p o rt f o l i o Sarah Robinson
U n i v e r s i t y o f N o r t h C a r o l i n a at C h a r lot t e B ac h e lo r s
of
Architecture . 2009
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Sarah Robinsonsjrobinson.design gmail.com @
919.475.1206 4265 cleveland avenue, apartment 2 east, saint louis, mo 63110
Education
2008
Bachelor of Architecture, BARCH University of North Carolina at Charlotte, Charlotte, NC Bachelor of Art in Architecture, BA
spring
2008
Semester Study Abroad Delft, Netherlands
summer
2007
fall
2008
2009
University of North Carolina at Charlotte, Charlotte, NC
Delft University of Technology, Delft, South Holland
University of North Carolina at Charlotte
University of North Carolina at Charlotte, College of Arts + Architecture
Semester Study Abroad Rome, Italy
Visiting Artist Workshop, Harmen Liemburg
SKILLs
Analogue Hand drafting. Graphite rendering. Mix-media collage. Graphic design.
Model building. Wood + Metal Fabrication. Painting. Sketching. Ceramics. Casting. Digital InDesign. Photoshop. Illustrator. SketchUp. Rhino. Word. Excel. PowerPoint. AutoCAD. ArchiCAD. Photography. Mix-Media Rendering. Typography. Revit. 2011 2009 2007
2007 2005
EXHIBITIONS
Storytelling, a two-artist show
Francesca’s CafÊ + Gallery, Durham, NC
Rowe Gallery, College of Art University of North Carolina at Charlotte
Making History, Shifting Demographics Rome Study Abroad Exhibition
Storrs Gallery, College of Architecture University of North Carolina at Charlotte SERVICE Freedom By Design, AIAS designing a creative solution for a disabled client to help improve quality of life. Habitat for Humanity site build volunteer.
travEl
University-Led Katrina relief: Alabama, Mississippi, and Louisiana. Chicago, IL. University of Virgina, Charlottesville, VA. Washington, DC.
Self-led Atlanta, GA. Washington, DC. New York City, NY. Charleston, SC. Toronto, OT. Vienna, Austria. Prague, Czech Republic. London, England. Paris, Versailles, France. Berlin, Germany. Dublin, Ireland. Rome, Italy. Ibiza, Madrid, Barcelona, Toledo, Spain. Amsterdam, Rotterdam, Den Haag, Eindhoven, The Netherlands.
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exploration [6]
SKVR
[8]
Natatorium
Spring 2008-Academic Study Abroad: Delft, Netherlands
Fall 2006-Academic
collaboration [10]
pantheon
[12]
making history
Summer 2007-Academic Study Abroad: Rome, Italy Fall 2008-Academic Printmaking Workshop
reclamation [14]
Harbour front village
[16]
shadowbox
Fall 2007-Academic
Spring 2007-Academic
observation [18]
SKetchbook
[20]
photography
Spring 2006-Fall 2007 Summer 2011-Fall 2012
exhibition [22]
Storytelling
Summer 2011-Joint Artist Show
culmination [24]
comprehensive architecture project Fall 2008-Spring 2009-Academic
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Stichting Kunstzinnige Vorming Rotterdam site:
Witte de Withstraat 30 Rotterdam,Netherlands
The Stichting Kunstzinnige Vorming Rotterdam (SKVR), Art Education Foundation Rotterdam, offers locals varying levels of classes in fine arts, dance, music, photography, writing, and theater. The project is a single facility for the SKVR to house all the programs that are available. Located along the historic ‘burn line’ from World War II, every building to the south and east were destroyed in bombings, while the buildings to the north and west are typically historic buildings. The project is an exercise in bringing new and old into one site and creating an art facility for the community.
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Hand-drawn and mixedmedia perspectives illustrate spaces while in use, while not solely relying on computer representation. Creating the facade was an experiment in crafting a unique solution. The facade system needed to be smooth and seamless so as not to distract from the window system. Once fastened in place, the small white tiles would have only a small, unnoticeable seam.
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Natatorium site:
University of North Carolina at Charlotte Charlotte,NC intermural fields
The focus of the natatorium project was to design a building that facilitated a large span structure. It was an opportunity to try something outside the normal ‘box’ of a swimming facility. It was also a chance to explore tension structures and glass facades. As a result of dealing with the required size of a natatorium, I was able to create a unique shape long-span structure. I was challenged with finding new systems that are designed for such large spaces. I located a company that manufactures these types of wall systems and I designed the glass wall facade of the natatorium based on a variation of their spider clamps, glass panels and tension cables. This unique project allowed me to explore designing both a large span space as well as a working facade system unique to my own design.
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The sweeping form of the natatorium echoes the very nature of the building and its primary purpose, water. The half dewdrop form was created to reference cresting waves and water droplets. From the front of the building, the arches start in reflecting pools and end in the rear in the outdoor swimming pool. The reflection of the arches in the water visually creates the other half of the arch; the reflection creates a whole droplet. The swell of the wave as it is about to break, seems to hang above you as you enter. The tear-shaped, long-span members and the stabilizing connecting arches are designed to be concrete. The large arches are designed to be a combination of pre-fabricated, segmented pieces and additional on-site casting. The smaller arches are designed to be pre-fabricated forms.
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Pantheon site:
Piazza della Rotonda Rome, Italy 1575
group:
Sarah Robinson (BArch) James Mattison (MArch) Charlie McFarland (BArch) Lee Waller (BA) Anna Struthers (BA) Denny Gappens (BArch)
A group of 22 architecture students, graduates and undergraduates, from UNC Charlotte spent a summer semester with two professors studying Italy, Rome, and the importance of water. Divided into four groups, representing four major fountains, students hand drafted and rendered the section and plan.
[10]
The group was tasked with accurately drafting and rendering Piazza della Rotonda, including the fountain and Pantheon. By dividing the tasks, we were able to have several people working on both the section and plan at the same time. This allowed us to beautifully render an architectural icon, during our time abroad. The School of Architecture currently displays the plan (55� 78�) in their main office. x
[11]
making history visiting artist: group: Shifting members:
Harmen Liemburg Amsterdam,NL Demographics Sarah Robinson,BARCH Matthew Walsh,BFA Amber Watts,BFA
This was the first visiting artist workshop within the UNC Charlotte College of Arts + Architecture since the two schools formed a single college. A competitive printmaking workshop for 15 students, we were divided into 5 groups to explore site-specific topics. It was an opportunity for learning and exploration by working with students with different design backgrounds and methods of creating. The group, Shifting Demographics, had a specific focus in the exploration of the history of Charlotte, North Carolina. ‘Race and the shifting cultures within the city’s fabric - in particular, the downtown Charlotte 2nd Ward’s transformation from thriving African-American community (Brooklyn) to the 1960s ‘urban renewal’ zone (concurrent with the Civil Rights movement), which devastated the area and made it a business district for large corporations.’ Through our collaboration and research we were able to create unique package of work to catalog and express a small part of history in Charlotte, and North Carolina. [12]
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Harbour Front Village site:
725 Elm Avenue Mount Holly, NC catawba river
‘Harbour Front Village’ is a mixed-use design. The design is based on the themes and relationships between harbors, piers, docks, and boats. It is a destination that will bring both Mount Holly residents and visitors to a community space that fuses the town and with the Catawba riverfront.
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Dock: The dock appendage is used to address pedestrian connectivity to the main boardwalk, or ‘Pier’ space. They are designed to draw people into the harbor space. Boat: The structure of the boat is mimicked in the skeletal form of the railings. It is a reflection of the ribs of a boat. Harbor: This term is used as it relates to ideas of harbor, safety, returning home. It is translated into a community setting as a retreat that draws in people.
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Shadow Box The project was mainly limited by size, as it could inhabit a space no larger than 6”x18”x22”. Other parameters of the project were based on materials and design content. Wood, metal, and concrete had to be used, and the shadow box had to relate to our selected Artist/Architect combination. For this shadow box, the selected artist was Joseph Cornell, who is well known for pioneering the art form of assemblage. The architect that was paired with Cornell was Vito Acconci, whose architectural works focus on the integration of public and private spaces. While the shadow box closely resembles the work of Joseph Cornell, it also contains abstracted ideas from the architecture of Vito Acconci. Acconci’s Murinsel, a floating platform located in the middle of the Mur River, was the inspiration for the hanging and suspended objects in the shadow box. The bones cast in resin are suspended behind the metal grate, to appear as if the are floating, much like Murinsel floats on the river. For this project, I incorporated found objects with new fabricated forms. Wood and concrete are linked together with steel brackets. The composition of the shadow box and the connections between materials were informed by the ‘story’ of the shadow box and the various sizes of the found objects. The vintage photograph was transferred to sheer fabric and mounted to the interior to resemble a hanging picture, though the steel posts kept the fabric from touching the wood. [16]
The base is a poured concrete form. The interior shape is intended to complement and visually extend the interior space of the wood cabinet. A small void was left in the base to house a pair of vintage veneer calipers. In contrast to the interior, the exterior is not flush with the wood, rather it extends out to act as a pedestal to the wood cabinet.
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sketchbook site:
Study Abroad, Rome Travel week, Toronto
I used my travel sketchbook as a way to slow down and look at each building in depth. I also used the sketchbook as tool, to help expand my rendering techniques. In Rome, I decided that I would learn to use watercolor. Graphite is taught in school as a fundamental tool in design. It is often thrown to the side in favor of computers. So I always try to incorporate graphite and pen into my sketches so that I am never too out of practice. The sketches are beautiful reminders of my travels as well as exercises in observing and recording my surroundings and practicing rendering techniques.
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Studying architecture opened many doors for travel. A group of seven students organized an architectural study of Toronto during our fall travel week. Two of our professors, who were very knowledgeable about Toronto, and were able to suggest an educational ‘must see’ list of buildings. Our group focus was to observe, record, and experience significant architecture of Toronto in five days. I used this trip as an opportunity to improve my pen techniques. I also explored charcoal rendering.
[19]
Photography site:
california nevada
illinios north carolina
iowa utah
This series of photographs has a broad range of locations, seasons, and times. When moving to the mid-west from the east coast, I began photographing the different landscape. It is beautiful, the vastness of the farmland and sky. I began to record other moments that I found new or meaningful. My focus was to document as many places and moments in one year, while studying scale and time. For images of the midwest, there is a feeling of smallness. It was a study in scale, the expansiveness of the sky, and seasons of a new location. These are a few of the earliest photographs that were taken when I first decided to compile a set of images that captured the vastness of my new location.
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The windmills and power lines intrigued me. Visually, they are powerful because they are massive, seemingly delicate, man-made structures within the context of vast natural space. The windmills conjured images of giants and Don Quixote. The square cropping was an allusion to an earlier academic project that concentrated on the link between art and architecture. I created miniature handheld light boxes and small slides that were reminiscent of the Kodak film slides. Giving myself these restrictions of size, helped to create photographs that were balanced and honest to my goals.
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storytelling
media: plaster, acrylic, book pages, sewing patterns, fibers, pen and ink.
These are a few of the paintings and collages that I created, using several different techniques. I saw the collages as a way to warm up and start experimenting with representation. I found it visually intriguing layering and printing several different images on to a single page. Also, I tried combining unlikely materials. It was an experiment in stitching and crocheting on old frail paper, as well as weaving paper as if it were fabric. The moon and orbs, cycles and re-birth were topics that drove this body of work. I was visually expressing my interests as well as trying to explore new possibilities of representation. The moon, having been one way in which people gauged passing time before modern clocks and calendars, was the main inspiration for this show.
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Comprehensive Architecture Project site:
57 Bond Street New York City,NY
The Comprehensive Architecture Project was an opportunity for exploration as well as intensive study. The proposed project is an educational building for Pratt Institute to blend the design disciplines of Fashion and Architecture. The project is an interdisciplinary educational building for Pratt Institute, relocated to Greenwich Village. Architecture and Fashion are mixed into one building to create an environment that promotes broader horizons. It was also a way for exploring the design practices of both in a single project. The purpose of the collage set is to serve as sketch models for the selected parallels between fashion and architecture. These were paired with 3D sketch models that addressed these terms in relation to the building site. Each collage blends images that reference the disciplines, artists, and site information, in an early step to inspire design. Other early expressions of the joining of two disciplines were modeled through Rhino and by using semi-rigid, nonfabric materials to piece together patterns.
balance
[24]
core
datum
structure
The final plans for the CAP design are AutoCAD drawings and images that are collaged and rendered to express materiality and functionality of spaces. Using the collage technique through out this project was a way to create uniformity in representation as well as explore the outcome of blending the two different design tools. For the wall sections, the exploration in mixing ideas of fashion and architecture is seen again through collage. Though the site sections have a more graphic rendering, the wall section tries to draw out the parallels a bit more subtly, with shadows of the skeleton and dressed body.
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The digital model was a way to learn a new rendering program as well as show the express the rigid and fragile nature of the design.
‘Fashion is thought of as ephemeral and superficial, using soft, sometimes fragile, materials, whereas architecture is considered monumental and permanent, using rigid highly durable materials.’ - Skin + Bones: parallel practices in fashion and architecture
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Sarah.Robinson . sjrobinson
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4265 cleveland avenue, apt 2 east saint louis, missouri 63110
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