Hannah Griggers M a st e r of Arch i t e ct u re Po r t fo l io
Hannah Griggers Savannah College of Art and Design / Master of Architecture Georgia Institute of Technology / Bachelor of Science in Architecture
CONTENT
Jacksonville’s Museum of Interactive Design Ben Carter H&M Design Challenge/230-240 West Broughton Street Facade Design
1-8
9-12
Broughton Street Artist Gallery and Lofts
13-16
Design Museum of Atlanta
17-20
Oxford Campus Art and Media Center
21-24
Gerhard Richter Museum
25-30
Haiti Ideas Challenge
31-32
Rietveld Schroder House Visitors’ Center
33-36
Skile’s Pavilion
37-40
Museum of Interactive Design
GATHERING
COLLABORATION
AWARENESS OF SPACE
3
ENGAGING
CREATIVITY
SUBTLE
This museum begins to play with people’s perceptions of space and how they interact with it. It reestablishes the interaction between people and space through dynamic environments and experiences created by interactive installations. Jacksonville’s Museum of Interactive Design encourages creativity, collaboration of design, and the awareness of space.
Site Elements 1.Solar Digital Wall
5
2. Solar Ivy Wall
9
7
3 4
3. Folkewalls
1
4. Solar Botanic Trees
2
5. Local Brickwork
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6
6. Community Garden 7. Community Play and Picnic Area 8. Small Installations
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10
9. Large Installations 10. Water Installations 11. Boat Docks N
Site Plan
4
CAIXA FORUM, MADRID A compressed entrance pulls the visitors from the immense site creating an sense of intimacy before releasing them again. A Compressed Entrance
MOMA, NYC Openings in the floors create visual connections between levels. This allows for multistory installations and dynamic interactions between visitors and the artwork. Galleries
5
South Elevation
7
TS @ 73’ 7 15/16”
FF @ 50’ 0 1/2” TS @ 49’ 3 1/8” Horizontal Cantilever Louver Sytem 2nd Floor & 1st Floor Ceiling 20” open web steel joists with metal decking and a 5” concrete slab suspended ceiling grid corten color steel panel cladding soffit condition corten color steel panel cladding drip edge condition @ 2nd floor slab
FF @ 27’ 7 1/2” TS @ 26’ 10 1/8”
Exterior Wall @ 1st Floor steel framing system with corten color steel panel cladding floor to ceiling glass fin and bracket curtian wall First Floor and Foundation shallow concrete footing 4” concrete slab with rigid insulation and vapor barriergravel fill with 8” drain pipe
FF Elev.5’ Elev.0’
Wall Section B
8
Ben Carter H&M Design Challenge
This project melds the contemporary, white box designs of H&M storefronts with the historical proportions and guidelines of Savannah. It strives to create a dynamic interaction between the pedestrian and the street as well as provide an opportunity for local artists to express themselves on the fabric of the city.
Precedent Study: Nitehawk Cinema Apartments
Matching Regulating Lines
Vertical Barriers
Proportional Balance
Personal Canopy
Gestured Entrance
Personal Canopy
Conceptual Diagrams
H&M “The White Box”
H&M strives to balance community values with the bold statement of the company. This facade displays the community’s character through window art by local artists while the material colors express H&M’s style called “The White Box”. Canvas of the City: Window Art by Local Artists
11
This project is a contemporary interpretation of a historical urban landscape through the design of a program and facade to be placed within lot 209 Broughton Street in Savannah, GA. Taking into consideration Savannah’s historical guidelines and context, the facade creates a dialogue between Broughton Street’s past and its future potential.
209 Broughton Street Artist Gallery and Lofts
15
In order to speak to the technological advances of today and the wood material of the past, this facade will utilize the flexibility of wood to reference the proportions of masonry.
ADVANCES IN TECHNOLOGY CONSTRUCTION METHODS
16
Design Museum of Atlanta
In his book Inquiry concerning Beauty, Order, Harmony and Design, Francis Hutcheson defines beauty as “uniformity amidst variety.” Imperfection, which is a branch of beauty, can be described the same way. Imperfection is a system that has an underlying order of creation that can vary in its results, based on parameters. This project investigates the structural system known as packing through a study of dry stone walls. The final design is a result of the four packing parameters: type, density, mixture, and tightness. With the help of rhino+grasshopper scripting to generate three-dimensional rocks, I was able to establish my own packing system based on set parameter values. Using these rules, I was able to create an architectural structure of beauty that represents “uniformity amidst variety”.
in ck
Pa Di
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in
t iz ed
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r atu
Pa c
e
kin
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ing 3 D Pa ck
Re al or W ld Ap pl ic a t io n 18
B
Auditorium -10 A
Cafe Gift Shop
Patio
-5
Floor Plan
Front Elevation
Oxford Campus Art and Media Center
Section C
Section B
Section A
Ground Plan
South Elevation (Multimedia Wall)
N
22
This project separates nature and program through bounded and unbounded spaces. The program is housed within a bar creating a bounding line between Oxford’s campus and the outside world. A solar media wall defines the boundary on south face of the building. Green space flows unboundedly to the north of the building creating a public social space and a student work space. The sturcture will provide a level of heirarchy, dividing program from public to private. The circulation path will allow for visual connections between each floor creating more of a community. The structure will connect art, media, and nature through the constantly changing social spaces and interactions.
24
Gerhard Richter Museum This project proposes a gallery to house five of Gerhard Richter’s artworks on 10th Street in Atlanta, GA. The concepts behind Richter’s pieces focus on the interaction of the viewer and the work, as well as, the properties of the material being used. Building from the concepts of his 7 Standing Panes project, the design focuses on the blurring and reflecting of artifice and nature thus, creating a building that interacts with its visitors. It addresses the properties of glass, such as reflectance, layering, and transparency, and how these enhance the interactions between the viewer, the projects and their surroundings.
Precedent Study: Maison Bordeaux House
private
A C
Volumes of varying opacities
Opaque vs. Transparent Planes
Solid Volume shades Open Space
Major Highways
Public Spaces
Blurring of Artifice
Public Space sandwiched between Exhibits
Site Analysis
Site Circulation
Building Concepts
Framing
27
public
B
East Elevation
28
North Elevation
Section 2
9 10
10
3
10 Program
10
9 4
5
7
8
6 7
29
Ground Floor
Second Floor
Third Floor
1. Mechanical Room 2. Storage 3. Lobby and Bookstore 4. Richter 7 Panes Gallery 5. Richter Gallery 6. Library 7. Bathroom 8. Rotating Gallery 9. Courtyard 10. Roof Garden
Haiti Ideas Challenge
Site
Folkewall Cistern
Decentralized Community
Agriculture
Systems
Private Public: Multifunctional Educational Government Commercial
Community Spaces
Functional Organization
Aggregation
Grey Water
Wall Farming
Purified Water
Water Purification System: Folkwall 31
Terracing
After an earthquake struck Haiti in January of 2010, the Haitian’s way of life has not been able to recover easily. Because of the way Haiti’s communities were centralized around Port-au-Prince, the earthquake easily demolished Haiti’s resources in one stroke and epidimics spread quickly. To tackle this centralization issue the module design will create a decentralized self-sustaining housing community that can continue to grow through aggregation.
Reitveld Schroder House Visitors’ Center This welcome center forms a dialogue with the Schroder House by Gerrit Rietveld with the use of Rietveld’s concepts of De Stijl. The visual impressions within the house are expressed in the welcome center; using the subtractive method to create shapes where no two are the same, opposing planes that implied spaces on the exterior, and color as a definer, creating a building that enhances the viewer’s visual perception of space.
N
Site Plan
Subtractive Method
Object as a centroid
Color as a definer
Overlapping planes create implied spaces
Infinite space created through transparency
North East Elevation
N
Floor Plan
Sections
36
Skiles Pavilion
Experiencing space and how you relate to it and interact with it determines how the space is used. The visual perception of the one experiencing the space is predominating. This pavilion brings up the question “does the experience of space determine the space of experience?” By playing with Fin D’ou T Hou S’ concept of having no sense of predetermined spaces, the pavilion effects the viewer’s perception. There is a merging of public and private spaces, openness and closeness, divided and whole. This allows the viewer to interpret the space their own way.
38
Cube
Void
Private
o predetermined space effect the perception of the viewer?
Public
Can a public area be a private space?Private Public
Cube
does having no predetermined space effect the perception of the viewer? Courtyard
Can a public area be a private space?Private Courtyard
Public
Cube
Courtyard
Merging Public and Private
e whole and yet divided, giving participants the option of privacy or conversational space? can a space be whole and yetLevel divided, giving participants the option of privacy or conversational space? The Top Level has two Ground floor has easy access in and out. Ground Level floor has The balcony provides a space of privacy foreasy access in and out. observation of the The balcony provides a space of privacy for garden.
affic in Pavilion
ccess through nd to private .
observation of the garden.
ffic Patterns are in RED
Private
Public
Small
Large
separate spaces for relaxation The Top Level has two and observation. separate Their placements allowspaces easy for relaxation observation. access in and and out without Their placements allow easy disrupting eachother. access in and out without disrupting eachother.
and closeness be manipulated to imply public and private spaces?
Space Ratio
can openness and closeness be manipulated to imply public and private spaces? Public: Public: Openness Openness Effected by Elements Effected by Elements Less Shade Less Shade Hotter Hotter
y: oseness otection ade ol
Closeness vs. Openness 39
Private
Private
Public
Public
Site Plan
N
Section 40