Architecture Portfolio by Sierra Gardner

SIERRA GARDNER SELECTED WORKS

TABLE OF CONTENTS 01 THE VASE TECTONIC RESEARCH INSPIRED BY PETER ZUMTHOR BOSTON ARCHITECTURAL COLLEGE FALL 2020/ DESIGN TWO DURATION: 1 WEEK PAGES 1-4

02 APPLE CIDER BREWERY TECTONICS OF MEMORY THROUGH TRANSFORMATIVE DESIGN BOSTON ARCHITECTURAL COLLEGE FALL 2020/ DESIGN TWO DURATION: 13 WEEKS PAGES 5-10

03 UNHOUSE REDEFINING WHAT A HOME CAN BE THROUGH THE MANIPULATION OF A MATRIX. NEW YORK INSTITUTE OF TECHNOLOGY FALL 2018/ DESIGN ONE DURATION: 16 WEEKS PAGES 11-16

04 CULTURAL CENTER MEDIATING THE HARD-SCAPE OF THE CITY AND THE SOFT-SCAPE OF A PARK. NEW YORK INSTITUTE OF TECHNOLOGY SPRING 2019/ DESIGN TWO DURATION: 9 WEEKS

PAGES 17-20 05 THE SHELL A TRANSITION POINT BETWEEN PARK AND PERFORMANCE. NEW YORK INSTITUTE OF TECHNOLOGY SPRING 2019/ DESIGN TWO DURATION: 6 WEEKS

PAGES 21-22 06 SYMPHONIES BY THE BEACH A STUDIO SPACE FOR TWO MUSICIANS WHO SHARE A COMMON DISCIPLINE. NEW YORK INSTITUTE OF TECHNOLOGY FALL 2019/ PROJECT INTEGRATION DURATION: 16 WEEKS PAGES 23-28

01 THE VASE THROUGHOUT PETER ZUMTHOR’S WORK YOU CAN SEE THE LEVEL OF IMPORTANCE HE PLACES ON MATERIALITY AND DETAILS. IN THE READING OF, “THINKING ARCHITECTURE”, HE SPEAKS OF HIS HEAVY FOCUS ON THE EXPERIENCE OF ARCHITECTURE THROUGH THE LENSES OF CONSTRUCTION. HE EXPLAINS HOW CONSTRUCTION IS AN ART FORM. LIKE OTHER ART FORMS SUCH A MUSIC, ARCHITECTURE HOLDS NO VALUE UNTIL IT HAS COME TO LIFE. “MUSIC NEEDS TO BE PERFORMED. ARCHITECTURE NEEDS TO BE EXECUTED.” (ZUMTHOR, 58) THIS IDEA OF EXPERIENCING ARCHITECTURE, RATHER THAN JUST SEEING IT, CAN BE DEMONSTRATED THROUGH THE DESIGN AND CONSTRUCTION OF THE BRUDER KLAUS CHAPEL. AT FIRST APPROACH, YOU WOULD NOT EXPECT MUCH FROM THIS BUILDING BY JUST LOOKING AT THE RECTANGULAR EXTERIOR. HOWEVER, UPON ENTRY YOU ARE OVERWHELMED WITH THIS WARM, AND INTIMATE SPACE. ZUMTHOR VALUES CREATING AN ATMOSPHERE THROUGH HIS DESIGNS AND METICULOUS MATERIAL SELECTION.

“TO A LARGE DEGREE, THE QUALITY OF THE FINISHED OBJECT IS DETERMINED BY THE QUALITY OF THE JOINS.” - PETER ZUMTHOR

USING THIS AS MY INSPIRATION, IN MY COLLAGE I WANTED THE VIEWER TO FEEL AS IF HE/SHE IS IN THIS SPACE. I ALSO WANTED TO HIGHLIGHT HIS ATTENTION TO DETAIL. SHOWN YOU WILL SEE THE TREE TRUNKS THAT WERE SET AFLAME, THE LAYERS OF CONCRETE, MOLTEN LEAD FLOORS AND CHROMED STEEL TUBES.

USING THE NEGATIVE SPACE CREATED BY INVERTING AND MIRRORING THE BRUDER KLAUS CHAPEL FLOOR PLAN, I WAS ABLE TO CREATE THIS VASE AS MY BASE SHAPE. TAKING IT A STEP FURTHER, I ADDED IN THE TIMBER STACKING WALL DETAIL FROM THE SWISS SOUND BOX. I THEN CARVED OUT THE PROFILE OF THE PREVIOUSLY USED BRUDER KLAUS CHAPEL FLOOR PLAN, TO CREATE THIS ROUNDED CONSTRUCTION FRAMING SECTION. WITH FURTHER INVESTIGATION I WAS ABLE TO UNCOVER A THIRD LAYER OF INFORMATION AS I ATTEMPTED TO COMPLETE THE FULL FORM OF THE VASE.

ITERATION 01

FLOOR PLAN

TIMBER STACKING DETAIL

ITERATION 02

BRUDER KLAUS CHAPEL, GERMANY

SWISS SOUND BOX, GERMANY

PROCESS DIAGRAM

ITERATION 03

02 APPLE CIDER BREWERY MY GOAL IS TO DESIGN A BUILDING THAT CELEBRATES MISSION HILL’S PAST, EMBODIES THE PRESENT, AND CELEBRATES THE FUTURE. MISSION HILL IS A COMMUNITY IN TRANSITION, AND THE EFFECTS OF GENTRIFICATION HAS RESULTED IN THE DISPLACEMENT OF CURRENT LONGTIME RESIDENTS. BY PROVIDING RESIDENTS WITH A SPACE CATERED TO THEM, IT WILL SERVE AS A CONSTANT IN THE COMMUNITY AMID THESE CHANGES AND IN TURN RESTORE THEIR SENSE OF BELONGING. PRECEDENT STUDY: THE SHED, NYC DILLER SCOFIDIO + RENFRO

SITE MAP: 5 CALUMET ST, BOSTON, MA, 02120 MY IDEA WAS TO CREATE A MOVABLE ARCHITECTURE THAT COULD BE CUSTOMIZED TO THE NEEDS OF THE MISSION HILL RESIDENTS. CONFIGURATIONS COULD BE CREATED TO EXPAND OR CONDENSE EVENT SPACE. ALLOWING THE OCCUPANT TO HAVE A DIFFERENT EXPERIENCE VISUALLY AND SPATIALLY AT EVERY VISIT.

SKETCH 01

SKETCH 02

SKETCH 03

VIEW 01A

VIEW 02A

VIEW 03A

VIEW 01B

VIEW 02B

VIEW 03B

VIEW 01C

VIEW 02C

VIEW 03C

INTERIOR RENDER 01

SECOND FLOOR PLAN - CLOSED CONDITION

EXTERIOR RENDER 02

EXTERIOR RENDER 05

FIRST FLOOR PLAN - OPEN CONDITION

EXTERIOR RENDER 03

FIRST FLOOR PLAN - CLOSED CONDITION

EXTERIOR RENDER 04

INTERIOR RENDER 06

INTERIOR RENDER 07

GROUND FLOOR PLAN

INTERIOR RENDER 08

DIAGRAM - CIRCULATION + SECTION KEY

RENDER ANIMATION 01

RENDER ANIMATION 02

RENDER ANIMATION 03

RENDER ANIMATION 04

DIAGRAM - PERFORATED CORTEN STEEL PANEL

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RENDER ANIMATION 06

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RENDER ANIMATION 08

DIAGRAM - TRACK SYSTEM EXTERIOR ELEVATION

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DIAGRAM - SECTION B

DIAGRAM - EXPLODED MATERIAL AXONOMETRIC

DIAGRAM - TRACK SYSTEM SECTION

01 UNHOUSE THE UNHOUSE PROJECT IS A STUDY ABOUT UNCONVENTIONAL HOMES. IT BEGINS FROM THE CONCEPT OF A MATRIX, “THE BOX”. HOW CAN WE MANIPULATE SPACES IN THE X,Y AND Z AXIS? I USED THE RULE OF OFFSET, COPY, AND ROTATE TO RESULT IN THIS IDEA OF CONCEPT OF THE “INFINITE LOOP”. THIS LOOP SERVES AS THE MAIN CIRCULATION POINT FOR MY OCCUPANTS. BY MANIPULATING THE FORMS, I WAS ABLE TO CREATE VOLUMES AND JUXTAPOSING MASSES. THE THRESHOLD OF THE INFINITE SEAMLESSLY DIVIDES THE LIVING SPACES INTO TWO OPPOSING SIDS. OCCUPANT A, WHO ENTERS THROUGH THE ACCESS ONE, IS A NIGHT OWL. THE ENVELOPING WALLS OF THE SITE BLOCK OUT DAYLIGHT AS THE SUNRISES. ALLOWING THEM TO AWAKE WHEN READY. OCCUPANT B, WHO ENTERS THROUGH ACCESS TWO, IS AN EARLY BIRD. THEY USE THE SUNRISE AS THEIR ALARM CLOCK. SEEING THE SUNSHINE THROUGH THE FILTERS WALLS, INFORMS THEM ON WHEN TO BEGIN THEIR DAY.

MODEL SECTION: OCCUPANT A DWELLING

SUN DIAGRAM: NORTHEAST SUNRISE @ 5 AM

MODEL SECTION: OCCUPANT B DWELLING

SUN DIAGRAM: NORTHWEST SUNSET@ 5 PM

HAND MODEL: DWELLING A, INFINITE LOOP OF CIRCULATION, DWELLING B

PROCESS DIAGRAMS: MATRIX MANIPULATION USING THE RULES: OFFSET, ROTATE AND COPY.

PROGRAM DIAGRAM: SOUTH EAST VIEW NORTHWEST VIEW PROCESS MODEL

MODEL AXONOMETRIC

SITE MODEL AXONOMETRIC

GROUND FLOOR PLAN

FIRST FLOOR PLAN

WHILE THE CENTRAL CIRCULATION ACTS AS A BARRIER BETWEEN BOTH DWELLINGS, IT ALSO IS A SYMBOL FOR UNITY AND CONVERGENCE. BOTH SIDES NEED ONE ANOTHER TO SURVIVE. IT IS THE FORCE CENTRAL STRUCTURAL MEMBER, “INFINITE LOOP” THAT HOLDS EACH HALF TOGETHER.

SECOND FLOOR PLAN

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02 CULTURAL CENTER / 03 THE SHELL LOCATED IN MANHATTAN, DIRECTLY ACROSS FROM THE MUSEUM OF NATURAL HISTORY, RESTS A COMBINATION OF MASS AND NATURE. CONFRONTED BY THE EXISTING WALL SURROUNDING CENTRAL PARK, VISITORS WILL TRANSCEND TO FIND THEMSELVES IN A SPACE DEFINED BY THE INDIVIDUAL PROJECTS. A CULTURAL CENTER WHERE THE FRAME ACTS AS A MEDIATOR BETWEEN THE CITY AND THE PARK. BETWEEN THE HARD-SCAPE URBAN FABRIC AND THE SOFT-SCAPE LANDSCAPE OF THE PARK, LIES AN ENVIRONMENT THAT PERFECTLY ENCOMPASSES THE LANDSCAPE OF CENTRAL PARK INTO ITS DESIGN. A LANDSCAPE ROOF THAT MIMICS THE SLOPES OF CENTRAL PARK’S TERRAIN. AS WELL AS A TREE VIEWING IN THE CENTER HEART OF THE CULTURAL CENTER, SIGNIFYING THE PRESERVATION OF OUR ENVIRONMENT AS BUILD AROUND IT. ACCOMPANIED BY THE CULTURAL CENTER CLOSE BY, IS A NEW PERFORMANCE SPACE, THE SHELL. IT IS THE CONTINUATION OF THE CULTURAL CENTER AND ITS IDEOLOGY. IT IS A SPACE TO VIEW AND BE VIEWED. TO HEAR AND BE HEARD. WITH THE REPLICATED AND REINVENTED LANDSCAPE SHELL, IT IS A COMPLIMENTARY TRANSITION POINT BETWEEN PARK AND PERFORMANCE.

PRECEDENT STUDY: JUBILEE CHURCH ROME, ITALY, ARCHITECT RICHARD MEIER,

SKETCH 01 RICHARD MEIER’S JUBILEE CHURCH DESIGN FOCUSES ON CLEAR DIVISION THROUGH THE COMPOSITION OF BASIC ELEMENTS SUCH AS THE CUBE AND THE SPHERE. THOSE TWO ELEMENTS CREATE THREE CURVED CONCRETE SHELLS THAT ARE LIT BY ZENITHAL SIDELIGHTS THAT CHANGE ACCORDING TO THE HOUR, WEATHER AND SEASON.

SITE MAP: CENTRAL PARK WEST, NEW YORK, 11024

SKETCH 02

SKETCH 03

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EXPLODED PROGRAM AXONOMETRIC ROOF TREE OPENING

LEGEND PUBLIC SEMI PRIVATE PRIVATE

EXTERIOR DECK LEARNING ROOM

OFFICE

EXHIBITION GALLERY

SERVICE

LIBRARY/ READING ROOM

CIRCULATION

VIEW 01 CAFE

VISITOR INFORMATION

INDOOR GATHERING

COAT ROOM

INSPIRED BY RICHARD MEIER’S FOCUS ON SIMPLE COMPOSITIONS, MY CULTURAL CENTER DESIGN CONCEPT IS BASED AROUND THE CUBIC FORM WITH A COURTYARD IN THE CENTER. BEING THAT CENTRAL PARK IS HIGHLY REVOLVED AROUND NATURE, I WANTED TO INTEGRATE THAT IDEA INTO MY DESIGN. WITH THE ADDITION OF THIS CENTRAL VOID, IT ALLOWS VISITORS TO SEAMLESSLY TRANSITION FROM OUTDOOR SPACE TO INDOOR SPACE. MY ROOF DESIGN IS AN IMITATION OF CENTRAL PARK’S CHANGING SLOPE LANDSCAPE. THE LOUVERS THAT RUN AROUND THE PERIMETER OF THE SPACE, FILTERS LIGHT THROUGHOUT THE DAY RESULTING IN A FEELING OF CONSTANTLY BEING SURROUNDED BY NATURE.

RESTROOM JANITOR ELECTRICAL ROOM MECHANICAL ROOM ELEVATOR

CULTURAL EVENT SPACE

TREE VIEWING OUTDOOR GATHERING

FIRST FLOOR PLAN

FRAME

SECOND FLOOR PLAN

LEGEND PUBLIC SEMI PRIVATE PRIVATE SERVICE CIRCULATION

SECTION CUT

EXPLODED PROGRAM AXONOMETRIC ROOF

LEGEND

VISITOR INFORMATION

MECHANICAL ROOM

PUBLIC

JANITOR

SEMI PRIVATE

ELEVATOR

PRIVATE RESTROOM SHELL

SERVICE CIRCULATION

THE DESIGN OF THE CONCRETE SHELL STAGE IS CENTERED AROUND PUBLIC AND PRIVATE SPACES. THAT CAN BE SEEN IN THE SERVICE CENTER LAYOUT, AS WELL AS THE STADIUM SEATING ARRANGEMENT. THE SERVICE CENTER IS THE FIRST INTERACTION POINT BEFORE YOU ENTER INTO THE STAGE AREA. IT IS DESIGNED TO BE A CONTINUATION OF THE CULTURAL CENTER THROUGH ITS FAMILIAR AESTHETIC. ON YOUR APPROACH TO THE STAGE, YOU CAN SPOT A SMALL INTIMATE BENCH BUILT IN THE STADIUM. THIS ALLOWS FOR A MORE SECLUDED PERFORMANCE EXPERIENCE FOR THOSE PASSING BY. LIKE THE CULTURAL CENTER, THE SHELL FORM IS ALSO DERIVED FROM THE SLOPING ELEVATION CHANGES IN CENTRAL PARK’S LANDSCAPE. IT BEGINS AT A LOW POINT AND ZIG ZAGS UPWARD IN AN ANGULAR MOTION ACROSS THE STAGE. AT EACH FOLD THERE ARE GLASS CLERESTORY WINDOWS THAT, DEPENDING ON THE TIME OF DAY, LIGHT SHINES THROUGH ONTO THE STAGE AT AN ANGLE, SIMILAR TO RICHARD MEIER’S LIGHT DESIGN.

STADIUM

STAGE

BENCHES

STORAGE ELEVATOR STORAGE DRESSING ROOM RESTROOM

GROUND FLOOR PLAN

FIRST FLOOR PLAN

FRAME

LEGEND

SECTION CUT PUBLIC

SEMI PRIVATE

04 SYMPHONIES BY THE BEACH A SPACE CURATED FOR TWO UPCOMING MUSICIANS, THIS SPIRAL HOME IS INSPIRED NOT ONLY BY THE OCCUPATION OF ITS RESIDENTS BUT ALSO ITS PROXIMITY TO THE NEARBY QUANTUCK BAY. THE INTERTWINING ROOFS AND CURTAIN WALLS ARE DESIGNED TO TAKE FULL ADVANTAGE OF THE SUN RAYS THROUGHOUT THE DAY. TREES ARE STRATEGICALLY PLACED TO OFFER PRIVACY AND SHADE FOR THE OCCUPANTS. WITH VISTAS AT EACH END OF THE SPIRAL, ALL OCCUPANTS ARE ENCOURAGED TO INDULGE IN THE WONDROUS VIEWS OF WESTHAMPTON BEACH. THE HOME’S PRIMARY FEATURE IS THE LARGE WORKSPACE WITH THREE DESIGNATED WORK STATIONS. IN ADDITION TO THE TWO CURRENT RESIDENTS, A THIRD BEDROOM IS ADDED TO ENTICE VISITING MUSICIANS TO COME STAY AND PLAY.

SITE MAP/ ZONING MAP

SITE PLAN: 120 MEETINGHOUSE ROAD, WESTHAMPTON BEACH, NY 11978

CONCEPT DIAGRAMS

THE DESIGN OF THIS HOME WAS ORIGINATED FROM THE FORM OF THE GOLDEN RATIO. BY KEEPING IN MIND THE IDEA OF, “FORM FOLLOWS FUNCTION,” I TOOK PRECEDENT OF THE SITE LOCATION AND THE RESIDENT OCCUPATIONS. THROUGH THE DESIGN YOU CAN SEE THE CULMINATION OF THE TWO IDEAS, WHICH RESULTED IN THREE OBJECT FORMS; THE SEASHELL, THE TREBLE CLEF AND THE BASS CLEF. VIEW OF APPROACH

VIEW OF FRONT YARD

VIEW OF REAR YARD

DIAGRAM 01

DIAGRAM 02

EXTERIOR RENDER 01

EXTERIOR RENDER 02

EXTERIOR RENDER 03

DIAGRAM 03

DIAGRAM 04

DIAGRAM 05

ELEVATION: NORTH

ELEVATION: EAST

ELEVATION: SOUTH

FIRST FLOOR PLAN: PROGRAM

SECOND FLOOR PLAN: PROGRAM

ELEVATION: WEST

INTERIOR RENDER 01

SECTION 01

INTERIOR RENDER 02

INTERIOR RENDER 05

SECTION 03

INTERIOR RENDER 03

SECTION 02

INTERIOR RENDER 04

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SECTION 04

INTERIOR RENDER 08

SIERRA GARDNER SELECTED WORKS