WILLIAM SEARCY ARCHITECTURAL PORTFOLIO | 2017
ARCHITECTURAL PORTFOLIO | WILLIAM SEARCY | 2017
WILLIAM SEARCY t_+1-(507)-696-3955
e_W.V.Searcy@gmail.com
EDUCATION University of Oregon
Masters of Architecture Estimated Graduation: June, 2017 | Eugene, OR
Emily Carr University of Study Abroad Program | Architecture in Vancouver Art and Design Spring 2016 | Vancouver, Canada University of Minnesota Bachelor of Science in Architecture Graduated: May, 2015 | Minneapolis, MN
SKILLS Software
AutoCAD Revit Rhino + VRAY + Grasshopper SketchUp Adobe Creative Suite Microsoft Office
Craft
Sketch Drawing Physical Modeling 3D Printing, CNC Routing, Laser Cutting
Languages
English - Native German - Conversational
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University of Oregon Baker Lighting Lab Assistant January 2017 - Current | Eugene, OR
Graduate Teaching Fellow September 2016 - December 2016 | Arch 4/576 - Enclosures | Eugene, OR
Armon Architecture Architectural Design Intern June 2016 - September 2016 | Rochester, MN
ARCHITECTURAL PORTFOLIO | WILLIAM SEARCY | 2017
EXPERIENCE
Behnisch Architekten Architectural Design Intern June 2015 - September 2015 | Boston, MA May 2014 - August 2014 | Boston, MA May 2012 - August 2012 | Stuttgart, Germany
University of Minnesota Student Assistant Printing Services January 2012 - May 2015 | Minneapolis, MN
ACTIVITIES Research
Submitted work on fossil fuel transport methods to the University of Oregon Global Warming Symposium. Presented work on life cycle analysis standards at the University of Oregon Sustainability Symposium.
Leadership
Media Coach for first year design students, helped introduce them to software such as adobe illustrator and photoshop. Took part in the University of Minnesota Mentorship Program though AIAS. Mentored first and second year design students in topics ranging from class selection to design skills. 3
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Three Tier Winery
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Seven: Kinetic Storefront
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Concrete and Frame
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Lane County Public Market
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EDUCATIONAL WORK
PROFESSIONAL WORK 32.
Langsdale Library
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HEAVY BASE
THREE TIER VINEYARD University of Oregon Instructor: Don Corner Fall 2016 Located northwest of Forest Grove, Oregon, Three Tier Vineyards emphasizes the detail in its wine making process as well as in its buildings. Clusters of buildings occupy two major geographical movements in the site’s landscape; the knoll and the swale. The knoll is occupied by a cluster of buildings hosting the hospitality programs of the vineyard while the swale is home to the production side. The buildings on the knoll and in the swale sit on top of these plinths as light, gable masses that use the retaining walls to form interior and exterior spaces. The three tiers come from the three plinths that step down the swale to provide the elevation change for gravity fed wine production.
LIGHT FRAME
MATERIAL APPLICATION
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SITE PLAN
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A gradient of privacy was used while determining the plan. Closest to the entrance were the most public pieces of the program; the gift shop and bar. Farthest from the entrance is the hosting space is. With a direct connection to the wedding gazebo, this is where wedding parties or other private events would be held.
HOSPITALITY PLAN
The materiality of each building cluster was carefully studied to provide the best aesthetic for the program of the space. The hospitality buildings use heavy timber framing as its structure with a more detailed light wood framing and dry laid stone in certain areas for the enclosure. Glass curtain walls merge the public hosting area with the outdoor seating space. This continuous hosting space, exterior of the building envelope, is covered by a retractable shading device made of light wood and cloth. Cables are used to support the shade to eliminate all view compromising structure. These buildings sit upon the tiers that are formed by retaining walls made of stone. This provides the dynamic mentioned before as a light structure sitting on a heavy base.
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SOUTH ELEVATION
BUILDING SECTION
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The production building has two large outdoor spaces for the overflow of materials, production and parking required during the short fermenting season. Grapes, and other ingredients needed for wine production, arrive at the top tier’s outdoor pad where the crusher is located. The second tier has a place for extra production room and employee parking. Both of these exterior spaces could be used for overflow parking for a wedding or special event.
PRODUCTION PLAN
On the other side, the production buildings use steel framing as its structure that mimics the simple form of the heavy timber frame of the hospitality buildings. Instead of wood, that can hold bacteria that compromises the wine making process, metal cladding over metal studs were used as the enclosure material. This building also sit upon tiers that are formed by retaining walls made of stone. Each tier drops six feet to provide an adequate amount of slope for gravity fed wine production. A catwalk projects from the highest tier for workers to access the top of the taller fermentation tanks. The lowest tier houses the barrel cellar, bottling equipment and box storage. This is where the final product is boxed and shipped to the hosting space up the hill or retail sellers.
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EAST ELEVATION
BUILDING SECTION
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Rendering of the exterior courtyard between the main hospitality building and parking lot. This space would be used as a recreational flex space where users would play yard games while enjoying their wine. This could also take on event programming from the private hosting space.
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SEVEN: KINETIC STOREFRONT
CLOSED
University of Oregon Instructor: Stephen Duff Spring 2016 Group Members: Dallas Gray, Hieu Vo and Kayla Bundy What makes a space iconic? Is it the spaces physical dimensions or possibly the material selection? How about the door? Occupiers all need to enter the space somehow and how they do has as much impact on their experience as any other design choice. Seven is a kinetic storefront to a brewery in the Yaletown district of Vancouver, Canada. The number seven represents the motion of the door. Using a cardan gear, the door simultaneously moves backward while rotating open. The design goals that we set forth as a group started with designing a door that opened into an awning that did not disturb tables or chairs directly next to the door. Aesthetically, we wanted to blur the line between the interior and the exterior elevated walkway that characterizes the Yaletown district.
1/2
OPEN
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This overlaid image shows the movement of a 1:3 working model. This model showed us flaws in our mechanics as well as how this door would be manufactured.
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CARDAN GEAR
We understood that we needed the cardan gear to rotate twice for the movement back and fourth while only rotating the door 1/4 of a revolution in the same amount of time. With that in mind, we discovered our gear ratios. One design goal that we kept throughout the design was that we wanted this mechanism to be hand operated. To achieve this, we counter balanced the door to insure that a human could operate it. The mechanical operation starts by an employee turning a hand-wheel that creates rotational movement through a jack-screw to the cardan gear. The rotation of the cardan gear simultaneously rotates the door while moving the door backward. By the time the door moves back to its starting position, the door has turned 90 degrees and has become an awning for exterior seating. This is a close up image of the cardan gear and door cart in our working model. It shows the intricacies that were required to simultaneously move and rotate the door. Due to scale and cost, we were unable to use metal throughout the model. The door and track were made of wood while the gears were CNC milled from high density polyethylene, or the plastic that kayaks are made from.
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01. DOOR CART
COMPLETE SYSTEM
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02. JACK SCREW
03. HAND WHEEL 03.
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Rendering of the doors mid-motion. The beautiful aesthetic of these doors opening serve the practical use of opening up the brewery while creating a “must see” event for customers.
Below is a link to the video animation of the doors opening and closing.
https://www.youtube.com/ watch?v=V51wjaNxcV4
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CONCRETE AND FRAME University of Minnesota Instructors: Dan Clark, Martha McQuade, Andrea Johnson Fall 2013 The design for Concrete and Frame began with designing a box. This box had to have three parts which were then studied as to the spaces that they created when they came together. These boxes were then inverted by creating molds for concrete to be poured into. These new interpretation of the initial box became the showroom for Heath Ceramics, a pottery company. An additional building was needed for the workshop where the merchandise would be made. The structural system for this building were steel trusses, a departure from the structural system of the showroom. The form spacing and span of the trusses arose from relationships between the showroom. These buildings were then separated and the space in between became this engaging space for customers to see their product getting made.
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Process models exploring truss spacing and height relationships to the showroom massing model.
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Through a myriad of sketching and modeling exercises, a solid and void relationship began determining the public and private areas of each building. The public enters through the showroom where they have access to a central courtyard that looks into the workshop. The workers enter through a private courtyard into the workshop or through the showroom’s storage space. The structure is the materiality of the showroom, however steel trusses do not create enclosure by themselves. Where transparency is required, a curtain wall glazing system fills in as the enclosure. Where more privacy is needed, a metal mesh is hung in front of glazing to provide a translucent effect. This way the spaces on the interior receive their privacy while not visually separating them from the public spaces in the showroom and the street.
FLOOR PLAN
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ARCHITECTURAL PORTFOLIO | WILLIAM SEARCY | 2017 Model photo looking from the showroom to the public courtyard that looks into the workshop. From here, customers could watch the process of making pottery, from pottery wheel to kiln.
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This model photo illustrates how transparency and translucency work together through the workshop cladding system. The translucent material restricts the view to the interior while emitting light and highlighting the profile of the truss structure.
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SITE MASS
OPEN TOWARD PARK BLOCKS
PEDESTRIAN CORRIDOR
HIGHLIGHT CHANGE OF PROGRAM
CROSS AXIS
CREATION OF PUBLIC SPACE
LANE COUNTY PUBLIC MARKET University of Oregon Instructor: Ginger Cartwright Fall 2015 Located in Eugene Oregon, the Lane County Farmers Market is a weekly, non-permanent market that the citizens of Eugene and Lane County take great pride in. The market hall is a response for the need of a more permanent space for the market. Taking into account issues of embodied energy and storm water management, the design for the Eugene Public Market welcomes the citizens of Lane County while blurring the borders between the existing market and the new market. The basis of the design rests in the idea that this building will be more than a market hall and enhance the community of Eugene.
Located in the heart of Eugene, the market hall had to respond to the surrounding park blocks, the home to the current public market. Creating some open public space on the southeastern corner completed the four square of the park blocks. This also made the entrance to the market hall visible to the surrounding market square.
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SITE PLAN
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01. E - W SECTION
02. E - W SECTION
These section cuts show the connections between the market hall and the underground parking that is required for vendors.
The form is based off of the separation of program. The market hall is its own building while other programs such as the restaurant, offices and community space are located in the others. The three buildings respond to each other in the form of their roofs. The roofs design was determined by the catching and directing of rain water to containment and filtration planters on site. The Eugene Public Market is designed to be entirely Oregon made. The structure is Douglas-Fir glue laminated beams with Cedar cladding the exterior walls. In terms of embodied energy, wood is the most efficient and using hardwoods like DouglasFir and Cedar makes treating the wood not necessary.
N - S SECTION
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FLOOR PLAN
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ARCHITECTURAL PORTFOLIO | WILLIAM SEARCY | 2017 The grid of the glulam structure gets translated onto the floor which defines the grid for vendor stalls.
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E - W SECTION
LANGSDALE LIBRARY Work Done at Behnisch Architekten University of Baltimore Library Summer 2014 Our goal for the Langsdale Library renovation was to update the old building to accommodate new needs of the student body while also creating a space that can adapt to future programs. We wanted to create a more open plan that allowed visual connections not only through the building horizontally but also vertically through the floors. The renovation is the second Behnisch building done for the University of Baltimore, the first being the Law School.
NORTH ELEVATION
WEST ELEVATION
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SITE PLAN
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Working with the architects, I worked on interior, atrium and facade design. The interiors incorporated book shelves, help desks and study spaces. The atrium runs from the ground floor to the fourth floor that incorporates the main stair case that gives a physical connection along with the visual. The facade design is exposed engage a user in three different ways while also providing natural light catching apparatuses.
SITTING WINDOW
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STANDING WINDOW
FURNITURE WINDOW
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OPTION 02
With the lighting and conference room ideas in place, we started to look at color schemes. Our idea was to use a different color scheme for each floor and, through the selective use of carpet, highlight the path to the administrative desk in the center of the floor plate.
FINAL CHOICE
OPTION 03
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OPTION 01
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1ST FLOOR 2ND FLOOR
3RD FLOOR
4TH FLOOR
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WILLIAM SEARCY t_+1-(507)-696-3955
e_W.V.Searcy@gmail.com