stephanie thompson The Design Por tfolio
stephanie thompson 862 Toro Street, San Luis Obispo, CA 93401 stephmthomp@gmail.com (832)- 248 - 3346 Bachelor of Architecture Califor nia Polytechnic State University
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Distraction Counter Courtyard To o t h B l o c k Geode C ’e s t B o n e Stuck
KYO
NEW YORK
IFIC OCEAN
21 15 14 13 9 1716
1211 10876 5 4 3 18 19
1. State Theater (demolished) 2. Portola Theater (demolished) 3. Telenews Theater (demolishd) 4. Esquire Theater (demolished) 5. Pentages Theater (demolished) 6. St. Francis Theater (demolished) 7. Grauman’s Theater (strip club) 8. Warfield Theater (concerts) 9. Pix Theater (resturant/retail) 10. Golden Gate Theater (live theater) 11. Regal Theater (closed) 12. Paramount Theater (demolished) 13. Guild Theater (retail) 14. Center Theater (retail) 15. Market Street Cinema (closed) 16. Embassy Theater (demolished) 17. Strand Theater (renovation) 18. Orpheum Theater (stage) 19. Fox Theater (demolished)
Distraction Professor Karen Lange Fall 2014 - Current
The type of distraction that has grown out of our age of technological development and shorter attention spans has been a moment that for the most part requires no second thought or deeper understanding of the habitual actions interrupted. They are instances associated with a loss of perception and experience. Although, there are some brief moments of distraction seen throughout a typical day, like day dreaming and absentmindedness, that inspire creativity and a different understanding of a typical day. This type of fleeting experience is what I attempt to achieve in my thesis research and design. I propose an architecture that offers moments into programmatic spaces not typically expected. An experience that takes an
inhabitant through a space without them fully realizing that they have transitioned into inhabiting a building. I propose a type of architecture that will allow inhabitants to view modern day distractions in a more scrutinizing, light and allow the essence of distraction to create a new motivating spaces to inhabit and effect their monotonous lives in a new light. Located on Market Street in San Francisco, in between 6th and 7th, this Multi-Use building functions as a theater for everyday actions in an attempt to bring back the positive repercussions of distraction once found from the theaters in the area to a new modern age, a theater that couldn’t have been possible without the modern landscape of today.
A PA R T M E N T S
B AT H H O U S E
SECONDARY LOBBY
DRYCLEANER
KITCHEN
CITY TERRACE
REHERSAL S PA C E
M A I N T H E AT E R
FILM SCREENING
VERTICAL CAFE
COOKIE BAR
B A R T O B S E R V AT O R Y
TICKET OFFICE/ LOBBY
CITY DISTRACTION
BUILDING DISTRACTION
PERSONAL DISTRACTION
BART WIND ORGAN
B A R T O B S E R V AT O R Y
PROJECTION TOWER
VERTICAL CAFE
DRYCLEANING CONVEYOR SYSTEM
Q U A S I - O B S E R V AT O R Y B AT H H O U S E
E L E V AT O R V I E W P O R T
C O O K I E C O N V E Y O R B E LT
FIELD VIEWPORTS
Located in historic Florence Italy, this addition to the University of Florence offers its students a unique alternative to the types of spaces that are usually used to congregate and mingle, i.e. the courtyard. The design attempts to make the building perform the function of a courtyard, while formally doing the opposite. The way this was achieved is by focusing on the circulation and flipping that ideology, creating a monumental stair that would peak out of the core and draw your attention to the building and the central circulation through the space. By lifting up the program spaces and freeing the ground plane the building offers a protected area that is compleltely open to the surrounding. This opnenly gives the students a chance to demonstrate and voice thier opinions in a more interelated
manner . When inhabiting the building instead of being surrounding by buildings, typical of a courtyard, you would be surrounded by trees creating a feeling of seclusion away from the city and completely different from the opportunities of interaction on the ground plane. Going up further the third level offers a reflective look back onto the city and its most well known monument, the Duomo.
Counter Courtyard Professor Marco Brizzi, Paulo Giaconia, & Achille Michelizzi Winter 2014
ACCADEMIA PIAZZA DELLA S.S. ANNUNZIATA SITE CAPPELLE MEDICEE
DUOMO
PALAZZO VECCHIO
1 2 3 4
4
Reading Nook Floor Extension Main Stair Tower Elevated Viewing Platform
3 1
2
The feature stair was the main component of the project which enabled the typical function of a circulation space to evolve. The stair is able to cradle the inhabitant as they make their way in through the bottom circulation core and gradually opens out to the different programmatic spaces while allowing for niches to be made within. At the point of cumulation of the stair the visitor will find an entire space has crossed the line from just circulation to include the program. This elevated viewing platform is composed out of the same wood material to visually show the continuity of space and provide a comforting and relaxing space to study or view the surrounding city context.
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
IRCULATION CIRCULATION
IRC C I RC C U L UALTA T I O INO N
CIRCULATION
ITERATION 1
To o t h B l o c k Professor Mark Cabrinha & Meghan Dorrian Collaboration with Andrew Porter & Layan Barakat Fall 2014
The design and creation of Tooth block was part of a concrete masonry competition that looked at reinventing the typical CMU block. Our design intent evolved out of creating a concrete block that allowed for a permiability that changed in orientation as a person made their way along the wall. The voids created in our block create a 3-dimensionality that isnt found in they typical concrete block. Design of the form began in grasshopper with an 8� cube where points were selected on the top surface. The lines are extruded and a cylinder was created that cuts through it. One unit is flipped, where the two identical blocks are crossed over each other to form one larger cube. This is repeated along the wall, and through rotating the piece, different levels of porosity may be achieved. Variations are achieved through changing the dimensions of the semi-cylindrical insertions. The larger the insertions, the larger the openings in the wall. With the designed method of construction the exterior mold component is allowed to stay the same and the interior insertion head is the only component changed during the manifacturing process.
CONFIGURATIONS PLAN VIEW
ELEVATION
FORM DIAGRAM
CORNER CONDITION
8”
8” 1 2
3 11.3” 2 blocks create one unit
4
+
5
6
open
DEMOLD DIAGRAM
.5”
18
26
”
closed
Geode Professor Tom Fowler Collaboration with Emily Saunders Spring 2013
Based on the art of areal dance, the San Pedro Performing Arts Center aims to blend the traditional line of performer and audience to create a unique and immersive experience. The performance spaces exist between structural boxes stabilized with belt trusses which allow for open floor plans and cavities. These overly simplified boxes function as a transparent shell to conceptually hold the gem represented by the performance spaces. The large peninsula site on the water offered the chance for a unifying structure to begin to link and weave together a person’s
experience throughout the entire site. What begins as and inhabitable shade structure at the enterence to the site transitions to bridge across the two story canyon that is cut across the site towards the ocean. This shading structure parasitically expands to provide shading on the southwest side of the performance halls. The faceted nature of this structure is mimicked by the faceted surfaces of the performance halls themselves as a way of creating a more dynamic relationship between exterior and interior spaces.
Performance Space
Bar & Night Club Office Space Resturant Retail Space
The Program for this performance space was very influential in the layout of the buidings on the site. Keeping in mind the importance of the circulation of the visitors, the program was organized by placing the main performance space at the the end of the path which allows the visitor to be inticed by the program along the way, including retail, resturan and night club.
Interpreting the basics of modular design while utilizing parametric design software, this project looked at creating a simple unit that would allow for complexity when applied in multiples. The connection between each module was optomized to lock and support itself with its adjacent members through the use of a 3D tesselation. This connection solution was sought after without the need of adding another material component, allowing for extreme ease of construction. The simple shape and complex joint allows for multiple organizations of the module, a form that could be pre-planned or one that could be produced at random
during construction. Through trial and error our group adjusted the form of the module and its connections to to use less hydrocal while still maintaining the structural integretry of the material. The resulting bone shape is one that plays with juxtaposing the nature of the shape with the modular digital process. Functioning as a rainscreen or simply as installation piece or pavillion C’est Bone attempts to create a light elegant structure out of a normally heavy and dense material.
C ’e s t B o n e Professor Mark Cabrinha & Jeff Ponitz Collaboration with Layan Barakat, Trevor Larson, & Diana Rodreguez Spring 2013
ITERATION 1
50lb
=
50lb
=
1.7 SETS OF 6 MODULES
ITERATION 2
50lb
=
4.25 SETS OF 4 MODULES
50lb
120% EFFICIENCY
=
LENGTH elongating the bone while maintaining the volume for high strength to weight ratio
CONNECTION using the idea of 3dimensional tessellation to connect and lock the modules into each other
THICKNESS using minimum material to acheive maximum structural capacity
FIBER REINFORCED HYDROCALJACKET
SILICONE MOLD
HYDROCAL POSITIVE SILICONE MOLD FIBER REINFORCED HYDROCALJACKET
Stuck
Professor Karen Lange Studio Collaboration Winter 2015
Utilizing over 35 miles of clear packing tape, STUCK was created to exhibit our studio’s thesis research books. The installation was collaboratively designed, and then fabricated and installed over four days. Over 600 rolls of tape were used to construct vertical volumes, tunnels, and inhabitable tendrils branching to the 2500 square foot gallery’s periphery. Inhabitants were encouraged to engage the installation as they explored its reaches by climbing, jumping, and crawling. STUCK presented a familiar material in an unexpected and extraordinary manner, exploring the relationships between material, form, space, and user. Visitors to the book show entered the installation through an access tunnel which brought them off of the gallery’s ground plane and returned them to it in the first atrium. Here they encountered half of the books, hung in small pods, and were given the choice of continuing through a second large tunnel to the second atrium or climbing into a tendril for more in depth perusal of the books. The second atrium contained the other half of the books and presented another two fully inhabitable tendrils and several smaller tendrils. Light, already diffused by the existing gallery’s translucent plastic walls, filtered through the layered tape to create a unique, otherworldly quality within the project, and the various thicknesses and corresponding degrees of opacity faintly revealed the vaguely skeletal systems of structure within the fabric. After dark, STUCK transitioned into an alternate experience, the atmosphere transformed by music tempo and volume, and array of videos projected onto the skin. In this incarnation, the focus shifted from form and books to exploitation and manipulation of space, perception, and material properties.