UNDERGRADUATE PORTFOLIO RESUME SEPTEMBER 2015- JANUARY 2018
Nicholas Hammond “Design without narrative is like Nick without coffee. Dysfunctional.”
EDUCATION
EXPERIENCE
Bachelor of Fine Arts in Architecture Savannah College of Art and Design
Peer Tutor, SCAD (Fall 2018-Current) Aid students in becoming a more successful and independent learner.
(SCAD) Savannah, Georgia Anticipated Graduation: 2019 GPA: 4.0
SCAD Serve: Blue Print Coordinator (Fall 2018-Current) Devise volunteer and outreach programs with nonprofits and members of the community focused around building, maintaining and restoring the city of Savannah.
ACHIEVEMENT Dean’s List (2015-Present) School of Building Arts Endowed Scholarship (2018-Present)
Showset Design Intern, Universal Creative (Summer 2018)
Academic Scholarship (2015-Present)
Supported a project team through a schematic design phase. Assisting in 2-D and 3-D project documentation and rendering efforts.
Foundations Studies Portfolio Award Exhibition (2016) 1st Place in SCAD Sidewalk Arts Festival
Intern Architect, PGAV Destination (Summer 2017)
North Kingstown, View Magazine (2015) Featured in article about set design
INVOLVEMENT Finalist in Disney Imaginations 2019 AIAS Forum Member (2015-Present) AIA Liaison (2018-Present)
SCAD Serve Nicholas Hammond leading SCAD volunteering effort at Fort Pulaski.
Engineering Internship, FM Global (Summer 2016)
Additional Skills
Managed scanning and documentation of flood plan analysis. Systematized GIS Meta-data Entry, and Geo-referencing.
Autodesk AutoCAD
ArcGIS
Freelance Set Designer (Winter 2014-2017)
Autodesk Revit
City Engine
Sketchup 2018
Community Analyst
Provides scenic design consultation.Creates scenic layouts and renderings. Fabricates models of set designs.
Adobe Creative Suite
Model Making
Resident Assistant, SCAD (Fall 2016-2018)
Microsoft Office Suite
Social Media
Provided paraprofessional support for students in first year area residence halls. Coordinated and implemented extracurricular programming. Served as on-call crisis responder.
SCAD Tau Signa Delta(2015-Present) Organizer of SKETCH X: Sketchbook Exhibition (2017-Present)
TEA (2016-Present) Project Aedes (2015-2016)
SCAD Lacoste Study Abroad (2017) Geo-Design Club (2016-Present)
Assisted in architectural design process through modeling both 3-D and 2-D building documentation.
UNDERGRADUATE PORTFOLIO TABLE OF CONTENTS SEPTEMBER 2015 - JANUARY 2018
Headline Stories The Living City Research and design of Savannah 2050
The Revoltion of 2151 Structural investigations and conceptual interperatation.
Repertory of Oral History Creating a space for story telling.
Refuge for the Soul Residence focusing on the transition of space through time.
Collapse Site focused chronotorium design.
Fiddler on the Roof Freelance set design for local theater company.
Three Dimensional Design Form, Space and Order & Giraffe Drinking Water
Sketching A hobby that has become a passion.
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UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015- JANUARY 2018
THE LIVING CITY: SAVANNAH 2050
Modularity: Making a more efficient city. With so many different needs within the city, design needed to be modular and a grid system that allowed for the growth needed within society.
UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015 - JANUARY 2018
Flooding in Savannah
• Efficient • Necessary • Movable
Due to climate change, the floodline of Savannah 2050 will displace hundreds of people, make the highway no longer usable and disconnect the city from the world. These issues ignited our design goals.
What will the city of Savannah look like in 2050? Using ESRI analysis software, my groupmate and I created a base for our future city of Savannah and then implemented design decisions through this data.
Enterprise Zone and Downtown expansion show future city center.
Green Space and Vacant lots overlap forming connection.
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UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015- JANUARY 2018
The New City Center The HUB 2050 With any city there is always a cultural hub that is evolving and changing. After looking at the data of the proposed economic zones through Savannah. The vacant lot at the current onramp for the city became the ideal location for the HUB_2050 to form. The HUB consist of housing for the displaced, station for the commuter rail, marketplace, agricultural center and base for resource distribution to vacant lots and establishments through city. All of this is implemented through use of UPCYCLING.
Community modules build up around agricultural center and are connected through the resource distribution center.
The Agricultural Center With rising sea levels there will be less space for air pollution to go, creating denser smog throughout the world. With these changes, fast-food chains will begin to fade away. Instead  agricultural centers will arise for produce to be created for population with low carbon footprint. Fields are implemented for produce allowing jobs to be given to Distribution Center_ Organizes and filters produce and items into both the cities Resource Distribumembers of the community. tion System and the marketplace.
UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015 - JANUARY 2018
Housing in Growth The Housing Center Using modular design, the multi- and single family housing is allowed to grow with connection into the resource distribution system. Truly creating a community as the pieces of society are put together in a need by need basis.
The Community Connector In upcycling the existing onramp of Savannah into both an amphitheater space and walkable park, the evolving culture of Savannah can culminate within the HUB_2050.
A.M.S (Agriculture Moving System) is used to transport goods to distribution center. Â
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UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015- JANUARY 2018
VACANT EXPANSION Vacant Lot An example of what could be implemented within any vacant lot throughout the city, this site provides the missing pieces of community (housing, community centers, worship space, schools, health care, etc)in the 10 minute walking distance of any space within the city. This leading to fully connected city of Savannah in using all open lots.
Resource Pods Orders and produce would be picked up at Resource Pods. These pods would create a need to come to the current vacant lots in the future. Growth of the city can be predicted around these hub. The R.D.S. (Resource Distribution System) would be responsible for the delivery of items to sites.
UNDERGRADUATE PORTFOLIO LIVING CITY SEPTEMBER 2015 - JANUARY 2018
Utilities could be risen out of ground to allow for easy repair and defense towards the continual issue of flooding. Units fit on top of telephone poles
THE R.D.S Resource Districution System This system allows for items, produce and everyday needs to be transported through the city. Initially implemented on the current telephone poles through the city, this system allows for the transition overtime. Based off of the technology currently used within Amazon Warehouses, it would allow for goods to be tracked through Savannah and allow for emergency delivery in disaster scenarios.
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UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015- JANUARY 2018
THE REVOLUTION OF 2151
Long Span Structural Investigation
MOCK STURCTURE SUPPORTIING FULL BUCKET OF PAINT
DISCOVERING MATERIAL CHOICE This project consisted of creating long span structures over a 22 ft wide studio. In groups of three, we created these structures and tested them through multiple stages of trial and error. Within the group, I helped with conceptualization, construction and installment. One of the strongest pieces within our design was the idea that as the load became larger, there would be more strength through tension.
UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015 - JANUARY 2018
Through this initial mock up of this structure we used wooden dowels and standard grade string in order to create tension. One of our downfalls during this initial phase of design was thinking that when scaled up, the materials would react similarly to this initial test.
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UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015- JANUARY 2018
It was discovered how important the element of material was when designing a large structure. The one inch PVC pipe that we used could barely support its own weight. In a means of fixing this issue, we implemented wooden bracing.
UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015 - JANUARY 2018
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The revolution begins... New York, New York 2151 After this initial structural study, we individually continued to look at these physical systems in an abstract manner. How could these structural systems actually be implemented? How far could they be pushed? I allowed my imagination to explore any and every possibility, until landing upon the possible future of New York City in the year 2151…..
Timeline from Present to 2151 CONTINUED ON NEXT PAGE
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UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015- JANUARY 2018
The Revolution of 2151 The year is 2151. New York is underwater. The wealthy have risen over the chaos in the “City Above” blinding themselves with greed and luxury from the outside world . Below, the poor live among the collapsed buildings and rising sea levels. Providing maintenance of the “City Above” in underwater utilidors, they hope they will rise to the same stature, however, they know this will never occur. And so, those below rebel against the power above
Above: The Slums of the Impoverished.Built with leftover materials of the utilidor and the remains of a collapsed high rise building, this underwater structure houses hundreds of people. In contrast to the City Above, the people below’s focus is to survive. They do not have the resources for the luxuries of life.
UNDERGRADUATE PORTFOLIO THE REVOLUTION OF 2151 SEPTEMBER 2015 - JANUARY 2018
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Above: The Library of the City above provides a wealth of knowledge to its inhabitants. This space is filled with natural light because of the unique design that reflects that of a suspension bridge. Through placing the supports upon the center axis of the space, the sides can be lifted to allow for windows to fill all walls.
Above: The Grand Opera House of the City Above performs Les Miserables. Embellishment and ornament weigh this structure down, bringing this floating structure closer to the brink of collapse. Filling their minds with the fake realities of the world below, they are blind to the fact that the equivalence of the French Revolution is happening under their feet.
Above: The Utilidor of the City Above allows all maintenance to be brought away from the luxury floating above. The equipment is taken care of by the impoverished below. Based off of the underwater hydroponics of MIT studies, an inflatable structure is secured through a steel exoskeleton based off the typology of the physical long-span structural system created.
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UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
REPERTORIUM OF ORAL HISTORY
UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
Creating a Story-telling Space Savannah, Georgia How do you allow generations of stories to be past down through a space? Withthis studio class we approached this issue through the lense of Aboriginal tribes and the tradition of oral history. Unlike many cultures, Aboriginals do not have a written language. Alternatively they spread stories through spoken word, dance, and artwork. Our task was to create a space that catered towards these needs, allowing this group of people, and any other, that had the lost their voice to spread their story. Evolving in to the design of a black box theater and gallery space, the difficult piece about this project was arranging it within the site and still providing call
back to the original inspiration for this project. I accomplished this through looking at each of the different ways that they tell stories, in particular, the dances that are essential parts of the indigenous storytelling. Looking at both the wobble leg and stomp foot movements, I found that sharp angles present in both, created dynamic form and shape. Being in the historic district of Savannah, the building needed to blend with its surroundings. This was done through using the idea of theatrical scrims. These fabric scrims during the day act as a shading device and created a light brown facade. However, at night, this building came alive.
On left: Floor Plans of Third to First Above: An abstract representation of the experience within the building form first floor to the top black box theater.
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UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
Created through hand drawing and photoshop.
An Experiential Section of the Repertorium of Oral History focusing on lighting and other experiential elements. Above: An experiential section through the reperatorium, displaying the different spaces within the building with a concentration on the element of light. One of the most important elements of light is that coming from the panel of plexiglass within the center of the black box theater. As stories are told within this space, they reflect throughout the entirety of the building. Left: Initial modeling, in a means of studio the play of shadow and future possibilities using these techniques. Photoshop was implemented to visualize these possibilities.
Right: To visualize this space, ⅛� scale models were created out of black illustration board to mimic the possibility of light within. Through this model I focused the circulation and the views from each vantage point leading to a dynamic experience overall.
UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
The Front Atrium Space, the initial experience.
After walking through the fabric covered facade, guests happen upon the angled circulation that climbs before them. The light reflects and bounces off of the blackened steel paneling highlighting the dynamic intricacies of the the structure. In front of the user, the initial staircase leads them to the gallery, and from
there to the black box theater above. The circulation appears to continue. Alternatively, this is the exterior of the catwalk from the Black Box theater. This extension allow for the stories to be told within the atrium space, very much calling back on the call and response method of Aboriginal storytelling.
Repertorium of Oral History
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UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
Repertorium of Oral History
The Black Box Theater Space
The element of point and refuge within this design became an important element in allowing people to continue through the narrative of the building. In following the light to the third floor, they are suddenly enveloped in darkness as they enter the Black Box Theater Space. The only light emanating from the stage
lights and translucent plexiglass at the center of the performance space. Surrounding the movable seating, fabric panels echo the same motif as those found on the exterior of the building. Above, the cat walk creates dynamic form that can change based on performance. As the stories begin to be told,
noise rises around the guest from behind the brown fabric panels. Gradually the lights begin to rise behind these panels to reveal, that the audience is surrounded by the performance. The guest are no longer just audience members, but instead, a part of the show.
UNDERGRADUATE PORTFOLIO REPERTORIUM OF ORAL HISTORY SEPTEMBER 2015- JANUARY 2018
ROOF FLASHING PARRAPET WATER BARRIER #4 REBAR REINFORCED BOND BEAM
OPEN WEB STEEL JOIST CMU WITH CLADDING BRICK VENEER
METAL DECKING WITH CONCRETE FILL
ANCHOR BOLTS #4 REBAR
GROUT 1' - 0"
OPEN WEB STEEL JOIST
VAPOR CONTROL BARRIER SUBSTRATE
RIGID INSULATION BOARD
LAYER 30# BUILDING FELT, WATER FELT AND AIR BARRIER. TAPE AT JOINTS.
CONCRETE SLAB
EXPANSION JOINT
0' - 4"
6" LAYER OF GRAVEL
GRADE STEEL ANCHORS
#4 REBAR PERFERATED PIPE
0' - 8"
GRAVEL
SEE STRUCTURAL FOR PILING AND PILE CAPS
tant s s
tant s s
tant s s
tant s s
tant s s
No.
B S CU ASS
number
2' - 0"
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UNDERGRADUATE PORTFOLIO REFUGE FOR THE SOUL SEPTEMBER 2015- JANUARY 2018
REFUGE FOR THE SOUL
Studio I: Poetic Light Lacoste, France Every individual restores themselves mentally in different ways. Within this studio, we focussed on how we revivify our souls? This process was initiated by taking personality test to give us a further understanding of our psyche. I found when in groups, I guide and lead, however intermittently I must be alone in a means of recharging. In having to create a space that reflects both sides of my personality the architecture must open itself back up to the world. Taking my passion for the piano, my refuge for the soul became a piano room that opened through two limestone barn doors to become an amphitheater within the hillside of Provence.
Diagram displaying the change in earth over time. Henceforth, leading to experiential change within the refuge.
Located upon the sloping hills of Lacoste France, this building creates dynamic and transformative spaces usng the ever-changing natural elements surrounding it. Above the guest’s head, a continual clearstory acts as a natural spotlight that pulls you further into the refuge creating a link between the public and private space. Its angular form reflects the winding roads of the surrounding provincial towns. As the sun gradually fades behind the mountain tops, this residence glows like all those communities that glisten through the valley.
UNDERGRADUATE PORTFOLIO REFUGE FOR THE SOUL SEPTEMBER 2015 - JANUARY 2018
Conceptual massing of the residence focusing on the forms connection to the surrounding topography and landscape.
“In connecting man-made form to the natural rise and fall of land, architecture fades away, leaving only what was before.” STUDIO DISCUSSIONS
Through this site analysis, light became of importance due to the nature of the program. How would this light act as a spotlight? Where would the building need to be placed to do so?
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UNDERGRADUATE PORTFOLIO REFUGE FOR THE SOUL SEPTEMBER 2015- JANUARY 2018
Above: Site plan displaying ADA path to residency, and stone amphitheater seating place along slope. Along the roof of the structure the continual clearstory is seen. To Right: Section displaying layout and the motif of terracing that is present throughout entire design. Shadow Placement
Sunlight within design
Blind Automation
UNDERGRADUATE PORTFOLIO REFUGE FOR THE SOUL SEPTEMBER 2015 - JANUARY 2018
Refuge for the Soul The Piano Room with the sun at its peak shinning through the clearstory, providing the sensation of a spotlight.
Refuge for the Soul Bathroom during morning sunlight. The ungulating light that will evolve over time as the lands change.
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UNDERGRADUATE PORTFOLIO COLLAPSE SEPTEMBER 2015- JANUARY 2018
COLLAPSE
Bay of Fundi, Nova Scotia
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n the passing of a loved one, every human being across any culture or religion feels a sense of pain. In that moment, we look back on ourselves and ask, What have we done? What are we doing? And what do we plan to accomplish? The past, the present, and the future. Out of all natural phenomenon, the cycle of death and its effects act as one of strongest ways that a person realizes time. Within this project, I have created a space of mourning and remembrance in a means of allowing people to let go of the pain that they feel and move on into the future from the present. Within my building, I have divided the space into what I consider the three universal stages of mourning. Grief, Reflection, and Release.
UNDERGRADUATE PORTFOLIO COLLAPSE SEPTEMBER 2015 - JANUARY 2018
Studio II: Site-Based Design 1st Stage: Grief The first stage acts as the arrival to the building and the luggage that comes with this arrival. In these spaces people can remember their loved ones that they have lost and think about the past that they shared with this person. As the promenade continues throughout the space the ceiling lifts as a physical representation of the weight being lifted of their shoulders. Walking further along their journey, the lights fade away until they are left with a single light of what has passed. Their only option is to move forward.
2nd Stage: Reflection As they push passed what is already gone, they begin to look back at themselves and what they would like to accomplish in their lives. Have they lived to their full potential? Within this space, the architecture opens up to the sky within the center of cape split. In this state of contemplation, the people will not be focused on the architecture, but instead on their inner reflection. In being minimalistic, this space allows the true architecture to be built of these
Preliminary models of conceptual massing in a means creating a form that responds with the landscape and topography.
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UNDERGRADUATE PORTFOLIO COLLAPSE SEPTEMBER 2015- JANUARY 2018
3rd Stage: Release In the final stage, the architecture is brought back to human scale as they look towards letting go and moving on towards their future. As they walk down the path and above the water, they look upon the soothing nature of the waves and allow themselves to gravitate towards the brightness that stands in front of them. Lining this pathway are coloumns with open spaces. These niches act as a place to leave ashes or a token of remembrance. As the rising tides crash upon the columns, in time the structure slowly deteriorates fading away just as the grief and pain felt for those lost ones does as well.
The 3rd Stage: Release
Monumentality from Below Hiking among the beach below, travelers would come upon the ruins and monumentallity of the columns above. Even without knowing what their purpose was, travelers would feel an overwhelming sense of what may of have been before.
UNDERGRADUATE PORTFOLIO COLLAPSE SEPTEMBER 2015 - JANUARY 2018
Experiential section through the Cliff
West Elevation of Sturcture
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UNDERGRADUATE PORTFOLIO FIDDLER ON THE ROOF SEPTEMBER 2015- JANUARY 2018
FIDDLER ON THE ROOF SET DESIGN
Focus on uni Photograph of 1/2� scale arcylic painted cardstock model of opening Fiddler on the Roof Scene. Back lit with mulit-colored LED strips.
Above: Initial Renders created through hand drawing and photoshop digital rendering. To Right: Showset drawing taken from Sketchup model displaying the luan paneling that forms the background.
ique silhouettes.
UNDERGRADUATE PORTFOLIO FIDDLER ON THE ROOF SEPTEMBER 2015 - JANUARY 2018
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Sunrise, Sunset. During my breaks and summers I act as a freelance scenic designer. This set design was a commision from a local high school over a winter break. In my time working on this project, I provided initial conceptual renders, showset package detailing the possible technical elements of the set design and a ½” scale model of all elements of the set with prefered lighting preferences. While at location, I provided instructional classes on the painting techniques applicable. From Savannah, I worked with the technical director to assure that the project was completed with the same creative vision.
Above: Production photos of Tevya’s House and Finale To Right: Showset Elevation of Interior of the Tevya’s House Set Piece Below:Showset Elevation of the Tavern Set Piece.
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UNDERGRADUATE PORTFOLIO FORM, SPACE & ORDER SEPTEMBER 2015- JANUARY 2018
FORM SPACE & ORDER Fundamental Studio I Looking at the core elements of architectural design, this project investigates the interaction between spaces and how they can come together to create a dynamic and cohesive form. Displayed is the final product of a series of design prompts which started with the basic form of a cube and slowly began to form through each additional step.
THREE-DIMENSIONAL DESIGN
Above: A frontward photograph of the model’s tower demonstrating the importance in hierarchy of materials and form through design. To Right: Handdrawn Experiential Section Cuts through the final model. Created with graphite, charcoal and watercolor.
UNDERGRADUATE PORTFOLIO GIRAFFE DRINKING WATER SEPTEMBER 2015 - JANUARY 2018
GIRAFFE DRINKING WATER 3-d Design Balance becomes an element of tension and drama within design. I wanted to take this concept of balance and push it to almost the brink of collapse. Through the use of layered taskboard, this form was created within the guidelines of planar design.
Above: Concept Drawings and process focusing on the intersections of the planar design. To Right: Close up of the Head of the Giraffe Below: Full body photograph of the 3’ by 4’ giraffe sculpture.
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UNDERGRADUATE PORTFOLIO SKETCHING SEPTEMBER 2015- JANUARY 2018
Sketching I draw like others tap their foot. Wherever I go, I have my sketchbook and pen. Through sketching you are able to connect passed the external qualities of a space and capture the essence.
UNDERGRADUATE PORTFOLIO SKETCHING SEPTEMBER 2015- JANUARY 2018
The Butresses of Notre Dame Analysis Journal Entry First Place in Drawing Works 2018: Process Work Submission Category
Linked by pencil and paper What began as a hobby turned into a pivotable part of my college experience. I organize Sketch X: Sketchbook Exhibition in which any student can submit any type of process work. This is in an effort to allow students to begin to think outside the box of their own major. In the past year, I collected 150 sketchbooks from over 35 majors and all four SCAD campuses.
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Contact Info nhammond104@gmail.com https://nickhammond.design/ (401)450-5709 https://www.linkedin.com/in/nicholas-hammond104/
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