professor ivi diamantopoulou
professor valeria herrera
professor david shanks
professor joel kerner
tectonics: cubes stereotomics: solid/void case study: Hanselmann House primordial pavilion
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analog representation
20-24
sequence & section: School of Architecture facade & threshold: Yale Center for British Art Syracuse Arts Incubator: “wavelength”
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digital representation
40-45
an introduction to methods of creating space through tectonic elements and architectural drafting emphasis on the iterative process, craft, and clarity of drawings the initial 3” x 3” x 3” cube iterations inform the design of the final 6” x 6” x 6” hybrid basswood & foamcore cube
a continuation of the exploration into methods of space making, this time through stereotomics and axonometric drawing emphasis on digital modeling and axonometric drafting the stereotomic design moves present in the tower create both a figural solid and void space; the axonometric drawing illustrates both elements of the design with the solid on the left and void space on the right
an examination of spatial and formal elements in relationship to conceptual design strategies, such as interlocking space, present in Michael Graves’s Hanselmann House initial analytical readings of plan & section drawings of the precedent project guided the exploration of past & present states of the Hanselmann House the findings from the formal analysis of Graves’s Hanselmann House serve as inspiration for the projective design, which is centered around a common linking space
situated at Columbus Circle in downtown Syracuse, this primordial pavilion acts as a public performance space while meeting the programmatic needs of a polling place when necessary. the pavilion houses multiple public gathering spaces: an amphitheater which doubles as a polling station, outer layered seating, benches, and an office also acts as a work and gathering space. the formal moves are influenced by previous explorations of stereotomics and inspired by the organic shapes of stalagmites, stalactites, and cells. the asymmetrical, organic design of the plan is juxtaposed in section, but the softening of various edges recalls the delicacy of the project in plan. the organic, curvilinear design of the plan reappears in the windows of the amphitheater and office. a large window above the amphitheater acts as a natural spotlight above the implied stage space. punctures in the monolithic roof create delicate light patterns reminiscent of the organic form of the plan.
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elevation
coursework focused on improving and strengthening analog/ hand-drawn representation skills. compositions include but were not limited to still life, perspective, portraits, and collage. projects were produced from multiple mediums. eye: charcoal paper bag: graphite 2-point perspective: graphite shoe elevation: graphite self-portrait #1: graphite self-portrait #2: ballpoint pen closet perspective section: colored pencil, graphite, collage
an introduction to phenomenal and experiential elements of architecture, explored through analysis of sequence and the section of Balkrishna Doshi’s School of Architecture in Ahmedabad, India. the analysis of this project informed the production of a shallow-relief section model and perspective section drawing. studies of the sequence of the administrative program of the project were later combined with Jørn Utzon’s Bagsværd Church to produce a new design.
School of Architecture
Balkrishna Doshi, Ahmedabad, India, 1966
Becky Goetzke 3/8” = 1’
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School of Architecture / Bagsvaerd Church Doshi, Ahmedabad, India, 1966 / Utzon, Copenhagen, Denmark, 1968
Becky Goetzke 1/8” = 1’
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a continuation of work centered around phenomenal and experiential elements of architecture. focused on facade and threshold and taking Louis Kahn’s Yale Center for British Art as a precedent, I developed a partial facade which was rationalized on a grid system similar to the one found in Kahn’s project. the facade acts as a continuous threshold to the exterior space beyond the boundaries of the site.
D ELEVATION
I was inspired by interlocking and interwoven spaces and how liminal spaces could bridge the gap between the programmatic purposes of the project. I explored ideas of waveforms, swooping geometry, and weaving in the design of both the façade and interior. I also studied the sunlight conditions of the site and determined how the façade could adapt to meet the daylighting needs of the program that lies behind it. I incorporated mosaic into the design of the façade for both practical and aesthetic purposes. The mosaic can match the wave geometry of the façade, but it also turns the project into a work of art itself. The façade treatment connects the interior and exterior by bringing the interior program of “art gallery” to the sidewalk, creating a monument for the city and further weaving the purpose of the project into the fabric of the urban context surrounding it.
public restrooms
gallery
lobby/atrium
gallery office
studio office
gallery restroom
studio restroom
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floor plan : ground
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gallery
rooftop terrace
gallery
studio studio
floor plan : 3
floor plan : 4
studio
floor plan : 5
long section
short section
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coursework focused on improving and strengthening digital representation skills. compositions focused on ideas of figures & fields, objects & taxonomies, proto-architectures, and context & atmosphere. projects were created and developed across different programs. kit-of-parts: rhinoceros, illustrator, photoshop
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proto-architecture form: rhinoceros, illustrator, photoshop
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proto-architecture structure: rhinoceros, illustrator “alphabet soup”: rhinoceros, illustrator