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architecture portfolio s e l e c t e d
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2 0 1 1 - 2 0 1 4
t a b l e I o f I c o n t e n t s
urban housing
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s w i m c e n t e r
data analysis
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12 I s p r i n g
masonry build 22 I s p r i n g 2 0 1 3
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axonometric 14 I s p r i n g
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lightIshadow
building skins
2 0 1 1
2 0 1 3
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l u m i n a i r e
shading study
changing room
green center
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2 0 1 4
2 0 1 2
2 0 1 2
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u r b a n s t u d i o l o w d e n s i t y h o u s i n g
In the North Lamar corridor, this low density housing project was intended to be a bridge between suburban single family homes and apartment homes for families, offering two and three bedroom options. The central courtyard is the primary influence on the design. The parking garage is used as a screen to give privacy and ownership to the residents of the courtyard. The north facing curtain walls give the residents an incredible view of the courtyard, while remaining thermally efficient. Enclosing the third side of the courtyard are amenities for the residents.
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Level 1
Level 2
2 Bedroom
3 Bedroom
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South Section 1 / 1 6th” = 1’
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It was important to have only one strip of residences, so as not to have views into each other’s balconies or windows. The program for each unit was first configured within a box. The lighting and spatial conditions were addressed by pulling apart each unit by program. The tension between open and closed space gives the units spatial qualities of intimacy and visual interest.
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Located in the northwest corner of an urban intersection, the stop project is a moment of pause - a gap in time or space - to interrupt and open ourselves to other possibilities. This 10’x10’x20’ space is nestled into bottom corner of a solid massive building. Two chipboard study models were constructed as a beginning exercise to investigate ways that space shapes light and suggests activity. The flat planes defined and differentiated volumes, and through an additive process, an excavative mind set was to be implied. Beginning with a mass the size of the fraction removed from the solid building, four volumetric pieces were subdivided, each with it’s own distinctive geometry, that fit together, like a puzzle. Each piece was examined for possibilities of light distribution, creation of space, and facilitation of program. Variations of the pieces, including scale, proportion, geometry, and thickness contributed to the occupation of the space. Elements from these pieces were then extracted and either added or subtracted together to create a single carved volume. This volume continued to be revised and refined in terms of spatial and light qualities to create the inhabitable space.
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The microprogram intended for this moment of pause was people watching. The main two objectives driving the design were to see and not be seen. There are three subdivisions of space progressing to the climax in the far back corner. The entrance of the space has openings carefully positioned so that one can see out while either standing or sitting in the intimate space. A couple of steps up lead to the central space meant for intimate interaction while seated. The climax of the hierarchy of space ends in a couple of steps back downward, with a nook for a single person, with an opening at eye level, a counter space, and a seat in which one can support their back and feet.
Composition of the space was derived from the beginning studies of interlocking shapes. The entire process was a mechanism of carving. As the space was refined, the volumes were used to define the space around the users. With each minimal movement in program, the space around the occupants is carefully molded by surrounding volume. The hierarchy is evident in the level of complexity in each of the three subdivisions of space.
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d e s i g n I I t e x a s a r b o r e t u m c e n t e r
The Texas Arboretum center is a structure where visitors can learn about the diversity of Texas trees and will serve as a resource for tree identification, field trips, and outdoor classes, and will be the centerpiece of tree related educational events. Serving as an educational and recreational experience for visitors, the program will have both public and private functions, such as class field trips, family visits, research, art students, and wedding receptions. Embodying the mission of the Lady Bird Johnson Wildflower Center, sustainable use and conservation of nature, through design, water collection is utilized through sloping roofs and corresponding basins for water collection. The roof frame is to be experienced as one approaches and establishes threshold views.
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After designing an assembly of interlocking blocks, projection systems were employed to create multiple, related views of an object composed in a single drawing. One primary view and smaller scale auxiliary views were composed with construction lines to show joints and projection lines Then the block system was shown disassembled. Next, plan oblique projections were used to explore volumetric relationships within the assembly. A plan oblique was drawn with true dimensions in all axes. Each level of the drawing reflects actual planometric geometry. Individual blocks from the assembly were then exploded using appropriate axial trajectories.
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Within a walking radius of Goldsmith Hall, photographs were taken exploring the space defining qualities of light. Surface qualities, such as smooth versus rough, horizontal versus vertical, light versus dark, shade versus shadow were observed. Qualities of scale, such as large versus small, near versus far, and light versus dark were examined. The best composition was selected to draw. The tone drawing was done with soft drawing pencils ranging from 2B to 6B. A grid was drawn around the photograph and the line work was transferred working within each square of the grid. The values were then added, square by square for a realistic rendering of the original photograph.
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Partner: Nadia Aseeva
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1. Roof construction/gutter 2. Glass roof, 13% slope 3. Top edge facade, silicone join/Facade structure, following the facade slope 4. Steel bracket 5. Insulated facade panel 6. Insulated facade panel/ Inner facade insulated panel at brackets 7. Horizontal profile 8. Blinds 9. Steel profile 10. Fixed glare control 11. Air-intake opening 12. Steel substructure of roof 13. Inner bracket 14. Steel panel 15. Horizontal steel profile 16. Insulation: carrying profile, support, maintenance grill, inner bracket, canted metal sheet with integrated rail for glare control lamellas 17. Blinds wheel: facade illumiation, bracket
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NADIA ASEEVA | SUSAN ELLINGTON THE CRYSTAL | SCHMIDT HAMMER LASSEN PROJECT PART I DRAWINGS
SECTION | 1/2” = 1’-0”
FLOOR 5
The objective of the semester project was to gain a better understanding of the envelope and its functions, as well as to achieve insight into the concept of detailing and assembly. The building studied was the Crystal, by shmidt hammer lassen architects, located in Denmark.
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Partner: Leonel Sanchez
This project was a chance to practice renovating an existing structure and incorporate new uses into spaces designed for programs of a building’s past life. The existing building of 2008 South Congress Avenue , formerly known as Trophy Bar and Grill, was to be repurposed into an indoor swimming pool. Our new program focused on therapeutic pools. There were three different pools, each designed for a different therapeutic approach. The first pool is a long, narrow lap pool that seamlessly flows from the inside to outdoors, providing the user with a sense of relaxation and release. The second pool is where classes are held for physical therapy, water aerobics, and more. The second floor consists of a viewing deck for loved ones or friends to observe. The third pool is entirely outdoors, and much smaller, and meant for sitting and relaxing with temperature therapy. Light was a critical component in creating a therapeutic atmosphere. Every opening was carefully designed to allow light to stream in a composition that creates a calm, serene, and tranquil space. Program was the ultimate driving factor for the form of the building. In section, every variation of height is directly related to the program beneath it, dividing the space, not physically, but experientially.
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The focus of Visual Communications III was an exploration and engagement in digital methodologies in the design process. Beginning with a color image, data was analyzed and translated through parametric modeling into a pixel and vector information. Data deconstruction included extracting information such as red, blue, and green values, density, and pattern from a selected picture. Next, data formulation and realization resulted in a physical manifestation of an instance in the system.
p a r a m e t r i c data analysisIvisualization formulationIrealization
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The parmetric definitions were used to create, formulaize, and articulate an enclosure system. Using the resulting digital model, a descriptive set of two dimensional drawings were derived. Orthographic, axonometric, and rendered views were produced. Finally, a screen structure was created using the digital model as a starting point. This screen was then usd to further explore functions of Revit, renderings, and drawings. Susan Ellington
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Exploded Axonometric
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Susan Ellington
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Group Members: Aubrey Werner, Ana Kauachi, Travis Schneider, Kaitlyn Gruener, Sarah Stancik, Mark Nordby 3'-35 8"
In teams, this project consisted of designing, drawing, and building a wall using an available palette of material. In addition to learning techniques for laying masonry, the goal was to explore possibilities of texture, pattern, light, and ventilation. Successful structural composition was also important when constructing the wall. 4"
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5" 2'-216
PLANS SITE PLAN
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The concept of our design was to create a sunscreen. This was achieved by flipping our given cored modular bricks onto their side, exposing view, light, and ventilation, through the core. Our pattern was derived from the flipped cored modular bricks and the geometry that would allow the bricks to fit together efficiently and utilize the other given bricks and create an interesting and structurally sufficient pattern.
PLAN AT 1’ 7 1/5�
2 1/4"
3 5/8"
elevations
3'-115 8" 11" 216 8"
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3'-35 8"
11" 616
5" 2'-216
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environmental controls l u m i n a i r e Group Members: Benjamin Goldberg, Matt Hodges, Jose Zendejas
The existing lighting in the study carrels in the Perry-Casta単eda Library is evenly distributed, yet the open reflector fluorescent lights have a cold, harsh quality. While the quantity of light may be sufficient, it is an unpleasant space to spend time studying. Our design creates a warmer, more comfortable and intimate lighting to counter the existing lights from above and offering adjustability for different types of studying. As students may be reading from printed sheets or books, working with a personal computer, or handwriting, the luminaire is designed to adjust to all of these functions. A flexible arm allows the light to be directed as desired, and an transforming housing allows the user to choose between a diffuse glow or a focused light. The lamp is constructed out of a combination of clamps and arm joints in order to support itself and its movements. Students have the choice of focusing the light into one area of the desk, perhaps if they are using their laptop alongside a textbook, for example. This not only provides the correct intensity of light at the specific desired location, but creates contrast, organizing and giving hierarchy to the space. The user also has the option of diffusing light over the desk for a more ambient light setting. This is important for students using the entire surface of the desk desiring even illumination.
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Partner: Miren Urena
This project is oriented according to true North as opposed to the angle of the streets of enclosing our site; this ensures that both the South and North sides are long, to filter light in and absorb the sun during the winter time, keeping the East and West sides short to avoid solar heat gain during the summer. The angled roof lets the low angled winter sun shine in, while providing complete shade in the warmer months. The roof is also angled to 30 degrees south to utilize maximum photovoltaic panel performance. It has two hallways- one inner and one outer. The outer hallway located on the South side has sliding doors for cross ventilation that allows air in to cool the rooms and release the hot air through the windows above. The inner hallway serves as a buffer zone from the North side where the wind is the coolest. The vertical shades on the North, Northeast, and East facades provide a filter for solar heat gain, without obstructing views for the occupants inside. The appearance of the facade is constantly changing with time of day and season; the glass louver system can be rotated for optimal level of daylight on the inside without risk of overheating in the warmer months, while utilizing passive solar energy in the winter.
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longitudinal section
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The Wildflower Center required a pavillion within the native wildflower, plants, and landscape that encouraged the visitor to view the gardens from a new or changed perspective. Beginning with a single module, transformation from the individual to a collective field, allowed patterns, capture and deflection of light and views, while suggesting volume and creating inhabitable space. The component aims to emulate the curve of body and the organic curves of the surrounding flowers. The superimpositon of the rosette and the spine represents the interface between humans and nature. The module was derived from a trinagle, pinched to the center on all sides, allowing the contours to freely curve around the center. Two sizes of modules were used to create 3 different patterns of rotation. Variations in scale,connections and patterns of orientation make for an complex and intersting field. The structure is configured based on relative strength of each pattern.
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The resulting inhabitable space aims to provide shade, alter user view and interpretation of the space around them, and provide seatng. The delciate, lacy resulting shadow provides enough shade without harming the wildlife around it .The columns on one side of the path spread upward into a canopy reaching down to the oppoite side of the path, providing a comfortable seat with a view facing the garden.
s u s t a i n a b i l i t y a u s t i n I g r e e n I c e n t e r BASEMENT LEVEL
GROUND LEVEL
RECEIVING/ LOADING
LIBRARY
OFFICES
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LECTURE HALL
MECHANICAL
RESTROOMS
SECOND LEVEL
INFORMATION/ RECEPTION
ROOF LEVEL
RESTROOMS
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DN
RESTROOMS
GALLERY
COMMUNITY ROOM
COMMUNITY ROOM
ROOFTOP PATIO/CAFE
DN
OFFICES
The Austin Green center, is a pivotal location for public education and work towards sustainability. Including a library, gallery, auditorium, cafe, and community rooms, there are many opportuities for the public to learn about sustainibility. The driving idea behind the design came from the goal of drawing people in, leading them through a story, along the way, showcasing sustainable ideas. Located on South Congess, the view from the rooftop cafe to the capital is the largest attracting point for the general public. As a user enters the building, surprises are slowly unveiled as the occupant progresses through the building. The largest attraction occurs upon entrance of the building, only a sliver of the central library is reviealed. The roof structure was designed with the intent of casting dramatic and intriguing shadows in the library, hinting at something monumental above. When the user enters the library, an awe-inspiring moment occurs when the roof structure is revealed. The second floor beckons the user closer, drawing them into the gallery space, where educational displays about sustainability are displayed, and the user just find themselves learning
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s u s a n e m a i l I p h o n
e l l i n g t o n
s e e @ e l l i n g t o n l a w . c o m e I 8 3 2 7 2 3 1 7 0 5
University of Texas at Austin I Austin, TX Architecture I Business Foundations
e d u c a t i o n
August 2010 - Present I Class of 2015 GPA: 3.3736
Baylor University I Waco, TX August 2009 - May 2010 GPA: 3.89
Chelsea Architecture, Engineering, Forensic Analysis
exeperience and select studio work
[December 2009] Shadow/Learning Experience Worked with architects on drafts, demolitions, measurements, and organizing references into architectural divisions
Urban Design Studio [Spring 2013] Student Designer I Instructor, Charlton Lewis Formulated concepts of city Improvement and applications to architecture Scale from Urban Planning down to individual apartment units Holistic view of city visions, society, and architecture
Austin Green Center [Fall 2012] Student Designer I Instructor, Juan Miro Project for the education and advancement of sustainable building design range of program including Offices, Library, Auditorium, Public Restaurant CrossFit City Limits Athlete of the Month [2013] Baylor University Dean's List [2009 & 2010] Invitation to the Baylor Honors Program [2009]
achievements
a d d i t i o n a l work experience
Chick-fil-A [May-September 2013] Front of House
Spirit Event Coordinators [March-May 2010] Junior High and high school cheerleading tryout Judge
Digital Modeling and Rendering Creative Graphics Physical Model Building Freehand Drawing and Sketching Other
m e d i s k i l l
a s
Revit I Rhino I AutoCAD I SketchUp Illustrator I InDesign I Photoshop Laser Cutter I CNC Router Pencil I Pastel I Graphite I Charcoal I Watercolor GIS I Microsoft Office I Photography
extracurricular a c t i v i t i e s
CrossFit City Limits [2012 - Present] Sigma Alpha Lambda National Academic Honor Society [2011 - Present] Phi Eta Sigma National Academic Honor Society [2011 - Present] Tau Sigma National Academic Honor Society [2011 - Present] Alpha Lambda Delta National Academic Honor Society [2010 - Present] National Society of Collegiate Scholars [2010 - Present] Baylor University All-Girl Cheerleading [2009 - 2010]
r e f e r e n c e s
Susan Cannata I Family Friend Charlton Lewis I Professor Cliff Green I Employer
[713] 724 - 7983 [521] 695 - 2223 [512] 473 - 8651