PAIGE STEED Bachelor of Science in Architecture University of Minnesota steed016@umn.edu
PORTFOLIO CONTENT
Programmatic Supporting
: Culinary Incubator Joints: Tape Vessel
Material
: Ceramics Shop & Factory Stairs: Value Drawings
Revealing the
Between Natural Layers: Art Installation Canopy: University District Art Center
PROGRAMMATIC SUPPORTING SPINE CULINARY INCUBATOR Spring 2014 Studio II: Program Focus Professor: Matt Byers
This design studio challenged us to re-qualify program “from a noun (a known entity) to a verb (an action latent with multiple potentials)� (Reeser & Schafer, Praxis 8). We were given the general intention of the building, a culinary incubator, and had to define what programmatic features were necessary in our designs. A culinary incubator needs to serve the entrepreneur and aid them in their as a culinary businessperson. An entrepreneur should be able to enter the incubation process knowing nothing about food or cooking and leave with the skills to start their own culinary business. Two main architectural devices were used to achieve these programmatic needs: elevation change and spines of horizontal ledges set on lines that respond to the programmatic needs of the space. Thoughtful groupings and separations of spaces in the incubation process were developed in to five categories: arrival, preparation of the chef, preparation of the food, production of the food, and community exposure. As the entrepreneur progresses in skills, they progress through the building. Each step in the process is raised 2 feet (one datum) above the last to symbolize the growth that the chef is experiencing. The of ledges serves as the main program developer in this design. The spine serves as shelving, seating, counter space, screening, way-finding, divisions of space, safety barriers, and display depending on what is needed programmatically.
Arrival
Chef Preparation
Food Preparation
Food Production
Community Exposure
10 9 8 7 6 5 4 3 2 1 0
Elevation change reflecting process of growth
Linear Alignment of incubation process steps
Expansion & Contraction based on programmatic needs
Elevation Change to enhance progress through incubation process
Buffer Space Added to create a layer of storage and screening
Horizontal Shifts that break up the linear form & create pocket spaces
Exterior Expansion Spaces Added in pockets to merge the interior to the exterior
rrier Safety Ba Seating n Divisio
ce of Spa
Scre
anin
ace
r Sp
nte Cou
lay
p Dis
g/
Stor a
ge
LOOPING JOINTS TAPE VESSEL
Spring 2012 Design Fundamentals I Professor: Marc Swackhamer TA: Andrew Gardner
The purpose of this project was to use a tool to manipulate an unusual modeling material into a vessel that could hold the tool, sited in a section of the architecture building, Rapson Hall. I manipulated packing tape by it around my tool, a nail clipper, to make a loop that could be repeated. The loops to create a joint that could hold itself together without using the sticky side of the tape. The vessel could be easily attached and removed from a grid-patterned fence in Rapson Hall with the looping structure alone. By using one form, the loop, I was able to create many different forms that served multiple functions. The loops acted as glue when interlocked: holding the vessel together, while also serving as grips for the fence attachment.
Loops interlock to form body of vessel and attachment to railing
MATERIAL CONTRAST CERAMICS SHOP & FACTORY Fall 2013 Studio I: Material Focus Professor: Martha McQuade, Dan Clark, Andrea Johnson
was the driver for design in this studio. Working with concrete and steel, we were to design a retail shop and factory in Minneapolis for Heath Ceramics. To contrast the heavy appearance of concrete, the design of the ceramics shop uses and . Overlapping layers of space create hierarchy within the shop. The top-level acts as a display space for the products Heath Ceramics is known for, including its collections, while the entrance level displays seasonal and featured items. The lowest level is an exhibition space where shoppers can interact with the process of making ceramics by glazing a product or taking classes. Window extensions act as more display space while opening up the interior to the exterior. The factory also uses the concept of overlap and extension, but in a different way. The lightness of the steel trusses and glass curtain wall allowed for a much more airy appearance. Concrete is incorporated into the base structure of the factory, but the airy pop-ups create the main work spaces. The truss pop-ups create a horizontal layering of spaces, in contrast to the vertical layers in the shop.
NW
Exterior Extension
Interior Overlap
NE
SE
SW
Heavy vs. Light contradiction of material
FLOATING STAIRS VALUE DRAWINGS
Fall 2012 Introduction to Architectural Drawing Professor: James Howard
After spending a semester learning different representations of architectural hand drawing, we were to analyze a detail of the architecture building, Rapson Hall, through a mode of drawing that would show the important aspects of the detail. These value drawings analyze the and properties of the stairs in Rapson Hall on the University of Minnesota campus. These stairs are unique because they connect the courtyard to the hallway, which are separated by a moat. I studied these stairs through multiple scales and positions to discover what makes the floating nature of the platforms.
REVEALING THE CONNECTION BETWEEN ART INSTALLATION Fall 2014 Studio III: Site Focus Professor: Nina Ebbighausen Partner: Anna Cobus
The purpose of this project was to design and build an art installation that would reveal a spatial quality that is hidden and forgotten by the public. The overlapping layers of the and manmade create spaces that reveal the between the natural and human realm. When people walk, they tend to focus on what is ahead of them or the surface they are walking on while ignoring the spaces they are walking through. By hanging rope from the outer edges of a canopy-defined space, people are able to interact with the canopy above and see the space it creates. The purpose of color is to draw from the colors of the trees, depending on the season, to form an extension of the tree itself. Upon installation, we learned that the reactions we set out to create manifested into unanticipated outcomes. We expected people to look around the perimeter and up towards the canopy, but we were surprised to see so many people tug on the ropes--creating an even stronger connection to the canopy.
Winter
NATURAL LAYERS
Spring
Summer
Fall
SE
E
ES
RIV
YD UR
EET
B LS PIL
STR
RP
NT
IVE
SA
KW
th
Y
15
TR
EA
EAS
PL
IVE RS ITY SE
AV E SE AV E
UN N
14 th
AV ES
E
COMMUNITY CANOPY UNIVERSITY DISTRICT ART CENTER Fall 2014 Studio III: Site Focus Professor: Nina Ebbighausen
This studio focused on designing for a specific place by mapping site conditions at multiple scales. After analysis, we were to design a community art center that would serve the University and Minneapolis community on a site located on the outskirts of the Twin-Cities campus. This design highlights connection to experience.
’s connection to and nature’s by creating a holistic environmental
Informal paths, caused by people walking through the natural landscape, are a strong feature on this site. To allow this natural movement through the site, the building is raised. The ground level is completely transparent and houses the most public program. The canopy level provides an atmosphere of being in the canopy of a tree. The undulating mesh that wraps around this tectonic allows for a similar lighting quality and level of transparency as a tree canopy. The canopy level serves as the lobby with flexible program, defined by the raised platforms of the mesh floor. Above is the artists’ space, which is most refined and provides views out to the surrounding community. The experimental theater looks to downtown and the education spaces look out toward the University to provide visual connections to the greater community.
Floor 3
Floor 2: Artist
Floor 1: Nature
Ground Floor: Community
DOWNTOWN MINNEAPOLIS UNIVERSITY OF MINNESOTA
THANK YOU