Sara Gordon
Undergraduate Portfolio
“Proceed, be bold.”
Table of Content
Winery /Academic : project type Studio 401_Fall 2014 : course_year Lavinia Fici Pasquina : instructor
Residential /Academic : project type Studio 302_Spring 2014 : course_year Sophia Gruzdys : instructor
Urban Infill Housing /Academic : project type Studio 302_Spring 2014 : course_year Sophia Gruzdys : instructor
Boathouse /Academic : project type Studio 301_Fall 2013 : course_year Kent Abraham : instructor
Sculpture Pavilion/Academic : project type Studio 201_Fall 2012 : course_year Jeffery J. Roberson : instructor
Library /Academic : project type Studio 202_Spring 2012 : course_year Christina Cole : instructor
Attached Screeded Porch : project type Internship_Summer2014 : course_year Michiels Architecture& Partners : frim
Photography + Sketches : project type Undergratuate : course_year
A Verdant Way
1 The Plaza Within
7 El Born De Oberservation
13 A Dual Perspective
15 Shifting of Tartans
21 Thersholds of Poetic Volumes
23 Schaffer Porch
27 Other Mediums
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A Verdant Way
When the PATH is ideal the Intersections are created so the Expirience can follow through the Architectural Details, form and Material in relationship to nature and manmade
The design process began with the exploration of a wine informational diagram guided from the concept of nature verse manmade....
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WINE LIFE
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A still wine produced from green and sometimes black grapes. During fermentation the grapes are crush to extract jucies, the skins are removed. Flavors span from rich and creamy to light and zesty.
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Carbonation is injected or naturally added to the wine. Reds, whites and rose can be carbonated. Flavor is both dry and sweet.
Still wine made with black grapes. During fermentation the skins are left on to give the wine is coloring. These can range from light to dark and bone-dry to sweet.
Still wine from black grapes produced by removing the skins before they deeply color the wine. Also formed by blending red and white wine together. Both dry and sweet styles of rosé are common.
Cabernet Franc Cabernet Sauvignon Chambourcin Chardonnay Gewurztraminer Malbec Mandolin Merlot Muscat Canelli Muscat of Alexandria Norton Orange Muscat Petit Manseng Petit Verdot Pinot Grigio Pinot Noir Riesling Rkatsiteli Sauvignon Blanc Seyval Seyval Blanc Syrah Tannat Touriga Nacional Traminette Tinta Cão Vidal Blanc Viognier Zinfandel
Glass bottle color depending on color of wine, red wine dark bottle, white white light bottle. Wine is sealed with crock, synthetic corks, screw caps and a capsule is added on top and heated for tight seal. Provides stabilization to prevent the formation of hazes and deposits after packaging, while microbiological stabilization eliminates yeasts and bacteria that can destroy a wine’s taste.
Sulphites are added. In order to inactivate microorganisms, such as unwanted yeasts,
acetic acid bacteria and lactic acid bacteria, thus protecting wine from spoilage. As well as act as antioxidants and protect delicate flavors against oxidation.
Agents used to remove animal, non animal particles and gelatin, the wine mix is fined and the tannin (dry taste) is removed.
(periodically
run)
check
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accuracy
2.5-5%
error
(refractometer) brix – measured in grams for hundred grams of solution The test consist of measuring (hydrometer cheaper) ph, titratable acidity, residual sugar, free sulfur, available sulfur, total sulfur, volatile acidity, percent alcohol.
process to reduce tartrate crystals ( make cloudy wine clear)
1-2 weeks » tempature 15-18˚ c / 22-25˚c » yeast is added ( converts surgars to alcohol) » sugar is added by weight 24% surgar = 12% alcohol
process varries for type of wine
WINE PRODUCED
3-6 months in air tight container » convert malic acid to lactic acid » barrel: oak barrel, glass bottles, large stainless steel vessels
loam (sand and slit)
PRESSING OF GRAPES BY FEET rollers used to press and remove skins juice flow out whole berry PRESSING OF GRAPES BY MACHINE
granite-based clay soil
Stems are taken off before pressing tin order to lower tannins and the vegetal flavors of the wine
drainage and air filtration rocky valley
U.S. mostly hand (premium wines) – increased oxidation of the grape juice PICKING OF GRAPES BY HAND 1-2 ton bins of single berry harvesting, pick one grape at a time PICKING OF GRAPES BY MACHINE Large tractors with plastic or rubber rods –dislodge grape from vine; the process is easier and faster. However, the disadvantages are that leafs/stems, moldy grapes, canes, metal debris, rocks, small animals, and nests will combined in the mix.
slopes and rolling landscape fertile
SOIL
Northern hemisphere –early September to early November Southern hemisphere –mid February to early march Growth varies depending on the weather (growing season), soil minerals, acidity, time of harvest, pruning method
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MODERN ERA - AMERICAS
concept - Americas wine is based on the old world grape vines and wine growth regions but have adopted grapes to closely identify *16th century, Mexico became the most important wine producer TYPE: produce a variety of wines, inexpensive jug wine to high quaity varities and bleands from the regions of Argentina, California, Chile
NEW WORLD - AUSTRALIA NEW ZEALAND SOUTH AFRICA countries without wine traditions
2000
VINTER winemaker
1900
VINIFICATION winemaking
OENOLOGY
known for production of high quality wines: AUSTALIA - 1st successful vineyards in the 19th century NEW ZEALAND - retained most of its wine for domestic consumption SOUTH AFRICA - production began in Cape Province in the late 1680’s as a business supply
CLIMATE
Warm temperate climate year round, relatively dry growing season with moderate winters.
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WINERIES IN REGION site location: Richmond Road Rappahannock Country , VA climate: temperate climate, mild winters and summers average temp 60 degrees soil: granite- based clay soil, slopes and rolling landscape concept: interaction of nature and manmade
the science of winemaking
MEDIEVAL MIDDLE EAST
1600
MEDIEVAL EUROPE
1400
ROMAN EMPIRE
0 AD
ANCIENT GREECE
1000 BC
1ST ADVANCEMENT BY PHOENICIA
1500 BC
EARLY BRONZE AGE
3000 BC
EVIDENCE OF WINE MAKING
4100 BC
ANCIENT CHINA
7100 BC
Climate not suited to grow grapevines so aramic merchants traded wine. Wine was the subject for many poets, sacramental, medical, and trade use.
Divided from South to North region due to the climate; this effects the wine production and consumtion amoung social classes. *Monk produced wine for the church services resulting in the largest producers of wine in France and Gremany. TYPE: most important German grape plant, RESLING.
WINE CULTURE TECHNOLOGY HISTORIC USE FAMOUS WINES
*modern wine inspiration *wine experimented with flavors *wine regions developed wine custom theories, however always relates back to the greek style TYPE: most popular Greek wine, a strongly aromatic white called RESTINA.
Distributed wine, wine grapes, wine making technology throughout the Mediterranean region.
Wine trade in Egypt *wine was predominantly red, resembling blood. * white wine accessable through trade only
Iran c.500 BC Georgia c.600 BC
OLDEST WINERY “Areni-1” Cave in Vayots Dzor, Armenia c.4100 BC
Production of wine of grapes was not native to the region, however imported through trade and made of other fruits.
BIBLICAL TEXT Mentioned in:
Genesus, Flood - Greek Mythology - Persian Legend
Winery /Academic : project type Studio 401_Fall 2014 : course_year Lavinia Fici Pasquina : instructor
A Verdant Way Rappahannock, Virginia
east elevation
Wine is both a product of nature and man. In my design I focused on this idea of nature and manmade and how the two interact. A path was created for the visitor as well as the wine production. The programmatic volumes of the wine path shift levels below ground in order to interact with the topology and visitors path. The visitors path is a linear path that runs above the wine production then concluding back into the land and a grand room for entertainment with a viewing deck. The two paths
create intersections of volumes through viewing. In addition to ones experience along the path is the guiding element of light. Architectural details are made in the design of the roof to cast different amounts of light along the way. As one travels the source of light becomes greater as the progression gets closer to the grand entertainment room. Another architectural feature is the orientation of the walls. The linear walls in the horizontal north to south direction are thick concrete walls to display manmades
hold against nature. While the angled walls east to south are organically angled to represent natures push on architecture. The materials of rustic wood, concrete and glass also reflect the idea of manmade and nature. The difference of materials helps clarify the paths and programmatic spaces. A winery is a great project for a design studio due to the knowledge required for the wine production as well as the design aspect of creativity.
west elevation
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WINE PATH VISITOR PATH
circulation diagram
ENTERTAINMENT SPACE SERVICE
PRIVATE LODGING V I S I T O R
BOTTLE LABEL
V.I.P TASTING
P A T H BARREL ROOM
FERMINTAION
CRUSH PADS LOBBY
floor plan on path
program diagram
a verdant way
THE INTERACTION POINT OF ALL THREE PLACES IS SEEN IN THIS SECTION. THE VISITOR PATH, ABOVE THE WINE PRODUCTION SPACE CROSSES THROUGH THE POINT AT WHICH THE NATURE IS SLOPED THROUGH THE BUILDING. SECTION C-C’
THE PRIVATE LODGING, GRAND ENTERTAINMENT ROOM AS WELL AS THE SERVICE AREA OF THE WINERY ARE SHOWN IN THIS SECTION. SECTION B-B’
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SECTION A-A’ SOUTH TO NORTH THE CONSTANT LINEAR PATH TRAVELS THROUGH EACH PROGRAMIC SPACE OF THE WINERY. HOWEVER, THE SHIFT OF THE ROOF ABOVE THE PATH CHANGES WITHIN EACH VOLUME IN ORDER TO SHAPE ONES EXPERIENCE ALONG THE JOURNEY. THE VISITOR PATH HOVERS THE BARREL ROOM IN THIS SECTION, ALLOWING ONE TO INTERACT WITH THE GRAND SCALE OF THIS SPACE. SECTION D-D’
THE SLIGHT SHIFT OF LEVEL BETWEEN THE VISITOR PATH AND THE FERMINTATION ROOM ARE SEEN IN THIS SECTION. AS WELL AS THE SLOPING BEAM ROOF, WHICH CAST LINEAR SHADOWS ALONG THE WAY. SECTION E-E’
the verdant way
The Plaza Within
perimeter causeway urban void unit community unit shift common space circulation anchors
At the urban scale the “new� plaza refelcts surrounding plazas within the old city of Barcelona.
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Residential/Academic : project type Studio 302_Spring 2014 : course_year Sophia Gruzdys : instructor
Urban Housing:A Volumetric System Carrer del Rem Comtal Barcelona, Spain The city of Barcelona offers the dual city of old and new. However, the old and new city relate through the scale of public space to private housing. This residential building project served challenges of a complicated site shape. So I chose to use this irregular shape to my design advantage. The perimeter of the site shaped the raised public boardwalk where those of the old city could filter through one side of the site to the other.
Furthermore located under the public boardwalk is a market space of commercial use and a public plaza. The idea of the public plaza derives from my home city of Philadelphia and The Piazza in the city. The Piazza is a multiuse public space for all types of events. I wanted to create a similar space like this in Barcelona. It also relates to other surrounding plazas of the site. It was a perfect match. The housing units where
placed along the front edge of the site in line with the neighboring building facades. The units were shifted horizontally to create a personal outdoor space for the individual. Within the unit building voids were created to provide a common space for the residents only. All together the community of the city can live circulate and gather within one void of the old city.
Concept sketch on the back of a boarding pass traveling from The Nethierlands to Barcelona, Spain.
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+15 level fifth floor single unit multiple live +12 level forth floor multiple live common voids
+9 level third floor single units + common voids +6 level second floor live + work
+3 level first floor live + work
the plaza within
facade perspective : Interior Plaza + Units facade : Street View
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circulation + boardwalk level : plan
the plaza within
El Born de observation Barcelona, Spain
The hipster neighbor of Passage del Born was in need of a dual use infill building. My project consisted of four dwelling units and a commercial space designed for independent chiefs to create a live work community. The eighty square meter lot led to a tectonic design resulting from a one meter by one
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meter plan tartan underlay. The defining lines of axis gave shape to the program, the tectonics of the faรงade, and in section the shift of a programmatic space, the kitchen, between the dueling units. This shift creates a community space for the occupants. Focusing a design around a strict use
can lead to a fixed building however designing with an idea of space it can result in a building of a dual uses, such as a community space. Making design a flexible measure.
Urban Infill Housing/Academic : project type Studio 302_Spring 2014 : course_year Sophia Gruzdys: instructor
A Dual Perspective
view frames plains structure skin enclosure void visitor rower community
A dual perspective brings life to a lonely water front of the Anacostia River...
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Boathouse/Academic : project type Studio 301_Fall 2013 : course_year Kent Abraham : instructor
A Dual Perspective Navy Yard, Washington D.C.
A boathouse is not only a house for boats, rather a house for those who love to row and who love the atmosphere. A dual perspective derives from this realization. In the design one who experiences this boathouse will see the activity through different frames when traveling throughout. The shift in angels of the floors, walls and roof guide ones view. Horizontal plains are the guiding force to framing ones view. However, not structural, the planes span the length of the programmatic building
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and rely on support from two structural vertical walls and a column grid that extends the height of the building to then support the roof planes. A surrounding skin encloses the entire site to act as a faรงade for the buildings. The skin however does not touch or interact with the horizontal planes or structure but thin glass rest between the two to cover the voids created by the separation. This can be seen in the main void that leads one to the waterfront
and divides the two perspectives of program. A visitor will travel right as a rower will travel left to enter their space of programing. The separation divides the function. However, the two functions meet on the second level of the visitors building when a rectangular mass crosses above the void to intersect the boat storage. This joining mass is the community center where both points of views interact and displays the grand view of water activity.
a dual perspective
exploded axon
surrounding KalwalL Barrier Walls Multiple slips in Walls for Enterance points
public program offices gym
indoor viewing
restrooms intersection community space
boat storage
dock // connection path
private rowers workshop
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outdoor viewing park
anacostia river front
a dual perspective
Shifting of Tartans Washington D.C. The design of a pavilion and garden was required to exhibit three well-known sculptures. Theses will be borrowed for the years exhibition. The project required a spatial sequence with an urban context. A sequence of three spaces housed the individual sculptures, while
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directing an observers path and view. The spaces, defined through the shift of levels, voids and material made up the sense of enclosure. A viewer interacting with the spaces experiences a different sensation within each sculpture space. This is due to the use of a series of
planes, columns and materials within the pavilion and display simplicity but suggest complexity. This sculpture pavilion houses the artwork in a guided path to ultimately form an a complex special arrangement.
Sculpture Pavilion/Academic : project type Studio 201_Fall 2012 : course_year Jeffery J. Roberson : instructor
Thresholds of Poetic Volumes
a haiku poem;
the glass between us divides the space of travels from inside and out
I wrote the above as inspiration to the design of the library of poetry...
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hand model : craft
Library/Academic : project type Studio 202_Spring 2012 : course_year Christina Cole : instructor
Thresholds of Poetic Volumes Hst NE & 6st, Washington D.C. The three lines of the haiku poem reflect the three volumes that intersect to create an experience of thresholds within physical space. Entering the glass box starts one’s travel through theses poetic volumes of the library. When placed into the glass recreational volume of reading and public space, one travels to the three contenting volumes
via a verity of threshold to reach the program of service, knowledge and performance. The glass entrance separates the inside to outside yet allows the experience to be shared. The threshold created within the library symbolizes self reflection in that one is able to express themself by different methods, which the library houses. The threshold
experience is seen in the intersection of volumes through the use of mix material, wood, concrete and glass, in order to greater exemplify the concept. The poetic volumes derive from my haiku poem to shape the structure of my library of poetry.
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6 STREET ELEVATION
H STREET ELEVATION
EXPLODED AXON
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6 STREET ELEVATION B B’ B B’
thersholds of poetic volumes
A-A’ SECTION PRESPECTIVE
Schaffer Porch
Design Build Project Michiels Architecture & Partners Harmonious and subtle modern was the driving concept for the client of a traditional home. The project was to create a porch that would compliment the majestic garden of a traditional house. The existing conditions of the porch did not have a means of circulation to the garden so our goal was to connect the beautiful home to its lush garden. During client meetings and site analysis I discovered the clients want for a budget
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friendly porch, that created a shaded screened in space with another area for her outdoor grill and plants as well as storage space. This project challenged my knowledge of architecture because in school we do not design with a client or a budget so this was real world. I learned how to produce a design concept based on a client’s feedback and my own design ideas, I created a whole set of construction documents, as well
as a proposal and budget at the end of the design process. A material study was very important. I learned that a budget can affect certain design ideas and the material choice was then limited. Under the guidance of an architect I grew and gained experience I could not have gained in the classroom. The porch is currently under construction with a very pleased client.
10'
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Michiels Architecture & Partners
5'-
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/8 17
NO 1
PROJECT NUMB
1
NEW SUNROOM SOUTH ELEVATION
SCALE
13'-0"
DATE ISSUED
1/4"=1'-0"
SHEET NUMBER
Attached Screeded Porch : project type Internship_Summer2014 : course_year Michiels Architecture& Partners : frim
Photography
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Sketches
Sara Gordon
57gordon@cardinalmail.cua.edu The Catholic University of America School of Architecture and Planning B.S Arch 2015