HANNAH M. SELLERS University of Kentucky College of Design M. Arch | 2015 University of Kentucky College of Design B. Arts | 2013
HANNAH SELLERS hannah.sellers@uky.edu +270.339.3387
EDUCATION University of Kentucky College of Design Master of Architecture | 2013 - 2015 Bachelor of Arts in Architecture | 2011 - 2013 Ecole Nationale Superieure d’Architecture de Montpellier 2 Month Design Studio & Travel | Summer 2013 Professors: Michael McKay & Liz Swanson Western Kentucky University Bachelor of Science in Architectural Sciences | 2007 - 2011
SOFTWARE Revit Architecture AutoCAD Rhinoceros Grasshopper Google Sketch-Up Rendering Software: V-Ray Adobe Design: Photoshop, Illustrator, In-Design Digital Fabrication: Laser Cutting, 3d- Printing Microsoft Office
PROFESSIONAL EXPERIENCE University of Kentucky College of Design | Lexington, KY Graduate Teaching Assistant - Digital Media / Visualization, August 2014 - Present - Active liaison between students and architecture professor Michael McKay - Organize and teach classes in the development of digitally driven design, working with programs such as Rhino, Photoshop, and Illustrator.
SHoP Architects | New York City, NY Design Intern, May 2014 - August 2014 - Communicated with Design Managers and Project Architects - Assisted in completion with concept design, design development, and construction document phases - Prepared design presentations for bi-weekly client meetings
Gray Construction | Lexington, KY Intern Architect, May 2012 - May 2014 - Previous design member for Michelin Red Oak and Michelin G83 teams - Allocated construction drawings, schledules, and informal business meetings - Created plans, sections, elevtions, and details in REVIT
suckerPUNCH - freshPUNCHES | Louisville, KY Fabrication Assistant, August 2012 - October 2012 - Assisted with the winning entry of suckerPUNCH’s freshPUNCHES exhibition through on-site assembly and the University of Kentucky’s fabrication facility
Architectural and Manufacturing Sciences Institute | Bowling Green, KY Design Intern, June 2008 - August 2011 - Assisted Senior Design Manager with multiple renovations, additions, and new construction projects - Multiple project roles include: AMSI Student Manager, Student Coordinator of the 6-12 Year Urban Growth Maps for the Western Kentucky University’s Long Range Master Planning Committee
LEADERSHIP AND INVOLVEMENT AIAS Midwest Quad Conference Workshop Leader
January 2015 - Present | Lexington, KY - Organize workshops for: Graham Gordon - SHoP Architects; Jordan Hines - UK/CoD; Jason Scroggin - DOTS; Peter Yi - Studio Gang
Student Ambassador for the University of Kentucky, College of Design
August 2013 - Present | Lexington, KY - Represent the CoD at university-wide Preview Nights and Come See Blue events - Participate in CoD Open Houses and guided tours to perspective students
American Institute for Architectural Students (AIAS)
August 2007 - May 2014 - Volunteer for various non-profit, design based organizations such as Habitat for Humanity in the Lexington, KY area
Co- Director for the Beaux Arts Ball Foundation, INC.
August 2012 - August 2013 | Lexington, KY - Organized the 44th annual Beaux Arts Ball at Pepper Warehouse with over 3,000 attendees - Raised over $40,000 for local Lexington, KY charities
Epsilon Delta Chapter of Alpha Delta Pi at Western Kentucky University May 2007 - August 2011 - Held various leadership roles including: Gift Mart and Spring Sing Chair - ADPi Scholastic Award Recipient | 2007-2011
01
TABLE OF CONTENTS [2011 - 2015]
01 University of Kentucky Museum of Art Contemporary Art Museum and Educational Facility 02 Louisville Transport Hub Newly proposed transportation stop for Louisville, KY 03 Constructed Ambiguities Experimental Interdisciplinary Building 04 Saline Valley Hotel and Convention Center located in Death Valley, USA 05 Silver Crocodile Installations for the 2014 Beaux Arts Ball
01
UNIVERSITY OF KENTUCKY MUSEUM OF ART Design Studio X In collaboration with: Ben Ward Professors: Mike Jacobs + Bruce Swetnam FALL 2014
Architects seem compelled into making associations and distinctions between art and architecture. The value in both of these fields resides in the idea that there is more than just figuration and/or abstraction that can be found through historical development and/or innovation. Certainly modernist art contributed to architecture’s reduction into simple formal components. But art is not something to ex-purge from architecture. Art informs our work as architects. In a way, our corner on art distinguishes architectural practice from other construction delivery approaches. This relationship with art can be seen as an attempt by architects to reconcile forms by means of vision. There should be no puzzle concerning the role of the architect as artist. Architecture is about both art and pragmatics; it is about understanding art and architecture as a part of life. Given site and program requirements, this studio explored architectural design issues comprehensively by producing a developed and detailed building design. Through the use of observation, examination, and knowledge of major ideals related to the specific program, comprehension of subject matter with an ability to translate knowledge into new contexts; the ability to compare and contrast architectural precedents seeing patterns and organization of systems of design; application and demonstration of a range of means and methods of construction discovered in new situations; synthesis of information using tested ideas to create new knowledge; and evaluation leading towards comparison and distillation of ideas.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
METRO ROUTES (22)
LEXINGTON, KY | Site Specific Matrix 1
Woodhill Drive
6
North Broadway
11
Richmond Road
16
Southland/BCTC
2
Georgetown Road
North Limestone Street
12
Leestown Road
17
Northside Connector
3
Tates Creek
7 8
Versailles Road
13
South Broadway
18
Centre Pkwy. Connector
4
Newtown Pike
9
Eastland Drive
14
UK Stadium
19
Masterson Station
5
Nicholasville Road
10
Hamburg
15
Red Mile Road
20
Airport/Keeneland
21 22
Nicholasville Road Express Alexandria Crosstown
MIDDLE (12)
ELEMENTARY (34)
FAYETTE COUNTY SCHOOL SYSTEMS ARLINGTON ELEMENTARY SCHOOL ASHLAND ELEMENTARY SCHOOL ATHENS-CHILESBURG ELEMENTARY SCHOOL BOOKER T. WASHINGTON ACADEMY (GRADES 3-5) BOOKER T. WASHINGTON ACADEMY (K-2) BRECKINRIDGE ELEMENTARY SCHOOL CARDINAL VALLEY ELEMENTARY SCHOOL CASSIDY ELEMENTARY SCHOOL CLAYS MILL ELEMENTARY SCHOOL DEEP SPRINGS ELEMENTARY SCHOOL DIXIE MAGNET ELEMENTARY SCHOOL GARDEN SPRINGS ELEMENTARY SCHOOL GLENDOVER ELEMENTARY SCHOOL HARRISON ELEMENTARY SCHOOL JAMES LANE ALLEN ELEMENTARY SCHOOL JULIUS MARKS ELEMENTARY SCHOOL LANDSDOWNE ELEMENTARY SCHOOL LIBERTY ELEMENTARY SCHOOL MARY TODD ELEMENTARY SCHOOL MAXWELL SPANISH IMMERSION MAGNET ELEMENTARY SCHOOL MEADOWTHORPE ELEMENTARY SCHOOL MILLCREEK ELEMENTARY SCHOOL NORTHERN ELEMENTARY SCHOOL PICADOME ELEMENTARY SCHOOL ROSA PARKS ELEMENTARY SCHOOL RUSSEL CAVE ELEMENTARY SCHOOL SANDERSVILLE ELEMENTARY SCHOOL SOUTHERN ELEMENTARY SCHOOL SQUIRES ELEMENTARY SCHOOL STONEWALL ELEMENTARY SCHOOL TATES CREEK ELEMENTARY SCHOOL VERTERANS PARK ELEMENTARY SCHOOL WELLINGTON ELEMENTARY SCHOOL WILLIAM WELLS BROWN ELEMENTARY SCHOOL YATES ELEMENTARY SCHOOL
New Circle Road
BEAUMONT MIDDLE SCHOOL BRYAN STATION MIDDLE SCHOOL CRAWFORD MIDDLE SCHOOL EDYTHE J. HAYES MIDDLE SCHOOL JESSIE M. CLARK MIDDLE SCHOOL LEESTOWN MIDDLE SCHOOL LEXINGTON TRADITIONAL MAGNET SCHOOL MORTON MIDDLE SCHOOL SCAPA AT BLUEGRASS SOUTHERN MIDDLE SCHOOL TATES CREEK MIDDLE SCHOOL WINBURN MIDDLE SCHOOL
HIGH (5) OTHER (5)
Main Street
BRYAN STATION HIGH SCHOOL HENRY CLAY HIGH SCHOOL LAFAYETTE HIGH SCHOOL PAUL LAURENCE DUNBAR HIGH SCHOOL TATES CREEK HIGH SCHOOL EASTSIDE TECHNICAL CENTER MARTIN LUTHER KING JR. ACADEMY FOR EXCELLENCE OPPORTUNITY MIDDLE COLLEGE SOUTHSIDE TECHNICAL CENTER THE LEARNING CENTER AT LINLEE
GALLERY HOP | TRANSPORTATION ROUTES GALLERIES AND MUSEUMS (22) ARTIST STUDIOS (13)
BLUEGRASS PRINTMARKERS COOP BREAD BOX STUDIOS HOME GROWN PRESS LEXINGTON SCHOOL OF PHOTOGRAPHY LIZ DOUGLAS DESIGN THE MAXWELL HOUSE STUDIO MEG C JEWELRY GALLERY MS REZNY STUDIO AND GALLERY PURE COLOR ART STUDIO SAVANE SILVER SUSAN GILLIAM STUDIO WALTON AND MAIN STUDIOS MARJORIE GUYON - STUDIO
SUPPORTING ART VENUES (14)
MAIN STREET
ANN TOWER GALLERY ART MUSEUM AT UK ARTISTS’ ATTIC ARTSPLACE GALLERY ART AT CATHEDRAL CARNEGIE CENTER CENTRAL LIBRARY GALLERY CITY GALLERY AT THE DOWNTWON ARTS CENTER CLARK ART AND ANTIQUE THE GALLERY AT FIRST PRESBYTERIAN CHURCH HEIKE PICKETT GALLERY LIVIING ARTS AND SCIENCE CENTER THE LYRIC THEATRE & CULTURAL ARTS CENTER MAIN CROSS GALLERY MORLAN GALLERY NEW EDITIONS GALLERY SISOHPROMATEM ART FOUNDATION RICK SCALF GALLERY TRANSYLVANIA UNIVERSITY STUDENT ART GALLERY
ALFALFA RESTAURANT THE BAR BASE 163 THE BODLEY-BULLOCK HOUSE HERITAGE ANTIQUES HUNT MORGAN HOUSE LEXINGTON DINER LEXINGTON HERALD-LEADER THE LIVERY THE LIXE FOR THE HOME MILWARD FUNERAL DIRECTORS MULBERRY AND LIME THE OLD DIXIELAND GARDENS SHAKESPEARE AND CO.
BROADWAY
3RD STREET
BROADWAY
MAIN STREET
UNIVERSITY OF KENTUCKY MUSEUM OF ART
1000 FT 200 M
20 06
30
40
50
05
04
40
30
20
03
02
01
MAIN ENTRY
00 EN TRY A B
PUBLIC TRANSPORTATION DROP-OFF
01 ENTRY
N
AVENUE OF CHAMPIONS
SCALE: 1/16” = 1’-0”
ROSE STREET
OVERALL SITE PLAN The site for the UK Museum of Art is located on the intersection of Rose Lane and Avenue of Champions on the University of Kentucky’s main campus. The building faces North and is situated in between the Student Center and the Singletary Performing Arts Center.
GP
fig. 01
fig. 02
fig. 03
CONCEPTUAL SITE & BUILDING MASS STRATEGIES fig. 01 Site specific scale figures fig. 02 Significant viewpoints
fig. 03 Oblique projection fig. 04 Site & building manipulation
UNIVERSITY OF KENTUCKY MUSEUM OF ART
fig. 04
EXTERIOR VIEW FACING UNIVERSITY
SEMI-OPAQUE WRAP SYSTEM The semi-opaque wrap system is used where natural light needs to be heavily controlled; galleries + auditorium.
TRANSPARENT MATERIAL - GLASS CURTAIN WALL The transparent material is designed to filter the natural light through the larger, more generic programmatic areas; entrance atrium + thresholds.
OPAQUE MATERIAL SYSTEM - CONCRETE The opaque material system is implemented where all fire-protective systems are located; fire-stairs + load-bearing walls surrounding elevator shafts.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
C
B
A
04 03 02 01 -01 10
09
08
07
06
05
04
03
02
01
CIRCULATION + PROGRAMMING PROGRAM CIRCULATION TYPES A (2) Emergency Egress Stairs 01 Large + Small Galleries B Horizontal Pathways 02 Cafe + Gift Shop C Ramps + Stairs 03 Shop (s) 04 Receiving 05 Admin. 06 Archive Robot 07 Admin.02 08 ADA Restroom(s) 09 Auditorium 10 Art Studio(s) + Edu. Admin.
MAIN PUBLIC GALLERY LOCATED ON 4TH FLOOR
EXTERIOR VIEW FACING UNDERGROUND ENTRANCE
EXTERIOR VIEW FACING EDUCATIONAL WING ENTRANCE
A
B
40’ - 0”
01 02 03 04 05 06 07 08
LOBBY STUDIO 01 STUDIO 02 GALLERY 01 CAFE KITCHEN COLD STORAGE RECEIVING
09 10 11 12 13 14 15
OFFICE 01 OFFICE 02 OFFICE 03 OFFICE 04 MECHANICAL STORAGE GIFT SHOP
1.02
1.01
UP
06
60’ - 0”
2.01
2.01
60’ - 0”
05
2.02
2.02
60’ - 0”
300’ - 0”
04
UP
60’ - 0”
03
UP
60’ - 0”
02
UP
01 1.01
1.02
FLOOR PLANS L-1 The underground level offers gallery spaces for large scale installations, multiple workshops, offices, a cafe and gift shop.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
VIEW FROM SECOND FLOOR GATHERING SPACE TO ENTRANCE ATRIUM
A
B
A
B
40’ - 0”
LOBBY 02/ RECP. CONFERENCE OFFICE 05 OFFICE 06 OFFICE 07 OFFICE 08 OFFICE 09 ADA RESTROOM OPEN RECEPTION
1.01
25 26 27 28 29 30 31 32
1.02
GALLERY 02 GALLERY 03 RECEPTION 02 GALLERY 04 AUDITORIUM AUD. STORAGE AUDIO ROOM RECEPTION 03
1.01
1.02
06
60’ - 0”
06
2.01
2.01
05
60’ - 0”
16 17 18 19 20 21 22 23 24
40’ - 0”
DN
05
60’ - 0”
60’ - 0”
UP
UP
UP
2.02
2.02
04
UP
60’ - 0”
300’ - 0”
60’ - 0”
300’ - 0”
04
DN
03
60’ - 0”
60’ - 0”
03
DN
02
60’ - 0”
60’ - 0”
02
UP
UP
01
01
1.01
1.02
1.01
FLOOR PLANS L1 & L2 The first level operates as an entrance lobby to the rest of the building; containing offices and receptionists. The second level includes numerous art galleries varying in size and scale.
UNIVERSITY OF KENTUCKY ART MUSEUM
1.02
DOUBLE HEIGHT GALLERY SPACE
UNIVERSITY OF KENTUCKY MUSEUM OF ART
A
B
A
40’ - 0”
1.01
33 34 35 36 37
B 40’ - 0”
1.02
1.01
GALLERY 05 GALLERY 06 GALLERY 07 STORAGE 02 ADA RESTROOM
38 39 40 41 42 43 44 45 46 47
UP
2.01
60’ - 0”
06
60’ - 0”
06
1.02
GALLERY 08 REVIEW AREA STUDIO 03 STUDIO 04 STUDIO 05 BREAK AREA EDU. OFFICE 01 EDU. OFFICE 02 EDU. OFFICE 03 ADA RESTROOM
2.01
2.01
2.01 DN
60’ - 0”
05
60’ - 0”
05
UP
DN
DN
2.02
2.02
2.02
2.02
03
60’ - 0”
60’ - 0”
03
60’ - 0”
60’ - 0”
300’ - 0”
04
300’ - 0”
04
02
60’ - 0”
60’ - 0”
02
DN
01
01
1.01
1.02
1.01
FLOOR PLANS L3 & L4 The third level of the art museum has alternating ceiling heights to give artists and viewers a spatial variety. The forth floor operates as the educational floor for the art museum, offering art studios for students and faculty. UNIVERSITY OF KENTUCKY ART MUSEUM
1.02
VIEW FROM GALLERY TO EDUCATIONAL WING
01
02
03
04
05
+ 95’ 0”
+ 70’ 0”
+ 50’ 0”
+ 30’ 0”
+ 15’ 0”
+ 0’ 0”
01
02
04
04
03
05
BUILDING SECTION 001 A longitudinal building section through the structure reveal various vertical and horizontal relationships that the architecture has with the viewer; the multistory art storage robot, and the multistory educational gallery.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
05
CONTEMPORARY GALLERY
1
A
B
+ 95’ 0”
+ 70’ 0”
+ 50’ 0”
+ 30’ 0”
+ 15’ 0”
+ 0’ 0”
BUILDING SECTIONS 002 The transverse building section reveals the multistory traffic flow from program to program.
1
A
B
+ 95’ 0”
+ 70’ 0”
+ 50’ 0”
+ 30’ 0”
+ 15’ 0”
+ 0’ 0”
BUILDING SECTIONS 003 The second transverse building section displays the spatial relationships that are shared between galleries.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
WALL SECTION 001 Quills allow for natural light to penetrate the gallery spaces, creating soft, ambient lighting.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
UNIVERSITY OF KENTUCKY MUSEUM OF ART
QUILL MORPHOLOGY Each quill sits along the center of the diagrid, changing in size depending on its relationship to the program that is placed behind it. Galleries receive minimal lighting, while gathering spaces.
UNIVERSITY OF KENTUCKY MUSEUM OF ART
02 LOUISVILLE TRANSPORTATION HUB + HOTEL Design Studio V Professors: Keving Fennell + Chad Burke SPRING 2014
LOUISVILLE TRANSPORTATION HUB
ORIGINAL ENVIRONMENTAL CIRCULATION
TRANSIT
FITNESS
ENTRANCE
CONCEPTUAL MATRIX Based off of ENVIRONMENT and CIRCULATION, each pod is rotated on the X, Y, & Z axis to create the most adequate space for each programmatic requirement: TRANSIT + FITNESS + ENTRANCE + LIVING.
PROGRAMMATIC ELEMENTS TRANSIT OFFICES FITNESS FACILITY ENTRANCE ATRIUM
TRANSIT WAITING CAFE LIVING
LIVING
programmatic pods
Hotel (LVL 04) Office + Fitness ( LVL 03) Office + Cafe (LVL 02) Transit + Entrance (LVL 01)
Space vs. Circulation
Circulation patterns
CIRCULATION DIAGRAM FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses.
LOUISVILLE TRANSPORTATION HUB
4th STREET EXTERIOR VIEW Located on one of Louisville’s most traveled intersections, 4th Street and W Oak Street is a primary location for a newly implemented transportation hub. Surrounded by office buildings, schools, and restaurants, this intersection will serves as a nucleus for the future of the revival of Louisville.
1
2
3
4
5
CONSTRUCTION SEQUENCE The proposed construction sequence requires custom-made steel framework which is cast in place inside of light-weight concrete molds. The exterior shell will be made of light-weight metal panels.
LOUISVILLE TRANSPORTATION HUB
N
FLOOR PLANS G1 A large, multistory atrium was created on the ground floor to provide larger circulation spaces for the fast paced environment of a transportation hub.
5’
25’
50’
01
02
03
04
05
06
A
B
C
D
LVL 02 01
02
03
04
05
06
A
B
C
D
LVL 03 01
02
03
04
05
06
A
B
C
D
LVL 04 N
5’
25’
FLOOR PLANS L2, L3, & L4 The overlaying of plans reveals complex sectional relationships between the various multistory spaces.
LOUISVILLE TRANSPORTATION HUB
50’
5’
25’
50’
5’
25’
50’
BUILDING SECTION 01 The overlaying of plans reveals complex sectional relationships between the various multistory spaces.
BUILDING SECTION 02 The overlaying of plans reveals complex sectional relationships between the various multistory spaces.
ENTRANCE ATRIUM The overlaying of plans reveals complex sectional relationships between the various multistory spaces.
LOUISVILLE TRANSPORTATION HUB
RESIDENTIAL ENTRANCE LOBBY Large floor to ceiling heights when entering into the residential portion of the building.
EXTERIOR ELEVATION 001 Parallel to W. Oak Street, this elevation reveals a large glass portion that was created to let natural light seep into the building.
W. OAK STREET EXTERIOR VIEW W. Oak Street is home to the LoT Art Gallery, and X School.
5’
25’
50’
EXTERIOR ELEVATION 002 Sitting on the corner of W. Oak Street and 4th street, the front elevation includes the main entrance, as well as a bus station for the newly proposed Louisville transit station.
LOUISVILLE TRANSPORTATION HUB
03 CONSTRUCTED AMBIGUITIES Design Studio IV Professor: Mike McKAY FALL 2014 Constructed ambiguity exists where a reproduction of formulated intersections consolidate into one in order to create a three-dimensional space. Primarily focusing on the intersection between the original geometry that is given and its particular site, versus the components that transpire from within the new three-dimensional space. The project as a whole exercises our perception of what exists between the physical and non-physical characteristics of the given and created elements. Constructed Ambiguities in architecture offer the potential to create dynamic spatial experiences that are three-dimensional and go beyond simple projections; more than images/shapes simply morphed into an architectural surface.
CONSTRUCTED AMBIGUITIES
FRANCIS BACON | GORDON MATTA-CLARK | FELICE VARINI Felice Varini’s anamorphic painting, “Ellipse Orange Evidees par 7 Disques” operated as a physical precedent for this studio project. His painting is being used as an architectural vehicle to create new, dynamic spaces that exist within unimaginable boundaries that to the human eye. By exploring the application of, “paint on wall” geometry, his painting is being transformed into a three-dimensional space while exploring the collision of positive and negative space, as well as the resultant of that space.
PROJECTION 001 The first aligned projection involves three cones of varying sizes, deriving from the same origin.
PROJECTION 001_B The first projection can be viewed as a misalignment when moving from the origin of projection to another point in space.
CONSTRUCTED AMBIGUITIES
1
2
3
1
2
3
PROJECTION ANALYSIS This process is a form of development that aims not to dissolve the site and it’s additives, erasing their contast, but more importantly, bringing them together into an even more complex state of dualism.
5
4
PROJECTION 002_B The second misaligned projection; the main atrium projects through the massing to create public circulation and to allow for unprecedented programmatic realtionships.
INTERIOR VIEW FROM SECOND FLOOR PLATFORM With the implementation of projecting existing surfaces, blending orthogonal and curvilinear surfaces, and anamorphic projection, the aforementioned non-physical boundaries have both physical and spatial characteristics which, in turn, creates positive ambiguous space.
A
2A
S. Mill Street
2
1
3
4
5 6
A
2A
E. Main Street
50ft
GROUND LEVEL 01 The first floor includes two entrance lobbies, storage, and offices.
CONSTRUCTED AMBIGUITIES
N
PROJECTION 002 The second aligned projection takes place from the exterior (site), projecting into the interior (mass). The singular projection involves one cone that extends from one entrance to another, creating a multistory atrium when interfered with other projections.
PROJECTION 002_B The second misaligned projection; the main atrium projects through the massing to create public circulation and to allow for unprecedented programmatic realtionships.
2A
2A
A 1
A
2
8
2 3
3 1
6 4
4
5
5
6
7
A
7
2A
A
2A
50ft
N LVL 02 + 03 The multistory atrium reveals sectional relationships that are derived from aforementioned projections.
CONSTRUCTED AMBIGUITIES
PROJECTION 003 The third aligned projection creates thresholds between public programs, as well as ramps and pathways for guests.
PROJECTION 003_B The third misaligned projection; multistory atrium and programs open to below.
2A
2A
A 1
A
1
8
2 3
6
2
4
4
5
3
7
A
2A
A
2A
50ft
N LVL 04 + 05 LVL 04 + 05 has various public programs - a bookstore, cafe, and public classrooms.
CONSTRUCTED AMBIGUITIES
PROJECTION 004 + 004_B This process became an initial tool to comprehend the given object (site) and a driving force (original geometry) within our strategy of optical and physical dissolving the original figure.
BUILDING SECTION A Section of Projection 001; second entrance lobby, multistory atrium, and bookstore.
BUILDING SECTION 2_A Section of Projection 003; entrance lobby, cafe, public space, and offices.
CONSTRUCTED AMBIGUITIES
04 SALINE VALLEY HOTEL AND CONVENTION CENTER Design Studio III Professor: Akari Takebayashi SPRING 2013 The goal of studio is to propose a concept of urbanism that questions the notion of territory associated with human behaviour, networks and built form to reconfigure shared property both in large and small scales simultaneously towards developing a new spatial experience. The studio will examine the theme ‘architecture of infinity’ that suggests an environment where our senses highlighted, to conditions found in an extreme environment like Death Valley or Outer Space. The design derives from the theory of the ‘breaking point’. This breaking point is the intangible feature that this project derives from; the feeling of change within an atomosphere that is almost non-existant. The arrival sequence is very simple. When one arrives at the structure, the point is broken from which one is engulfed within a space where space doesn’t necessarily exist, to a tangible enclosure that creates a man-made breaking point from the exterior to the interior space.
SALINE VALLEY
DEATH VALLEY, USA The atmosphere of Saline Valley, California is similar to the Badwater Basin Salt Flats in Death Valley; dry, humid, and flat. A flat landscape has many atmospheric qualities and many points that create somewhat of an arbitrary breaking point within the landcape.
BADWATER BASIN: SALT FLATS Badwater Basin is an extreme inhabitable environment that stretches the limits of a man through it’s accessable vs unaccessable pathways. 60% of Badwater’s salty surface is unaccessable because of its thin, breakable surface quality.
KEY PLAN | points of interest in death valley
b badwater basin
f
furnace creek
s
scotty’s castle
p
panamint dunes
d
devil’s golfcourse
r
the racetrack
s
salt creek
z
zabriskie point
d
dante’s view
a
artist’s drive
e
eureka dunes paleozoic and late proterozoic sedimentary rocks volcanic rocks late precambrian pahrump group
mesozoic intrusive rocks quaternary alluvium precambrian gneiss modern playas and salt pans accessable areas badwater road
e s
r
s p
f
a
z a
d b
d
DEATH VALLEY NATIONAL PARK | Inyo, California To get to Badwater Basin: From Furnace Creek, drive seventeen miles south on Badwater Road. The parking area for Badwater Basin will be on the right. The road is right past Artist Drive.
SALINE VALLEY
BREAKING POINT OF HABITAL SPACE The source of Badwater’s salts is Death Valley’s drainage system of 9,000 square miles—an area larger than New Hampshire. Rain falling on distant peaks creates floods that rush ever lower. Along the way, minerals dissolve from rocks and join the flood. Here, at the lowest elevation, floods come to rest, forming temporary lakes. As the water evaporates, minerals concentrate until only the salts remain. After thousands of years, enough salts have washed in to produce layer upon layer of salt crust.
1
2
4
3
5
SURFACE TEXTURE | Badwater Basin Salt Flats
1 3/4”
1 1/4”
1 1/2”
1”
DRIED OUT LAKE valley formation
GLACIERS STARTED RETREATING end of ice age
CURRENT DEATH VALLEY - 283ft. below sea level
LAKE OF MELTED ICE lake, remnants of ice age
SURFACE TEXTURE Salts (95% table salt - NaCl) crystalizes after a rainstorm, coating the surface with a thick crust from three inches to five feet thick (1-1.7m). The vast, surreal salt flats of Badwater Basin change constantly. Salt crystals expand, pushing the crust of salt into rough, chaotic forms. Newly formed crystals ooze between mudcracks, sketching strange patterns on the surface of the salt flat. Passing rainstorms wash off windblown dust and generate a fresh layer of blinding white salt.
MATERIAL STUDIES: BOUNDARIES + BREAKING POINT This research project preliminary focuseds on a study of boundary and materialization of Atmosphere, various ideas of space. It is an exploitation of material properties that examines the idea of territory. While Soft model re-captures the texture of the atmosphere as a physical entity, a hard model challenges the capacity of complex tectonics and innovative spatial qualities of the soft texture with ‘Hard’ materials. SALINE VALLEY
section view_1a
section view_2a
section view_1b
section view_2b
section view_3a
section view_3b
section view_4a
section view_5a
section view_4b
section view_3b
15
16 13
07 05
12
14
04
06 11
03 01
10
09
02
08
0’ 5’
N
FIRST FLOOR PLAN 01 02 03 04 05 06 07 08
ENTRANCE LOBBY COFFEE CAFE LOUNGE PERFORMANCE HALL OFFICES CONFERENCE ROOM HOUSEKEEPING RESTAURANT
09 10 11 12 13 14 15 16
SALINE VALLEY
KITCHEN WORKOUT STUDIO SAUNA + WORKOUT POOL SPA SPA 02 SPA 03 + SHOWERS OUTDOOR SPA HOTEL ROOMS
25’
50’
100’
0’ 5’
25’
50’
100’
25’
50’
100’
N
SECOND FLOOR PLAN SECOND FLOOR units are divided into clusters made of 1BR studios.
0’ 5’
N
THIRD FLOOR PLAN the THIRD FLOOR includes 1BR Studio clusters and an outdoor terrace.
THIRD FLOOR TERRACE FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses.
2BR STUDIO
1 BR STUDIO
1 BR SUITE
UNIT AGGREGATION FIRST FLOOR units were divided into 1BR studios, 1BR suites, or 2 BR studios, arranged in an uneven manner that enables each studio to have private visability from one unit to the other.
SALINE VALLEY
T.O. third level +56’-0”
third level +36’-0”
second level +21’-0”
ground level +0’-0”
0’ 5’
25’
50’
100’
N
BUILDING SECTION 01 FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses.
THIRD FLOOR EXTERIOR UNIT CLUSTERS FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses.
T.O. third level +56’-0”
third level +36’-0”
second level +21’-0”
ground level +0’-0”
0’ 5’
BUILDING SECTION 02 FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses.
OUTDOOR SPA FOUR pods were rotated and cut strategically to accomodate programmatic circulation in, or aroud each mass. The FOUR represent the programmatic requirements and their specific uses. SALINE VALLEY
25’
50’
100’
N
05 SILVER CROCODILE ARC 599-001 Professor: Jason Scroggin SPRING 2014 ELECTIVE DESCRIPTION This graduate level design and fabrication elective explores these issues through research, discussion, and fabrication over the course of 14 weeks. Comprised of ten students and sponsored by the 2014 Beaux Arts Ball, the class was charged with developing full-scale interactive objects. Specific to the theme of the course is to consider the product as a series of related objects to give a unified spatial character to its site in an existing concert venue. The course begins with an analysis of a set of simple toys in order to extract concepts of “play.” These act as the motivating driver for a series of material constructs that consider how physical form can engage the public realm. Each student developed their own project for the first half of the semester working back and forth between concept, fabrication, analysis, and evaluation. Through an evolutionary process of selection and synthesis of the students’ proposals, two final designs emerged. The resulting constructs, took the form of a full-scale installations generated out of systematic assemblies of off-the-shelf and digitally manufactured components. SILVER CROCODILE A thickened inhabitable landscape comprised of tessellated silvery pillows arranged in a 9x9 modular grid. SILVER CROCODILE breaks into 9 pieces creating a network of smaller seating elements that generate a variety of social configurations allowing a range of intimacy for small and large groups of people. STUDENT TEAM: Hannah Sellers Nicole Groneck Sarah Mohr Sadie Pena Anne Schwab Joshua Wilkinson
SILVER CROCODILE
UNIT VERSATILITY SILVER CROCODILE has the versatility to work as 9 seperate units, clusters of three, or as one whole mass to create seating elements that can be arranged in a variety of unique social configurations.
SILVER CROCODILE
1b
1d
1a
1c
1f
1j
1l
2g
1r
2m
3a
2e 2d
2b
1e
1h
2c
2a
2f 2k
2i
3c
3e 3d
3b 3g
3f 3k
3i
1 1g
1i 1p
1m 4b
4d
4c 4j
2p
4l
5g
3h 3m
2r 5e
5d
5b
4e
4h
2q
5c
4f 5a
2l
2j 2o
2n
1q
1o
4a
2h
1k
1n
5f
3q
3n
3p
3r
6b
6d
6f
6a
7c
6e
6h
5k
5i
3l
3j 3o
6j
6l
4 4g
4i
4k
4n
4m
4q
4o 7b
7a
5h 4r 5m
4p
7d
7c 7h
7j
5p 8c
7l
8g
5r
8d
6k 7r
6p
6m
6o
6q
9a
9c
9e
8f 8k
8i
7i 6n
8e
8b
7e
6g
5q
5n 7f 8a
5l
5j 5o
9d
9b 9g
9f 9k
9i
7 7g
7i
7m
8h
7k
7n
7r 8m
7p 7q
7o
1
8l
8j 8o
8q
8n
8p
9h 9m
8r
9l
9j 9o
9q
9n
2
FLUFF
MEDIUM FLUFF SHALLOW
FLUFF DENSITY DIAGRAM Each unit has 18 triangles stuffed with polyfill, ranging in three different densities of fill. Each of the three fill-types reflect the body configuration of each unit.
9p
3
9r
SILVER CROCODILE
FULL UNIT CONFIGURATION
THREE CLUSTER CONFIGURATION
EXPLODED UNIT CONFIGURATION
SILVER CROCODILE
2'-0"
2'-0"
1'-6"
1'-6"
3'-10"
3'-10"
a
b
c
2'-0"
2'-6"
3'-0"
3'-10"
3'-10"
d
e
f
0'-6"
0'-6"
1'-8"
3'-10"
1'-6"
3'-10"
3'-10"
3'-10"
3'-10"
g
h
i
ELEVATION VARIATIONS Originating from a variation of 18 tesselated triangles, each unit was designed for different social configurations. Some units allow for the user to position oneself in an upright position, while others allow for the user to extend their whole body outward.
SILVER CROCODILE
a 3'-10"
d
b 3'-10"
e
3'-10"
3'-10"
g
h
3'-10"
3'-10"
c 3'-10"
f 3'-10"
i 3'-10"
j
k
l
3'-10"
3'-10"
3'-10"
UNIT CONNECTIONS Each unit has one mirrored attachment. These attachments allow for the connection of units to come together to form one whole unit.
3’ - 0” 3’ -
10”
11’
3’ -6
”
10” 3’ -
10”
UNIT CLUSTER Although each unit can be utilized individually, they have the ability to be pushed altogether to allow for one, large configuration; allowing for a range of intimacy for small and large groups of people
SILVER CROCODILE
METALLIC FABRIC
CARPET PADDING
CUT SHEETS
UNIT EGG CRATE
MATERIALITY All 9 units were constructed out of 1” sheets of plywood and milled to form egg crate configurations. Each unit holds 18 pieces of triangulated wood which was covered with carpet padding and stuffed with polyfill. The triangulated wood was then covered with metallic fabric.
UNIT CONSTRUCTION Construction process of each unit. The construction took approximately 2 weeks from start to fnish.
SILVER CROCODILE
BEAUX ARTS BALL 2014 | Lexington, KY SILVER CROCODILE acts as a motivating driver for a series of material constructs that consider how physical form can engage the public realm. The thickened inhabitable landscape established a structure of smaller seating elements that generated an assortment of social configurations allowing a range of intimacy for small or large groups of individuals at the BEAUX ARTS BALL. The idea behind this event is to promote diversity and originality while indulging in various performing talents from across the nation, but especially the local area. The BEAUX ARTS BALL is about coming together as an assorted but homogeneous crowd, melding together at one venue to appreciate the arts in a unique way to give back to the community.
SILVER CROCODILE