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William Tanner Georgia Institute of Technology Portfolio
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Table of Contents 1 - You’ve Got Mail! (It’s a House)
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Summer 2023
2 - Edgewood Avenue Bicycle Condominium
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3 - Time is a Veil: Architecture as Experience
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4 - Deep Decoration: Structure as Ornament
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Summer 2022
Spring 2022
Fall 2021
5 - Analysis of the Hinman Building
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Fall 2020
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You’ve Got Mail! (It’s a House)
2 You’ve Got Mail!
Design Studio VI | Summer 2023 | Instructor: Andrew Bruno
This project began with a case study of a house from the Sear’s Catalog or the Architect’s Small House Service Bureau. Here shown is ASHSB 6-B-30 (Figures 1-5). Studio members then used the original plans to collage together 5 plans in specific organizational patterns. After creating 3 potential programs, rough mockups for these were created by collaging together the kit house plans created by the studio members. After choosing one for the rest of the studio, changes were made, and second floors were added using the plans above the collage pieces of the first floor and modifications were made to make a final cohesive product. This hybrid house allows for five chefs to live independently of each other but work collectively at a café connected to their residences and a community garden used to grow ingredients for recipes. The menu would be essentially changing with some consistent options, allowing for options for “regulars” to get each time they visit, as well as a rotating range of items depending on the primary chef cooking, the food being grown in the garden, and customer tastes. The café is bounded by porches on two sides, which invite guests in and can blend into the indoor café space by opening the large accordion doors to enlarge the dining area. The kitchen is readily visible to guests so they can watch their food being prepared and making it easier for the chefs to offer cooking classes. The chefs have an apartment with living, dining, and kitchen space for individual privacy. Each chef ’s bedroom is on the second floor, accessed by a private staircase. In collaging the pieces of the different kit house plans, only the first floor was created this way. Minor adjustments were made to this plan from the original when moving into three dimensions, such as removing walls to eliminate unnecessary hallways or filling in windows and doors that were unnecessary or detrimental. The second floors were made using the spaces above the first-floor collage pieces in their original kit houses, adjusting many of the walls to make adequate spaces for a bedroom, bathroom, and closet for each unit.
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Figure 1 - First, Second, and Roof Plan of 6-B-30. Figure 2 - Exterior Axonometric of 6-B-30. Figure 3 - Lateral Section of 6-B-30. Figure 4 - Courtyard Collage. Figure 5 - Enfilade Collage. Figure 6 - Cluster Collage. Figure 7 - Cruciform Collage. Figure 8 - Grid Collage. Figure 9 - Plan for Multigenerational home with an art gallery program. Figure 10 - Plan for 4 individuals living indepentelly among a botanical garden program. Figure 11 - Initial plan for 5 chefs living independently with a café and community garden program.
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4 You’ve Got Mail!
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Figure 12 - Second Floor Plan for the final hybrid house devised from the level above those pieces collaged into the first floor plan. Figure 13 - First Floor Plan. The Café is in the center with porches on both sides while the community garden takes up several exterior spaces around the building. Figure 14 - Roof Plan. Figure 15 - Final Isometric of the hybrid house. The final version utilizes the upstairs floors of the original first floor pieces, but smooths out the roofs and makes them more cohesive with each other. Figure 16 - Section cut facing North highlighting the vaulted ceiling of the café and the basement space. Figure 17 - Section cut facing West highlighting the high-ceilinged café and the dual porches on either side.
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Figure 24 Figure 15 - Circulation diagram of the hybrid house. The café serves as the focal point of the complex, but all residences have additional entrances not through the collective space. Figure 16 - Exterior perspective from the Southeast. Figure 17 - Interior perspective of the café looking from the dining space through the archway into the kitchen. Figure 18 - Physical model from the South. Figure 19 - Physical model from the Southwest. Figure 20 - Physical model from the North. Figure 21 - Detail shot of the largest exterior courtyard in the physical model. Figure 22 - Detail shot of the west exterior courtyard in the physical model. Figure 23 - Physical model from the East. Figure 24 - Detail shot of the physical model. Figure 25 - The first floor plan of the physical model. The second floor and roof can be removed to see both plans.
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Edgewood Avenue Bicycle Condominium
8 Edgewood Condominium
Design Studio IV | Summer 2022 | Instructor: Keith Kaseman
This project’s task was to design an apartment building whose residents utilized bicycles and other non-motorized forms of transport, which also had at least one ammenity that could be used by the general public. This apartment complex contains an overwhelming majority of studio and onebedroom apartments in order to be contrary to the current trend of luxury apartment construction in the city of Atlanta. A bike ramp corkscrews up the building with an interior side for residents and exterior side for visitors, ascending all the way to the tiered park on the roof with an incredible view of downtown and midtown Atlanta. The event room and exterior plaza are intended for resident and community use for things like gatherings, live music, demonstrations, or other such social events. The diamond colorscheme of the “undercarriage” and the ramps shows one way in which the building could provide an artistic avenue for residents and could easily be replaced with paintings by local artists. The structure of the building utilizes diamond trusses that also provide windows for many of the rooms, the openings changin in size to allow for privacy for certain spaces inside.
This project used Augmented Reality headsets in order to scan the site digitally into Rhino and in presentations where the digital Rhino and Grasshopper model was overlayed over a phyiscial model made collectively by the studio.
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Figure 1 - A diagram of the different apartment types in the building: Dark Purple is a Studio, Lavender is a One-Bedroom, Blue is a Twobedroom and Tan is a Three-bedroom. Figure 2 - An aerial rendering of the building facing northwest. Figure 3 - A step-by-step diagram showing the formal creation of the apartment building. Figure 4 - A circulation diagram of the building divided between interior on the left and exterior on the right. Tan indicates hallways, Dark Purple indicates elevators and stairs, Lavender indicates the public bike ramp, and blue indicates the private bike ramp.
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10 Edgewood Condominium
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Figure 5 - The Floor Plans for floors 1 through 10. Bike cages on every floor serve as resident parking along the corkscrew ramp. Residents can choose to store their bikes here or in bike parking on the first floor. Most of the apartments are studios and one-bedrooms with larger two- and three- bedroom apartments on floors 10 and 11. The Roof Garden, which begins on level 10, is accessible via the ramp and the elevator. The roof garden and event spaces are open to residents and the public. Figure 6 - A perspective section of the buildng highlighting the undercarriage, the Beltline under the building, and the rooftop public park. Figure 7 - A photograph of the AR model over the physical model viewed from the Northeast. Figure 8 - A photograph of the AR model over the physical model viewed from the southeast.
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Figure 9 - The Floor Plans for the eleventh floor and the roof. This level only has two threebedroom apartments which open out onto the tiered roof park. The downtown and midtown skylines appear to the north west of the park. Figure 10 - A rendering showing one of the private ramps as it passes through the “undercarriage.” Figure 11 - A rendering of “the undercarriage” of the apartment viewing the Front Plaza from across Edgewood Avenue. Figure 12 - A rendering of the inside of the resident’s private ramp with the bike cage to the right. Figure 13 - A rendering showing the tiered public park on the roof of the building. Bikes would not likely be navigated up these ramps. Figure 14 - A rendering showing the Beltline view of the building coming north from Old Fourth Ward and Krog Street Market.
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Time is a Veil: Architecture as Experience Design Studio III | Spring 2022 | Instructor: Megan McDonough
14 Time is a Veil
This proposal is for a seed bank, a facility which collects, grows, loans, and stores seeds in order to maintain certain genetic breeds of plants, in Sweetwater Creek State Park in Douglasville, GA. The project is primarily organized around two programmatic nodes, a research node and an exhibition node, that are separated by floor and connected horizontally and vertically by the garden in between. The garden has functions belonging to both nodes, and is aligned with the ruins of a nineteenth century, connecting the future to the past. A path through the building takes the visitor past modern labs and down into exhibition spaces which help describe the facility’s connection to its site’s history. This is physically represented by the translucent scrim wall which divides the space from the creek viewing area in which visitors can see the creek that once followed the Amerindian path north to New Echota. The building’s mass timber structure is an old material used in a modern way and further connects the time periods.
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Figure 1 - A Parti Diagram of the Seed Bank Project where the courtyard is created by slicing the into cylinders and lowering them. Figure 2 - An exploded axonometric of the building’s lower section highlighting structure, water collection on the roof, and the scrim wall. Figure 3 - A vignette of the transition around the scrim wall in the evening. Figure 4 - Site Plan of the Seed Bank.
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Figure 5 - The Lobby Floor Plan. This is the highest level in the building where the main entrance is. Figure 6 - The Mezzanine Floor Plan. This level is just under the lobby level and is where most of the exhibition space is. Figure 7 - The Ground Floor Plan. This level is inaccessible to visitors, but has golf cart access for resident researchers. The seed storage spaces are also on this level. Figure 8 - A Perspective Section passing through the courtyard facing northeast. This section is a combination of two slightly different angles that meet at the white line.
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Figure 9 - A Section passing through the courtyard facing southwest. This section is a combination of two slightly different angles that meet at the white line. Figure 10 - A Section passing through the main staircase and scrim wall facing northeast. Figure 11 - The first of a series of vignettes following the visitor experience. The visitor stands in the lobby near the lab viewing area looking toward the main stairs. Figure 12 - The second vignette. The visitor travels down the stairs and is met by the column that begins the scrim wall. angles that meet at the white line. Figure 13 - The third vignette. The visitor enters the exhibition space, seeing distorted images and light from behind the scrim wall. Figure 14 - The fourth vignette. The visitor prepares to round the scrim wall, crossing between distortion and clarity. This vignette is in the early afternoon, a twin to Figure 3. Figure 15 - The fifth and final vignette. The visitor rounds the scrim wall into the creek viewing area, the scrim distorts the exhibition space to the right.
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Deep Decoration: Structure as Ornament Design Studio II | Fall 2021 | Instructor: Hayri DÖrtdivanlioğlu | Partner: Mason Belleza
20 Deep Decoration
For this proposal for a design research academy in Northeast San Francisco, the studio was divided between a research and a design portion. The studio focused on how to fuse ornament and structure to where the ornament cannot be removed and leave a standing building. Taking a page from the Book of Kells, we extracted the Celtic knotwork, anaylyzing, diagramming, reworking, and emulating it to create a series of screens which could could be used as a building’s structure. Using a series of smaller “pull-down” screens and knots to connect the larger screens, we created a frame in which to insert the program. This program fit nicely between the screens, flowing around and through them and the undulating atrium space that defines the building’s core.
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Figure 1 - The page from the Book of Kells and the pieces of knotwork we analyzed highlighted on the right. Figure 2 - A small selection of the knot analysis from the border sections. Figure 3 - Connection tree of the basic figures found in Celtic knotwork. Figure 4 - One of the knots created based on the analysis. From dots to overlapping ropes. Figure 5 - Full screens and variations of our original knots. Figure 6 - A matrix of related knotwork screens. Figure 7 - Physical model studies to understand the ways these screens could interact. Figure 8 - A breakdown and reordering of the programatic components. Figure 3
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Figure 9 - Process models testing unchanging, flowing, and undulating atriums. Figure 10 - Synthesizing the models in figure 9, this model is closer to what the program and site demand, but not yet fitting. Figure 11 - Initial injection of the program into an exploded axon of the model in Figure 10. Figure 12 - Viewshed and Sun diagrams of the site. Created by Nodoka Shimizu, Reigna Iheme, Shaina Lofton, and Giselle Benitez. Figure 13 - Diagram showing the creation of the “pull-down” screens seen on the front and back façades. Figure 14 - The final spatial arrangement by floor with circulation outlined in red.
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Figure 15 - Site plan highlighting the connections to surrounding buildings. Figure 16 - Perspective section facing Southeast showing the different ceiling heights and atrium edge. Section A. Figure 17 - Diagram showing the pushing and pulling of the center two screens in creating the atrium. Figure 18 - Floor plans for levels two through nine, highlighting the character of the atrium space.
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Figure 19 - Exploded axonometric of the screens and their connections. Figure 20 - Diagram showing the creation of the atrium and the spanning bridges. Figure 21 - Front exterior elevation rendering showing the “pull-down” screens. Figure 22 - Exterior night rendering highlighting the openings to views. Figure 23 - Southwest perspective section showing the undulating atrium, stairs, and spanning bridges. Section B. Figure 24 - Ninth floor rendering looking down at people traversing the atrium. Figure 25 - Rendering of the second level looking down the main stairs to the first level reception area. Figure 26 - Fifth level rendering looking up the atrium-spanning bridge. Figure 27 - Second level rendering showing the auditorium which can be reconfigured for other uses. Figure 28 - An exploded axon showing a very rough circulation of the building. Spaces blend together to where most of these arrows won’t be followed exactly.
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Analysis of the Hinman Building Foundation Studio | Fall 2020 | Instructor: Yousef Bushehri
28 Hinman Analysis
This project’s objective was to introduce field sketching and use it to analyze a building on Georgia Tech’s campus. These free-hand diagrams are of the Hinman Research Building— part of the College of Design at Georgia Tech. These diagrams are proportional and not to any particular scale. All plan views were to be assumed oriented with north up. The front, the west side, opens onto a path that connects it to the other college of design buildings and the library. The back, the east side, is where the courtyard is— a closed-off, quiet space
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where architecture students can relax. There is also a space known as the hammock in the central room, which is a suspended platform on level with the upper floor that is used for multiple purposes. It is visible in the section and many of the floor plan views. The diagrams are all purely abstract proportional representations intended to show a particular idea. Many of these highlight the large center room which has a huge array of windows higher on the walls that let in enormous amounts of light.
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Figure 1 - A free-hand floor plan sketch of the Hinman Building. Figure 2 - A massing diagram of the Hinman Building’s East façade. Figure 3 - A circulation diagram of the Hinman Building’s upper floor. Figure 4 - A natural light diagram of the Hinman Building. Figure 5 - A hierarchy diagram of the Hinman Building’s lower floor. Figure 6 - A section of the Hinman Building facing north. Figure 7 - A figure ground diagram of the Hinman Building and its surrounding context.
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