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c o l e m a n architecture portfolio


gabby coleman master of architecture kansas state univeristy anticipated graduation: may 2019 email: gbbcoleman@gmail.com phone: xxx.xxx.xxxx linkedin: “gabriellecoleman�


THE TY CHOSEN TO COM THROUG TENT OF TENDED SAMET SHOW ATED D SCHOW IN TERM AN IMPO


YPICAL USE OF PORTFO N PROFESSION OF ARC MMUNICATE DESIGN IDE GH DESIGNED SPACES. W F THE PORTFOLIO VAR D AUDIENCE, THE USE R THIS PORTFOLIO WAS C WCASE THE BEST WORK DURING MY TIME IN AR WHILE WE NEVER EXPR MS OF PRIDE, I BELIEVE ORTANT VALUE TO CON


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perspectives

GABBY COLEMAN DESIGN I’ve wanted to be an artist for as long as I can remember. It wasn’t until I began my college search that friends and family suggested design engineering or architecture, and I began my first day of architecture school with a new goal – I aimed to figure out how I could blend my love for art with this new path. After four years of design school, I have realized that I am very interested in the power architecture has to influence change and create better lives for people. Service activities have helped me see that I seek an architecture career connects me to people. Moreover, I want to see and interact with the people I am designing for. I want to make change with my architecture degree. PERFORMANCE I firmly believe that all people deserve to be surrounded by good design – design that strives to create a positive and lasting impact on one’s life. We often have good intentions as we move through the design process, but the impact is greater than one person’s vision. I want to positively contribute to craft an improved experience for users with varying physical abilities and social backgrounds. PRIDE The typical use of portfolios in my chosen profession of architecture is to communicate design ideas realized through designed spaces. While the intent of the portfolio varies by the intended audience, the use remains the same. This portfolio was crafted to showcase the best work I have created during my time in architecture school. While we never express design in terms of pride, I believe that this is an important value to consider when thinking about good design. Being proud of one’s work is a leading value of a human creative.


ORIGIN EAST GREENHOUSE + COMMUNITY CENTER page 10 concept: “greenhouse greets community” competencies: schematic design, design development, architectural detailing

URBAL INFILL WELLNESS CENTER IN HELL’S KITCHEN, NYC page 26 concept: “rehabilitation through light” competencies: structure, enclosure, and space

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GRAPHIC T-SHIRT FOR A LOCAL NON-PROFIT page 54

VOLUNTEER FIRESTATION IN WAMEGO, KANSAS page 46 URBAN INTERVENTION IN ORVIETO, ITALY page 38 concept: “reflect modern culture” competencies: investigation, documentation, and intervention in a historical context

concept: “spatial adjacency” competencies: history, culture, and context

concept: “worldy woman” competencies: producing a graphic that conveys a message while remaining visually appealing to people of all indentities


origin east

a greenhouse + community center The context of the historic Heim Brewery site is a blend of dominant industrial spaces and sparse green spaces. This design aims to create a new typology by lifting greenspaces and interlocking community spaces. The mass of this design emulates the strong forces creating by existing circulation paths and is separated into programmatic zones. The first floor volume bridges the gap between two railway systems that define the site’s natural edges. A simple twist in the form allows community spaces to greet patrons upon arrival. As a result of these two forms stacking, the community can visually engage with greenspaces upon entry.

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site development

Originally shut down during prohibition, the remaining buildings of the Heim Brewery are now leased to different industrial entities. Site B rests in a parking lot and greets car traffic on both Chestnut Trafficway and Guinotte Avenue. Overlapping forms respond to the three contextual circulation paths, providing zones for program.

(top) THE ESSENSE OF EAST BOTTOMS: The East Bottoms district features industry, food, and interlocking transits systems. East Bottoms is known for its mix of local flavor and nodes of history. (left) SITE INFLUENCES: The context of the historic Heim Brewery site is a blend of dominant industrial spaces and sparse green spaces. This design aims to create a new typology by lifting greenspaces and interlocking community spaces.

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RESIDENTIAL

INDUSTRY

EAT + DRINK

GREENSPACE

RIVER

URBAN CONTEXT east bottoms, kansas city, missouri


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key: entry flex dining kitchen fish tanks mechanical storage loading dock exterior gather exterior pond exterior gardens sculptures parking admin co-working courtyard hanging planters community garden

greenhouse

community

grow

gather formal evolution: Site B allowed the opportunity to create a new edge or front door at Origin East in the midst of a historical and industrial context. I found an interest in the connectin between growth and gathering. This scheme demonstrates the community supporting the greenhouse through placing public meeting spaces on the first floor and lifting spaces that celebrate the growing process on the second - creating a social and spatial transformation. The term “intersectionality� is used to describe this relationship. Intersectionality favors creating relationships across mutiple dimensions and modules.


front elevation: the facade you are met with upon first approach reveals the public activity that occurs within the building - an invitiation to enter

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longitutinal section: double height spaces and an open, public stair reveal a visual link between the public zones and the greenspaces on the second level. spaces that encourage community can be seen in both the horizontal and vertical axis.


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developing east bottoms: Redevelopment is beginning to occur at within a 2 block radius just west of the proposed site. The building’s facade is intended to engage with users from afar and draw them closer.


approaching the site: This site is unique because it is presents an conntection to vehicle traffic passingby on an adjacent elevated highway. Pedrestrians also engage with this bridge as it restricts some views to the site, acting as a new front door. 20

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“a new front door”: Passing through the “new front door” unveils billowing exterior softscape, community gardens, and exterior dining spaces.


approaching the site: The form emulates the strong forces created by excising circulation paths and is separated into programmatic zones. The second floor is dedicated to bright, engaging spaces that host two different zones of greenhouse programs. The greenhouse is supported by the community meeting, gathering, and administrative spaces that are most accessible to the public as they enter Origin East. 24

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manhattan wellness a wellness center in new york city I am very curious as to how urban buildings can appeal to the human scale and relate to public health. After seeing Collin Ellard’s “Streets with no game�, I aimed to design through an investigative sketching process seeking to define a scheme that promoted active rehabilitation using pedestrian comfortability.

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what does a wellness center need? modern wellness centers incorporate: A holistic approach, individualization, non-clinical care, an interrelation of space, connection to context, provide a transition between illness and wellness and address all areas with equal thought

positively engaging with pedestrians scale has an influence on the modern pedestrian: Pedestrians are looking for something to latch to like engaging open facades or other social pedestrians By considering the relationship the building’s footprint, front facade, andfirst floor have with the sidewalk, a dramatic impact on the way the front facade is used will be seen Pedestrians are more likely to pause, look around and engage which will stimulate views and create an experience We as people favor locations based on complexity, interest, and the ability to pass messages We seek out complexity with our eyes, bodies, and hands

catering to the urban pedestrian considerations on how I can engage with passerbys: how is light transfered down? where does it meet the user? how will users be sheltered from the elements? will users feel safe using a recessed entry? how will users be encouraged to pause from their daily route? how can lines or patterns be used to regulate the new form? how will seating interrupt direct passage? how will overhead planes and ceiling heights effect the user? how will light meet the users? what will that look and feel like? + based on Collin Ellard’s “Streets with no game” journal


site development

For the site located in Hell’s Kitchen, the pre-concept was “rehabilitation as active”. The site requires the proposed wellness center to an urban infill as it will rest between two existing forms. The initial proposed form features angular pulls towards and away from the context to bring attention to its program and allow light into lower floorplates. A dynamic form and recessed entry that leads into the ‘teaching’ floor should pull passersby’s inside.

(far left) HUMAN ACTVITY IN CONTEXT: The immediate context features small restaurant options, local grocery stores, a few recreation spaces and wellness operations. (left) HELL’S KITCHEN DEMOGRAPHICS

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RESIDENTS IN OVERALL GOOD HEALTH

HIGH LEVEL OF EDUCATION

MINIMAL ACCESS TO HEALTH CARE

LOW LEVEL OF INCARCERATION

URBAN CONTEXT hell’s kitchen, manhattan, new york


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formal evolution: I am interested in how different roles of clients pertain to certain aspects of programming. I hope that each profile of user feels there is a route totake (specifically designed for them), promoting the level of community present in this proposed collaboration. The site requires the proposed wellness center to an urban infill as it will rest between two existing forms. The initial proposed form features angular pulls towards and away from the context to bring attention to its program and allow light into lower floorplates. This study showcases my thought process as I integrated my findings with the sites unique spatial restrictions and the programmatic zones.


CELEBRATE COMMUNITY lower basement

INNER WELLNESS fifth level

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key: event space/lecture classroom kitchenette shared office leasable - coffee shop leasable - zumba leasable - co-working lobby reception kitchen garden teaching kitchen director’s office office consultation children’s area library garden terrace green roofs shed restrooms storage pocket park

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SUPPORT COMMUNITY basement

SOCIAL ground level


LEARNING sixth level

OUTER WELLNESS seventh level

ROOF exterior roof

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NUTRITION second level

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LEASABLE third level

ADMINISTRATIVE fourth level


vertical circulation: A wellness center constricted by a compressed urban site led me to take an interest in reinventing what typical health centers look like by using rehabilitation centers as a precedent for interior qualities. The building’s response to the site pulls back from boundary to allow light and green spaces to flouish, leaving the front facade to appear flat. The concave curtain wall difused the natural light that enters the building from the north. programmatic zones are layered based on access to natural light, privacy, and user frequency. 36

gabby coleman architecture portfolio


hypothetical graphic art instillation defining orvieto’s modern culture

Graffiti is a complex art form that aims to capture a story. I am interested in producing a set of street art graphics to be displayed along the streets of Orvieto that would reflect the modern culture of the city. This hypothetical intervention is intended to be a powerful statement regarding the current lack of modern art appreciation present in Orvieto. Through the development of this design proposal, I hope to solidify my artistic values while expressing my cultural appreciation of Orvieto.

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perspectives

why graffiti GRAFFITI Art has the ability to preserve a culture in a way that history is unable to. It transcends space and time, develops opinions, and translates experiences. By analyzing our past through the images of its people, we are able to communicate ideas. We have been leaving our creative mark on vertical structures for thousands of years, and what began as primitive etchings or cave paintings has evolved into a world-known phenomenon most commonly referred to as graffiti. It is no longer just an illicit activity that produces writings or drawings scribbled on a surface in a public place. STORYTELLING Graffiti is a complex art form that aims to capture a story. I am interested in producing a set of street art graphics to be displayed along the streets of Orvieto that would reflect the modern culture of the city. This hypothetical intervention is intended to be a powerful statement regarding the current lack of modern art appreciation present in Orvieto. Through the development of this design proposal, I hope to solidify my artistic values while expressing my cultural appreciation of Orvieto. CONTEXT By introducing graffiti throughout the streets, specifically in the most active zones of the city, I believe that the lives of the inhabitants and visitors would be positively impacted. I have developed a series of representations that represent Orvieto’s essence in two scales: non-invasive wayfinding graphics that encourage use of a currently abandoned space and an overall composition implemented into an existing park that captures the essence of my experience this semester. A series of mockups and iterations alongside a master plan of ideal locations communicates the project. Through feedback and critiques, I have refined these compositions through a hybrid process of sketch, watercolor and digital reproduction. My final output reflects the cyclical design process I used to develop graphics that suit their context as well as the spatial implications these hypothetical art instillations will have on the streets of Orvieto.


graphic methodolgy

Graffiti can be found on vertical structures throughtout Italy, and it is beginning to make an appearance in Orvieto. I aim to begin the integration of graffiti with my graphics with the understanding that my sketches represent a moment in time and will be covered by future art. Through a cyclical graphic method, I aim to produce graphics that represent key memories and loose personifications of our experiences. The result of this process is my intervention.

WHERE COLOR + SKETCHES MEET: The colors used in the final renderings of these sketches are in response to the context of the site, colors that occur in Orvieto’s enviroment. These colors were applied as an underlay to my sketches in Illustrator after the sketches were scanned and converted to vector images.

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place BAR MONTANUCCI: Bar Montanucci was a local coffee shop a couple steps from our studio along the major trafficway of upper Orvieto. This place was a gem in the eyes of locals and tourists alike - a coffee shop by day and a bar by night. This image is a personification of Bar Montanucci seen through a sketch of my friend, Slovik, paired with renderings of coffee and creme croissants.

memory CECELIA + CODY: No one personifies our field trips better than our program director’s daughter, Cecelia. She made a friend in all of us when she passed out her Ritz crackers to anyone willing to make a new friend in her. Here you can see Cecelia’s best friend, Cody, giving her personification a piggy back ride after a long day exploring the Italian countryside.

people MORGAN & JAYE: A few of my sketches are graphic representations of the people I studied abroad and the things I learned about them. One of my favorites is this one of my friends, Morgan and Jaye. We spent a lot of time together, and if you easedropped on our conversations, the majority of them were about food. Morgan and Jaye are rendered wearing an abstraction their favorite Italian beer and American snacks.


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reimagining dead zones: I am interested in how different roles of clients pertain to certain aspects of programming. I hope that each profile of user feels there is a route totake (specifically designed for them), promoting the level of community present in this proposed collaboration. The site requires the proposed wellness center to an urban infill as it will rest between two existing forms. The initial proposed form features angular pulls towards and away from the context to bring attention to its program and allow light into lower floorplates. This study showcases my thought process as I integrated my findings with the sites unique spatial restrictions and the programmatic zones.


wamego firestation “fire + flint�

The Wamego Fire Station aims to create a strong sense of adjacency in relation to its’ small-town community context. By pulling the form towards keys places in the community as well as arranging the three programmatic zones independently next to one another, this design iteration achieves a strong relationship with the street facades and a inviting visual connection to community members alike.

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conceptual art pieces: The conceptual phase of this projecy began with a self-refection, readings, and preparing art pieces for a concept pitch. The skeches above are reproductions of my original conceptual models, and each represents an ideal I believe a firestation should posess. From left to right: adjacency, transparency (model two and three), beacon, transition, and warmth


site influences

A firestation is a landmark in its community, so it should present itself as approachable. This site sits on a corner site with spacial connections with a public park to the north, and the downtown coridor exists just one block to the west.

celebrating context: Wamego is a small-town with old Hollywood influences. This hypothetical project’s site would require a relationship with the adjacent downtown corridor, a source of tourism and rich history. The formal typeology of this design considers a firestations role in the community as well as the the role Wamego’s residents will play in the interior community spaces required by this project’s program.

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GREENSPACE

SITE

DOWNTOWN

RIVER

RESIDENTIAL

URBAN CONTEXT wamego, kansas


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seperating programmatic zones: The building’s form pushes and pulls toward key places in community creating avisual and formal connection. In the interior, three programmatic zones were considered and divided for optimal operational efficiency. The yellow zone represents public spaces where spaces like the public meeting room exist on the corner with views to the park. The pink zone protrays the private living quarters for the on-duty firefighters, placed adjacent to the apparatus room and supported by the administrative core of the building.This strategy promotes a natural order which is conveyed in multiple dimensions like building entry. seperating programmatic zones: Building entry is divided into two seperate experiences depending on use.


(left) building entry: A compressive ceiling plane in the entry challenges user to evaluate purpose upon entry. The firestations most public zones are pushed towards the street corner to ease user access which creates a dividing access between comunity spaces and support spaces. Specifically, the decontamination spaces (service) and administrative spaces (public) are separated by the implied vertical divide of the apparatus room, demonstrating a clear adjacency of roles. (right) form study Small sketch studies were completed during the conceptual stage of this design in order to complete an analysis of form options.

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key: lobby community gathering space administrative support apparatus support apparatus meeting space restrooms exercise room

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key: sleeping rooms bathrooms open concept living space courtyard living space support exterior space

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graphic t-shirts stand up for your sister Stand Up For Your Sister is an active community working to empower young adult women facing mental illness, loss, abuse, eating disorders, assault, and other taboo topics and aims to support those who believe they are alone in these battles. Stand Up supports women through financial assistance and engaging presentations while educating all individuals in leading the movement of breaking down stigmas and educating others around them nationwide.

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MAKE A CHANGE. “1 OUT OF EVERY 4 COLLEGE STUDENTS SUFFERS FROM SOME FORM OF MENTAL ILLNESS” “19 PERCENT OF YOUNG PEOPLE IN THE U.S. EITHER CONTEMPLATE OR ATTEMPT SUICIDE EVERY YEAR” “75 PERCENT OF COLLEGE STUDENTS DO NOT SEEK HELP FOR MENTAL HEALTH PROBLEMS” These are not just numbers thrown on some webpage. Each number is an individual life: a real, unique story filled with both triumphs and struggles, laughter and sorrow. Together we can change these numbers, break down the stigmas surrounding such issues, and create a world of bold women ready to live authentically and love unconditionally. Statistics provided by www.healthline.com


design development

I worked with the SUFYS founder, Staci Gann, to produce a hand-drawn, computer-rendered t-shirt graphic which was later screen printed onto t-shirts through a local print shop and sold to over 300 college students and allies across the Midwest. I produced three initial concepts that were ultimately voted on by our general body members. Once the concept was chosen, I refined the design through three iterations wirh imput of the organization's founder and our printing company. All proceeds went to the SUFYS program.

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(top) FINAL MOCKUP: The design scope also includes the brand of t-shirt, color shceme, and print production. (left) DESIGN INFLUENCES: Hand sketch iterations were produced in a reflective, cyclical proess. I was heavily influenced by the mission statement of SUFYS, specifically the “worldy woman” apspect. Three personifications of this phrase were created and voted on by the leadership team. The rendered mountain scene to the far left was the final design and can be seen on the back of the t-shirt.


thanks! let's chat soon! email: gbbcoleman@gmail.com phone: xxx.xxx.xxxx linkedin: “gabriellecoleman�


gabby coleman architecture portfolio  
gabby coleman architecture portfolio  
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