HANNAH GALBRAITH
PORTFOLIO
Content: _____________________________________________ I The Baroque Reversal: Contemporary Art Museum of Houston Fall 2016: Craig Babe Design Studio Collaboration: Christian Stiles II Experiences of Light: Modern Day Bath House Spring 2016: Brian Gibbs Studio Collaboration: Luke Fangue III High-Low Definition Mega Structure: Giles Retsin Design Studio Spring 2015: Giles Retsin/ Gabriel Esquivel Studio Collaboration: Matt Kohman, Alex Nelson, Briseida Hernandez, Tyler Larson IV Flowing Structure: La Escocesa Renovation Fall 2015: Miguel Roldan Design Studio Individual Project V Hand Renderings
THE BAROQUE REVERSAL
CRAIG BABE DESIGN STUDIO CONTEMPORARY ART MUSEUM OF HOUSTON COLLABORATION: CHRISTIAN STILES The Contemporary Art Museum of Houston is looking to relocate and create a space of their own, to step outside of the shadow of the Fine Arts Museum of Houston and claim their own location and presence in the city. As a foundation saturated with culture, and diverse in local and global art, the new building seeks to be a place for all, “A safe place for dangerous ideas”. This project seeks to strike curiosity, engage the public, and become a versatile home for the Contemporary Art Museum of Houston to grow and change. By engaging with the idea that structure and architecture and intrinsically linked, this project seeks to push the idea that the architecture of the building, and the structure of the building are not two separate objects, but one and the same.
In respect to the context we began with a simple box placed within the site
In order to accommodate structural need and program, orthogonal shear walls were placed within the box.
A figural void was inserted to guide circulation, organize the programmatic spaces, and create outside perspectives.
The void reacts against the orthogonal walls producing Baroque form and likeness.
The Baroque forms are drawn to the exterior from the perspective lines to create an outside portico.
The portico is dispersed to create walkable spaces around the main structure.
The portico forms are then extruded to produce an exterior structure.
To provide solar shading, panels are placed around the portico to begin to create layers of experiences.
Perspective lines are created outside to in and well as inside to out.
Using the perspective lines as well as necessary solar shading , the panels are morphed to allow appropriate natural lighting.
REVERSING THE BAROQUE By focusing on ideas of creating perspectives, creating differing levels of experiences, and combining structure and design, Baroque forms were created interiorly, using the poche to create areas of structural support as well as circulation for systems and air. By extruding the forms upward, the Baroque shapes took on Brutalistic features instead of the inherent ideas of articulation and detail. As the ideas of the Baroque contributed to the addition of the portico and the perspective lines drew out the separate structure, the Baroque forms were carried outwards to the exterior. As the panels began to take form, the original articulation of the Baroque began to once again take shape in exploring each axis individually with the consideration to solar shading in the programmatic spaces, thus reversing the ideas of Baroque Interior articulation and design. SITE PLAN
3
EXTERIOR PERSPECTIVE
FLOOR 1
4 FLOOR 2
FLOOR 3
GLASS CEILING DETAIL
PARAPET DETAIL
stone wall finish air barrier insulation concrete shear wall
flashing waterproof membrane gypsum sheathing wooden spacers gypsum sheathing AAC concrete curb
stone tiling metal tray steel pedestal
fully adhered roof rigid insulation metal decking waterproof membrane concrete slab
flashing
concrete finish air barrier carpentry sheathing insulation gypsum board waterproof membrane
flashing gypsum sheathing wooden spacer air barrier concrete slab
waterproof membrane insulation concrete slab roof drain
carpentry 2X blocking aluminium header curtain wall system low energy transparent double glazing low energy translucent double glazing
sliding connection for slab deflection steel tubing for stabilizing stud wall
lateral stabilizing brace
stone wall finish air barrier insulation concrete shear wall
steel cable
translucent glass panels steel clips
stud wall
A: TYPICAL ROOF DETAIL: WALL TO ROOF CONNECTION
E: GLASS CEILING DETAIL: GLASS CURTAIN WALL DETAIL: EXTERIOR FLOOR DETAIL
D
A
E
B
C
F
5 CROSS SECTION
SLAB TO SHEAR WALL DETAIL
RAISED FLOOR DETAIL
gypsum board concrete finish air barrier carpentry sheathing insulation gypsum board
stone base
linear floor diffuser
stone tiling PE sheet gypsum board
CMU base
waterproof membrane insulation concrete slab
1� elastic
B: TYPICAL CURTAIN WALL DETAIL:RAISED FLOOR DETAIL C: SLAB TO FLOOR CONNECTION
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WALL SECTION
FRAMING PLANS A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
78ft
A 6.5 ft
10.25 ft
5.5 ft
4 ft
7 ft
4 ft
14.5 ft
12.5 ft
12.75 ft
7.25 ft
6.75 ft
5.75 ft
6 ft
6.5 ft
8 ft
7.5 ft
7 ft
10.75 ft
11.25 ft
5 ft
B 6.5 ft
6 ft
1 6 ft
2
12.5 ft
12.5 ft
2
3
6
3.5 ft
5
3.75 ft
4
10 ft
10 ft
6
3.5 ft
5
3.75 ft
4
9 ft
9 ft
3
60ft
7
21 ft
21 ft
7
8 8
28 ft
28 ft
40ft
9
8 ft
8 ft
9
10
8 ft
8 ft
10
11
20 ft
20 ft
11
12
12
13
11.5 ft
11.5 ft
14
27.5 ft
27.5 ft
13
15 5.25 ft
16
10.25 ft
10.25 ft
14
15 5.25 ft
D: WALL SECTION
8 ft
8 ft
16
17
7.25 ft
7.25 ft
17
18
19 20
3.5 ft
STRUCTURAL DEFINITION Each floor was articulated to level of creation of structural framing plans. The structure is made up of concrete shear walls which create a “semi” free plan that allows the galleries to remain open and free of columns. The shear walls are spaced apart in spans of approximately 30 feet to allow for the flat slab considerations.
7 LONG SECTION
17.75 ft
17.75 ft
18
19 20
3.5 ft
20ft
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
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V
6 ft
1
10.25 ft
5.5 ft
4 ft
7 ft
4 ft
14.5 ft
12.5 ft
12.75 ft
7.25 ft
6.75 ft
5.75 ft
6 ft
6.5 ft
8 ft
7.5 ft
7 ft
10.75 ft
11.25 ft
5 ft
6 ft
B 6.5 ft
C 10.25 ft
D 5.5 ft
E 4 ft
F 7 ft
G 4 ft
H 14.5 ft
I 12.5 ft
J 12.75 ft
K 7.25 ft
L 6.75 ft
M 5.75 ft
N 6 ft
O 6.5 ft
P 8 ft
Q 7.5 ft
R 7 ft
S 10.75 ft
T 11.25 ft
U 5 ft
V
A
B
5.5 ft
E 4 ft
F 7 ft
G 4 ft
H 14.5 ft
I 12.5 ft
J 12.75 ft
K 7.25 ft
L 6.75 ft
M 5.75 ft
N 6 ft
O 6.5 ft
P 8 ft
Q 7.5 ft
R 7 ft
S 10.75 ft
T 11.25 ft
U 5 ft
A
V
B
C 10.25 ft
D 5.5 ft
E 4 ft
F 7 ft
G 4 ft
H 14.5 ft
I 12.5 ft
J 12.75 ft
K 7.25 ft
L 6.75 ft
M 5.75 ft
N 6 ft
O 6.5 ft
P 8 ft
Q 7.5 ft
R 7 ft
S 10.75 ft
T 11.25 ft
U 5 ft
V 6 ft
6 ft
6 ft 6 ft
6 ft
1
2
12.5 ft
12.5 ft
10.25 ft
1
2
3
D
6.5 ft 6.5 ft
2
C
6 ft
12.5 ft
A
1
3 9 ft
18
17.75 ft
20
3.5 ft 7.25 ft
7.25 ft
7.25 ft 17.75 ft
19
3.75 ft 21 ft 28 ft 5.25 ft
8 ft
8 ft
5.25 ft
16
17
17
18
3.5 ft
10.25 ft
10.25 ft
10.25 ft 5.25 ft 8 ft
17
27.5 ft
27.5 ft
27.5 ft
14
15
15 16
18
11.5 ft
11.5 ft
11.5 ft
13
14
16
20 ft
20 ft
20 ft
12
13
14
8 ft
8 ft
8 ft
11
12
15
8 ft
8 ft
8 ft
10
11
13
10 ft
10 ft
9
9
10
12
20
8
28 ft
28 ft
9
11
6
7
8
10
5
21 ft
21 ft
8
19
4
7
17.75 ft
7
19 20
3.5 ft
6
3.5 ft
5
3.75 ft
4
10 ft
6
3.5 ft
5
3.75 ft
4
3.5 ft
9 ft
9 ft
3
8
PHYSICAL MODEL EXTERIOR PERSPECTIVE
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PHYSICAL MODEL EXTERIOR PERSPECTIVE
PHYSICAL MODEL TOP VIEW
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EXPERIENCES OF LIGHT BRIAN GIBBS DESIGN STUDIO MODERN DAY BATHHOUSE COLLABORATION: LUKE FANGUE
As the city of Bryan looks into the future, it seeks to expand upon the idea of the “walk-able” city, and exude a youthful and forward thinking atmosphere. The Oasis is a three tiered bath house including a five lane lap pool and underground spa services. It is designed to engage every member of the community and create a local public space that can be enjoyed at all times of the year, in both the interior and the exterior. It maintains the existing green space of the plot while adding a service to the area that can be enjoyed by all age levels.
E 26th ST
S Tabour Ave
Regent Ave
After speaking with a city planner and the managers of the public library adjacent to our plot, we made an analysis of amount of use and approach pathways towards the building of perspective users. Using the circulation analysis of the site, we were able to see that circulation towards the building would come from nearly all directions, with a heavy density coming from downtown. Using this information we decided to tier the site to invite use from all sides of the building, as well as create an exterior public space that could be enjoyed without directly entering the building. To maintain the privacy of the spaces within the building, we decided to separate the program of the building above and below the ground level, to achieve differing experiences of privacy throughout the whole site. The areas requiring most privacy such as the spa areas would be located underneath the tiers, while the areas that were more publicly minded like the lap pool and sun deck were located on the roof maintaining a private feel, but still being open to the public space below.
E 27th ST
E 28th ST
SITE PLAN
13 SITE CIRCULATION
CIRCULATION FORCES
PROGRAM
LAP POOL/ OUTDOOR SEATING
SERVICES/PUBLIC SPACE SERVICES/ PUBLIC SPACE
PROGRAM SPA AREA
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4’ HOT PLUNGE SAUNA
COLD PLUNGE
CONFERENCE ROOM
BOILER ROOM
HOT PLUNGE
BREAK ROOM
LOBBY/ RECEPTION
LOCKER ROOM
UP
4’ WARM ROOM STEAM ROOM
UP LOCKER ROOM
OFFICE
BATHROOMS
OFFICE
OFFICE
MASSAGE STATION DOWN
LEVEL -1
LEVEL 0
In order to link the different programmatic elements that were separated out into three levels, we decided to allow the circulation of the building to be a large spiralling ramp that connected each level. Using the circulation as a guide (similarly to the site circulation as a guide) the floor plans were created using the space existing between and around the ramp to dictate the different areas on each level. The circulation also dictated the structural components of our building. Using structural columns arranged inside of the ramp, the columns would link all of the levels and support a steel compression/ tension ring that would support each of the floors as well as create an open rooftop pavilion. The exterior space is also tiered at different levels to allow differing usage such as outdoor reading areas for the public library and larger areas for children to play
OUTDOOR SEATING
LEVEL 1
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BUILDING CIRCULATION
CIRCULATION FORCES
STRUCTURAL DETAILS
LOUVER DETAILS
COMBINATION DETAILS
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NIGHTIME RENDER
Although the building was divided into three levels, each level is able to receive ample amount of natural lighting. As the circulation wrapped around the building, light was able to penetrate above and under the ramp to bring in natural light to each level. The tiers were also utilized to filter light down into each space below ground to give each area of the spa amenities it’s own unique quality. This was achieved through filtering light through the tiers directly and indirectly as well as dispersing the light through different mediums. In the hot climate too much natural lighting was also an area of concern, so shading louvers were added around the exterior of the ramp to shade the approach to the lap pool, as well as the experience in the lap pool itself. Each louver was rotated twelve degrees to block the suns rays at their harshest, yet still allow sufficient light to enter the space. At night time the exterior space remains alight and is still a usable venue for city wide events such as First Friday.
LAP POOL
DIFFUSED LIGHT
DIRECT LIGHT
INDIRECT LIGHT
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LIGHT THROUGH CIRCULATION
LIGHT THROUGH TIERS
SOLAR SHADING
HOT/COLD PLUNGE
HOT PLUNGE
SAUNA
WARM ROOM
WARM ROOM
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HOUSE INTERIOR
HI-LOW DEFINITION MEGA STRUCTURE
GILLES RETSIN DESIGN STUDIO TEAM: MATTHEW KOHMAN, HANNAH GALBRAITH, ALEX NELSON, TYLER LARSON, BRI HERNANDEZ Through the exploration of high fidelity scripted techniques, we created an object that focused on ideas of scalelessness through resolution and mega structure. Continuing advancement towards high fidelity eventually lead to a high definition that confounded human mechanism producing a plane of eminence that was flat, but unintelligible.
MEGASTRUCTURE CHUNKS
Although comprehension through the digital idealism had been surmounted, through the principle of metaphysics of presence, full comprehension could never be reached, especially through a single machine. As we had indeed engaged the object through hi fidelity, we then translated our interest to fuller understanding through low fidelity engagment. This translation from big data, scripting and digital manipulation to low tech fabrication is not about representation. It is about speculative realism and a rejection of the Kantian idealism present in the digital.
AERIAL VIEW
21
RESIDENCE ELEVATION
PLAN VIEW
22
INTERIOR PERSPECTIVE
ROOF VIEW
PRELIMINARY SPECULATION The machines of communication now become craft, basic construction materials, PVC pipe and glue. CNC pen drawings etc. Though perhaps 10 steps removed from construction, it is moving towards a realized physical manifestation. Each machine, from complex algorithm to PVC joint connection is given agency, and each translation has little relation to the other with no hierarchy emerging. Translation between two mediums is knowable only due to the persistency of the object across all mediums of speculative realism.
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CRITICS UNDER MODEL
ROOF CHUNK MODEL SCALE 1:1
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FLOWING STRUCTURE BARCELONA STUDY ABROAD STUDIO LA ESCOCESA RENOVATION
An old textile factory complex called La Escocesa that is tucked away in the growing neighborhood of Poblenou, has been re imagined as an creative center for emerging artists. As the program gains footing and support, a full renovation of the entire complex is long over due and the current building used for artists workshop is programmed to become a Social Center. The area of Poblenou has a rich history, and at the same time is the center of a new technological movement called 22@. This renovation merges the historical prevalence of the existing building with the ideas of new technology and artistic influences.
SITE RENDER
INTERACTION WITH STRUCTURE
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VERTICAL PLAYGROUND
PUBLIC SPACE
HISTORICAL BUILDINGS
by amount of historical prevalence
MUSIC AND ART VENUES by size
EDUCATIONAL FACILITIES by relevance of use
Establishing an understanding of the surrounding area of Poblenou
Historical Asneed an old factory, within La Escocesa is part of the network of was first requiredConnection. to understand the projected andtextile use of program torical industrial buildings that encumpass the past and the future of poblenau. By maintaining the historical integrity the social center. Through site analysis I was able to determine the main three
the socialconnections center, theto historical connection will be while the renovation will carry it into the future. the new social center would bemaintained the Historical connection, the
Cultural connection, and the Educational Connection. Cultural Poblenau is a center of music and culture in Barcelona. Multiple festivals HistoricalConnection. Connection: As an old textile factory, La Escocesa is part of held in this area, and the addition of the social center will create a centralizing venue suitable for
thetypes network of Historical Industrial Buildings that encompass the past and ny different events.
the future of Poblenou. By maintaining the historical integrity of the existing building, the historical connection will be maintained in the renovation. Surrounded by a multitude of educational facilities, the social center s the opputunity to provide a centerPoblenou of studyisand research forand many users. Cultural Connection: a center of Music Culture in The library in the social center will also create other link Barcelona. in the public liraryfestivals network ofheld Barcelona connecting the building Multiple are in this area, and the addition of theto the very heart of Barcelona. social center will create a centralizing venue suitable for many different types of events. Educational Connection: Surrounded by a multitude of educational facilities, the social center has the opportunity to provide a center of study and research for many users. The library in the social center will also create another link in The Public Library Network of Barcelona, connecting the building to the very heart of Barcelona.
Educational Connection.
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24 21
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3
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9 15
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children
young adults
adults
advanced
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HISTORICAL CITY GRID:
EIXAMPLE GRID:
TRANSITION FROM HISTORICAL TO EIXAMPLE
PRIMARY STRUCTURE
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PRIMARY STRUCTURE
SECONDARY STRUCTURE
SECONDARY STRUCTURE LIGHTWEIGHT ALUMINUM STRUCTURE WITH LEDS
In order to keep with the historical integrity of the existing building, the structural components of the existing building will become the primary structure of the renovation. The existing column and beam pattern will remain and guide the circulation around the building. The secondary (programmatic) elements of the building will be directed by a secondary structure that will intertwined within the existing structure. It will originate from a shift of the historical grid pattern of the existing structure towards the newer Eixample grid to suggest the shift from old to new. The secondary structure will shift at uppermost ceiling of the building, then cascade down through the building creating elements such as handrails and furniture. To highlight the shift in structure, the material also changes from the existing heavy steel to a lightweight aluminum lined with LED lights.
SECONDARY STRUCTURE
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PIANO STUDY: PLAN: PENCIL
PIANO STUDY: ELEVATION: PENCIL
31 SHADOW STUDY 1: PENCIL
SHADOW STUDY 2: PENCIL
HAND RENDERINGS ACADEMIC BUILDING: PENCIL
“Drawing is the honesty of the art. there is no possibility of cheating. it is either good or bad.” - Salvador Dali
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LIGHT STUDY: PASTEL
MERCADO DE SANTA CATERINA EN BARCELONA: PENCIL
BASCILICA DI SAN MARCO; VENICE: INK
CATEDRAL DE BARCELONA: PENCIL
34 GUGGENHEIM BILBAO: INK