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A N N A

C O L L I N S

Selected Works


C O N T E N T 04

Curriculum Vitale

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Planar Existence

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Judd

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Design of the Sensory

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Barrier Morphology

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Robotics Fabrication

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WILMOTTE, internship


“What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.� Alain de Botton


A N N A

C O L L I N S

+1.316.765.4326 annacollins17@gmail.com

EDUCATION

EXPERIENCE

University of Kansas School of Architecture & Design

Wilmotte & Associés

August 2013 - Present Lawrence, Kansas

L’École Nationale Supérieure d’architecture de Paris-Val de Seine (ENSAPVS) September 2017 - December 2017 Paris, France

LEADERSHIP American Institute of Architecture Students Vice President / Event Coordinator August 2013 - May 2018 Led a team of board members to enhance students’ experience. Collaboratively worked to increase funds by 2400%. Expanded membership by 300%. Led the creation of two annual events for students.

KU Design Week Producer August 2013 - May 2018 Architectural representative to unify students. Collaboratively managed and planned events.

Intern June 2017 - December 2017 Paris, France Par ticipated in design-development iterations. Worked on design-development phase, including: floor plans, sections, elevations. Created multiple graphics for client presentations.

Dwell Design Studio Intern May 2016 - August 2016 Atlanta, Georgia Assisted several teams with the study, design and development of on-going projects. Contributed to the production of renderings, site plans, and presentation boards.

KU Dir tworks Acquisitions Manager January 2016 - May 2016 Managed a $10,000 budget to construct a pavilion. Allocated donations from various vendors.

AWARDS AIA Kansas: Women in Design Scholarship Archdaily’s “The Best Student Design-Build Projects

SKILLS

Worldwide 2016”

Revit, AutoCAD

AIA Florida: “Merit Award for Unbuilt Design”

Rhino, SketchUp, Grasshopper Adobe Suite: Photoshop, Indesign, Illustrator Model-making, handsketching

Archpaper’s “The Best of Design Award: Student Work”


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ANNA COLLINS

Planar Existence Courthouse

PLANAR EXISTENCE

Burnet, Texas Comprehensive Studio Spring 2017 Partner: Spencer Reed Captured by the large, angular planes that define the cour thouse, this marks the beginning of a journey of perspective ultimately concluding in the cour troom. As one enters the cour thouse, they are met with an undulating surface, represented in the diagram to the right. The top of the bridge represents a perspectival shift, where what was previously understood to be a rough object is now the opposite. A gold door emerges as the final interaction before the entrance to the cour troom, casting a reflection of itself onto the floor, recalling the previous undulating form with a new perspective.


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At First Glance

1_Series of thin surfaces At first glance this series of planes exists in our vision only as a sequence of thin surfaces.

A Different Point of View

PLANAR EXISTENCE

Similar to the uncovering and constantly changing social justice system, by experincing this form from different moments in space, our experience and understanding of what we see is always unique.

the Corner

5 degrees, the experience once of dynamism. Where traditionally e corner of the building at the and users of the courthouse will perspective at different moments interact more intimately with the ote is the capacity for these walls y that they wouldn’t have prior to lar adjustment.

A Shift of Perspective

2_Shift of perspective By shifting perspective, the true depth and geometry of the planes becomes understood.

Creating Depth

On the Site

By shifting the depth and height of each plane, the building improves its response to the site, the scale of the user, and creates depth - adding an element of complexity to an already dynamic conceptual design.

On the site, these planes lose their imposing nature and their dominance as a result of their parallel and perpendicular nature with the site boundary.

4_Creation of Depth

5_Parallel + Perpindicular

A Different Point of View

3_Point of View

Similar to the uncovering and constantly changing social justice system, by experincing this form from different moments in space, our experience and understanding of what we see is always unique.

Turning the Corner

6_Rotation

By rotating the planes 45 degrees, the experience once again gains another layer of dynamism. Where traditionally one might encounter the corner of the building at the corner of the site, visitors and users of the courthouse will instead encounter shifts in perspective at different moments in space, requiring them to interact more intimately with the form. Also important to note is the capacity for these walls to capture sunlight in a way that they wouldn’t have prior to the angular adjustment.

Creating Depth

By shifting the depth and height of each plane, the buildin improves its response to the site, the scale of the user, an creates depth - adding an element of complexity to an already dynamic conceptual design.


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Holding

Holding Deputy Holding

Court Security Deputy

Reception

Holding Command

Secure Passage Holding

Processing Att. Interview

Firearms

Sallyport

Att. Interview

Elec. Public Defender

UP

Data

Lobby

Paralegals Urinalysis

Assistant DA 1

Pretrial Officer

Lobby Assistant DA 2

Officer in Charge

File Stor.

DA

Loading Dock

Stor.

Firearms

UP

Mail

Pretrial

DN

BASEMENT

Level 0 Floor Plan 1” = 20’

Jury Room

Stor.

Stor.

SL AV / Stor.

Judge's Office

Reception

Magistrate Courtroom

UP

Sal. Holding Holding Elec.

PLANAR EXISTENCE

Data

Lobby

Holding Holding Magistrate Courtroom Att. Mtg. Room Jury Room

SL Stor.

Att. Mtg. Room AV / Stor.

UP

Reception Stor. Judge's Office

LEVEL 2 Level 2 Floor Plan 1” = 20’


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+3' -6" UP

Probation Conference

UP

Lobby

Officer 2

+7' -0" Officer

Urinalysis

+0' -0" Security

Manager

WR / Storage Firearms

UP

Records Stor.

Elec. Clerk

Data Lobby

Lobby

Stor.

Jury Assembly

Records Stor.

Shared Work

Admin

Admin

County Clerk Lounge / Conference

Admin UP

Manager

Level 1 Floor Plan 1” = 20’

LEVEL 1

Judge's Office

Stor. Conference Room

Clerk District Courtroom AV / Stor. SL Jury Room DN

Holding Holding

Elec. Data

Att. Mtg.

UP

LEVEL 3 Level 3 Floor Plan 1” = 20’

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PLANAR EXISTENCE

LATITUDINAL ELEVATION

LONGITUDINAL ELEVATION

LATITUDINAL SECTION

LONGITUDINAL SECTION


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HVAC

HVAC SYSTEMS

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ANNA COLLINS

PLANAR EXISTENCE

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JURY ASSEMBLY WALL SECTION


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ENTRANCE WALL SECTION

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ANNA COLLINS


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ANNA COLLINS

Judd Museum Kansas City, Kansas Third Year Studio Fall 2015 Solo Project

Located in the heart of the Kansas CIty Crossroads District, the site evokes a sense of historical permanence. The heavy brick buildings remind us of the richness of history and the vibrancy of the city. The neighborhood, once in decline, is revitalized into a cultural and artistic center. To parallel this change, the introduction of an art museum celebrates the evolution of the Crossroads District.

JUDD

Donald Judd was born in Excelsior Springs, Missouri. Because of his connection to the area, the museum is dedicated to him. Donald Judd emphasized clarity and autonomy in his artwork. Although characterized as a minimalist, he rejected the term. He emphasized the “truth” of objects and the space they create, focusing on materiality and craft. The museum emphasizes both the connection to the Crossroads District as well as the work of Donald Judd. While remaining true to the site, the building recalls ratios and clarity of Judd’s work.


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JUDD

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The building takes on a narrow shape, allowing for open floor plans and recalling Judd’s art studios.

A diagonal from a nearby intersection is extruded and breaks up the form of the long form.

Once the diagonal is removed, the building is once again extruded to create a separate space for programatic purposes.

The forms are connected but contrast in materiality and function, one being a public cafe/lobby space and the other being galleries.

The addition of diagonal extrusions makes the form more cohesive and dynamic.

The gallery space follows the grade of the exterior site, showing it’s grounding in both site and context.


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SOUTH ELEVATION

SOUTH SECTION

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01 02 03 04 05 06 07

Roof: 32’ 08 09 10 11 12 13 14

Level Two: 20’ 15 16 17 18 19 20 21 22 23 24 25 25

27 28

Level One: 0’

JUDD

29 30 31 32 33 34

35 36 37 38


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01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20

Flashing Detail Rigid Insulation Metal Decking Mech. Ducts Panel Support Trusses Acoustical Panels Supporting Beam Insulation Motorized Control Shade Structural Column Single Layer Glass Suspension Rod Double Layer Glass Catwalk Supporting Beam Insulation Motorized Control Beam Structural Column Single Layer Glass

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Suspension Rod Double Layer Glass Acoustical Panel Panel Support Truss System Mech. Duct Conc. Flooring Conc. Structural Deck Interior Drywall Steel Studs Conc. Foundation Wall Rigid Insulation Gravel Earth Conc. Flooring Rigid Insulation Gravel Footing

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The gallery spaces feature a channeled glass system that diffuses light into the space. The glass fades the exterior world, allowing for the galleries to be contemplative and quiet spaces that encourage patrons to better understand Judd’s artwork. The system also allows for huge amounts of natural light to enter the galleries, creating a beautiful interior space.


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Design of Sensory

the

Pavilion Lawrence, Kansas Design-Build Studio Spring 2016

DESIGN OF THE SENSORY

Group Project: Spencer Reed, Patrick Griffin, McKenzie Samp, Mitchell Starrs, Alexa K a c z o r, Ta n n e r H y l a n d , N i c k F a u s t , E l a y n a Svigos, Caitlin McKaughan, Hannah Underwood, Jeremy Weiland, Shummer Roddrick, Stephen McEnery, Kelli Dillon, John Schwar tz, led by Chad Kraus.

The design-build studio commonly referred to as “Dirt Works� is a collaborative project where a team of students both design a construction project and construct it. Our client, the Audio-Reader Network, is an organization that helps individuals that are blind, handicapped or elderly. Their Sensory Garden is about experiencing the beauty of nature without visual stimulation. Wind chimes are abundant and plants with specific smells and textures are placed throughout the garden. Randy Austin graciously donated money for our project on the stipulation that we include a bronze bust of his late uncle. Our mission was to destruct the decrepit gazebo and install a beautiful pavilion that would encourage people to experience the garden.


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The resulting pavilion featured a rammed earth column - the first of its kind (that we know of) that facilitates circulation through the space and back into the garden. The timber- screen is the backdrop of the garden that incorporates the Japanese tradition of “Shou-Sugi-Ban.� By charring the wood, pests and insects are naturally repelled and the wood becomes flame retardant.

DESIGN OF THE SENSORY

The timber roof feathers into the garden, reaching into the space in a subtle and beautiful way. The heaviness of the column, lightness of the framing and warmth of the wood create a calm and tranquil space.


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ANNA COLLINS

Barrier Morphology Urban Design Studio

BARRIER MORPHOLOGY

Fort Lauderdale, Florida Fourth Year Studio Fall 2017 Group Project: Zach Overschmidt, Hannah Underwood, Mitchell Starrs Due to the extreme increase of CO2 into the atmosphere, sea levels continue to rise at an alarming rate. Fort Lauderdale, Florida, is one of the affected cities. This study provided insight into how urban design elements can resolve issues of climate change and how architecture will further be affected by these components.


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1763

1900

1920

1 9 5 0

1 9 8 0

2000


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Instead of mitigating the rising sea levels, the city must adapt to this inevitable change. Instead of building walls or lifting buildings up, the water is funneled through a canal system through the island of North Beach Village. The beach in turn moves into the city and the natural movements of the dunes create barriers that protect it’s inhabitants.

BARRIER MORPHOLOGY

The ground level becomes a recreational beach zone, and the circulation that would normally occur is elevated with bridge systems and future public transportation.


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BARRIER MORPHOLOGY 31 ANNA COLLINS


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Robotics Fabrication

R O B O T I C S FA B R I C AT I O N

Lawrence, Kansas Spring 2017 Partner: Nate Kaylor

Part One is the creation of a support that originates from traditional Japanese joinery. With the KUKA Robots, two pieces are created that fuse together. Part Two is an installation piece that extrudes an organic form from solid mass. The deconstruction of the form results in a curious juxaposition of contrasts.


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R O B O T I C S FA B R I C AT I O N 35 ANNA COLLINS

0 90 180

270


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With the rotation of the pieces, one chooses the length of the support. A dimension is created to the tradition of Japanese joinery; the solids and voids of the foam are functional spaces.

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Training Center Wilmotte & Associés Poissy, France Internship June 2017 - December 2017

PSG TRAINING CENTER

The Professionals building needed to represent the core values of the PSG team. It also needed to maintain privacy for the players while creating a significant impression on the site. The drama of the form, which features a dynamic directional geometry, creates a sense of importance while its subtle details maintain a certain humility. The topography of the site was another element that acted as a constraint and dictated design elements. The slope of the terrain creates 3 divisions of the site, starting with the lowest altitude and increasing at two hills, resulting in three “trays” of usable space. Contextually, there is a forested terrain surrounding the site. The views needed to be maintained rather than disrupted, and the landscape valued and even strengthened. I worked on elevations of the facade and overall shape of building, interior programming, producing sections, especially those to explain the impact of the new topography on the old, and axons to demonstrate the relationship of different circulation paths. Most of these drawings were for the professionals building, although I also spent time with the school building and club house.


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Thank

you.

References: John Trefry jt@sisyphean.com Chad Kraus ckraus@ku.edu Jay Silverman jsilverman@dwelldesignstudio.com

Portfolio 2018  
Portfolio 2018  
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