Undergraduate Portfolio

inerTia H u n t er k i r k la n d

An object at rest remains at rest until acted upon by an external force 2

a dormant idea will remain dormant until stimulated by an external force 3

INERTIA

A TENDENCY TO DO NOTHING, TO REMAIN UNCHANGED

Architecture is a response to external forces. Forces such as context, climate, time, scale, and geometry. It occupies a space created by these forces. Without these boundaries and obstacles, the forms of architecture would hold no meaning or significance. By embracing the external forces, a harmony between what exist and what is inserted is achieved. A balance between what exist and what was needed.

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context BARCELONA, SPAIN SPRING 2014

program New YORK CITY, USA

SUMMER 2013

individuality ASHEVILLE, NC FALL 2014

altuism GREENVILLE, SC SPRING 2013

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external force: context

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the ring

barcelona, spain spring 2014

collaborator : ashley davis The ring was a design challenge presented to us in Barcelona. Located in Port Vell in Barcelona the cultural context of the city along with panoramic views of the historic Gothic Quarters and Barceloneta became the driving force behind the intervention. Public space is an important part of Barcelona, which is famous for it’s parks and markets, and streets like Las Ramblas. The intervention is a public marked that soars over the waters of Port Vell while connecting a park, docks, and sidewalks of the port. Focusing views outwards towards the historic waterfront and sail boat mast of the port.

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TETHERING RING

creating physical visual physical connections

Analysis began with a very thorough and methodical mapping process. A point was selected on the Placa de L’Ictineo, it was chosen because it was the point from which you could see the most of the port. Then the maps were used to show what could be seen from that point. The gray showed the line of vision, gray touched everything that could be seen from that point. Then we regulated that by regulating it every ten degrees, hence the lines.

As a result of the mapping we realized that the genus loci of our place was what lay beyond it, what you could see and observe.

Thewas map now was showing the the force of context, the map showing theexternal external force of adding sightthe , adding context of what can be seen further enhanced the contextual analysis of the map creating an operathecontext of what can be seen further enhanced the tive tool for design. A ring of an appropriate scale was selected and within it points where the analysis an operative tool for design. intervention should contextual rise and fall to avoid viewingcreating obsatcles were tested.

The new tool was used to dtermine the placement of the paths (views in green, connections in orange) and the compostions of the structure and facade

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the geometry is a response to the external forces, the realizations explored with the map, and the results of the operative map

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Process diagrams show a three-dimensional version of the map, and how the ring reacts to the external forces around it. The initial ring addresses access and connections to the ground (orange), the second ring addresses the heights needed to view over and through obstacles (green). They are then merged to address both conditions providing a panoramic experience while tethering to the ground, market space is then added to the paths and wrapped in a supporting structure.

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external force: program

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highline high-rise

new york, New york Fall 2014

collaborator : victoria shingleton New York City’s Highline has become a household name in architecture. West Chelsea has become a center of New York art culture. The building is a response to this. The photography co-working community cantilevers over the Highline at the corner of 29th street and Tenth Avenue, providing photographers with residential, office and gallery space. The strict building codes and program are the major external forces influencing this project.

Open studios with multiple artist working within encourage collaboration and creativity. Gallery guests can enter the photographers’ workshops and experience the creative process. Resident artist have convenient access to their studio from their apartment. Various transparencies, rather than walls, define the differing programs and distinguish public from private throughout the building 15

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2320

RESI DENTI AL

OFFI CE

2000

CI RCUL ATI ON

19228

CO-WORK I NG

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GAL L ERY

SPACE BREAKDOWN: CIRCU LATI ON RES I DENTI AL / WORK OF F I CE GA LLERY CO-WORKI NG S TORA GE

| 8 ,2 3 0 SQF T | 1 2 ,7 4 9 SQF T | 2 ,0 0 0 SQF T | 9 ,0 7 8 SQF T | 1 9 ,2 2 8 SQF T | 2 ,5 0 2 SQF T TOTAL : 5 4 ,1 0 7 SQF T FAR: 7 .1 6

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STORAGE

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COURTYARD

The strict zoning codes around the Highline along with the separate programs and spaces were the main external forces that affected the building.

The diagram to the left shows the breakdown of the spaces and the above diagram shows their adjacency. Dotted lines mean they connect, but not physically and solid lines indicate physical and immediate connection.

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Program was one of the critical external forces that affected the massing of the buidling. Guests enter from street level and as they cross the threshold of the building they decend a story into the receptioon of the gallery where the shop, cafe, and sunken courtyard are located. Guests then ascend through a vertical galery that can be seen while walking upon the High Line.

Community and Co-Working space extends over the highline, while personal workshops are located above the vertical gallery, providing a transtion between public and private space while allowing residents direct access to their studios.

Forming Boundaries

Sunken v. Street Level

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High Line

Pedestrian

Public v. Private

Circulation v. Gathering Space

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external force: individuality

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Re-purposed highrise

Asheville, NC Fall 2014

Located in Asheville, North Carolina is the BB&T building, a poor copy of Mies van der Rohe’s Seagram building. It lacks in detail and depth.

With the existing BB&T the programs are put into a utilizing grid that was an effort to conceal everything beneath the surface, this logic, although elegant and clean, is outdated. The result is a prismatic box that ignores the surroundings and sits heavily on the site. Since the building is the tallest in Asheville and can be seen from every direction this presents a problem.

The proposed design uses the existing grid of the columns and floor slabs to develop a texture and pattern by inserting a prefabricated steel box into the building. The result is a multifaceted surface that emphasizes and utilize the surroundings to greater effect, creating a more cohesive and engaging structure 21

windowBOX +

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MATERIALS

translucent glass - wraps the frame clear glass - caps the front viewpoint steel- frame + connection wood- interior floor

BENEFITS

71.5 additional square feet exaggerates + frames views added architectural spectacle personalizes units breaks the facade up, less monotonous engages the passerby

BENEFITS

45.5 additional square feet exaggerates + frames views added architectural spectacle personalizes units breaks the facade up, less monotonous engages passerbys alows smaller balconies when split (hotel)

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The BOX adds extra square footage to each room and can add amenities like a sun room or balcony. The box also adds a bit of intrigue and spectacle to the facade and interior of the building.

Everyday moments of life can be beautifully framed by the BOX. It also engages residents from the ground, a person can look up and locate their place in the building, where before that would have quite difficult thanks to the curtain wall.

apartment

rental

hotel

The boxes are prefabricated steel with wood and glass details (both tranparent and opaque glass), assembled and installed on site, 1W Pack Square, Asheville NC.The render shows the augmented interior with the additions of the BOX. it demonstrates the framing of the views and shows the aditions to the space.

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SOUTH ELEVATION

WEST ELEVATION

NORTH ELEVATION

EAST ELEVATION

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external force: altruism

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community hub greenville, sc spring 2013

Sterling, a community within the city of Greenville, is an old community that once had a tight knot community identity, working families all going to the same schools and living within walking distance of the church. A fire burnt the first community center in the late 60’s and as attempts to rebuild kept failing or were unable to gain funding the community started a downwards spiral. Children began to leave home for jobs closer to downtown and slowly the area began to decay. The external force shaping this project was the altruistic desire to revitalize a languishing community.

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Community Conditions

Proposed Bus Route

Pedestrian Sources

One Way and Two Way

Residential vs. Public

Intervention

The intervention involves a farmers market to stimulate community interaction, a business center with offices and computers to train community members in business skills and help find jobs, and a community room that features a flexible wall system constructed from reclaimed wood on the site. The intervention is located near public transit and in the heart of the community. Circulation is routed across the site by the topography which is manipulated to fit underneath the stacked building. The intervention is meant to encourage community growth and uplift the existing community

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Business Center

Farmer’s Market

Community Room

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An object at rest remains at rest ntil acted upon by

education

Clemson University: B.A. Arch - Music minor barcelona: Spring 2014 Columbia University: Summer 2013

awards

presidents list/deans list camden fine arts center scholarship SC life scholar

activities

Aias member Cu Tiger band: 2010-2013 KKY honorary fraternity: 2010-2013 Fishes and loaves food pantry: 2009-2014 relay for life: 2008-2014 lots of other stuff

clemson

New york

barcelona

illustrator illustration sketchup

laser cutting Indesign

office

3d print

model making rhino

photoshop

GH

Cnc

diagramming autocad 35