Ella Petry Portfolio 2024

ARCHITECTURE

PORTFOLIO ELL A PE TRY

2023 / 2024

CONTENTS

BASS CORNER FA L L 2 0 2 3

INTERMISSION FA L L 2 0 2 2

LIGHTING RESEARCH LAB SPRING 2022

DEEP DECORATION FA L L 2 0 2 1

CONSTRUCTING GEOMETRY

02-09

10-17

1 8 -2 5

2 6 - 33

34-37

SPRING 2021

FRAME AS ARCHITECTURE + CONSTRUCTION

38-41

FA L L 2 0 2 1

LIGHT AND SHADOW + PLANES FA L L 2 0 2 0

42-43

02 | BASS CORNER

BASS CORNER ARCHITECTURE STUDIO VI - FALL 2023 wi th C la i re Pu c k ha b e r H eath er Po t t s Built in 1854, the Bass Furniture Building has undergone many changes over the last one hundred and seventy years. It became registered as a National Historic Place in the late 1970s and now sits vacant at the corner of Mitchell and Peachtree Streets in South Downtown Atlanta. Working within the guidelines of what the National Park Service defines as “rehabilitation” in the grander scheme of preservation, Bass Corner brings new life to the corner of a neighborhood at Atlanta’s heart. Making use of two abandoned buildings next door, the adaptive reuse incorporates a produce-focused small scale grocery market, lunch counter, community center with gym equipment and study space, used bookstore, and affordable housing to help shift the built environment towards one promoting walkability.

03

Circulation

Circulation

Housing Units

Study Space

Restaurant Lobby and Seating

Gym and Studio Bookstore

Grocery

Program

04 | BASS CORNER

Community Center Grocery and Restaurant Greenspace Housing

Historic Facade Facade Intervention Greenspace Existing Facade

Historic Facade Guidelines

On the west elevation of the Bass Furniture Building, the historic facade and ornamentation ends along the front of the building (shown above) and the rest of the facade appeared unfinished and forgotten. In the reuse of the building, attention had to be paid to the unfinished edge . After considering different forms of renovation, rehabilitation and reconstruction of the facade, the final output included placing new windows and steel cladding that captures the repetition and driving linear elements of the original structure. This new cladding was also introduced to the east elevation of the building (shown left).

Facade Intervention

05

Floor 1

06 | BASS CORNER

Floor 2

07

Pocket Park

Lunch Counter

08 | BASS CORNER

Grocery Market

Used Bookstore

09

10 | INTERMISSION

INTERMISSION ARCHITECTURE STUDIO IV - FALL 2022 wi th Hay d e n Bl o d g e tt , Sp e n c e r Mc Ma i ns a n d R e i g na Ih e m e Ju lie K im At the heart of English Avenue, Intermission is a small shipping container locale offering the community a place to relax, socialize, and reflect. Bordering along the historic St. Marks church, this space brings an added attraction in supporting the already remarkable venue that the church is. Intermission acts as an in-between for not only the church’s events, but the communities’ lives, a place to gather and uplift each other while also supporting locally owned businesses.

The shape of Intermission reflects that of an “e”; creating an atmosphere with open space, ensuring St. Marks side entrances are visible and accessible, while towards the top a threshold is designated for sitting and eating. The site consist of 23 shipping containers that are cut in ways to create shelter, pathways, and openings with some containers consisting of walls made of colorful polycarbonate. The 1st and 2nd floors are divided in program with ground level giving access to food, drinks, bathrooms, etc, and the 2nd story offering seating and lounging.

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1 2 3 4 5

4

3

1

4

5

3

4

2

2 2

Site Plan

West Elevation

12 | INTERMISSION

First Level

2 Second Level

Coffee Vendor Food Vendor Flex Space Storage Bar Vendor

Vendors Threshold/Lounging Service/Bathrooms

Circulation

Program

13

14 | INTERMISSION

Existing Structure

Cleared Lot with Retaining

First Floor

Second Floor

Egress and Cutouts

Details and Landscaping

Midday

Morning

Evening

Sun Path

Air Flow

15

16 | INTERMISSION

17

18 | LIGHTING RESEARCH LAB

LIGHTING RESEARCH LAB ARCHITECTURE STUDIO III - SPRING 2022 Ha rris D im i tro p o u lo s The ways in which the design of the built environment affects our emotions is not well understood considering how much time we spend in buildings. While some studies on the correlation between experience and emotion have been done, the findings are limited and many of them do not incorporate the ways in which lighting conditions have an effect on a subject’s emotion.

The research completed on the site will include caustic networks in water and light scattering from tree canopies. After being in a space with different lighting conditions that mimic nature, the fMRI machine could be used to tell which emotion the subjects are experiencing from their brain activation patterns which would negate the bias from the person that a typical questionnaire would have. The importance of this study is that research in neuroplasticity shows that our brains are more susceptible to our environment than we thought and recently there has even been proof that our environment can have an effect on our genes. This research shows that the spaces we inhabit not only affect us in the moment but can stick with us for years to come. This research could provide a basis for the implementation of nature into spaces strictly through lighting conditions.

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A

Site Plan

East Elevation

20 | LIGHTING RESEARCH LAB

Plan at 24’ above creek level

Plan at 32’ above creek level

Section A

21

Indoor Research Screen

Front Screen Open

8 am

Front Screen Closed

8 am

Front Screen Open

10 am

Front Screen Closed

10 am

Front Screen Open

12 pm

Front Screen Closed

12 pm

22 | LIGHTING RESEARCH LAB

Outdoor Research Screen

Heavy Coverage

2 pm

Heavy Coverage

4 pm

Medium Coverage

2 pm

Medium Coverage

4 pm

Light Coverage

2 pm

Light Coverage

4 pm

23

24 | LIGHTING RESEARCH LAB

25

26 | DEEP DECORATION

DEEP DECORATION ARCHITECTURE STUDIO II - FALL 2021 wi th K ay l e e Bru c e S tu a r t R o m m 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 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.

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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. The radial configuration eventually spirals out as ribbons similar to the Arabesque Islamic tessellations, creating a marriage between both geometry and arabesque.

Geometric Figure

Line Figure

Spherical Projection Thickening Variation 1

1 2

3

Scaling Thickening Variation 2

1 2 3 4

28 | DEEP DECORATION

Exploded Axonometric

Pr

-Au -Ga -In

Ed

-L -In -R -T

Ed

-St -Re -Te

Ed

-C -R -T

La

-

Program

29

Section A

30 | DEEP DECORATION

Section B

5

4

Floor 5

9

Floor 9

1

Floor 3

8

Floor 8

6

Floor 2

Floor 6

1 4 5 6 8 9

Faculty Touchdown Open Classroom Closed Classroom Studio Floor Library and Reading Room Interactive/Gallery

Floor 1

31

32 | DEEP DECORATION

33

34 | CONSTRUCTING GEOMETRY

CONSTRUCTING GEOMETRY ARCHITECTURE STUDIO I - SPRING 2021 Me ga n Mc D o n o u g h 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.

35

A

B

36 | CONSTRUCTING GEOMETRY

Section A

Section B

37

38 | FRAME AS ARCHITECTURE + CONSTRUCTION

FRAME AS ARCHITECTURE + CONSTRUCTION CONSTRUCTION TECHNOLOGY - FALL 2021 C ha rle s Ru d o lp h 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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detail

1

Laminated Timber

Steel detail

2 Concrete 7”

15’ 6”

Section

40 | FRAME AS ARCHITECTURE + CONSTRUCTION

Glass

4’ 2”

8’

9’

Roof Plan

Ground Connection Detail Detail 1

Ground Connection Detail Detail 2

41

42 | LIGHT AND SHADOW + PLANES

LIGHT AND SHADOW + PLANES INTRO TO DESIGN AND THE BUILT ENVIRONMENT - FALL 2020 R ya n R o a rk 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 a charcoal drawing.

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ELLA PETRY epetr y6@gatech.edu