Architectural Portfolio of Kristyn Assmann
KA
Kristyn Assmann 913.488.8006 kristyn.assmann@gmail.com 7748 Monrovia Street Lenexa, KS 66216
KA
Table of Contents The Adventure Garden....................................................................................3 Design+Build Project for the Wonder Workshop Children’s Museum In Collaboration with Maryam AlBalushi, Samantha Compton, Tyler Hiatt, Kyle Johnson, Thomas Lusk, Lane Pendleton, Caleb Riekhof, Anthony Thompson, and Ying Zhu Vertical Village..............................................................................................11 Metropolis Magazine’s Living Cities Competition In Collaboration With Maryam AlBalushi, Barbora Kadlecova, and Ying Zhu The Urban Pantry..........................................................................................21 Kansas AIA Student Design Competition Finalist Manko Design Competition Finalist Martin Puryear Art Museum..........................................................................30 Charles Burton Design Competition Winner Reading, Kansas Community Center..............................................................36 Bowman Forum Design Competition Winner Study Abroad...............................................................................................43 Italart Santa Chiara Study Center Castiglion Fiorentino, Italy (Spring 2013) Miscellaneous Work.....................................................................................47
Spatial Study Hand Rendering • Charcoal
The Adventure Garden Design+Build Project for the Wonder Workshop Children’s Museum With Maryam AlBalushi, Samantha Compton, Tyler Hiatt, Kyle Johnson, Thomas Lusk, Lane Pendleton, Caleb Riekhof, Anthony Thompson, and Ying Zhu This project is a design+build project in collaboration with all members of our studio. Our client was Richard Pitts, director of the non-profit organization called the Wonder Workshop, a place which brings projectbased learning to life for the children of the Manhattan community and promotes education in the arts, sciences, and humanities. In keeping with the mission statement of the Wonder Workshop, the goal of this project was to create an outdoor area where kids can learn, play, and grow. It will be a place where children can have fun while still learning about the world around them in hands-on ways. To accomplish this, our team created a playground with adaptable spaces for learning, a variety of activities for playing, and abundant natural elements for growing. As a design+build project, we faced the realities of our profession: designing for a real client, working within the constraints of time and budget, and seeing the project through from schematic design to completed construction. Every element in the Adventure Garden works to create a playground that is fun, interactive, and educational for the kids at Wonder Workshop. This is a space for living and growing, for fun and adventure, and for learning by doing, the Wonder Workshop way.
Adventure Garden Phase IA Completion
M A N H A T T A N ,
W O N D E R
K A N S A S
W O R K S H O P
Our Team Back Row (Left to Right): Caleb Riekhof (Treasurer/Materials Acquisition), Thomas Lusk (Head of Fabrication), Anthony Thompson (Treasurer/Materials Acquisition), Dragoslav Simic (Studio Professor), Kristyn Assmann (Project Manager), Richard Pitts (Our Client and Director of the Wonder Workshop), Maryam AlBalushi (Client Relations/Public Liaison), Lane Pendleton (Project Marketing/ Documentation) Front Row (Left to Right): Kyle Johnson (Head of Fabrication), Ying Zhu (Project Marketing/Documentation), Samantha Compton (Project Manager), Tyler Hiatt (Client Relations/Public Liaison) Our Client: The Wonder Workshop Children’s Museum
Our Team • Our Client
4
Bamboo Space Frame Play Equipment
Community Garden and Trellised Walkway
An Undulating Path Connects the Covered Seating, Sandbox, and Water Play Area
Street View of the Adventure Garden
Presenting to the Wonder Workshop Board of Directors
Board Meeting
Model • Board Meeting
5
Water Play/Learning Area
PHASE 0: LANDSCAPING
PHASE 1A: HIGH DECK
PHASE 2A: SEATING
PHASE 1B: LOW DECK
PHASE 2B: TRELLIS
PHASE 3: BAMBOO SPACE FRAME
PHASE 1C: PATH
SITE PLAN 06”1’
2’
4’
Construction Phases Site Plan
6’
Open Play Area with the Sandbox Behind
Site Plan • Renderings
6
121" 121"
3 7'-116 "
60
9 5'-716 "
7 1'-1116 "
90
120
6'-11 21" 121"
121"
5'-513 16 "
3'-1 83 "
1 " 2'-416
1'-2 41"
1 A4.1
1'-713 16 "
Original Deck Framing Plan
5 2'-1116 "
1'-713 16 "
Actual Built Deck Framing (Simplified Cantilever Supports)
Framing Plan • Built Framing
7
3/12: Marking the Site for Construction
3/28: Our Studio Climbing into the Post Holes
4/8-4/9: Erecting the Posts and Setting the Concrete
4/16: Laying Pavers
4/23: Fixing the Deck Framing Supports to the Post
4/25: Finished Deck Framing
Construction
8
4/28: Measuring the Radius of the Circle
Cutting Boards Down to Size
5/5: Bamboo Shade Screen
Planing Boards to Reduce Thickness and Make a Smooth Face
5/2: Sanding the Edges to Prevent Splinters
5/7: Sewing Canvas Overhead Shading Pieces
5/7: Sanded and Stained Deck
Construction
9
The Adventure Garden: Where Kids Can Learn, Play, and Grow!
Our Team’s Finished Work
Rendering • Group Photo
10
Vertical Village Metropolis Magazine’s Living Cities Competition With Maryam AlBalushi, Barbora Kadlecova, and Ying Zhu The purpose of this competition was to design a residential skyscraper in New York City using a steel structural system which reflects the changing workforce demographics in the 21st century. To begin with, we chose Long Island City in Queens as our site in order to provide affordable housing to meet the rising demand in Queens. This area is also home to many local artists, who are our targeted tenants. Our building is envisioned as an alternative to the anonymity of the city by providing opportunities for people to establish lasting relationships with those around them. After analyzing the typology of a typical residential neighborhood, we brought ideas to foster a close-knit community into our building. We included amenities that bring people together to form relationships, such as community gardens and educational classes. The building itself is divided into “blocks” similar to a neighborhood, which are shifted to create outdoor gardens. Light holes carved into the blocks allow ample natural daylighting and cross ventilation, while also providing common spaces for tenant use. Open floor plans allow residents to shape their space and make it their own. All of these ideas create a home that is more than just a place to sleep; it is a place full of life and community. It is a vertical village.
Residential Floors: The Relaxation Block
Amenities Within a 10 Minute Walk
Site Zoning Regulations
transportation stops
public parks
private (manufacturing, vacant, etc.)
service/retail
residential
227‘
227‘
15’ se
tback on all sides 270’
225‘
40% maximum lot coverage
food/restaurant
Site Analysis
12
LIGHTS DOG WALKING
ROOF GARDEN SKY
SKILL GREEN HOUSE RECEPTION WEDDING MUSIC
RESIDENTS RESIDENTS RESIDENTS
ORGANIC
RESIDENTS RESIDENTS RESIDENTS
SPORTS
RELAX
RUNNING
RESIDENTS RESIDENTS
TEACHING
Connectivity Within Residential Blocks
TOYS
RESIDENTS RESIDENTS RESIDENTS RESIDENTS RESIDENTS RELAX
COFFEE
WI-FI
LEARN CONVENIENCE STORE BOOKS
TEA
SWEETS
FREE TIME
HELLO
VIDEOS
MARKET ORGANIC FOOD
KIDS
LECTURE
SHOPPING
CONNECTIVITY
PLAYGROUND SPIRITUAL CENTER
LIBRARY
DELICIOUS
SALE
WINE TEACHING
RESTAURANT SNACKS
CARVING
GREEN SPACES/LOUNGE AREAS CREATED BY LIGHT HOLES
RESIDENTS RESIDENTS
PLAYING
LOVE
LAUGH CHILDREN
SHIFTING
STAIRS CONNECTING LIGHT HOLES
RESIDENTS
DAYCARE
DIVISION
HORIZONTAL COMMUNICATION
CORE VERTICAL COMMUNICATION 3 elevators 1 service elevator 2 evacuation stairs
OUTDOOR SPACE
MEET
GAMES
PRISM
SPA
RECREATION CENTER
FAMILY GATHERING
MEDIA
FOOD
REST
CLIMBING
HEALTH WORKING OUT
RESIDENTS RESIDENTS RESIDENTS RESIDENTS
PARK
LIGHT HOLES
RESIDENTS RESIDENTS RESIDENTS RESIDENTS RESIDENTS
RESIDENTS RESIDENTS
PEDESTRIAN ZONE
TEACHING
CONVENIENT ECO SHOPPING
RESIDENTS RESIDENTS
MARINA
HELP
LEARN
RESIDENTS RESIDENTS RESIDENTS
TECH
SAFE
GROCERY
PEACE
RESIDENTS
TEAMWORK
FARMING
CANDY
SHARING RELIGION
SHARED OUTDOOR SPACE
RESIDENTS RESIDENTS
RESIDENTS RESIDENTS
RESIDENTS RESIDENTS RESIDENTS RESIDENTS RESIDENTS
THE CITY
Evolution of the Vertical Village
RESIDENTS
RESIDENTS
GREEN
SITTING
CLASSROOM
GROWING
MOVIE
GARDEN
RENT
NEIGHBOR
FRESH AIR
RESIDENTS RESIDENTS RESIDENTS
RESIDENTS RESIDENTS RESIDENTS RESIDENTS
residential shopping dining education greens health
VIEWING
STUDY
MAKE A NEIGHBORHOOD A BUILDING
PARTY
WHAT IS IN A NEIGHBORHOOD
PEOPLE
LAZY TEA
COMMUNICATION AFTERNOON
RESIDENTIAL UNITS ACCESS RESIDENTIAL UNITS open skywalks around the inner diameter of residential block CENTRAL COMMUNITY SPACE bottom floor of each residential block for gathering
Diagrams
13
W12 BEAM
Precast, prestressed concrete slab system with hooped bars that loop around shear connections set into wide flange beams. Voids are filled with in situ concrete and covered with a strip waterproof membrane. Desired finishes are placed on top.
8� PRECAST CONCRETE FLOOR SLAB
W12 COLUMN
Steel Structural System With Concrete Cores
Stiffened bolted steel structure reinforced with seat angles and welded for extra rigidity against moment forces.
Structure
14
EAST RIVER
50TH AVENUE
mail farmers market
craft store lobby
outdoor plaza
tiered seating
media library 2ND STREET
Lobby Connecting the Street to the Park
marina public park
CENTER BOULEVARD
51ST AVENUE
Connecting to the Community
Rendering • Site Plan
15
laundry 1 BR 3 BR
3 BR 2 BR tel/ data
elec. trash
1 BR
1 BR 2 BR
STUDIO
Rendering • Plan Residential Floors: The Piazza Block
16
UP
hydroponic farm admin.
tel/data
rr
trash rr
elec. office
community grocery
Rendering • Plan Gardens of the Future: Hydroponic Farm and Grocery
17
Studio Apartment
One Bedroom Apartment
DW
DW REF.
REF.
Apartment Units
18
DN
UP
DW
REF.
DW
REF.
Two Bedroom Apartment
Three Bedroom Apartment
Apartment Units
19
The Vertical Village
Rooftop Observation Deck and Cafe
Exterior • Rooftop
20
The Urban Pantry Kansas AIA Student Design Competition Finalist Manko Design Competition Finalist This supermarket is sited in the Crossroads district of Kansas City, a vibrant and diverse community of artistic expression and creativity. In my approach to this project, my goal was to celebrate the rich culture and history of the area through my design. To accomplish this, I focused on connecting the building to the local urban context, celebrating the artistic heritage of the area, and creating a space central to the community. Overall, my design employs many strategies to foster unity with the area both physically and culturally. To connect with the context, site specific materials are chosen, and public green space breaks up the vast amount of hardscape. The solidity of the historic architecture of the area versus the lightness of the modern art is represented, and important local views are highlighted. To embrace the artistic culture, the form of the building is very sculptural, and there are several places dedicated for the showcase of local art. Finally, to enhance the community itself, a high degree of transparency and openness is employed throughout the design, and the south façade is particularly engaging to the busy street corner. All of these elements work together in my design to create an “Urban Pantryâ€? made just for the Kansas City Crossroads.
Deli Overlooking General Sales and Produce
Historic Architecture
Modern Art
Crossroads Analysis
22
Site Analysis
SITE ANALYSIS
Concept: Art and Community View to Downtown
Translucent
Creation of Public Green Spaces
View to the Kauffman Center and Bartle Hall View to Crown Center
Wood Louvers (material new to the area) Opaque Metal Paneling (fill material gap)
Transparent
Curtain Wall System (exisiting material context)
Street Corner Connectivity
USAGE Site Creative Space Retail Dining Service
MATERIALITY Brick Concrete Stone Metal
TRANSPORTATION Primary Thoroughfare Secondary Thoroughfare Tertiary Thoroughfare Pedestrian Route Covered Bus Stop Sign Post Bus Stop
VIEWS Kauffman Center and Bartle Hall Power and Light District Downtown Crown Center District
HARDSCAPE Existing Parking Lot
Site Analysis • Concept
23
1
B
A
D
C
A5.2
E
F
A3.1
H
G
I
J
K
33
L
2
A
32 31
3' - 0 1/2"
30
F
6' - 0"
5' - 0"
4' - 1"
1' - 6"
5' - 0"
1' - 6"
UPRIGHT COOLERS OPEN ACCESS
1' - 0"
0' - 4 1/2" 9' - 10" A7.0
SIDEWALK EL = 0’ - 0”
A7.1
DISPLAY TABLE
1
ROBBINS 33/32" LOCK-TITE MAPLE FLOORING
G
SHELVING
28' - 10 1/4" SHELVING
A5.0
SHELVING
DISPLAY TABLE
TABLE
1 A6.0
1' - 0"
5' 0"
3' - 11 3/4"
19' - 5"
6' - 11 1/2" 0' - 6" 0' - 6" 0' - 11 1/2"
G
3
POLISHED CONC. FLOORING
108 18' - 6"
18' - 4 3/4"
14' - 10 3/4"
16' - 4"
T.O.LEVEL 1 SLAB EL = 0’ - 2”
106
PARKING ENTRY VESTIBULE
PARKING LOT EL = -0’ - 4”
4
A5.1
CHECK OUT/MAIN ENTRY
0' - 3 1/2"
33' - 3" 0' - 3 1/4"
G
18 17 16
PEDESTRIAN ENTRY VESTIBULE
15
17' - 11 3/4"
8' - 2"
SKYLIGHT OVERHEAD
107
19' - 2"
PROPERTY LINE
1' - 0"
A9.4 1
21
19
A4.0
DISPLAY
DISPLAY TABLE
9' - 2 1/4"
1
Ecotect Daylight Analysis: Sufficient Daylighting Achieved
2
D
0" 6' -
24
20
102
R 28 UP 0' - 7" @
13' - 0"
A3.0
1
PRODUCE
101
25
22
1 A9.3
12' - 2 1/2"
6' - 0"
26
23
BAKERY DISPLAY
49' - 6 3/4"
GENERAL SALES
SHELVING
B
10' - 7"
SHELVING
A4.0
BAKERY
DISPLAY TABLE
32' - 4 1/2"
42' - 3 1/2"
5
47' - 2 1/2"
" 18' -0
110
2
F
T.O. LEVEL 1 FLOORING EL = 0’ - 2”
NATURAL WOOD
103
SHELVING
8' 0"
COVERED PARKING
109 1' - 0" 9' - 8 1/2"
0' - 6"
0' - 4 1/2"
13' - 0"
E
1
2' - 5 1/4" 1' - 5" 3' - 0"
5' - 0"
1' - 6"
UPRIGHT FREEZERS REAR ACCESS 38' - 11 1/2"
ASPHALT PAVING
A3.1
5' - 0"
ELEVATOR MECHANICAL
54' - 9 3/4"
1' - 0"
28
BUILDING APRON DISPLAY TABLE 17' - 11 1/2"
6
MANKO ISOBAR 2-1/2" FACE DIM. 1-3/4" TRIPLE IG
36' - 1 1/2"
BAKERY DISPLAY
1' - 0"
38' - 10 1/2"
29
SOLARBAN 60 SOLAR CONTROL LOW-E GLASS
H
3' - 4 1/4" 3' - 0"
16' - 11 1/2"
12' - 8 1/4"
7
HSST
27 BAKERY WORK COUNTER
29' - 10 1/2"
104
H
0' - 6"
6' - 1 1/4"
STOCK AREA
4' - 4 1/2"
8
1' - 0"
UP 28 R @ 0' - 7"
105
4' - 5 1/2"
23' - 0 3/4"
LOADING AREA E
E
9' - 11 3/4" 0' - 3 1/4" 3' - 0"
9
38' - 10 1/2"
20' - 2 3/4"
21' - 4"
10' - 0"
UP
13' - 9 3/4"
10
7' - 7 1/2"
4' - 1"
14
24' - 1"
7' - 11 3/4"
0' - 6" 0' - 6" 0' - 3 1/2"
13
2
12
1
Sculptural Intersecting Building Form
11
A
1 A4.0
Ground Floor
A
B
C
D
E
2 A3.0
F
G
H
I
J
K
L
Plan • Diagrams
24
F A
1
2
A5.2
A9.4
H
G
I
K
J
L
1 A6.1
29' - 10 1/2" SHELVING
A9.2
A
4' - 11" DELI
201
DISPLAY TABLE
B
12' - 8"
DISPLAY TABLE
20' - 6" 16' - 4 1/4"
23
1' - 0"
OPEN TO BELOW
22 B
DN 1
10' - 5 1/2"
30' - 11 1/2"
A5.0
DISPLAY TABLE
OPEN TO BELOW
2 A9.3
2
1 A6.2
A4.0 D
21 20 19
R 19 UP 0' - 7" @
18
DISPLAY TABLE
C
B
9' - 3 3/4"
24 F
2' - 3"
3' - 5 1/2" B
DISPLAY TABLE
1 A5.1
20' - 0"
2’ - 0” 4’ - 0”
4' - 0"
2’ - 10”
GUARDRAIL
35' - 4"
DELI DISPLAY
29' - 9 1/4" WORK COUNTER
24' - 6 3/4"
19' - 8 3/4"
A
2
1' - 0" 9' - 8 1/2"
25
LANDING EL = 4' - 6 3/4"
68' - 0 1/2"
C
A4.0
MECHANICAL SHAFT
6' - 0"
H
3' - 5"
4' - 9 1/4"
DECK EL = 15' - 10"
26' - 7"
66' - 2 3/4"
63' - 5 1/4"
2x6 WOOD DECKING
207 2
0' - 4 1/2"
203 F
26
G
OUTDOOR ART PATIO
70' - 8 1/2"
13' - 3"
G
UP 19 R @ 0' - 7" H
SHELVING
B
DN
9' - 10"
3' - 0"
4' - 2 1/4"
1' - 2 1/4"
RR (MEN) C
202 B
C
F
9' - 11 1/4"
0' - 8 1/4" GENERAL SALES
H
H
4' - 3 3/4"
6' - 1 1/4"
20' - 10 3/4"
A
0' - 4 1/4"
5' - 0" 1' - 3"
204
6' - 0" 1' - 7 1/4"
205
UPRIGHT COOLERS REAR ACCESS
RR (WOMEN) H
H
STAFF ROOM
21' - 3 1/4" 2' - 0 1/4" 5' - 0" 1' - 6" 5' - 0" 1' - 6"
0' - 4 1/2"
11' - 4 3/4"
/2" 71
12' - 9"
11' - 7 1/4"
4' - 0" 9' - 8 3/4"
C
0'
" -0
" -7 0' 2' - 11 3/4"
18' - 4 3/4"
2' - 0" 5' - 0 1/2" 2' - 1"
3'
REF.
13' - 0 1/2" H
H
35' - 4"
B
DW
0' - 4 1/2"
21' - 0" H
25' - 3 3/4"
2x6 WOOD DECKING
206
16' - 2 1/4"
0' - 8 3/4"
0' - 4 1/2"
2' - 2 3/4" 5' - 0" 3' - 8 3/4"
1' - 1 1/2" 4' - 0"
10' - 9 1/2"
2' - 0" 8' - 2 1/2"
6' - 10"
2' - 8 1/2" 4' - 0" 2' - 4" 4' - 0"
3' - 10 3/4"
2' - 0"
3' - 10 3/4"
11' - 7 3/4"
0' - 4 1/2" 12' - 6 1/4"
MANAGER'S OFFICE
4' - 0"
OPEN TO BELOW T.O. LEVEL 2 SLAB EL = 16' - 0"
POLISHED CONC. FLOORING
30' - 6 1/4"
1 A9.1
4' - 0"
10' - 9 1/4"
4' - 0"
1' - 10 1/4" 4' - 11 3/4"
1' - 0" 4' - 0" 52' - 11 3/4"
1' - 8 1/2" 5' - 0"
5' - 0 1/2" 2' - 0"
2' - 1" 4' - 0"
A
6' - 6 1/2"
1 A4.0
Second Floor
Produce and Bakery
F
G
H
I
Rendering • Plan
J
K
L
25
15” x 12” PRECAST CONC. BEAM
8” CONC. SLAB
9” REINF. C.I.P. TWO-WAY FLAT PLATE PLUMBING WET WALL 12” DIAM. C.I.P. CONC. COLUMN LH SERIES 42” OWSJ @ 10’ O.C. W16x40 STL BEAM
FIRE-RATED WALL ASSEMBLY W12x40 STEEL COLUMN @ 26’ O.C.
9” REINF. C.I.P. TWO-WAY FLAT PLATE 8” CONC. SLAB
ASPHALT PAVING 12” x 12” PRECAST CONC. COLUMN
1 A5.2 2
9” REINF. C.I.P. TWO-WAY FLAT PLATE
4x8 HSST
JANITOR
SOLARBAN 60 SOLAR CONTROL LOW-E GLASS
H H
H
F C H
CAFE STORAGE
26' - 0"
9' - 8 1/2" DECK EL = 26' - 10"
2x6 WOOD DECKING 2x6 WOOD DECKING
2' - 3"
20' - 8 3/4"
9' - 10"
H
MECHANICAL SHAFT
6' - 0" 1' - 7 1/4"
6' - 1 1/4"
302
11' - 0 3/4"
39' - 11"
305 1
G
26' - 2 1/4"
DN
2 A6.2
CAFE
A4.0
0' - 9 3/4"
31' - 0"
5' - 6 3/4" 2 A4.0
4' - 0"
0" 6' -
12' - 3 1/4"
301
A5.0
22' - 10 1/2"
6' - 11 1/4"
OPEN TO BELOW
2
1 A9.0
OUTDOOR CAFE SEATING G
DECK BELOW SEE A2.2
MANKO ISOBAR 2-1/2" FACE DIM. 1-3/4" TRIPLE IG
34' - 0 1/2"
15” x 12” PRECAST CONC. BEAM
DN
4' - 0"
CAFE SERVICE COUNTER
OPEN TO BELOW
41' - 2 1/2"
CONC. SLAB EDGE STEM WALL
4' - 2 1/4"
5' - 0" 0' - 6 1/4"
303
17' - 4 1/4"
12” REINF. CONC. WALL
WORK COUNTER
CAFE RR
0' - 4 1/2"
9” REINF. C.I.P. TWO-WAY FLAT PLATE
304
H
5 1/4” CONC. FLOOR SLAB
4' - 3"
COLUMN FOOTING
A
H
12” DIAM. C.I.P. CONC. COLUMN
6-3/4” CONC. FLOOR SLAB
Structural Systems
2 A6.0
A9.4
MAT FOUNDATION SLAB TO STAY WITHIN PROPERTY LINE
26' - 0"
26' - 7 1/4" 1
GUARDRAIL
A5.1
T.O. LEVEL 3 SLAB EL = 27' - 0"
POLISHED CONC. FLOORING
OPEN TO BELOW
Third Floor
A 1 A4.0
Mechanical Systems
Systems • Plan
26
CAFE
GENERAL SALES
OUTDOOR CAFE SEATING
BAKERY
PRODUCE
Architectural Detail: Cafe Patio Parapet Wall Section: Produce and Outdoor Cafe Patio
Wall Section • Detail
27
Large-Scale Sectional Model
Architectural Detail: Roof Overhang
Realization of the Concept: Art and Community
Model • Section Perspective • Detail
28
Front Entry: Embracing the Street Corner
Rendering
29
Martin Puryear Art Museum Charles Burton Design Competition Winner This single-artist museum is dedicated to American sculptor, Martin Puryear. It is important to him that his art reveals the process of its making. The tar and mesh he uses most often create various levels of translucency. Dualities are also common in his work – solidity and transparency, mass and weightlessness, interior and exterior. This project is located within the historic Soho district of New York City. Programmatic elements include ample gallery space for permanent and temporary exhibits, a café, a bookstore/gift shop, a small auditorium, a resource library, several offices, a conservation studio, and plenty of storage space. Overall, my design focuses on the three main aspects of Martin Puryear’s art: assembly, dualities, and degrees of transparency. The overall form of the building consists of two different pieces assembled like a dry fit connection. Dualities of light and dark, heavy and delicate, and enclosed and open are present through the use of materiality, degrees of enclosure, and mass. Levels of translucency are achieved through the solid brick, fully transparent windows, and the louvered façade. All of these elements work together to create a museum uniquely dedicated to the beautiful works of Martin Puryear.
Capturing the Essence of Martin Puryear
Galleries Monumental Free-Standing Light-Sensitive Other Auditorium Public Amenities Offices Service
Formal Strategy: Assembly
Structure: Massive vs. Delicate
Program
Light
Connection to Context: Datums and Local Materiality
Diagrams
31
Museum Integration Within the Site Context
New York City Context Map: Soho
Rendering • Aerial Site Main Entry: Intriguing the Visitor
32
C Sculpture Garden
A
Auditorium
UP
UP
Janitor
DN
Cafe A Temporary Gallery
B
Shop
M Shaft
Gallery
Lobby
UP
C B
Model: Southeast Elevation
Ground Floor
Plan • Model
33
Cafe, Auditorium, Gallery, Library
Fourth Floor Monumental Sculpture Gallery Space
Section • Renderings Auditorium Daylighting
34
C A Director’s Office
Model: Third Floor Free-Standing Gallery
Cafe Daylighting
Open Office
Janitor
DN
LIbrary
A Gallery B
Founders’ Room
M Shaft Open to Below
Open to Below Gallery
Monumental and Light-Sensitive Sculpture Galleries C
DN
B
Fourth Floor
Plan • Model • Rendering Section Perspective
35
Reading Community Center Bowman Forum Design Competition Winner This project is a community center for the small town of Reading, Kansas, destroyed by a tornado in 2011. The overall concept of my design is based on the idea of renewal after the devastation. The building is located on the northern boundary of the site, angling towards the town in order to connect it to the community. The site zoning creates connections with the preexisting structures. The building itself rises out of the ground, a metaphor for Reading rising up out of this tragedy. The curved form of the roofs mimics the local landscape of the Flint Hills, whose gently rolling hills and sharp escarpments perfectly convey the concept of rising from the ashes to begin anew. The curved roofs also provide a variety of spatial experiences. The program is divided into service, community, artist, and amphitheater functions separated by thick concrete walls. Southern glazing allows for natural daylighting while creating a visual connection from the town, through the building, and into the existing park. The materiality is drawn from native structures: concrete and metal from grain silos. The roof cladding is Cor-ten AZP panels, which contain a high recycled content, reinforcing the concept of rebirth.
Connection from Entry to Community Room to Park
Study Models
Early Concept Sketches
Process
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FIRST STREET
C
D
B
OFFICE
Y LIBRAR PANTRY
KITCHEN
OFFICE / STUDIO LARGE ROOM SEMINAR
G MEETIN ROOM
ART STUDIO
E
R JANITO
MUSIC CE PRACTI RR
CHESTNUT STREET
RR
DN
TRY MAIN EN Y SPAC GALLER
DN
FRONT STREET
A
ART STUDIO MUSIC CE PRACTI
E
CE -RESIDEN ARTIST-IN UDIO ST
RR
E
DN
ARE
CHILD C
OOM UNITY R
COMM
DINING
DN
ROOM C
D
A
B
Site Plan/Ground Floor
Model: Front Entry and Rear Opening into the Park
Plan • Model
38
West Elevation
Community Room Section
Elevation • Section
39
Model: South Elevation
Building Functions: Service, Community, Artist, Amphitheater
Artist Spaces
Model • Section • Rendering
40
COR-TEN STEEL ROOF PANELS
FASCIA LIGHT GAUGE STEEL STRUCTURE STEEL CAP
SLATE FLOORING
BATT INSULATION
Model: East Elevation
GIRDER
CORRUGATED METAL DECKING
REBAR
CONCRETE
RODS CONNECTING CEILING TO STRUCTURE
CEILING
BEAM
CONCRETE TIES
REBAR
CONCRETE WALL
MOISTURE BARRIER
DRAINAGE
WELDED WIRE FABRIC REINFORCEMENT
CONCRETE SLAB
LAYER OF SAND
Amphitheater Section
Wall Section: Community Room and Storm Shelter
RIGID INSULATION
MOISTURE BARRIER
GRAVEL TO PREVENT RISE OF GROUNDWATER
Model • Section • Wall Section
41
Dining Room with Movable Panels Partially Open
Interior Rendering
42
Study Abroad Italart Santa Chiara Study Center Castiglion Fiorentino, Italy (Spring 2013) During the Spring of 2013, I had the amazing opportunity to study abroad in the small Tuscan hill town of Castiglion Fiorentino, Italy. This was a life-changing experience which taught me many valuable lessons, such as adaptability to adjust to a foreign country and culture, communication by interacting with local people despite language difficulties, and problem-solving by navigating new places and unfamiliar experiences on my own. I gained a completely new perspective by fully immersing myself in a different culture, and the lessons learned from this adventure are ones I can apply to all aspects of my life. Over the course of my four months abroad, I completed coursework in the History of Science (taught by Giovanni di Pasquale, curator of the Galileo Museum in Florence), Field Study, Seminar, and Studio. Kansas State Professor Mick Charney accompanied us on our study tour, and he taught seminar and studio. The projects shown here are from his classes, in which we conducted in-depth studies of Castiglion Fiorentino and designed projects appropriate for the town. In addition to my regular classes, I also took a stone carving class taught by a local man from Castiglion Fiorentino. He spoke no English, so it was a great opportunity to push myself to apply the little Italian I had learned to a real-life situation. Learning the traditional Italian art of stone carving allowed me to take a piece of the Italian heritage and make it part of my own.
Castiglion Fiorentino in Tuscany, Italy • Photograph by Kristyn Assmann
Sketches of the Church of San Agostino, an Existing Landmark of Castiglion Fiorentino • Graphite
Design Project to Create a New Landmark with a Utilitarian Function • Graphite and Prismacolor Pencil
Sketches • Design Project
44
Design of a Traditional Italian Palazzo Facade • Prismacolor Pencil
Design for a Modern Interpretation of an Italian Palazzo Facade • Prismacolor Pencil
Design Comparison Study
45
Antique Map of the Piazza del Municipio in Castiglion Fiorentino • Designed in the Style of Leonardo da Vinci • Pen and Watercolor
Stone Carving Art Class • Carving of Walt Disney’s Cinderella Castle • Sandstone
Map • Stone Carving
46
Miscellaneous Work The following pages contain computer renderings, hand drawings and paintings, seminar projects, and small studio projects. The computer renderings on page 48 were done in my Computing in Architecture class. We were to take a photograph of Tadao Ando’s Museum of Modern Art and replicate it as closely as possible using 3D Studio Max and Adobe Photoshop. The watercolors on pages 49 and 52 are products of a seminar called The Art of Presentation: Watercolor. The class was focused on using watercolor to create photorealistic architectural renderings. The dinosaur project on page 51 was done in my 20th Century Furniture Design seminar. We used vacuum seal bags to bend plywood and create furniture. We then had to develop a connections project, in my case connecting the two pieces of my dinosaur to create the final product. The screen partition on page 53 was a small, collaborative studio project in which every student designed a full-scale section of a partition wall, which had to conform to rules we established. Many of the sketches were done in my free time and are of existing architecture as I continue to improve my sketching skills as well as experiment with different media.
Spatial Extension Project Hand Rendering • Prismacolor Pencil
Exterior Rendering in 3D Studio Max
Photoshop Enhancements
Interior Rendering in 3D Studio Max
Photoshop Enhancements
3D Studio Max • Photoshop
48
Dubuque, Iowa Convention Center • Watercolor Mormon Temple in Independence, Missouri by Gyo Obata • Ink
Sketch • Watercolor
49
Schröder House by Gerrit Rietveld • Graphite and Prismacolor Pencil
Walt Disney’s Cinderella Castle • Graphite
Sketches
50
Elephant Scribble Drawing Exercise • Graphite
San Cristobal by Luis Barragan • Ink and Prismacolor Pencil
Konza Prairie in the Kansas Flint Hills • Ink and Watercolor
“Dinosaur” Furniture Shop Project • Bent Plywood with Rubber Shock Mount Connection
Nelson Atkins Museum of Art in Kansas City, Missouri • Graphite
Furniture • Watercolor • Sketch
51
Fisher House by Louis Kahn • Ink Drawing
Kansas Landscape • Watercolor
Watercolor • Drawing
52
Hillside Retreat Topographic Study
Studio Screen Partition Design
Screen • Topography Study
53
Kristyn Assmann 913.488.8006 kristyn.assmann@gmail.com 7748 Monrovia Street Lenexa, KS 66216
KA