S E L E C T E D S E A N
W O R K S
S P I L L A N E
.
C
7
19
31
39
45
51
55
59
63
O
N
T
E
N
T
S
4 //
ABITARE MARRAKECH Marrakech, Morocco Spring 2014 - Atelier Aires Mateus
Spillane // 5
ABITARE MARRAKECH Marrakech, Morocco To live in Marrakech is to live in a constant state of transition between one’s public and private identities. This notion is especially true for those whose occupations require them to make the transition from home to work consistently throughout the day. Muslim’s are called five times, daily, to pray at the local mosque with the Imam leading the congregation in prayer. The house is designed with this dual-identity in mind, creating spaces of both movement
6 //
and pause. Moments of transition are manifested as architectural elements that shape and mold the resulting spaces throughout the house.
Ground Floor
Second Floor
Third Floor
Spillane // 7
D
The concept of transition is manifested architecturally through a succession of massive concrete walls dividing the plot. Each space is perceived uniquely suspended between these walls. A shift in the floorplane, between these structures, allows for the admittance of natural light through the resulting voids. The atmosphere of the house is introspective, with diffuse light entering into rooms through the side-walls.
C C
B
A
A
Section A-A
8 //
Section B-B
D
B
Section C-C
Spillane // 9
10 //
Garden space below house.
Spillane // 11
Massive concrete walls not only delineate space, but host the service and circulation functions of the house. Circulation spaces are narrow and compress the occupant as he moves between lighter and more open spaces. Beneath the house is a large garden with spaces open to the sky. The garden yields an opportunity to see the walls in succession with one another, culminating in an experience of the whole of the architecture.
Section D-D
12 //
Spillane // 13
1 : 20 Scale Concrete Model
14 //
Entry/anteroom [TOP] Private bedroom [BOTTOM]
Spillane // 15
16 //
1 HOUSE 7 HOUSES Brussels, Belgium Fall 2013 - Atelier De Vylder-Vinck-Taillieu
Spillane // 17
1 HOUSE 7 HOUSES Brussels, Belgium What can context, and only context, do? Seven different contexts within the city of Brussels are explored through the same program, a single-family home. Each house explores the narrative of both a typology and the site, becoming an active artefact in that story. The seven typologies explored in this project are; Pavilion House (1), Row House (2), Train House (3), Garden House (4), Forest House (5), Villa House (6), and Summer House (7).
[1] Pavilion House
18 //
[2] Row House
[3] Train House
[4] Garden House
[5] Forest House
[6] Villa House
[7] Summer House
Spillane // 19
TRAIN HOUSE Intersecting and slicing Brussels’ urban fabric are the elevated train tracks connecting the city to the country at large. The introduction of this new form of transportation created a unique situation for many residential areas in Brussels. Triangular plots create the void between the tracks and other homes. The train house embraces this geometry, creating space by mirroring the triangular plot back into the street to create space. These extrusions reach out over the street to capture distinct views ultimately spanning over the tracks, themselves.
View from street. [TOP] Developmental sketches. [BOTTOM]
20 //
Collage site/house plans and section.
Spillane // 21
PAVILION HOUSE The Pavilion House is found in a plaza between a cathedral and the Royal Gardens. A conflict of interest can be noted between the public space -the cathedral and the private space - the gardens. Joining these two entities, the house, creates both public and private conditions in the space between the cathedral and the gardens. The house exists below a set of stairs, an invitation to a shared space between the occupant and the public. A balance is achieved within the space, providing a refuge for more intimate interactions away from the public eye.
View from cathedral towards gardens. [BOTTOM] Developmental sketches. [TOP RIGHT]
22 //
Plan and section looking towards cathedral.
Spillane // 23
ROW HOUSE The Row House is found within a re-used city block, converted from individual homes to a single multi-use building. The facade remains as the only reminder of the house that existed before. The Row House activates this narrative by calling into question the possession of the facade; does it belong to the building or to the street? Space is created by pushing and pulling the facade, further complimenting the narrative. The spaces are designed from the outside-in, utilizing formal characteristics of the facade to indicate appropriate use and atmosphere.
Developmental sketches. [LEFT] Row House plans. [RIGHT]
24 //
Section through entry-stair and bedrooms.
Spillane // 25
Corner extrusion - brick screen detail. [LEFT] Facade extrusion detail. [RIGHT]
26 //
Newly extruded facade.
Spillane // 27
28 //
WATERSHED OBSERVATORY Radford, Virginia Fall 2012
Spillane // 29
WATERSHED OBSERVATORY Radford, Virginia Focusing on the ideas of context and program, the Watershed Observatory explores the balance of man-made intervention and natural site conditions within Radford, Virginia. Sited in a flood plain, the architecture embraces the imminence of floods through a structure that both braces and seemingly floats above the rising waters, creating two distinct qualities space. The formal qualities of the plan and the facade are derived from active grids on the site. Three grids, originating from the surrounding neighborhood, industrial facility, and river, meet informing the faceted structure that floats above the bracing concrete structure.
Overall site plan. [TOP] Progressive site flood diagrams. [BOTTOM]
30 //
1. Rain room 2. Gallery 3. Studio 4. Residential apartments 5. Library of Water 6. Residential kitchen/living
3
4
1
2
N
0 1ʼ 2ʼ
5ʼ
10ʼ
20ʼ
6
5
N
01 ʼ2 ʼ5
ʼ
10ʼ2
0ʼ
Main Floor Plan [TOP] Ground Floor Plan [BOTTOM]
Spillane // 31
The Watershed Observatory establishes a dual relationship within the architecture suspended between instances of both heaviness and lightness. This dynamism is further noted in the crystalline facade which delicately allows for new vantage points to be seen and atmospheres to be experienced.
A
A
It is within this balance that the architecture connects to the concept of water. The architecture, like water, shifts between different states and forms while constantly maintaining a connection to its origin.
0
Section A - A
32 //
1始
2始
5始
10始
Section through apartment.
Spillane // 33
Interior view from apartment.
34 //
Overall model photo. [TOP] Facade model. [BOTTOM]
Spillane // 35
36 //
PAVILION Blacksburg, Virginia Fall 2011
Spillane // 37
PAVILION Blacksburg, Virginia Following a comprehensive analysis of College Avenue in downtown Blacksburg, Virginia it became apparent that the street was treated as a space primarily for transportation rather than an occupyable space. The need for a place of rest and gathering brought into being the design for the pavilion on College Avenue. The form of the pavilion was derived from an observation of people’s movement within the site. Circulation patterns were translated into a series of inward and outward folds that gave form and structure to the pavilion. The folded module took on the role of both ground, wall, and roof challenging the nature of each element.
Structural folding diagram from circulation patterns. [TOP] Study models. [BOTTOM]
38 //
3
4 1
2
1. Stage/public gathering space 2. Benches/bus stop 3. Benches
5
4. Topographic roof 5. Topographic roof
Spillane // 39
Section A - A
40 //
Burrowing into the hillside along College Avenue, the pavilion invited people to take a step back from their busy lives and enjoy the life of the street. The stage, seating, and occupyable roof offer three distinct and flexible ways in which the space can be utilized.
A
A
The roof extends the hillside into the street, while the residual space below creates an extension of the street, itself. It facets encourage people to sit, stand, and play within the dynamic structure.
Spillane // 41
42 //
BATH HOUSE Eggleston, Virginia Spring 2012
Spillane // 43
Section A - A
44 //
A
Atmosphere and environment are two key elements within architecture. The bath house was developed as an architecture of experience, incorporating these two concepts. The undulating form of the bath house was drawn directly from the surrounding New River, embodying its context rather than creating an opposing force.
A
BATH HOUSE Eggleston, Virginia
View from cold pool.
Spillane // 45
A rectilinear block was utilized as the control for the overall structure. Walls constructed of these units undulate inwards and outwards to inform zones of various activity. The threshold between these spaces is marked by a distinct shift between compressive and expansive moments. Voids within the wall attenuate light establishing an introspective atmosphere. Program is a function of the spaces created between these walls.
46 //
Spillane // 47
48 //
INFINITE BRIDGE Newport News, Virginia Fall 2014 - VSAIA Prize University Finalist
Spillane // 49
INFINITE BRIDGE Newport News, Virginia VSAIA Prize - University Finalist As part of a 48-hour student design competition, the infinite bridge was an exploration of the numerous possibilities that may occur between two given points. The bridge is a sprawling composition of hexagonal fragments that join to stitch together the opposing points. The joint between each of these hexagonal cells provides space for circulation, while the resulting voids establish enclosures for public activity. Each cell is experienced individually, yet is inescapably connected with the whole.
50 //
“INFINITE STITCH Between ‘A’ and ‘B’ there is ‘C,’ ‘D,’ ‘E,’ and so on. Two brothers lived in the same city divided by the interstate. They traveled, with frequency, from one side of the city to the other in hopes of seeing one another. Then came the bridge... While crossing the divide, one would spot the other from a great distance. The distance seemed far, almost infinite. When trying to reach one another, they often had over-stepped of lost track of their way. They would meander with ease, however, knowing they would meet at the place they shared. The sculpture they bonded over in their youth hung suspended within the enclosure. The space is their own, one of many space of public intimacy.”
Spillane // 51
52 //
BLOCK OUT Burchard Plaza, Virginia Tech Spring 2013 - 1st Place Entry
Spillane // 53
BLOCK OUT Burchard Plaza, Virginia Tech 1st Place Entry - in collaboration with Andrew Economou and Erika Fields.
Teams of students were invited to participate in a week-long design competition utilizing a palate of various CMU blocks. Through collaborative play a mode of construction was developed for the structure. The CMU blocks shift backand-forth while providing stability to each unit individually. Textures of light and dark alternate to create the whole composition with the structure reaching from the ground to the sky.
View towards Hancock Hall [LEFT] CMU connection/light detail [BOTTOM RIGHT] Construction diagram [TOP RIGHT]
54 //
View towards Burruss Hall
Spillane // 55
56 //
INSTALLATION Cowgill Hall, Virginia Tech
Spillane // 57
INSTALLATION Cowgill Hall, Virginia Tech
A1 A1 A1
x4 x4 xx 4
A1
4
In collaboration with Mattie Catherman and Alex Kurek.
Through a collaborative design process, this installation sought to disassociate the generic plastic bag from all preconceptions focusing solely on the potential of the material, itself. These explorations not only revealed the potential of the given material, but also provoked questions of fabrication and assembly.
1 1 11
3 3 33
2 2 2 2
4 44 4
stack 4 plastic bags on top of each other ensuring best alignment of text.
Each team developed a method for the construction and installation of the work, taking shape as graphic construction documents. Heat, introduced through a clothing iron, was used as the primary joint between the sheets of plastic. T
T
stackbags 4 plastic bags on topother of each other best ensuring best alignment of text. stack 4 plastic on top of each alignment of text. stack 4 plastic bags on ensuring top of each other ensuring best alignment of text.
A3 A3 T U
U
U T
T
T
T
11
T
T
T U U
T
U U
T U U
1 22
T U T
x4 U T
T
U
U
U U
T
T U
U T
T
U U
T
U
x4
T
T
T U
1
T
T
U
x4
T
1
T U U
U
T
The completed installation translated the plastic bag into a textural field with varying opacities and qualities of light.
U
T
T
U
U
U U
T
T
T
U
T
U
U
U
A1
T TT
U T
U U U
T
T U
U
T
T U
U
212 1 33 2 321 3
2444332
4
343 4
trim stack according to the cutting template. trim stack of plastic bags to thebags cutting template. trim according stack of plastic trimaccording stack of plastic to the bags cutting according template. to of theplastic cuttingbags template. trim stack of plastic bags according to the cutting template. once pass the stack ofplastic bagsofto“thank person who isplastic in charge of laying out the plastic “thank you” pieces. once complete pass on thecomplete stack of bags person whoofisbags in charge of stack laying out plastic “thank you” pieces. once pass to on once the complete stack pass toonperson the whocomplete ofis bags inthe charge to person ofon laying who out is inthe charge laying you” out the pieces. “thank you” pieces. once complete pass on the stack of bags to person who is in charge of laying out the plastic “thank you” pieces.
Graphic construction/installation instructions stack 4 plastic bags on top of each other stackensuring 4 plastic best bagsalignment on top of of each text. other stackensuring 4 plastic best bagsalignment on top of of each text.other ensuring best alignment of text.
58 //
A3
A3
T
T
U U
A3
44
U
A1
B6
1
3
2
B001
4
B003 B004
repeat steps shown on pages B3- B5 (as depicted above) ensuring that proper alignment is maintained. continue until you have laid 10 layers (1 x C001 = 1 layer or 2 bags) of “thank you� pieces (20 bags) filling your moveable ironing base.
B002
*once you have filled your ironing board, pass the laid out bags off to the person operating the iron to properly bond the pieces together.
M001 BNR1
M001
M001
C2
just as you would lay out a new layer of bags, join the modules by laying one module on top of the other ensuring proper alignment of text. iron the modules together and be sure to lay trace on top of the bags while ironing. also be sure to flip the pieces over to iron both sides of the banner.
Completed installation
Spillane // 59
60 //
OTHER EXPLORATIONS Scenography/sketches/objects
Spillane // 61
ENDGAME Samuel Beckett - Scenography An invalid, his father, his mother, and his servant are the primary characters in the play, Endgame, by Samuel Beckett. Rooted in existentialism, the scenic design was designed to be an active character in the plot. A collage of mirrors lined the walls of the single room set, reflecting fragments of each character’s actions. In terms of existentialism, a person’s worth is measured in his ability to make decisions and take action; the characters in Endgame, however, remain idle. Their in-action is reflected back upon them allowing the audience to see what confines the character’s to that space is not the walls, but themselves.
62 //
HAMM : [Groping for wall.] It’s a lie! Why do you lie to me? CLOV : [Bearing closer to the wall.] There! There! HAMM : Stop! [Clov stops chair close to back wall. Hamm lays his hand against wall.] Old wall! [Pause] Beyond is the other hell. [Pause. Violently.] Closer! Closer! Up against!
Spillane // 63
PALIMPSEST CUBE Thesis Exercise palimpsest (noun) - something reused or altered but still bearing traces of its earlier form. When does a cube cease to be a cube? A wooden cube was cut into 24 identical pieces and re-ordered to explore the limits of a form’s threshold. Fragments of cubes are created, hinting at its previous life, but presenting themselves as singular and new forms. A new material is introduced to the composition to re-inform the cube and create a dialogue between the fragment and its original form.
64 //
Spillane // 65
Wall inlet - Blacksburg, VA - Charcoal.
66 //
Alley - Blacksburg, VA - Charcoal.
Spillane // 67
SEAN SPILLANE SEAN0211@VT.EDU