PORTFOLIO
SELECTED WORKS 2016-2020 Daphne Noegel
EDUCATION
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2016-2020
Clemson University Bachelors of Architecture, 3.17 GPA Minor in Sustainability
Spring 2019
Charles E. Daniel Center Study Abroad, Genoa, Italy, 4.0 GPA
EXPERIENCE Summer 2019
dnoegel@clemson.edu
Gil L. Stewart Architect LLC Architectural Intern, Pickens, SC Worked alongside Gil L. Stewart on a variety of projects which include residential, commercial, and master planning design and development. Contributions include digital modeling, rendering, site research, and primarily drafting in AutoCAD.
https://issuu.com/daphnenoegel
REFERENCES
INVOLVEMENT
Gil L. Stewart Gil L. Stewart Architect LLC gil@glsarchitects.com
2017-2018, 2019-2020
American Institue of Architecture Students
2019-2020
Habitat for Humanity
Michael Carlos Barrios Kleiss Studio Professor Fall 2019, Research Professor Spring 2020 crbh@clemson.edu
HONORS 2014-2016
Lancaster County Youth Art Competition 2 consecutive years: Best in Show 2D/Purchase Award Recipient, Artworks displayed indefinitely at the Lancaster County School District Office; 3 consecutive years: 1st Place for Grade Level, 2D Art
2016-2020
Clemson Scholars Scholarship
2019
AIA Greenville Student Design Award Nominee Nominated by Professor Henrique Houayek
Spring 2019
President’s List Completed the term with a cumulative GPA of 4.0
Fall 2017 Fall 2019
Dean's List Completed the term with a GPA between 3.50 and 3.99
2016-present
Displays 3 projects chosen to be displayed at Clemson University’s School of Architecture 1 project displayed at the School of Architecture Dean’s office
David Lee Studio Professor Fall 2018 dlee2@clemson.edu
SKILLS Adobe Suite
Rhinoceros
AutoCad
Enscape
Revit
Vray
Selected Works
p. 1
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IMMERSION
p. 9
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GALLERIA DELLA CONNETTIVITÀ
p. 17
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US CONSULATE OF CASABLANCA
p. 29
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FIELD STUDIES
p. 31
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ARTWORK
01 I M M E R S I O N
NEW YORK CITY, NEW YORK Fall 2018 | Professor Dave Lee Daphne Noegel + Morgan Clark
The New York City High Line immerses you into its experience as its seclusion allows you to focus on the city vistas. However, its seclusion comes with a disconnection with pedestrian accessibility. There are few entries to the High Line which makes finding them a puzzle to solve. This disconnection inspired our design as it aims to fix the pedestrian disconnect between the city and the High Line by extending that immersive user experience with an ADA accessible ramp and a captivating facade that allow for direct access for all users. Extending from the need to provide for all users, this ramp and faรงade interlace each other to form a co-working office building that immerses its users into the experience of the design when in need for a break from the workplace.
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Creating a Connection from the Street to the High Line
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Public Exterior Space - 9478 sq ft Additional Height - 19 ft Public Interior Space - 20,907 sq ft Additional Height - 21 ft
Handicap Ramp Accessing High Line Additional Height - 10 ft
Total Additional Height - 50 ft
Ramp Intersects Site to Provide ADA Accessibility Ramp Orientation Adapts to Site Attributes The entrance of the ramp begins by facing a heavy traffic corner as well as a designated public space set on the site of BIG’s XI. It cuts through the site diagonally in order to meet the standard for handicap accessibility, eventually meeting the highline. The point of contact falls in between two pre existing trees leaving enough room for an entrance (A). It also leaves the seating undisturbed towards 19th street (B).
Street Perspective
Extention of Ramp for City Vista Viewing Bay
Ramp Extended to Create a Viewing Bay The ramp bounces off the highline, turning towards the 10th avenue and 19th street intersection for a view down 10th avenue (A). It then bounces and ramps up to a view bay that faces towards the Empire State Building (B). The building is also partially removed in order to create a view port down 10th avenue (C).
Potential Building Zone Outlined by Ramp and Zoning Restrictions Potential Building Zone Outlined by Ramp and Zoning Restrictions The zoning restrictions and ramp help to define the building’s core and potential region to expand on the site.
Entrances to Building on the Corners to Separate the Public and Private Users Entrances to Building Placed at the Corners The corner of 18th Street is opened as an entrance for easy access for employees and to be in a close vicinity of the ramp entrance. There is also stairs placed at the ramp entrance to lower circulatory congestion. The side on 19th Street is formed as a large public space, pushing up the ramp and the rest of the building while pushing down the ground to create a large cantilever.
Wrapping Motion B Viewport Towar
Wrapping Motion B Viewport Towards 10
A ribbon starts to wrap aroun order to create the aspired fo the public walkway at the hi viewport at the viewing bay.
A
B
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Begins, Opening a rds 10th Avenue
Begins, Opening a 0th Avenue
nd the core of the building in orm. It begins by cantilevering ighline as well as forming a
Second Ramp Intersects the Building A Second Ramp Cuts Through the Building A second ramp cuts through the building providing an exterior space for employees and giving overlooking views to the Hudson Yards, the Hudson River, and the Twisting Towers.
A
B
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Wrapping Motion Continues Through and Around the Ramp
Wrapping Motion Continues Through and Around the Ramp The ribbon like form continues around the ramps to provide shade and movement to the paths. It also restricts the sunlight hitting the interior.
Third Ramp Cuts Through the Building Third Ramp Cuts Through the Building A third ramp cuts through the building to provide more private exterior space and to provide circulation between spaces.
Wrapping Motion Continues Around the Ramp Motion and Connects to Around the Roof Wrapping Continued the Ramp and Connected on the Roof
The screen wraps around the ramp acting as a wind shield for the ramp. It also blocks the sunlight to make it more inhabitable. The ribbon connects at the top to make the form one sinuous piece.
Fixing the Disconnect
The driving factor of our design stems from the current lack of accessibility to the New York City High Line. This inspired us to develop a large ADA ramp that connects directly to the High Line in order to provide accessibility for all user types. To accomplish this feat, we were challenged to insersect the entire site with the ramp. This prompted the rest of our design decisions to follow this same interlacing concept to fully immerse the user into the experience of the design.
High Line Perspective 4
Lenticular Dissipation Perforated screens form the facade and maneuver along the edges of the ramps. The ramps in our design signify the points of immersion for the user. As the screen approaches the ramp, it begins to corrugate. This prompts a transition for the user from the street to the High Line or vice versa. During the transition, the user is exposed to halftone images in a lenticular fashion that fit the theme of the direction they’re headed. Walking towards the High Line, the perforations of the screen display a sequence of trees. Walking towards the street, the perforations form a silhouette of the city skyline. As the screen furthers itself from the ramp, the corrugations dissipate.
The Process Path to Street
Path to High Line
+ Lenticular Combination
=
Handmade Model
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Longitudinal Section
Transverse Section 8
GALLERIA DELLA
02 CONNETTIVITA
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Spring 2019 | Professor Henrique Houayek Daphne Noegel + Jenna Arndt AIA Greenville Award Nominee
For this design semester, we were tasked with designing an exhibit to display the Genoa inspired drawings of Flemish artist, Peter Paul Rubens. The site set for intervention is located in Genoa, Italy’s Piazza Dante which borders the historic medieval city on one side and the expansion from the late 1800’s and early 1900’s on the other. Though it is in the heart of Genoa, Piazza Dante's existing condition doesn't capitalize on its location. Currently, the site houses a sea of mopeds while surrounded by historical landmarks and commerce. Our design aims to revitalize Piazza Danté by bridging the historical and modern districts with a direct pedestrian passage, magnifying the city vistas, and by activating the piazza with an art gallery that houses the works of Rubens and local art.
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Connecting the Historical and Modern Districts
Level -1
Level 1
Context 3 4
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Mirror, Connect, and Extrude
Four Meters Subgrade
Pedestrian Linkages
To maintain pedestrian linkages, we mirrored the original master plan's lines of the tunnel roadways. Then, we connected these lines with the existing site boundaries and extruded them to create a mass that connects the grade of the historical and modedern districts.
To maintain form, pedestrian linkages and provide an appropriate amount of square footage, we subtracted four meters subgrade. The enclosed space bridges the interior and exterior of the museum as a sunken piazza.
The terrain directly connects the Porta Soprana to the street to maintain views and pedestrian accessibility.
1 Fondazione De Ferrari
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Commerce: Its loggia lines Piazza Dante with commerce and activates Piazza Dante
2 Porta Soprana Historical Landmark: Built between 1155 and 1159, its colossal presence is one of the two remaining gates from the "Barbarossa walls." Maintaining its frontage for pedestrians is important as it indicates the boundary between the historical and modern districts.
3 Chiostro di Sant'Andrea Historical Landmark: With years of history behind it, the cloister remains as a place of solitude in the hustle of the city. Maintaing its pedestrian access is important as it is easily hidden by the urban context.
4 Casa di Cristoforo Colombo Historical Landmark: Housed the navigator, Christopher Columbus during the years of 1455 and 1470.
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Curating an Experience with Solid and Void
Overlay 2D Grids
3D Grids
Ribbon
To centralize the piazza, we developed a grid that stems from a center point in the piazza and divides the interior based on desired square footage. These grids became a key element in organizing our interior spaces.
From the original, 2D grid lines came 3D grid lines that are based on head height and grading.
From these grids, we connnected points in a zig-zag manner and lofted these lines.
Skylight
Terrain/Roof
Solid/Void Ribbon
Solid and Void Ribbon Walls To protect Peter Paul Ruben's drawings from sunlight and to indicate programming, we added walls to the ribbon. This creates a series of open and closed spaces that isolates between different gallery experiences.
Curtain Wall Ribbon
Floor 1 (Ground Level)
Piazza Entrance (Ground Level)
Floor -1 (Subgrade) Piazza (aSubgrade)
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Interior Gallery
Transverse Section
Exterior Gallery
Lobby
Cafe
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US CONSULATE OF
03 C A S A B L A N C A
C A S A B L A N C A ,
M O R O C C O
Fall 2019 | Professor Carlos Barrios Daphne Noegel + Morgan Clark + Tate Deluccia
This semester, we were tasked to design an architecturally demanding program, a United States consulate, while approaching innovative ways to use precast concrete. This project was partnered with embassy design firm, KCCT, and sponsored by the Precast/Prestressed Concrete Institute, PCI. The site set for intervention remains in an undeveloped part of the city between a large residential area and a growing financial district. Though the site is lacking in immediate context, the area promises future development of a metropolitan core. With this in mind, it is important to recognize the urban fabric and culture of Casablanca in our design. A consulate demands an emphasis on security and through this design, we were expected to follow the security regulations set by the OBO for national embassies. Our design aims to represent the United States’ transparent relationship with Morocco with a simple exterior with symbolic intentions that doesn’t infringe on the urban fabric. Despite the site’s secure boundaries, the design creates a welcoming environment for its visitors and employees with peaceful spaces of gathering, seclusion, and focus.
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United States Consulate of Casablanca Master Plan
Site Key 1. Chancery 2. Consular Building 3. Compound Access Control (C.A.C.) a. Consular b. Main c. Service 4. Recreation 5. Marine Housing 6. Warehouse 7. Parking Garage Public Visitor Private Employee
Private Plaza 20
Identity of the Site The Chancery represents the identity of the United States. Its facade is white as white represents peace and purity in Islam. The Biome/Gallery space of the Chancery features a curtain wall with a skin that allows for transparency while addressing security. This signifies our transparent relationship with Morocco without literal transparency which would sacrifice the importance of security in a consulate. The other buildings on the site ground the mass of the Chancery with the wood stamped concrete and warm, earthy tones on their facades. The site is organized as a campus in order to give employees their own respective spaces.
Northeast Elevation
Southwest Elevation
Transverse Section
Master Plan Axonometric 1. Chancery 2. Consular Building
3. Compound Access Control (C.A.C.) a. Consular b. Main c. Service
Consular C.A.C. Plaza
4. Recreation 5. Marine Housing 6. Warehouse
7. Parking Garage 8. Official Parking 9. Isolated Prayer
Isolated Prayer
Private Plaza and Pond
Vegetation at Wall
Space for Businesses
Water Wall
Tensile and Garden
Covered Seating
-Blends in with landscape -Prevents wall interaction
-Convenience for visitors -Mobile spaces
-Noise prevention -Spacial separation
-Faces towards Mecca -Shading -Serene environment
-Shading -Work spaces -Spots to relax
Pond and Bridge -Commonplace beauty -Fountain diffuses noise -Centralizes circulation
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Consulate Form Development
Public vs. Private
Biome Addition
Adjust to the Biome
Hierarchy
Two separate masses for the Consular and the Chancery for security and site organization
A mass divides the Chancery and Consular to accomodate the Gallery/Biome
The inner walls intersect to create a new Biome condition
The chancery becomes a floating mass atop the rest of the buildings for hierarchy
Creating an experience
Level 01
Consular Atrium
Biome
Because the Consular receives many visitors each day, we designed an atrium with warm tones that exudes a welcoming environment and a cloud ceiling for captivation. This space holds an exhibition that displays the work of local artists that gives visitors something to do while waiting for their appointments.
The Gallery in a consulate is considered the first impression for diplomats and other private visitors. This space requires hierarchy for speeches and a unique experience as an observer advances throughout the building. To fulfill those objectives, we designed a space that immerses you into the experience with a distinctive facade, staggering balconies, and vegetation in which this space earned the name of the Biome.
Level 02
Level 03
Consular Atrium
Chancery Biome 24
Structural Axonometric
Biome Wall Panel Details Wall Panels
Skylights and Tensiles Addressing the sunny climate
Precast Concrete Molds: In consideration of precast concrete transportation methods, our facade is split into panels that can be recreated several times using reusable molds
Facade Skin Form follows function
Structure Structure with Skin
transitions
Fin Load Diagram Structural Fins Solution to the Biome structure: On the biome side of the facade, the fins carry the load of the roof and the skin back into the earth which prevents horizontal interuptions inside of the Biome Load Bearing Walls Load bearing walls are indicated in orange
Wall Section Axonometric
Facade Transition Diagram
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Chancery Biome
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04 FIELD STUDIES
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Spring 2019 | Professor Henrique Houayek Daphne Noegel
Field Studies features selected sketches from a collection of over 70 on site sketches that were drawn during our travels in Europe, and primarily in Italy.
Sagrada Familia
Pencil
The Villa Pencil
Pirate Ship Pen
Triumphal Arch
Pen 30
05 A R T W O R K
S E L E C T E D
W O R K S
“Art enables us to find ourselves and lose ourselves at the same time.� -Thomas Merton
Monochromatic Elvis
Paint
2016 - 1st Place for Grade Level, 2D Art Lancaster County Youth Art Competition
Self Portrait
Prisma Colored Pencils 32
Best in Show 2D/Purchase Award, 1st Place for Grade Level, 2D Art
Lancaster County Youth Art Competition Artwork displayed indefinitely at the Lancaster County School District Office
Self Portrait
Mechanical Pencil
Best in Show 2D/Purchase Award, 1st Place for Grade Level, 2D Art
Lancaster County Youth Art Competition Artwork displayed indefinitely at the Lancaster County School District Office
Surrealism, Mother Nature
Mechanical Pencil
Surrealism, Skeletal System
Mechanical Pencil 34
Goodbye.