PORTFOLIO - 2009 - 2012
EDUCATIO
LANE RICK
2009 - prese
2003-200
Spring 200
WOR
annlanerick@gmail.com annlanerick@gmail.com 6904 Wissahickon 182 Dwight St. #2 Ave. 6904 Wissahickon Ave. Unit 7 New Haven, CT Unit 7 Philadelphia, 06511 Philadelphia,PA PA 19119 19119
Sept 2010 - prese
Jun 2010 - prese
404 - 226 - 8474 404 - 226 - 8474
May 2010-Aug 201
www.lanerick.com www.lanerick.com
Sept 2008 - Jun 200
Feb 2008 - Aug 200
2
Critic Mimi Hoang
2nd Year - M.Arch I - Fall 2010
YALE ART TOWERS
THE FOUR ART TOWERS
The permanent collection is displayed in the four Art Towers. Each tower is dedicated to a site specific work of art in the museum’s permanent collection. Flexible galleries bridge between the art towers and accommodate travelling exhibitions. The exterior of the concrete towers and galleries is wrapped in translucent channel glass.
4
Damien Hirst’s Virgin Mother stands in a tower that cannot be physically accessed, though openings in the tower allow the Virgin Mother to be viewed from inside and outside the museum.
Jeff Koons’ Balloon Dog sits inside the museum’s freight elevator. As visitors to the museum move from floor to floor, they do so in the company of the Balloon Dog.
Roxy Paine’s Scumaks are distributed along a stairwell, each Scumak occupying a landing. This stairwell provides the primary access to each floor of the museum.
Ernesto Neto’s Leviathon Thot hangs in a long void next to an elevator shaft. It is viewed from the elevator as visitors move from floor to floor.
SKETCHES OF MUSEUM TOWERS 6
Each art tower is specifically sized and arranged to accommodate a particular work of art. The art towers also function as vertical circulation, either as a stairwell, an elevator shaft, or a visual connection. This allows the viewer to move vertically through the tower, thus changing his physical relationship with the works of art.
The towers are distributed through the site. They provde the museum’s vertical circulation.
The flexible gallery space is placed adjecent to the towers. On the ground floor, this permits the passerby to move through the site without walking around or entering the museum.
MASSING
As the modules are built up around the towers, they bridge between each other, creating larger galleries on the upper floors, and provising horizontal circulation.
8
The envelope is wrapped around thetowers and modules, denying a clear reading of the actual organization of the building. It also creates protected exterior galleries as well as bright interior galleries with glass walls, rather than the conrete walls off the modular galleries.
ADMINISTRATION ADMINISTRATION ADMINISTRATION ADMINISTRATION
4TH FLOOR 4TH FLOOR
ADMINISTRATION ADMINISTRATION
3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR
2ND FLOOR 2ND FLOOR 2ND FLOOR 2ND FLOOR 2ND FLOOR 2ND FLOOR
GROUND GROUND FLOORFLOOR GROUND GROUND FLOORFLOOR GROUND FLOORFLOOR GROUND
MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES
LARGE LARGELARGE AND AND LARGE AND AND MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES MEDIUM GALLERIES LARGELARGE AND AND MEDIUM GALLERIES MEDIUM GALLERIES
LOADING LOADING LOADING LOADING MULTIPURPOSE SPACE MULTIPURPOSE SPACESPACE MULTIPURPOSE MULTIPURPOSE SPACE LOADING THEATER LOADING THEATER THEATER THEATER MULTIPURPOSE SPACESPACE LOBBY LOBBYMULTIPURPOSE LOBBYLOBBY THEATER THEATER LOBBYLOBBY
BASEMENT BASEMENT BASEMENT BASEMENT BASEMENT BASEMENT
BACK OF HOUSE BACK OF HOUSE BACK OF HOUSE BACK OF HOUSE VAULT VAULT VAULT VAULT BACK OF HOUSE LOBBY SUPPORT OF HOUSE LOBBYBACK SUPPORT SUPPORT LOBBYLOBBY SUPPORT VAULT VAULT LOBBYLOBBY SUPPORT SUPPORT
PROGRAM
4TH FLOOR 4TH FLOOR 4TH FLOOR 4TH FLOOR
10
ET
H
S
K
ST RE
ET
G HI
E TR
C BA
Art Tower
YO R
WRAPPER STUDIES AND MASSING MODELS
Modules of 60’x60’ galleries bridge between towers, constructing the interior condition of the museum. A channel glass wrapper mediates the museum’s relationship with the surrounding buildings and denies the kit-of-parts logic to which the towers and modular galleries adhere.
ET
TRE
HS
HIG
60’X60’ Gallery
T
EE
TR
S GH
HI
Wrapper
ET
RE
BAC
E YAL
REP
RK YO
RK
ET
RE
ST
C BA
YO
ST
Art towers are bridged together with galleries. The entrance is at the center of the building.
Art towers and bridges are extended across the site. The building can be accessed from both York and High Sts.
The museum is anchored at either end of the site. Access is through a large public courtyard between each structure.
Blocks are stacked on the York St. edge of the site. A tall wall marks the entrance and contains the blocks that make up the museum.
FLEXIBLE GALLERY SPACE 12
Dark Gallery The towers and galleries are concrete and have openings only where the gallery wall meets the tower wall. The dark galleries are ideal for video art and other art that needs little or no natural light.
Bright Gallery Other interior galleries have partial or full enclosure by the channel glass wrapper. These galleries are lighter and are better suited for installations that need to be well-lit and can handle natural sunlight.
Exterior Gallery The roofs of the galleries are occupiable sculpture terraces. These are suitable for weatherproof scuplture.
4TH FLOOR
DISTRIBUTION OF GALLERIES
3RD FLOOR
2ND FLOOR
1ST FLOOR
EXTERIOR TERRACE
BRIGHT INTERIOR GALLERY
CHANNEL GLASS WALLS
14
DARK INTERIOR GALLERY
CONCRETE WALLS
ART TOWER
BACK OF HOUSE
Administrative offices and an outdoor terrace occupy the fourth floor
A large exterior sculpture terrace and two interior galleries occupy the third floor
4TH FLOOR
DISTRIBUTION OF GALLERIES
3RD FLOOR
2ND FLOOR
1ST FLOOR
EXTERIOR TERRACE
BRIGHT INTERIOR GALLERY
CHANNEL GLASS WALLS
16
DARK INTERIOR GALLERY
CONCRETE WALLS
ART TOWER
BACK OF HOUSE
A large interior gallery and two bright galleries occupy the second floor. The large gallery has enough channel glass openings to provide light into the large room while still allowing for curatorial control of the light levels.
The loading area faces High St. and the public lobby is between the three towers closest to York St. From the lobby, visitors can access the theater, the multipurpose space–which has access to a small outdoor terrace–and the galleries.
-5.0
-10.0
+0.0
+0.0
+5.0
+0.0
+0.0
+0.0
+5.0
-10.0
+10.0
+0.0
1ST FLOOR PLAN
-10.0
0’
18
16’
32’
64’
1/32” = 1’=0”
2ND FLOOR PLAN
0’
+23.0
-10.0
+20.0 +23.0 +17.0
+23.0
+20.0 +17.0
+23.0
16’
+41.0
+48.0 +43.0
+43.0
+53.0
3RD FLOOR PLAN
+53.0
0’
20
16’
32’
64’
1/32” = 1’=0”
4TH FLOOR PLAN
0’
+61.0
+51.0
+68.0
+63.0 +73.0
+68.0
+43.0
+68.0
+68.0
+68.0
16’
22
SECTION
24 1/4” = 1’-0”
SECTION DETAILS
Paving Unit Waterproofing Insulation Receptor Head Sealant Continuous Gasket
Metal Support Frame Ceiling Panel Hangers White Ceiling Panels
3/4” = 1’-0”
26 1/4” = 1’-0”
SECTION DETAILS
Transverse Pin In Shear Pin Socket Sliding Membrane
Steel Frame Channel Glass Continuous Gasket Sill Sealant Metal Flashing
Gravel Ballast Waterproof Membrane Paving Unit Insulation Substrate
3/4” = 1’-0”
AERIAL VIEWS OF MODEL
The south side of the museum is wrapped in channel glass, but the glazing is set in front of the concrete wall, to avoid bring the direct southern sunlight into the galeries .
28
The north side of the museum, which is also wrapped in channel glass, has more surfaces that reveal the channel glass on the interior of the museum, which provides light without introducing glare.
PERSPECTIVES
Between the towers that are closest to High Street, the museum lifts off the ground floor, creating a public passage way through the site for the public.
30
32
34
Critic Sunil Bald
2nd Year - M.Arch I - Spring 2011
With Francesco Galetto
PLINTH
VIEW OF PLINTH FROM RESIDENTIAL SIDE WEST OF THE SITE
Providence is divided by I-95, and its streets are largely unpopulated. To bring people and capital to the city while reconnecting the downtown east of the highway and the denser residential neighborhoods to the west, a plinth of labs is placed over I-95. The buildings on top of the plinth responds to the different context on each side of the highway. Crystal-like buildings mark the presence of the labs below.
OUTH NCE Because of the divisions the highway creates for downtown Providence, we propose a bitants/acre plinth bridging between either side of I-95. This will eliminate many of the divisions that occur because of the highway’s wall-like character.
DOWNTOWN The Proposed Site In The Brief PROVIDENCE 14.6 inhabitants/acre
JEWLERY DISTRICT 3 inhabitants/acre
DOWNTOWN PROVIDENCE 14.6 inhabitants
BRIEF
The Site Of The Plinth
36
JEWLERY DISTRICT 3 inhabitants/ac
FEDERAL HILL 18.3 inhabitants/acre DOWNTOWN PROVIDENCE 14.6 inhabitants/acre
UPPER SOUTH PROVIDENCE 20.9 inhabitants/acre
JEWLERY DISTRICT 3 inhabitants/acre
FEDERAL HILL 18.3 inhabitants/acre DOWNTOWN PROVIDENCE 14.6 inhabitants/acre
UPPER SOUTH PROVIDENCE 20.9 inhabitants/acre
JEWLERY DISTRICT 3 inhabitants/acre
CONSTRUCTION OF PLINTH OVER THE HIGHWAY
Before construction
38 Lab Level
PARK LEVEL
R&D LABS LABS
RESIDENTIAL
COMMERCIAL RETAIL
HIGHWAY
PARKING
SUPERMARKET
Z z z z
Z z z z
PROGRAM AND INTERACTION
IDEA
40
PRODUCTION
PRODUCTION
CONSUMER
RETAIL
CONSUMER RETAIL
RETAIL
FINAL MODEL
42
PLAN OF HIGHWAY LEVEL
44
PLAN OF LAB LEVEL
1:2 00
50
0m 20 10 0
20
PLAN OF PARK LEVEL 0m
46
48
Plinth in Chicago
Plinth in Atlanta
REPLICABILITY
Plinth in New Haven
50
VIEW OF LAB AND CRYSTAL
52
54
Critics AOC with Jennifer Leung
Advanced Studio
ROYAL ARMOURIES REPOSITORY
LANE RICK 13 OCTOBER 2011 STUDIO AOC
The interaction between the human and object changes as the scale of the object changes. What may be scary at one scale will become merely unusual or even harmless at another scale.
The Royal Armouries’ collection is made up of three major categories: firearms, edged weapons, and armour. Though some items are displayed in London and Fort Nelson, UK, most of the objects in the collection are stored in Leeds. A new repostory in Swindon will be able to hold everything in the collection that is not currently on display. The storage of the collection will be less dense than the current storage conditions. The repository will be laid out to encourage the viewer to interact with the collection in a variety of ways at once.
There are 79 000 objects in the Royal Armouries’ Collection
46% on display These things will stay in the museums the are currently stored in
54 % in storage These things will be stored in a new repository in Swindon, England
16th c. - Tower of London 1995 - Fort Nelson
THE COLLECTION
1996 - Leeds
56
2004 - Louisville, KY 2011 - Swindon, England
LEEDS
SWINDON
LOUISVILLE, KENTUCKY
FORT NELSON
TOWER OF LONDON
Total Area 12 000 m^2
Repository 10 000 m^2
Library
Mechanical
Cinema
Circulation
Firing Range Display 2000 m^2
Play Room Exhibition Space Armour 2000 m^2
Storage and Display 10 000 m^2
Everything Else 2 000 m^2
Foyer Reception Male Female Loading Security IT
Meeting Rooms
Firearms 4000 m^2
Staff 250 m^2
McDonalds Shops
Storage 8 000 m^2
Access and circulation 500 m^2
Offices
Staff Kitchen Edged Blades 2000 m^2
Mechanical 250 m^2
External program 1000 m^2
Everything Else 2000 m^2
PROGRAMMATIC ANALYSIS
A programmatic analysis shows that most of the 12 000 m^2 will be devoted to storage, and a much smaller amount of space will be used for auxillary program. This will in turn inform the density and area that will be devoted to storage,
Once the programmatic proportions have been determined, an analysis of the aspects of the program that will be more closely linked together reveals certain programmatic relationships that will need to be present on the site. For instance, both staff and loading zones will need to access the collection as the public entrance does, but the loading zone will not need access to the public entrance.
McDonalds 500 m^2
58
LESS ACCESSIBLE
PEOPLE ENTRANCE
Female 50 m^2
Male 50 m^2
Edged Weapons 2 000 m^2
Armour 2 000 m^2
Library 500 m^2
Laboratory 250 m^2
Paintball 500 m^2
Play-acting Room 250 m^2 Meeting Rooms 100 m^2
THING ENTRANCE
Firing Range 1000 m^2
IT 50 m^2
Offices 100 m^2
Security 25 m^2
Mechanical 250 m^2
Loading 25 m^2
Firearms 4 000 m^2
MORE ACCESSIBLE
ADJACENCY ANALYSIS
Foyer 25 m^2
Reception 75 m^2
ROYAL ARMOURIES SWINDON
FIREARM AND WEAPON STORAGE // MECHANICAL ROOM
FIREARM AND WEAPON STORAGE // MECHANICAL ROOM
A cartoon of the forces acting on the site helps generate a series of massing models that address the large, fast sroad to the south of the site and the small residential buildings to the north of the site.
SITE 3
SITE
swindon - site 3
60
Interlocking combs
Inverted combs
One comb
One comb, version 2
Box holding smaller boxes
Clustering of smaller masses
Small vitrines, clustered
SKETCH MODELS
Interlocking combs
62
A SERIES OF SKETCH MODELS
AN ENCLOSED CORRIDOR CONNECTS EACH OF THE DISPARATE MASSES
LARGE MASSES FACE BUSY ROAD
A WALL CIRCLES THE SITE, PROTECTING THE COLLECTION’S EXPOSURE TO THE PUBLIC AND FORMING VISUAL INTEREST ALONG THE ROAD
MASSING STRATEGY
SMALLER MASSES BACK THE HOUSES
LAMINATED CROSS SECTIONS
A series of cross sections show the changing relationship between the wall, the building, and the context.
64
SITE PLANS
edged blade storage
edged blade storage
wc
wc study
edged blade storage study
study edged blade storage
edged blade storage
edged blade storage study
gatehouse
gatehouse
firearm storage
firing range
firearm storage
firing range security
security study
gatehouse
gatehouse
1ST FLOOR PLAN
firearm storage
66
mcdonalds
1:200 0m
20
50
100
mcdonalds
firearm storage
firearm storage
firearm storage
firearm storage
c study
mechanical
mechanical
study
armour storage
security study wc
armour storage
security
study wc
study
gatehouse
firearm storage
loading
loading
armour storage
armour storage
shop
shop
gatehouse
1:200 0m
20
50
100
LONGITUDINAL SECTION & 2ND FLOOR PLAN
edged blade storage
68
edged blade storage
edged blade storage
armour storage firearm storage
firearm storage
firearm storage
firearm storage
armour storage
OUTSIDE THE REPOSITORY
The wall that wraps around the site resembles pieces of gun barrels and provides a barrier to the busy street. The building rises quiently behind the wall.
70
The oddly scaled gunlike forms allow the user to interact with them in different ways.
DEALING WITH THE EDGE OF THE SITE
Clusters of the barrels mark entry and points of importance
72
Spacing the barrels out creates a landscape condition
Larger barrels contain inhabitable program, such as a McDonald’s.
Details on the barrels are scaled to the body, offering seating and leaning spots
Barrels that ram into the building are hollowed and provide extra storage space, accessed through the buildings storage rooms
VIEW OF THE ENTRANCE
Once the visitor has passed the exterior wall, it is possible to see the concrete and glass repository. The entrance is at the end of a long forced perspective exterior corridor that is sandwiched between the shooting range and firearm storage.
74
INSIDE THE REPOSITORY
From inside a study room, it is possible to look through a glass wall, across the corridor, and into the storage rooms for both edged blades and guns. A sliver of the interior coutryard can be seen as well.
76
SECTION OF AN ENCOUNTER
78
Critic: Demetri Porphyrios
3rd Year - M.Arch I - Spring 2012
A LIBRARY IN SWANSEA
80
PRECEDENT
Laurentian Library, Florence, Michelangelo, 1525
82
PRECEDENT
Viipuri Library, Vyborg, Russia, Alvar Aalto, 1935
84
PRECEDENT
Viipuri Library, Vyborg, Russia, Alvar Aalto, 1935
CHARRETTE
Early studies and sketches merged a theatrical tiering of levels with the bar shaped reading rooms of many precedents. Later studies looked at train stations to generate massing strategies. Focus on the entry sequence and poche strategies affected subsequent development of the reading room.
86
MASSING STUDIES
A series of massing studies investigate the form of the library withing its context. Using train stations as precedents, the masses distinguish between the three major interior conditions: the entrance bar, the circulation bar, and the reading room. The articulation of these different kinds of space reads on the outside of the building.
88
SITE PLAN
The studio was based on a development of a master plan for Swansea University in Swansea, Wales. Each student developed a single plot of the plan, ranging from student housing to convocation halls and laboratories. I developed the library, located below, in black, on the site plan. For siting strategies, the students worked among their neighbors. Water sits to the south of the site, and a highway bounds the north.
90
SITE PLAN DETAIL
1ST FLOOR PLAN 0’
92
16’
32’
64’
1/32” = 1’=0”
GROUND FLOOR PLAN 1:100 0m
1
2
5
2ND FLOOR PLAN
SECOND FLOOR PLAN 1:100 0m
0’
94
16’
32’
64’
1/32” = 1’=0”
1
2
5
3RD FLOOR PLAN 0’
THIRD FLOOR PLAN 1:100 0m
1
2
5
16’
96
0m
1
2
5
1:100
GROUND FLOOR PLAN
SHORT SECTION 98
0m
1
2
5
1:100
GROUND FLOOR PLAN
100
FINAL MODEL IN CONTEXT
102
104
Critic Ben Pell
1st Year - M. Arch I - Fall 2009
VARIABLE SPACE FRAME
106
STUDY MODELS OF STRUCTURAL PERMUTATIONS
PLAN
SECTION
With Buckminster Fuller’s geodesic dome as a precedent, triangulated space frames are built next to each other and nested within one another. This allows the frames to be scaled up and down as needed. At the largest scale, the frame is an opening into a room; at the smallest it is a screen that can filter sunlight.
108
110
AXONOMETRIC VIEW OF GRADE CHANGE
112
114
1st Year M.Arch I
With Vivian Hsu & Mark Talbot
HIDDEN WALL IN RUDOLPH HALL
116
CONCEPT AND INSTALLATION
PHOTOS OF THE INSTALLATION
An installation in Rudolph Hall uses a latex blanket to mask a section of the stairwell. A slit in the latex allows one to enter the small room that is created, which has a single window that allows the occupant to observe the activities of the school from within wall.
118
120
2nd Year - M.Arch I - Summer 2011
SAN CARLO ALLE QUATTRO FONTANE
DETAILS OF THE TRIPTYCH
A three-part study of Francesco Borromini’s 1634 church first assesses the existing building in plan and section, then pulls the components apart to anazlyze the church. Finally, everything is drawn back together in a perspectival experience that purveys the intimate immensity of the small building.
122