ARCHITECTURE PORTFOLIO

KELSEA CLAYTON M. ARCH II

PORTFOLIO

TABLE OF

CONTENTS CURRICULUM VITAE STUDIO WORK 01 HILLSIDE RESIDENCE 02 SALK INSTITUTE HOUSING 03 TOWN BRANCH 04 DESIGN THROUGH ITERATION 05 SUPPRESSED MOTION 06 FULGURITES 07 STATEN ISLAND OPERA HOUSE Fall 2011 Fall 2012 Fall 2013

Spring 2012

Fall 2010

Spring 2011

Fall 2013

PERSONAL WORK 08 DESIGN / BUILD

Fall 2012

KELSEA CLAYTON kecl222@g.uky.edu 270.210.8389

EDUCATION AWARDS

Bachelor of Arts Architecture University of Kentucky | 2010 - 2014

Governor’s School for the Arts Transylvania University | 2008

Academic Achievement Award Dean’s List for 6 semesters | 2010 - 2013 Tommy Thompson Award Home Builder’s Association of KY | 2012 - 2013

Betty Bell Award Home Builder’s Association of KY Tommy Bright Award Home Builder’s Association of KY

| |

2010 - 2013 2011 - 2012

EXHIBITIONS Beautiful Waste Lexington, KY | 2011

UK College of Design Showcase Lexington, KY | 2013

American Institute of Architects (AIA) Convention Lexington, KY | 2012

TECHNICAL SKILLS Autodesk AutoCAD Autodesk Revit McNeel Rhinoceros

Adobe CS6 Suite VRay Fabrication (Laser Cutter, 3D Printer, CNC Miller)

CURRICULUM

VITAE

EXPERIENCE

Design Intern CS Design | 2011 - Present Assist with contract administration responsibilities, construction documents, bid meetings, and develop project ZWLJPÄJH[PVUZ Architecture Discipline Assistant Governor’s School for the Arts | 2014 I will spend the summer on the architecture instructional team, serving as a liaison between faculty and students.

INVOLVEMENT

Beaux Arts Foundation Inc. Co-Director | 2012 - 2013 +PYLJ[VY VM -PUHUJL MVY ;OL )LH\_ (Y[Z -V\UKH[PVU [OL SHYNLZ[ Z[\KLU[ Y\U UVU WYVÄ[ VYNHUPaH[PVU PU [OL Z[H[L VM Kentucky - raising over $50,000 for local charities. UK American Institute of Architecture Students (AIAS) Mentor | 2012 - Present (K]PZPUN ÄYZ[ `LHY Z[\KLU[Z [V^HYKZ [OLPY NYV^[O PU [OL HYJOP[LJ[\YHS ÄLSK UK College of Design Showcase Director | 2012 - 2013 Created and Coordinated the UK College of Design’s student work exhibition. American Institute of Architects (AIA) EKC Ambassador | 2012 Collaborated with Lexington’s leading architects as they showcased a variety of housing types. UK College of Design Representative | 2012 Represented the College of Design’s student work at the AIA CSI Trade Fair.

HILLSIDE

RESIDENCE A rural ice cream shop resides on the hillside of Danville, KY, overlooking an expansive landscape of rolling hills. Captivated by the experience these views provide, the shop’s owners wished to build a home on the site. My design of this home was to form a strong connection with the landscape in the house’s interior as much as its exterior. Wide, sliding, Å VVY [V JLPSPUN ^PUKV^Z VWLU HSS [OL YVVTZ [V [OL outside, framing an arresting panorama of water, trees, and the land’s dramatic contour. ;OL YLZPKLUJL PZ PUÅ \LUJLK I` H JPULTH[PJ approach to design, conceived so that its spaces can be understood by the visitor only as they unfold - frame by frame. As the visitor descends through the house, they are provided various glimpses of the surrounding landscape, with the procession ending in an overall view of the countryside. The gradual understanding of one’s surroundings imparts a sense of spatial Å \PKP[` IS\YYPUN [OL IV\UKHYPLZ VM PU[LYPVY HUK exterior spaces.

Hand cut model from foamcore and basswood at 1/16” = 1’ - 0”.

;OL IHZLTLU[ SP]PUN YVVT YLWYLZLU[Z [OL ÄUHS ZLX\LUJL PU [OL cinematic design scheme, surrounded by expansive window walls. A landing overlooking the living room offers visitors a sense of place through subtle glimpses as it opens onto a public rooftop terrace. Only by descending from the terrace and placing themselves in the vacinity of the living room can they view the entirety of the landscape as it extends into the distance. A private rooftop terrace can be approached through the vacinity of the inhabitant’s bedrooms. Located at the highest point of the home, the owners have access to their personal view of the countryside.

GROUND LEVEL 1/16” = 1’ - 0”

A

BASEMENT LEVEL 1/16” = 1’ - 0”

A

ROOF TOP LEVEL 1/16” = 1’ - 0”

A

SECTION A 3/32” = 1’ - 0”

SITE

The rolling landscape serves as the focal point to the design. Every space within the house has a framed view of its surrounding, which leads the viewer from the road into the courtyard, through the [OYLZOVSK VM [OL OV\ZL HUK ÄUHSS` KV^U into to the walkout basement where they are given the view as shown. The integration of natural forces activates the building’s interiors, blurring the borders between inside and outside. The play of natural elements is intended to challenge the everyday experience of the inhabitants as they embrace the outdoors.

SITE PLAN 1/32” = 1’ - 0”

WEST ELEVATION 1/32” = 1’ - 0”

SOUTH ELEVATION 1/32” = 1’ - 0”

EAST ELEVATION 1/32” = 1’ - 0”

NORTH ELEVATION 1/32” = 1’ - 0”

SALK INSTITUTE

HOUSING When designing townhomes as an addition to Louis Kahn’s Salk Institute, it was important to implement design stretegies that would enhance Kahn’s use of concrete and strong attention to details. The conceptual design was to frame the inhabitant’s view of the world but remove them and their personal activities from sight.

Aggregating courtyard-based townhomes takes advantage of a climate that encourages outdoor living. Each unit is seperated by a full length party wall - the traditional guarantor of privacy. Between all party walls, a courtyard serves as a discreet threshold to each private residence, leading the inhabitants through the extents of the space in order to arrive at the primary entrance. The interior’s formal geometry and material selection of glass and concrete encourage circulation through framed views of the exterior courtyard and ravine below.

BASEMENT LEVEL

GROUND LEVEL

SECOND LEVEL 1/8” = 1’ - 0”

SITE

The site strategy is based on the directionality from the pre-existing landscape. The procession of public spaces are placed directly on the axis formed from the bend in view of the revine. Public spaces include: Parking Lot, Pavillion and Pool Following the natural geometry of the site, the aggregated units extend back from the central axis, creating two dominant views of the landscape below. Each unit PZ [OLU [PS[LK VU H_PZ [V VW[PTPaL ]PL^PUN WV[LU[PHS To ensure all townhomes have an unobstructed perspective, all two bedroom units are placed on higher ground, with the one bedroom units below.

WALL SECTIONS

Diagrammatic wall sections of the building illustrate the geometric descriptions for less common situations such as concrete and timber connections, material usage and the WYVJLZZPVU VM ÅVVY SL]LSZ Section A - Private Condition ;HRLU [OYV\NO )LKYVVT 6MÄJL :WHJL Section B - Public Condition Taken through Living Room space

WALL SECTION A

WALL SECTION B

TOWN

BRANCH The project was to propose a strategy to YL]P[HSPaL [OL VSK +PZ[PSSLY` +PZ[YPJ[ PU KV^U[V^U Lexington, Kentucky. After being buried under the city for one hundred years, the Town Branch, a waterway the city was orginally founded upon, must reemerge in the Distillery District. The Town Branch will serve as the central location in [OL KPZ[YPJ[ PUĂ…\LUJPUN [OL JPYJ\SH[PVU VM HSS ZVJPHS activities. As the Distillery DIstrict survived several transformations from the city, its resilience is represented in the form of an elevated trail. This symbolic addition overlooks the culture of the Distillery District, while formally mirroring the Town Branch. The land bridge creates a blend of authenticity and permanence rooted in the history and future of the Distillery District. Zones on the site are formed based on the concept of a resilient city directed on its past to improve its future.

Fayette County

DISTILLERY DISTRICT The left region of Downtown Lexington was the original factor in the layout of the city. The Town Branch was used for the production of Bourbon in Kentucky distilleries. Today there is little activity in the Distillery District. Several distillery buildings remain in the area as empty warehouses or serve as venues for concerts. In order for the Distillery District to reactivate itself into the fabric of Lexington, park spaces and VMÄ JL I\PSKPUNZ ^V\SK ULLK to be brought into the urban design.

BUSINESS DISTRICT The middle region of Downtown Lexington is the heart of local businesses and \YIHU YLZPKLUJLZ 6MÄ JLZ restaurants, hotels, and appartments scatter the skyline, engaging the city with vibrant activity throughout the day. While the buildings follow the original path of the Town Branch, all water is hidden from view since its burrial under the ground surface. The Town Branch must be brought back into the city to reintroduce the history of Lexington.

ENTERTAINMENT DISTRICT Entertainment venues are located around the downtown district in the form of parks and sporting complexes. In many of these areas, the city has brought the Town Branch back into view. Fountains have been constructed to follow the original path the city was founded upon. These spaces have become popular features for local residents and tourists as it has made Lexington’s characteristic features stand out amongst a standard urban condition.

CONCEPT ANALYSIS My approach to extending activity from the central Business District into the Distillery District was focused on the idea of manipulating a resilient surface. Hot spots positioned throughout the site are based on locations of opposing programs. Stretching out to each of these hot spots, a ZRPU SPRL JVUKP[PVU PZ MVYTLK [V\JOPUN KV^U PU LHJO aVUL ;OL ZRPU becomes an exterior elevated walk through the site, overlooking the culture of the Distillery District. The elevated trail becomes an abstract mirror of the Town Branch, bringing its vibrancy back to the city.

MANIPULATING THE ENVELOPE ALLOWS THE SPACE TO BECOME SOMETHING NEW, YET HOLD ON TO ITS ORIGINAL IDENTITY

Below is a drawing of the proposed elevated trail as it encompases the Town Branch. Activities would be located in different spaces on the trail to celebrate and enhance the historic ZPNUPĂ„ JHUJL VM [OL ^H[LY^H` [V [OL +PZ[PSSLY` District and Lexington, KY as a whole. The trail creates park space in the otherwise PUMYHZ[Y\J[\YL Ă„ SSLK HYLH HUK HSSV^Z ZHML transportation to occur above and around the functioning RJ Corman train tracks.

DESIGN THROUGH

ITERATION As an introductory charette, we were to investigate methods of design through an iterative process. Each model typology began with a set of contraints which drove the resulting form. Once each typology’s possibilities were exploited, compositions started to develop. This L_LYJPZL VM THUPW\SH[PUN [OL ZX\HYL ZOV^Z OV^ transformation driven iterative design provides UL^ MVYT ÄUKPUN WVZZPIPSP[PLZ ^OPSL ZH[PZM`PUN material and construction constraints.

MODULE 7 Chosen for its ability to conform to various HUNSLZ [OL \ZL VM [OL Ă…HW HZ [OL WYPTHY` connector creates a range of motion and denies the repetiton other iterations begin to develop.

HAND DRAWN ELEVATION

HAND DRAWN PLAN

SUPPRESSED

MOTION In architecture, the Golden Section is often used as a method of creating perfectly proportioned and aesthetic work. Inherant proportions of the ratio create total balance and unity. During our study of Alexander Calder’s mobiles, we were instructed to create our own mobile using the Golden Section as our primary guideline. The suspended components of my mobile were based upon densities of my Golden Section, as diagrammed to the right. Through two hand drawn studies, I began charting motion by tracing the path of the mobile’s components.

STUDY I

A series of charcoal studies show still frames of the mobile during complete rotation. The mobile’s displacement is demonstrated by extending each component within its path. This superimposition of motion creates a complex narrative of the mobile during its journey.

STUDY II

4` UL_[ HWWYVHJO ILNHU ^P[O H SP[LYHS [YHJPUN VM [OL TVIPSL»Z ]VS\TL[YPJ ZOHKV^Z HZ ZOV^U PU [OL Ä YZ[ JOHYJVHS contour drawing. By projecting the suspended mobile’s shadows onto a nearby surface, I was able to trace the components as they moved. Dense areas of the drawing are representative of where the mobile spends a longer amount of time during rotation. These dense areas are then extracted into shapes, suppressing the motion of the mobile into static forms. Lines were continued out from the forms in speculation of potential motion. Through a Ä UHS KLJVUZ[Y\J[P]L YLWYLZLU[H[PVU VM [OL TVIPSL UL^ VIQLJ[Z LTLYNL HUK L_WSVYL [OL ZVSPK ]VPK YLSH[PVUZOPWZ VM each component’s travel.

SPECTACULAR

PHENOMENON An initial studio charet assignment was to investigate a natural occuring phenomenon that interested us. I chose to investigate the occurance of fulgurites -- the rock-like formation that develops when lightening strikes sand. I discovered that when a bolt of lightening strikes [OL ZHUK [OL WHY[PJSLZ MYLLaL [VNL[OLY PU HU L_HJ[ YLWSPJH of the bolt as it continued through the Earth’s surface. I chose to represent this phenomenon in a material study using wax. The goal was to capture motion in a static representation, as the fulgurites represent the still motion of a lightening bolt. The study was conducted by pouring melted wax into a jar of water which would JHW[\YL [OL Z[PSS MYHTL TV[PVU HZ P[ JOHUNLK MYVT H SPX\PK to a solid. 6\Y UL_[ HZZPNUTLU[ ^HZ [V PU[YVK\JL [OL Ä YZ[ material to a new material. By melting the wax onto a steel framework, I was able to capture the spatiality found in the wax structures as well as a more rigid spaciality found in the composition of stick structures. These material studies became a formal guide for our studio project of designing an Opera House. The photograph below is of a natural occuring fulgurite from a lightning strike.

STATEN ISLAND

OPERA HOUSE The Staten Island Concert Hall project is an entertainment complex serving to contribute to the YL]P[HSPaH[PVU VM [OL :[ .LVYNL >H[LYMYVU[ UV^ currently in development. Its architecture is a composition of two volumes merged together by stretching outdoor spaces and walkways. These Å\PK ]VS\TLZ ^VYR [VNL[OLY [V MVYT PU[LNYHS aVULZ HUK \UPX\L ZWHJLZ [OYV\NOV\[ [OL ZP[L The project is based on the ideas extracted from an initial material study exploring the forms created when wax morphs into its solid form while being contained within a boundary. When given structure to interact with, the wax stretches from node to node generating organic moments of solid and void. >OPSL ZVSPKPM`PUN TV]LTLU[ PZ \UYLZ[YHPULK [OL ÄUHS volumes offer an essence of the containers invisible form. The large site model was created using CNC milled Medium Density Fibreboard, plexiglass and foam to represent the existing condition of Staten Island. A sketch model of the proposed topography is inserted into the site using contoured chipboard HZ WVY[YH`LK PU [OL SV^LY SLM[ WOV[VNYHWO ;OL ÄUHS model is inserted into the site using a contoured plexiglass massing. All models are created at 1/32” = 1’ - 0” scale.

SITE The site strategy incorporates transforming volumes that map the moments of circulation and green space. The nodes translate into important spaces around the site such as the Ferry Terminal, Waterfront, Baseball Stadium, and city Access connections are formed between each of these nodes, symbolic of the structural vectors of the wax material study. Walkways then displace themselves around these connections, implying the location of the site’s boundary without it’s physical presence.

Staten Island Green Space

Staten Island Roads

100 F T.

200 F T.

SITE DEVELOPMENT ROUTES Along with the paths that run along the riverbank, a series VM ^HSR^H`Z PU[LYZLJ [OL ZP[L IL[^LLU LHJO aVUL

PLAZAS ( aVUPUN Z[YH[LN` KL]LSVWLK MYVT ]HYPV\Z WYVNYHTZ [OH[ Z\YYV\UK [OL ZP[L -P]L WSHaHZ HYL JHY]LK PU[V [OL boundary as follows: :[HKP\T 7SHaH <YIHU 7SHaH >H[LYMYVU[ 7SHaH HUK ;YHUZWVY[H[PVU 7SHaH

VEGITATION Grass and planters are used to break up the site and shade the buildings from harmful sunlight. The vegitation functions both as interactive and sustainable components to the site.

WATER As the waterfront is not accessible for interaction, water features are incorporated into the landscape as you proceed from the urban context.

BUILDINGS The building is centrally located on the site, conformed to meet the containing boundary of walkways, green space, parking and water features.

The building form is derived from the ZP[L JVUÄ N\YH[PVU VM WSHaHZ ZPKL^HSRZ green spaces and water features. )L[^LLU [OL MV\Y JLU[YHS WSHaHZ a perimeter is established to control programmatic locations.

An exterior space is carved between theatres to designate the various programs into their HWWYVWYPH[L aVUPUN SVJH[PVUZ Exterior spaces begin to span the gap between the parking and the Z[HKP\T aVULZ ;OL ZP[L Z[YH[LN` \ZLZ [OL PKLH VM TVYWOPUN

Creating space for an elevated restaurant with outward views in all directions, the main portion is connected to the Concert Hall, merging the site’s various forms of entertainment.

]VS\TLZ [V THW [OL TVTLU[Z VM JPYJ\SH[PVU WSHaH HUK NYLLU ZWHJL ;OL UVKLZ [YHUZSH[L PU[V PTWVY[HU[ ZWHJLZ HYV\UK [OL ZP[L Z\JO HZ [OL -LYY` ;LYTPUHS >H[LYMYVU[ )HZLIHSS :[HKP\T HUK JP[` (JJLZZ JVUULJ[PVUZ HYL MVYTLK IL[^LLU LHJO VM [OLZL UVKLZ Z`TIVSPJ VM [OL Z[Y\J[\YHS ]LJ[VYZ PU [OL VYPNPUHS TH[LYPHS Z[\K` >HSR^H`Z [OLU KPZWSHJL [OLTZLS]LZ HYV\UK [OLZL JVUULJ[PVUZ ;OL YLZ\S[PUN ^HSR^H`Z HUK WSHaHZ PTWS` [OL SVJH[PVU VM [OL ZP[L»Z IV\UKHY` ^P[OV\[ P[»Z WO`ZPJHS WYLZLUJL

A second exterior space is carved through the body of the building, forming a terrain for the main stage to envelop. The space also activates itself through a pedestrian bridge that emerges through the buildingâ&#x20AC;&#x2122;s facade

An offset supplies the back of house needs with a loading dock, so as not to disrupt activity on the waterfront. The service area comes up between the main stage and rehearsal stage for easy access to all preparatory locations.

An articulated mass is voided out of the Concert Hall form to convey the facade morphing down into the landscape. The absense allows light to enter the interior courtyard below.

UPPER LEVEL

GROUND LEVEL

LOWER LEVEL

SOUTH ELEVATION

NORTH ELEVATION

WEST ELEVATION

EAST ELEVATION

DESIGN /

BUILD A local client presented me with the task of YLKLZPNUPUN [OLPY IHJR`HYK ;OL JSPLU[ YLX\LZ[LK [OYLL THQVY ZWHJLZ [V IL PUJVYWVYH[LK PU[V [OL KLZPNU H ZWHJL MVY YLHKPUN H ZWHJL MVY H Ä YLWP[ HUK H ZWHJL MVY H NVSKÄ ZO WVUK ;OL WYVWLY[` SPUL VU ZP[L PZ SVJH[LK JSVZL [V [OL house on the right, with an expansive opening to the left. My design highlighted the privacy of their yard by extending a patio off of the existing deck and fencing off the backyard getaway to the right while leaving the rest open to their surrounding yard. The patio’s inspiration was derived from the curves HUK Z[VULZ VM [OLPY L_PZ[PUN Ä YLWP[ HUK JVSVY ZJOLTL VM [OL OV\ZL»Z I\PSKPUN materials.

Planters curve the boundaries of the patio, separating each of the programmatic spaces. In one instance, the planter curves down into the stamped concrete, MYHTPUN [OL SVJH[PVU VM [OL Ä YLWP[ ( YLHKPUN UVVR PZ carved out of the planters on the left, where two trees envelop the reader with optimum shade. The focal point VM [OL KLZPNU PZ [OL NVSKÄ ZO WVUK HZ P[ L_[LUKZ VMM VM [OL deck with viewes from all areas of the patio.