SHELLEY J. WARNER | PORTFOLIO
Shelley J. Warner
Architectural Designer
TABLE OF CONTENTS PROJECT 01 THE CABIN AT THE EDGE OF THE WOOD STUDIO CRITIC | Michael Oatman COURSE | Architectural Design Studio 6 SPRING 2019 | Individual Project
PROJECT 02 OPTIMIZED DIAGRID
SEMINAR CRITIC | Marcin Marchewka COURSE | Bedford Seminar FALL 2019 | Partner: Andie Dolan + Anthony Ferraiolo
PROJECT 03 INSTRUMENTS OF TYPOGRAPHY SEMINAR CRITIC | Stefano Passeri COURSE | Casting Against Type SPRING 2019 | Partner: Caroline Golota
PROJECT 04 RENSSELAER CENTER FOR SCIENCE STUDIO CRITIC | Lonn Combs + Grabrielle Brainard COURSE | Design Development Studio FALL 2018 | Partner: Margaret Graves
PROJECT 05 RECONSTRUCTED SYMMETRIES
STUDIO CRITIC | Yael Erel COURSE | Rome Study Abroad - Architectural Design Studio 5 FALL 2017 | Partner: Margaret Graves
PROJECT 06 GENERATIVE EXCAVATION: EXHIBITION | Yael Erel | Rome Study Abroad - Fall 2017 SPRING 2019 | Curation + Exhibited Work
HEAD FACULTY EXHIBITION
PROJECT 07 ROME SKETCHING
SEMINAR CRITIC | Davide Vitali COURSE | Rome Study Abroad - Architecture of the City FALL 2017 | Individual Study
PROJECT 08 SUBLIMINAL DECAY
STUDIO CRITIC | Adam Dayem COURSE | Architectural Design Studio 4 SPRING 2017 | Partner: Margaret Graves
PROJECT 09 CONVERGING INTRICACIES STUDIO CRITIC | David Bell COURSE | Architectural Design Studio 3 FALL 2016 | Individual Project
PROJECT 10 TECHNOLOGICAL DREAMLAND STUDIO CRITIC | William Virgil COURSE | Architectural Design Studio 7 FALL 2019 | Partner: Robert Nilsen
Material Studies of Temporality
MATERIALS OF MEMORY Individual Project Course | Architectural Design Studio 6 Critic | Michael Oatman Spring 2019 This project was a study of materials, history, time, and memory. Design research - to capture a sense of ephemerality and memory - was a launching pad for a series of printmaking studies inspired by the MASS MoCA Arnold Printworks, located in North Adams, MA. The site for a proposed Printmaker’s Cabin at the Tourists Hotel (located a few miles away from the museum) set the tone for a rustic cabin meant to engage locals and visitors. The site is set along the Hoosick River, where one can walk along 55 acres of trails and soft rolling topography. Nestled into the foliage is the Printmaker’s Cabin at the Edge of the Wood, a proposal for an artists’ residence on the site to help visitors make postcards to recount their travels and explorations. The project reflects upon time and engages art in order to capture memory and history through the permanent act of printmaking, which is a cornerstone of North Adam’s history. This project was an opportunity to explore new media, while also learning and connecting to the rich history of North Adams, which is at the forefront of Tourist’s mission. The Printmaker’s Cabin is a proposal for the visitor and the locals, because the site is open to anyone seeking adventure and an experience in the serenity of North Adam’s landscape.
Material Studies of Figure Ground
Preliminary Print Rendering - Printmaker’s Cabin
Final Print Rendering - Printmaker’s Cabin
Final Print Rendering - Printmaker’s Cabin
C
B
A
Front Elevation
Ground Floor Plan
Section A - Longitudinal
C
C
B
A A
Section B - Cross
Second Floor Plan
Section C - Cross C
B
B
Site Plan
Perspective Rendering - Winter
Suitcase Model - Printmaker’s Postcard Memento
Inside Suitcase Model - Printmaker’s Mobile Workshop
Suitcase Model - Printmaker’s Mobile Workshop and Presentation Podium
OPTIMIZED
DIAGRID
Partners | Andie Dolan + Anthony Ferraiolo Course | Bedford Seminar Critic | Marcin Marchewka Fall 2019 Our project proposes a new vision for the roof of the Amsterdam Maritime Museum. Seeking to alter visitors’ experience, a once entirely open courtyard now has a “touchdown” point generated from the roof. The main goal: to engage visitors with an intimate space that motivates movement throughout the courtyard. Utilizing a minimal surface - for optimized structural performance - our roof moves from a square perimeter to a circular base with a diagrid mapped to its form. Tension rings placed along the upper portion of the roof help to control outward thrusts from the weight of the triangulated glass. The optimized surface and tension rings help keep members small, with a diameter of 6” throughout the structure. This form also allowed us to limit the density of the diagrid, while not compromising the structural integrity of the roof. The project featured two architecture students (one of which was myself) and a student in the graduate Civil Engineering program. Together the three of us were able to achieve a compelling project for the context, as well as a highly optimized structure that utilized parametric scripting and integrated structural analysis software.
DFW Archi
1 A2.01
Site Plan Site Plan
Seal
1/50” = 1’-0”
1 A3.11 C
D
E
F
Consultant
G
B
H
A
I
Project Key
AF
J
AE
K
AD
L
SCHEMATI Revisions
2 A3.11
10’-0”
AC
M
30’-0”
AB
N
AA
O
2 A3.11
Project Titl
Ams P
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Maritim Roof
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Y
Drawn on: X
R W
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Sheet Title
Roof
A3.11
Proposed Roof Plan Plan Roof 1 A2.02
1/16” = 1’-0”
Sheet Num
A2.
DFW Arc
2
A3.11
112’-0”
Seal
Consulta
Project K
30’-0”
2
A3.11
Principle Elevation
1
A3.01
South East Elevation 1/8” = 1’-0”
SCHEMA Revision
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A3.11
A3.11
112’-0” 112’-0”
Project T
Am
Mariti
Roo
Drawn o
Sheet Tit
Roo Elev
30’-0”
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A3.11
NorthEast West Elevation Cross Section 1 2 North Principle Section A3.01 1/8” = 1’-0”
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1/8” = 1’-0”
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A3.11
Sheet Nu
A3
Perspective rendering - Third floor view inside the courtyard
Perspective rendering of the roof touchdown entrance
Perspective rendering - Inside the intimate space created by the touchdown point
DFW Architects + Engineers
Seal
Consultants
Project Key
Structural Silicone Joint 3/4” Point Supported Glass Spider Clip Joint
SCHEMATIC DOCUMENTS
Spider Clip Joint Bolt to Diagrid
Revisions
Diagrid Node - Hidden Connection
6” Diagrid Member Project Title
Pin Joint Bolt Pin Joint Connection Bolted Plate
Amsterdam Maritime Museum Roof Proposal
Water Drain Drawn on:
Water Pipe - to drain water to reflecting pool
2019/11/07
Sheet Title
Wall Section Details
Reflecting Pool Water Reclamation Drain
Sheet Number
Wall Section Drainage Detail
1 A4.01
2 A4.01
2” = 1’-0”
Wall Section 1/2” = 1’-0”
A4.01
DFW Architects + Engineers
6”
6”
”
1/2
Seal
Consultants
6” Project Key
2”
1’-0”
SCHEMATIC DOCUMENTS Revisions
1 A5.02
Central Diagrid Node Detail - Plan
3 A5.02
2” = 1’-0”
Central Diagrid Node Detail 2” = 1’-0” Project Title
Amsterdam Maritime Museum Roof Proposal
Drawn on:
2019/11/07
Sheet Title
Central Node Details 2 A5.02
Central Diagrid Node Detail - Right 2” = 1’-0”
4 A5.02
Central Diagrid Node Detail - Front 2” = 1’-0”
Sheet Number
A5.02
DFW Arc
6” deep hidden node joint. To be welded to node units during fabrication. 4 piece central diagrid node *Note: each ring is the same node type. Spider Clip Connection. Joint to be welded.
Seal
Consulta
Project K
Spider Clip to connect to diagrid node member. To support 3/4” point-supported glass.
3/4” Tempered glass Structural Silicone - to provide weatherproofing
6” diameter diagrid member. Material thickness to be 1/2”. To be welded to diagrid node in the field.
SCHEMA
Revision
Project T
Am Marit
Roo
Drawn o
Sheet Ti
Cent Explo Sheet N
Central Node Detail - Exploded Axonometric
A5
T YPOGR APHIC INSTRUMENTS Partner | Caroline Golota Course | Casting Against Type Critic | Stefano Passeri Spring 2019 The primary goal with this project was to “cast against type” with normal typographic lettering to display the architectural and drawing potential they serve. It was not intended we arrive at “true architecture”, but to instead display a completely nontraditional use of typography through drawing. Intersecting the letters: e, g, & q from the font type Modern No. 20 we were able to arrive at new combinations that are indicative of architecture. We studied the typographic construction of each letter, reconstructing them for ourselves, in order to see the particular lines and qualities the font possessed. There was a heightened distinction in the filigree, moving from thick to thin moments along the curvature of each letter that interested us. As we explored the potential within typography further, there became an fascination in the dance-like movements emerging - the heightened twisting and filigree created when the letters interacted. We began to look at music notation for inspiration, using the letters as notes to find a song written within the strict rules of typography. Through models and rigid drawing techniques we were able to explore the potentials afforded to us through these two art forms, ultimately “casting the letters in their new typographic song”.
Orthogonal Letter Intersections Catalog
Filigree Letter Intersections Catalog
Orthogonal Letter Intersection Axonometric
Orthogonal Letter Intersection Model
Caroline Golota and Shelley Warner Assignment 2 | January 31 2019 Casting Against Type | Stefano Passeri
Filigree Letter Intersection Axonometric
Filigree Letter Intersection Model
Music Notation Sectional Drawing
Swept Letters Intersection Drawing
Orthogonal Model Drawing generated only with linework of the letter q
Swept Model Drawing generated only with linework
Swept Music Notation Model Sections
Swept Music Notation Model
RENSSELAER CENTER FOR SCIENCE Partner | Margaret Graves Course | Design Development Studio Critics | Lonn Combs + Gabrielle Brainard Fall 2018 The scheme for this project was brought forward from my proposal in a precursor Integrated Design Schematic Studio. The project seeks to unite the Science Axis at Rensselaer’s Campus with the other disciplines of study by creating a literal connection across the site. The primary program is moved to the upper floors, while the ground level is left to act as a fluid public space that becomes indecipherable between interior and exterior. This unification is heightened by our treatment of the facade both externally and within the internal winter garden that spans the full cross section of the building. The wrapping of the facade mesh allows for light, continuity, and cohesiveness. Inside the winter garden, one can begin to feel the scale and presence of the building. Four stories up, the roof sweeps in a butterflying motion to enclose the space. Meant for social interaction as one passes through to class, the winter garden is seen and accessible from all levels with public roof terraces and windows lining it’s perimeter. The space is open throughout the entire year, with warmer months utilizing sliding doors on either end to allow breezes to pass through unobstructed. It is designed as a space to create and innovate at Rensselaer.
Massing Diagram
Concept Sketches
Site Plan
Eighth Scale Sectional Model
THIRD FLOOR PLAN | SCALE 1/16” = 1’
FOURTH FLOOR PLAN | SCALE 1/16” = 1’
THIRD FLOOR PLAN | SCALE 1/16” = 1’
SECOND FLOOR PLAN | SCALE 1/16” = 1’
Second Floor Plan
Facade Study Model
Third Floor Plan
Circulation Study Model
Massing Study Model
SECOND FLOOR PLAN | SCALE 1/16” = 1’
Ground Floor Plan
GROUND FLOOR PLAN | SCALE 1/16” = 1’
Structural Parti Diagram 1 - exterior truss systems
Thirty-Second Scale Structural Model
Structural Parti Diagram 2 - central atrium truss
Thirty-Second Scale Structural Model
Structural Parti Diagram 3 - central truss and roof surface
Structural Parti Diagram 4 - minor roof truss system
Thirty-Second Scale Structural Model
Eighth Scale Sectional Model
Batt Insulation
Ceiling Elevation
screening) Panel
TGU Dessicant (moisture control) TGU Spacer TGU Sloped parapet cap
Roof and Finish Floor Elevation
Roof and Finish Floor Elevation
Ceiling Elevation Finish Floor Elevation Ceiling Elevation
Metal Mesh Facade brackets Aluminum Metal Panel TGU Dessicant (moisture control) Batt Insulation TGU Spacer TGU Dessicant TGU (moisture control) Metal Mesh (Sun Mullion connection screening) to structure TGU SpacerPanel TGU
Ceiling Elevation Aluminum Rainscreen panel on soffit and wall LED strip lighting
Finish Floor Elevation Batt Insulation
Finish Floor Elevation
Mullion connection to structure
Finish Floor Elevation Ceiling Elevation
Mullion connection to structure
Ceiling Elevation
Aluminum Rainscreen 3” Concrete (sub floor surface and insulation) panel on soffit and wall
Wood finished floor Floor Jacks to allow for inboard heating
LED strip lighting
Ceiling Elevation
3” Cellular Composite Deck Aluminum Rainscreen (allows for electrical wiring to be inboard) panel on soffit and wall LED strip lighting
18” W-Flange Beam 30’ o.c welded to beams 12” W-Flange Beam 15’ o.c welded to girder Acoustical Ceiling Wood finished floorGrid
Finish Floor Elevation
Finish Floor Elevation Ground Floor Ceiling Elevation
Ceiling Elevation
Floor Jacks to allow for inboard heating Wood finished floor 3” Concrete (sub floor surface andtoinsulation) Floor Jacks allow for
inboard heating 3” Cellular Composite Deck (allows for electrical wiring to 3” Concrete (sub floor be inboard) surface and insulation) 18” W-Flange Beam 30’Deck o.c 3” Cellular Composite Rigid Insulation welded to electrical beams wiring to (allows for be 12”inboard) W-Flange Beam 15’ o.c Drainage Pipe welded to girder 18” W-Flange Beam 30’ o.c welded to beams Acoustical Ceiling Grid 12” W-Flange Beam 15’ o.c welded to girder Vapor Barrier (wrapped full length of foundation Acoustical Ceiling Grid and footer)
Exterior Wall Section with Details
Ground Floor
Ground Floor
Rubber Moisture Stopper
Roof Elevation
Ceiling Elevation
Attachment post for maintenance workers with D-ring
12” W-Flange Beam 15’ o.c welded to girder Acoustical Ceiling Grid 18” W-Flange Beam 30’ o.c welded to beams
Aluminum Rainscreen panel Aluminum Metal Panel Mullion connection to structure
Finish Floor Elevation
Batt insulation
Ceiling Elevation
Finish Floor Elevation
Ceiling Elevation
Wood Flooring
Trim overhanging finished floor
Floor Jacks to allow for inboard heating
TGU with metal mesh insert TGU Dessicant (moisture control)
3” Concrete (sub floor surface and insulation) 3” Cellular Composite Deck (allows for electrical wiring to be inboard)
TGU Spacer Batt Insulation
Terrazzo, finish floor of Atrium Metal insert between Terrazzo and wood Wood decking, finish floor of patios
Atrium Finish Floor Elevation
Concrete Structure in basement
Depressed structure allowing for plantings Space for electrical conduits to be run
Atrium Wall Section with Details
RECONSTRUCTED SYMMETRIES Partner | Margaret Graves Course | Italian Study Abroad Critic | Yael Erel Fall 2017 Initially studying the Nolli Plan, we selected the Baths of Diocletian for our point of departure. This project seeks to display a new interpretation of the Roman City grid through the exploration of the Diocletian Baths and it’s expansive complex. First diving into the history and evolution of the baths, there was a rigorous study of the internal grid - dissecting it’s dimensions, variations, and logic to order. As time passes, the baths begin to reflect and display the decay of the city grid, and slowly become part of its reinterpretation in the late 1800s. The goal of the project was not to propose a design for Rome, but rather to understand the evolution of its city grid, the influences upon it, the impact it has had upon the major historic sites of Rome, and in turn to develop a reading of the city through an architectural language. We were able to depict the reconstruction of the bath’s symmetrical grid through an understanding of light, space, and time within the magical context of Rome.
Exploded Axonometric drawing of the Diocletian Baths progression over time.
303 A.D. Diocletian Baths Plan
Original Bath Plan 303 | Scale 1:3000
303 A.D. Diocletian Baths Space Parti
Michelangelo Church Addition 1562 | Scale 1:3000 2017 A.D. Diocletian Baths Plan 537-1551 A.D. Diocletian Baths PlanRuin of the Baths 537-1551 | Scale 1:3000 1562 A.D. Diocletian Baths Plan
1562 A.D. Michaelangelo Church Space Parti
Current Plan 2017 | Scale 1:3000
1562 A.D. Diocletian Baths Model
1562 A.D. Diocletian Baths Model Detail
Diocletian Baths Space and Light Grid Generative Drawing
Light Grid Generative Drawing - Process
GENERATIVE EXCAVATIONS Exhibition | Curation + Exhibited Work Exhibition Date | Spring 2019 Head Faculty | Yael Erel Fall 2017 Italian Studies Program This exhibition featured work from the RPI School of Architecture’s Fall 2017 semester Italian Studies Program. It was curated by Professor Yael Erel, and executed by six students that were part of the 2017 Fall program. I was responsible for drawing layouts, title blocks, printing, general organization of files, and general pin-up of the work in our school gallery. The experience was not only rewarding from a curatorial standpoint, but also as an opportunity to see work I helped produce move from ideas and notions of design into a fully comprehensive exhibition. The exhibition was in honor of the 35th year the Italian Studies Program has been running at Rensselaer, as well as to acknowledge the work that had come out of the most recent semester. Alumni of the Italian Studies Program were present at the opening day. I was also honored with providing tours to the alumni as a means to speak with them about the current climate of the architecture school and the exhibit. The class of 16 students that traveled to Rome in the fall of 2017 were not only proud to host this event, but to be intimately active in it’s production and curation.
RPI SoA Italy Studies Spring 2019 Exhibition
RPI SoA Italy Studies Spring 2019 Exhibition
RPI SoA Italy Studies Spring 2019 Exhibition - Gallery Entrance
RPI SoA Italy Studies Spring 2019 Exhibition - Gallery Plan
ROME SKETCHING Individual Study Course | Architecture of the City Critic | Davide Vitali Fall 2017 Sketching became an integral part of my reading Rome as not only a magnificent place, but a textbook. The city is host to a magnified sense of superimposition. Visiting sites directly to sketch and hear the history helps to solidify space into memory. It becomes part of how we not only capture the city, but share it. Rome is a backdrop unlike any other to learn about architecture through paper and pencil in order to dissect the myriad of structural and spatial marvels throughout its city. Traveling along the papal procession, visiting St. Peter’s, climbing the Quirinial Hill, or visiting Sixtus V’s pilgrimage churches are each integral sites toured throughout this course. By the end, it was more than simply filling a sketchbook; sketching became the way I read and remembered Rome. Proportions, facade details, and processional entrances became the way I speak about Rome. More than memory, Rome is intimately tied to the way I think about architecture. It is due to pencil and paper that I gained such a rich and invaluable understanding of such a significant city.
Sketch of St. Peter’s Basilica
Sketch of San Giovanni in Laterano
Sketch of Santa Maria della Pace and progression through site context
Sketch of Trajan’s Market
Sketch of San Giovanni in Laterano
Sketch of San Giovanni in Laterano
Sketches of the Spanish Steps and Piazza del Popolo
Sketch of Palazzo Farnese and immediate site context
Sketch of Santa Maria Maggiore
Sketch of San Carlo alle Quottro Fontane
SUBLIMINAL DECAY Partner | Margaret Graves Course | Architectural Design Studio 4 Critic | Adam Dayem Spring 2017 This project began with a textural application. The intricate patterning laid the foundation for an 80 unit residence and sublime park at the edge of Monument Square Park in Troy, NY. The formal cube studies helped develop the tri-rotated square plan. The massive torpedo-like caverns removed from each corner allow for defined entrances and light to fill the space. This project allowed exploration of color, texture, and excavation to portray a subliminal decaying that originated as a critique to the current social climate of Troy. The project began to rectify its formal complexity in the plan. There was a rigorous focus to create privacy and fluidity throughout the housing complex. Everything ties back to the stepped, textural sublimity to create continuity, as well to entice new opportunities of scale.
Generative Texture Model Axonometric
Generative Texture Cube Model
Site Plan
Cross Section
Two Bedroom Family Unit Plan 2 | Scale 1/4” = 1’
Two Bedroom Family Unit Plan 1 | Scale 1/4” = 1’
Student Double Plan | Scale 1/4” = 1’
Two Student BedroomDouble FamilyPlan Unit| Scale Section | Scale 1/4” = 1’ 1/4” = 1’
Student Double Section | Scale 1/4” = 1’
Ground Floor Plan | Scale 1/8” = 1’
Unit Floor Plans
Student Double Section | Scale 1/4” = 1’
Fifth Floor Plan | Scale 1/8” = 1’
Fifth Floor Plan
Ground Floor Plan
Quarter Scale Sectional Model
CONVERGING INTRICACIES Individual Project Course | Architectural Design Studio 3 Critic | David Bell Fall 2016 The shifted rotation of this proposed and detached extension for the Dia: Beacon art museum began to explore concepts that would permeate throughout much of my later work. Through the twisting and layered composition two ideas emerged: a localized central courtyard, and interconnected forms that are created through the convergence of orthogonal horseshoe-like forms that also twist upon themselves. The proposal arrived at a form that was capable of supporting both intimate space for mounting contemporary painting, but also light filled walkways for 360 degree viewing of sculpture. The aggressive twisting of the building creates light cannons that bring light into the space. Isolated in its siting, the building acts like many of the works it intends to house - entertaining creativity and mystery for its contents. Presenting itself differently from each viewpoint, the visitor must also explore to find the entrance into the autonomous structure.
Second Floor Plan
Second Floor Plan Scale: 1/16� = 1’
Ground Floor Plan
N
Building Plan Evolution Diagram
Concept Sketches
Massing Development Diagram
N Site Plan Scale: 1/32” = 1’
Site Plan
Perspectival Cross Section
Detailed Sectional Model
Detailed Sectional Model - pulled apart
TECHNOLOGIC AL DREAML AND Partner | Robert Nilsen Course | Architectural Design Studio 7 Critic | William Virgil Fall 2019 Tasked with the challenge of beginning with baby dolls in order to design a diner, our project studies the relationship between the organic (the human figure) and technology (the mechanical).We are becoming overrun by our own technology, and we often fail to recognize this fact because we are inundated with fantastic depictions rather than directly targeted with the problem itself. Our proposal for a diner near Miami’s abandoned marina begins to situate its inhabitants directly in this fact. Essentially, the diner becomes a machine working for its occupants and in turn they are unable to detach themselves from the entanglement of chords and larger machine. They become dependent on it, without even recognizing this - the fantastical world becomes a normative reality. The kitchen is able to transport food through massive pipes that pass through the structure, becoming indecipherable from the grotesque human geometry. The battle between the mechanical and the organic is resolved through Reconstructive Regurgitation. It is a process in which “we bring the so-called ‘inside’ out”. We began by dripping wax on a model generated by reconstructing baby dolls. The project seeks to acknowledge that beauty is not only subjective but comes from within – and it is through external expression that one can begin to share such ideas.
Sixteenth Scale Massing Model
Quarter Scale Sectional Model - Pulled Apart
Mechanical Detail Perspective Rendering
Diner Cross Section
Quarter Scale Sectional Model
Quarter Scale Sectional Model - Pulled Apart
Front View Rendering of the Diner - Composed on the site
Top View Rendering - Composed on site
SHELLEY J. WARNER | PORTFOLIO