Selected works
Architecture
Holly Wolf 2013 - 2016
ResumĂŠ
Holly Wolf
email hlwolf@k-state.edu phone (316).993.8410
Academics Kansas State University
NAAB Accredited Master of Architecture Aug 2011- May 2016 3.8 GPA. Deans List. 2011- present České Vysoké Učení Technické v Praze Prague, Czech Republic Exchange Program Spring Semester 2015.
recognition Bowman Forum Finalist
Flint Hills Craft Center December 2013 Scholarships East Wichita Rotary Scholarship 2011-present PPG Platinum Distributers Scholarship 2011-2015 Writing Utepils by STUDIO3 Gowanus Bazaar Chimerical Architecture
experience 505 Design
Boulder, Colorado Architecural Internship Summer 2015 Twisted Stitch Clothing Co Wichita, KS. Summer 2014 Umi Sushi Bar Manhattan, KS. Summer 2013
skillsets Digital Skillset
Rhino, Revit, Sketchup, Photoshop, Illustrator, InDesign, AutoCAD, Grasshopper, Ecotect Hand Skillset Hand sketching, drafting, graphite rendering, hand-model construction, laser cutting
3
cONTENTS
5
7
gowanus bazaar
45 flint hills craft center
25
1901 Brewery
53
exchange program
35
utepils
57 chimerical architecture
GOwanus Bazaar
7
Gowanus Bazaar
Thesis Project Gowanus, Brooklyn, NY Fall 2015 - ongoing The canal was the industrialized man’s habitat. Rich in factories, mills, warehouses, tanneries and refineries, it was once south Brooklyn’s economic epicenter, employing the surrounding area. The raw materials for the buildings constructed in South Brooklyn arrived to the canal and sat in warehouses along its edge. Surrounding areas owe themselves to the canal. Current Gowanus still finds itself in a state of despair, its waters are some the most polluted in the United States. Sewage, trash, and filth all flood into the canal. Its polluted waters have slightly inhibited the rapid gentrification that has overtaken NY. It has allowed an artistic community to flourish and this community’s love for the canal has many apprehensive for the change that will undoubtedly take place, soon. In 2010, Gowanus was declared a Superfund site by the EPA. It has come to collect its debts, all $500 million. Many are concerned about the cleanup and no one truly knows what will happen after the cleanup is complete. This project is about imagining urban and social issues that could surface after the cleanup. It is about realizing opportunities beyond the Superfund project. Years of neglect affect more than waters.
Urban rules To aid in the cohesion of the master planning process uban rules were established. These rules are intended to protect the unique scale and character of Gowanus.
Catch-all
Mitigating run-off
1
activate ground
Amp up public street level
skip studios
Protect the artist/maker
Link points
Optimizing connectivity
Wakabilty
Improve pedestrian experience
eco-structuring
Designing for resilience
gowanus bazaar
9
Stop pollution
Raise the roof
Prevent further run-off and degradation
Incentive for public waterfront spaces
Jenga
adding affordability
Create unique, public waterfront use and space
shift parking
Shift surface parking to structured
Ensuring affordable housing
10
hang ten
Opportunities for facade expression
Master Planning Inspired by the way Eastern Bazaars maneuver through all urban conditions, the masterplan creates a network of public use along the canal, connecting all four directions. Two commercial districts were created, allowing for nine blocks to be added within the context of the Bazaar. They are connected by a green pedestrian path that crosses the canal at a central point. This central point becomes the forum of the Bazaar and the architectural project within this masterplan.
R6 MX-11
M2-1
R6
M1-2
c2
c1 MX-11
M2-1 M1-
M1-
R6
R6
2
Current zoning
2
proposed zoning
forum site
gowanus bazaar
11
added blocks
connecting path
new public realm
Cultural Commericial Office Green Space
Master Plan Image
Residential
gowanus bazaar
13
forum
cultural void
Market basin
cafe basin
community classrooms
Bazaar offices
gowanus conservancy
dredgers club
Cultural Void Market Basin Cafe Basin Conservancy/Office Dredgers Clubhouse
Programming vocabulary Establishing the various programs meant establishing a vocabulary for the created spaces. The forum became a central point where more transient programs take place. Within the forum is the cultural void, a space meant reflect the culture of the neighborhood. There are two commerce basins that begin to engage the forum. There are also various community programs that link together within the forums space.
gowanus bazaar
15
30’
Ground floor plan
15’
60’
gowanus bazaar
17
Cultural Void The Cultural Void becomes a social contraption. It raises and lowers walls to create different spaces for various events. It operates like a fly loft bringing down the next backdrop for the ever-changing scene of Gowanus.
gowanus bazaar
19
Schematic model
gowanus bazaar
21
gowanus bazaar
23
1901 Brewery
1901 Brewery
25
1901 Brewery
Crossroads, Kansas City, MO Fall 2014: 4th year Once entombed in the heart of the city, the Crossroads District has become the cultural heartbeat within the urban core of Kansas City. Its cultural impact has not only enlivened the community located in the district itself, but also has given the metropolitan area a reason to venture to a once desolate neighborhood. Embedded within Cross Roads, 1901 Brewery is meant to serve as a foil to the typical vernacular of the urban fabric, enhancing its historic surroundings. It recognizes the patterns of the neighborhood and begins to extrude them, pulling apart the elements, allowing for visual recognition of the various building and brewing systems. It houses an efficient vertical brewing system that is featured along the street. This vertical brew system ends in the beer vault, a public space that vertically connects pedestrians with a lively space below grade. The street side features a cafe that is transparent to the street. The brew process is contained in a floating box that seperates the public from the private brew process.
study models
1901 Brewery
27
contextual premise
Top of Parapet 38' - 10 25/32"
The brew floor is housed within a floating mass that seperates itself from the facade. This floating mass carries over the brick color of the neighboring historic brick building by using Corten steel, perforated panels. Meanwhile, on the street level, three cafe “frames� carry over the pattern of the lower, one-story building to the south.
Top of Level 3 37' - 8"
level 3 32' - 0"
Level 2 14' - 0"
Level 1 0' - 0"
Entry Detail
29 1901 Brewery
Vertical brewing The top brewing floor floats above the street. The vertical brewing process ends in the beer vault in a level below grade. This gives vertical depth to the pedestrian experience.
0’ 2’
4’
8’
16’
brew floor
brew floor
open to below
stage
lab
lobby
salon
beer vault
office
beer garden
storage kitchen
keg storage
grain storage
vault level
Street Level
Brew Level
mechanical
Facade detailing
1901 Brewery
31
1901 Brewery
33
section looking south 0’ 2’
4’
8’
east elevation
16’
utepils
35
Utepils
Stavanger, Norway Spring 2014: 3rd year Utepils [oot-er-pillss] (noun): “The first drink of the year taken out of doors� Meaning: Traditionally associated with enjoying beer outside, with friends, on a sunny day. It is a highly valued practice in Norwegian culture, in Spring. This is a collection of discoveries that led to the formulation of urban strategies that re-energize the market in the heart of Stavanger, Norway. The market’s current state provides many opportunities to improve the lack of place, give edge definition, and connect lost or untapped connections within the urban context. From the first three weeks of research our studio was able to determine these opportunities and formulate tactics. In the next four weeks we implemented these strategies and articulated three elements within the market context that would fulfill these opportunities. The elements do not stand for results we found, but rather the questions we asked. We discovered that we were never seeking the right answers, but rather, the right questions. This project consisted of three different teams that created three different elements. One team created the Campnile, a vertical connector of all stratas. Another created a folding urban floor that connected the bay with other nodes. I was a member of the third team, which created the cultural armature, a manipulation of the urban floor into an edge defining element that presented itself at the end of the market place, defining the school and park edges behind it.
Nodes and flows
edge definition
The cultural armature begins to connect 3 nodes: the cathedral, the school yard, and the park. The urban floor connects the bay to the cultural armature and campanile. The campanile acts a needle in the center, drawing and releasing engery from other urban nodes.
The edges of the market place bleed and the space lacks containment. The space loses its power because of its lack of edge definition.
urban studies
utepils
37
the cultural armature The super floor strategy was adapted from previous discoveries by other studios who worked on Stavanger projects. The strategy involves utilizing a 3-story volume, each floor getting a 3m height. The three story volume allows for great adaptabilty, and lends itself well to projects that are designed to change. We chose to adapt this strategy in the cultural armature, as it suits the surrounding context and sets up a great number of possible interior configurations that can be partially or fully implemented over a period of time.
utepils
39
Circulation
Enclosure
Secondary structure interior confirgurations
1. 2.
3.
outdoor classroom 1 data cafe 2 park plaza 3
8m plan
Longitudinal Section
utepils
41
1.
2.
DN
3.
4. stage 1 study 2 studio 3 gallery 4
11m plan
Transverse section
Final Model
utepils
43
Craft Center
45
Flint Hills Craft Center Bowman Competition Finalist Project Manhtattan, Kansas Fall 2013: 3rd year Somewhere between the Northwestern expansion of Manhattan, Kansas and the Prairiewood Presrvation, the last undeveloped lot sits, dividing the inhabited valley from the wild flint hills. The north half of the site is bounded by Wildcat Creek and the south half by the flint hills. The craft center, which houses three crafts, ceramics, glass blowing, and metal working, serves as a connection between the hills and the prairie, linking public, artist, and craft with the earth and site, paying homage to the prairie it faces. The idea is to create a relationship between site, building and program that conveys the relationship between the public and craft. The public education space occupy the two dynamic bars that float about the site. The studio spaces find themselves becoming part of the Earth, within the site. The gallery space hang in between the public program and studio, creating a connection between public and craft. The gallery projects out into the landscape, skimming the top of the grass, creating a pennisula for outdoor exhibitions.
CRAFT CENTER
47
vie
ws
no
rth
vie an
ws
ds
ou
th
Craft and prairie The prairie ecosystem serves as inspiration for the relationship between craft and public. Roots representing the craft, as it belongs to the earth and raw material. The public represented by the dynamic blades of grasses that are seen from above. The realization of art is somewhere in between the two, allowing for the experience of below and above.
vie
ws
ea
st
an
dw est
no
rth
Approach and Descend The entry sequence begins at the western edge of the site. Everyone enters on the ground floor and from there, descends into the project and into the prairie, getting closer to craft and nature.
CRAFT CENTER
49
CRAFT CENTER
51
exchange
53
Farming Chelsea Completed at České Vysoké Učení Technické Prague, Czech Republic Competition Studio Spring 2015 There is no city quite like Prague. I lived in the heart of the capital of Czech Republic, on ČVUT’s campus for six months. The city itself is overwhelmingly beautiful. Layer upon layer, century upon century of architecture line the the organic city center, streets providing picturesque views during meandering walks through Staro Mesto. My studio was comprised of international students, allowing me to meet people from all over the world. It was a competition studio, whose site and project rotate every year. The competition chosen that year was located in New York, designing a vertical farm along the High Line, in Chelsea. The elliptical form of the farm allows for the greatest sun exposure to the planting floors. It also offers a new form into the context to accompany the new farm typology in Chelsea. The building grounds itself in the neighborhood through negative space. These bioswales filter used water from the farm so it then can be recycled. Using inspiration from nature, the building is supported by a structural trunk that houses circulation and service spaces. All other structural and mechanical systems then radiate from the core to the perimeter of the building. The building’s facade presents itself as a dynamic component of the neighborhood. Wood and glass panels swing in the wind to generate energy and reflect change in the environment in a real time. The pattern was designed according to sun path.
exchange
55
Farming Chelsea 3
3 2
2
1
2
1
entry swales 1 bioswales 2 cafe
planting floor
1 green wall 2 double story tray tables 3 single story tray tables
open to below
Farmers’ flats 1
1 overlook space 2 farmer’s flat 3 common outdoor space
N
scale: 1 : 200
form
Form
The elliptical form of the farm allows for the greatest sun exposure to the planting floors. It also offers a new form into the context to accompany the new farm typology in Chelsea.
farm
farm
Continuous planting floors makes harvesting easy. Half of the floor plate is double height, allowing for high demand crops to have maximum volume, while high maintenance crops are housed in the single story portion.
Ground
ground
support support
live live
Animate animate
The building grounds itself in the neighborhood through negative space. These bioswales filter used water from the farm so it then can be recycled.
The farmers’ flats are located on floors that overlook the planting floors. This offers farmers the chance to live by what they love and gives diversity to typical Chelsea demographics. There is also a public outdoor space at the top that can be rented out for smaller social events.
Using inspiration from nature, the building is supported by a structural trunk that houses circulation and service spaces. All other structural and mechanical systems then radiate from the core.
The building’s facade presents itself as a dynamic component of the neighborhood. Wood and glass panels swing in the wind to generate energy and reflect change in the environment in a real time. The pattern was designed according to sun path.
chimerical architecture
chimerical architecture
57
Chimerical architecture and Urban Appropriation Written Fall 2015 Theory serves architecture in a unique way, offering us answers and posing questions that unapologetically offer the field something practice cannot. I find inspiration in writing that dares to say things not said in practice or studio classes. Chimerical Architecture is the result of a discussionbased seminar on architectural theories. Its ideas developed into a four-part essay and its principals influenced design decisions in Gowanus Bazaar. This is an excerpt from the larger essay. This piece was written retrospectively after livng in Central Europe. It is heavily influenced by Prague who is a proud host of many weird, wonderful places.
Thievery through time
I am a proponent of architectural theft. The moment when space is changed, is the moment it finds power. It is the programmatic stillness in today’s architecture that I fear the most. It is that horrific idea of consistency that mutilates a space’s potential. There is excitement in change. The moment a dictator falls (or explodes), the moment a new is crowned, the moment a wall topples and a new built; those are joyous moments. All these joyous moments, only found through appropriation. It is through this architectural appropriation that we achieve powerful complexity. This complexity comes not from the change itself, nor from a programs evolution, nor the shift in occupation or use. Complexity derives itself through the gestation of time. Time is the variable that creates complexity and appropriation only happens through the variable of time. Kwinter begins to accurately describe appropriation and complexity in his essay, “Kafka Immanence,” in Architectures of Time. Kafka’s Metamorphosis does not find its power or complexity from Gregor Samsa awakening to find himself “’a monsterous vermin,’” but rather the “shifts and tangents” of time. Kwinter states, “the space of Kafka’s literature is not architectonic.” Kwinter describes “Kafkaesque” space as “relations, movements, and passages…[through] uncompleted movements or fragments of time.” The variable of time is what allows different stages of atrocities to appropriate Gregor’s body. As one atrocity after another takes over Gregor, the reader realizes it is “not a transformation from one stable state to another,” but rather he is always volatile, prone to switch to the next phase. Everything in fact, is unstable, ready for appropriation. Change is always simmering, beneath the surface, pushing plates away, creating space for new moments to rise in-between. Architecture is but a moment in-between change. It is stationary, but time is always developing, altering the events about the tectonics we create. I like to imagine myself sitting back and watching my thoughts dismantled and reassembled by some other who sees something different, only to have it change again and again and so on, so that one day I awake from some unsettling dream to find something unrecognizably new and exciting. Building a Stalin to have it change into Michael Jackson.
chimerical architecture
59
chimerical architecture I am a proponent of chimerical architecture. This architecture is wildly imaginative, generating its own fancies. Its core is created and then it begins to generate itself based upon its surroundings, its needs. It can be awkward at times, generating space that seems slightly out of align, but then it moves swiftly and the motion realigns everything, creating experiences of time. Its beauty is not derived from its still form, but rather its experience. Chimerical architecture appropriates its own structure, stealing its own form from itself, creating new additions using its own space. Its surroundings or situation forces it to appropriate, as new cultures emerge from time to demand new uses. Chimerical architecture changes to survive. It must modify to remain relevant in its context. It has to alter, or else cease to exist entirely. The lifespan of chimerical architecture is indefinite if it continues to evolve and allow itself to be appropriated. It possesses great multiplicity in consecutive moments. It is both, together, everything, all at once. And though it is everything at once, its pieces listen to one another, creating a dialogue between elements, singing praise to one another, cheering at change, yet remembering previous forms, reflecting the passage of time and change of ethos. As architects, it is in our nature to desire to kill these beasts. We believe we can cage them, hold them captive within their own structures and programs. When we design the Lion, the Stalin we see them rigid, statically represented in our delusions of the future. However, they may grow hideous appendages or explode into confetti over a river. We may revisit them expecting them to be the same, old to find they have become the different, new. We must reconcile our ideals with the factor of time, because from the moment something exists it changes, the moment it is said it is misunderstood even at some miniscule level, and the moment it is built it is appropriated.
austin
bowman finalist
craft center
travel
accomplishments
projects
dallas 2013
NEW York utepils
1901 Brewery
New Orleans
published part 1 of thesis
Denver Boulder
Prague Bratislava Krakow Budapest Dresden Berlin accepted CVUT accepted grad school published utepils Kansas City
INTERN
New York gowanus bazaar farming chelsea THESIS PROJECT
study abroad
grad work 2016
thank you