Page 1


STUDIO

ANALYSIS

OTHER


T H E

C L O U D

TEMPORARY ENVIRONMENTS

D6. WATER HOUSE SPRING 2012

SPACE, TECTONICS & SURFACE FALL 2009

D4. NEW SEED CITY SPRING 2011

D5. TALL BUILDING FALL 2011

REPRESENTATION & ANALYSIS II SPRING 2010

VILLA DALL’AVA

UNIVERSITY OF SOUTH FLORIDA

DRKLGHT FALL 2009

PHOTOGRAPHING ARCHITECTURE SPRING 2011


T H E C L O U D TEMPORARY ENVIRONMENTS

S P R I N G 2 0 1 2 INSTRUCTORS: GRANGER MOORHEAD | ROBERT MOORHEAD SPONSOR: CARNEGIE 2012 INTERNATIONAL CONTEMPORARY FURNITURE FAIR


T h r o u g h o u t h i s t o r y, f a b r i c s h ave p l a ye d a n i m p o r t a n t s u p p o r t i n g r o l e i n t h e s h a p i n g a r c h i t e c t u r a l i n t e r i o r s , t y p i c a l l y a s u p h o l s t e r y fo r f u r n i t u r e o r d e c o r a t i ve w a l l c ove r i n g s . I n c r e a s i n g l y, t ex t i l e s a r e b r e a k i n g f r e e o f w a l l s a n d f u r n i t u r e t o b e c o m e d o m i n a n t s p a c e - d e fi n i n g e l e m e n t s - s o f t s t r u c t u r e s . O n t h e f l o o r o f t h e I C F F, P a r s o n s s t u d e n t s c r e a t e d a n ex p e r i m e n t a l i n s t a l l a t i o n t h a t ex p l o r e d t ex t i l e s a s s o f t s t r u c t u r e s . S p o n s o r e d b y C a r n e g i e Fa b r i c s , t h e i n s t a l l a t i o n w i l l b e c o n s t r u c t e d b y X o r e l , a C r a d l e - t o - C r a d l e c e r t i fi e d t ex t i l e i n ve n t e d b y t h e c o m p a n y. T h e s t u d e n t ’s fi n a l i n s t a l l a t i o n , a n ove r h e a d c a n o p y c o m p o s e d o f s i m p l e fo l d e d f a b r i c p y r a m i d s , i s t h e c u l m i n a t i o n o f a s e m e s t e r- l o n g s e r i e s o f f a b r i c i n v e s t i g a t i o n s . Ta k i n g a d v a n t a g e o f t h e p r o p e r t i e s i n h e r e n t i n p a p e r- b a c k e d X o r e l f a b r i c , t h e s t u d e n t s n o t o n l y d e s i g n e d t h e fo l d e d fo r m o f t h e m o d u l a r t i l e s , b u t a l s o t h e p a t t e r n o f t h e d i g i t a l l y p r i n t e d f a b r i c . T h i s c r o s s - d i s c i p l i n a r y, e f fe c t i ve s t u d i o i n c l u d e s s t u d e n t s f r o m g r a d u a t e a n d u n d e r g r a d u a t e p r o g r a m s o f t h e S c h o o l o f C o n s t r u c t e d Environments at Parsons and was led by Granger and Robert Moorhead of Moorhead & Moorhead.

Rubber Band Connection on structure

Structure with Bench base


Module


P a t t e r n fo r c l o u d

S t u d e n t s i n v o l ve d : Behnaz Babazadeh D a n i e l l e B l i c k e n s d e r fe r Luke Eddins Lee Gibson Hoda Omidvaromidh Elizabeth Parker Emily Richardson Gosia Rodek Ta m a r a S a b l e r Niyoshi Sanghvi D ev a n g S h a h Ju n r u i Wa n g B i l l y Wo n g Linda Xin


C R E AT I N G A F I E L D : T O D I S A R R A N G E E L E M E N T S O F S PA C E , T E C T O N I C S & S UR FA C E R H I N O C E R O S 4 . 0 | 3 D N UR B M O D E L I N G P R O G R A M WE HAD TO CHOOSE A WORD FROM RICHARD SERRA’S VOCABULARY L I S T T O C R E AT E A F I E L D O F C O M P O N E N T S T H AT A R E B A S E D O N A S Y S T E M AT I C S E T O F R U L E S .


T h i s p r o j e c t w a s t o g e t b e t t e r a c q u a i n t e d w i t h P h o t o s h o p, A u t o C A D, a n d R h i n o w i t h V R a y. Fi r s t , I t o o k p h o t o g r a p h s o f s o m e t h i n g i n t h e u r b a n e n v i r o n m e n t t h a t g ave a g r i d d e d p a t t e r n , a n i r r e g u l a r p a t t e r n a n d a s h a l l ow r e l i e f p a t t e r n . Fr o m t h e r e, I ex t r a c t e d i n fo r m a t i o n u s i n g t h e d i f fe r e n t p r o g r a m s t o c r e a t e a fi e l d c o n d i t i o n . Fr o m t h e t h r e e i m a g e s , I c r e a t e d a h i n g e m ove m e n t t h a t w o u l d g e n e r a t e o n e l o f t e d s h e l l c o m p o n e n t w h i c h w o u l d b e u s e d t o c r e a t e a fi e l d c o n d i t i o n . “ Fi e l d C o n d i t i o n s r e fe r s t o d e s i g n s t r a t e g i e s b a s e d o n t h e a g g r e g a t i o n o f s m a l l , s e l f - s i m i l a r p a r t s t o c r e a t e l o c a l d i f fe r e n c e w h i l e m a i n t a i n i n g ove r a l l c o h e r e n c e ; fi e l d c o n d i t i o n s i m p l i e s t h e d e s i g n o f systems and assemblages, paying close attention to intervals and the s p a c e s b e t we e n t h i n g s .” - S t a n A l l e n I R R E G U L A R PAT T E R N

G R I D PAT T E R N

SHALLOW RELIEF

H I N G E M O V E M E N T T O C R E AT E C O M P O N E N T


WATER HOUSE DESIGN STUDIO 6

SPRING 2012 INSTRUCTOR: MITCHELL OWEN LOCATION: PALM SPRINGS, CALIFORNIA


SCALE

10’

20’

50’

JOHN LAUTNER | CARLING RESIDENCE

EERO SAARINEN

POOL INDOORS

MIT CHAPEL MOAT OUTDOORS REFLECTS INSIDE

FIREPLACE

PRECEDING STUDIES |

USED IN ANALYZING THE SINGLE FAMILY HOUSE

5’

REM KOOLHAAS | VILLA DALL’AVA

FRANK LLOYD WRIGHT | FALLINGWATER

POOL ON THE ROOF

CONSTRUCTED ON A WATERFALL REFLECTING POOL FIREPLACES


JOHN LAUTNER | ARANGO RESIDENCE

JOHN ROBERT NILSSON | LAKE HOUSE

POOL THAT WRAPS AROUND HOUSE GIVING THE HOUSE A SEAMLESS TRANSITION BETWEEN THE HOME AND THE OCEAN IT SITS NEXT TO

CONSTRUCTED ON A LAKE

REFLECTING POOL FIREPLACE

INFINITY POOL FIRE PIT FIREPLACE INDOORS


PALM SPRINGS, CALIFORNIA

SITE |

N

“I RECEIVED YOUR LETTER HIGH UP IN THE MOUNTAINS WHERE I AM HAVING A VACATION... IT IS ONE OF THE MOST MARVELOUS PLACES IN AMERICA. I CAMP ON THE SHORE OF THE TENAYA, SLEEP ON A BED OF SPRUCE NEEDLES UNDER A FREE SKY AND BATHE IN THE ICE COLD W A T E R F A L L .” RM SCHINDLER | IN A LETTER TO RICHARD N E U T R A I N 1 9 2 9 F R O M Y O S E M I T E P A R K


INVESTIGATIONS |

WATER AND FIRE ELEMENTS IN THE HOME

“THE FINDING OF WATER TURNS OUT TO BE INTRINSIC, STORED IN OUR DESIRES THAT PUSH US OUT LOOKING EVEN IN THE MOST HOSTILE OF PLACES.” CRAIG CHILDS | THE SECRET KNOWLEDGE OF WATER


This studio, through direct engagement with architectural precedents and social contexts, investigated the single-family house’s uneasy positioning between persistent sentimentality and heroic vision in order to offer more potent possibilities for its role in contemporary, culturally infused environments. The Water House started by looking at the Schindler | Chase House by R.M. Schindler in Los Angeles, CA. From this provocative study, questions arose from Schindler’s design of sunken gardens and numerous fireplaces and I began to compile a repetoire of images and other residential studies pertaining to water and fire and their role in the home as well as look at the extraodinary lengths we go to in order to have these elements incorporated into our home. From there, I began to become interested in the absence and presence of water so this house was put in the desert, Palm Springs. In Palm Springs, there can be an abundant lack of rain water or a deluge of rain in one day so this house mediates that abd brings in a visual reminder of this natural occurrence with the design of rain water troughs that run through the house. I wanted to focus on the ephemeral water, or water that waits (reflecting pools and swimming pools) and water that moves (the rain running through the house).


N

N


“THERE ARE TWO EASY WAYS TO DIE IN THE DESERT: THIRST AND DROWNING.” C R A I G C H I L D S | T H E S E C R E T K N O W L E D G E O F WAT E R

N

SECOND FLOOR PLAN 1/8” = 1’0” ROOF PLAN 1/8” = 1’0”

N

N

N

MAIN FLOOR PLAN OVERLAYED WATER FEATURES 1/8” = 1’0”

THIRD FLOOR PLAN 1/8” = 1’0”


WAT


NEW SEED CITY DESIGN STUDIO 4

SPRING 2011 INSTRUCTORS: NATALIE FIZER | MICHAEL MORRIS


The first part of the semester began with an analytical study of a particular seed to analyze as well as study maps of New York City. After thorough research, we had to imagine New York City in the future with possible apocalyptic conditions wherein we had to house seeds. Some examples referenced in the initial research phase were projects such as Kew Gardens, the Svalbard Seed Vault in Norway, or the UK Pavilion for Shanghai World Expo 2010 by Heatherwick Studio.

STELLARIA HOLOSTEA AKA | CHICKWEED SEED PHOTO FROM SEEDS, A TIME CAPSULE OF LIFE


WIRE MODEL OF SEED AS IT WERE SITTING IN SOIL PLAN VIEW

W I R E | P L A S T E R | S T I F F E N E D FA B R I C M O D E L O F S E E D A S I T W E R E P U S H I N G T H R O U G H T H E T O P L AY E R O F S O I L E L E VAT I O N


T O P O G R A P H Y M A P O F T H E G R E AT E R N E W Y O R K C I T Y A R E A


F I G UR E | G R O UN D M A P O F M A N H AT TA N ( P R E S E N T )

S I T E | M A D I S O N S Q U A R E PA R K


SEA LEVEL RISE - NEW YORK CIT Y

We were asked to consider in the beginning of the project whether we were preservationists or evolutionists. Through inhaling information of the morphology of greater New York City and Manhattan and analyzing the programmatic transformations - my project begins to criticize the current trend of residential housing as well as the density of Manhattan and suggests a step back in densification because of environmental changes that are speculative or rapidly accelerating. My focus was on the sea level rise. Our assignment was to design a seed vault which would house 100,000 visible seeds and additional storage for 200,000 seeds. The assignment also included residential pods and a water retaining system all within Madison Square Park.

7 Miles

13 Miles

20 Miles

30 Miles

40 Miles

60 Miles


WATER RETAINERS


2020

2055

2070

SECTION PERSPECTIVE OF UNDERGROUND LIVING PODS


TALL BUILDING DESIGN STUDIO 5

FALL 2011 INSTRUCTORS: HAROLD FREDENBURGH | KENNETH LEWIS LOCATION: NEW YORK, NY


I n t h i s s t u d i o, we we r e a s k e d t o d e s i g n a t a l l b u i l d i n g w h i c h p r ov i d e d s p a c e fo r c o n s o l i d a t i n g t h e o f fi c e s a n d p r o g r a m s o f Tr i n i t y C h u r c h w i t h i n t h e b a s e a n d l owe r f l o o r s o f t h e t owe r, a n d d eve l o p t h e u p p e r f l o o r s a s a ve r t i c a l r e s i d e n t i a l n e i g h b o r h o o d i n t e g r a t i n g r e s i d e n t i a l , small shops, and community uses.

S K E T C H O F I N I T I A L F O R M I N P L A N B A S E D C I R C U L AT I O N


P a r t i c u l a r a t t e n t i o n i n t h e d e s i g n w a s g i ve n t o t h e i n t e r p l a y b e t we e n b u i l d i n g a n d p l a c e, t h e p o t e n t i a l i t y fo r b u i l d i n g fo r m a n d p r o g r a m , e s p e c i a l l y a t s t r e e t l eve l , t o e n h a n c e a n d i n t e n s i f y t h e c h a r a c t e r a n d l i fe o f t h e p u b l i c r e a l m .

M A S S I N G E X P L O R AT I O N W I T H P R O G R A M O V E R L AY


ELEVATOR CORE

SKY LOBBY | RESIDENTIAL AMENITIES


RESIDENTIAL

TRINITY CHURCH SCHOOL MUSIC FACILITY CHURCH OFFICES

SKY PARK | INTERIOR ATRIUM

MIXED USE | COMMERICIAL OFFICES COMERCIAL RETAIL


T h e r e s i d e n t i a l p r o g r a m e n t a i l e d d eve l o p m e n t o f n ew t y p o l o g y fo r h i g h - r i s e u r b a n r e s i d e n c e s w i t h t h e i n t e n t t o b r e a k aw a y f r o m t h e s e l f - c o n t a i n e d m a s s i n g o f b u i l d i n g fo r m a n d i s o l a t e d b y e l ev a t o r- s t o p f l o o r- b y - f l o o r s t a c k i n g o f a p a r t m e n t l eve l s w i t h a p a r t m e n t s a l i g n e d a l o n g c o r r i d o r s a n d t y p i c a l l y h av i n g o u t l o o k o n l y i n a s i n g l e d i r e c t i o n , a n d i f p r ov i d e d , b a l c o n i e s o f l i m i t e d a r e a . I n d eve l o p i n g a n ew t y p o l o g y t h e fo r m a t i ve c h a l l e n g e s a r e t h e s h a p i n g o f t h e i n d i v i d u a l r e s i d e n c e s a n d t h e g r o u p i n g o f t h e r e s i d e n c e s a r o u n d c o m m o n o p e n s p a c e fo r m i n g t h e c e n t e r o f a n e i g h b o r h o o d c o m m u n i t y.

SCALE 1/16 = 1’

OFFICE FLOOR PLAN

OFFICE FLOOR PLAN

SKY PARK ACCESSIBLE TO PUBLIC AND RESIDENTS SKY LOBBY FOR RESIDENTIAL UNITS

RESIDENTIAL FLOOR PLAN SHOWING BALCONY SPACES OUTSIDE THE EXTERIOR ENVELOPE

RESIDENTIAL FLOOR PLAN SHOWING OCCUPIABLE FLOOR SPACE WITHIN THE EXTERIOR ENVELOPE

GROUND FLOOR PLAN


VIEW FROM NEW JERSEY

VIEW LOOKING SOUTH


VIEW FROM THE WTC MEMORIAL


VILLA STEIN DE MONZIE REPRESENTATION & ANALYSIS II SPRING 2010 INSTRUCTORS: PETER LYNCH | JEREMY BARBOUR LOCATION: GARCHES, FRANCE 1927


G R O UN D F L O O R

FIRST FLOOR


T h i s c o u r s e ’s m a i n fo c u s w a s o n a n a l y z i n g a n a r c h i t e c t , a b u i l t w o r k o f t h e i r s a n d d eve l o p a h y p o t h e s i s o n w h a t we t h o u g h t h e d r i v i n g fo r c e w a s b e h i n d t h e d e s i g n . L e C o r b u s i e r w a s o u t s p o k e n w i t h h i s i d e a l s o n w h a t a r c h i t e c t u r e s h o u l d c o n ve y. T h e V i l l a S t e i n i s ev i d e n c e o f h i s Fi ve Po i n t s o f A r c h i t e c t u r e. H e i n c o r p o r a t e d f r e e s t a n d i n g s u p p o r t p i l o t i , o p e n f l o o r p l a n , ve r t i c a l f a c a d e, l o n g h o r i z o n t a l s l i d i n g w i n d ow s a n d r o o f g a r d e n s .

SECOND FLOOR


T h r o u g h r e s e a r c h , I fo u n d t h e o r i g i n a l i n t e n t L e C o r b u s i e r h a d fo r t h i s s t r u c t u r e t h r o u g h h i s n o t e s a n d s k e t c h e s w h i c h i s m o d e l e d b e l ow in white and what was actually built in accordance with the clients wishes which is the chipboard model on the left.


SECTION LOOKING WEST


PHOTO BY OMA


V I L L A D A L L’ AVA INTRO TO DESIGN STUDIES FALL 2008 ARCHITECT: REM KOOLHAAS BUILT IN: 1991 SITE: PARIS, FRANCE


T h e v i l l a i s s i t u a t e d o n a h i l l w h c i h s l o p e s s t e e p l y t ow a r d s t h e S i e n e, t h e B o i s d e B o u l o g n e, a n d t h e c i t y o f P a r i s , i n t h e r e s i d e n t i a l a r e a o f S t . C l o u d w i t h a n a x i a l v i ew o f t h e E i f fe l Towe r f r o m t h e r o o f t o p . M y a s s i g n m e n t w a s t o s t u d y a n a r c h i t e c t , s e l e c t a p r o j e c t f r o m w o r k s t h a t h av e b e e n c o m p l e t e d , a n d r e c o n s t r u c t i t b y a n a l y z i n g t h e fo r m a l c o n c e p t s exe c u t e d , s t u d y i n g d i a g r a m s , f l o o r p l a n s , a n d w h a t eve r w a s av a i l a b l e t o a c c o m p l i s h t h i s a s s i g n m e n t .

MAIN FLOOR PLAN

UPPER FLOOR PLAN


ROOF PLAN


INTRO TO GRAPHIC DESIGN INSTRUCTOR:

FALL 2010 JULIA GORTON

THE ULTIMATE DARKLIGHT CONSUMER IS AN EXPRESSIVE, CEREBRAL S O P H I S T I C AT E W I T H A C H E E K Y S E N S E O F S T Y L E W H O A P P R E C I AT E S C R A F T, I N D I V I D U A L I T Y, A N D Q U A L I T Y.


This project was an introduction to creating a brand. The class created r a n d o m w o r d c o m b i n a t i o n s w h i c h e a c h o f u s p i c k e d f r o m , h oweve r we c o u l d n o t p i c k o u r ow n c o m b i n a t i o n . Fr o m t h e r e, we h a d t o c r e a t e a c o m p a n y. We h a d t o d e s i g n t h e l o g o, p a c k a g i n g , a n d m o s t i m p o r t a n t l y t h e i d e n t i t y o f t h e c o m p a n y t h r o u g h ex p l o r a t i o n s i n g r a p h i c d e s i g n . T h e word combination I chose was DarkLight which I imagined as a sunglass c o m p a n y.


BEGINNING SKETCH PROCESS

LIGH T

DAR K

d

i ght

.

ark

DAR K LIGH T

FINAL LOGO


PHOTOGRAPHING ARCHITECTURE SPRING 2010 INSTRUCTOR: RICHARD SCHULMAN


I N T H E M A N N E R O F A 1 9 T H C E N T UR Y P H O T O G R A P H E R


The person I chose to try and shoot photographs in the m a n n e r o f i s H e n r y Pe a c h R o b i n s o n . H e w a s a n o t a b l e 1 9 t h c e n t u r y p h o t o g r a p h e r w h o u s e d a n i l l u s t r a t i ve s t y l e f r o m p a i n t i n g , fi n d i n g t h e s i m p l e s t t h i n g t o b e a w o r t h y s u b j e c t fo r a r t i s t i c r e p r e s e n t a t i o n . Ty p i c a l l y when I shoot photos, it is a product by one of two methods. It is either a snap and shoot, hoping to c a p t u r e w i t h m y c a m e r a w h a t I s e e w i t h m y e ye w h i c h m o r e t i m e s t h a n n o t , n eve r d o e s t h e r e a l l i fe ex p e r i e n c e j u s t i c e. O r, t h e s e c o n d m e t h o d w o u l d b e t o a r d u o u s l y s e t u p m y c a m e r a a n d fi d d l e w i t h a l l t h e s e t t i n g s u n t i l I h o p e t o r e c e i ve, a g a i n , w h a t I s e e w i t h m y e ye, w h i c h a g a i n g e t s t h e s a m e r e s u l t s a s t h e fi r s t m e t h o d . I d o n o t fi n d H . P. R o b i n s o n ’s s u b j e c t m a t t e r fo r e i g n a s I l i k e t o t r y a n d d o t h e s a m e. T h e e n d r e s u l t s a r e m u c h more my concentration. The assignment concerned m e a s I t h o u g h t t h e c a b s a n d h o t d o g ve n d o r s w o u l d r u i n t h e i n t e g r i t y o f t h i s a s s i g n m e n t b u t I b e l i eve t h i s p a r t i c u l a r p h o t o g r a p h e r w o u l d l i k e t h e eve r y d a y m u n d a n c e ex p e r i e n c e s t o b e c a u g h t i n a p h o t o g r a p h .

Danielle Blickensderfer Portfolio  

Architectural Design Porfolio

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