Page 1

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


Lane Rick  

Portfolio of Work

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