Emma Spilsbury - Selected Works by Emma Spilsbury

EMMA SPILSBURY

SELECTED WORKS

STUDIO WORK WOV E N SPRING 2015 ALEX BARKER

SANC TIFIE D FALL 2015 DAVID RUY

SP R O U TE D FALL 2014 JASON VINERE BEAN

STR U C TU R E D FALL 2013 ALEX BARKER

R E V IV E D SPRING 2016

HENRY SMITH-MILLER

SHADOWED

INDEX SE LECTE D WORKS

FALL 2010 ANTHONY VISCARDI

ASSEMBLED FALL 2011 CHRISTINE USSLER

2010-2016

VISUAL STUDIES 108

116

120 Photograph of the Memoria E Luce (9/11 Memorial) in Padua, Italy by Libeskind taken in 2010

124

STR IP FALL 2015 ROBERT CERVELLIONE

FIGU R E SPRING 2010 JASON TRAVERS

SC AR PA SUMMER 2010 ANTHONY VISCARDI

FR E E H AND SUMMER 2010 ANTHONY VISCARDI

WOVEN SU PE R M A R KE T EL PASO, TX 70,000 SQ. FT. PRATT INSTITUTE, SPRING 2015

CRITIC

ALE X B ARKE R

STRUCTURA L CRISTO B AL CO RREA M ECH A NICA L ST UART B RIDG E T T E NV E LO PE

B RUCE NICH O L

LA NDSCA PE CLAIRE FE LLMAN PA RTNE RS

WAYNE E RB , CJ R ABEY

WOVEN

E L PA S O, T X

D OW N TOW N E L PAS O

CO M M E R C I A L D I ST R I C T

ARMIJO PA R K

BUS STAT I O N

SITE

PAS O D E L N O RT E P O RT O F E N T RY

U.S.A. MEXICO

RELATIVE HUMIDITY (%) - WEEKLY SUMMARY

TOTAL YEARLY RAINFALL 1880-2014 20 18

TOTAL RAINFALL (in)

NIGH

The most humid part of the year is during the early morning in July, August, and September when El Paso recieves the majority of it’s 9” of yearly rain

The generally low humidty level becomes the lowest in the late spring/early summer.

14 12 10

AVERAGE (9 inches)

8 6

MORN

ING

Decembe 0

January

1880

AVERAGE AND RECORD MONTHLY TEMPERATURES (F°) Record High

Average High

Average Low

1900

1920

1940

1960

1980

2000

2014

WIND DIRECTION TRHOUGHOUT YEAR

Record Low 15%

114

112

105 98

86 80

108

104

DIURNAL SWING

11%

87 78

12%

96 88

79 70

57 52

43 33

14%

40 33

31 25

23 14 1

1 -5

-8

January

February

March

April

May

June

July

August

September

October November

December

WOVEN

D I A G R A M M AT I C Given this unique, non-orthogonal site, initial explorations investigated how to lay out the project. Taking into account the climate of El Paso and the program of a supermarket, it was decided to place the main supermarket below grade, to take advantage of the thermal insulation it would provide. In order to create a park and garden surrounding the building, the parking lot, back-of-house, and truck delivery space are also located below grade.

BELOW G RA D E

B AC K O F H O U S E

SUPERMARKET

The initial form took inspiration from a watering hole in the desert with a sweeping roof protecting it above. The supermarket is the center of the watering hole, with smaller market stores winding up around it and expanding outside to temporary stalls. C A R PA R K I N G

AT G RAD E

T E M P O R A RY MARKET AREA

PERMANENT M A R K E T STA L L S + S M A L L STO R E S

T E M P O R A RY MARKET AREA

DEVELOPMENT OF THE SITE Using the inspiration of the waterhole, we sketched and diagramed the site to create a concept model.

WOVEN

CARS

EX TO M

I CO

OP LE XIC TO M E O

CIRCULATION DIAGRAM The site is at the base of the Paseo del Norte Bridge, the second busiest pedestrian Port of Entry to the US. Every year, 10 million people enter the US at this intersection. Given this high volume of foot traffic, we designed the building and circulation principally for pedestrians.

WOVEN

MARKET

AT GRADE PLAN

1. ICE CREAM SHOP 750 sq ft 2. COFFEE SHOP 1200 sq ft 3. FLORIST 1600 sq ft 4. WINE + BEER SHOP 3000 sq ft 5. STORAGE 6. DELI + CAFE 1800 sq ft 7. SUPERMARKET BELOW 18,500 sq ft

WOVEN

BELOW GRADE PLAN

SUPERMARKET 18,500 sq ft 1. ENTRANCE 2. SHOPPING CARTS 3. MECHANICAL ROOM 4. PRODUCE 5. DRY GOODS 6. HYDROPONIC WALL 7. MEAT+FISH COUNTER 8. REFRIGERATOR 9. FREEZER 10. DELI 11. FREEZER STORAGE 12. BACK OF HOUSE 13. LOADING DOCK 14. STORAGE

N RESTAURANT 4800 sq ft 1. BRIDGE WALKWAY 2. DINING ROOM 3. BAR 4. OUTDOOR SEATING 5. KITCHEN 6. MECHANICAL ROOM WOVEN

LEVEL 2 PLAN

WOVEN

1. WINE + BEER SHOP 2. WALKWAY 3. ENTRANCE 4. MECHANICAL ROOM 5. DELI 6. HYDROPONIC WALL 7. MEAT + FISH COUNTER 8. DRY GOODS

SECTION 01

SECTION 02

1. BRIDGE WALKWAY 2. RESTAURANT 3. OUTSIDE SEATING 4. PARKING ENTRANCE 5. SUPERMARKET 6. HYDROPONIC WALL 7. CIRCULATION 8. STORAGE 9. FREEZER AND DELI 10. BACK OF HOUSE 11. TRUCK DELIVERY 12. STORAGE

WOVEN

NORTH ELEVATION

EAST ELEVATION

WOVEN

STAINLESS STEEL CLAMP GFRC PANELS

THROUGH BOLT CONNECTION

FLASHING

STAINLESS STEEL CLAMP

CONCRETE FASCIA INSULATED GLASS UNIT

MERO SPACE FRAME

EXTRUDED ALUMINUM 3 1/2” METAL DECKING

BROWN CELLULOSE

W12X24 I-BEAM

INSULATION R-38 GFRC PANELS CHANNEL FOR IGU

GLASS TO LOUVER DETAIL

DOUBLE PANE ICU LOW-E GLASS ANODIZED METAL LOUVERS STRUCTURAL SILICONE NO. 6 REBAR CAST IN PLACE CONCRETE CHOP IN CHANNEL FOR IGU SILICONE GASKET RETAINING WALL

1/2” BOLT CONNECTION

STEEL BEAM STEEL COLUMN

CONCRETE SLAB

BASE PLATE WELDED TO PIPE

CONCRETE FOOTING #4 BAR EACH WAY

WALL SECTION 01

COLUMN DETAIL

SECTION MODEL 3D PRINTED AND CNC MILLED

WOVEN

GFRC PANELS FLASHING CONCRETE FASCIA MERO SPACE FRAME BROWN CELLULOSE INSULATION R-38 CAST IN PLACE CONCRETE

3 1/2” METAL DECKING W12X24 I-BEAM

EMBEDDED STEEL

HUB

THREADED ROD TEFLON PAD COLUMN BASE PLATE

WALL SECTION 02

SLIDE BEARING RETAINER

SPACE FRAME TO COLUMN DETAIL

WOVEN

3RD FLOOR FRAMING PLAN

FOUNDATION + MARKET FRAMING PLAN

MEZZANINE FRAMING PLAN

This Integrated Design Studio worked in conjunction with the Integrated Building Systems class to explore structural and mechanical elements of the building alongside design elements. For each of our three reviews, we presented a drawing set that mimicked SD, DD, and CD sets.

UPPER SPACE FRAME PLAN

TYP. COLUMN TO SPACE FRAME JOINT

LOWER SPACE FRAME PLAN

TYP. SPACE FRAME DETAILS

WOVEN

LANDSCAPE DESIGN Our goal was to create a visually inviting space that also adhered to our sustainability goals. The landscape design includes only salt and drought resistant plants to minimize the overall use of water. All the AND plantsD can tolerate SALT ROU G H T reclaimed water which has a higher salt thanPpurified Rcontent ESITANT LANTSwater. Shade structures were designed so people could comfortably enjoy the landscape. S M ALL SHRUBS

GR OUND COVER ROSEMARY

rosmarinus officinalis

TALL GR ASS

CREEPING BOOBIALLA myoporum parvifolium

FOUR-WING SALTBRUSH agave americana

D E S E RT SA LT GRASS distichlis spicata

FLOWERING S H R UB S LARGE SUCCULENTS

TE XAS SAG E

TR EES

leucophyllum frutescens

AGAV E

agave parryi

H O N E Y LO CU ST

O L EANDER

gleditsia triacanthos inermis

agave parryi

EE R T S

C E N T U RY P L A N TS agave americana

U STR

TR A IL ING ICE PLA N T lampranthus spectabilis

CH I L E A N M ESQU ITE prosopis chilensis

LANDSCAPE S

SHADE STRUCTURE AND LANDSCAPE SECTION

WOVEN

PHYSICAL MODEL 3D PRINTED, CNC MILLED AND LASER CUT

WOVEN

SANCTIFIED IN T E R FA IT H C E N T E R OF WO R S H I P WASHINGTON DC 300,000 SQ. FT. PRATT INSTITUTE, FALL 2015

CRITIC

DAVID RUY

PA RTNE R

E RIC SALITS KY

SANCTIFIED

N ATION AL CE NTE R FOR I N T ER FAITH WORS H I P Our proposal for a new structure on the National Mall is an inclusive and pluralistic sacred space. One of the founding principles of this Nation is freedom of religion and we wish to celebrate and monumentalize this freedom while also acknowledging the tensions that exist because of religious differences. This space will consider various religious traditions as well as those that do not subscribe to a particular faith group. By bringing an eclectic group of people of faith under one roof to celebrate the particulars of their practices, moments of meeting and encounter will naturally occur in the shared spaces. The building will encourage people to enter and witness the varieties of religious practice, allowing for both the experience of practicing religion as well as the experience of seeing how other people practice. Though there is no limit to the number of faith groups that could be incorporated into our project, we chose to curate the selection of religious communities through an American lens. We also included the possibility of spiritual and transformative experiences that are not tied to a specific dogma through the use of light, scale, or landscaping. We included nondenominational spaces that encourage meditative reflection and those that encourage ecstatic euphoria.

SANCTIFIED

DESIGNING THROUGH C U R AT E D V I E W S Once we had developed our programmatic vision for the National Mall, we began our design from the inside out. Through the collage of existing imagery, we curated desired views for our building. We were, in essence, beginning with the end: creating a rendered image of a space that was yet to be drafted or modeled. With a program as sensitive as religion, this let us jump into designing spaces without feeling constricted by the gravity of the task. These mashup renderings are derived from existing spaces that have spatial qualities that inspire us. We collected photographs of architectural elements from spaces designed by Tado Ando, Peter Zumthor, Corbusier, SANAA, Carlo Scarpa, Steven Holl and many others. We spliced, layered, and tweaked the images to create the â&#x20AC;&#x2DC;mash-up renderingsâ&#x20AC;&#x2122;. The resulting images were then precisely modeled before being edited and aggregated. We are interested in giving each faith a space unique to it as opposed to a predefined module or grid.

SANCTIFIED

O R G A N I Z AT I O N

MOSQUE

CATHOLIC CHURCH

Our organization privileges the specificity of individual religious practices. Whereas normal building organizations exert pressure on individual spaces to conform to an overall grid, our proposal sacrifices gridded structure in order to privilege the needs of individual spaces to an extreme. Because the needs of individual spaces are specific to a religious practice, the localized spatial requirements are not idiosyncratic but essential. The extreme diversification of spatial objects and the â&#x20AC;&#x2DC;piling upâ&#x20AC;&#x2122; of religious programs is supplemented by a simple unifying superstructure that then allows for the practical delivery of services and circulation. It also provides a loose possibility for the monumentality of the collection to become legible. By bringing together a diverse range of religious practices under one roof, we want to promote a celebration of the specificity of religious practices. We are also interested in how unexpected meetings and encounters will naturally occur in the spaces in-between. The building will encourage people to enter and witness the varieties of religious practice, allowing for both the experience of practicing religion and the experience of seeing how other faiths worship.

BAPTISTRY / SPA

SYNAGOGUE

SANCTIFIED

MECCA EAST

1. MOSQUE 2. CHURCH 3. HINDU TEMPLE 4. SYNAGOGUE 5. ORTHODOX CHURCH 6. CHURCH 7. CLASSROOMS 8. BATHROOMS 9. MOSQUE 10 CHURCH 11. RAIN GARDEN 12. BUDDHIST TEMPLE 13. MEDITATION ROOM 14. YOGA ROOM 15. CHURCH 16. CHURCH 17. BAPTISTRY / SPA 18. MIKVAH 19. BATHROOMS

THIRD FLOOR PLAN

SANCTIFIED

EAST ELEVATION

NORTH ELEVATION

WEST ELEVATION

SECTION

SANCTIFIED

PHYSICAL MODEL 3D PRINTED AND LASER CUT

SANCTIFIED

SPROUTED M IXE D U SE TOWE R NEW YORK, NY 220,000 SQ. FT. PRATT INSTITUTE, FALL 2014 CRITIC

JASON VINGERI-BEANE

SPROUTED

SITE

B OTA N I C C A N YO N : URBAN BIOPHILIA Biophilia: the love of life or living systems. The term was first used by Erich Fromm, a social psychologist, to describe a psychological orientation of being attracted to all that is alive and vital. In 1984, the biologist Edward O. Wilson introduced and popularized the biophilia hypothesis which suggests there is an intrinsic bond between human beings and other living systems. He defines biophilia as â&#x20AC;&#x153;the urge to affiliate with other forms of lifeâ&#x20AC;?. Humans have spent the vast majority of their time on earth surrounded by nature. Living in dense, urban cities is a very new phenomenon and it has been theorized that we have not evolved to live contentedly in these concrete jungles. Biophilic design is a sustainable design strategy that emphasizes reconnecting people with the natural environment to ease stress and promote happiness. No place is more appropriate for biophilic design than Manhattan. The site for this mixed use tower is in congested, vibrant Soho, far from any large park or greenspace. Even as redevelopment abounds, the industrial and artistic history of the neighborhood endures and design cues can be taken from the historic cast iron buildings that remain.

SPROUTED

S H I F T I N G L AY E R S To embody the idea of biophilia, the building was designed to be encased in two layers of greenspace: a greenhouse on the front of the building through which the building’s circulation runs and a vertical garden at the back of the building that becomes a shared backyard.

SHARED: GREENSPACE / “BACKYARD PUBLIC: AIRSPACE / ‘BOTANIC CANYON PRIVATE: BALCONY SHARED: GREENHOUSE CIRCULATION / ‘FRONT DOOR’

CIRCULATION

PRIVATE PRIVATE PRIVATE

3D SECTION DIAGRAM

PLAN VIEW DIAGRAM

SPROUTED

4th FLOOR SECTION PERSPECTIVE

4th FLOOR PLAN

SPROUTED

10TH FLOOR SECTION PERSPECTIVE

10TH FLOOR PLAN

SPROUTED

FACADE SECTION This exploration of the facade was a collaboration between the Materials and Assemblies class and Studio III.

[1] CABLE NET WALL AND WALKWAY DETAIL

[2] SLAB AND CEILING DETAIL

SCALE: 1/2”=1’

[3] GROUND FLOOR AND FOUNDATION DETAIL SCALE: 1/2”=1’

SPROUTED

PHYSICAL MODEL LASER CUT AND HAND MODELED

SPROUTED

STRUCTURED BOA R DWA LK PAV ILION BROOKLYN, NY 16,000 SQ. FT. PRATT INSTITUTE, FALL 2013

C RITIC

ALEX BARKER

STRUCTURED

I N I T I A L E X P L O R AT I O N S

MATERIAL STUDY: 4”X4” EVA FOAM

5 BASE UNITS - PLAN

MATERIAL STUDY: 4”X4” EVA FOAM AGGREGATION

5 BASE UNITS - ELEVATION

5 BASE UNITS - PERSPECTIVE

BASE SURFACES

SURFACES MANIPULATED

STRUCTURE

CURVE ATTRACTOR APPLIED

SKIN

PANELED UNITS

CAGE EDIT

SKIN + STRUCTURE

PHYSICAL MODEL 3D PRINTED

STRUCTURED

U N I T S A G G R E G AT E D The goal of the initial exploration was to create a dynamic paneled structure using five variant units. The resulting forms were used to inform the design of a pavilion for the Rockaway Beach Boardwalk. Three units were designed to provide the structural body of the pavilion. The units all touch the eight corners of the bounding square they were designed within, thus ensuring they would provide a continuous curved matrix when they were aggregated. They vary from fully connected to open, to create a variation of spaces within the pavilion. The units were then paneled along two bounding surfaces to create the final aggregation. The structure is designed to hold removable canvas panels - the “skin” - and it also connects to and envelops the existing beach boardwalk.

SURFACES

CURVE UNITS PANELED

VOLUMETRIC UNITS APPLIED

CURVE UNITS

VOLUMETRIC UNITS

SKIN AND BOARDWALK SWEEP

STRUCTURED

PAVILION AND BOARDWALK SECTION

STRUCTURED

PHYSICAL MODEL 3D PRINTED

STRUCTURED

REVIVED MASTER PLAN BROOKLYN, NY 32 Acres PRAT T INST IT U T E , S PRING 201 6

C RITIC

HENRY SMITH-MILLER

REVIVED

T H E S ITE: BROOK LYN NAVY YA R D

REVIVED

T H E PLAN This master plan explores how disjointed pieces can connect physically, visually, and programmatically through the creation of a landscape of recreation. The site, the north east border of the Brooklyn Navy Yard, sits between South Williamsburg, a residential neighborhood, and a manufacturing district within the Navy Yard. This new park and commercial hub is designed to be a link between the two. The Navy Yard was once closed to the public but is currently being redeveloped and will include new offices, a food hall and art spaces. The park is designed to be a Pgateway E R I M E to T Ethe R newly redeveloped Navy Yard.

This fenced piece of waterfront is in disarray and begs to be opened up to the public. Waterfront spaces are cherished by New Yorkers and in the last decade many new, successful waterfront parks have opened across the boroughs. To increase the perimeter of the park, new channels, a new island and extended piers are added. This brings water further into Brooklyn and extends the â&#x20AC;&#x2DC;landâ&#x20AC;&#x2122; into the East River, providing new edgescapes to be designed and programed.

BROOKLYN NAVY YARD

SITE

EXISTING

PROPOSED

PIERS EXTENDED + PIER ADDED

NEW PEDESTRIAN BRIDGE

ISLAND CREATED

ROAD BECOMES BRIDGE

CHANNEL EXTENDED

REVIVED

E X P LO R ING MASS I NGS T H RO U G H M O D EL S

REVIVED

The major transportation lines are highlighted below. One of the busiest bike paths in Brooklyn runs along the site. The park is designed to cater to those bikers as well as ferry riders and pedestrians walking from nearby Williamsburg.

M A J O R BI K E PAT H

FE R RY L A N D I N G

VEHICLE ENTRANCE

To create a safe place for water sports, including kayaks, canoes, and stand-up paddle boards, a motor free zone is established within the park. The new structures that run along this zone house various recreation and entertainment options alongside commercial stores.

BOAT R ENTALS

MOTO R F R E E ZO N E

R EC C ENTER

AM PHI THEATER / PAVI LI ON

R ESTAUR ANT

COM M ER C I AL HUB

REVIVED

PHYSICAL MODEL 3D PRINTED AND LASER CUT

REVIVED

SHADOWED M A R KE T PLAC E PHILADELPHIA, PA 28,000 SQ. FT. LEHIGH UNIVERSITY, FALL 2010

CRITIC

ANT H O NY VIS CARDI

SHADOWED

[1] MAPPING SHADOWS Over the course of one day, a sculpture of scrap materials was constructed. Below, on mylar, its shadows were traced and recorded during the morning, midday, and afternoon. The resulting map is an organic but rational grid of shadows frozen in time. Through erasing, smudging and shading, the forms were given further depth and volume.

[2] EXTRACTING VOLUMETRIC ELEMENTS The two dimensional geometries in the shadow map were extracted to become three-dimensional forms. This model was used to explore the volumetric possibilities the shadow map informed. Without the restraints of program, site, or scale, the abstract forms could explore the themes of shadow/light, solid/void, foundation/ support.

SHADOWED

[ 3 ] F O U N DAT I O N O F DA R K N E S S A N D PAV I L I O N O F L I G H T The prominent geometries in the shadow map and the abstract forms in the study model were used to inform a progressive series of models: a foundation of darkness, a pavilion of light, and a programmed building â&#x20AC;&#x201C; each building on the previous model. I programed the site as the Philadelphia Fresh Market. The curved pavilion form that emerged in my initial designs evolved into an arcade and inspired me to draw from a variety of markets I have experienced across Europe for my final model. The market is a place to be enjoyed from sunrise to beyond sunset with a variety of spaces, activities and programs.

SHADOWED

PHYSICAL MODEL LASER AND HAND CUT

SHADOWED

ASSEMBLED SU KKA H 100 SQ. FT. LEHIGH UNIVERSITY, FALL 2011 CRITIC

CH RIST INE USS LER

100

ASSEMBLED

PRACTICING TRANSIENCE AND PERMANENCE â&#x20AC;&#x153;Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoiceâ&#x20AC;? - Sukkah City. Sukkahs, constructed during the Jewish festival of Succoth, commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt and function as a means of ceremonially practicing homelessness. This design project followed the guidelines of the Sukkah City Architectural Design Competition which were based on Jewish Law. They included: - It must be a temporary structure - The roof must be made of non-edible plant material - The roofing must be thick enough to shade those sitting inside in daytime, and thin enough so that stars are visible through the roof at night. - The walls must be at least 10 handsbreadth tall but can be made of any material After initially exploring tensile options, the final design is constructed of notched wooden posts and slats, secured with natural rope. It is designed to be manufactured, flat packed, and shipped to private homes. It can be constructed by a family without any power tools and can be used year after year. Upon entering, you are first required to crouch down, before opening up to the central space, emphasizing compression and release. There is space inside for families to eat meals, and a circular hole in the ceiling though which to stargaze at night.

INITIAL SKETCHES

STUDY MODEL

FINAL MODEL

ASSEMBLED

101

102

ASSEMBLED

MATERIALS PROVIDED

CONSTRUCTION

The sukkah was designed to be sold in kits that could be flat-packed and delivered.

Construction requires no power tools but cannot be completed by a single person. It instead encourages the whole family to participate.

FULL SCALE TEMPLATE

NOTCHED POSTS

x 1

ROOF SLATS

x 80

x 20

ROPE

x 5 yds

10 ft.

PLAN VIEW

ELEVATION

ASSEMBLED

103

104

ASSEMBLED

PHYSICAL MODEL HAND MODELED

ASSEMBLED

105

VISUAL STUDIES

108

STRIP

STRIP FAC A DE G R EEN WALL P RATT INSTITUE, FALL 2015

CRITIC

R O B E RT C E RV E L L I O N E

PA RT NE R S

C J R AB E Y, LO U W R I GH T

For this elective design class, we designed a new facade for Higgins Hall, the Architecture building at Pratt Institute. Our facade represents an attempt to engage the material nature of our fabrication method while also extrapolating its formal possibilities into something more complex.

STRIP

109

110

STRIP

DESIGN PROCESS Using a robotic resin extruder much like a conventional fused-deposition 3D printer, the facade is composed of a series of tube like extrusions that bend and mirror across the facade, creating strip-like moments where glazing and greenery can emerge. Large, hour-glass like expanses of glazing are overlaid with a further layer of perpendicular resin strips, which provide shading for the interior spaces as a louver system. Interior creases running the length of the facade hold channels of growth medium from which plants can sprout, and large panes of glazing are broken up by strips that recall the overall geometric motif of the facade. The larger sections of solid facade, formally developed as tube-like structures, can house insulation as well as mechanical systems. Passively, they can create a well-regulated environment, but they also are designed to accept active systems that might manage water flows and other utilities through the facade. In this proposal, many programmatic effects are achieved in a process that is both conscious of its material origin and an abstraction of it - a series of strip-like geometries, themselves constructed of perpendicular strips, which produce strip-like effects of light and dark, living and inert, deep and shallow.

A custom head was made for this IRB 6700 6-axis robotic arm. The head consists of a resin extruder that prints 4â&#x20AC;? strips of UV cured resin.

STRIP EXPLORATION 1 - PEALING

STRIP EXPLORATION 2 - STRUCTURE

OPTION 1

P E A L I N G T O C R E AT E P L A N T E R O P P O R T U N I T I E S

OPTION 3

By layering, overlapping, and joining the 4” resin strips, volume, structure, and aperture can be built.

GLAZING DISTRIBUTION

L A Y E R I N G T O C R E AT E S E L F S U P P O R T I N G STRUCTURE

PARAPET DETAIL

VARIATION 1 - DIAGRAM

VARIATION 1 - PLAN

VARIATION 2 - PLAN

VERTICAL SECTION STRIP

111

112

STRIP

NORTH ELEVATION

FACADE SECTION

STRIP

113

114

STRIP

SECOND FLOOR INTERIOR VIEW FROM A STUDIO SPACE

SMALL PLANT - AIR PLANT

MEDIUM PLANT - SEDUM

LARGE PLANT - NATIVE FERNS

Interior creases running the length of the facade hold channels of growth medium from which plants can sprout. The channels vary in width and depth, to hold a variety of different sizes of plants

STRIP

115

116

FIGURE

FIGURE CHA RCOA L ON PAPER LEHIGH UNIVERSITY, SPRING 2010

CR I T I C

JAS O N T R AV E R S

The human form was explored with charcoal on paper in a drawing class with live models. Focus on light and shadow helped sketch the nuances of each body. Beginning with a layer of grey charcoal, further charcoal could be added or erased to suggest highlights or shadow.

FIGURE

117

118

FIGURE

119

120

S C A R PA

SCARPA P HOTO G RAPHIC STUDY LEHIGH IN VICENZA, SUMMER 2010

CRITIC

A N TO N Y V I S C A R DI

During a four week summer program based in Vicenza, Italy, the architecture of Carlo Scarpa was studied and explored. I was drawn to the profiling techniques and details he used throughout his work and they became the focus of this photographic study. These photographs explore the Brion Cemetery, Castelvecchio Museum, and the Banca Popolare di Verona.

S C A R PA

121

122

S C A R PA

123

124

FREEHAND

FREEHAND FREEHA N D S KETCHING LEHIGH IN VICENZA, SUMMER 2010

CRITIC

A N TO N Y V I S C A R DI

During the four week summer program based in Vicenza, Italy, techniques were explored to analyze critically Italian urban spaces through traditional and modern fountain pen work. Freehand drawing was used to document and study the many ‘campos’ (city squares) of Italy. Before a campo study began, time was spent observing and experiencing the life of the campo. Then, freehand sketches and notes documented a day in the life of the campo.

FREEHAND

125

126

EMMA SPILSBURY emma.spilsbury@gmail.com 415.990.8602