Sullivan Stavneak Design Portfolio 2023

SULLY STAVNEAK Design Portfolio | M.Arch

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THE NEXT STEP Co-Housing for Domestic Violence Survivors Topeka, KS Fourth Year Project | 16 Weeks Chad Schwartz

THE NEXT STEP This project tackled the implementing a co-housing model into the system of domestic violence rehabilitation. This building and its program would become the next step in their healing process, as survivors and their families finish the shelter program. The next step in the healing process is creating a supportive community for the survivors with other survivors as well as the surrounding community. The question becomes how to address security necessary for survivors while fostering independence and healthy relationships.

THE NEXT STEP

MODULAR ARRANGEMENT With a diverse program that included public business, domestic violence advocacy, and co-housing living, there was an opportunity to divide them into modular blocks. The blocks are arranged on the site to define a secure boundary of a building. The The environment framed within the modules is gently sunken to give the survivors a level of security away from the public.

The exterior spaces become the spaces with community can come together for the survivors to find support and thrive.

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THE NEXT STEP

CENTRAL COURTYARD The courtyard’s centralized location makes it a secure space where children can play and mothers can meet and converse with other residents and staff. It can also have the opportunity to open up to the daycare or hold public events for the community of Topeka. The space allows for healing and gathering of all users in all seasons.

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Public Seating

Play in Courtyard Space

Planter Seating invites interaction to the building’s exterior while creating a buffer with 6th Ave.

East Elevation

The courtyard’s stepped arrangement allowed for different areas of play, promoting exploration and performance.

THE NEXT STEP

Integrated Building Systems

Playful Interactive Stair

Communal Patio Space

MEP Services are located in the corridors and hidden using lowered ceilings heights.

A wooden polygonal cladding relates to the natural theme of the kid’s room and houses toy storage.

The patio differs from the courtyard as an intimate outdoor space for relaxation.

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North Elevation

Co-Housing Entry

Daylighting

Built-In Storage

The main entry for co-housing residents drops from the street as an initial level of security.

Certain spaces are given additional natural lighting through angled skylights.

Thick wall cores in the communal space integrate shelves and pockets.

THE NEXT STEP

Guard Railing

Supply Vent

Roof Fascia

Roof Gravel Protection R-30 Rigid Insulation Wood Roof Decking 2x8 Wood Joists o.c. 2’ 6x24 Glulam Beam Wooden Hung Ceiling System

Wall 3” Recycled Stone Cladding Mortar Layer Rigid Insulation 2x6 Stud Wall o.c. 24” w/ Batt Insulation Gypsum Finish

Floor Wood Flooring Finish Dropped Floor System w/ Wood Subfloor Decking Concrete Slab Foundation Wall Drainage on Outer Wall

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CONVERSATION Jazz Center for the International American Jazz Educators Manhattan, KS Third Year Project | 3 Weeks Wendy Ornelas

WATERMELON STREETS One of the most influential jazz players of American history belongs to Herbie Hancock and his album “Head Hunters”. The song “Watermelon Man” stands out as a piece that sounds ahead of its time, integrating many elements of African music with a very funky rhythmic approach. Jazz is extremely capable of creating captivating atmospheres.

IMPROVISATIONAL FLOW A standout quality of jazz is its ability to find harmony through chaotic means. The pieces of a jazz assemble enter a song with nothing but a simple framework, their knowledge of their instrument and their peers.

Their understanding of musical orders and precedents and their role in the band is how they find harmonic flow in a chaotic instrumental collaboration.

PATRON AND PERFORMER Jazz is, first and foremost, a collaboration of pieces. It requires the musicians to coordinate their instruments and sound to achieve harmony. It also requires an active dialogue between the ensemble and the audience. The genre of jazz becomes one of the most intimate when performed live because of these efforts.

CONVERSATION

JAZZ AS A CONVERSATION My interpretation of jazz lead me to the conclusion that jazz is as a conversational form of music. Its musical make up hinges on the dialogue of dissonant and understanding of musical order as they work to achieve harmony. The conversation is felt by the audience just as much as the musicians. The jazz club finds it way to speak this conversation as well, curating a built experience that sets up an intimate evening with a jazz ensemble.

PATRON

PERFORMER

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DISSONANCE

Reception Space - Welcomed with Material Disarray CONVERSATION

ORDER

Stairwell - A Shift of Calm

HARMONY

Jazz Club - Welcomed with Material Consonance 19

IT’S A SMALL WORLD San Antonio Museum of New Americans Third Year Project | 9 Weeks Wendy Ornelas

SAN ANTONIO AND NEW AMERICANS The city of San Antonio is home to many cultures, some living there for generations and some just arriving to find new opportunities and stories. The place is bustling with the arts, food, and performance, many of which are from immigrant artists inspired by their unique cultural traditions. This project is a museum space to house the art and narratives of immigrant creatives for the San Antonio community to celebrate.

THE STORIES

CELEBRATION OF THE ALAMO The energy of the vibrant San Antonio is grounded in the many cultures that has made the city their home. The generational expression of their cultural traditions is what makes San Antonio blossom with fun opportunities at every turn.

A CHANGING OF WORLDS The journey of immigrants has involved a lot of emotional and physical turmoil, in their transition from what they considered a familiar home to a place they barely recognize. While they may feel like they are in a new world, they will forever be linked to their home before, expressed in their stories.

THE SMALL WORLDS WE LIVE While our stories may seem unique to us, we often find that others , no matter the background, can feel and empathize with our experiences. As we begin to express our stories we understand the worlds our heritage and culture have created and can appreciate the beauty of other cultural worlds as well.

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THE MANY STORIES OF OUR SMALL WORLD Understanding how related we may be requires understanding how our individual stories relate with others in the larger scale of culture, through arts, performance, and craft. The building is the frame that holds these stories and allows people to learn and celebrate the art and stories of the New Americans of San Antonio.

THE STORIES

PROGRAMMING THE STORIES With a diverse program situated in a condensed site, the program was given individual floors. The transition upwards expresses how we as individuals connect to culture through understanding stories of familial heritage.

CORES FRAME THE STORIES The circulation and service program is arranged as evenly spaced cores that binds these stories. They building uses the cores as structure to frame the programmatic and circulation experiences.

EXPERIENTIAL CIRCULATION Visitors of the museum are guided through the floors as they understand the relationship of people, heritage, and culture. The main means of circulation cut off at the curated exhibit of immigrant stories before they find their way to the temporary galleries of art.

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FIRST FLOOR - THE VOICES OF MANY The first floor of the building speaks the stories of many cultures at the street level through the extroverted program. A food hall gives San Antonians the opportunity to try foods of start-up immigrant restaurants, and a lecture hall program becomes a flexible space for events and talks. Both spaces open up to the outdoors to accentuate the proud voices of people and their stories.

FOURTH FLOOR - THE STORIES Before arriving at the temporary collections of art, visitors are guided through the permanent exhibit curated with stories of immigrants in their transition to the United State. Here people are guided to saturate themselves with recorded and live interpretations of stories, and then given the chance to reflect and remember these stories in an intimate setting. These stories are then celebrated with a northward view of the city and a commencement of the temporary exhibits.

THE STORIES

“Remember the Stories” The patio differs from the courtyard as an intimate outdoor space for relaxation.

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“

“We had to assert our dignity in small ways. That’s why these napkins are beautiful.

That’s why my mother’s gloves were beautiful. Little details that tell the world, we are not invisible.”

— Abuela Claudia

THE STORIES

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ATMOSPHERE Explorations of Atmospheric Space Fifth Year Graduate Studio Bob Condia

Atmosphere is the essence of qualities we sense in our environment. It is an exchange of the mind and body as our self navigates the objects of an architecture. While it is nearly impossible to create an exact architectural atmosphere, it can be guided when understanding how affordances can call one to action. In conjunction with research for the final thesis project, the studio explored what it meant to design atmosphere into the built environment.

ATMOSPHERE

The studio’s exploration of architectural atmosphere involved brief exercises that reveal the unique properties of the three core architectural views: plan, section, and elevation.

Throughout each exercise, craft was emphasized in the development of ideas and production of each project through sketching, drawing, and rendering. These exercises helped to consider the atmospheric tone for the following thesis inquiry.

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The Marble and The Brick, 2022 Sullivan Stavneak (b. 1999)

Graphite and Charcoal on Illustration Board It has been 552 years since the completion of the incomplete Basilica di San Lorenzo, and 504 years since Michelangelo’s proposal for a renaissance facade.

Since then, generations of change have transformed the Catholic Church as well as our artistic tastes in architecture. The facade presents its materials in a contemporary method to represent the church’s forward-thinking philosophies, while their compostition represents the history of churches as welcoming spiritual spaces.

Marble cladding sized to the golden rectangle takes the form of a large quarried block. The block is angled to lean into the piazza. A block of marble presents an artist’s most daunting challenge, the uncertainty of what is beyond, which mirrors our ageless question of the creation of the world. Our spiritual understanding of the cosmos can be overwhelming, falling in on us.

Brick vaults projecting from the doors of the existing “facade” become the church’s invitation for people to enter and understand these daunting questions. In the intersections between these elements are the stories of Florence, Christianity, and the Medici family. Sculpted marble outlines the vaults meeting the marble block, and the vault intersections house two sculptures, one being the last member of the Medici family, Anna Maria Luisa de’ Medici, and the other being Michelangelo’s sculpture of Hercules. The interaction of Marble and Brick, God and Human, is the essence of Christianity.

The full collection of my studio thesis collection is in my Atmosphere Portfolio.

ATMOSPHERE

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ORVIETO Artistic Observations from Italian Study Abroad Fourth Year Travels | 17 Weeks Otto Chanyakorn + Blake Belanger

ORVIETO

WATERCOLORS of Orvieto

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ORVIETO

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SKETCHES of Italy Locations: Rome, Florence, Tivoli, Caprarola, Sacro Bosco of Bormarzo

ORVIETO

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ORVIETO

Locations: Vicenza, Brion’s Tomb, Venice, Paestum, Turin, Milan

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Design for Others.

Sullivan Stavneak e | stavneak@ksu.edu