TABLE OF CONTENTS
MOUNTAIN VIEW CEMETARY CHAPEL
1-4
URBAN ACTIVITY CENTER, SAN FRANCISCO
5-8
Jean-Paul Boudier, Architecture 101
Sarah Willmer, Architecture 100B
POTRERO HILL LIBRARY, SAN FRANCISCO Lisa Iwamoto, Architecture 100A
NATURAL HISTORY MUSEUM OF MIAMI
9-12
Independent Project, Fall 2012
13-14
LINEAR LEVEE BUTTRESS HOUSE
Keith Plymale & John McGill, Architecture 11B
15-18
UC BERKELEY DANCE STUDIO
19-22
CAMERA OBSCURA, EUGENE, OREGON
23-24
Jean-Paul Boudier, Architecture 101
Stewart Dodd, AA Visiting School
MOUNTAIN VIEW CEMETARY CHAPEL -SECTIONLocated atop a hill at the end of the Oakland cemetary, visitors in this chapel are likely realizing the fragility and balance between life and death. No matter the religion or background of the user, this chapel speaks to the very essence of humanity and our emotions. The dark interiors with speckled light are reminiscent of sparkling stars in a night sky, emotionally reminding the mourner of their place in the universe. Views are limited to enforce inward reflection, while light softly penetrates through perferations and floor to cieling oculi. Jean-Paul Boudier - Fall 2011 - Architecture 101 - 5 weeks
SECTION AA
AA
AA
AA
AA
-1-
PLAN
CHAPEL AND UNDERNEATH SPACE CONSTRUCTION SECTION
FORM
SECTION BB
ELEMENTS
-3-
NORTH ELEVATION
ENTRANCE (EAST ELEVATION)
NIGHT AND INTERIORS
URBAN ACTIVITIES CENTER SF -MASSING MODELCreating two arms that separate passive and active program, the UAC becomes a destination for all. The heavy athletic branch stretches to the back corner, supporting the structural concrete skin of the community space. Greenspace wraps between the structures, with a large grass courtyard area where occupants experience the building as well as views of downtown San Francisco. As the building levels shift, the disparate programs are visually connected. Sarah Willmer - Spring 2011 - Architecture 100B - 6 weeks
AA
AA
GROUND PLAN
-6-
SECOND
THIRD
FOURTH
INITIAL MASSING MODEL
EAST ELEVATION
PERSPECTIVE VIEWS
-7-
FLOORS AND WALLS
SKIN DEVELOPMENT
SECTION AA
COMMUNITY INTERIOR
ATHLETIC INTERIOR
-9-
POTRERO HILL LIBRARY -VIEWThis design focuses on natural light and dramatic shadows to define an experience. Through manipulation of form and material, an intricate shell encloses the library, revealing and disclosing views of the city. The size and depth of ectrusions vary depending on location, purpose and structure. The stepping floors increase visibility of the city and create a more varied space. Characteristic of this project is the flexible and multi-functioning spaces which allow programmatic versitility. Lisa Iwamoto - Fall 2010 - Architecture 100B - 7 weeks
SECTION AA
PHYSICAL MODEL PHOTOGRAPHS
FOURTH 10:00 AM STUDY TIME CC
DD
SECOND
BB
AA
AA
AA
GROUND
3:00 PM DANCE CLASS
BB
AA
CC
DD
THIRD FLOOR
8:00 PM COCKTAIL EVENT
BASEMENT
ADAPTABILITY DIAGRAM OF THIRD FLOOR
-11-
SECTION BB
SECTION CC
COMMUNITY SPACE
SECTION DD
ENTRANCE
PROGRAMMATIC PLATFORMS
-13-
NATURAL HISTORY MUSEUM OF MIAMI -SKETCHWith a concrete skin system that resembles layers of a shell, the proposal creates exhibition spaces for local natural art and history. Located a few blocks from Miami Beach, the museum will become one of two art buidings on the lot. A rooftop garden and patio grants views of Miami Beach, allowing users to experience their larger environment. Indepedent Project - Fall 2012 - 1 week
EXPLODED SKIN
-14-
MUSEUM FROM STREET
SECOND LEVEL
SECTION AA
GROUND LEVEL
CONCEPT SKETCHES
GALLERY BENCH
CIRCULATION & SKIN
ENTRANCE
LONG GALLERY
ROOFTOP GARDEN
LINEAR LEVEE BUTTRESS HOUSE -SITEInfluenced by the idea of existenzminimum of 1920’s Germany, the LLB House eliminates superfluous floor space while emphasizing fresh air and natural light. The lawn space between buttresses keeps fresh air accessible while also increasing natural light through the pixelation of the walls and protrusions. The windows range in scale, highlighting specific moments of surrounding nature. Small increments are based off of the human hand, and the scale grows to produce protrusions that are full-body scale. Keith Plymale & John McGill - Spring 2010 - Environmental Design 11B - 6 weeks
Sea Level - 10 ft 10 ft - 15 ft 15 ft and deeper
BUTRESS HOUSE PROTOTYPE
-16-
ONE
TWO
THREE
FOUR
TOP
INDIVIDUALIZATION: Home owners can choose their preferred facade treatments to create a unique and personal dwelling.
OUTDOOR SPACES: Optional decks add more outside space for the clients. Yard space underneath the house allows for privacy outdoors.
PREPARATION: In the event of overflow, the form of the house allows water to rush around and through to the surrounding fields. Lesser important spaces are on the lower levels and can remain unoccupyable during flooding.
-18-
PROGRAMMATIC PIXELS: 1- Bookshelf In Hallway 2- Bathroom Core 3- Kitchen 4- Children’s Bedroom 5- Long Storage Space/Play Area 6- Office 7- Living Room And Entry Space 8- Hot Tub And Sauna 9- Master Bedroom 10- Sun Deck On Second Story 11- Public Lawn 12- Private Lawn
2
1
5
6
9
11
4
3
7
8
10
12 -19-
UC BERKELEY DANCE BUILDING -DIAGRAMPlaced among the most cultural buildings of campus, this studio becomes another node in the existing network of active areas. Designed for dancing, the building creates a rhythmic balance between static and active spaces, incorporating quiet green areas into the very energetic program. The idea of contortion, pushing and pulling to create a sense of movement, is very present in these spaces. Keeping the program disjointed allows each environment to be experienced and enjoyed uniquely. The exterior facade joins the disjunct volumes as one building, offering garden spaces in places where it moves independently of the internal concrete skin system. The wrapping concrete bands are inspired by the way dancers wrap their feet. Jean-Paul Boudier - Fall 2011 - Architecture 101 - 5 weeks
CONCEPT SKETCHES
DISJOINTED VOLUMES & CONNECTING SKIN CIRCULATION
PUBLIC & PRIVATE
GREEN SPACE
SOUTH ELEVATION
SECTION AA
-21-
AA
GROUND LEVEL
AA
SECOND LEVEL
LAYERS
-22EXPLODED AXONOMETRIC LAYERS FROM GROUND TO SKIN
WEST ELEVATION
DANCE STUDIO INTERIOR
DANCE STUDIO EXTERIOR
-23-
AA VISITING SCHOOL CAMERA OBSCURA -STRUCTURE-
VENEER SHEATHING
During a ten-day design and build workshop in the Oregon forest, I worked with a group of eleven other students to “mark the forest.” No direction was given in terms of the type of structure, the materials, or the function of the space. Through a series of iterative designs and processes, we finalized a camera obscura structure to refocus a view of the forest. I was influential in all phases of the design and fabrication. Stewart Dodd / AA Marking the Forest: Eugene, Oregon / August 2012
CAMERA OBSCURA
-24-
SKETCH
STRUCTURE
TAR PAPER
SITE
1
2
3
4
5
6
7
8
9
FROM SOIL TO STRUCTURE: 1- Preparations included leveling out soil and digging holes for concrete blocks. 2- Wood ring on bottom is bolted to concrete foundation. Surrounding area is filled with gravel then compressed . 3- 2�x4� Studs are hammered to three rings (top, center, bottom). Internal lateral supports and braces added. 4- Layers of tar paper are stapled to the structure to limit light penetration inside structure. This is to ensure that the space is dark enough for the camera obscura. 5- Piles of donated veneer are sorted based on quality; cleaner veneer is used on the inside and rough cut and bark veneers are used on the outside. 6- Two layers of veneer are used on the outside, going in opposite directions. This is to secure the structure and increase shear stability. 7- The entrance into the camera obscura peels off of the main structure. 8- Visitors are able to open a trap door on the ceiling for light (while they enter and exit the structure). This also highlights another amazing view into the canopy, similar to the view that is showcased by the camera obscura. 9- Photograph of camera obscura test inside of dorm room. -25-
-PROFESSIONAL EXPERIENCE SAMPLES-
-MCDONALD’S WORLDWIDE CONVENTIONThese designs were built for the McDonald’s owner/operator/ franchisee show in the Orange County Convention Center of Orlando, Florida. Information must be conveyed in a very graphic manner, to allow a large flow of attendees with minimal time to read and absorb content. Mauk Design was primarily responsible for the design of the floor plan, common spaces, entry and central area, as well as four of the largest exhibit spaces in the hall, including People, Place & Promotion, Futures, and Operational Excellence.
-26-
-nasa theaterOBJECTIVE: To remind attendees at the International Astronautical Congress in Cape Town, South Africa of NASA’s major accomplishments. CHALLENGES: Portray the excitement of the space program on a limited budget. SOLUTIONS: The simplicity of the exhibit is a metaphor for the generic white building of NASA headquarters, with the slices revealing the amazing accomplishments that take place inside the building. Vibrant graphics depict the scale of discovery and lure attendees into the theater. The exhibit was recycled after use.
-HEIDELBERG ENGINEERINGCLIENT: Heidelberg Engineering is a German manufacturer of optical products to track the development of Multiple Sclerosis through the human retina. SOLUTIONS: The design is inspired by retinal images taken by the client’s optical products. Moving images were projected onto eight floating lenses of various diameters in the exhibit.
-27-
MEGAN SVEIVEN
PORTFOLIO | 2009-2012
MEGAN SVEIVEN megwave@yahoo.com (661) 575-7304 1019 62nd Street Oakland, CA 94608 http://www.archdaily.com/author/megan-sveiven/