DREW HASTINGS
contents A collection of professional, independent, and academic projects.
built
4
Academic Building at UCSF Mission Bay
12 Sukkah PDX
26
Parking Structure at UCSF Mission Bay
36 Intuit Headquarters 40 Leanastol
45
White Hill Middle School
unbuilt 52 Mission Rock 58 Richmond Salvation Army 66 Seitengeist Haus 72 Portland Music Confluence
contact n Drew Hastings p 503.502.7953 e drewwhastings@gmail.com
a
0841 SW Gaines St. #602
Portland, OR 97239
UCSF ACADEMIC OFFICE BUILDING year
2012
place
San Francisco, CA
collaboration
WRNS Studio
This new 266,000 gsf, 7-storey academic office building will house UCSF physicians, faculty, and students in an interdisciplinary, flexible and lightfilled environment inspired by trends in office design for high tech. The massing and basic organization of the building are consistent with the campus design guidelines, calling for simple volumes, consistent building heights and a base, body, and parapet tripartite organization. Within this organization a “mesh” is graphically evident in the facades and internal organization of the building. The building skin is comprised of GFRC panels, vision glass, and metal spandrel panels to create a window box unit. The variability in the mesh is based on orientation and is realized through changing the amount of solid GFRC and vision glass within the unit. There are four mesh unit types composed of smooth white ‘sticks’ and grooved, sandblasted ‘shutters’, which grow or shrink depending on unit type. The units work with a 10’ wide module and are assembled into 30’ wide panel and delivered to the site. I worked on the exterior skin design team from initial concept and design development through construction documentation. I produced all exterior renderings for the winning proposal; worked with the structural engineer and interior design team on the development of the exterior skin; and contributed to the coordination of GFRC and curtain wall shop drawings.
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HIGH PH ROOF 100’-0”
12’-5”
12’-5”
HIGH PH ROOF 100’-0”
11’-6”
2’-7”
LOW PH ROOF 87’-7” ROOF 85’-0”
11’-6”
LOW PH ROOF 87’-7” ROOF 85’-0”
LEVELE 7 73’-6”
12’-3”
12’-3”
LEVELE 7 73’-6”
LEVEL 6 61’-3” 12’-3”
LEVEL 6 61’-3”
LEVEL 5 49’-0” 12’-3”
LEVEL 5 49’-0”
LEVEL 4 36’-9” 12’-3”
LEVEL 4 36’-9”
LEVEL 3 24’-6” 12’-3”
LEVEL 3 24’-6”
LEVEL 2 12’-3” 12’-3”
LEVEL 2 12’-3”
LEVEL 1 0”
LEVEL 1 0”
South Elevation
2’-7”
5
12’-3”
4
12’-3”
3
12’-3”
2
12’-3”
1.5
12’-3”
1
Partial South Elevation / Section
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HIGH PH ROOF 100’-0”
11’-6”
1’-7”
LOW PH ROOF 87’-7” ROOF 85’-0”
11’-6”
LOW PH ROOF 87’-7” ROOF 85’-0”
LEVEL 7 73’-6”
12’-3”
12’-3”
LEVEL 7 73’-6”
LEVEL 6 61’-3”
12’-3”
LEVEL 5 49’-0”
12’-3”
LEVEL 4 36’-9”
12’-3”
12’-3”
LEVEL 6 61’-3”
LEVEL 3 24’-6”
12’-3”
12’-3”
LEVEL 5 49’-0”
12’-3”
LEVEL 4 36’-9”
LEVEL 3 24’-6” LEVEL 2 12’-3”
12’-3”
LEVEL 2 12’-3” LEVEL 1 0”
LEVEL 1 0”
Partial East Elevation / Section
1’-7”
12’-5”
12’-5”
HIGH PH ROOF 100’-0”
12’-3”
G
12’-3”
H
East Elevation
3RD STREET GARAGE FH
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16TH STREET
HOSPITAL
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5 01 SECOND STR 4TH FLO OR, STE. S A N FRAN C I S C ALIFORNIA 9 4 4 15 . 4 8 9 . 2 2 2 4 4 15 . 3 5 8. 91 0 0
" 10'-0
WWW.WRNSSTUDIO
" 10'-0
VISION GLASS (GL-1) VISION GLASS (GL-1)
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURE
" 10'-0
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURED
SPANDREL PANEL (AL-1)
SPANDREL PANEL (AL-1)
ISSUES
PACKAGE 1: EXT STRUCTURE 100% CONSTRUC
RE
#
CONCRETE SLAB, S.S.D. 1'-1"
2'-4"
5'-3"
A
2'-0"
4'-0" 8"
3D VIEW - TYPE A PANELS (NORTH ORIENTATION)
5 01 SECOND STREET 4TH FLO OR, STE. 402 S A N FRAN C I S C O C ALIFORNIA 9 41 0 7 4 15 . 4 8 9 . 2 2 2 4 TEL 4 15 . 3 5 8. 91 0 0 FAX
" 10'-0
2'-0"
1'-0"
" 10'-0
B 3D VIEW - TYPE B PANELS (SOUTH ORIENTATION)
12'-0
"
"
ST
10'-0
AT
WWW.WRNSSTUDIO.COM
LIC
8"
1'-0"
" 10'-0
10'-0
VISION GLASS (GL-1) " 10'-0
12'-0
"
"
VISION GLASS (GL-1)
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURE
VISION GLASS (GL-1)
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH
10
'-0"
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURED
SPANDREL PANEL (AL-1)
VISION GLASS (GL-1)
6'-4"
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURE
SPANDREL PANEL (AL-1)
SPANDREL PANEL (AL-1)
SPANDREL PANEL (AL-1)
UCSF B
550 16TH STREET SAN FRANCISCO, CONTRACT NO. D ISSUES
DATE
#
KEYPLAN
02/01/2013
PACKAGE 1: EXTERIOR CLADDING AND STRUCTURE 100% CONSTRUCTION DOCUMENTS
REVISION LIST
DATE
3'-8" 2'-0" 3'-8"
8"
2'-0" 12'-0
"
CONCRETE SLAB, S.S.D.
"
GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS
SPANDREL PANEL (AL-1)
6'-4"
E
EN
. 11 - 30 -
OF
A
SAM EDWARDS NUNES C-22114 C A LI F
O
"
VISION GLASS (GL-1) GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS SMOOTH GLASS-FIBER REINFORCED CONCRETE (GFRC) PANELS RECESSED TEXTURE SPANDREL PANEL (AL-1)
UCSF BLOCK 25A
550 16TH STREET, MISSION BAY CAMPUS SAN FRANCISCO, CA CONTRACT NO. DB0016 | PROJECT NO. M1623 KEYPLAN
D 3D VIEW - TYPE D PANELS (SOUTH & EAST ORIENTATION) All drawings and written material appearing herein constitute original and unpublished work of the Architect/Engineer and may not be duplicated, used or disclosed without consent of Architect/Engineer.
ED ARCHI T NS
T EC
"
AT
12'-0
"
2'-0"
3D VIEW - TYPE C PANELS (WEST ORIENTATION)
Panel Type “B” 12'-0
VISION GLASS (GL-1) 10'-0
C
R
10'-0
2'-0"
8"
ST
Panel Type “A”
SHEET TITLE:
PANEL TY
B 3D VIEW - TYPE B PANELS (SOUTH ORIENTATION)
" 10'-0
SCALE:
3'-0"
" 10'-0
NI
3D VIEW - TYPE A PANELS (NORTH ORIENTATION)
1'-0"
R
8"
2'-0"
DATE: 02/01/2013
2'-4"
LIC E
A
1'-0"
2'-4" 4'-0"
13
8"
2'-0"
1/31/2013 8:02:07 PM
1'-1" 5'-3"
PROJECT NO.: 12
Panel Type “C”
If this drawing is not 30"x42", then the drawing has been revised from its original size. Noted scales must be adjusted. This line should be equal to one inch
Panel Type “D”
UCSF CAAN NO.: SHEET NO:
views from arcade and entry lobby Pedestrain pathways on the groundplane lead people from the building’s interior to the courtyard and the campus beyond. Serving as the hub for faculty and staff the building provides visibilty for visitors and direct connection to the larger campus nodes.
SUKKAH PDX year
2012
place
Portland OR
collaboration
Erin Hastings
The Jewish holiday of Sukkot celebrates the fall harvest and commemorates Jews who wandered through the desert during their exile from Egypt by erecting temporary shelters for one week. This temporary shelter, known as a sukkah, is used for eating, singing, praying, and meeting. The Oregon Jewish Museum hosted a design competition to re-imagine the sukkah and my design was selected by the jury consisting of OJM, PNCA, and OCAC to be built for the sukkot exhibition. The story of the sukkah is a story of juxtaposition between tradition and temporariness— two things that by their very nature seem contradictory. In conceiving of the design, I looked to these concepts of tradition and temporariness, these two competing yet compelling forces. The form of the sukkah is motivated by tradition; the whale or Leviathan, which tradition says can be used as the sukkah’s walls. The Talmud teaches that when the messiah comes and the Jews return to Jerusalem, that a Leviathan should be killed and its skin should be used to make a Sukkah. (Bava Basra 74b, 75a). The materials are motivated by temporariness: they are light, low tech, simple, and natural. These materials are modern, yet natural, creating new tradition, while celebrating and remembering the homelessness of the Israelites who fled Egypt.
proposal
rooted | lightness The story of the sukkah is a story of juxtaposition between tradition and temporariness— two things that by their very nature seem contradictory. The sukkah commemorates the period when the Israelites were wandering the desert living in temporary dwellings after their exodus from Egypt. Its origin is biblical in nature, but its form is fleeting, as any one sukkah lasts only one week. Thus, the sukkah symbolizes the historical homelessness and transience of the Jewish people, while at the same time remaining deeply rooted in history and ritual. In conceiving of our design, we looked to tradition and temporariness, these two competing yet compelling forces. The form of our sukkah is motivated by tradition; the whale or Leviathan, which tradition says can be used as the sukkah’s walls. The Talmud teaches that when the messiah comes and the Jews return to Jerusalem, that a Leviathan should be killed and its skin should be used to make a Sukkah. (Bava Basra 74b, 75a). The materials are motivated by temporariness: they are light, low tech, simple, and natural. These materials are modern, yet natural, creating new tradition, while celebrating and remembering the homelessness of the Israelites who fled Egypt.
13’-0”
15’-0”
construction
UCSF MEDICAL CENTER PARKING GARAGE year
2012
place
San Francisco, CA
collaboration
WRNS Studio
The UCSF Medical Center parking structure is a 10-story, 623 stall, 223,600 sf parking garage adjacent to the new UCSF Medical Center at Mission Bay. The upper levels of the structure are shrouded with a custom champagne anodized aluminum louver system. The vertical louvers change orientation from panel to panel, creating a quilted pattern through play with light and shadow. The varied spacing and orientation facilitate natural ventilation and control light spill from the garage at night in order to reduce the visual impact on neighbors. The louvers are also shaped to bounce daylight into the structure. Vertical fins define two-story view apertures and modulate between the pedestrian scale and the garage’s large volume. The standalone structure is highly visible from all directions and reacts through the kinetic perception of the viewer as they moving around it. Depending on the time of day and the viewer’s relative position to the garage the louvered skin can either reflect, block, or diffuse light to dynamically shift its reading. I worked closely with lead designer to produce competition renderings, digital working model of garage chassis and louver screen system, assisted on technical drawings for design development, construction documentation, and contributed to CA punch list. *2013 Citation Award Winner, AIA San Francisco.
INTUIT HEADQUARTERS year
2012
place
Mountain View, CA
collaboration
WRNS Studio, Clive Wilkinson Architects
The physical model was part of the proposal for a new headquarters campus for Intuit. Acrylic sheets were laser-etched and grouted with acrylic paint to convey the diagram of the base building massing, environmental considerations, as well as building program.
LAENASTOL year
2009
place
Copenhagen, Denmark
collaboration
Kunstakademiets Arkitektskole
Laeanastol, meaning ‘easy chair’ in english, is the final product of a summer studying Scandinavian furniture design in Copenhagen, Denmark. I worked with Danish and Swedish furniture designers and studied fabrication techniques to create this hand-made prototype made from bent steel tubing and fabric strapping. The design is inspired by the work of Danish furniture designer Poul Kjaerholm, in which the seat is often visually lifted from the base.
WHITE HILL MIDDLE SCHOOL year
2012
place
Fairfax, CA
collaboration
WRNS Studio
The new master plan for the existing campus includes the addition of two new classroom buildings. The new buildings have been sited and organized around a central outdoor gathering space that extends the existing courtyard to the north. The natural environment will serve an educational role: storm water will be safely and visibly channeled into the campus interior between the new classroom buildings and water will flow through planters and run along “teaching patios,� providing opportunities for outdoor teaching and integrating principles of conservation into the lives of students.
EXHAUSTING CO2-HEAVY AIR THROUGH ROOF SOLAR HARVESTING THROUGH PHOTOVOLTAIC PANELS RAIN WATER HARVESTING FROM ROOF
CEILING FANS TO CIRCULATE AIR TEMPERED FRESH AIR SUPPLY OPERABLE WINDOWS TO SUPPLY FRESH AIR
HYDRONIC RADIANT FLOORS FOR HEATING/COOLING
CANOPY FOR RAIN AND SUN PROTECTION EXHAUSTING CO2-HEAVY AIR THROUGH CEILING PLENUM EXHAUSTING CO2-HEAVY AIR THROUGH CEILING PLENUM
RAIN WATER ROUTED TO FLOW-THROUGH PLANTERS
MISSION ROCK year
2012
place
San Francisco, CA
collaboration
WRNS Studio
The San Francisco Giants plan to develop 27 acres of land in the Mission Bay neighborhood adjacent to AT&T Park. The future Mission Rock district will be a waterfront development mixing residential, office, and retail uses into eleven total blocks. The Giants invited four firms to participate in a charrette and assigned two blocks to each firm with the goal to discover the feasibility and imagine the architectural and urban potential of the prospect.
A T Park AT&
China Basin Park
rk
a lP
ne
C
Pier 48
Terry Francois Boulevard
Vara Street
Third Street
Exposition Street
Las Ramblas
n ha
Channel Plaza
Bosque Street
Pier 50
Mission Rock Street
0
ROOF 184'-0"
LEVEL 12 170'-0"
LEVEL 11 156'-0"
LEVEL 10 142'-0"
LEVEL 9 128'-0"
LEVEL 8 114'-0"
LEVEL 8 114'-0"
LEVEL 7 86'-0"
LEVEL 7 86'-0"
LEVEL 6 72'-0"
LEVEL 6 72'-0"
LEVEL 5 58'-0"
LEVEL 5 58'-0"
LEVEL 4 44'-0"
LEVEL 4 44'-0"
LEVEL 3 30'-0"
LEVEL 3 30'-0"
LEVEL 2 16'-0"
LEVEL 1 0"
LEVEL 2 16'-0"
LEVEL 1 0" LEVEL P1 -10'-0"
LONGITUDINAL LONG SECTION -SECTION MISSION ROCK- -LOT LOT337 337- BLOCKS - BLOCKS MISSION ROCK CC + E+ E
PROJECT #:
1/16" 1'-0" 1/16" = 1'-0"
9/20/2012
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2
3
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5
6
8
7
9
10
11
12
13
14
15
A
B RETAIL 11,677 SF
C
1'-10"
D U
LAS RAMBLAS
RETAIL 3,685 SF
VARA
THIRD STREET
P
Q BLOCK C RETAIL 4,885 SF
1st FLOOR 2nd FLOOR
RETAIL 4,367 SF
R
RETAIL 3,112 SF
S
3rd FLOOR 4th FLOOR 5th FLOOR 6th FLOOR 7th FLOOR 8th FLOOR 9th FLOOR 10th FLOOR 11th FLOOR 12th FLOOR
20,929 SF RETAIL 3,550 SF RETAIL 20,960 SF OFFICE 36,032 SF OFFICE 28,344 SF OFFICE 26,909 SF OFFICE 26,916 SF OFFICE 29,220 SF OFFICE 15,193 SF OFFICE 17,699 SF OFFICE 16,215 SF OFFICE 16,215 SF OFFICE 16,206 SF OFFICE
TOTAL
274,388 SF
BLOCK E 1st FLOOR
T
BOSQUE
SITE PLAN / FLOOR PLAN - LEVEL 1 1
2
3
4
5
6
8
7
9
10
11
12
13
14
15
2nd FLOOR 3rd FLOOR 4th FLOOR 5th FLOOR 6th FLOOR 7th FLOOR 8th FLOOR
6,797 SF RETAIL 9,215 SF OFFICE 23,965 SF OFFICE 23,986 SF OFFICE 22,928 SF OFFICE 21,064 SF OFFICE 23,499 SF OFFICE 9,193 SF OFFICE 2,813 SF OFFICE
TOTAL
143,460 SF
SCALE: 1/16" = 1'-0"
MISSION ROCK - LOT 337 - BLOCKS C + E
09/20/12
A
B
C
D U
P
Q
OFFICE 26,909 SF
OFFICE 21,064 SF
R
S
T
FLOOR PLAN - LEVEL 5 MISSION ROCK - LOT 337 - BLOCKS C + E
SCALE: 1/16" = 1'-0" 09/20/12
SALVATION ARMY ADULT REHAB CENTER year
2011
place
Richmond, CA
collaboration
WRNS Studio
A proposal to the Salvation Army for a new Adult Rehabilitation Center that would be situated on the southern marsh edge of San Pablo Bay near San Francisco. The facility would provide re-entry housing and counceling for men and women, allowing them to works in the warehouse and retail services that Salvation Army provides. The building is situated on the site to take advantage of the bayside setting while forming courtyards, playfields, and gardens. The diagram of the building organizes the program into separate wings which acts as a winding gradient from the more private services to the more public ones.
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N
healing
retail
Public healing
retail
Private working
Public
e e us us ho ho re re t wa woart or pp ng upgp ng i i s su us d us d ho l c l
g
urban
ho
urban
N N Private
c
salt marsh
N
working
N
N
N
N
N
N
salt marsh
N N
EDUCATION / COUNCILING HOUSING DAY ROOMS SPECIAL PROGRAM RETAIL WAREHOUSE ADMINISTRATION OFFICES SERVICE
ADMI
N OFF
NG
L
E AP
CHW
OM
DAYEN’S ROO BED M S
ICEDS
DINI
AY R
BOW
LING
OO
M
AUTO
MOTIV
ALLE
Y
E
MEN
EDUCA ’S BE TION / C D OUNCIL S ING
E
R TO
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RAR C DAY RIB OOM Y ENTRAN
SING
HOU
GYM
E RET AIL S TOR
E
R
S AIL ET
WARE H
OUSE
Special program
Zoning
N
N
Dining Chapel
working
ation
educ
+
healing
g
cilin
coun
Sport Library retail
Private
Public
Service Access
Landscape N
N
Salt Marsh
urban
Residential Clusters Day rooms (1st floor)
Internal Circulation N
Bedrooms (2nd + 3rd floors)
1st Floor Circulation
N
2nd Floor Circulation Exterior Circulation
Courtyard Views
Green Roofs Courtyards Green Roofs
N
Ground Floor 2nd + 3rd Floors
N
EDUCATION / COUNCILING HOUSING CORES SPECIAL PROGRAM DAY ROOMS RETAIL WAREHOUSE ADMINISTRATION CORES SERVICE
E IC RV SE
SH RA /T
/
G IN CL CY RE
EA AR
13
12 11
10
AY W ZE EE BR
8
9
ME CH
4 ST OR
ME CH
LA UN DR Y
6
3
RE TA IL
ST AG IN G
AR EA
CL IN IC
/E XP AN SIO N
CLASSROOM (950 sq. ft.) COUNCILING ROOM (200 sq. ft.) INDIVIDUAL COUNCILING ROOM (110 sq. ft.) DAY ROOM (2,700 sq. ft.) GYMNASIUM (6,000 sq. ft.) CHAPEL (12,000 sq. ft.) RETAIL (23,000 sq. ft.) AUTO RETAIL (3,000 sq. ft.) BOWLING ALLEY (3,000 sq. ft.) ADMINISTRATION OFFICE LOBBY DINING HALL (9,900 sq. ft.) KITCHEN (5,900 sq. ft.) WAREHOUSE (193,000 sq. ft.)
BR EE ZE WA Y
1 2 3 4 5 6 7 8 9 10 11 12 13
2
7
1 1
1
4
LOBB Y
4 R ST R ST C W C W
5 N IO NS PA EX
20’ 0’
N
100’ 50’
500’
EDUCATION / COUNCILING CORES HOUSING SPECIAL PROGRAM ADMINISTRATION SERVICE 1 2 3 4 5 6
GYMNASIUM (6,000 sq. ft.) WOMEN’S HOUSING (8,400 sq. ft. per floor) CHAPEL (12,000 sq. ft.) MEN’S HOUSING (24,000 sq. ft. per floor) LIBRARY (3,800 sq. ft.) ADMINISTRATIVE OFFICES (20,200 sq. ft. per floor)
6
4
3
2
5
1
20’ 0’
N
100’ 50’
500’
SEITENGEIST HAUS year
2009
place
Stoglio, Switzerland
collaboration
Esther Hagenlacher, Prof., Univ. of Oregon
A private residence for a bookmaker and an author, this studio project is an adaptive re-use of a stall (barn) in a small mountain town in Switzerland. The German word Setiengeist means ‘in the spirit of the page’ which is the working metaphor for the spirit of the design. Borrowing from Swiss graphic design the layout of the program elements follows a strict grid, lending to clear organization of living spaces. The materiality of the house is a dialogue between new and old techniques in masonry construction using locally harvested Gneiss stone. The original stall walls are the vernacular rubble masonry using handhewn methods, where the new Gneiss walls are the same material but are instead machine-hewn to create a juxtaposition between new and old tectonic expressions. *Project chosen to be archived by the University of Oregon for NCAARB accreditation review.
b a b
a a b c b a
massing
zones
d
c b a
circulation
warm zones/wet zones
MAIN ENTRY
site footprint
parti
site footprint
LIVING
BED BED parti
OBERGESCHOSS
warm zones/wet zones
circulation
zones a b
a b c b a b
d
c b a a
massing
PORTLAND MUSIC CONFLUENCE year
2010
place
The Rose Quarter, Portland, OR
collaboration
Allied Works, Prof., Univ. of Oregon
The Portland Music Confluence is a music innovation center situated between the Willamette River and the entertainment district of the Rose Quarter. The center’s educational and professional mission converges with its context to create a civic landscape that addresses the cultural and physical forces acting on it. This project finds relevance and definition by examining its urban context− land use, infrastructure, landscape, and population−through the medium of sound. The context of a place can be understood by listening to the sounds within that place, in other words, its soundscape. The soundscape of this site has changed its tune over the last 50 years from what was once the vibrant Lower Albina neighborhood emitting the music from jazz clubs and sounds of local inhabitants, into what is now a monumental entertainment and commercial district broadcasting the brazen din of advertisements, speeding automobiles, and train whistles. The Portland Music Confluence seeks to reclaim the soundscape of the Rose Quarter by reuniting the culture of Portland’s music scene with its best venue−The Willamette River. The Portland Music Confluence will not only infuse its soundscape with harmonious melodies of outdoor performance space, natural vegetation, and extension of the Springwater Corridor but it will also provide educational programs, recording and rehearsal space, exploration and discovery galleries, and a springboard for local artists to gain exposure on a larger stage. The building massing is composed of two long bars that curve to converge with the bank of the river. The bars are separated to create a valley through which a stream flows eventually arriving at the Willamette. In an effort to unearth the layers of buried culture of this place, the project seeks a tectonic reading of exposed stratification. Much like the eroded basalt walls of the Columbia Gorge which reveal the many floods that have shaped it.
RECLAIMING
THE
SOUNDSCAPE
|
THE
PORTLAND
MUSIC
CONFLUENCE
|
DREW
HASTINGS
|
AWA
|
B.ARCH
|
2010
0102
|
HCRA.B
|
AWA
|
SGNITSAH
WERD
|
ECNEULFNOC
CISUM
D N A L TR O P
EHT
|
EPACSDNUOS
EHT
GNIMIALCER
lom
bar
d
alberta
williams
mississippi
martin luther king jr. multnomah
2nd ave
bro
adw
ay
5th+6th
10th+11th
twenty first
burnside
morrison
kel
ler
belmont
hawthorne
division
di
vi
si
on
milwaukie
alberta
williams
mississippi
martin luther king jr. multnomah
2nd ave
5th+6th
10th+11th
twenty first
broa
dway
burnside
morrison
kell
er
belmont
hawthorne
division
250 mississippi studios
--sound roots school
--white eagle
778 wonder ballroom
--dunes
599
200 the bitter end
450
gerding theater
875
satyricon 1400
230
roseland theater 525 dante’s berbati’s pan
229 doug fir lounge
240
250 east end rotture
300 holocene
2775 alrene schnitzer concert hall
2990 keller auditorium
4500 washington park zoo amphitheater
RECLAIMING
THE
SOUNDSCAPE
620
|
THE
PORTLAND
MUSIC
CONFLUENCE
|
aladdin theater
martin luther king jr.
crystal ballroom
DREW
600 hawthorne theater
HASTINGS
|
AWA
|
B.ARCH
broadway
multnomah
|
2010
2nd av
5th+6th
10th+11th
UP
CONCERT HALL FOYER
BACKSTAGE STORAGE
CA
FE
TE
M
PO
RY RA
GA
LL
Y ER
RM
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THE CONFLUENCE: SKETCHES, AERIAL VIEW, WATERFRONT VIEW The above images won 1st place in the DS Extrusion Competition hosted by the Designated Sketcher (thedesignatedsketcher.com). The collage of hand sketches on the left came from explorations during my terminal studio project and were the progenetor for the rendered sketches on the right, created over a year later. The renderings show a different project from the original terminal studio project despite both coming from the same sketches. The new project sought to rekindle the essence of the original sketches that was somewhat lost in the terminal project.