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P o r t f o l i o Spring
2017
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Leรงa Swimming Pools Analysis Plan
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Tattooed Ar chitectur e Process Final Model
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Other Landscape Drawings Models
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Let’s Get Lost! Process Plan Follies Greenhouses
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Signage!
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Title
Tattooed Architecture
Title
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Road Sign Study
An Ode to Signs Signage is everywhere. It is on our coffee cups, along highways, and plastered across buildings. These signs hold graphic representations of rules which we choose to obey. We obey for safety and we obey for order. There is no physical barrier between two cars hurtling by each other, yet the double yellow line is an established barrier no one dares cross. In less life-threatening situations, we still obey lines drawn on the ground subconsciously. We skirt around areas with different ground materialization and we hesitate to walk across a line drawn on the sidewalk. This design for Upper Onondaga Park in Syracuse, New York learns from the many signs and advertisements plastered around the city. Through an investigation of supergraphics, hand-painted signs, and the language of road signs, I explored both the appropriation of existing signage and the possibilities of new graphics to add an additional layer to the reality of a space. A dichotomy emerges: graphics as rules and
graphics as imagination. In the park this plays out as distinct bands of rules which cut across free fields of objects. The swimming pool, basketball court, and volleyball court all rely on rules in order to function. These spaces are highly regulated by the graphics inscribed on the ground. The interstitial spaces are left as fields of objects. A field of leisure objects, a field of play objects, and a field of fitness objects. In these fields, there is no order to the objects themselves, but they are in direct dialogue with the graphics painted on the ground. To those standing in the leisure field, the hatches on the ground create groups within the field of objects. However, one standing on the sidewalk, elevated from the ground, can see that the hatches form a face with fire pits for eyes and a cafĂŠ in its mouth. Here, the graphics serve both as a suggestion of order and a projection of possibility. Graphics have the power to orchestrate space. When we allow a line to be as powerful as a wall, architecture can be reduced to a simple graphic tattooed onto the ground.
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Process Sketches and References
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10 Model Building Process
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14 Leisure Objects in Field
Fitness Objects in Field 15
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Other Landscapes Other Landscapes explores the architectural potentials available in map-making. With aerial photographs by Alex MacLean as reference, a six foot by six foot plan drawing was built up in layers. Each of the drawing’s eight layers explores the potentials of a particular map-making technique, and they come together to create a 1:1 representation of an “other” landscape. This landscape is not a recreation of the original reference photograph, but rather a new landscape in and of itself. After the drawings was completed, it was reimagined as a three dimensional space and projected onto shallow relief models. Using a vacuum forming technique, the experimental models continue to push the potential “otherness” of the represented landscape.
Title 21
22 Individual Layers
Annotation Air Quality
Land Use
Contour
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24 Combined Drawing Grayscale
Hatch Layer 25
26 Final Drawing
Details 27
28 Mold Making Process
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30 Flocking and Printed Air Quality Drawing
Printed Hatch Drawing (Lower) 31
32 Printed Contour and Annotation Drawing and Spray Paint (Bottom Right)
Cellophane 33
36 Willow Research
Located along the upper channel of Onondaga Lake, this park houses research and educational facilities which showcase the willow biomass crop and its lifespan. Organic pathways are carved into the mass of the willows connecting follies located at the grid’s intersection points. Harvested on a three year cycle, the various stages of the willow’s lifespan ensure that the park delivers a different experience every visit. The park is made for the wanderer. The site is relatively small, but the pathways are endless. They are designed in such a way that taking the same route twice becomes nearly impossible. Visitors encounter follies with distinct personalities and greenhouses which use architecture to disorient both the visitor’s sense of direction and their perception of the willows.
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38 Process Sketches
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40 Plan
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42 Follies
Follies 43
44 Follies
Follies 45
46 Greenhouses
Greenhouses 47
48 Greenhouses
Greenhouses 49
H a n n e k e v a n D e u r s e n Spring
2017
hvandeur@syr.edu