fixtures. While the source of my inspiration is currently drawn from a wide variety of professional photography, I am currently expanding my collection of personal photography. My website, www.amydanielsons.com, illlustrates my interests and recent work in further detail.
“Hatian Woman”, pencil on white paper, 11 x 8.5”
“Jalopy”, pencil on white paper, 11 x 8.5”
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“Antonio Cromartie”, NY Jets Cornerback, pencil on white paper, 11 x 8.5”
“Around the World”, pencil on white paper, 11 x 8.5”
“Crying”, pencil sketch on recycled paper, 6 x 4”
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“Free Falling”, pencil on white paper, 11 x 8.5”
“Talking with Sarah”, pencil on white paper, 11 x 8.5”
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thank you.