Anderson, Abigail Portfolio 2023

CONTENTS

02 03 04 05

TENSION & FREEDOM

Fall 2022 01 pg. 5

W'ALL - MAKING THE INVISIBLE, VISIBLE

Spring 2022

INTERACTING - BREAKING THE GRID

Fall 2021

ARTS VILLAGE - CARVING SPACE

Spring 2021

pg. 11 pg. 19 pg. 29

EXPLORATIONS

2019 - 2021 pg. 43

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.

5 Private Offices

6 Ground Makerspace

7 Floating Makerspace

Prof. Joseph Choma

CAYCE, SC ANALYSIS

Our site for an Arts Center was located in Cayce, South Carolina, right outside of Columbia, South Carolina. It is located between two railroad tracks and next to the Congaree River and the Martin Marietta Quarry. Within the studio section we individually conducted different types of research and came together to create a cohesive research booklet. I chose to collage together all of the local art on top of our site plan to create a visual image of the art we're creating a center for. Using the site analysis diagrams, our studio section collaborated to develop a master plan for the site. It includes two lots, one for an Administrative Building and one for an Arts Building, a designed parking lot and common space, and a wooden boardwalk into the woods above the nearby river.

Team Designed and Rendered Master Plan

BOXES AND ROOFS

My project started to become all about boxes and roofs. Inspired by projects by Sanaa and the Caldera Arts Center Hearth Building, I went on the route of simplistic geometric rectangles that overlap on another in air, but never touch.

The Cayce Arts Village is designed as a unique continuation of a classic, southern town. Cayce, South Carolina is looking to expand their arts district, while staying very local and connected to their community. This Arts Village takes this into consideration by integrating a unique collection of small art buildings that flow directly off of the downtown area. Some of these buildings includes an Exhibit Sanctuary, a Cafe, Classrooms, a Theater and an Art Studios Tower.

With a combination of interlocking carved interior and exterior spaces, the project creates many unique, inviting spaces and thresholds. At the front of each building is a unique carve that creates an inviting threshold condition, as well as accents the corresponding program within. These carves, along with a collection of slanted roofing, pull the site together and make it feel as one cohesive atmosphere by giving a form to the surrounding exterior space.

Cayce,

2019 - 2021

Prof. Clarissa Mendez, Kendall Roberts, Joseph Choma

Bending Wire

Bending Bamboo

Hanging with String and Weights

BENDING

For this study, we spent one week studying different design typologies. When I approached bending, I wanted to test out the natural properties of materials their strengths/ weaknesses, specifically with bamboo. I took pieces of bamboo and started bending and twisting them to line up with one another to create forms, and using wire to hold the peices together. I went into this study with no preconcieved shape or form, just to experiment with where the material would take it. Bending wire was a little bit different, I wanted to get multiple pieces to bend and wrap together. I was inspired by a spiral staricase for this study.

Something I was really interested in when studying hanging was Antoni Gaudi's Sagrada Familgia. I was directly inspired by a model he made of the structure using sand bags hanging, creating form, and then flipping over that form to create the chapel. I used the materials I had around me, in string and wire. I wanted to study how the string changed as I added weights in different locations. I also wanted to study the overall form that was created by hanging loose pieces around the outskirts.

FOLDING

Looking at folding, I studied tree bark patterns and wanted to see if I could simplify them down and create one folded pattern from the tree bark images.

MAPUNGUBWE CENTER

Masonry Tectonic Model

Masonry Tectonic Analysis

Part to Whole Study of Wall Intersection With Space

PETER RICH ARCHITECTS

ETCH - A - SKETCH

abigail.rose.anderson@gmail.com

704.724.8552