AMANDA NIELSEN namanda@vt.edu
AMANDA NIELSEN namanda@vt.edu
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AMANDA NIELSEN
namanda@vt.edu 512-638-7385 195 Spencer Street Brooklyn, NY 11205
OBJECTIVE
I am in search of a position in which I can contribute to the development of your firm’s individual design projects as well as your overall influence on the evolving field of architecture. I wish to advance my design skills and continue my architectural education through the invaluable experience that could only be achieved at an office of your caliber.
EDUCATION
Bachelor of Architecture
ARCHITECTURE EXPERIENCES
Virginia Polytechnic Institute and State College, Blacksburg, VA Graduation: Spring 2015 GPA: 3.68
Independent Architectural Thesis Fall 2014 -Spring 2015 TOPIC: Perception of spatial boundaries is informed through shared dense spatial connections, experienced through interactions between light and materials, ordered through the progression of spatial tempo, and evolved through the scaled transitions of distinct spaces.
Presented my thesis findings on numerous occasions and throughout the stages of development to various faculty members and was asked to lecture to multiple undergraduate design studios on both the underlying theory and the construction of my work. Taught lecture sessions to first and second year studios on introductory design software programs, construction and assembly of rockite models and the development of hand-drafted drawings.
FutureHaus Research Project Fall 2014
Built detailed Revit model for the automated construction of the complex SIPS panels that control and house the functional components (kitchen, bedroom, electronics, etc.) within the entire apartment. Created Revit model with experiential qualities to enable a visual walk-through of the proposed apartment.
European Travel Program Fall 2013
Experienced projects from a wide spectrum of time periods, cultures, and physical programs to further develop spatial understandings through which to later draw upon. Analyzed the physical and spatial components of a staircase through a regiment of documentation and the culminating paper exploring the anatomy of the staircase in the Philological Library in Berlin. Countries Visited: Denmark, Germany, Austria, France, Switzerland, Portugal, Spain & Italy
Jeff Watson Homes Summer 2013
Adjusted red lines and dimensioned components in full AutoCAD drawing sets. Constructed drawing sets: slab plan, multiple elevations and roof plan from floor plan of a detached garage project.
University of Texas Summer Academy Summer 2010
DESIGN SKILLS
Computer Skills: Proficient in AutoCAD Drafting, Revit-BIM Software, Rhino, Adobe Products (InDesgin, Photoshop, Illustrator) Microsoft Office Products Hand Design Skills: Experienced sketching, modeling, diagramming, hand-drafting, and watercolor. Experience with LaserCam, Wood & Metal Shops and Ceramic Studio.
OTHER LEADERSHIP ACTIVITIES
Alpha Phi Omega: National Service Fraternity Fall 2011- Spring 2015
Baptist Collegiate Ministries: Outreach Leader Spring 2012
HONORS AND AWARDS
Pella Prize for Excellence in Architecture - Honorable Mentions Spring 2015
Top 14 Finalist for the Pella Prize Award recognizing excellence in design for undergraduate thesis work
Dean’s List
Fall 2010- Spring 2015
REFERENCES
Paola Zellner-Bassett Thesis Year Advisor pazb@vt.edu
Jim Bassett Faculty Advisor & Third Year Studio jbsstt@vt.edu
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Perception of Space
1-10
Place to Collect Time
11-18
Anatomy of a Staircase
19-24
Architecture Internship
25-36
archtiectural thesis : fall 2014 - spring 2015
waac campus : spring 2014
european study abroad : fall 2013
jeff watson homes : summer 2013
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Urban Observatory
37-44
Watershed Observatory
45-50
Photography
51-54
spring 2013
fall 2012
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o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
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Perception of Space The formatting of a year-long thesis exploration enables the inquisitive pursuit of an architectural question and thereby creates the continuous opportunity to discover unexpected spatial concepts. This thesis explores and ultimately defines fundamental architectural components that combine to generate and inform the individual’s experience of space. Through the alternating mediums of models and drawings, the abstract exploration can continually be challenged to refine the base thesis.
FALL 2014 - SPRING 2015 Virginia Polytechnic Institute & State College
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Thesis awarded an hororable mentions for the Pella Prize for Excellence in Architecture.
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how can
fundamental architectural concepts o RENDER Rhino, Revit, Photoshop
be manipulated
inhabitation experiences
to layer developed
and extend
sp atial perce ption ?
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A heightened understanding of core architectural concepts enhances, the ability to control the architectural experience and creates a sense of spatial dwelling based on extended perceived boundaries..The developed thesis work evaluates the individual architectural experience through the scope of these conditions to achieve a complete understanding of these fundamental concepts and their role in experiencing the architectural space. Perception of spatial boundaries is informed through: the density and depth of spatial connections, the interaction between light and material, the ordered spatial
tempo achieved through the architectural progression, and the transition of scale and enclosure between distinct spaces. Each of these fundamental concepts contribute to the development and the understanding of the architectural experience as they interact and layer upon each other to build the perception of the extended spatial dwelling. The dense interaction of spaces coupled with the extended depth of experience questions established boundaries and enhances the overall perception of space. The interdependent relationship between physical material and quality of received light heightens awareness
of the perpetual exterior space and extends spatial perception to include the connected progression of experiences. Both spatial tempo and compositional order impact the experience of individual spatial moments to direct physical progression throughout the architecture and the cadence at which it is perceived. Defined architectural scale and degrees of physical enclosure inform perceived experience of space and transition individual experiences throughout the overall understanding of architectural space.
Diminishing physical edges enable a fluid understanding of spatial dwellings that challenges experienced boundaries. Engagement of light with each boundary edge generates an experiential duality distinguishing individual spaces through amplified contrast, while dissolving the shared edge. In the drawing below, a layering of panels create a depth of space that defines fluid space that is simultaneously experienced. Through assumed continuation of individual forms, the perceived boundary of spaces is extended.
how does d i s s o l v i n g the of
edge
mass extend the limits
of a contained space ?
o DRAWING Hand Drafted o MODEL Rockite, Metal Wire
In these spatial models, the strong contrast in light and shadows removes the definition of spatial edges, thereby extending the limits of space. By placing the aperture along the joint, direct light dissolves boundaries of space and connects to the limitless exterior.
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how can
inform of
layering light sources continued space
and expand inhabitation ?
o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
o DRAWING Hand-Drafted, Charcoal, Watercolor
Complex light directionalities that layer entry points enable defined spaces to compose dynamic habitations with expanded experiential boundaries. The ability to concurrently inhabit multiple levels of spatial extensions allows the individual to experience diverging, gravitational pulls of space. The defined spaces, of the above section, are engaged with multiple directionalities of light to create dynamic spatial boundaries that allow the individual to perceive both the infinite exterior space and adjoining spaces. Through the interaction of light in both the below sketches and the image on the right, the experience of space is heightened and the perception of space is expanded to include those glimpsed spaces.
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o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
how can remote or partially
revealed spaces Visual connections that are formed between spaces generate a perceived extension of spatial boundaries. This expanded space creates the opportunity for the individual to experience multiple levels of inhabited space and can be
inform the perception
stimulated, not only from the physical view between adjoined spaces, but also from the implication of continued space. These visual interactions with the future spaces heighten the concept of dwelling within architecture.
of
immediate spaces ? Through the shifting directionality of light, the contained space expands to encompass a continuation of implied space. The intense contrast formed in the gaps between the panels removes the presence of the physical edge and extends the spatial boundaries to infinite limits.
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of
how does the interaction
surface texture and light influence the
experienced presence of
each condition ?
Material form is a necessity to receive and physically manifest the effects of intangible light. The surface texture, as it accepts the directionality of light, has the ability to influence the experience of that light within the affected space. The prominence of the material form can be enhanced through the spectrum of gradual to contrasted transitions of light across the existing surface.
o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
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Within the spatial models, the interaction between physical materiality amd intangible light establishes the perception of light as a distinct architectectural material, that can be manipulated and controlled, to govern the desired spatial experience.
does a
shift physical scale
in
allow for a similar transition in perceived
spatial experience ?
o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
o DRAWING Hand-Drafted, Charcoal, Black Paper
The contrast between shifting scales of experienced space enhances the perceived proportions of each individual space. This experienced transition abuts these two spatial understandings in order to heighten the contrast and to evolve the experience of the approaching space during the physical progression of the occupied space. The addition of ground material evolves the overall scaled experience from elements defining limitless space, to one with spatial boundaries that exist fluidly throughout the surrounding mass. Physical transitions generate a moment of anticipation that gradually shift spatial perception from contained expanses to grand, open heights.
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Within the spatial models and the perspective exploration, the definition of horizontal axis, the engagement of extended inhabitation, and the inherent spatial tempo combine to create a physical movement.
o MODEL Rockite, Metal Wire, Plastic, Metal Dowels
o DRAWING Hand-Drafted, Photoshop
how does
extended dwelling
in future space
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produce a
phys ic a l m ove m e n t ?
The expansion of inhabited space, combined with heightened horizontal connections, creates a physical movement through the architectural space. Dwelling within future progressions reaffirms the horizontal connections and engages the individual to physically occupy that space, which is momentarily experienced, but not yet occupied.
evolution of an
architectural t h e s i s Throughout the development of this thesis, the focus of this exploration evolved from one that simply answered the posed question, to one that continually layered gained information with newly posed questions in order to fully evaluate the connections between the physical architecture and the experienced space. Each architectural experience has been interpreted through the manipulation of three core constructs: the individual, the architecture, and the space. In order to investigate these established experiences, each construct was systematically removed to better understand the relationships and dominant influences that that construct contributed to the overall experience. With these gained insights, the constructs are reintroduced, allowing the architect, to build on the foundation of this initial exploration and to finetune their influence on the experiential outcome.
o RENDER Rhino, Revit, Photoshop
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DRAWING HandSketched
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o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
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Place to Collect Time The semester comprised of weekly explorations that investigated architectural manifestations of the passage of time. The studio project addresses the concept of time in architecture by designing a place that will have a double purpose: it will be an archive to house a civic collection in perpetuity and it will function as a clock tower to measure time for the city. This expressive space must evolve and grow in the future to continually reflect the buildings physical collection of time.
SPRING 2014 Washington-Alexandria Campus Virginia Polytechnic Institute & State College
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how can architecture
collect and o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
physically manifest the surrounding
experience of time ?
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The understanding of time is a relative concept, directly dependent upon its relationship with other perceptions of time. In this way, architecture has the opportunity to facilitate these comparisons through a heightened understanding of spatial surroundings and visual connections. The project’s mixed use program of residences and gallery spaces create a unique mixture of both lengths of occupation and types of activities. Similarly, the urban environment of the town hall creates further opportunities for observation and interaction with a range of people. Within the structure of the architecture, the form of the circulation engages not only the
connections formed within the building but also to the instances of time prevalent on the surrounding streetscape. The spiral staircase, wrapping around the central atrium, enables the individual to view the quick-paced public sidewalk, but also reciprocates and provides those passerbys with a perceived visual constant. An object’s collection of time is often manifested physically through the direct comparison of what it once was. This duality enables the object to remain as a previous experience and to simultaneously exist along the entire spectrum of its evolution. The quality of time experienced is continually compared to the individual’s perception
of time that is happening simultaneously. Architecture provides a near constant measure of time that grounds the spatial experience and greatly contrasts the physical movement of the surrounding people. The curved edges of the facade enable visual connections through the defined architecture and create a transitional boundary of space to bridge between the fast-paced sidewalk and the slower existence of the central courtyard. Similarly, the contained exterior spaces provide a protected experience for extended occupations.
how does the
m o v e m e n t through the building
engage
visual connections and
The interior circulation merge with the exterior form to provide opportunities for engaging visual connections. Centrally located, the spiral staircase places the individual on display for the surrounding public to oberseve and connect with. While in the other staircase, the individual is tucked away, approaching the second floor from the corner, thereby allowing the individual to be unnoticed and observe the unsuspecting gallery. Within the sections, circulation provides an opportunity to heighten the awareness of the building’s form and to connect with other observers. The corner staircase is reserved, fitting into existing conditions, while the central staircase is dominant to define the experience.
p e rce p tion of spatial boundaries ?
o DRAWING Hand-Drafted, Charcoal
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An object’s collection of time is often manifested physically through the direct comparison of what it once was. This duality enables the object to remain as a previous experience and to simultaneously exist along the entire spectrum of its evolution. Experiences of time vacillate between a state of relaxed perpetuity and charged continuity. Within the erosion analysis of the street curb, the passage of time is implied through the understanding of what a curb initially begins as. This temporal understanding allows the physical curb to simultaneously exist at each stage of its evolution. Similarly, the below render utilizes the visual comparisons of people at varied tempos to alter the individual’s perception of time.
can
a space
inherently retain
past moments of time to inform the
o RENDER Rhino, Revit, Photoshop
o DRAWING Hand-Drafted,
Xylol Transfers
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immediate expereince ?
The above diagrams seek to measure the intangible concept of time across the existing site. Varied tempos, lengths of time and cyclical occurrences all effect the perception of time to change the surrounding movement. The model on the right explores the ranges of time from the constant rockite buildings to the momentary instances of the wood dowels.
how does the
pe r c e pt io n of t i m e
manifest
through
i n t e r a c t i o n s of spatial experiences ? Time is a continuous measure, but through visual comparisons of experience, the individual maintains a relative understanding of time. This fluctuating concept enables the individual to alter their own experience of a space through their perception of other measures of time. In this way, visual connections to other people and spaces create an opportunity to constantly redefine the experience of a given space.
o MODEL Chipboard,
Lasercam, Plastic, Rockite, Wood Dowels
o DRAWING Hand-
Sketched, Xylol Transfers
Time is a relative concept and therefore enables the individual to take some control over their experience of an architectural space. There are constant, cyclical and instance experiences of time and the composition of these defines the individuals perception of time at that given moment.
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can the
threshold between
interior and
e xterior become o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
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imperceptible ?
The transition between the public sidewalk and the interior allery space is heightened by the presence of the outdoor courtyards. These interconnected spaces blur the boundaries and allow the individual to fluidly move through them. In this way, the linear distinctions between interior and exterior are removed and the visual connections formed extend beyond the distinct spaces.
Facades bridge the experiential connections between the interior and exterior. Through the interspersed triangle openings, individual’s outside receive pointed views of the interior and compare their perception of time to that of the slower movements contained within. Similarly, the individual’s inside glimpse a flood of continuous moments that pass by on the sidewalk, thereby enhancing the near-constant experience of the art pieces and the architecture. The organic form of the facade facilitates the
transition between the perceived public and private spatial boundaries. These boundaries carry an inherent experiential tempo that defines the movement. The containment of the overhead delineates these protected spaces and allows for a slower passage of time The facade structure curves in on allowing the central atrium to effortlessly transition out to the linear movement of the city street. This transition space not only fluidly connects the contained exterior courtyard with the public sidewalk, but also physically connects the individual as he moves between these two extreme experiences of time.
how does
composition of form in the
facade structure heighten the
perception of time ?
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
o DRAWING Hand-
Drafted, Xylol Transfers, Charcoal
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o DRAWING HandSketched
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Anatomy of a Staircase Throughout the study abroad program across Europe, each staircase was measured, documented, and sketched. These in-depth case studies enabled the analysis and determination of key design criteria that make up a good staircase. The research paper came about upon completion of program and allowed the constructed criteria to be applied to one of the more well designed staircases. The staircase chosen is at the Philological Library in Berlin by Norman Foster. Although, not used for the paper, the remaining staircase are constantly used as a personal reference of spatial experience and stair construction.
Fall 2013 European Abroad Program Virginia Polytechnic Institute & State College
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The following is an excerpt from a research paper completed upon the completion of the program.
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how do architectural
c haracteristics combine to transition the e x p e r i e n c e o IMAGE DSLR Camera, Photoshop
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while ascending a
staircase ?
Stairs originate out of a desire for progress and from a creative implementation of mankind’s horizontal planes. Stairs, constructed simply of a series of incremental planes, are able to achieve the necessary connection from one height to another, and yet completely disregard the person’s experience and imagination that should be present in making the transition possible. This disconnect occurs whenever stairs are thoughtlessly plugged into a building, simply to facilitate a change in elevation, rather integrate a building’s experience. The stairs at
the Philological Library, by Norman Foster, offer a significant case study in the analysis of the core elements that drive human experience. The library, a recent addition to the campus of Freie Universität Berlin, is intended to merge the smaller departmental libraries and to provide a constant environment for students. Foster draws back the limits of each floor, separating it from the exterior dome, creating a weightless feeling. This perceived detachment is counterbalanced by the strong presence of the central stair core. The stairs have the ability to engage the traveler with the space beyond, to instill
a curiosity that draws him upward, to soften the movement between floors and to further moderate the transition from entry into the intended space. It is the purpose of this case study to examine which elements of the stairs’ design contribute to this experience and how those design choices were achieved. More importantly, while these elements were present in the stairs of the Philological Library in Berlin, these same features should be considered when designing stairs for any program which requires movement from one floor to another.
Stairs are a succession of incremental horizontal planes that allow movement in three dimensions. Beyond the change in elevation, good stairs sometimes can offer an architectural moment from which the perspectival introduction of adjoining spaces can be carefully introduced. Upon achieving the framed destination, this stair allows for a defined landing space to appreciate both the building as a whole and the space offered by the horizontally organized stack floors. The semi-circular form of the landing extends into the atrium space promoting a view into the space. Curling back around, the landing encourages continued progression as it offers the next flight’s destination. Similarly, the bridge at the end of each run achieves dual purpose: presentation of the grand view from the arms of the library stacks and continued invitation to climb. Within the image, the connection between the landings and the staircase become evident. The fluid transition between spatial boundaries allows the individual to move effortlessly through the spaces while still allowing for a momentary pause before beginning the new experience. In the landing sketches below, the differences between the internal landing and the floor level landings become more apparent. The physical shape of the landing heightens the perceived movement and allows for different types of tempos to transition effectively.
o IMAGE DSLR Camera, Photoshop
o DRAWING HandSketched
Similar to the circular landing signaling a pause between flights, the connecting bridge delineates an arrival at the floor level. The change between stair and floor is further supported by the structural joint in the floor. Although the joint is a necessity, it remains visible as signal to end of the stair and arrival of the floor. By extending the handrails beyond the limits of the steps, the landings become a last protected space from library cross-traffic. The connecting bridge, while clearly a part of the horizontal floor plane, interacts directly with the stairs core.
how can the
placement of a landing
genera te
an i n h e r e n t
m o v e m e n t
within the staircase
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AMANDA NIELSEN namanda@vt.edu
The smooth, gradual pitch of the stairs promotes seamless progression in concert with other elements such as the railings and the floor. The pitch for stairs is determined by balancing a gradual slope with the minimum number of steps. With a run of 32 cm and a rise of 14 cm, the steps have a slightly more elongated tread paired with a relatively shallow rise. The combination of the guardrails and handrails create a fluid boundary with the surrounding architecture and work in conjunction with the forward movement of the stairs to expand the individual’s perception of space out beyond the physically occupied area. The continuity of the vertical lines create a noticeable protective barrier, yet allow the views to be maintained throughout the ascension of the stairs.
how is the
p hysical scale
of the
individual engaged through
the
architectural elements of the s t a i r c a s e
o IMAGE DSLR Camera, Photoshop
o DRAWING HandSketched
The handrail is a prominent safety element as it guides with perfect continuity along the path of the stairs assisted by the shift or offset of one step against the companion flight in plan. The resulting gentle turn connects the two distinct flights of stairs such that the progression from one to the other is a single fluid movement. In the same way, the concrete floors are covered with carpet, removing any visible breaks between the components of the stairs and the joints to the library floors. The uninterrupted flow of material between the stairs and the surrounding floor illustrates the seamless transition from one floor to another. The combination of the guardrails and handrails create a fluid boundary with the surrounding architecture and work in conjunction with the forward movement of the stairs to expand the individual’s perception of space out beyond the physically occupied area. The continuity of the vertical lines create a noticeable protective barrier, yet allow the views to be maintained throughout the ascension of the stairs.
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?
Similar to the sculptural transition of the main stairs, the detail and design also must extend to the more regulated emergency stairwell. While the necessity of a smooth and continuous progression is maintained, the emphasis shifts to a downward focus and an awareness of changes in floors. The sheer mass of the containing concrete walls pulls the observer down the stairs. An opaque metal guardrail directs the observer’s focus solely to the stairs below them. A constant understanding of the observer’s position relative to the changing floor levels is necessary when descending an emergency staircase. Within the thick walls of the concrete box, pour lines for the floors subtly demarcate the passage from one floor to another. Unlike the continuous flow of the sculptural stairs, the domain of the stairs and the domain of the landing can easily be distinguished based on different colors in concrete. By segmenting the circulation movement, the observer is made aware of each floor change and the possible exits from the building.
Photoshop
o DRAWING HandSketched
The design criteria that make the central staircase so refined are also present in the emergency staircase. While less artistic, the economical concrete structure still guides the individual, but with the focus being down toward the exit instead of expanding the spatial experience outward. This change in focus enhances the experience of the stair.
how can these architectural
c h aracte ristics influence
o IMAGE DSLR Camera,
spatial perception
the
through the descension
of
emergency egress
?
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o DRAWING AutoCAD, Illustrator
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Architecture Internship The summer internship at Jeff Watson Homes allowed me to develop experience within an architectural firm and further explore drawing styles that I learned at school. The residential homes that the firm predominantly worked on, created the perfect settings to learn the fundamentals of adjusting red lines and dimensioning components within a complete set of drawings. This office experience enabled me to measure and construct a complete drawing set for a detached garage project.
Summer 2013 Jeff Watson Homes Georgetown, TX
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o DRAWING AutoCAD, Illustrator
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o DRAWING AutoCAD, Illustrator
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o DRAWING AutoCAD, Illustrator
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o DRAWING AutoCAD, Illustrator
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o DRAWING AutoCAD, Illustrator
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o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
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Urban Observatory The semester long project explored the urban environment and the subsequent experiential qualities that are prevalent. Through the program of the building, the space would serve as a place to observe the collections displayed in the galleries, but also serve as a place from which to observe the rest of the urban experience. In this way, the designed focus of the architecture is both inward and outward. Similarly, the combination of residences and galleries forces the architecture to reflect both types of observation: longterm and momentary.
SPRING 2012 Virginia Polytechnic Institute & State College
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how can
architectural heighten the
space
pe r c e pt io n
of
the surrounding urban environment ?
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
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The Urban Observatory strives generate an architectural foundation for people to not only come and observe the surrounding urban environment but also experience a broad spectrum of people. The mixed-use program of residences and gallery spaces engages both the cyclical repetition of a city work/live environment and the singular moments of urban attractions. These varying programmatic requirements invite different spectrums of people, lengths of occupation and focus. It is through the interactions of these individuals that the varied experiences of the architecture is heightened. In order to fully achieve these
interactions, the architecture must create opportunities for varied connections between two distinct programs. The division of form generates this distinction between the private apartment suites and the public gallery studios, while the glass circulation core bridges between them. The alternating forms illustrate each blocks core principles, with the gallery studio larger on the bottom, with connections to both the sidewalk and the remaining site, while the private apartments are elevated and held apart from the public thorough fares, Within the circulation core, the established structure enables the designated ascension to
vacillate between the adjacent program blocks. Through the free-movement of the staircase and its interaction with the apartment block and the surrounding gallery block, visual connections are established that expand the perceived boundaries and heighten the individual’s experience of space. These visual connections occur through the glimpsed form through the frosted glass, the shared circulation core, and through the perforations of the brick facade. All of these instances of interaction layer together to create the urban experience.
does the
exterior form i n fl u e n c e
the definition
of space
within the
int e r io r a r c h it e c t ur e ? The building’s form results from taking a rectangular volume and cutting along it’s diagonal axis. These masses are then flipped in order to connect through their common face. This near adjacency that is created allows for a circulation core to be introduced. This glass circulation core doesn’t hinder the reading of the two masses due to its small proportion. The apartments and studios are on the southern facing volume due to their need for large amounts of sunlight. The angled down of this volume aids in its filtering of the sun; blocking most high summer light while maximizing low winter light. Similarly, the galleries on the northern facade are angled upward to maximize the amount of soft diffused light it can receive. The physical form clearly illustrates the two distinct programs with a shared circulation core. But once inside the building, the experience is much more complex and allows the individual of both programs to interact and briefly occupy the opposite blocks. The frosted glass core allows glimpses into these intricate movements but without complete understanding
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
o DRAWING HandSketched
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how can
ve r tical continuity and
e x p a n d e d inhabitation impact
the
e xperienced
spa tial boundaries ?
By orienting fire stairs and elevators within blocks of space at the extents of the central circulation core, the individual’s movement between floors is freed up to allow for design elements. The overall public circulation through the galleries is in a circular path so that the transition through galleries, while ascending remains distinct from the following descending galleries. In this way, the progression through the building encourages the use of the continually experienced staircases rather than the temporary moments of the elevator.
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
There are set positions in which there can be ascension; either within the circulation core or pushing out into the gallery block or into the apartment block. These placements extend the boundaries of the perceived core and further connects to the surrounding volumes. The organic formatting of the central staircase allows for spatial opportunities. By structuring the stairs in this way, the experienced boundary is constantly in question and the individual is repeatedly moving between the gallery block, the circulation core, and even the apartment block. These extreme movements are physically manifested through the passing between the glass panels.
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7th Street 7th Street
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o DRAWING AutoCAD, Illustrator
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how does the i n t e r a c t i o n of
light
and
m at e r ia l e n g a g e the def i ni ti on of
spatial boundaries ?
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
Brick is a modular unit and therefore wants to be placed in a modular system. This placement allows for the consistent stacking structure of brick construction to be applied to a perforated brick facade structure. Bands of light and dark are created by the transition from tight spacing to the minimal amount of overlap. The perforated screen is in direct contrast to the solid brick facade of the ends of the building. This juxtaposition illustrates the extremes that the material brick can exhibit. The bands of light and dark contrast the light and heavy aspects of brick, a characteristic common in the surrounding buildings. The perforation of the exterior brick screens and the frosted glass circulation core work similarly to filter light and spacial perception. Areas with large amounts of light denote public and common spaces, where as the private bedrooms are protected by a tight brick pattern. In this way, the individual’s experience and movement through the mixed use building is inherent to the space.
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AMANDA NIELSEN namanda@vt.edu
how can the
m ate r iality of brick
inform
the perception
of an architectural mass
?
o DRAWING Rhino, AutoCAD, Illustrator
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AMANDA NIELSEN namanda@vt.edu
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
45
AMANDA NIELSEN namanda@vt.edu
Watershed Observatory The semester long project explored the rural environment and the subsequent natural qualities that are direct result from the connection to the surrounding watershed plane. Through the program of the building, the space would serve as a place to observe these shifting conditions and a refuge from the possibility of flooding. In this way, the designed focus of the architecture is both inward and outward. Similarly, the inherent location of the site forces the design to explore the permanence within architecture and reflect this temperance as well as the strength of the surrounding watershed.
Fall 2012 Virginia Polytechnic Institute & State College
o
AMANDA NIELSEN namanda@vt.edu
46
AMANDA NIELSEN namanda@vt.edu
how can the
a r c h i t e c t u r e respond to the
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
47
AMANDA NIELSEN namanda@vt.edu
shifting environment
while still informing the
individual’s experience The project takes the inherent concepts of nature and time to influence the design and placement of the architecture. The unique site, along the watershed flood plane, provides an interesting question of permanence. Architecture must be able to sustain its environment and thereby continue to function even with a constantly evolving site condition. Through the programmatic requirements of a watershed research center, the architecture not only is an observer to the surrounding water, but also filters and contains aspects of the water to
?
heighten the individual’s understanding of his surroundings. By inverting the typical layouts, placing the residences on the bottom floor and the public spaces on the top floor, the form lends itself to the sloping topography of the site. Thus the traditional entry on the first floor is challenged and the public are transitioned through the building from the entry on the top floor to the exit on the bottom floor. By orienting the project on the steepest portion of the hill, one is able to take a once unoccupied space and transition between the two using the building.
While not actually building on the entirety of the site, the continuation of the buildings arms are felt in the plane and therefore make the space feel more comfortable. The strong axis used to be the long axis parallel to the river, that vast uninterrupted axis made the space appear awkward. By the placement of the building, the now strong axis is that of the one perpendicular to the river, drawing people into the space.
Axis Geometries
Tempo Created Through the Building
By diagraming changing axises and the resulting changes in movement through the building and the space created by the geometry, one was able to fit the best layout to the existing site topography. The geometry consisting of one placed perpendicular to the river and one aligned with the eastwest direction creates the best form. The movement through the building guides the occupant towards the right and toward the rest of the park and away from the secluded boat dock. The space created by these two stretching arms is an extension of the stairs geometry. Finally, the temp of the building gradually builds to the stairs, where it pinches together and then gradually broadens back to open. In the below model, the descent down the central staircase is transitioned not only by the shifting of light gradients but also through the circular patterns on the floor that orient the individual to the center of the top floor. The transparent glass and wood screen wall create a filtered version of reality that gradually disappears as the observer descends the staircase.
how does the
m o v e m e n t through the building
maintain
orientation
within the
dominant
a xis
and the
r i v e r boundary ?
Movement into and out of Architecture
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
o DRAWING HandSketched
Secondary Space Defined By Geometry Through the progression of above diagrams, the three architectural volumes are manipulated in order to find the positioning that generates a clear transitioned movement through the building and out into the watershed plane. Manipulating the defining axis orders the perceived tempo of spatial boundaries, defines the direction of movement, and transitions the levels of contained space.
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AMANDA NIELSEN namanda@vt.edu
The concept of blurring is emphasized by extending the normal limits and questioning the inherent qualities of what a wall typically is. Each element of the wall: the slab and the wood frame and the glass curtain wall are all pieces of one continuous wall. While there is space in between the wood frame and the glass wall it becomes wall itself. The relationship of curved and linear elements are blurred together in order to integrate the strict linear elements of the wood frame and the organic curves in the water programs. The relationship of these geometries not only affected the form of the building but also the way that light interacts with it. The shadow of the linear wood slats is bent when reflected upon the curved glass wall. Similarly the circular skylight throws spiraling lines on to the side of the walls. The layering of horizontal planes within the composition of the wall creates an extended transition space that enables the individual to physically occupy the defined wall. Through this occupation, the definition of exterior and interior is blurred. Similarly, the inverted form directing the observer out to the river through the grand central staircase further dissolves the perceived barrier.
o MODEL Chipboard,
Lasercam, Plastic, Wood Dowels
49
AMANDA NIELSEN namanda@vt.edu
how does the
phys ic a l o c c upat io n
of the exterior wall
transition
the
pe r c e pt io n
of spa tial boundaries ?
Metal Header & Neoprene Setting Block
2x8 Wood Beams Metal Mesh Glass Skylight
Metal Joist Hanger
Laminated Tempered Safety Glass
See Additional Detail Drawing
Steel Column
1.5” x 4” Rectangular Hollow Profile
Neoprene Displacement Volumes
3 Ply Glass Wall
3/16” Float Glass 3/16” Float Glass (2)3/16” Laminated Safety Glass
Steel Rebar Chairs
Combination Mullion & Down-Spout See Additional Detail Drawing
Metal Joist Hanger Connection Detail
Steel Reinforcement Bars
Structural Mullion & Down-Spout Plan Detail
#6 @ 10” o.c.
1’ 9” Concrete Slab
Structural Mullion
Top Layer is sloped slightly so that the water runs toward the down-spouts
Neoprene Gasket 3 Ply Glass Wall Thermal Break Metal Clip On Joint Down-Spout
1’ 9” Concrete Slab
1 3/4” Screed Concrete 2 1/4” Corrugated Steel Decking Metal Mesh Active Thermal Insulation Neoprene Displacement Volumes Steel Reinforcement Bars #6 @ 10” o.c.
Steel Rebar Chairs Vapor Barrier
o DRAWING AutoCAD, Illustrator
Rain Water Drainage Channel
1 3/4” Screed Concrete 2 1/4” Corrugated Steel Decking Vapor Barrier Rain Water Drainage Channel Active Thermal Insulation Steel Reinforcement Bars #6 @ 10” o.c.
#4 @ 12” o.c. Dowels 1’ 9” Concrete Slab
Vapor Barrier
Watershed Observatory
40 Ton 18” Pile
Radford, VA 37 ˚N, 80 ˚W
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AMANDA NIELSEN namanda@vt.edu
o IMAGES DSLR Camera, Photoshop
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AMANDA NIELSEN namanda@vt.edu
Photography The continuous exploration within the medium of photography enables the constant inquiry into different complicated topics. I have done numerous series exploring the temporal concepts of scale and definition as well as time and architecture. Throughout my Fourth Year, I utilized photography to both document the reality of the stairs abroad as well as explore the fanciful understanding of time within architectural space. Both of these series challenged the limitations of an image to retain a wealth of experiences and information.
Fall 2010 Virginia Polytechnic Institute & State College
o
AMANDA NIELSEN namanda@vt.edu
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AMANDA NIELSEN namanda@vt.edu
o IMAGES DSLR Camera, Photoshop
how can
photography capture of within a
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AMANDA NIELSEN namanda@vt.edu
the
raw
time
c o n c e p t s and
space
singular instance ?
Photography is a constant exploration into the temporal experience through a medium of instant reality. These images are from various series investigating the ability to capture time in an image. Each series attempts to achieve this concept through a different exploration: experiencing the place on multiple occasions, assembling a composition of images, and creating a perceived motion within the image. Within all of the images, some aspect of time is brought to the forefront and heightens the captured experience. Black and white photography allows reality to be suspended to enhance the presence of experience.
o IMAGES DSLR Camera, Photoshop
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AMANDA NIELSEN namanda@vt.edu