Serena Gardiner : Works by Serena Gardiner

serena gardiner works

architecture

b r oa d

s hif t

VERITCAL FOREST

INVERSION

wa ll ho us e

dex t er la ke b oat hous e

objects

t he b ox ex per im en t

r ef r a ct ion

f iat lux

obse r va tion s

c on ta c t

architecture

broad C u l v e r C i t y, C A The Broad Contemporary Art Museum, housing the collection and facilities for the Eli and Edythe Broad Art Foundation, embodies the playful and unexpected nature of the postmodern and pop art within. The building draws from the industrial and also glamorous movie studio roots of Culver City, which is situated centrally amongst the harmony and chaos of the greater Los Angeles area. The museum manifests as a simple rectilinear form on the exterior, while subtle pushes and pulls on the semi-translucent faรงade offer a hint of the unexpected within. Once inside, the user is confronted with a world of ephemeral boxes floating amongst a massive, multiuse public space. The suspended boxes house the immense collection and each one reveals a unique experience based on the art within. A library, lecture hall, outdoor plaza and commercial spaces additionally serve as vehicles for dynamically connecting the community and public to the ever changing art world, furthering the mission of the Broad Foundation. This studio was taught by Yo Hakomori and Kulapat Yantrasast of wHY Architecture based in Culver City.

Lo o k in g n o rt h e as t do w n C u lv e r B o u le v ard.

Physical modeling was integral to the development of the form and materiality of the building. The process models shown explored various relationships to the site, the tectonics of the outer skin, and programmatic relationships and composition within the overall building volume.

The development of the facade was a constant exercise in finding compositional balance of the interior spaces both during the day and at night. Due to the enclosures translucent qualities, the volumes within are barely noticeable in daylight, with the building sitting quietly in the surrounding urban landscape. At night however, the glowing masses and structure shine through, revealing the dynamic character of the museum and the art within.

The development of the plan evolved by unearthing compositional balance and proportion within the programmatic and site constraints. The relationship of solid to void was explored in a variety of mediums, unfolding a pattern which maximizes the aesthetic and experiential qualities of the spaces while maintaining the strict functional requirements of such a specialized museum.

Culver City S it e P lan

cafe

mu sh seu op m

res

tau

ran

e. ti

libr

ary

fou lob ndatio by n

uri

din

tran a r k i n stor sitiona g age l sec

loa

co ga -op ll er y

ing

r t

iev

cu e lv ho el

rec

in bl vd

cu lv er s d tu

gallery

daylight gallery

gallery open gallery

office photo studio

staging +prep

open to below

view gallery

vidio galleris

gallery

woodshop

T h ird F lo o r P lan

gallery gallery

storage/ future gallery

gallery

office

open to below

foundation offices

cloud gallery

overlook

research

F o u rt h F lo o r P la n

T h e m as s iv e in t e rio r pu blic s pac e le n ds it se l f t o a v arie t y o f u s e s .

Each gallery contains a dynamic experience related to the size, type, and overall essence of the works. Although each one is self-contained, the user is periodically given small glimpses back into the public realm, reinforcing oneâ&#x20AC;&#x2122;s sense of floating within the larger space.

C lo u d G alle r y

Ty pic al g alle r y

Lo o k in g do w n o n t h e O pe n G alle r y

V ie w G alle r y

The p r ima r y st ruct ural s ys t em - t rus s ed s t ee l f ram e s , s u s pe n de d f r a mes, a nd lat eral braci ng , encl o s ed by a d o u ble g las s f aรง ade .

The s eco ndar y s t ruct ural s ys t em â&#x20AC;&#x201C; po s t - t e n s io n e d c o n c re t e f lo o r plat e s , s t e e l column s uppo rt s , vert i cal co ncret e c o re s f o r c irc u lat io n an d m e c h an ic al.

Final massing model.

S u b t le d a ylight filter ing down thr ough the la r g e st o f th e flo a tin g g a lle r ie s.

s h i ft P o r t l a n d , OR At the collision of downtown Portlandâ&#x20AC;&#x2122;s two major grids and in the shadow of the cityâ&#x20AC;&#x2122;s tallest building, Shift is an economical thirty story mixed-use tower which serves as an icon and catalyst for community connections. The ground floor contains a local gallery, community arts co-op, subsidized retail space, and restaurants, all transforming a once drab parking lot into a lively continuation of the urban fabric. The upper tower offers office space and affordable low-income apartments ranging from 400 to 700 square feet. To enforce the dynamic energy of the city at this location, each level of the tower appears to shift and slide in relation to the grid and sight-lines, and is achieved by simply extending and receding the concrete slab at each level with minimal extra cost. Having a total of only four simple plans and floor plates varying in orientation, economy and structural efficiency are maintained while providing additional shading and offering outdoor space to those on upper levels. This project demonstrates the unique and dynamic qualities that an otherwise static building can take on when slight variations and patterns to the structure are explored.

0. 1. 2. 3. 4. 5. 6. 7. 8.

S t u dio 1 B e dro o m 2 B e dro o m M ain En t ran c e G alle r y R e s ide n t Lo bby R e s au ran t an d B ar K it c h e n R e t ail S pac e

1 1

1 1 2

W. Burnside St.

3 4

5 8 7

Br oa d

6th

Ave .

Pine

St.

In an era where affordable housing is in short supply, a serious issue affecting both architects and developers is how to create delightful and sustainable spaces without sacrificing efficiency and economy. This project explores the simple variations and patterns in a common building type that can result in beautiful and unexpected arrangements. By designing a simple floor plate consisting of small, efficient units, one unit per floor may

bath

bed

vertical forest

bath

kitchen

living living Ty pic al 1 be dro o m an d s t u dio lay o u t

be removed to give each level outdoor access and provide

almost any size building needed. A multitude of patterns may arise based on the location and height of the voids, adding

terrace

2br 2br

be applied in almost any climate, location, and extended to

Ty pic al u ppe r f lo o r plan

lounge

offices

dynamicism and organic beauty to the urban landscape.

laundry

janitor

lobby

entrance desk

G ro u n d f lo o r plan

conference

the simplicity and flexibility in the floor plan, this theory could

1br

studio

and create a vertical urban forest for all to enjoy. Because of

studio

allowing potential for trees, plants and gardens to flourish

2br

designed to allow for vegetative growth at these locations,

studio

community gathering space. Furthermore, the slabs can be

i n v e r s i o n To k y o / K y o t o / O s a k a , J a p a n In the dense metropolises of Japan exist numerous alley spaces that typically go unnoticed and often are deemed too narrow or small to be utilized. In a country where the demand for affordable housing is astronomical, this project explores the potential for ultra-narrow and minimal prefabricated dwellings that could be deployed in underused spaces. The new infill serves not as a

break but rather an inversion

of the urban fabric, emphasizing continuity, flow and connection between the solid and void rather than separation. The solution is a simple and flexible module based on an elongated â&#x20AC;&#x153;Câ&#x20AC;? shape which can interconnect in a variety of configurations. It is available in lengths and widths based on the typical tatami mat layout, with the interior arrangements drawing off of common Japanese dwelling patterns to create a meaningful space despite the confined size. The modules and cladding are assembled on a strong yet simple steel frame system, allowing the unit to begin at ground level or to be lifted so the street level space remains free for pedestrian traffic. As all of the components are repetitive, made from widely available materials and commodities, and allow for a multitude of arrangements, the resulting dwellings are efficient, inexpensive, and offer a temporary housing alternative for young professionals who wish for their own space within the dense cities of Japan.

Interco nnect i ng C -s hape co mpo s i t e m o du le Int eri o r fi ni s h panel s

Si de panel s fo r i nfi l l and en c lo s u re Pa nel and w Indo w s y s t em i nfi l l

St eel mom e n t f ram e

w a ll h o u s e

HATCH

Hatch, New Mexico Just outside of the rural farming town of Hatch, New Mexico lies a small, informal community of immigrant

PLACITAS LAGE HATCH VIL

and migrant workers. The impoverished residents face

LIMIT

a severe health and housing crisis that is accentuated by lack of common municipal services such as water,

DOS AVE NUE

of individual homes and properties, as well as overall

AVENUE CHONTE

UER

a methodology for deploying growth and expansion

MILAGRO REC

sewage and road maintenance. This project proposes

TEPACHE

STREET

community design and connectivity throughout El Milagro. By using a set of carefully oriented compressed earth walls as an initial framework, a family can build upon them incrementally and ultimately base their

personalization and expansion as new family members

or e corrid

move in or property is subdivided. Building upon these patterns encourages the growth of healthier and more pleasant dwellings, evolving family and community life so

RUSBAYO STREET

that ultimately residents may focus their energies on the bigger issues which affect them.

P ro po s e d c o m m u n it y s it e plan

Walking paths

future growth. This methodology allows for continual

d wildlif

while maximizing thermal mass and potential for

Proposed streets

Arroyo an

expansion on the formation of central courtyard spaces

community center

These models explored the multitude of various arrangements of a wall and itâ&#x20AC;&#x2122;s adjacent structures within a constrained site. This exercise revealed how these spatial patterns could potentially enhance social and community interaction and growth.

PARK PARK sleep

driveway

bath

kitchen

living

patio

private yard bath

sleep courtyard

patio

living

kitchen

bath

sleep

PARK

circulation

private yard

connection to street

road P o t e n t ial e x pan s io n s e qu e n c e o f o n e p r op e r t y

P o t e n t ial c o m m u n it y g ro w t h pat t e rn s in re s po n s e t o t h e la n d sc a p e

d e x t e r l a k e b o a th o u s e L owell, Or egon Situated on a narrow strip of land along Dexter Reservoir, thirty minutes outside of Eugene, the new boathouse for the University of Oregon Crew Team replaces the dilapidated shed that once served as their primary storage and gathering space. Gently embedded within the sloped landscape, the new complex is divided into two buildings which blend in amongst the forest. One serves as a community and team gathering space, while the other provides training and storage facilities. They are united by a central outdoor space that may be utilized for viewing regattas but also a variety of community gatherings. Both buildings are composed of heavy timber framing with an upward twisting roof that creates an outward sense of movement, accentuating both the physical and symbolic connection to the water. The dynamic structure generates a unique rhythm while letting light in to otherwise dark spaces, such as the boat storage rooms, and reinforcing a connection to the organic and natural beauty which surrounds it.

S it e p l a n

Boat h o u s e in t e rio r

E n t r y i n t e r i or

S e c t i on

object s

th e b o x e x p e r i m e n t The objective of The Box Experiment was to explore the dynamic nature of a typically static architectural component, The Wall, and to observe how people could potentially respond to its various spatial arrangements. By using a set of narrow boxes that were arranged initially in a public lobby, The Wall was able to shift, transform, and easily move within the space. Not only did people react to The Wall, but began to interact with and change it themselves. Over one week, The Wall constantly disintegrated and reassembled while completely altering the dynamics of the space. The experiment was a firsthand example of how spaces and objects normally considered static can be transformed when users are given the ability to physically interact with their environment.

r e f r a ct i o n E u g e n e , OR Refraction is a low-cost passive device that harnesses natural elements to create a dynamic space and provide visual stimulation to occupants. Designed to serve the occupants of the Moss St. Childrenâ&#x20AC;&#x2122;s Center in Eugene, it acts as a prism to refract light and create a spectrum on an adjacent surface. With collected rainwater acting as the medium, the spectrum constantly ripples and moves, and the reflecting surface underneath can be adjusted to aim the effect where desired. Even during the winter when direct sunlight cannot provide a full spectrum, the caustics from water movement are still visible. During the summer, if properly located, the device can also assist with evaporative cooling. Throughout the design process, 1â&#x20AC;? scale replicas were made of existing spaces to physically test and record the actual effects.

Int eri o r vie w

M o rn in g

M id- day

f i at

l u x

Fiat Lux (Let There Be Light) is a luminaire designed for the Science Library at the University of Oregon, or any other space where task lighting is required. Worked on as a group project, the design consists of three used hardcover books with the middles carved out for the appropriate hardware. Clear acrylic sheets are then inserted within the pages to channel light outward from as well as underneath. Lighting measurements

To p V ie w

were taken and calculated to ensure even and adequate lighting is provided. The result is a modern interpretation of illumination through learning, and giving otherwise neglected books a new purpose.

S e c t io n V ie w

100

120

140

75 65

65 55

55 45

45 35

35 25

P h o t o m e t ric c h art

obser vation s

fl a tt e n e d t i m e As one moves through a gallery or museum, there exists a peculiar relationship between the observer and the observed. Perception of time can fluctuate in correlation to proximity between the two. The closer one gets to a work of art, the slower they move and the more carefully they observe and reflect upon the subject. Their range of view also changes as they advance through a space. This project graphically explored these three dimensional relationships within a two dimensional medium mapping movement, views and time through a gallery space.

M ODE L ING The exploration of volume, composition, and materiality through physical modeling is a crucial and often pivotal component in my design process. I use modeling to continually inform my design, from the initial stages with abstract models, until the end with a fully developed massing, structural or detail model. I employ a variety of materials and textures in unique ways to best convey my ideas and develop a concept to its fullest potential.

drawing+ pa i n t i n g Through my art, I strive to convey fluidity, motion, with

and

rough

dynamicism, architectural

whether sketches

or a composed figure drawing or painting. My most developed mediums have

been

pencil

and

charcoal,

with an emphasis on human figures and portraits. I also possess skill in watercolor, oil and acrylic painting, with subject matter ranging from abstract to detailed architectural compositions and landscapes.

arc y lic

g raph it e

o il

w at e rc o lo r

L IG H T + T EX T URE The interaction of scale, shadow and texture in nature and the built environment supply my design process with informal precedents that I document through photography, video and sketching. The constant interplay of these elements reinforces my resolve to create spaces that come alive with movement, light and materiality.

vi d e o

ph o t o g r a p hs

contact Serena Gardiner 877 Yanâ&#x20AC;&#x2122;An Middle Road, Building 7 Shanghai, China 200031 phone +86 186 1621 3864 email serena.gardiner@gmail.com