Hannah Holscher’s Portfolio
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FIRE
TRIANGLE
BART
Fall 2019 100C Kieth Plymale UC Berkeley
Fall 2018 100A David Jaehning UC Berkeley
Fall 2018 100A David Jaehning UC Berkeley
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Pages 22-29
Pages 30-37
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SAN FRANCISCO
CONSTRUCTION
WATER
Spring 2019 100B Elizabeth Bishop UC Berkeley
Spring 2019 160 Dana Buntrock UC Berkeley
Spring 2020 100D Eleanor Pries UC Berkeley
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Pages 48-57
Pages 57-65
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01 FIRE Fall 2019 100C Kieth Plymale UC Berkeley This semester was spent researching fire, specifically the tragedy of the 2018 Paradise Fire. I then used said research to design a neighborhood and dwelling in the Berkeley hills that responds to the current challenge of wildfires in California; class was canceled twice in this semester due to nearby fires. Pages 4-21
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Used collage to create a 3D structure that provided the “protein� for architectural moments and spaces in future projects in the semester.
Used moments from the previous 3D collage to find spaces to be used in the final project. Emphasized how light reflected on the architecture.
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The axon emphasizes material and what can burn, or not burn, in the case of an emerge 12
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To emphasize fire protection I used pools of water, strategic landscaping, and various materials to protect the home from fire while still allowing safety and ease of reconstruction if it is to burn. Material research played a large roll in the design.
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The diagram on the top right shows the circulation with an emphasis on fire truck access and multiple entries and exits in case of an emergency. The radiuses shown represent the distance a fire hose can spray from the points of contacts with the many pools that occupy the space. The site is connected through water pools, landscape strips, and circulation throughout- all drawn from the original collage. The diagram above represents the water pools, landscape strips, and circulation at the dwelling scale, and the radiuses show the reach of the sprinter system in the case of a fire. 17
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The diagram on the left shows how the collage produced prior was overlaid onto the site and the density of colors are used to represent the layout of water, layout of landscape, and circulation for the site.
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Roof
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The elevations are made from images from the Paradise Fire. Many lessons learned from that event played a role in the new design. 20
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02 TRIANGLE Fall 2018 100A David Jaehning UC Berkeley This project used manipulation of a precedent study to find a compelling space. This moment was then used to develop a community space to be placed over a bike path. Pages 22-29
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Used a building precedence to find an interesting point of intersection, then through a series of transfor 24
rmations and abstractions, produced this object. 25
Used language from my previous object to design a building to be placed over a bike path. 26
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03 BART Fall 2018 100A David Jaehning UC Berkeley Designed a transit hub to be located adjacent to a BART stop. Emphasized permeability through the building and compression of the form to bring program up from the street and down from the higher floors. Pages 30-37
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04 SAN FRANCISCO Spring 2019 100B Elizabeth Bishop UC Berkeley Designed a community center that drew from the surrounding city fabric of San Francisco. The center is used to house the WPA model (a giant model of San Francisco). Plan and facade lines are drawn from major city landmarks penetrating and defining the community center, reflective of how the city behaves. Space and circulation are differentiated based on who uses the program; direct lines of circulation for the daily workers in the space are differentiated from the meandering circulation for the visitors to peruse and view the model. Pages 38-47
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A large operable skylight and sliding floor to ceiling glass doors allow the public gallery space to fully open up to the surr 40
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rounding city, blurring the line between indoor and out. 41
MAIN CIRCULATION
WORK SPACEEXHIBITION WORKSHOP
BATHROOMMEETING SPACE WPA MODEL LECTURE HALL WPA MODEL ELEVATOR
EGRESS
STORAGEBATHRO M EXHIBITION STREEFRONT RECEPTION DESK
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Jack London Alley
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ecalP rebaT
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Section C
Used corten steel to visually reflect how the environment impacts the building. 46
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05 CONSTRUCTION Spring 2019 160 Dana Buntrock UC Berkeley Worked in a group and studied the material properties of wood, metal, and concrete. Pages 48-57
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We were assigned to build a wooden tower that could reach 12 feet in height, but came in sections no longer than 36� and had a cantilever extending a foot out, over 4 feet off of the ground. We produced this structure that could be stretched up and then wedged in place with a wooden board. When three pieces of triangular wood were then slotted on this wooden board, it doubled as the required cantilever.
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We worked very hard to maintain the illusion of one continuous winding piece with another continuous piece supporting it up. The floating, weightless aspect of our design make it look simple and clean, but in reality countless pieces were welded, ground and polished to present the illusion of one continuous, light rod.
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We were required to design a hyperbolic paraboloid. The lack of control that one has with concrete is very freeing. The form has the steepest slope possible, while still not having top formwork. We wanted to nod toward a rolling ocean with both form and color. Each side explores a different aspect of color and texture in relation to concrete. One side is smooth with varying patches of color and consistency. This juxtaposes the other, rough side with pops of vibrant color that reflects light off of the spikes.
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05 WATER Spring 2020 100D Eleanor Pries UC Berkeley Pages 57-69 This project uses oasis as a watery anomaly. The site is a cistern in the outer sunset district of San Francisco. One of the requirements was that I maintain the shape of the circle. The project is about the theater of recreational swim and the theater of baptism and the tension between these two spectator programs.
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Telenovela-esque dramatic render
Luis Barragan and Invisible Cities Inspired study drawings 60
Backstory Two twin brothers, a lifeguard and a priest bought this property to share. The priest would get the bottom floor and half of the middle. The lifeguard would get the top floor and half of the middle. The lifeguard began taking more and more of the middle section. First he added more pools. Then he constructed a locker room. Then he built a slide that went all the way down to the priest. The pool water mixed with the holy water. Then the lifeguard, now having made it his life’s goal to annoy his brother, made a chute for children to jump through and land in his brother’s baptismal pool. So the priest made another pool. So the lifeguard made another chute. So the priest made another pool. So the lifeguard made another chute. So the priest made yet another pool. The water diagram reveals how the top level water is splashing down and intruding onto the baptism’s sacred pools. Diagrams Used color, motivated by Luis Barragan studies, to represent where the top floor extends below. Color was also used in the structural walls and changed from white to black stone when touching water. I used walls as both a way to separate specially and connect visually through a series of framed views throughout my project, relating back to the programatic idea of play and baptism as theater. Circulation was also used as a platform for spectators with moments of specific views in the stairs and the sweet water slide. 61
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Second floor plan. Was originally divided 50/50 between the brothers, but not the priest’s space has been reduced A to their small shared bedrooms
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Ground floor plan where the priest gets splashed. The waterslide ends in the top left pool where the water seeps into the baptismal pool below it. Children are constantly circulating the baptismal pool going doing the slide and 62
Study models to see the roofline as a inhabitable space (above) and light reaching through solid (below)
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Top floor/roof plan. A
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Sunbathers not socially distancing.
Framed view while descending the stairs 65
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Sections revealing the chutes cutting through the building. 66
People playing in the light airy space that then jump or slide down into the dark, somber space. 67
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Thank you
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