Portfolio of Work

PORTFOLIO OF WORK

JENNY LING WILLIAMS

CONTENTS MUSEUM AT GEORGETOWN ANALYSIS OF WASHINGTON DC ANALYSIS OF GEORGETOWN MUSEUM AT GEORGETOWN (FINAL)

ED + BLONDIE ED + BLONDIE (FINAL)

RE-LIGARE INSTITUTE RE-LIGARE INSTITUTE (COMPETITION FINAL)

FRAMING SCALE FRAMING SCALE (COMPETITION FINAL)

DURHAM WELLNESS CENTER DURHAM WELLNESS CENTER (FINAL) WALL SECTION AND WALL SECTION MODEL

HAND DRAWING

CONTACT JENNY@INNERHOME.COM 919-247-6707

ANALYSIS OF WASHINGTON DC GEORGETOWN MUSEUM AT GEORGETOWN GEORGETOWN, WASHINGTON DC

ANALYSIS OF WASHINGTON DC ANAYLSIS OF GEORGETOWN The Georgetown Museum design derived from partner work and began with a study of Washington D.C. as a whole. From the ďŹ ndings, synthetic diagrams were created and a three-dimensional model was built displaying the varying building heights and districts of the city as well as the importance of the Potomac River.

After studying the city of Washington D.C. an in depth study of Georgetown was required. Partner work was used to develop another three-dimensional synthetic model to explain the innerworkings and most important features of Georgetown: the repetition of facades broken by distinct building forms, major thoroughfares, and the steep landscape.

MUSEUM AT GEORGETOWN ARC 201 - FALL 2008 CO-DESIGNER: JORDAN EURE PERSPECTIVES: HAND - GRAPHITE PLANS + SECTIONS: HAND - GRAPHITE

B

FIRST FLOOR

A

GROUND FLOOR

The previous studies led to the design of a Georgetown Museum on a riverfront site. The museum is able to be accessed from different points on the site: the lower level at the river and the upper level at the neighboring buildings. In order to achieve this unique aspect, the museum has been cut into the landscape creating a smooth transition from the first floor to the ground floor. Georgetown’s repetition is expressed through the repetitive glass exterior. The front façade is made up of a thick wall to act as storage for books, with secluded reading nooks interspersed between the shelves. Notches and cubbies have been carved out of the walls enveloping the Museum to create a pattern along the interior of the building and also to provide display space for artifacts.

The ground floor is composed of office and exhibition space that leads a visitor outside to the level of the river and a display wall.

The final wall has been separated from the rest of the building in order to maintain the existing public running path used by Georgetown’s inhabitants. Sustainability is a large factor in the Museum; daylighting techniques and a large green roof were implemented.

SECTION A

SECTION B

MATERIALS: BASSWOOD CHIPBOARD

ED + BLONDIE WESTERN NORTH CAROLINA

ED + BLONDIE ARC 301 - FALL 2009

Ed is a simple man who only enjoys the necessities for life and does not rely on material things to make him happy, except for his most prized possession, Blondie. Blondie is a speed boat Ed has fixed and she was also the driving force behind the site selection.

Located next to a lake in Western North Carolina is Ed’s house.

The entire structure has been raised off the ground so as to not interrupt the landscape and allow Ed to witness the site from the tree canopy rather than the ground. The repetition of the house is derived from the boat house, Blondie’s home and the hierarchy of the site. Vertical slats create a visual rhythm for any visitor approaching Ed + Blondie’s home.

PLANS + SECTIONS: HAND - BLACK PEN

MATERIALS: BASSWOOD MATERIALS: CHIPBOARD SCALE: 1/16” = 1’0”

The approach from Blondie to Ed is not direct, but focused toward the rest of the site instead. The indirect path allows the vertical slats to create a privacy screen for Ed, which only reveals the interior if the person were to stop and face the house.

RE-LIGARE INSTITUTE RALEIGH, NORTH CAROLINA

RE-LIGARE INSTITUTE ARC 301 - SPRING 2010

The Re-Ligare Institute is a place to socialize, learn, and reconnect of occupant interaction: a place to interact with members of the community, a place to increase knowledge, a place to physically improve, a place to encourage relaxation, and a place to focus on the individual. While these ďŹ ve areas are separated by different levels of the Institute, it is important that they are still expressed as being connected somehow.

RENDERINGS: GOOGLE SKETCH-UP IDX RENDITIONER ADOBE PHOTOSHOP PLANS + SECTION: AUTOCAD ADOBE ILLUSTRATOR

A

The lobby is introduced as a five story atrium space that penetrates the five divisions of interaction and creates a space to connect the Institute. It addresses the corner of the site by literally reaching out towards Moore Square using steel as an organic form. This unique aspect of the Institute has carved away the corner of the building to allow for maximum visual contact with viewers from the building’s exterior. This atrium space is surrounded on all sides by various gardens provided by the five different areas of the program, and with the organic curved forms flowing out from the structure below it begins to use imagination to become representative of growth from the building.

SECTION A

FRAMING SCALE SALT FLATS, UTAH

FRAMING SCALE ARC 402 - SPRING 2011

The rest stop brings visitors face-to-face with the components of the Salt Flats. Earth is carved by a gentle decline into the layers of the land. A slight angle is used for the hill in order to manipulate the human consciousness; guests will not be able to immediately sense that they are descending into the landscape. Once far and deep enough into the vast site, the visitor reaches eye-level with the material change from salt to clay.

RENDERINGS: GOOGLE SKETCH-UP V-RAY ADOBE PHOTOSHOP PLANS + SECTIONS: AUTOCAD ADOBE ILLUSTRATOR THE SALT FLATS

OXIDIZED METAL

SKY

MOUNTAINS SALT

CLAY

Scale is absent in the Salt Flats, therefore, the concept of distance is voided.

Introducing frames helps to ground a person to the site and give a sense of direction. The frames illustrate the unique characteristics of the environment by manipulating scale on a scale-less site.

Each frame is used to display the distant mountains, the earth’s curvature, and each other.

FRAME/CEILING/WALL

CONCRETE

WINDOW

DOUBLE GLAZED

GROUND

SALT

VIEW A

1

1

2

2

2

2

A

1

SHOWERS

2

RESTROOMS

FRAME/CEILING

CONCRETE

WINDOW

DOUBLE GLAZED DOORWAY/MULLIONS

STEEL EXPOSED GROUND

SALT GROUND

CLAY 3

VIEW A

4

A B

VIEW B

3

4

3

CAFE

4

SITTING AREA

5

6

6

5

C B

A

VIEW A

VIEW B

FIRST FLOOR

5

6

6

5

GROUND FLOOR

VIEW C

5

6

6

5

5

6

6

5

5

GUEST ROOM

6

GUEST BATHROOM

DURHAM WELLNESS CENTER DURHAM, NORTH CAROLINA

DURHAM WELLNESS CENTER ARC 501 - FALL 2011

The Durham Wellness Center is located next to Brightleaf Square in downtown Durham, NC. A street edge is important in an urban environment and is kept with the help of a long narrow bar spanning the length of the site. Rather than a single vertical plane, depth has been integrated into the front facade by caring out spaces that give hints of the building’s rear elevation.

Spaces are extruded from the rear facade, creating a visual hierarchy for the Wellness Center. These extrusions are the large studio spaces and allow pedestrians to view the Center’s interior as well as provide more space and height these areas require.

RENDERINGS: GOOGLE SKETCH-UP VRAY ADOBE PHOTOSHOP PLANS + SECTIONS: AUTOCAD ADOBE ILLUSTRATOR

A

B

The main building is split into two distinct parts: the north provides the main circulation and the south houses most of the Center’s program. A wall is introduced into the north’s circulation and used as vertical circulation, a place for information to be exchanged, to help define spaces, and as a visual guide for visitors of the Wellness Center SECOND FLOOR

.

FIRST FLOOR

GROUND FLOOR

SECTION A

SECTION B

MATERIALS: CHIPBOARD BASSWOOD ACRYLIC SPRAY PAINT SCALE: 3/8” = 1’ 0”

WALL SECTION ORIGINAL SCALE: 3/4” = 1’ 0”

MATERIALS: BASSWOOD MATERIALS: CHIPBOARD ACRYLIC SPRAY PAINT SCALE: 1/16” = 1’0”

HAND DRAWING

MAP OF FIVE POINTS, RALEIGH: GRAPHITE ARC 201 - FALL 2008

PRAGUE, CZ: GRAPHITE FALL 2010

PRAGUE, CZ: WATERCOLOR FALL 2010

CESKY KRUMLOV, CZ: GRAPHITE FALL 2010

PRAGUE, CZ: WATERCOLOR FALL 2010

HAND DRILL: GRAPHITE ARC 102 - SPRING 2008

PRAGUE, CZ: GRAPHITE FALL 2010

LECA DA PALMIERA, PORTUGAL SITE PLAN: BLACK PEN ARC 202 - SPRING 2009