p o r t f o l i o k a r e n
h a m r i c k
B S i n Ar c h i t e c t u r e University of Virginia, 2011
c o n t e n t s
art museum addition drawing + composition the knot mapping belmont photography display international center of photography hotel + spa acadia national park shelters
art museum addition to the existing Bayly Art Museum at the University of Virginia LOCATION _Charlottesville, VA PROFESSOR _Peter Waldman DATE _Fall 2010
building
as a
process of construction The Arts Grounds at the University of Virginia is looking to create one interconnected Fine Arts campus, which aims to form a sense of community among the arts students. The program of this project includes gallery spaces where art and architecture students can display their work, a black box theater where drama and music students can perform, and gathering spaces where students can come together and share their common interests. The design of this structure is one that can be functional at different stages of construction. As more money comes in, the next stage of construction can be completed. This construction process is shown by the diagram above. Each stage is unconditioned, and the evolving spaces are enriched by light and shadows as infrastructure in continually built.
s e c t i o n s Early sectional studies (below) explore the idea of criss-crossing staircases that lead to different levels and viewpoints within the defined space. The final section drawings (right) show spaces defined by the interior structure and the exterior retaining walls. The enclosed gallery space becomes a light, floating structure within the excavated space.
south facing
north facing
east facing
i n t e r i o r
s p a c e s
The gallery spaces are meant to be flexible and accomodate for a wide variety of exhibitions. Kalwall is used as a primary material to diffuse natural daylight and create soft lighting, perfect for the display of art. The black box theater, located on the lowest level, is defined by the architecture above it. The gallery spaces are open and set up to overlook the theater. This allows for a range of dynamic performances to be viewed from every level, and the performances themselves are also able to utilize the multiple levels.
m o d e l s
These models were constructed in stages, just as the project would have actually been built. First the white wall is built up from the ground, and the black wall digs down into the earth. Next, the structural grid walls were put into place, followed by the beams, platforms, and stairs. These studies allowed for explorations into the spatial development throughout the construction process.
drawing + composition using a variety of media to draw figures in movement and still life PROFESSOR _Pam Black DATE _Fall 2010
t h e
k n o t
an abstract study of the perfection loop as a series of dynamic spaces INSTRUCTOR _Jeff Ponitz DATE _Fall 2008
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c h a n g i n g
v i e w s
This model represents an abstract study of the perfection loop, a knot that is very tight and complex at one end and has an open loop at the other end. The idea of dense, complex space in oposition to open space is reflected in the design of the model. This model demonstrates two pieces coming together to form a space, just as the two ends of rope come together to form the knot. As the pieces slide together, they not only fill space, but they also create new spaces. The views and spaces change as one piece slides into the other. Separately, they each have their own views and, as you connect them together, frames for new views are created.
mapping belmont a study of privacy levels within the residential properties in the Belmont neighborhood of Charlottesville INSTRUCTOR _Karolin Moellmann DATE _Spring 2009
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This project is a study of the spatial patterns found within the neighborhood blocks in Belmont. The diagrammatic model illustrates the levels of privacy found within each property lot. The front yards have the least amount of privacy, so they are on the lowest level in the model. Then, increasing in privacy and height, are the side yards, back yards, and finally the houses and sheds. (Collaborative model made with classmates Steve Hershey and Jun Rementilla)
photography display a demountable apparatus for the storage and display of photography PROFESSOR _John Quale DATE _Fall 2009
f r a m i n g
as an
e x p e r i e n c e
After researching the photography of Helen Levitt, the primary intention of this design is to create the experience of Helen Levitt’s work in the actual exhibition. Three specific aspects of her photography were used to influence the form of the design: her photographs of people in threshold spaces such as windows and doorways, her use of a right-angle lens, and her meandering movement through the streets of New York as she caught people in their everyday life completely unaware of her presence. The design recreates these experiences of both Helen Levitt as the photographer and of her subjects in the photographs.
international center of photography a second branch of the ICP in New York City, located along the Gowanus Canal LOCATION _Brooklyn, NY PROFESSOR _John Quale DATE _Fall 2009
the contrast between
h e a v y
a n d
l i g h t
The program of this project includes exhibition spaces and teaching spaces. These spaces, from dark rooms to galleries, require a wide variety of light conditions.These light issues are addressed throughout the building by use of material. The dark spaces are contained within the heavy stone walls, while the light spaces are defined by light metal, painted white on the interior. Long, horizontal spans of glass are placed in between these two contrasting materials to let in diffused natural daylight.
s t u d y m o d e l s These are studies of how space can change and vary in section and how aperatures can be created as a result of a series of frames with a defined directionality. The opposite page shows studies of how varying spaces in section can be defined through the combination of heavy masses and light planes, which led to the overall concept of this project.
s e c t i o n s This building vaires in section in order to further create a variety of spaces. The ceilings are dropped within the heavy stone rooms, while large double and triple height spaces are extremely open. This allows for felxibility in the type and scale of photography exhibitions that are displayed.
site photos
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These plans emphasize the distinction between the heavy and ligth spaces. Every space within the heavy stone walls are utilized by inhabitable space. Bathrooms, stairways, darkrooms, classrooms, and small galleries are contained within these walls. The rest of the open space is used as larger galleries and circulation space. Most of the education program is located on the bottom floors, and the public galleries are located on the top floors as the building rises and opens up.
hotel + spa with a farm to table restaurant LOCATION _Marfa, TX PROFESSOR _William Williams DATE _Spring 2010
c o n n e c t i n g
to the
l a n d s c a p e
The landscape in Marfa, Texas is distinctively large, flat, and expansive. The goal of this design is to connect that landscape of sublime scale down to the human scale of a garden. Each hotel room is separated into two levels so that the upper floor has a view out to the wide desert landscape with mountains in the distance, and the lower floor looks out to the garden used for the farm to table restaurant. In order to further connect the building to the landscape, each facade and its apertures reflect the scale of the differing landscapes. The building is also oriented to provide the best environment possible for the plants in the garden to grow. It acts as a wind barrier, lets in the sunlight, and is located in the direction of water runoff.
m o d e l s This large basswood model illustrates the difference between the facades on either side of the building. Large, singular, floor-to-ceiling openings look out to the view of the expansive desert. The lines from the rows of plants in the garden come up onto the interior facade, which then define the apertures looking into the garden. The roof form is made up of occupiable terraces that step down into the ground.
d e t a i l s
acadia national park a series of adjustable shelters for year-round use by visitors LOCATION _Schoodic Point, Maine PROFESSOR _Earl Mark DATE _Spring 2011
r e s p o n s i v e
a r c h i t e c t u r e
The form of this structure is designed to respond to the forested, snow-covered environment of Maine. Each shelter is made up of a series of arch shapes that step back to react to the shape of the existing camp sites.The arch was chosen for structural and climatic reasons. The orientation of the shelter allows for the maximum amount of sunlight to come in. Side entrances are strategically placed to connect each shelter to the next along a back pathway through the woods.
m o v e m e n t
The integration of fabric into this design is the key adjustable element to this design. On select sites, two fabric arches may be added to either end of the wood shelter. This creates a covered entryway as a transition to the interior. The fabric portion of the arch can easily be raised up depending on the weather.
i n t e r i o r The shifting of each arch not only allows for the structure to respond to the landscape, but it allows for natural light to enter as well. This shifting movement also defines separate living areas in the plan and creates defined spaces for the beds. The furniture is all built into the structure of the arches, and folds up and down as necessary. Plan studies (below) show different options for interior layouts before the second one was finally chosen.