Emma Baker-Kenyon Portfolio 2020-2021

EMMA BAKER-KENYON

Portfolio 2020-2021

CONTENTS TECTONICS...............................................4 STEREOTOMICS.......................................6 PRECENDENT ANALYSIS........................8 PAVILION................................................10 FAÇADE...................................................12 GALLERY.................................................14 DRAWING BY OBSERVATION..............18 COLOR AND TONE................................20 ONE POINT PERSPECTIVE...................22 TWO POINT PERSPECTIVE...................23 COMBINING PERSPECTIVES...............24 GEOMETRIC LOGIC...............................26 ENTOURAGE...........................................28 ATMOSPHERE........................................30

TECTONICS Beginning with the fundamentals of architecture, tectonics and stereotomics, these peices explore tectonics through planar movement using foamcore and linear direction through basswood sticks.

Each was made with the intention of exploring different ways of defining a cube.

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1 3 4 This piece focused

on creating a cube with repetitive movement created by folding and arranging 3 sets of continuous lines (basswood sticks) around several planar surfaces, creating a path for the eye to follow. The cube has no intended up or down, and is designed to be rotated any direction.

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2 A drawn unfolding of the cube. Its main purpose is to show the continuation of linear elements as the object is twisted and rotated on different axis.

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Designed with spacial heirachy in mind, this cube uses alternating planar and linear elements to define the outer boundary of the cube, inerupted by a smaller space in the middle.

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The unfolding of the previous cube, showing how both linear and planar elements expand up from the base and support the smaller cube element in the center.

7 8 9 The initial itera tions of the project, each explore different methods of defining the boundaries of a cube, whether clearly defined or implied. Two using mostly planar or linear surfaces with the other using a mixture of both methods.

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STEREOTOMICS 1

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Switching to Stereotomics, these projects explore the idea of subtraction in order to define space.

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The first iterations of stereotomic form exploring the idea of cracking, shifting, and rotating.

Sketches illustrating 2 the second phase of the stereotomic project, the tower.

These explore the ideas of continuing vertical elements and repetative shapes to explore spacial heirarchy and define the tower’s boundaries.

Hand drawn axono3 metric of the stereotomic tower with the left showing the postive space, and the right showing negative.

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PRECENDENT ANALYSIS 1

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The first in a set of precedent based projects, these are an in depth examination of the design of the El House by WW Architects in which I examined light and points of vision.

1 An axonometic drawing examinging the negative space created by the El House.

2 The first in a series of plans exploring how sequential openings can create visual paths that become linear elements to the design and how to utilize those to create forced movement along those axis.

3 The second plan where I explore the potential relationship between forced movement and vision tunnels, highlighting the blindspots of human vision.

4 Plan drawing of the El House where I explore the different visual openings on the first floor of the home to examine how vision was used to design the various openings in the house.

5 Model of the stereotomic elements of the El house where I explore the mass created through subtraction (top) and the mass subtracted (bottom).

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PAVILION 1

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Inspired by M.C. Escher’s Relativity the design of this pavilion was made with the intention of having no space be off limits to the pedestrian. Using stairs and various methods of rotation, folding, and shifting, the structure was made with the intention of utilizing the creativity and innovation of the user to inspire them to create their own path though the space while also creating spaces for the intended program of voting.

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1 The first section of the pavilion which highlights the ability of the user to find their own way through the pavilion.

2 Perspective of the interior of the pavilion, showing the voting booths and internatl structure.

3 Plan diagram revealing the voting booths, bathrooms, office, and registration table.

This diagram shows the possible circulation of the interior and shows the skylights above highlighted in blue.

4 Second section spotlighting the repetitiveness of the stair structure and the visual paths it creates throughout the structure.

Exterior elevation 5 which calls attention to the various methods of folding, shifting and rotating used in the exterior.

Exterior Axonometric.

6 This diagram highlights the intricate nature of the design and different ways it utilizes the methods listed previously to create a fluid and continuous space and structure.

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FAÇADE 1

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In a site with Le Corbusier’s Ozenfant House and Studio on the left and John Soane, House and Museum on the right, this project was designed with the intention of incorporating the repetative rectangular elements of the Ozenfant house with the archways of John Soane’s House and Museum.

Taking on a layering approach it creates a double façade utilizing the previously stated rectangular elements to create an series of engaging spaces within the façade ranging in various levels ofsize. These spaces continue into the interior to produce various offset floors.

1 Frontal elevation which calls attention to the layering elements of the façade and the various spaces it creates in relation to the secondary arches behind the frontmost rectangular massing.

Interior render from 2 the second floor highlighting the offset floors and multistory lightwell, as well as the impact of light entering through the façade into the interior.

Diagram spotlight3 ing the layout of the interior by spitting it directly in half.

This shows the internal offset floors and the ribboning of the stairs.

4 Process diagram showing each layer of the façade as seperate elements before merging them into the final façade.

5 Exterior nightime render prominantly featuring the impact of the façade on the light coming from within. This render also showcases the materiality and structure of the exterior.

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GALLERY 1

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Inspired by the Everson Museum in downtown Syracuse, specifically the almost complete lack of visible windows from the exterior, the intention while creating this gallery was to have no visible windows on the exterior. The way this was achieved was by examining the structure of stairs and allowing light to come in by removing the rise on each of the stairs and replacing it with glass.

In order to maximize the amount of light recieved in the gallery space, these stairs became the central element to the design. This was achieved by essentially carving them out of the site in order to have them wind around the exterior of the building to reach the roof, creating a solid mountain-like landscape on the exterior contradictory to the light filled spaces in the interior.

Utilizing the diffused light created by the stairs the structure is dominated by a four story gallery space with various bridges connecting openings on the exterior to the different levels inside.

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Second floor render of the four story gallery space. This highlights the various bridges and openings that allow for light to gently reach the ground level.

2 First story render of gallery. This render promotes the patterning created by the stair passageway above and the soft light it creates.

3 Exterior render calling attention to the solid form of the gallery and the materiality which utilizes layered concrete. This creates an earthy urban mountain landscape that conceals the light filled interior from the passerby.

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GALLERY 1

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1 Exterior elevations highlighting the materiality, form, and circulation of the gallery from the exterior, while also showing the various openings on each level 2 Longitudinal section showcasing the four story gallery space (left), first floor lobby (bottom right), office (middle right), two stories of studio space (top right), and roof terrace

Lateral section displaying the 3 multistory gallery and a section of the exterior stairs

4 Set of plans starting from the first floor containing the lobby, bathrooms and first floor gallery. Continuing up the the plan of the second floor highlights additional gallery space, the office, and the first two walkways.

The third and fourth floor both contain two studio spaces accessed either by elevator or one of the bridges through the gallery. Lastly the roof showcases the skylight and leisure space.

5 Diagram showcasing the circulation pattern of the gallery with blue indicating the exterior stairs

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DRAWING BY OBSERVATION

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These drawings were some of the many observational sketches and peices created to understand how to understand space visually and replicate it in a 2D format. Each of these drawings was intended to show the form of each object through tone and value rather than linework.

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COLOR AND TONE

A set of studies examining color, tone, and form, these drawings utilized different shapes to create a better understanding of the distribution of tone and color on 3D objects. In addition, they provided a way to examine light and shadow.

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ONE POINT PERSPECTIVE

In a series of studies, these drawings examine both two point and one point perspective in order to help with the understanding of form and shape in relationship to how it is represented in different kinds of perspectives.

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TWO POINT PERSPECTIVE

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COMBINING PERSPECTIVES

The first painting contains a single perspective and is intended to be showcased in contrast with the other which is a mix of both one point and two point perspective. This creates an amalgamation of multiple perspectives in a singlular frame. It is intended to be incorrect spacially, and it examines how different perspectives would react with eachother if combined into one continuous framed view.

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GEOMETRIC LOGIC

Initially creating a shape confined to a 5x5 cube, these drawings decunstruct the original shape to create a method for reconstruction. They do this by seperating the shape into it’s key elements and showing how they are constructed from that point until the final product, the original shape, is achieved

INPUTS

PLAN VIEW PLAN VIEW

ELEVATION VIEW ELEVATION VIEW

AXON VIEW AXON VIEW

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ARC 182: Representation II - Kerner

STEPSTEP 1 STEP 11

STEPSTEP 2 STEP 22

STEPSTEP 3 STEP 33

RESULT RESULT RESULT

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ENTOURAGE

By promoting simple massing forms in this drawing it focuses more on the surrounding elements and entourage. It utilizes the context of the surrounding area and those who occupy it to inform the viewer as to how the space is to be percieved. This is shown through the water elements, clouds, people, etc. They become essential to the drawing in order to understand scale and spacial quality.

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ATMOSPHERE

Utilizing the entourage elements of the previous piece, this drawing uses landscape, geometric fields, structure and materiality to indicate how its percieved. Each elements scale and positioning becomes a key part of understanding the context of the entire drawing

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