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Abigail Callos acallos.7@gmail.com Bachelor of Science in Architecture Selected Works 2010-2012


Gatewave 6

The Pedestrian 14


Cloud City 20

Installation 28

Faces 36


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GATEWAVE

Gateway

Pocket

Flow

Falling up the Hill

Ann Pendleton-Jullian Natalie Tancous and Elena Melvin Winter 2012 We approached the design for the sustainable lab and research center by creating a gateway into the site through our campus organization. The form may lead the occupants and visitors into the pocket, a space devoted to education, community and water collection, or may direct them through the gateway to engage the site and laboratories. The continuation of the pocket and gateway end with the housing units dispersing up the hill. Rainwater and grey water become an important aspect RIRXUFDPSXV5DLQZDWHUÀRZVGRZQ through the housing, around the grey water pond located in the courtyard, and then is FROOHFWHGLQWRD¿OWUDWLRQSRQGDWWKHHGJH RIWKHFDPSXV7KHÀRZLQJUDLQZDWHUURXWH contrasts the hard edges of the structure, pulling nature into the site. The form of the grey water pond juxtaposes the form of the rainwater course as it serves a more functional purpose.

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Waves of Program

Spatial Release

Educational Facilities

Circulation Axis

Large-Scale Public Programs

Small Scale Private Housing


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Entry to site Laboratory Entrance Dive and Dock Operations Permeable Paver Path Maintenance/Dining Hall Entry to Housing Gallery Hall Computer Lounge Library Classrooms Theater Courtyard with Reecting Pool Housing Rainwater Collection Ponds

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Closed Labs First Floor

Open Lab DWWDFKHGRI¿FHV

First Floor

Open Lab GHWDFKHGRI¿FHV

First Floor

Open Lab First Floor

Teaching Lab Ground Floor Lab Floor Plans 10


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Sustainable Features Green Roof

Solar Panel Roof

Grey Water Collection Pond

Permeable Pavers Rain Garden

Fresh Water Collection and Filtration Pond

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THE PEDESTRIAN Andy Lantz Winter 2011 The Pedestrian is a movie theater on the island of Kaskaskia. The parameters of the project involved in depth research on aspects of scalar qualities. The Pedestrian is about showing the difference between the speed of a person compared to a motor vehicle. It steams from the scalar qualities that were found in the site strategy studies. These scales represent themselves in the four nodes or destination points. This is denoted as the main focal point of the program, the movie theater. The circulation through out the building is one that makes the occupier realize their pace in relation to the cars and railway that is running underneath. The long corridors over emphasize this point. The corridors also create a pulling effect on the nodes which is shown within the stretched and elongated form. The Pedestrian is showing speed in comparison with many forms of transportation.

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Scalar Qualities


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CLOUD CITY Robert Livesey Fall 2012 Cloud City is a redesign of the site of the 2016 Summer Olympics in Rio de Janeiro. The parameters of the project were to create a housing complex using or destroying parts of the residual Olympics complex. Cloud City was designed as pods of clouds that are connected by a road. Each cloud has its own amenities and each is centered around a program. Some of the clouds encompass old stadiums RU¿HOGVRIWKH2O\PSLFV7KHIRUPRIWKH cloud was chosen to contrast the typical grid nature of an apartment complex. The housing of Cloud City attempts to lift the resident above commercial, retail, and other programs into cloud communities. 7KHFORXGVÀRDWDERYHJLYLQJWKHUHVLGHQWD sense of hierarchy. The housing units within the cloud are designed to have an individual light source coming from individual light wells, similar to Rem Koolhaas’ Nexus World Housing.

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ććĞĆđđĔĘđĔĚĉĎęĞ A

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Z A1B1 C1

D1 E1 F1 G1 A B C D E F G H I J K L M N

O P Q R S T U V W X Y Z

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INSTALLATION Bart Overly Patrick Herron and Brian Koehler Spring 2010 This group project was an installation within the Knowlton School of Architecture. The installation stood within the building for a year. This installation aims at challenging the conventions of a wall by inserting multiple programs that relate to site context. The overall form derives from analyzing human interaction within the site. It becomes a place for the trash receptacles, a table and reading space. The person as a unit of design becomes the driving LQÀXHQFHRIWKHSURMHFW$VDUHVXOWWKH structure takes an anthropomorphic quality with the skeleton supporting the intricate \HWVWURQJWHQGRQ¿EHUVRUVWULQJZKLFK provides an immaterial surface for the muscle or veneer to adhere. The materiality of the veneer allows for a variability across the overall skin. This enhances the surface LQWRD¿HOGFRQGLWLRQRIVWDWLFPRWLRQ7KH wall represents a reconsideration of a wall beyond the framework of structure and into the realm of spatial interaction.

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FACES Stephen Turk 15 Person Group Winter 2012 This group project is a three part installation that was held within The Knowlton School RI$UFKLWHFWXUH,WFRQVLVWVRIDSRGLXP¿HOG installation, a hanging wall installation, DQGDYLGHR7KHSRGLXP¿HOGDQGKDQJLQJ wall are derived from brain map studies. The video is the production of the wall and podiums. The brain map is an in depth study of emotion. The two categories of emotion are arousal and valence. Arousal and valence are subdivided into positive and negative components. There are four aspects of emotion: arousal in the positive is excitement, arousal in the negative is calm,valence in the positive is positivity, and valence in the negative is negativity. Emotions are categorized as combinations of arousal and valence. The city pieces were derived from a standard of roof types. The brain map and city pieces help create the hanging wall. The wall is a array of the city plan based on the brain map. The SRGLXP¿HOGLVFUHDWHGE\WKHUHVLGXDO pieces played out in the forms of the faces ZLWKLQWKHZDOO$¿HOGDQGDZDOODUHWKH end result. 36


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ććĞĆđđĔĘ ĆĈĊĘ 1

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A

A1

A2

A3

A4

A5

A6

A7

A8

A9

A10

A11

A12

A13

A14

A15

A16

B

B1

B2

B3

B4

B5

B6

B7

B8

B9

B10

B11

B12

B13

B14

B15

B16

-A+V

-A+V

-2A+2V

-2A+2V

C

C1

C2

C3

C4

C5

C6

C7

C8

C9

C10

C13

C14

C15

C16

-3A+3V

-4A+2V

-2A+4V

-A+3V

-A+V

D

D1

D2

D3

D4

D5

D6

D7

D8

D9

D16

+A-V

+A-V

-A+V

-A+V

-3A+3V

-A+3V

-A+3V

-A+3V

+A+V

E2

E3

E4

E5

E6

E7

E8

E9

E10

E11

-A+V

-A+V

+A-V

E

F

G

H

I

E1

K

L

M

-A+V

-A+V

-A+V

D10

D11

D12

D13

D14

D15

+A+V

+A+V

+A+V

+A+V

E12

E13

E14

E15

+A-A+2V

E16

+A-V

+A-V

-A+V

-2A+2V

-A+3V

+2A+2V

+2A+A -2A-A +2V+V -2V-V

+2A+V +V-2V

+2A+V +V-2V

+2A+V-V

+2A+V-V

+2A+V-V

+A+V

F3

F4

F5

F6

F7

F8

F9

F10

F11

F12

F13

F14

F15

F16

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+A+V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+A+V

G1

G2

G3

G4

+A+A -2A+2V

-A+3V

+A+V

+A+V

G5

G6

G7

G8

G9

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+2V

+2A+V +V-2V

+3A-V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+3A-V

+2A+V-V

+2A+V-V

+2A+V-V

H1

H2

H3

H4

H5

H6

H7

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H10

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H12

H13

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H16

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+2A+V-V

+3A-V

+4A+2V-2V

+3A-V

+A+A -2A+2V

I1

I2

I3

I4

I5

I6

I7

I8

I9

+2A+V-V

+2A+V-V

P1

+2A+V-V

P2

+A+V

J10

J11

+2A+V-V

+4A+2V-2V

+4A+2V-2V

+A+V

+A+V

K5

K6

K7

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K9

K10

K11

+2A-3V

+2A+V-V

+2A+V-V

+3A-V

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+2A+V +V-2V

+2A+V+V-2V

+A+V

L4

L5

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L11

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+2A-3V

+2A+V-V

+3A-V

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+A-V

+2A+V-V

M4

M5

M6

M7

M8

M9

+2A+3V

+2A+3V

+2A+V-V

+2A+V-V

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+A-V

+A-V

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N11

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+A-V

+A-V

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I15

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+A-V

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P

C12

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O

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N

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+2A+V-V

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+2A+V-V

+2A+V-V

+2A+V-V

P4

P5

P6

+A-V

+3A-V

J7

J8

J9

+A+V

+A-V

P9

+A-V

+A-V

+A+V

J12

+A+V

K12

+2A+V-V

L12

+A-V

+A-3V

N12

+A-3V

+A+V

J13

+2A+3V

+2A+V-V

+A-V

J14

J15

J16

+2A+3V

+2A+V-V

+A-V

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K14

K15

K16

+2A+V-V

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+2A+3V

+A-V

+A-V

L13

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L15

L16

+A-3V

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+A-V

N13

N14

N15

N16

+A-V

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P11

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+A-V

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The Brain Map (mapping of emotions in the physical EUDLQ 

1 The Brain Map Subdivided

1 Built Podium Installation

(each resulting unit is represented by DIDFH 

2

2 Hanging Panel Installation

This Represents A Face (there are 256 faces which express the HPRWLRQVPDSSHGLQWKHEUDLQ 

A V +A +V

There are two categories of emotion $URXVDO $ DQG9DOHQFH 9

$URXVDODQG9DOHQFHDUHVXEGLYLGHGLQWR Positive & Negative. There are 4 aspects

-A -V

of emotion A+ is Excitement, A- is

9

9

Emotions are categorized as

+A, +V

+A, -V

+A

&DOP9LV3RVLWLYLW\ 9LV1HJDWLYLW\

combinations of arousal & valence. Red is Wonder, Joy, & Power. Purple is Tenderness, Peacefulness,

-A

-A, +V

-A, -V

Transcendence, & Nostalgia. Green is Tension. Blue is Sadness.

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ććĞĆđđĔĘ ĆĈĊĘ Pieces

Examples of Pieces

Choose Your Pieces; Eyes and Mouth Using the coordinates lets you choose the pieces for the eyes and

Arousal = Eyes

+A

Pitched

-A

Box

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+A

-A

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+4A

9

9 9DOHQFH 0RXWK

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Movement : Eyes and Mouth

Pieces remain stationary

1.

9 2.

3.

4.

N/B

Movement : Eyebrows and Nose

1.

2.

3.

4.

N/B

Multiples: Eyes and Mouth

Only solid circles: move the eyebrows and

In cases of irregularity (multiple eye

nose as you please

and mouth pieces, the planner should restrict ‘the neutral’ to symmetrical placement.

A single piece must move up one and

Open circles: the eyebrows and nose can’t

right one

move but they may rotate

Each move affects a single piece

No circles: eyebrows and noses move but do not rotate

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ććĞĆđđĔĘ ĆĈĊĘ Choose Your Pieces: Eyebrows and Nose

The Board

For the eyebrows and nose the pieces are entirely up to you, just

Neutral Positions Blocks may be oriented along both the x and y axis.

choose from the N/B category

Eyes Mouth

Eyebrows Nose 1.

2.

3.

4.

N/B

Chart: How to Read the Chart

What the Circles Mean

Corresponds to which acrylic piece you should

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z3

1. Choose Square $9 $URXVDOPHDQVLPSDVVLYLW\ 9DOHQFHPHDQV

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4. Place all components in neutral and take a photo

represents scale

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Solid circles show what emotions are being

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represented

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movement

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9. Apply Blower as indicated by ‘Z’ value on card

be manipulating

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10. Remove and Label

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Z4 Slight Blow

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