DO NO HARM!
ABBY BUSKIRK
My main goal in architecture is to do no harm to the general public. In my opinion, the forefront of architectural design should be about how the public interacts with the spaces created. To do this, I always try to create spaces in my designs that are intriguing to the public eye or that are accesible to the public 24/7.
PHILIP JOHNSON
I personally feel that this quote describes architecture as a waste of space. I do believe that architecture is an art but I feel there are better ways to describe that version of art. Perhaps architecture is actually an art of creating beautiful spaces for the public to enjoy.
-Abby Buskirk
ARCHITECTURE IS THE ART OF HOW TO WASTE SPACE
PHOTO OF GUNNIN LIBRARY
TABLE OF CONTENTS DEATH TO THE CAR
PUBLIC BOARDING SCHOOL JACKSON, MS
Partnered with Luis Manzano-Ovalle
NO STRESS ZONE
WORKPLACE MANHATTAN, NY
Partnered with Cody Prince
IN MOTION
CULTURAL CENTER CENTRAL, SC
HANGIN’ OUT
BAMBOO PAVILION CLEMSON, SC
Partnered with Garret Collins, Salvatore Costanzo, & Jordan O’Connor
SCHOOL OF SUSTAINABLE TRANSIT
DEATH TO THE CAR
PROFESSOR AMY TRICK
(PARTNERED WITH LUIS MANZANO-OVALLE)
RENDER + TIMELINE...
TO THE RIGHT IS A RENDER OF THE REPAIR STATION FOR LIGHT-RAIL TRANSIT SYSTEMS. IT INCLUDES AN OVERLOOKING CLASSROOM FOR STUDENTS TO SEE THE REPAIRS HAPPENING WHILE LEARNING, AS WELL AS, WALKWAYS NEARBY SO STUDENTS CAN GET A CLOSER LOOK.
BELOW IS A TIMELINE OF THE PROGRESSION OF TRANSIT IN THE UNITED STATES. BEGINNING WITH HORSE-DRAWN CARS TO RAILWAYS TO GASOLINE AND DIESEL BUSES AND CARS. WE STRESS THE IMPORTANCE OF PUBLIC TRANSIT AS A SUSTAINABLE METHOD OF TRANSPORTATION AND LOOK TO THE PAST TO BUILD FOR THE FUTURE.
**RENDER COMPLETED BY MYSELF, TIMELINE DONE BY LUIS MANZANO-OVALLE**
RESEARCH...
TO THE RIGHT IS DATA ON JACKSON, MS. THIS INCLUDES A DIAGRAM OF THE LIFE CYCLE OF CARS AND HOW WE PLAN TO RE-USE CARS IN THE CREATION OF OUR BUILDING WITH A MAP OF NEARBY LOCATIONS ALSO LOOKING INTO SUSTAINABLE METHODS OF TRANSIT NEAR OUR SITE. THERE ARE ALSO SOME KEY DEMOGRAPHICS THAT RELATE TO OUR BUILDING. FINALLY, THERE’S AN AXON ABOUT OUR BUILDING DESIGN AND ITS INTENTIONS OF LOOKING TO THE FUTURE.
BELOW IS A DIAGRAM OF THE CURRENT PROBLEMS IN JACKSON, MS AND HOW THEY CONNECT WITH EACH OTHER. OUR BUILDING PLANS TO ADDRESS THESE ISSUES WITH MORE SPECIFIC FOCUSES ON TRANSPORTATION POLLUTION, CLIMATE CHANGE, AND INFRASTRUCTURE AND RACISM.
EXPLODED AXON + SECTION...
TO THE RIGHT IS AN EXPLODED AXON, SHOWING THE FLOOR PLANS FOR OUR BUILDING. THE BUILDINGS WERE INTENTIONALLY MADE TO BE 3-STORIES TALL TO MATCH THE SURROUNDING CONTEXT. AT THE SECOND FLOOR ARE THE ELEVATED LIGHT-RAIL TRANSIT LINES THAT CARVE THROUGH THE BUILDING FORM. SURROUNDING THE TRNASIT LINES ARE CLASSROOMS, OFFICES, REPAIR STATIONS, AN D DORMS FOR THE STUDENTS ON CAMPUS.
BELOW ARE TWO SECTIONS OF OUR BUILDING SHOWCASING THE RELATIONSHIP OF THE LIGHT-RAIL TRANSIT TO THE SURROUNDING SPACES OF THE BUILDING. THE SECTIONS ARE OVERLAYED WITH INFO ABOUT THE SPACES PROVIDED.
RENDERS + SECTION...
TO THE RIGHT IS A MODEL WHICH HELPS TO SHOWCASE HOW OUR PROJECT FITS WITHIN THE CONTEXT AND HOW THE LIGHT-RAILS WOULD EXPAND PAST OUR SITE THROUGH THE CITY WITHOUT AFFECTING ANY CURRENT BUILDINGS.
TO THE RIGHT IS A RENDER OF ONE OF THE CAR / BUS REPAIR CLASSROOMS. THE IDEA IS OVER TIME THESE REPAIR STATIONS WOULD MOVE TO ONLY REPAIRING ELECTRIC BUSES AS PUBLIC TRANSIT TAKES OVER THE CITY. THERE ARE SPACES FOR ABOVE FOR PEOPLE TO OVERLOOK THE REPAIRS AND PLENTY OF ROOM AROUND THE REPAIR STATIONS FOR STUDENTS TO OBSERVE, WORK, AND LEARN.
**MODEL COMPLETED BY MYSELF, RENDERS + SECTION DONE BY LUIS MANZANO-OVALLE**
MODEL + ELEVATION...
TO THE RIGHT IS A PHOTO OF OUR MODEL FROM A BIRDS EYE VIEW. THIS PHOTO HELPS TO SHOWCASE THE LAYOUT OF OUR BUILDINGS ON OUR GIVEN SITE AND HOW IT CORRELATES WITH ITS SURROUNDING CONTEXT. IT ALSO SHOWCASES HOW THE LIGHT-RAIL SYSTEM SHIFTS BASED ON THE SURROUNDING ROADS BUT NEVER ENCROACHES ONTO ANY EXISTING BUILDINGS.
BELOW IS AN ELEVATION AND CORRELATING TIMELINE REGARDING HOW OUR BUILDING WOULD BE IMPLEMENTED AND EFFECT THE INFRASTRUCTURE OF jACKSON, MS OVER TIME. WITH MAjOR FOCUSES ON ITS ENVIRONMENTAL IMPACTS WE SEE HOW THIS PROjECT LOOKS TO CREATE A MORE SUSTAINABLE FUTURE.
MODEL PHOTO
RENDER, MODEL, + ELEVATION...
TO THE RIGHT IS A RENDER OF A STUDENT EXHIBIT SPACE WITH A GRAND STAIRCASE THAT LEADS TO CLASSROOM AND ELEVATED WALKWAYS OR BREAKOUT SPACES FOR STUDENTS TO WITNESS THE TRANSIT OUTSIDE OR VIEW THE GATHERING SPACE / EXHIBIT.
TO THE RIGHT IS A PHOTO OF THE MODEL FROM A CLOSE-UP ANGLE AT THE LEVEL OF THE LIGHT-RAIL. THIS VIEW HELPS TO SHOW HOW IT CARVES THROUGH THE BUILDING CREATING A SORT OF TUNNEL. **MODEL COMPLETED BY MYSELF, RENDER + ELEVATION DONE BY LUIS MANZANO-OVALLE**
NO STRESS ZONE
ARCH 3500
INTRO TO URBAN CONTEXTS FALL 2022
PROFESSOR KYLE KISER (PARTNERED WITH CODY PRINCE)
ALLEVIATING STRESS...
IN THIS PROJECT, MY PARTNER’S AND MY GOAL WAS TO ALLEVIATE STRESS IN THE WORKPLACE. TO BEGIN THIS PROCESS WE HAD TO FIRST RESEARCH ABOUT STRESS IN THE WORKPLACE AND HOW TO COMBAT IT. BELOW IS A FLOW DIAGRAM SHOWING A VARIETY OF STRESSORS IN THE WORKPLACE AND WAYS TO RELIEVE STRESS BROKEN DOWN INTO 3 MAIN CATEGORIES: NATURE, MENTAL WELL-BEING, AND EXERCISE.
THE FLOOR PLANS HELP TO SHOW OUR USE OF NATURE, MENTAL WELL-BEING, AND EXERCISE IN THE DESIGN OF OUR BUILDING. ON THE FIFTH FLOOR AND UP, WE HAVE DESIGNATED NAP PODS FOR WORKERS TO TAKE A NAP AND RELAX DURING THE WORKDAY. ON THE FOURTH FLOOR WE HAVE AN OPEN-AIR URBAN PLAZA THAT HAS PATHS YOU CAN WALK ON, BENCHES TO SIT AND ENjOY THE VIEW OF THE HIGHLINE, AND LOTS OF NATURE, ALL WITH THE GOAL OF RELEASING STRESS. FINALLY, EVERY OFFICE FLOOR HAS A KITCHEN/LOUNGE AREA FOR WORKERS TO GO TO FOR A BREAK.
**DRAWINGS COMPLETED BY MYSELF**
FIFTH-TENTH FLOOR COWORKING - PRIVATE OFFICE SPACE
FOURTH FLOOR WORKER’S OPEN-AIR STAGGERED FLOORS
FOURTH FLOOR OPEN-AIR PUBLIC PLAZA
THIRD FLOOR INCUBATOR OFFICE SPACE
SECOND FLOOR INCUBATOR OFFICE SPACE
FIRST FLOOR PUBLIC PLAZA
RAMP DIAGRAM...
RAMPS WERE CRITICAL TO ENCOURAGE EXERCISE AND THEREFORE, COMBAT STRESS. STAGGERED FLOORS ON FLOORS 5-10 FORCES WORKERS TO USE THE RAMPS INSTEAD OF ELEVATORS.
THE RAMP DIAGRAM SHOWS OUR IDEALOGY OF SEPARATING PUBLIC AND PRIVATE. ON THE PUBLIC FLOORS (1-4), THE RAMPS ARE PLACED ALONG THE EDGES OF THE BUILDING.
ON THE PRIVATE FLOORS (5-10), THE RAMPS ARE SWITCHBACK RAMPS PLACED CENTRALLY. THIS CREATES A SORT OF ATRIUM IN THE WORKSPACES OF THESE FLOORS.
**RAMP PLACEMENT AND FORM DONE BY MYSELF, DIAGRAM CREATED BY CODY PRINCE**
LOAD TRACING DIAGRAM...
TO THE RIGHT IS A LOAD TRACING DIAGRAM SHOWING OUR STRUCTURE WITHIN THE BUILDING AND HOW THE RAMPS INTERACT WITH THE STRUCTURE. THE RED ARROWS SHOW HOW THE LOADS MOVE THROUGH THE BUILDING AND THE BLUE ARROWS SHOW THE REACTION FORCES.
BELOW IS A RENDER OF OUR BUILDING WHICH HELPS TO CLEARLY PORTRAY THE SHIFT FROM HORIZONTAL CLADDING TO VERTICAL FINS AND BACK TO HORIZONTAL CLADDING. IT ALSO HELPS DISPLAY THE OVERALL FORM OF THE BUILDING TO HELP UNDERSTAND THE LOAD TRACING DIAGRAM.
**LOAD TRACING DRAWING COMPLETED BY MYSELF, RENDER DONE BY CODY PRINCE**
RENDER
FIRST FLOOR...
TO THE RIGHT IS A LOAD TRACING DIAGRAM SHOWING OUR STRUCTURE IN THE FIRST FLOOR. THE RED ARROWS ARE THE LOAD PATHS, THE BLUE ARROWS ARE REACTION FORCES, AND THE YELLOW ARROWS ARE LIVE LOADS.
BELOW IS A RENDER OF THE FIRST FLOOR OF OUR BUILDING WHEN YOU START TO GO UP THE RAMPS. IT HELPS TO SHOWCASE THE UNIQUE SPACES WE GET FROM THE FORM OF OUR BUILDING.
LOAD TRACING FLOOR 1
**LOAD TRACING DRAWING COMPLETED BY MYSELF, RENDER DONE BY CODY PRINCE**
RENDER FLOOR 1
FOURTH AND fiFTH FLOOR...
TO THE RIGHT IS A LOAD TRACING DIAGRAM SHOWING OUR STRUCTURE IN THE FOURTH AND fiFTH FLOOR. THE RED ARROWS ARE THE LOAD PATHS, THE BLUE ARROWS ARE REACTION FORCES, AND THE YELLOW ARROWS ARE LIVE LOADS. THE FOURTH FLOOR IS A DOUBE HEIGHT FLOOR AND ESPECIALLY HAS MORE LOADS DUE TO THE PLANTS, STAGGERED FLOORS, AND LONG RAMP TO COMPENSATE FOR THE DOUBLE HEIGHT. BECAUSE OF THIS, TRUSSES ARE PLACED ON THIS FLOOR TO MANAGE THE HEAVIER LOADS.
BELOW IS A RENDER OF THE FOURTH FLOOR FROM THE RAMPS IN THE SPACE SHOWING THE STAGGERED FLOORS. YOU CAN SEE THERE’S LOTS OF NATURE AND SUNLIGHT IN THIS AREA DUE TO IT BEING OPEN-AIR. THIS IS AN AREA MEANT TO HELP PROMOTE RELAXATION AND THEREFORE, REDUCE STRESS.
LOAD TRACING FLOOR 4 + 5
**LOAD TRACING DRAWING COMPLETED BY MYSELF, RENDER DONE BY CODY PRINCE**
RENDER FLOOR 4
MODEL...
MODEL IMAGE HIGHLINE AND FLOOR 4 CORRELATION
ABOVE IS A PHOTO OF OUR MODEL, SHOWCASING HOW THE FOURTH FLOOR OPENAIR SPACE IS DESIGNED TO LOOK OUT OVER THE HIGHLINE TO CREATE MORE CONNECTION TO NATURE.
THIS WAS CRUCIAL AS IT ALSO HELPED CREATE A LINK BETWEEN OUR BUILDING AND THE HIGHLINE BY CREATING A FLOOR WITH SIMILAR PURPOSES AS THE HIGHLINE.
**MODEL BUILT BY CODY PRINCE, MODEL WAS PHOTOGRAPHED AND EDITED BY MYSELF**
TENTH FLOOR AND ROOF...
TO THE RIGHT IS A LOAD TRACING DIAGRAM SHOWING OUR STRUCTURE IN THE TENTH FLOOR. THE RED ARROWS ARE THE LOAD PATHS, THE BLUE ARROWS ARE REACTION FORCES, AND THE YELLOW ARROWS ARE LIVE LOADS. THIS FLOOR SHOWS THE SWITCHBACK RAMPS ALONG WITH THE STAGGERED FLOOR PORTION.
BELOW IS A RENDER OF THE TENTH FLOOR. YOU CAN SEE THE SWITCHBACK RAMPS IN THE MIDDLE NEXT TO THE LOUNGE AREA. YOU CAN ALSO SEE SOME OPEN SPACE DESKS IN THE BACK AND THE WALLS TO PRIVATE OFFICES ON THE LEFT. THE GLASS SURROUNDING THE RAMPS HAS A GLAZING THAT MIMICS THE CURVE CREATED BY THE HORIZONTAL CLADDING ON THE EXTERIOR OF THE BUILDING.
LOAD TRACING FLOOR 10 + ROOF
**LOAD TRACING DRAWING COMPLETED BY MYSELF, RENDER DONE BY CODY PRINCE**
RENDER FLOOR 10
MODEL...
ABOVE IS A PHOTO OF OUR MODEL, SHOWCASING THE SHIFT FROM HORIZONTAL CLADDING TO VERTICAL FINS AND BACK TO HORIZONTAL CLADDING.
THE CURVE IN THE UPPER FLOORS CREATED BY THE HORIZONTAL CLADDING IS ESPECIALLY CLEAR IN THIS IMAGE. THE VERTICAL FINS CREATE A WAVE FOLLOWING THE INITIAL CURVE OF THE ENTRY.
MODEL IMAGE FRONT ENTRY + BUILDING FACADES ON SITE
**MODEL BUILT BY CODY PRINCE, MODEL WAS PHOTOGRAPHED AND EDITED BY MYSELF**
CULTURAL CENTER
IN MOTION
EARLY IDEAS + CONCEPT...
TO THE RIGHT IS AN EARLY MODEL THAT MADE ME START TO ANALYZE THE IDEAS OF CHANGING SPACES BY CHANGING HOW MUCH CAN BE SEEN FROM THE OUTSIDE TO THE INSIDE. THIS WOULD SPARK MY INTEREST IN ANALYZING HOW ARCHITECTURAL DESIGN ELEMENTS COULD WORK TO HELP RESOLVE SPATIAL CONFLICTS.
BELOW IS A CONCEPT MAP WHICH TAKES MY QUESTION AND BRANCHES OFF WITH CONCEPTS THAT WOULD AFFECT SPATIAL CONFLICTS. THE NEXT BRACHES AFTER THAT SHOWS TANGIBLE FORMS OF THESE CONCEPTS THAT COULD BE USED IN MY PROJECT.
MOTION STUDY MODEL
CONCEPT MAP
OUR SITE WAS LOCATED IN THE DOWNTOWN AREA OF CENTRAL, SC. ACROSS THE ROAD (NORTH) ARE TRAIN TRACKS. TO THE WEST ARE SHOPS AND RESTAURANTS THAT LINE THE STREETS.
THE FIRST FLOOR OF MY BUILDING WAS PULLED BACK FROM THE ROADS TO INVITE PEOPLE IN. THE UPPER FLOORS ARE LARGER TO CREATE AN OVERHANG TO MAKE A SORT OF PORCH AREA.
RESEARCH...
NDEBELE PATTERNS
Ornamentated traditional buildings tell stories through pattern, color, and ornamentation
Iconographies were used to tell stories regardless of language barriers
The Ndebele people (S. Africa) convey a range of emotions through the bright painted patterns on their houses
DAVID HUGHES
Believes that African American elements in architecture exist and that African American designers have an obligation to employ them
States form, monumentality, order, structure, detail, and hierarchy have their origins in Africa (cites pyramids of Ancient Egypt as proof)
Traditions of Africa consisted of the form of an object is directly created from its function and its physical setting
NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE ADJAYE ASSOCIATES
Building’s main entrance is a welcoming porch
Building wrapped in ornamental bronze metal lattice to pay homage to intricate ironwork crafted by enslaved African Americans
BRADFORD C. GRANT
Tracks African American identity through 3 stages:
He credits the period of slavery as the strongest era of black identity
Under slavery black artisans, designers, and builders had undisputed control of building slavery, after post-reconstruction (the Jim Crow era), the era of Civil Rights
Common features in African-American architecture: steep hip roofs, wide overhanging roofs, central fireplaces, porches, and earth and moss construction
EXTERIOR SKIN...
TO THE RIGHT IS A DIAGRAM OF HOW THE EXTERIOR SKIN CAN BE MOVED AND CHANGES THE VIEWS TO THE INSIDE. THE SKIN IS MADE OF PERFORATED STEEL SHEETS.
BELOW IS A MODEL OF ONE PANEL OF THE STEEL SHEETS THAT MAKE UP THE SKIN. THE MODEL SHOWS THE VARIOUS PARTS THAT MAKE UP THIS JOINT. THERE’S THE STEEL SHEET THAT’S CONNECTED TO A STEEL POLE THAT IT HINGES AROUND. THE STEEL POLE FITS INTO A HOLE INTO THESE RECTANGULAR STEEL FRAMES PLACED AT THE LEVEL OF THE FLOOR INSIDE. BEHIND THE STEEL SHEET WOULD BE THE WINDOW SYSTEM WHICH FOLLOWS THE SAME WIDTH AS THE SHEETS AND IS DIVIDED INTO 3 PANES OF GLASS. THE MIDDLE SECTION OF THE WINDOWS HAVE A SLIDING WINDOW THAT CAN BE OPENED TO MOVE THE SHEET AS DESIRED.
INCLUDED NEXT TO THE MODEL, IS A KEY FOR THE PATTERN I CREATED FOR THE SKIN OF THE BUILDING. THE PATTERN IS MADE UP OF NDEBELE SYMBOLS THAT WENT ALONG WITH THE IDEALS FOR THE CULTURAL CENTER DESIGNED.
DETAIL MODEL
DETAIL DRAWING...
Rubber Piece
Steel Connection
Rigid Insulation
Steel Plates for Roof
Steel Plates
DETAIL DRAWING
Glass Pane
Steel Mullion Joint
C-Deck + Smooth
Concrete Flooring
Steel L Channel
Steel Beam with Insulation
Rigid Insulation
Gypsum Wall Board
Steel Bolt + Panel
Steel C Channel +
Water Drainage
Steel Pipe
ABOVE IS A DETAIL DRAWING OF MY BUILDING. THE DRAWING SHOWCASES A BIT OF THE STRUCTURAL SYSTEM WHILE ALSO EXPLAINING HOW ALL THE DIFFERENT JOINTS CONNECT.
FLOOR PLANS...
TO THE RIGHT ARE THE FLOOR PLANS. THE FLOOR PLANS SHOW THE POSSIBLE INTERIOR MOVEMENTS TO CREATE DIFFERENT SPACES FOR DIFFERENT NEEDS. THE SPACES ARE ALSO LABELED FOR WHAT THEY COULD BE USED FOR, HOWEVER, IDEALLY THE SPACES CAN BE ALTERED AS NEEDED.
BELOW IS A COLLAGE OF A MODEL SHOWING A PORTION OF THE INTERIOR OF FLOORS TWO AND THREE. THIS PORTION HAS MOVEABLE WALLS THAT CAN UNFOLD TO CREATE NEW PATHS THROUGH THE SPACE OR CAN REMAIN CLOSED AND KEEP THE ROOM LARGER INSTEAD OF SUBDIVIDED.
INTERIOR MOTION MODEL MOVEMENT COLLAGE
FLOOR PLANS
SECTION PERSPECTIVES...
THE SECTIONS HELP TO GIVE SOME SPATIAL CONTEXT AS TO THE SIZE OF THE ROOMS SHOWN IN THE FLOOR PLANS AS WELL AS HOW THE MOVING WALLS CHANGE THE CIRCULATION.
Section 1
Section 2
HANGIN’ OUT
ARCH 2510 ARCHITECTURE FOUNDATIONS 1 FALL 2021
PROFESSOR TIMOTHY SHAN SUTHERLAND (PARTNERED WITH GARRET COLLINS, SALVATORE COSTANZO, AND JORDAN O’CONNOR)
MODEL AND STRUCTURE...
TO THE RIGHT IS A PHOTO OF OUR GROUPS MODEL WE CREATED OF OUR BAMBOO PAVILION. IT’S CREATED OUT OF DOWELS, STRING, AND GLUE. THE MODEL SHOWS HOW WE HAD MULTIPLE BAMBOO TIED TOGETHER FOR THE SUPPORTS HOLDING THE REST OF THE BAMBOO. WE ALSO MADE A PULLEY SYSTEM WITH THE GOAL OF PULLING THE RULED SURFACE TIGHT AND HOLDING THE STRUCTURE SHOWN.
TO THE LEFT IS A PHOTO OF OUR FINAL BAMBOO STRUCTURE. EACH BAMBOO SPANNING LONG ACROSS WAS 30’ AND TIED TO THE TWO SETS OF THREE 16’ BAMBOO POSTS.
PROCESS...
THE DIAGRAMS BELOW SHOW THE PROCESSES OF HOW WE COLLECTED BAMBOO AND THEN BUILT THE STRUCTURE. WE BEGAN BY CUTTING DOWN BAMBOO IN A CANYON AND PASSING IT UP A LARGE HILL AND PLACING IT IN THE BACK OF A TRUCK. WE THEN TRANSPORTED IT TO THE SITE AND CARRIED THE BAMBOO DOWN THE HILL TO WHERE WE WERE BUILDING THE STRUCTURE.
WE FIRST SET UP THE BAMBOO STRUCTURE FLAT ON THE GROUND. WE THEN USED A PULLEY SYSTEM AND THREW THE ROPE OVER A TREE BRANCH. FROM THERE WE HOISTED THE STRUCTURE UP AND TIGHTENED ROPES AS NECESSARY TO CREATE THE DESIRED FORM.
BELOW IS AN IMAGE OF OUR BAMBOO JOINTS FOR THE STRUCTURE. WE CUT NOTCHES INTO THE POSTS AND PLACED THE LONG SPANS OF BAMBOO IN THE SLOTS. WE THEN SECURED THE BAMBOO IN THE SLOTS WITH ZIPTIES, ROPE, AND WOOD DOWELS.
Ultimately
