DLCHPORTFOLIO
DANI HILL-HANSEN + Sustainability + Design + Architecture
e dlch@rocketmail.com m +45 60 56 34 12 w www.dlchdesign.com
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TABLE OF CONTENTS
4 SUSTAINABLE BY DESIGN A BACHELOR LEVEL LECTURE COURSE
6 MATERIAL WISDOM
A MATERIAL STORY AND MANIFESTO
8 SUSTAINABLE MOBILITY IN FOLEHAVEN VALUE CREATION AND PLACE MAKING
OF WRITERS 12 HOUSE PROTOTYPE FOR SUSPENDED GUEST CABIN SHELTER 14 MINER’S A DESIGN BUILD PROJECT IN PHOENIX, AZ PUJA 16 FIRE A CREMATORIUM IN MADISON, WI HOUSING FOR LAHTI, FINLAND 18 SOCIAL MICRO COMMUNITY AFFORDABLE HOUSING WEEPING ROOM 22 THE AN EXPLORATION OF LIGHT AND SPACE PAVILION 24 NATURE’S A PUBLIC PAVILION AND GATEWAY NATURE PATTERN 28 ALOE A GRAPHIC EXERCISE IN GEOMETRIC ABSTRACTION THINKING HAND 30 THE ANALOG
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SUSTAINABLE BY DESIGN A BACHELOR LEVEL LECTURE COURSE
DIS - Study Abroad in Scandinavia https://disabroad.org/ Architecture + Design Program Faculty 2015-2018 Course Author + Faculty: Dani Hill Program Director: Henning Thomsen For a full course syllabus visit: https://disabroad.org/copenhagen/courses/ sustainable-by-design/ A course description The course focuses on sustainable strategies and how to make them an integral part of the design process and our living. Throughout the course we evaluate sustainable principles and how they relate to global, ecological, urban, built, material, and cultural parameters. The course will outline a work-flow process that integrates sustainability from the beginning of the design process. We will evaluate sustainability as it applies to different design disciplines. We will start with burning issues, followed by a study of both the built and urban environment. We will investigate both design fields through social and cultural perspectives. Finally, we will look at solutions and common ties that integrate them all. The course will cover orientation, siting, and appropriation of place and materials. We look at passive and active design strategies, as well as solar geometry and daylighting. We investigate water efficiency and how it relates to energy, climate adaptation, food production, and waste. The course is taught via lectures, case studies, field studies, and group assignments. There is a strong emphasis on student presentations and the ability to communicate knowledge.
Learning Objectives •To understand the impact and consequences of our lifestyle, e.g. choices of products, transportation or personal outlooks and beliefs •To formulate and apply sustainable solutions and concepts on all scales— and to understand how they are connected •To incorporate sustainable thinking as part of the design process To encourage you to ask critical questions and analyze the impact of your design decisions •To understand and incorporate local, physical, and cultural conditions to achieve optimum design solutions •To begin to acquire the skill set and language required to be a relevant team player on sustainable design projects •To communicate ideas through discussion and develop presentation skills
Lecture Topics Architectural participation in the SDGs Climate, Crisis, + Society Materials Matter Embodied Energy + Life Cycle Assessment Vernacular + Regional Architecture Getting into the Building Passive vs. Active Design Strategies Solar Geometry Site Analysis + Integration Thermal Mass + Ventilation Building Envelope 1, 2, & 3 Architectural Form + Program Use Cities + Climate Change Public Life Importance of Place Human Scale Urban Agriculture
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ENVIRONMENTAL PERFORMANCE (PLANET)
AESTHETIC (VENUSTAS)
ECONOMIC VIABILITY (PROFIT)
FUNCTIONALITY (UTILITAS)
DURABILITY (FIRMITAS)
SOCIAL ACCEPTABILITY (PEOPLE)
SUSTAINABLE ARCHITECTURE MODEL SAM is a combination of The Vitruvian Virtues (Marcus Vitruvius Pollio, 70 BC) and The Triple Bottom Line – Planet, People, Profit (John Elkington, 1994). The SAM is a robust framework for evaluating decision making throughout the design process, applicable for all scales. I use the SAM as a navigation tool in my course “Sustainable by Design,” to best articulate sustainable principles and how they relate to global, ecological, urban, built, material, and cultural parameters. 5
MATERIAL WISDOM
A MATERIAL STORY AND MANIFESTO Copenhagen Circularity Lab Kaospilot, Fall 2019 Project Team: Federica Catonini, Janna Marmot, & Dani Hill
a “How to become a true materialist” manifesto b Exhibition panels This project was our take on making visible the unseen values and properties of an object by breaking it down, tracking down the sources of its components, explaining its history. This is a way to expose externalities in the material flow, to create an understanding about production processes. How can we start a discussion on circularity that starts with the beginning? The best way to address our waste crisis, is to stop creating new building products out of virgin materials and begin valuing what material resources we have in our building stock. The window and its story is a means to enable reflection on any other building artefact. We hoped to inspire people to walk through these paths of origins, materials and products themselves. To take the entirety of that “stuff” into account.
Material Wisdom How to become a true materialist
1. Nature is everything. It’s the air we breathe, the food we eat, the water we drink, the wood, the glass, the stones with which we build our modern caves. 2. As human beings we are part of this natural ecosystem. We are one of the youngest species and make up just 0,0001% of Earth’s biomass. Humans are not a special entity separated from nature. 3. Trees are good at making energy from light. Iron ore creates very stable materials. Sand can transform to glass. A human’s skills are wonder, communication, creativity. Spread those, study, read, listen, talk, listen again. Listen to trees, to rivers, to seas, to the wind, to the sun and to your dog. All those things are alive. 4. Treat everything around you with the human skill that you have: wonder, think, and connect with the history that every material has - a story of countries, of people, of matter, of Earth. 5. When you look at an object, when you think of buying it, when you feel the need, stop and think again. Question your need to possess and replace. Think about the thousands of years that were necessary to make this product and appreciate what you have, appreciate the efforts someone, or something, already made for you. 6. Knowledge means to be concerned about materials that make a product, Instead of just possessing stuff, understand the material history, a products true worth. Look for what is hidden behind the market price and commercial value - look for what only a materialist can see. 7. Go deep, share the knowledge, stay curious and listen: those are the main ingredients to become a true materialist*.
*To us, being a materialist means to fully understand the matter behind every object. The word materialist does not describe materialism as a philosophy, nor a person overly concerned with material possessions. We believe the opposite, to be true.
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How old is the window? Petroleum
Iron ore
Sand
Taking the warmth in
Keeping the heat out
Rubber
Wood
The mashrabiya is a screened in bay window popular in the Arabic
She sits with
Middle East. It shades,
tears on
ventilates, and provides
her cheek
evaporative cooling.
her cheek on her hand 1.8 bn, as old as earth
230 mn
100 mn
5mn
First dinosaurs
300.000
100
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Today
the child in her lap his nose
First homo sapiens
pressed
Vilhelm Hammershøi
to the glass
- William Carlos Williams
Loggias supported on arcades and
colonnades shield interior windows from direct radiation in Italy.
Deep walls of Danish vernacular buildings are carved out to allow maximum light to enter the space.
Where does it come from?
Maintain / Prolong use of Windows with-in the building industry
Glass
Wood
The Making of Materials
Window House Christiania, DK
Collage House S+PS Architects
Ressource Rows Lendager Group
Kamikatz House Hiroshi Nakamura & NAP
Silicone
Re-use / Redistribute individual materials to give them a new life
Glass
Wood
Metal
Silicone
Iron
???
1 m3 wood stores 1t CO2, produces 700kg O2 – unless cut down
Deforestation contributes to soil depletion, biodiversity loss and CO2 increase
1 t o n n e n e w glass produces 1t CO2,
50-90% of sand reserves in major rivers are gone worldwide
1 tonne iron produces 1.9t CO2, and 1 tonne stainless steel 6t CO2.
Iron ore mining contaminates air, water and affects workers’ health
1 tonne artificial
rubber silicone 2.7t CO2 and 1 tonne natural rubber produces 3t CO2,
A Glass gravel B Terrazzo flooring
Monoculture plantations are a threat to environment and biodiversity
A Upcycle furniture B Næste sheds
A Upcycle furniture B Art
…or return them to cycles
C Melt to new glass
C Compost or biofuel
C Melt to new metal
A Incinerate
Biological Cycle Technical Cycle
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Energy Demand Indicator
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SUSTAINABLE MOBILITY IN FOLEHAVEN VALUE CREATION AND PLACE MAKING
Sustainable Design Engineer, AAU - CPH Semester 01 Conceptualisation of Value Chains https://www.sims.aau.dk/ Project Team: Dani Hill, Isabella Ursano, & Peter Krough a Double Diamond Process Diagram b Phase 01 Site analysis - parking c Phase 01 Mobility observations - counting people moving through site In this project we borrowed theoretical and methodological approaches from several different fields. In accordance with the SIMS approach we’ve applied social practice theory, and urban design theories that focus on topics of mobility, livability, place-making, and humancentered urban planning. In addition to these fields, the semesters curriculum focused on sustainable innovation and value creation has infused our study. The result is a holistic observation of an urban neighborhood, that focuses on both the subjective (immeasurable, felt) and objective (physical,concrete) qualities of the urban environment. The purpose of this project was to discover how we could create value in neighborhood of Folehaven, by highlighting the existing community, and making the neighborhood more walkable. Through these windows we’ve studied how, and why people move through the neighborhood, what infrastructural elements of the neighborhood bring value, and which create limitations. Our analysis shows that Folehaven has hidden potential to be a neighborhood with a robust identity, built around the practices and values of its residents. Both field and theoretical research show that a neighborhood built around the human scale, is one that fosters community, sense of place, and wellbeing. Furthermore, a place that is built around the practice of walking, is democratic, convenient, and safe. Folehaven is built around the practice of automobility, in which the car is a central focus of the outdated infrastructure. This has resulted in under-used public spaces, unsafe walking conditions, and a hidden community. We propose re-purposing the current landscape to better foster dynamic public spaces, an activated streetscape and more livable conditions. We believe that by creating an environment for the pedestrian, residents will not only spend more time in the neighborhood, but Folehaven will become a destination for the public at large.
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Within the Sustainable Design Engineering studio the projects are evaluated on the students ability to document and communicate process, the ways in which collaborators and potential stakeholders are engaged, the way in which we record our methods, and report our findings in a scientific manner. The projects do not focus so much on the development of a final solution, as the do the iterative process in which you arrive to the solution. Phase 01: Discover (Research) Theoretical research, site analysis, site observations, interviews (both formal and informal), attending community events. Phase 02: Define (The problem area) After the initial research phase we had to distill our collective findings down and create a new problem definition. Phase 03: Develop (Conceptualization) We developed two different concept solutions to the problem definition. Phase 04: Develop (Feedback) We held a workshop with our stakeholders, that included both representatives from the community and municipality. We presented our findings and conceptual solutions, from which we reflected on the viability and feasibility. In addition to presenting our work, we used design games as a way of documenting, and communicating with the stakeholders. Phase 05: Deliver (Finalization & Reflection) With the input from our project stakeholders we created a final conceptual solution, and reflected on the strengths and shortcomings of our process.
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Field Work Team Author Theme Date Appendix Page
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6 Isabella Ursano Mapping Tools 01.12.2019 1/2
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SUSTAINABLE MOBILITY IN FOLEHAVEN AN EXPLORATION OF VALUE CREATION AND PLACE MAKING
a Phase 02 - Distilled findings into an Objective Tree b Phase 03 - Concept 2 - Car free Folehaven c Phase 04 - Valuation design game used as boundary object with stakeholders d Phase 05 - A ten year plan for car-free Folehaven
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2012 FOUNDATION JAN MICHALSKI HOUSE OF WRITING PROTOTYPE FOR SUSPENDED GUEST CABIN
blank studio design + architecture Matthew Trzebiatowski, Principal www.blankstudio.co Project Team: Dani Hill, Connor Bingham a model photos b renders c site drawings nts d building sections nts The program is a 500 SF “cabin� for writers, to be located in Switzerland. The building includes a bathroom, shower, kitchenette, sitting space, two outdoor patios, a sleeping / wardrobe space, and most importantly, a writing space. The cabin will be suspended from an existing structural concrete canopy. The building exterior is wrapped within a translucent, non-reflective, etched glass material, and stainless steel panels. The interior is clad in bleached birch wall panels, and black stained oak floors. The residence is oriented to overlook prominent views on the site. I participated in the development of the initial concept and plan. I supported Connor Bingham in his efforts to build a 1:50 model of the residence. I provided Connor with an extra set of hands and assisted in laser cutting. My responsibility was in graphic representation of the building, creating the detailed digital model, and organizing final competition board layout. My goal was to develop presentation boards that were clean and straightforward, allowing the renderings, drawings, and model shots to be the focus of the viewer. Renderings were completed by a third party artist.
FEATURED: DESIGN BOOM 12
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MINER’S SHELTER
A DESIGN BUILD PROJECT IN PHOENIX, AZ The Frank Lloyd Wright School of Architecture Designer: David Frazee, M.Arch Construction Assistant: Dani Hill PC: Nathan Rist Photography a interior view b exterior view c The landscape b Building Section by David Frazee Miner’s Shelter is a student project designed by my classmate David Frazee, while he studied at The Frank Lloyd Wright School of Architecture. Miner’s Shelter is a single-room shelter that has adapted the ruins of a 1980s shelter for a copper miner in the desert around Taliesin West. I was a construction assistant on the project, which afforded me the opportunity to apply my knowledge of materials and detailing in practice. I primarily assisted Dave in finishing the interior detailing of the structure and overseeing desert landscaping, after the project was completed. I was lucky enough to call this shelter home for two winters. While living in the shelter I studied how chosen materials withstood the severe environmental conditions, and how the building interacted with the site over time This exploration informs an integral part of the “learning by doing” tradition that is fundamental to the Frank Lloyd Wright School of Architecture.
FEATURED: DEZEEN, CABIN PORN 14
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“STUDY NATURE, LOVE NATURE, STAY CLOSE TO NATURE. IT WILL NEVER FAIL YOU.” Frank Lloyd Wright
Basic paragraph
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FIRE PUJA
A CREMATORIUM FOR DEER PARK BUDDHIST CENTER IN MADISON, WISCONSIN
Project Architect: Dani Hill Contractor: Stevens Construction Corp Legal: Hurtado Zimmerman SC Counselors at Law a cremation ceremony b sections c construction documents Geshe Lhundub Sopa Rinpoche 1923 - 2014 Geshe Lhundub Sopa passed away on August 28, 2014, at the age of 91 (92 by Tibetan reckoning) in his apartment at Deer Park Buddhist Center in Oregon, Wisconsin. A cremation ceremony, presided over by Jangtse ChÜje Rinpoche, was held at Deer Park on September 5. Geshe-la was one the last surviving masters to receive most of their scholarly training in Tibet, and one of the first such scholars to teach in a Western university. He was Professor Emeritus of South Asian Studies at the University of Wisconsin-Madison, author of numerous scholarly works on Tibetan Buddhism, founding and emeritus abbot of Deer Park Buddhist Center. I had the privilege of working with the monks of Deer Park Buddhist Center as the project architect in the design a repository for fire puja. The main objective of my role was to secure legal permission for the cremation to take place at Geshe Sopa’s home at Deer Park. The residence of Deer Park had yet to participate in a ceremony of such magnitude on US soil. Together we conducted research on the traditional ceremonial procedure. With legal permission granted, the residence of Deer Park could prepare with confidence for the ceremony. All parts were in place before Geshe Sopa began clear light meditation. The cremation was the first of its kind in the US. Due to willingness of Dane County to respect and understand the sacred implications of the ceremony, other high-ranking teachers will receive the same honorary cremation in the future. The vernacular puja is aligned in form and siting with Tibetan divine geometry. Materials were selected based on consultations with local masons as well as artisan monks who have expertise in stupa construction. The puja was painted by artisan monks before the ceremony began.
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dlch@rocketm 4 interior of base lined with solid clay dlch@ 4 interior of base lined with solid clay paver brick paver brick
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13 sheet metal to support opening 13 sheet metal to support opening 14 top of structure is primarily clay 14 top of structure is primarily clay 15 1'x1' min opening for chimney. 15 1'x1' min opening for chimney. chimney framed with teracotta chimney framed chanel or like fire safe with formteracotta chanel or like fire safe form 16 finish exterior stone to be added later 16 finish exterior stone to be added later 17 exterior finished in fire safe clay 17 exterior finished in fire safe clay
Deer Park
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12 opening at left and right side for opening left andinright side for metal12chanels foratpouring gee and metalmin chanels pouring 1'x1' in gee and offerings. openfor dimension offerings. min open dimension 1'x1'
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3 solid clay paver brick - typical dimensions 4" x 8" x 2 1/4". bricks lined with fire safe clay on exterior 4 interior of base lined with solid clay paver brick 5 2'x2' min opening at base for fire access. opening on 3 faces
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SOCIAL HOUSING FOR LAHTI, FINLAND MICRO COMMUNITY AFFORDABLE HOUSING
The Frank Lloyd Wright School of Architecture Comprehensive Design Studio, 2013 Mixed media: Revit, Illustrator, Photoshop, Artlantis a conceptual material diagram b kitchen view in typical unit c typical split unit diagram d typical single level unit plan e north facing facades and entrance f south facing courtyard
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The project is a multi-use, income based social – dwelling in the Sopinkorpi District of Lahti, Finland. The goal was to create the macro diversity of a city block within the context of a building, to aid the growth of micro communities, and economy in the revitalized industrial area. The 100,000 SF building responds to Finland’s harsh climate through building orientation and efficient exterior skin. The program spans seven stories, including sub grade parking, a commercial ground level with community gardens, courtyard, and bike paths, and rooftop sauna above. The narrow, stacking form allows southern sun to penetrate through the buildings core, lighting and warming all spaces. The exposed concrete structure provides thermal mass and the operable facades allow natural ventilation when cooling is needed. Inhabitants have views and access to personal gardens and public courtyard.
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Much of the schematic design phase was designated to the study of like building. Case studies were used to establish appropriate ratios and relationships between public and private / residential spaces. The program containing many functions required clear organization and relationship of parts. From the macro scale of the building form, to the micro scale of residential unit organization, emphasis was made on permeability of spaces to southern sun exposure and massive utility, and egress spaces to the north. This method resolved organizational and climate related issues.
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a site plan b building sections c north east elevation d ground level plan e typical upper level plan f ventilated wall section detail g process drawings
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THE WEEPING ROOM
AN EXPLORATION OF LIGHT & SPACE
The Frank Lloyd Wright School of Architecture Silence Studio, 2013 Mixed media: photography and photoshop
PROCESS | Found farm materials such as copper plate, metal fencing, and rusty nails were photographed and used to create texture, shadow and barriers. Images were manipulated in Photoshop using people, objects, and texture to create space and scale. The Weeping Room has no conventional plans, or dimension, but is rather a conceptual space. CONCEPT | Through the design of a crematorium and chapel facility, I contemplated life, death, and the role the architect assumes in creating permanence through structure, light, and shadow. How should buildings monumentalize the deceased, to celebrating fragile human existence? How can the built environment ease the griever through liminality, the between, the unknown? Throughout the Silence Studio my focus was on creating spaces for weeping, a weeping room. The weeping room is a intimately scaled place, for mourners to relinquish their tears while participating in a funerary ceremony. Through physical, bodily separation from the deceased, loved-ones are overwhelmed by “Equally deep and subtle extremes of emotion”(R. McCarter, J. Pallasmaa). Memories, passing of time, contemplation of one’s own temporary existence, and doubt surround the griever. Subtle changes in space and light balance extreme emotional changes. Layers of intimacy allow the individual to grieve, unhindered by social formalities. Creating spaces of recession along the common procession through the crematorium will provide the griever moments of pause from inevitable departure. The emotional implication of being in these types of spaces is where my inquiry resides.
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“CHANGE IS THE ONLY ETERNAL.” KAKUZO OKAKURA, THE BOOK OF TEA
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NATURE’S PAVILION FOR LINCOLN PARK A PUBLIC PAVILION AND GATEWAY
a stone garden b concept diagrams c west entrance towards tree walk d view towards reflecting pool and city Nature’s Pavilion is a place for walking meditation, quiet thought, and meeting, serving as an entrance to the Peggy Noebart Nature Museum and the North Pond Nature Reserve. The pavilion form came way of the triangular site. A 30/60 triangular grid was used to place the pathway. Entrances are located in existing pedestrian arteries. The pavilion became a portrait of urban ecology. The urbanite’s connection to nature in a man-made infrastructure has become synthetic. The pavilion emphasizes the procession rather than the destination. People, their thoughts, and movements are filtered through the space in order to provide quiet relief from the urban environment. The pavilion filters by layering of spaces, light penetration, sound barriers, controlled views and procession. Emotions, dimension, and experience are amplified through volume change, variety of texture and temperature, light quality, contrast, compression and expansion and scale. The stone garden is a warm space that represents the rigid city landscape and permanence through the texture and sound, weight of stones. The stone garden is low and submerged into the earth while the tree walk is lifted above. The pathways between are solid and cool with minimum sound, or sunlight.
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The inhabitant becomes self aware and reflective while moving through transitional spaces. The tree walk lifts inhabitants to the air and into the trees. The structure creates a perimeter around the seasonal garden. It provides views into the garden and out to city, both filtered by the timber structure. The space is warm and light.
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TITLE NATURE’S PAVILION FOR LINCOLN PARK SUB A PUBLIC TITLE PAVILION AND GATEWAY a west entrance b tree walk c tree garden d reflecting pool e passage way between notes f stone garden g north entry h utility courtyard i east entry j process sketches
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ALOE NATURE PATTERN
A GRAPHIC EXERCISE IN GEOMETRIC ABSTRACTION
The Desert Aloe, 2014 Illustrator, hand sketching, pattern making
a process drawings b final pattern Nature Pattern is a primer for abstract composition through the development of geometric pattern derived from the study of plants. It is an interpretive exercise similar to the musical etude to practice design composition by identifying essential characteristics in the observed plant. The exercises provides an opportunity to design between art and architecture, where experimental use of geometry is free of formal architectural meaning. Yet, this method strengths visual composition skills and can support architectural design. This practice draws on the work for Frank Lloyd Wright, the sublime abstractions of his secretary and visual artist Eugene Masselink, and my teacher Aris Georges, among others who have explored abstraction over the years. The process: observation, homology, geometric sketch, unit pattern, unit mapping, geometric composition, elimination of the insignificant. The Tools: grids, until systems, pattern recognition, visual rhythm, proportion, dynamic symmetry, color balance, layers, textures, white space, frame.
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THE THINKING HAND ANALOG
A conceptual sketches for a gate project B Taliesin West, no. 2 pencil C a watercolor of a red stairwell D O’rourke Residence, no. 2 pencil E Penny Collectors House, colored pencil F A honeymoon cottage, pencil G Hammarby SjÜstad study, sketchbook H A coffee house, in marker I Aarhus Radhus study, sketchbook
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DANI HILL-HANSEN + Sustainability + Design + Architecture
e dlch@rocketmail.com m +45 60 56 34 12 w www.dlchdesign.com
“Architecture has always been my way of getting to know the world, myself, and other people. It has also served my sense of curiosity more than anything else.� Juhani Pallasmaa