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
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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
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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
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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.
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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