ELLA PETRY UNDERGRADUATE ARCHITECTURAL PORTFOLIO 2021
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Deep Decoration
04-11
Urban Interaction
12-17
Fall 2021
Spring 2021
Rooted Precedent
18-21
Spring 2021
Constructing Geometry
22-25
Spring 2021
Body, Site, Program, Structure
26-29
Formal Organization
30-33
Fall 2020
Fall 2020
Frame as Architecture + Construction
34-37
Fall 2021
Light and Shadow + Planes
38-39
Fall 2020
Grid
40-41
Fall 2020
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Deep Decoration Architecture Studio II - Fall 2021 Stuart Romm Islamic Tessellations are a form of decoration consists of three forms called calligraphic, arabesque and geometric. While most figures explored fell under the geometric category, the nature of arabesque can be found in some implied spline figures. The geometric tessellations consist of the repetition of simple shapes in a way that produces complex and layered patterns. The most common types of geometric tessellations are the 4, 5 and 6-fold family. As the investigation of the five-fold Girih shapes and tessellations continued, the configurations generated resulted in a curious theme of arabesque ribbons spiraling out from one center. The girih tiles connected with each other in multiple ways on their edges which created floral-like rosettes and ribbons spiraling out radially. This arabesque ribbon concept became the basis for our project’s design and eventually inspired the program through the lens of botanical research. The ribbons were projected onto an imaginary sphere to create bulges and bay windows, the girih tiles were twisted around to create a spiraling staircase, and the main rosettes were rotated to create the rooftop auditorium with the petals of the rosettes capturing and projecting the sound waves carried through the space. 5
These girih tiles transition between radial and free-form connections which remains important to the understanding of how multiple transformations can create one system based off order, sequence and structure. Notice how the radial configuration eventually spirals out as ribbons similar to the Arabesque Islamic tessellations, creating a marriage between both geometry and arabesque. Line Figure
Geometric Figure
Spherical Projection Thickening Variation #1
1 2
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Scaling Thickening Variation #2
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Green Space Pathway
Pedestrian/Bike Circulation
Multi-user Path Bike Lanes Pedestrian-Only Path
Viewshed
Program
less dense public
more dense semi-public
private
Presentation/ 1600 sq ft -Auditorium -Gallery -Interactive
Education and Community/ 1025 sq ft Presentation
Library and Interaction
-Library -Interactive -Restrooms -Technical Data
Education/ 2675 sq ft Studios
-Studios(Open and Closed) -Restrooms -Technical Data
Educational Education/ 2075 sq ft Lab Services
Administration
Guest Accomodations
Lobby
-Classrooms(Open and Closed) -Restrooms -Technical Data
Lab Services/ 3100 sq ft -Labs (Dry and Wet Lab) -Dark Room and Cold Room 1+2 -Wet Lab Service and Warm Room -Plant Sampling -Material Printing -Restrooms
Exploded Axonometric
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Section 2, cut on the North East facade, notice the structural framework on the opposite facade and how it relates to each floor of the building.
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Section 1, cut right before the entrance and through the glass sculpture, notice the ribbons intruding the inner space throughout the building providing decoration and structure.
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Floor 9
Floor 5
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2
Floor 8
Floor 4
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1
Floor 3
Floor 7
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Floor 2
Floor 6
Program 1. Faculty Touchdown 2. Light-Web Fabrication Lab 3. Dark-Dry Fabrication Lab 4. Open Classroom 5. Closed Classroom 6. Studio Floor Floor 1
7. Studio Floor 8. Library and Reading Room 9. Interactive/Gallery
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Urban Interaction Architecture Studio I - Spring 2021 Megan McDonough This project was a site research and design project that was
based in Cabbagetown, GA. The goal of the assignment was to
combine the needs of two different artists in the space while also designing a house that fit into the compatibility rules of Cabbagetown.
The design includes a shared living space for the two artists and two separate studio spaces that individually fit the needs of the lithographer and milliner. The use of vertical and horizontal
elements through details windows, siding, and materials were
meant to represent the juxtaposing artists that occupy the space while also adding visual interest that fits into the form of the neighborhood.
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Artist I - Milliner
Artist II - Lithographer
The Milliner, also known as a hat maker, is involved in the design, making, trimming, and selling of hats. These hats can be anything from an everyday straw hat to a formal fascinator. The milliner uses wooden blocks to shape the crowns of the hats, sews the hat and adds flowers decorations using a flower iron. A milliners day involves sketching new designs, constructing and sewing hats, and meeting with clients for fittings. The milliner will need a space that has street access for easy inflow of customers. Lots of natural lighting and open wall space will create the perfect gallery to showcase the unique hat designs.
The Lithographer uses stone and various chemicals in order to produce ink prints that can be easily duplicated. The design is drawn directly onto a limestone slab and an acid solution secures it the design to the stone. Ink is then applied to the stone and placed though the lithographic press to create the final impression on paper. The lithographers day involves sketching design, printing orders and sending them out to customers. The lithographer will need a quite space that it fit for independent work. The studio needs to provide ample natural light and a tall open space for creative thought.
Average Heights of Houses
Existing Structure
Brick Faced Chimney
Asphalt Shingles
New Structure
Wooden Balustrades and Columns
Wooden Door with no more than 50% glass
Clapboard Siding
Existing Structure
Concrete, Stone, or Brick Foundation
Double Hung one-over-one Window
Double Hung two-over-two Window
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A
B
C
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Section A
Section B
Interior Render of Back-Studio Space
Section C
Exterior Render of the Courtyard
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Rooted Precedent Architecture Studio I - Spring 2021 Megan McDonough The task of this project required the study of American
vernacular architecture and the elements that are unique to the house types of shotgun, L-plan, and the cottage. After studying
the style, form, structure, and details of the vernacular types, the second part of the project included creating original
drawings and diagrams for the “typical” vernacular type for the Cape Cottage.
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A
B
Section A
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Section B
Circulation and Privacy
Roof to Front Ratio 45:55
Fireplace
Roof to Front Ratio 60:40
Roof to Front Ratio 55:45
Roofline Variations
Additon Variations
Since Capes have little to no insulation in the walls, snow that collects on the roof acts as a natural insulator and keep heat in the house. The heat that rises from the fireplace during the day makes the upstairs a prime location for sleeping.
Heat from the fireplaces not only heats the main level but the heat also rises to the upper floor.
Cape Cottages were simple houses that were meant to fit the needs of the environment and the people that lived there. Due to the technology and materials available at the time, excessive ornament was not common in these cottages. The wooden mantel around the fireplace was a way to provide personality to the public spaces of the house.
The space underneath the cottage is dry and cool and serves as a space for food storage.
Heat Flow
Fireplace Detail
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Constructing Geometry Architecture Studio I - Spring 2021 Megan McDonough This project focused on taking shapes and moments from
card stock models and incorporating them into a series of spaces that serve for arrival, transition, and contemplation The final model argued whether or not you need walls to create
different zones. Other conditions such as lighting, spatial awareness, and the feelings in a space could be used to communicate different zones.
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Section B
Section B
A
B
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Side Elevation
Front Elevation
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Body, Site, Program, Structure Freshman Studio - Fall 2020 Yousef Busheri In this project, the design of a pavilion was to be placed in the
center of the Hinman Research Building courtyard. The design
incorporated hexagons in order to bring a geometric element to the courtyard and juxtapose the surrounding buildings.
The placement in the courtyard let existing traffic patterns
remain unchanged while the wide openings in the pavilion allow for easy handicap accessibility.
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Side View
Detail View: Interior
Detail View: Seating
Front View
Collage of Pavilion in Hinman Courtyard
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Exercise A Grid
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Exercise B
Centralized•Clustered
Formal Organization Freshman Studio - Fall 2020 Yousef Busheri This project required a mass to demonstrate different
organizational systems, centralized, linear, radial, clustered, and grid, through additive and subtractive transformations.
In exercise A, the design focused on the organizational system
of grid which is shown through the repeating transformations on each side of the cube. In exercise B, the design focuses of the colliding of the organizational features, centralized and
clustered. The clustered system is shown through additive forms and the centralized system is shown through subtractive forms.
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Frame as Architecture + Construction Construction Technology - Fall 2021 Charles Rudolph The intention of this project was to make an a bus stop that
incorporated qualities of frame construction. The design of the
bus stop uses heavy timber, glass, and steel to create a structure that provides shelter, shade and seating for waiting passengers.
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Glass
4’ 2”
8’
9’ Roof Plan
detail
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Laminated Timber
Steel detail
Concrete 7” 15’ 6” Section
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Site Plan
Glass Connection Detail Detail 1
Ground Connetion Detail Detail 2
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Light and Shadow + Planes Intro to Design and the Built Environment - Fall 2020 Ryan Roark For this project, a continuous plane was designed that brought depth and motion to the space surrounding it. To add another
layer to the assignment, a combination of direct and diffuse light was used on the model to see how shadows affected the appearance of the model which is displayed in charcoal drawings.
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Grid Intro to Design and the Built Environment - Fall 2020 Ryan Roark This project was focused on abstracting the exterior elements of the Lovell Beach House by Rudolph Schindler and creating
a model out of the linear elements. The design took abstracted
shapes and symmetries from the house and presented them on all sides of the model.
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Ella Petry
epetry6@gatech.edu