ELIZABETH DWYER PORTFOLIO
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CONTENTS
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PROJECT
PA G E
H OT E L
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GUEST ROOMS
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POOL
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C I V I C S PA C E
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HAND RENDERINGS
32
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H OT E L K I N G ’ S A R M S 5 0 5 W 19 T H S T, N Y
The King’s Arms is a members only hotel and clubhouse that caters to a multicultural, explorative and affluent group of people who live, work, or travel somewhat frequently to downtown New York and are looking for a respite from the city. I have tried to create a space that allows members to either connect with one another, or to experience the space in a private capacity. Given that the notions of private and public are somewhat distorted within this environment, I decided to focus on the kinetic dynamic between them. In an attempt to enhance the experience of moving through different levels and combinations of public and private, I have employed the opposition of dark and light, and the layering of different planes and openings to create frames and peekaboo moments.
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Penthouse Pool
Outdoor Pool Rooftop Bar
Penthouse Suite
Guest Rooms
Guest Rooms
Conference Rooms Library Work Space Coffee Parlor & Lobby Spa
Wellness Members Lounge Bar Restaurant
GROUND FLOOR PLAN
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MAIN STAIR
HOLDING BAR
LOBBY
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CONCIERGE
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HALL TO ELEVATOR BANK ONE
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GUEST ROOMS Materiality continues to be especially important in my guest rooms. In order to make the rooms feel comfortable, I have introduced more tactile materials such as antiqued oak parquet floors, woven leather and cashmere.
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PLAN STUDIES
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GUEST ROOM ONE
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GUEST ROOM T WO
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G U E S T R O O M B AT H R O O M
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POOL
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C I V I C S PA C E J E N G A ! T H E I N T E R N AT I O N A L B R I D G E , E L PA S O / J U A R E Z
In contemplating the structure of a culture and what gives it strength and its various qualities, I started to think of the building blocks of culture as a Jenga game. Together the blocks are structurally sound, but as blocks start to fall away it grows weaker and weaker. The Kinetic nature of these blocks not only impacts the culture’s constantly evolving stability or instability, but also the makeup and experience of the culture. Taking this idea further, I began to think about what it looks like inside the Jenga structure, and how each different configuration creates a different environment, especially when intersections and layering occurs. I introduced transparency and reflectivity in order to really enhance the impact that the different configurations have on one another, and to provide a way for people to actually experience that in a spatial way.
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CONCEPT MODELS
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FIRST FLOOR
SECOND FLOOR
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F LO O R P L A N S
THIRD FLOOR
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SECTIONS
VIEWING TOWER & ELEVATOR & STAIRS FREIGHT ELEVATOR
ELEVATOR TOWER
MEETING SPACE
RECEPTION & RESTROOMS
COOKING SCHOOL
RESTROOMS
LIBRARY
RECEPTION
CASUAL RESTAURANT
PUBLIC SPACE
RESTAURANT
RESTROOMS
RESTAURANT
BAR
FARMERS MARKET
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EXTERIOR VIEWS
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FARMERS MARKET
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COOKING SCHOOL
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MEETING SPACE
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HAND RENDERINGS
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EBD@ELIZABETHDWYER.COM