S.O.P> ARC48_381 CARNEGIE MELLON SoA CATHERINE ZANARDI
2060s
2020s
academy gain skill; learn technique
apprentice apply skill; amass knowledge
I want to be part of the field of Architeture, in a humble, and yet valid, way.
EDUCATION
application
I am torn between producing many small projects where I can have my hands on each decision and detail and being apart of a larger effot to make great, impactful projects. I am torn between diving into a study and making highly specified, responsive projects and designing cultured, artful experiences. I will find a studio where I can exercise all of these interests, work closely with partners and consultants to generate new experiences with smart technique, and have a respected platform for me to build and express my ideas.
2010s
2000s
I want to allow people an avenue to the best life possible by simple and elegant yet productive and resourced manipulations of built form. I intend to create experiences that are holistic in nature, no matter the medium or representation. My goals aim to transform as many human situations as possible, directing my focuses to either extremely intimate or largely public projects.
desgin; create; build
PRACTICE
investigation environment; human factors; proportions I am maluable but not looking for a form. I am maluable and looking for a medium.
ARCHITECTURE IS AN OPTOMISTIC ART, AND I AM AN OPTOMISTIC PERSON.
I need to build to contribute to the world, and I need to contribute to the world to be content in my life. This is a path I have chosen and I accept its full and consuming responsibility. Experiences need to be felt in order to be registered in a person and Architecture needs to be built in order to be realized in the world. My conviction that Architecture must be built in order to measure its impact in the world pushes me to design better buildings, make better buildings, and see better buildings. I see Architecture’s potential, as a field, to close a gap between human fabrication and environment, human experience and built form, and design and result feedback.
I need the variabilty, the choices, the impact, and the span of Architecture. I need the medium the field of Architecture provides. I need to work at a productive firm in order to allow myself the advantage to grow in my field and progress as a professional. This requires a firm that embodies the structure that is intrinsic to the field. Architecture relies on the merging of professions, tasks, information, etc to produce a singular solution. Following this nature, my success relies on the exposure and practice to all the aspects of a project.
My experience will slow my potential. This is a nicer way of saying my confidence of my skill will slow my potential. I use slow instead of stop because I am an optimist. [I will overcome this through education and practice, education and practice, education and practice, ect.]
[I will overcome this over time and with time.]
My interests will slow my potential. This is a not-so-nice way of saying my skills will spark a system of routes so broad it will be difficult to mainstream into a single, simple career path. [I will overcome this through making and evaluating, researching and converging directions.]
The world’s perception of my skills will slow my potential; people have to care about design and see its purpose to realize its value. [I will overcome this through results, measurements, and communication of what I can do. I will overcome this by aligning my goal to the cause of the client.]
MY STORY TOLD BY MY PORTFOLIO: My previous work exemplifies the projection of my future career. It shows an aesthetic of the material and shaping of form that is inherent to me. My projects naturally highlight the moments of life I find most willing and able to be manipulated for better use. They demonstrate what I know and hint towards what I want to know.
MY STORY TOLD BY MY EXPERIENCES: My life can illustrate what is important to me in this world; what type of work is important to me and, even more significant, how I will act in creating that work. My grandparents created their own company and my father recently re-entered education to follow his interests; I am not afraid of taking a leap for my career. I grew up in a house wedged into a forest; I hold my immediate surroundings responsible for my character.
My home renovated by my parents; 2005.
MY STORY TOLD BY MY SCHEDULE: The tipped balance from work to play shows how I rank and prioritize what I do with my time to demonstrate my work ethic as well as prove that my free time is spent expanding my knowledge of my interests. I travel, draw, photo what I see. I explore design fabrication, study psychology, read science fiction.
Success means finding balance. I don’t want to live on the end of any spectrum of high’s or low’s. I want to establish a healthy work schedule. I want financial stability. I want to include my hobbies, my friends, and my family into my daily plan.
Success, for me, looks a lot like pancakes on a Saturday morning.
Success means being content. I want to be in love with what I do, who I surround myself with, and where I am. I want to look back and see my impact on the both world and its people.
Success is a happy marriage of my priorities and my responsibilities. It is a plan that is formed by an alignment of business to ensure financial success and design integrity to ensure career success. The projection my career will take starts with exploration by means of education and the amassing of skills and technique. This will culminate with my license to practice Architecture and ability to design, create, and produce on my terms. I will work with a medium-sized, resourceful firm to get my name attacthed to as many projects as possible.
Success, for my career, looks a lot like a thick portfolio.
STRUCTURE OF PRACTICE:
PURITY OF DESIGN INTENTION:
SOFTLAB: SOFTlab is an extremely small design studio that produces projects under almost every medium, using projects as a means to spark a creative studio environment for research and experimentation which can be applied to future client projects. The studio is comprised of unique backgrounds to bring fresh perspecitves for spatial, graphic, interactive, and visual experiences. The size of the firm allows for hands-on design iteration and production but dictates the scale of the projects.
SANAA: Sanaa is an architectural firm that focuses on the maintaining the purity of construction, material, and movement-based form into clean, elegant built forms.
MVVA INC: MVVA operates as a large landscape architecture firm which opperates under use of multidisciplinary design teams of varying group sizes, types of expertise, and firm rank. The firm prioritzes environmental performance, financial resourcefulness, technical innovation, and excellence of system assemblies alongside the goals of the project’s built landscape. CDR STUDIO ARCHITECTS: CDR’s approach to practice is to use building projects as a means for ongoing experimentation with materials and methods of production for building performance. The firm views project challengesof site constraints, budgets, codes, and consultants as opportunites to expand the firm and challenge solutions.
“We Are Not a Heirarchy of Decision Makers” Approach; CDR
CLIENTS CONCERNS OF PROJECT
CDR TEAMS FORM
BJARKE INGELS GROUP: BIG is a large group of architects, designers, and builders that work together under fields of Architecture, Urbanism, Research , and Development whos projects are translated, visualized ideas that maintain the integrity of the diagram. THE WALT DISNEY COMPANY: Disney is an entertainment company that uses a conglomerate of media types to focus on creating a holistic experiences and protoytype planned community ideas. Vitra Factory Building Diagram; SANAA
O R G A N I Z AT I O N A L S T R U C T U R E OF PRACTICES:
INTRODUCE CLIENT
[TOP-DOWN STRUCTURE] OR [EQUAL OUTREACH/COLLABORATION STRUCTURE]
? INTEGRATED
INTEGRATED TEAMS
E V I DE N C E
OF
I practice designing for manipulation of program concept, material and assembly of building structure, and clear integrity of intent. I use studies in psychology and human factors in Architecture to find forms, light, and material to manipulate a situation. I use my understanding of proportions to create and critique my art in the context of its purpose.
C O N VI C T I O N :
I practice designing by concept and information flow to create informed, responsive built forms. I design with belief in the stance “green over gray.� I use programs to find forms which are flexible to react to environment. I design to create an understanding between a performative system and the built form that a person can see and ineract with; I design to tell a story of information.
I practice creating in two-dimensions to maintian a strong relationship between myself and the world. This is a skill I can use to describe ideas I can only visualize or capture moments with an added clarity applied by the pen. I have taken analog drawing classes as well as my own explorations to gain skill of representation. I can take this skill and apply it to the early concept and creation processes of designing to loosen my thought and find the form. I can take this skill and apply it to digital representation of building ideas as diagrams and renderings
I practice creating in three-dimensions to explore the relationship between design and a built result. I have practiced the design, drafting of construction documents, and building of a community hoop house, which confirmed my appreciation of the production process. I have taken classes in using fabricaiton tools to overcome obsticles, which confirmed my appreciation of detail and human relation. I have modeled projects to scale, which confirmed by appreciation of modeling as an indicator of design prototype.
GENERAL NOTES: 1. MATERIAL IS A-36 STEEL PLATES; 1/8"
CL
STEEL PLATE ARCHITECTURAL DETAIL
KEYNOTES: 1. DOUBLE FILLET MITRE WELD; STITCHED
LEGEND: R1: 0.1875" RADIUS; component 1 hole R2: 0.25" RADIUS; component 2 hole R3: 2.375" RADIUS; component 2 shape DRAWING SCALE: 1:2
COMMISSIONED FABRICATION
DETAIL PLAN; ELEVATION; AXONOMETRIC
[evidence of conviction, cont.]
DETAIL for CAMERA OBSCURA
MEGHAN CHIN and CATHERINE ZANARDI
CL
McKAMISH, Inc.
1
ELEVATION COLUMN
SCALE: 1' = 1'-0"
2
AXONOMETRIC COLUMN SCALE: 1' = 1'-0"
THE JOINT BEING FABRICATED IS DRAWN IN BLACK, AND PICTURED IN ITS CONTEXT HERE.
D
M
1
ELEVATION COLUMN
SCALE: 1' = 1'-0"
3
AXONOMETRIC COLUMN EXPLODED AXONOMETRIC COLUMN 2
SCALE: SCALE: 1' = 1'-0"1' = 1'-0"
THE JOINT BEING FABRICATED IS DRAWN IN BLACK, AND PICTURED IN ITS CONTEXT HERE.
DETAIL COMPOSITE CONFIGURATION
DETAIL for CAMERA OBSCURA
MEGHAN CHIN and CATHERINE ZANARDI
In collaboration with a partner, I designed an architectural detail for a pavilion project. The detail captures the emphemeral quality of the project by focusing on the connection of the light columns which lift the pavilion. The detail embraces the techniques and limitations of steel plate fabrication in its design and production. CNC Plama Cutting, Metal Bending, and Welding were used to create and combine two components into the final detail.
GENERAL NOTES: 1. MATERIAL IS A-36 STEEL PLATES; 1/8"
LEGEND: R1: 0.1875" RADIUS; component 1 hole R2: 0.25" RADIUS; component 2 hole R3: 2.375" RADIUS; component 2 shape
R2
4 1/8"
0 1/4"
1 9/16"
KEYNOTES: 1. DOUBLE FILLET MITRE WELD; STITCHED
Section of Full Detail
R1
R1
2 1/8"
2"
2 1/16"
DRAWING SCALE: 1:1
DETAIL ELEVATIONS
DETAIL for CAMERA OBSCURA
MEGHAN CHIN and CATHERINE ZANARDI
GENERAL NOTES: 1. MATERIAL IS A-36 STEEL PLATES; 1/8"
0 1/2"
1 3/4"
2 1/16"
1 3/4" 2 1/2"
1"
KEYNOTES: 1. DOUBLE FILLET MITRE WELD; STITCHED LEGEND: R1: 0.1875" RADIUS; component 1 hole R2: 0.25" RADIUS; component 2 hole R3: 2.375" RADIUS; component 2 shape DRAWING SCALE: 1:1
COMPONENT A ELEVATION; PLAN
DETAIL for CAMERA OBSCURA
MEGHAN CHIN and CATHERINE ZANARDI
Metal Fabriation ; McMamish , Inc. ; Pittsburgh, PA
1 1/8"
R2
Extracts from Shop Drawings: Plan and Elevation of Top Comonent,
2 3/8"
1 9/16"
R3