sarah v wilson architecture portfolio
statement of purpose Architecture is not simply one of the visual arts, but a link between man and purpose. Architecture may delight the senses, but it is a utility of function. I chose this field to combine my incessant need to create with my sense of duty to society. With each design I complete in the academic and professional setting, I cultivate my understanding of a form that promotes both function and feeling. Without both purpose and character, architecture is meaningless, and I believe my dual background in medicine and art assists me in achieving both of these qualities of design.
table of contents sanctuary
3
synchronize
15
living cycle
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galleria, cultural center
31
raise the roof
39
inside outside
45
resume
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- group project-
- group project-
- group project-
- award winner-
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sanctuary
project deliverables site analysis programming scheme vertical circulation schemes natural light scheme foundation and frame plans
purpose:
Fall 2013 Professor Bruhns -3-
Using the wooded lot on Clemson University’s campus, create a space of repose and reflection that takes into account the site, natural light, and programmatic stipulations.
program pre-function entry sanctuary fellowship hall circulation office janitorial restrooms x 2 ornamental stair, fire stair, and elevator
1800 sq ft 700 sq ft 1600 sq ft 800 sq ft 800 sq ft 70 sq ft 50 sq ft 100 sq ft (subjective)
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The site for the sanctuary is located on a forested lot near the edge of campus. Site analysis reveals a natural clearing near the center of the lot, with pre-existing footpaths diagonaaly through this clearing. Prevailing winds come from the southwest and southeast, and there is heavy traffic noise coming from the nearby intersections.
existing footpath
buildable site
sun path
major roads
view corridors
sound
prevailing winds
Sources of major site axes are the bordering roads, footpaths, access roads, view corridors, and major trees. -5-
major trees existing radii axes from radii axes from trees axes from view corridors
axes from existing paths axes from existing roads
natural
white
meandering
timeless
floating
clear light meditative quiet calm soft airy serene taupe
foo
tp ath
axes
ing
view
gestural model
green
road
ex ist
Selecting the major footpath, road, and view axes, I began experimenting with angular plan arrangements and circulation. Exploration with geometric shape led to developing a winged gestural model, which pulled inspiration from Japanese shoji screens: designed with geometric patterns, these screens are light, transparent, and give the effect of floating.
axes
A sanctuary space needs to be calm and clear, in every sense of these words; Japanese architecture, particularly that of tea houses, fits this bill perfectly and was very inspirational. -6-
office 70 sq ft
restrooms (x2) 100 sq ft
entrance 700 sq ft
Keeping in mind these qualities of light, serene, and meandering, various progrommatic schemes with relative spacial sizes were developed. Particular attention was given to the circulation and transitional spaces. The chosen plan exploits the use of exterior pre-function space and interior circulation to slow the progression of occupants and mentally prepare them for a space of sanctuary.
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circulation 800 sq ft
fellowship hall 800 sq ft
programmatic plan
chosen plan
sanctuary 1600 sq ft
programmatic section
chosen section
pre function 1800 sq ft
As a part of the circulation, the ornamental stair is a pivotal piece. This stair furthers the concepts of lightness and meandering, using minimal supports, a circular motion, and plentiful natural light from above.
plan of stair 3/16 “ = 1’ scale
Particular attention was paid to construction codes and materiality. Using lightreflecting concrete and minimal steel supports, the stair appears to float and gives a sense of serenity while remaining a safe method of circulation.
section of stair 3/16“ = 1’ scale -8-
Natural light studies were performed with the proposal oriented on site. The first designs utilized entirely reflected and filtered light, attempting to create this calm and floating atmosphere. Testing this scheme proved that such a scheme provided insufficient light, and improvements were necessary.
early light diagram
A final lighting scheme continued use of northern, ambient light, but also used supplemental, controlled light from the south. The entrance area is diagrammed in the longitudinal section to the left.
refined light diagrams
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To the right is a transverse section of the sanctuary and fellowship hall. Each is structured with a series of concrete columns, above which light from the east and west is directed in from above. This makes the roof appear to float and provides ambient light to the spaces.
Combining the programmatic, stair, and light studies with the geometric shoji influences resulted in the final foundation and framing plans. Oriented along the existing footpath in the clearing, this sanctuary has minimal site impact and provides a meditative space even for those who want to simply pass through; and yet, it slows and calms all who walk through its spaces.
plan of proposal ground floor
plan of proposal top floor -10-
Geometric designs provide a sense of serenity and holism, as Japanese architects have understood for centuries. Geometric patterns give continuity to a space, and repeating exterior shapes on interior spaces helps orient occupants in the scheme. Furthermore, relative complexity of the geometry helps clue occupants into the relative importance of spaces.
Examining the north elevation reveals the use of symmetry and reflection to reveal the purpose of the spaces within. The roof lines of the entrance and sanctuary are reflections of each other, signifying the very different programs of each. The entrance roof reaches out and welcomes occupants, while the sanctuary roof lifts them spiritually.
north elevation
west elevation -11-
The geometry of the scheme also gives character to the scheme. As reflected in the earlier gestural model, the angles of the roof line lift the scheme from the ground and make it appear to float. Thus, rather than support it above the ground, the wide columns appear to anchor the winged roof to the ground. At the ground level, a courtyard surrounded by these anchors provides a sheltered area to congregate, much like the entrance courtyard. These too are geometrically organized, utilizing greenery to slow occupants and force them to meander to find their way. They are a transition from the outside world to this space of sanctuary, a way to slow down from the speed and pressures of life and prepare oneself for meditation. construction section, 3/32� = 1’
site section with east elevation -12-
The propsed scheme comes together in this physical model, built into the existing topography to show its relation to the sloped site. The structural system of the sanctuary is revealed to show material usage and the relation of the roof to the foundation.
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synchronize
Spring 2013 Professor Skinner -15-
purpose: Create a school house or a series of classrooms tailored to the needs of children with autism. Include provisions for light, sound, and proprioceptive sensitivities.
site: new Asheville Middle School Asheville, NC
program: classroom spaces dining area quiet spaces circulation storage teacher office outdoor classroom
project deliverables study of effects of autism floor plans lighting and circulation diagrams renderings
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Children with autism have sensitivies to visual stimuli, particularly from fluorescent lights. Natural, dispersed light is best.
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Audial sensitivity can also be problematic; proper sound insulation and sound absorbing panels should be used to minimize harsh noise.
Autistic children may have trouble with proprioception, or their bodies in relation to the environment. Slow spacial transitions are important.
As a yet unbuilt school, the new Asheville Middle School lends itself to a classroom addition. Additionally, as a school that will serve a large population, it has an opportunity to serve a number of children with autism.
technical
environmental
Occupying a wedge-shaped site between the main classroom building, media center, and cafeteria, students and faculty within the new classroom space will have access to all of these major spaces, including an outdoor classroom space.
social
existing site, 1� = 130’
As any academic space, this classroom space will focus on the technical, enviornmental, and social aspects, but serving specfic needs for autistic children.
technical
environmental
social
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The most important factor to this design is the use of natural light. Seeking to light the spaces primarily with natural light, lighting schemes were extensively explored. In this first scheme, sections of roof were raised at an angle to capture as much overhead sunlight as possible, tracing both the movement of the sun and the students through the classrooms.
location of students
light strategy diagrams
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9:00 am
11:00 am
3:00 pm
roof strategy diagram
Refining this scheme, as well as the program and organization of spaces, led to a final floorplan and day lighting scheme. Children with autism thrive with a steady daily routine; the organization of spaces caters to this idea, moving students around the building like clockwork. Moving wall panels allow teachers to shape spaces as necessary to direct attention and focus. To avoid rainfall drainage issues, the roof is only angled in one direction, and skylights are placed more purposefully to capture sunlight. The scheme does, however, continue to provide more light in more heavily used spaces according to the time of day.
9:00 am
chronological natural lighting diagram
circulation diagram
12:00 pm
3:00 pm
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B plan, 1/16” = 1’
A
N
1/16” = 1’
section, 1/16” = 1’
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section cut 3/16” scale
The programmatic scheme includes two general classroom spaces, a culinary classroom, a dining area, bathrooms, storage, and an outdoor classroom in the form of a garden. Additionally, there are small break-out rooms where a child can go to escape from sensory overload and calm themselves before rejoining the others.
In addition to the skylights, ribbon windows are located along the upper edge of each outward-facing wall, bringing in southern light above eye-level to spread ambient light to the spaces below.
The angled roof above the northernmost spaces brings in northern light through the skylights, which is then filtered and distributed through a semi-transparent ceiling. In the event of a cloudy day, incandescent lights placed into the walls shine supplemental artificial light upwards to prevent glare. lighting strategy
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Using materials such as carpet and fabric wall panels helps to control sound, as well as absorb light and prevent glare. Low ceilings provide additional sound control and create comfortable spaces.
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The garden provides a natural, relaxing environment that allows children to learn skills outside of the classroom, while also providing raw ingredients to be used in the culinary space next door.
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living cycle -group project-
living cycle
Spring 2013 Professor Skinner -25-
purpose: Create a new transportation system or path to encourage cycling, as well as cleaner methods of movement on and off Clemson University’s campus.
site: Clemson University, Clemson, and its bordering cities
project deliverables: study of local transportation services research of existing technologies plans and diagrams of proposal renderings of proposal on campus
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An initial analysis of a 6-mile path revealed the need to encourage bikeriding and provide safer paths for said bikes. Using the amount, length, and frequency of brake lights, I highlighted some of the problem areas near Clemson’s campus at various intersections. nd
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rt
a st
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d
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c
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A secondary analysis proved that heavy car polution, inconsistant and insufficient bike path provisions, and dangerous intersections are a problem for bike users, and these must be solved by our proposal.
map of Clemson University campus
Our group proposal was a series of bike path improvements and additions, each lined with an emissions-absorbing and protective wall. Research into available materials and chemical processes, performed by myself, provided the foundations for which we developed the pod-wall system.
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My main role in the group, in addition to initial site research, was research and development towards the individual pods. These were a combination of two systems: The first was the pod, coated with a membrane of titanium dioxide, which combines with nitrous oxides in car emissions to create nitric acid. If combined with calcium carbonate (also in the membrane), it produces water, calcium nitrate, and carbon dioxide. The second was the fern, which would absorb the water and carbon dioxide biproducts to produce oxygen. chemical reaction diagrams
4”
6”
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construction section
2’ O.C.
6”
The result of this porous membrane was to produce fresh oxygen for any pedestrian using the bike path, while simultaneously providing a wall of protection for those bikers.
Producing the membrane in 10’ spans makes it adaptable to any road, campus, and city. This could encourage increased bike usage and reduce emissions across the country.
According to our math, if the pod membranes were applied to the 14 million miles of highways in the US, CO2 emissions could be reduced by as much as 3 7 % .
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galleria: cultural center -group project-
Fall 2012 Professor Bruhns -31-
purpose: Design a new cultural center for the city of Genoa, Italy in the given site; use the term galleria to drive your scheme.
(galleria: a large arcade or court, sometimes with a glass roof, used for displaying artworks, as a passageway to shops or offices)
program: indoor theater (entrance, box office, circulation, bathrooms, coat closet, seating, stage, backstage) outdoor theater (seating, stage, backstage) indoor and outdoor art galleries gardens, new and preserved restaurant research library souvenier shop offices site: old gardens behind the Albergo, Genoa, Italy project deliverables: plans and site sections elevations hand-drawn renderings physical model
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Located in the old gardens of the Albergo (poor house) in Genoa, the site for the cultural center is rimmed with terracing on three sides, with a look-out point on its northern edge and the walls of the Albergo to the south. There are access points on the western and southern edges.
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ge
anc
hor c om
ple x
al
on
g
ed
bus stop
views onto site slope o f terrace s
One of the major stipulations was to preserve as much of the existing terracing as possible, as well as at least half of the existing gardens in the center of the site. This gave our group a driving idea for our scheme: to orient the program around the edges, building on top of the terracing, to preserve those central gardens. Using this idea, we organized the scheme into three parts: the indoor theater, the outdoor theater, and the tower, which comprised the majority of the remaining program pieces. Connecting these three anchors was the galleria, the long corridor from which stems larger spaces; to this, we assigned the dual use of art gallery and circulation space.
= anchors
N
My role in the group was to design the tower and the galleria. As the central anchor, the tower was a pivotal piece, and served as a hub to connect the two theaters, as well as the lower gardens with the upper street level.
Tower Plan 1:62.5
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The major entrances to the cultural center are aligned with the bus stop in front of the indoor theater and with the tower. This way, one may enter the tower to access the restaurant, shop, or offices without needed to pay for entrance to the gallery; if one did want to see the gallery, they could purchase entrance at the southern box office, where they could also buy tickets to both theaters. Each piece has handicap access, utilizing ramps and elevators where necessary. The indoor theater seats 600 individuals; the outdoor theater seats 1,100.
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site plan, 1� = 35’
This tranverse section reveals the vertical organization of the scheme. The galleria is divided into two purposes: the upper level serves as circulation between the three buildings, while the lower level serves as the art gallery. The tower floors increase in depth with each successive level in order to direct views down into the gardens; vertical circulation set to the sides for simplified movement and ease of orientation. 102.25
Gallery Detail Section 1:75
98.25
102.25 98.25
97.50
88.50 83.50
76.75
76.50
site section, 1� = 20 ‘
-36Tower Section 1:500
The galleria and tower are each ornamented in similar fashions, utilizing stained and clear glass, curved roofs, and travertine, a traditional Italian building material.
South Elevation, 3/64” = 1’
North Elevation, 3/64” = 1’
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The tower celebrates its horizontal qualities as much as its vertical; a series of ribbon windows crosses with vertical supports, bounded by the vertically spiralling staircases.
In addition to designing the tower and galleria, I also drew the hand renderings of our completed scheme. These renderings show the character of the scheme in a manner that plans and sections cannot. In this case, the renderings particularly show how the scheme relates to the existing terracing and the gardens below. Though each of the three individual pieces was largely designed by a different individual, continuity was important to the project; the rendering shows how we achieved such continuity through the use of common materials and roof styles.
The renderings also show a quality of historic continuity; we adopted characteristics of some of the historical pieces of architecture we visited during our semester abroad, as well as those of the contextual residential buildings. The cultural center is not simply a place to display the performing and visual arts, but also to continue the culture of the local architecture. This center is a continuity of the antique and the modern in the city of Genoa.
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raise the roof -group project-
Spring 2013 Professor Skinner -39-
purpose: Using a notable architect’s residence for inspiration, create an interactive model with a removable roof to serve as a collection box for the Upstate Homeless Coalition of South Carolina.
home: Alvar Aalto’s Summer Home in Muuratsalo, Finland (1953) project deliverables: analysis of house plans, sections of model physical model demonstrative photos
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Murratsalo Summer House plan , 1/32” = 1’
The house’s anchoring within the 53,650 sq meter site to a natural rocky platform provides an indirect geo-thermal passive system, and the topography and vegetation protect from air flows and possible floods. The main experimental areas Aalto mentioned were 1. experimenting with building without foundations 2. experimenting with free-form brick construction 3. experimenting with free-form structures 4. experimenting with solar heating
wind protection
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It seemed to my partner and I that the true roof to Aalto’s house was not made of shingles, but of leaves. The stone and trees surrounding the house form a protective shell around its walls, sheltering it from the wind and water. Given this, we decided it was the trees that were to become the removeable roof in our interactive model. We adapted the model of the foosball table, attaching stylized trees to rotating handles through a rounded double platform.
trees and handles, in plan
The key to uncovering the hidden house below is that people must work together to manipulate the trees: a handle on one side corresponds to a tree on the opposite side. There is a specific order that the trees must be moved in, and donors at the fundraiser must play with the model together if they are to discover the house within.
tree with handle, exploded
sections, 1/32� = 1’
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The name of the game is play, as it was for Aalto; just as he played with materials and patterns in the courtyard, so too must donors play with our deposit box of a model.
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My partner and I worked closely together on this project, using our shared ideas of what makes a home to help come up with our scheme. Individually, we each constructed part of the model and created some of the images; my primary contributions included the plan, sections, and this rendering of the Aalto house in Muuratsalo, as well as the physically modeled house and some of the trees. Together, we presented our work to the donors of the Upstate Homeless Coalition, in honor of Alvar Aalto and those most in need of a place to call home.
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inside outside
Summer 2013 Eddie DeRhodes DeRhodes Construction, L.L.C. -45-
purpose: Design a children’s playhouse within an 8’x8’x8’ volume to present at the NARI “Parade of Playhomes” at the Southern Ideal Home Show. Follow safety standards for youth occupants.
represented firm: DeRhodes Construction, L.L.C. Charlotte, NC project deliverables: perspectives, elevations necessary diagrams construction documents built playhouse
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8’ This design competition was a culmination of the construction principles I learned while at my internship at DeRhodes Construction, a general contracting firm. The design constraints were simple: to create a child’s playhouse within an 8’ cubic volume that was creative, original, but also safe. The final design would be constructed, transported, and sold at auction for charity.
To begin, Mr. DeRhodes gave me a few simple instructions: use a series of intersecting planes, keep it simple, and make it buildable. After that, the design was largely left up to me. I had a few goals of my own: maximize the space, make it fun, and win the architectural design award.
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8’
8’
8’
Given a child’s small stature, I realized I could have two levels of space within the given volume. Combining this idea with the concepts of intersecting planes and “keeping it simple” and “buildable”, I came up with a series of panels and parts. These included four walls, two floor plates, a stair, a slide, a planter, and the necessary safety bars. If I was going to maximize the space, this was how I could do it: providing as many ways to play as possible within the cubic volume. This was how I developed the title Inside-Outside: no matter what side a kid is on, there is something to play with. Once the basic panel shapes were determined, I had to devise a method of construction; I first designed a wedge-method of connection, then discovered a flat connection with bolts was easier. A summer at a contracting firm tought me how to simplify where you can. 6' 1/16" 2' 10 1/16"
4' 2" R 1/2"
4 1/16"
3' 7 1/8"
2' 9 5/8"
R 1/2"
2' 9 5/8"
3' 7 1/8" 2' 6 1/2"
65°
65°
R 1/2"
4 1/2" 4 1/2"
4 1/2"
4 1/2"
4' 13/16"
R 1"
R 1"
1' 11"
1' 9 3/16"
1' 11"
4' 8 1/2"
4' 10 1/2"
3' 11 15/16" 5' 2 5/16"
1' 3"
45° 1' 3"
65°
4' 10 1/2"
2"
1/4” = 1’
1 1/2" insertion 4' 5 3/8"
8'
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elevations
north
east
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The final design comprised multiple play methods as I’d hoped: climbing, sliding, swinging, digging, and crawling. Activity is important, but so is safety; the top level includes a child-safe railing height and spacing.
west
south
Designing the playhouse in a series of panels proved useful in the construction; each was constructed separately, then all were put together at the show. This was one of our selling points at the auction.
My design fulfilled all of my hopes: the kids loved it, it maximized the space, and most of all, it won the Best Architectural Design award. I was proud to represent DeRhodes Construction at this charity event; my internship there was an invaluable experience. -50-
education
Bachelor of Arts from Clemson University (anticipated May 2014) Enrolled in Calhoun Honors College Major: Architecture Minor: Entrepreneurship GPA: 3.97
work & research experience
Internship at DeRhodes Construction, L.L.C - General contractor firm - Summer 2013 in Charlotte, NC - Edited existing construction drawings, designed original residential additions - Represented firm at and won design competition Research into Mental Health Facilities - Fall semester 2013 - Assistance from FreemanWhite, Inc, international medical architecture firm Design-Build Project with Freedom By Design (AIAS) - Wheelchair ramp for family in Anderson, SC - Participated in design stage - Helped build foundation and post elements for ramp
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resume honors & awards -
Palmetto Fellow Scholarship Abney Foundation Scholarship Won group design competition at South Quad Conference, Fall 2012 Won Best Architectural Design award for NARI Parade of Playhomes design competition, Summer 2013
related skills
- Computer drafting, digital rendering and modeling - Hand-sketching, -rendering, and -modeling - Analytical, creative, and communicative skills
professional organizations & affiliations
- Member of AIAS and Freedom By Design - Member of Alpha Delta Lambda, Phi Kappa Phi, and Tau Sigma Delta
contact Sarah Wilson 4128 Birkshire Heights Fort Mill, SC 29708 (803) 984-0386 svwilso@g.clemson.edu
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