architecture portfolio sarah reynolds 2018
01 L.A.B. Academic | Spring 2017 Partner: Lauren Ruskauff
02 Hyperscope Academic | Spring 2018
CONTENTS 03 Chale Wote Pavilion Academic | Spring+Summer 2016 Studio: Cody Seipp, Allison Turner, Elijah Coley, Vivian Mok, Elaine Zhang
06 Cushions We Embroidered Personal | Summer 2017 Robert S. Brown Traveling Fellowship
04 Shake, Rattle, ‘n Shingle Academic | Fall 2016
07 Residential Renovation Professional | Summer 2017 + 2018 Neil Pelone Architecture
05 Tape Scape Academic | Fall 2017 Group: Sabrina Munley, Will Murawski, Zachary Weistma, Pete Weekes, Maria Corsi
08 Barclay Table Professional | Summer 2016 Method Design
L.A.B. Social Neuroscience Laboratory + Youth Science Center
2017 | Academic Project Critics: Erik Churchill + Bryan Kim Partner: Lauren Ruskauff Software: Revit, Rhino, VRay, Adobe Illustrator, Adobe Photoshop
L.A.B. is a social neuroscience laboratory and youth science center. The goal of this facility is to provide spaces that cultivate scientific research, knowledge, distribution, and public engagement all under one roof. Now, your first question might be; why bother involving the public in private research? A fair question, but we believe that public engagement is vital to the future of research. It broadens the public world-view while simultaneously making research personal. It illustrates how new discoveries impact one’s way of life. Additionally, through communication, scientists learn how to make their work more relevant and useful to society. Okay, now you can see why we want to involve the public more in research, but, why does it all have to be in the same building? Traditionally, research groups that have a public outreach component (like the Smithsonian Institute) keep these two facets separate.
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Museums are created to showcase results while the labs are for work alone. This model works, but we think it slows down the productive feedback loop between scientists and the public; the play between generation and interaction is less palpable. We want to explore and celebrate what happens where the museum meets the laboratory. That is what L.A.B. is all about, the spaces and interactions created where the museum intersects the research facility facility. The private laboratories are located in the tower while a horizontal loop houses the public science center. As this loop collides with the tower, it breaks apart and creates a tertiary condition where the public and the scientists meet. This condition is emphasized by a grand atrium where people can look up to see laboratories, look down to see exhibitions, and look out to see a wonderful mix of the two.
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SITE PLAN | North End, Boston MA
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FORM DIAGRAM | Lab + Museum
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Level 8 Wet Laboratory Office Space Collaboration Zone
Level 4 Gallery 3 Roof Maze Mixing Floor | Food Court
Level 3 Gallery 2 Interactive Laboratory Roof Garden
Level 2 Auditorium Library
PROGRAM DIAGRAM | Isometric
Gallery 1
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Level 1 Private Lobby Truck Arrival Public Lobby Community Center
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INTERIOR RENDERS | Atmosphere
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FLOOR PLANS | Museum. Mixing. Lab.
Level 4
Level 1
Level 2
Level 3
Floor Plans
Level 5
Level 6
Level 7
Level 8
The floor plans offer a more concrete way to view the progression from separate to collided private and public spaces. The long bars contain the public museum and the L-shaped floors are private labs. On the 4th floor these shapes - and subsequently the people - intersect. The lab levels above contain remnants of this collision, in their facadepiercing collaborative spaces.
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PERSPECTIVE SECTION | Visual + Physical Connections
Atrium Section
Museum Lobby Section
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EXTERIOR RENDER | Street View at Dusk
HYPERSCOPE Visualizing the Invisible
2018 | Academic Project Critic: Chris Perry Software: Rhino, V-Ray, Adobe Illustrator, Adobe Photoshop
To understand the magnitude of climatic effects that have cascaded from human actions, there has been a necessary shift in how we think and what scale we think at. Timothy Morton’s concept of the hyperobject addresses the issue: “massively distributed in time and space relative to humans” these are the things we know exist but can’t point at directly. The most notorious is climate change; we can only perceive its residual effects. Yet, when these effects are documented, catalogued, and compiled we are able to piece together a representation and resultant understanding of the climate change hyperobject and how it affects us. As documentation and dissemination of this catalogued data has improved, everything from denial to panic has been spurred in the general population. Within that spectrum, one interesting activity has arisen: climate change-tourism. Groups of people have become obsessed with “seeing” climate change happen.
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This project proposes a new kind of environmental observatory & research facility. Sited on ecotones (highly sensitive biome transition zones) around the world, each hyperscope unit will process, visualize, and respond to climatic, ecological, and visual data from its surroundings. As such, each unit possesses mechanical “skin,” “eyes,” “arms,” and “body,” shifting and changing in response to its site conditions at individualized time scales, while simultaneously providing a means to observe information collected in the process. The hyperscope collapses building, scientific instrument, and biological organism into one, as the collection of qualitative, as well as quantitative information becomes a visual, material, and spatial experience for climate change tourists visiting the complex, as a vacation/education destination. By layering data and imagery over time and movement, Hyperscope endeavours to paint the most holistic and visceral picture of climate change possible.
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SITE PLAN | Unit Communication
ecotone
edge effect
porosity/gradient
The ecotone is a transition area between two biomes, Forman defines it as the “overlap or transition zone between two plant or animal communities.” Ecotones command space for the edge, they create a thickened boundary, and they imply an overlap. Where one would normally not attribute thickness or space to the edge between two entities, the ecotone swells to create an in-between. It is neither A or B but is A and B.
The “edge effect” is part of what makes ecotones so special. The ecotone or ‘edge’ has a higher population density and a greater number of species represented. The ecotone holds the species from both adjacent zones in addition to hybrid species that live in the transition zone alone. The many factors available to monitor in the narrow area of the ecotone endure that environmental changes and effects become more visible.
The presence of an ecotone promotes movement of species in an area. The harder the edge between two areas is the less movement exists. Ecotones soften the edge and allow for more organism flexibility and migration. Density and “hardness” effects movement. A harder and denser line promotes movement along a boundary while a softer and more porous line promotes movement through a boundary.
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taiga | tundra
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FORM + SITE STUDIES | Nine Ecotones
desert | savanna
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mountain elevation
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forest | meadow
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tropical mosaic
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temperate | taiga
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riparian zone
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estuary
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marsh 23
Year 01
Year 10
THE ARM: 365 cycles. The exterior of the unit still looks near-pristine. There is an filmy layer of sediment and dust collected by the arm formula. THE EYE: 52 cycles. The smart window shows the existing outside scene but cannot extrapolate further than that. It has seen one cycle of seasons. THE LEGS: approx. 0 feet. The body shifts subtly each day, but in the course of a year the rivers edge ecotone has not perceptibly shifted. THE UNIT: The hyperscope looks foreign to the landscape, the unit looks like a machine but is reminiscent of a creature as it moves.
THE ARM: 3,650 cycles. The exterior o of sediment, pollution, and dust from th THE EYE: 520 cycles. The smart wind scene in addition to a timelapse of the p THE LEGS: approx. 10 feet. The body h eroding rivers edge, where the riparian e THE UNIT: The hyperscope still looks continued presence in addition to the co the impression that it somehow belongs
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THE ARM: 18,250 cycles. The exterior of the unit is completely masked under layers of sediment, pollution, and dust from the area. THE EYE: 2,600 cycles. The smart window shows the existing outside scene in addition to a timelapse of the past fifty years on the ecotone. Changes that were unrecognizable previously become obvious. THE LEGS: approx. 55 feet. The body has moved west to stay with the eroding rivers edge, where the riparian ecotone remains. THE UNIT: The hyperscope looks more from its environment than foreign to it. Machine is masked by sediment, animals have made homes in its facade, it is of the landscape.
UNIT PLANS + SECTIONS | Changes Over Time
of the unit has a dense covering he area. dow shows the existing outside past ten years on the ecotone. has moved west to stay with the ecotone remains. s foreign to the landscape, but its ollecting debris on its shell give s here.
Year 50
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DRONE
daily catalogue through film/video
WEATHER STATION
thermometer | temperature barometer | atmospheric pressure hygrometer | humidity anemometer | wind speed pyranometer | solar radiation
GEOLOGIC SKIN
FLEXIBLE ARM
allows movement of pods on legs
VIEWING EYE
operable, screen over glass collects & catalogues images 26
SKIN SPRAY ARM
daily coating to collect pollution, dust, organic matter
SOLAR PANEL
provide power, retractable
INFRARED CHIP + SENSOR
track wildlife + monitor population
HYDRAULIC LEG
UNIT ISOMETRIC | Hyperscope Details
programmed to respond to environmental data
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CHALE WOTE Biomaterial Pavilion in Accra, Ghana
2016 | Academic Project Critics: D. Comodromos + Josh Draper Studio: Cody Seipp, Allison Turner, Elijah Coley, Vivian Mok, Elaine Zhang Software: Rhino, V-Ray, Adobe Illustrator, Adobe Photoshop
Chale Wote is a street art, dance, and music festival in the British colonial district Jamestown in Accra, Ghana. Since 2011 the festival has fostered a community of do-ityourselfers, artists, and citizens that are actively working to make their future visions of Ghana a reality. It is an exploration of past, present, and future that allows participants to ”build bridges of understanding and possibility... connecting our visions of reality with one another for affirmation, encouragement, support, questions, and the challenge to dig deeper.” The CASE studio of Spring ‘16 was invited to design and build an installation that would showcase the research being done about up-cycling agricultural waste products into viable building materials. The final build was the culmination of efforts from the CASE undergraduate, masters, Ph.D. students and faculty in addition to next generation companies and groups such as Ecovative, e2e, and AMBIS technologies.
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The pavilion showcased the structural, aesthetic, and evocative potential of coconut agro-waste panels. It invited festival goers to walk through, touch, and photograph the panels. Sustainable, local, and modular, this designbuild installation presented to the Jamestown community a unique building option that they can take ownership of. I was heavily involved in the final pavilion design as well as extensive investigations into panel aggregation methods. Additionally I was a member of the eight person team that went to Accra to build the pavilion.
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PROCESS SKETCHES | Agro-Waste to Biomaterial Brick
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SITE PLAN | Jamestown, Accra, Ghana
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canonical wall
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curve wall | structure
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mirror wall | space creation
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step bricks | view creation
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PLAN | Chale Wote Pavilion
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ISOMETRIC | Chale Wote Pavilion
SHAKE RATTLE ‘N SHINGLE Variation Through Operation
2016 | Academic Project Critic: Erik Churchill Software: Rhino, AutoCAD
This home design creates variation through operability. It takes two familiar elements of residential design, the shingle and the partition wall, and opens them up to new possibilities by introducing a single operation - rotation. By adding rotation to these stationary features (almost) endless configurations are created. The shingle and the wall can now construct the experiences of open, close, and the minute degrees in between. The shingle was the initial inspiration for the project. Prompted by a challenge to reimagine traditional enclosures, I selected one of my favorite cladding elements, shingles. I then asked what the implications were if they could overlap in both the x and y directions. This exploration resulted in an operable shingle; supported along the long edge, each shingle rotates 180 degrees parallel to the ground plane in response to wind and rain conditions. The facade transforms into a visually striking rain screen that reflects the environmental conditions around it.
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As the exterior of the house came into focus, I had fun thinking about what a similar system could do for the interior. Incorporating modular or adaptable features in the home has grown in popularity in response to the ever changing needs of the household. Rather than just incorporate adaptable furniture though, I allowed for adaptable spaces. Five rotating walls allow the interior to open up or get parsed out with ease.
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Keep Out of My Kitchen
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PLANS | Wall Variation
PROGRAM
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Activity Alcoves
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Living
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Dining
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Kitchen
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Bathroom
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Mudroom
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Laundry
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Bedroom
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Closet
Activity Alcoves Remix
Don’t Live, Don’t Sleep
So Much Room for Activities
THE ADAPTABLE PLAN The plans shown here represent a selection of potential wall configurations. The five rotating walls are staggered every 10’ and are 10’ long each. One exception is made to accommodate the plumbing core. They have the capability to rotate up to 175 degrees from their initial position and can lock into place anywhere along this path.
The rotating walls create alcoves and points of interest within the larger area or keep it absolutely open. A selection of movable furniture helps to make the most of the room while still allowing clear swing paths for the walls. The design features a murphy bed and two rolling sections of countertop/ table.
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MODEL PHOTOS | 1’ = 1” Facade Exploration
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DETAIL WALL SECTION
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TAPE SCAPE Minimal Surface Membrane
2017 | Academic Project Critic: Holger Shulze Ering Group: Sabrina Munley, Will Murawski, Zachary Weistma, Pete Weekes, Maria Corsi Software: Rhino, Grasshopper, Kangaroo, Galapagos, SAP2000
“Let’s make something we can play in.”
new knowledge that helped us reach the final installation.
Affectionately called tape baby, this full scale installation was the product of playful collaboration among two architects and four engineers. The project had three goals:
The final design started as a sketch, became two tubes of nylon stretched and stitched together, then got worked through with Rhino and Grasshopper, lived its next life as a scotch tape study, found its way into the computer again for a SAP2000 analysis, jumped back into Rhino for some modifications, through SAP once more for good measure. Finally, with 24 hours, six students, fourteen 2x4s, and 15 rolls of clear packing tape, our baby materialized.
(1) to develop a design process that moved smoothly among parametric design, physical modelling, and digital performance testing. (2) to explore the characteristics of membrane structures. (3) to experiment with novel materials. While goals two and three came to fruition throughout the project as we researched and tested everything from bubblegum to balloons, goal number one remained elusive. The starting point for our work constantly shifted; sometimes we worked from a physical model, other times we went with our digital model, we even worked sketches from material capacity studies. I don’t think we ever decided on a definitive ‘best’ method, but every attempt produced
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Step 1: Point Selection After a series of physical iterations we utilized Grasshopper and Kangaroo for Rhino to produce the final minimal surface digital model. From the digital model we extracted 11 key points that define the surface.
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Step 2: Main Tendons We utilized these points as the places to connect the main structural tendons for the membrane. The tendons were made from a tape rope (five layers of tape spun with a drill and stretched) The lengths were extracted from the digital model.
The tape rope tendons were then wrapped with the secondary level of form-work. These secondary tape loops further structured the membrane and served as a starting place of the wrapping and tightening process.
Step 4: Full Wrap The final form was the result of four layers of wrapped tape. The initial form created in Step 3 became increasingly structural with each subsequent wrap. The final project was strong enough to hold several adults climbing through. CONSTRUCTION STEPS | Tape Creation
Step 3: Initial Tendon Wrap
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INSTALLATION PHOTOS | Final + Progress
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INSTALLATION PHOTOS | A Tromp through the Tape
THE CUSHIONS WE EMBROIDERED Robert S. Brown Traveling Fellowship
2017 | Traveling Fellowship
In most of our histories women are the wives, the mothers, or the daughters of important men achieving important achievements. Relegated to the domestic realm and deprived of recognition in their own right, the accomplishments of women have slipped away. The farther we stride forward in time, the less we talk about women of the past, the less we realize their absence, and the more their absence is simply accepted. Misogyny and sexism begets erasure and lack of awareness begets misogyny and sexism; this is the vicious cycle that must be broken. I applied for the Robert S. Brown Traveling Fellowship to learn from the women in architecture who worked and designed despite the odds stacked against them. I focused on eight pivotal women, four who lived and practiced primarily in the Modern era and four who did the same in the Postmodern era [Eileen Gray, Charlotte Perriand, Lilly Reich, Jane Drew, Allison Smithson, Denise
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Scott Brown, Su Rogers, and Gae Aulenti] Their careers guided my travel to three countries, seven cities, and twelve architectural sites. I was able to immerse myself in just a slice of the architecture that the women from these decisive eras in the history of architecture designed, conceived, and created. I wanted to ensure these women were remembered not for standing behind their design partners but side by side, remembered not as an exception to the rule of being female but as another outspoken member of a strong community, remembered not for being confined to the domestic realm but for taking ownership of it. I want everyone to know that, yes, women built buildings, they made masterplans, they designed interiors, they made furniture, and they embroidered cushions. My Fellowship resulted in a book that cataloged my research and findings as well as an interactive exhibition that made visible the lack of education about female architects.
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BOOK EXCERPTS | Fellowship Publication
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GALLERY TALLY Interactive Exhibit
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RESIDENTIAL RENOVATION Neil Pelone Architecture
2017-2018 | Professional Neil Pelone Architecture Partners: Neil Pelone Work included: schematic design, Revit modeling and drafting, AutoCAD drafting, section detailing, conceptual renders
Located in Troy, New York, Neil Pelone Architecture is an intimate design firm that focuses on custom residential, hospitality, and adaptive reuse projects. As one of only four people in the office, I embraced my role as the nimble everyman. In a single day I could be picking up redlines on restaurant construction documents, rendering a residential schematic site plan, and submitting a commercial renovation set for permit. Over the course of two summer internships and one parttime semester I developed a range of skills and practical experience in all phases of design. A fun residential renovation I was heavily involved with is shown, in part, in this portfolio. The client wanted a complete renovation and addition to an existing residence. To create an exciting space from the existing bones was an enjoyable challenge. Our big move was lifting the south facing ceiling in the living room. This allowed for grand floor-to-ceiling windows that would fill the family space with light, as well as frame
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exquisite views to the countryside around the home. Throughout the project, I contributed heavily to the formulation of the Revit model, development of the construction document set, creation of the interior elevations, and rendering concepts for client meetings.
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PLAN + RENDERS | Residential Renovation
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SECTIONS | Detail Wall + Building Sections
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100 BARCLAY TABLE Method Design
2016 | Professional Method Design Partners: Reese Campbell + Demetrios Comodromos Work included: 2D drafting, digital modeling, conceptual & schematic design work, visualization, model construction, and millwork construction documents
Method Design is a small, integrated, New York City based practice. Eager to impress and excited to experience as many projects as possible, I spent the summer of 2016 here working hard and learning fast. I quickly adopted the firms favorite mantra, “we are not afraid of work” as one of my own. It still holds true today. The variety of scales and scopes in Method’s project list allowed me to observe many in breadth and engage a few in depth. I assisted most heavily with existing conditions, a hotel schematic design, construction documents for an office remodel, conceptual design for a grand staircase, and a furniture design project. This portfolio displays the furniture design project. The client wanted a room configuration that would serve three functions; a place to look at apartment floor plans, a place to store those plans, and a seated area for closing deals. We conceptualized one long table with a kink that commanded
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the room and created three productive zones: pitching, storage, and closing. I worked heavily throughout the entire project. I was the go-to from schematic design all the way through the millwork construction drawings. It was beyond satisfying to deliver this 27’ split-level table.
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CONSTRUCTION DRAWINGS | Metal + Millwork
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FINAL PHOTOS | Completed Table
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PRESENTATION DRAWINGS | Render + Isometric