Abby Portfolio 2023

CONTENTS

TENSION & FREEDOM

Fall 2022 01 pg. 5

W'ALL - MAKING THE INVISIBLE, VISIBLE

Spring 2022

INTERACTING - BREAKING THE GRID

Fall 2021

02 03 pg. 11 pg. 19

COULWOOD HILLS PARK

Summer 2021 04 pg. 27

TENSION & FREEDOM

Genoa Studio | Fall 2022

Prof. Luca Rocco, Danilo Vespier, and Julie Wilkerson

Team : Lydia Gandy and Melissa Ricaurte

CONTEMPORIZING ITALIAN PALAZZOS & VILLAS

Compression is the reduction in volume causing an increase in pressure. In architecture, it can be used as a cultural cue for the user. In traditional structures, such as the villa and palazzo, compression is used in connection spaces and can be juxtaposed with places of expansion like the salone. Compression along with expansion signals a change in public and private programming as well as creates a unique experience as the occupant circulates through the building. Tectonic acts of compression have been contemporized in our Public House within spaces as well as between spaces. Compression is best felt when experienced in contrast to expansion. This juxtaposition is expressed through plan strategies of marginality and centrality in central spaces like the library and salone. We continue this pattern throughout our project by creating vertical circulations that align with central expanded spaces as well as compressed linear circulation, which allow the user to see and experience compression and expansion simultaneously.

Palazzo Spinola Exterior Compression

Villa Peschiere Interior Compression

Views Approaching Site

Palazzo Spinola Interior Compression

COMPRESSION & EXPANSION

THE W'ALL - MAKING THE INVISIBLE, VISIBLE

ARCH 3510 | Spring 2022

Prof. Ufuk Ersoy & Daniel Harding Team: Undergraduates: Lily Morris, Jacob Zeeveld, Brooklyn Walrod, Malik Sanders, Mikayla Mannara; Graduates: Lydia Gandy, Erin Doering, Michael Urueta

BEL Lab W'ALL Setup Test

CNOMAS Conference W'ALL Exhibition

CAN ARCHITECTURE MAKE THE INVISIBLE VISIBLE?

This W’ALL seeks to remind us of the many neglected social inequalities built into the environment and are still invisible. It is interactive and immersive, using 4 senses: sight, sound, smell, and touch. The interior and exterior reveal the content through virtual and physical displays. It is built to epitomize the recent research projects in Clemson University’s “Call My Name” and “Design Justice’’ Critical Inquiry. Each research project aims to make invisible stories visible. The W’ALL was built for the Clemson NOMAS conference in Charleston, SC that took place in March.

If a wall divides, a table brings people together. The project came to fruition through gatherings around 3 different physical and metaphorical tables, one table for discussion, a second for planning, and a third for building. 11 people shuttled between these tables throughout the creation process. Like a brick wall is built one brick at a time, the W’ALL was created one piece at a time and fused together to make a quilt where all 11 hands are visible.

3 PODS contain 3 discussions. First is Uncovering Clemson, which is imaged through weaving, tells the story of 7 generations of the black experience in Clemson that have been selectively ignored. Second, Invisible Stories, which is imaged through draping, reveals experiences by minorities in architecture and education. Third, Displacement, which is imaged through quilting, tells the story of displaced people.

Invisible stories only reveal themselves when an intentional act of discovery takes place. By physically entering the W’ALL you are placed within the narrative. This interaction causes the occupant to ask themselves questions: What is my role within the story? What does the W’ALL make visible to me? Where is my place within the W’ALL? W’ALL invites people to interact with it as well as discuss together as a group. It challenges people to think about what it means to live and work together in our combined narrative. WE ALL contribute to the story.

CNOMAS Conference Setup

CONSTRUCTION & DEVELOPMENT

Weaving

Draping

Quilting

The perceived simplistic qualities of the exhibit arrived through a complex system of parts. Within fabrication came the narrative, content retrieval, ambiance curation, structural fabrication, quilt fabrication, and the plan to coordinate the two-week build process. Iterative modeling forced a balance between digital freedom and fabrication reality. The design found variation within a fabrication method that allowed for achievable delivery. Patterns were drawn, plotted, and sewn to assemble the quilt, allowing everyone to familiarize themselves with sewing and the unique thematic processes to create the pods and wall. Tube steel became a hidden structure to elevate the exhibit’s concept. Welds become an adjacency to the act of bonding two fabric units by sewing. With fabrication came assembly, disassembly, and reassembly. Strategic connections, stitching locations, and a compact envelope allow the exhibit to be assembled within thirty minutes and transported in a small trailer.

Sewing

Welding

Research in the Clemson Archives

Sewing Panel Patterns

TEAMWORK AND DESIGN PROCESS

Critical MASS W'ALL Timeline Collage

In April 2022, The Invisible Studio was invited to present their concept and process of the W'ALL Design for the CriticalMASS Symposium. CriticalMASS was organized by graduate students within the University of North Carolina Charlotte School of Architecture wishing to share thesis project work with other graduate schools of architecture from the Southeast Region that invited international and national architects and critics to discuss the work and to give a presentation.

Prof. Berrin Terim

Partner: Angie Mendoza

DESIGN PROCESS

BUILDING ENVELOPE DIVISION

35’ x 35’ x 10’ volumes for programatic and structural grid

VOIDS

On the lower level, the void creates a continuation of the High Line parallel to the site and indicates a division between office space and public space. On the upper level, it creates an open co-working office space.

FRACTURE

Breaking the grid to shift the facade, limiting direct sunlight from the south, and lifting it to pull pedestrians up to the high line from the street

LIFT

lifting and diving surfaces that break the grid and blend the private and public realms become opportunities for versatile spaces

EXTENSION

Extending outwards to allow those inside to connect with those outside and creates A stone-like fractured facade. Glazing is also added to open spaces and wildlife extends as a continuation of the high line.

EXTERIOR 6TH AVENUE

INTERIOR 6TH AVENUE

EXTERIOR PLAZA

INTERIOR ENTRANCE TO PLAZA

EXTERIOR HIGHLINE

INTERIOR HIGHLINE

PUBLIC REALM

Despite this division of public and private, the angled plates that pop out are places that allow for the private to feel like they can interact with the public, making it a space to get out of the structured workspace. These interesting work spaces are mirrored in the building, where they are not only found in the coworking space, but in the top of the building as well. This mirroring allows for these spontaneous pop outs to feel like they are balanced and structured, but also for them to interact with the High Line and the sky. This interaction of public and private spaces is made possible through the relationship between spontaneity and structure. All of these elements allow for “Inter-act” to fit into a city like New York, where the organized grid allows for a harmonious placement of buildings, but also where spontaneous moments like the High Line and a few angled plates can insist on a more spontaneous way to connect with one another.

COULWOOD HILLS PARK

abigail.rose.anderson@gmail.com

704.724.8552