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Hannah Michaelson hrmichae@syr.edu +1 (607) 377 - 4110


asure

sland will also act as a disruption in the normal ulture. As a considerably gaudy attraction it the refined image the wealthy are looking for thin the hotel it will act as a different type of eaking the typical and clear layout of a hotel ng roundabout path through the disorienting colors


Table of Contents

CV

Tectonic Disturbances

The Pixel

Urban Carnival

Cyclic Entropy

Reversible Screaming

Select Works

ARC 307

Professor Godlewski Hannah Michaelson


Hannah Michaelson hrmichae@syr.edu +1 (607) 377-4110 Awards

Undergraduate Creative Works Grant Recipient Summer 2019 Research on how Icelandic folklore has engaged with the built environment in collaboration with Genevieve Dominiak.

Dean’s List Spring 2016 through - Spring 2019 Published in Perception Magazine Comprehensive Studio Work - Spring 2019

Education

Experience

Syracuse University School of Architecture Expected to Graduate 2020 B. Arch 3.67 Minor in English Textual Studies Concordia International School Shanghai 2013- 2015 National Art Honor Society Captain - Volleyball, Swimming and Track Teams Syracuse University Architecture Teaching Assistant Summer College TA - Summer 2019 - Syracuse University Conducting design reviews and tutorials for the high school students attending the university run program.

King + King Architects LLP Architectural Intern - Summer 2018/Spring 2019 - Syracuse, NY Revising construction documents in Vectorworks and rendering in Sketchup for submissions within the Healthcare Community studio.

Everson Museum of Art Exhibition Production Team - Summer 2018 - Syracuse, NY Producing museum quality drawings and digital modeling for exhibit celebrating 50 year anniversary.

Johnson Schmidt & Associates, Architects Architectural Intern - Summer 2016 & 2017 - Corning, NY Modeling and rendering buildings in Revit for client presentations. Design input for potential interior layouts.

Software

Skills & Interests

Revit BIM Rhino Vray Diva

Adobe Illustrator Photoshop InDesign

VectorWorks Sketchup Grasshopper Sim. ArcGis

Photography - Lighting, Composition and Photoshop Finishes Writing Beach Volleyball Music, Flute


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Tectonic Disturbances The goal of our proposal is to utilize slippages to create perverse relationships between labor, robot and leisure Comprehensive Studio Spring 2019 Collaborative Project with Genevieve Dominiak

The project is sited as esoteric objects slipping out of the landscape to imitate tectonic disturbances. The relationship of the visitor to these scale-less shafts generate an uncertain atmosphere amongst a collection of pools. The lower portion of our proposal encloses the prompt’s E-Waste facility, while the upper environment fillets and slips to form our programmatic addition of pools and a sauna. The two programs nest together within the tectonics, which shear past the ground to inform both the flow of the E-waste facility and contain the bath program above. The programs never formally interact, but slide past each other to create a sharp seam, heightening the contrast between machine and leisure. By embedding the E-waste facility below the spa, the tectonic relationship of these scale-less shafts disembodies them from the machine below, alienating them among the terrain. The structure of the entire proposal originated from these large shafts which are both embedded in the ground and cutting through it. These custom concrete trusses are conceptualized to spatially organize the e-waste flow, contain core program and reflect light into the spaces below. The proposal embraces the overstructured aspect of these concrete trusses, as well as the mass amounts of concrete used to contain the program. Our concept around labor begins with the energy it requires for this mass excavation, prior to beginning the large-scale concrete construction.


2019 Comprehensive Studio - Daniele Profeta

Detailed Section - 32” x 36”


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Final Sectional Model - 24” x 18” x 12”


2019 Comprehensive Studio - Daniele Profeta

Lower Level Jogged Plan - 36” x 48”


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Experiential Render - 30” x 65”


2019 Comprehensive Studio - Daniele Profeta


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Rendered Pool Perspective - 43” x 18”

Rendered Site Perspective - 43” x 18”


2019 Comprehensive Studio - Daniele Profeta

Transverse Section - 21” x 41”


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2019 Comprehensive Studio - Daniele Profeta

Rendered Portion of Design Project - 36” x 36”


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Published Work in Perception


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The Pixel and Programmatic Resiliency Use of pixels from the typologies to create a resilient design which accommodates the fluidity of program changes in the life cycle of a building. Collaborative Project with Ian LeFever

The aim of this proposal is to examine the pixels of historic precedents to begin to understand the resiliency of a cell. The multiplicity of a pixel and the elements which encourage programmatic resiliency were catalogued. In this catalog a pixel was defined as an element in a building which would be used to compose the entire image. An element which was used many times in the typologies, and could be beneficial to the programmatic resiliency was the loggia. A pixel which was found at multiple scales, sites and programs. The pixel of a loggia also allowed for an evolution of construction and infill. Any number of bays could be aggregated to create a flexible sized space for any program. Therefore the skeleton of the multpurpose design resembled loggias organized around various courtyards. Additionally, the floors are organized on 2 cycles. The upper leve with pixels which would evolve on a longer, larger, life cycle; while the lower level is organized with the idea of a shorter pixel life cycle. Primarily the life cycles were considered as work and living cycles are often the more permanent programs, while programs such as market stalls, restaurants or small businesses may be on a shorter lifecycle and respectively a smaller space.


2018 Studio - David Shanks

Courtyard Render

Section


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Courtyard Render


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Urban Carnival The intent for the studio was to hybridize a hotel and a “plus-one program” in Chelsea, NY.

Through the hybrid hotel there was the opportunity to add another icon into this footprint. With the location of the site near the Highline and Chelsea Market, the chosen hybridization could interrupt the currents moving between the two icons. This opportunity developed into the hybridization of a Carnival and the required Hotel. The Carnival program then begins to experiment with the ways in which it can vertically transform a field condition program. After a lot of exploration, the hotel became a heavy “private” mass determined by the optimal number of rooms while the carnival was injected as curvilinear “public” objects floating within and off the mass. The juxtaposition of the freeform within the rigid highlighted the innate differences between the compartmentalized congestion and the indeterminate nature of the carnival congestion. The interstitial spaces created are the hallways and the lobby, where it is unclear to both sets of visitors which program they are starting in and how they get to their destination. Program Distribution Total Height - 185’ (not including 20’ underground) Number of Floors – 19 floors (2 floors in basement) GFA – fluctuates between 5,500 sqf and 9,400 sqf per floor Hotel Unit Area – 240 sqf Number of Units – 147 Units


2017 Studio - Joseph Godlewski

Signage on Chelsea Streets

Peak Times in Chelsea


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Chelsea Icons

Snapchat Geotag Mapping


mpartmentalized conges2017created Studio - Joseph Godlewski spaces are the gram they are starting

lacement in Chelsea he Carnival throughout e street. Through the nterior the program is a

n. The Monacelli Press,

mes, August 18, 2012, y-waiting-in-line-is-tor-

Gaudy Pleasure

The Pleasure Island will also act as a disruption in the normal city grid and culture. As a considerably gaudy attraction it will challenge the refined image the wealthy are looking for in Chelsea. Within the hotel it will act as a different type of disruption, breaking the typical and clear layout of a hotel into a confusing roundabout path through the disorienting colors and sounds.

Gaudy Pleasures Collage


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ARC 307

Professor Godlewski Hannah Michaelson


2017 Studio - Joseph Godlewski

Finaal Diagrammtic Model

Study Model

Study Model


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Final Model without Carnival Facade

Study Model

Study Model


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Cyclic Entropy A design project which aims to acknowledge the problematic Book Burning at Bebelplatz through a hybridized library and cenotaph. Collaborative Project with Anja Pajevic

There is always tension between government and people, as it is impossible for every citizen to agree with every person in power. Power and control have historically been a slow pendulum effect back and forth, with transitional periods appearing as revolutions. In an ideal world the government’s tools are the ideologies of law over people, while the people’s tools are the free flow of knowledge. The book burning at Bebelplatz was a problematic revolution as it was organized by students and encouraged by the government. Thus, government and people violently merged, as students willingly and enthusiastically relinquished their tools of knowledge. Since one must collect a book from the library and bring it to the reading room, the empty book slots of the cenotaph begin to fill as readers leave their books throughout the cenotaph. Over time this becomes the building’s slow descent into entropy, similarly to revolutions. Both weights move towards static equilibrium as the cenotaph fills with disorder and the library empties and is incorrectly re-shelved in disorder. Once both weights have reached an un-usable state of disorder, the entire program will be re-ordered into the initial Dewey-Decimal system library and empty cenotaph. Thus, posing the question, as the memorial fills and the library empties, how does the experience of the memorial change if it is half full?


2019 Studio - Linda Zhang

Section Through Both Library and Cenotaph


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Study Model

Study Model

Study Model

Study Model


fighting

STOP CORNER TALKING

SHOT

screaming TALKING

running away FAMILY SCREAMS SHOT

SCREAMING

SHOT

CRYING LAST SHOT DEATH

surrender BULLETS


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Reversible Screaming A ceramic project visualizing the happenings of Michael Bown and Darren Wilson at Canfield Drive in 2014. Collaborative Project with Elena Echarri-Meyers

To interpret the happenings of Canfield Drive, we began with mapping the sounds and movements across the sight. Through this technique we uncovered the hierarchy of the noises; where the mother’s scream and Wilson’s radio calls became the most prominent to the respective communities. They began to blend together through our work, until it was difficult to separate the two. At a larger scale the world divided into two when neither call could be interpreted as truth. As the world began to interpret each scream’s meanings it began to fold over and unto itself. The narrative became debatable. Perhaps the most debated part of the story is either side’s movements across the site. Was Mike Brown charging back towards detective Wilson? Or had he already surrendered, defeated under the weight of his own innocence. Could the mother’s calls be of “STOP” or pure innocent grief? Was the officer calling for backup because he was truly scared? Or was he scarred by the horrific crime he had committed? The footsteps reverberated as far as the screams carried them. Thus, the noise began from his and Wilson’s footsteps. And the folding flesh could no longer be reversed.


To interpret the happenings of Canfield Drive, we began with mapping the sounds and movements across the sight. Through this technique we uncovered the hierarchy of the noises; where the mother’s scream and Wilson’s radio calls became the most prominent to the respective communities. They began to blend together through our work, until it was difficult to separate the two. To represent the subjective nature of the screams, we also emphasized his footsteps as they reverberated through the screams. The footsteps became an important visualization of the debatable movement and thus debatable noises which followed.

Project

2018 Professional Elective - Linda Zhang

Charged spaces are the result of contradicting opinions surrounding certain events. In the case of Canfield Drive it has become a critical moment of division experienced nationwide. This division though has existed for centuries and has been illustrated in various ways. Through the lenses of Maximilien Robespierre (18th century) and Thomas Hobbes (17th century), we define the contrast and opposition between what we as individuals define as good and evil. Robespierre theorized on the innate goodness of man and the natural rights of man have been perverted by the tyranny of the governing class. On the other hand, Hobbes theorized men as inherently bad and social contracts and governments are to prevent their selfish and violent tendencies from taking over. This debate mirrors the societal division of Black Lives Matter and Blue Lives Matter, respectively. To represent this division, we decided to utilize the movement and noise of the site as tools to visualize this division, for these themselves can contain such dual character. The noises surrounding the scene focus on screams to their respective communities. The radar points are representative of the influences noise can make on either end. Thus, the voices become the catalyst of dividing the country, but in either interpretation the noises can be reversed depending on the interpretation of the narratives. In this case the mother’s screams and Wilson’s radio calls sliced Merleau Ponty’s idea of the flesh. At a larger scale the world divided into two when neither call could be interpreted as truth. As the world began to interpret each scream’s meanings it began to fold over and unto itself. The narrative became debatable. Perhaps the most debated part of the story is either side’s movements across the site. Was Mike Brown charging back towards detective Wilson? Or had he already surrendered, defeated under the weight of his own innocence. Could the mother’s calls be of “STOP” or pure innocent grief? Was the officer calling for backup because he was truly scared? Or was he scarred by the horrific crime he had committed? The footsteps reverberated as far as the screams carried them. The cause for the noise began from his footsteps. And the folding flesh could no longer be reversed.

Questions Is movement only pertinent to a landscape if it is debatably violent movement? How does movement interact with object architecture or monuments? What were to happen if monuments today became excavated in a similar way to slip-casting? What would be revealed in our society?

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Mapping of Canfield Drive Happenings


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Translation of Abstraction Mapping on clay


Professional Work

Large-scale drawings commemorating the 50th anniversary of the IM Pei designed Everson Art Museum. Collaborative Work with Anja Pajevic and Elena Echarri


Photography


Profile for Hannah Michaelson

Summer 2019  

Summer 2019  

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