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Spring 2018

PORT FOLIO JENNIFER HAKALA


JENNIFER HAKALA Address: 2636 Kent Avenue Unit 102 Ames, IA 50010 Phone: 218-235-1534 E-mail: jhakala@iastate.edu

EDUCATION

.

Iowa State University August 2016 - May 2019 Ames, IA

Masters of Architecture graduate student in second of three year program. Studies include courses in historic preservation, architectural history, urban design, as well as building structures and technologies.

College of St. Scholastica September 2011 - May 2015 Duluth, MN

Summa Cum Laude graduate with Cultural Studies and German minor degrees. Education includes studies of Geometry, 3D construction design, 15th Century bookmaking, and Differential Equations.

LANGUAGES

English

First Language.

CURRENT PROJECT January 2018 - May 2018 Design Studies 546 | Tom Leslie

German

5 years education. Travel experience in German-speaking nations.

Experimental studio that hybrids civic, commercial, and residential programing in downtown Des Moines. Learning to work in V-Ray and Revit softwares for the design and drawings of the studio.


Resume | 03

EXPERIENCE Studio Instructor August 2017 - present Iowa State University Teaching Assistant Aug. 2016 - May 2017 Iowa State University

First year instructor for Design Studies 102, a core program studio for entry-level students that teaches principles and skills important in all fields of design through 2D and 3D projects. Worked with 200+ students as a TA for Patience Lueth in the core program for entry-level undergraduate students.

SIA Student Intern January 2015 - May 2015 Architecture Advantage Duluth, MN

Researched and incorporated social media techniques for the firm’s marketing strategy. Assisted staff during ongoing projects in order to learn the process of planning, designing, and constructing.

Amateur Calligrapher January 2014 - May 2014 College of St. Scholastica

One of 10 students working on a semester-long project to create a full-scale manuscript by hand for the College of St. Scholastica library. Collaborated to handwrite, illuminate, and bind the books.

SKILLS PROFICIENCY OS Windows Mac OS Microsoft Office Word PowerPoint Drafting and 3D Modeling AutoCAD Sketchup Rhinoceros Energy Modeling Tools DIVA plug-in for Rhino Sefaira

Adobe Creative Cloud Photoshop Illustrator InDesign After Effects Analogue Drafting and Sketching Model Making


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RHYTHM [riTH əm] “A regular recurring sequence of events, actions, or processes” As I study architecture, I’ve been advised to find my own voice. Been told to figure out what this field means to me and to find my own rhythm, my own life pace within the discipline. The rhythm of my studies and even my practice as an adult human being started by learning the Benedictine values at the College of St. Scholastica: community, hospitality, respect, stewardship, and love of learning. As an architect, I want my process of design to utilize resources responsibly and promote the worth of all human life. In a field where these goals are achievable, I have found meaningful work. As I continue to learn, I will continue to find my voice and rhythm as an architect.


07

CONTENT

Design-Build Projects

08 PENUMBRA Eight week Build in Des Moines, IA Studio Projects VILLA CHIERICATI GATEHOUSE

16

WINTERSET CIDERY OBSERVATORY

24

POST PARKING

30

Design through Precedent Analysis

Framing Views of Central Iowa

An Urban Parking Lot Retrofit

Taught Projects STUDIES 102 38 DESIGN Core Program Design Studio


Penumbra | 09

01

PENUMBRA Eight Week Design-Build in Des Moines In collaboration with: Erin Copeland, Chirag Khurana, Raymond Nurse, Christopher Perez, Wade Vollink, Tianling Xu, Jiayu Dong, Olivia Finan, Nicholas Loughrey, Caleb Scherf, and Shelby Worth Instructor: Shelby Doyle May - June 2017 Penumbra is a shading structure that was designed and built for the Des Moines Social Club. Located on the roof of the facility’s Kum & Go Theater, the structure follows the mission of the Club to use “the arts as a catalyst to create unprecedented community engagement” in Des Moines. The project supports a potential for the non-profit organization to increase their rental revenue shading the overheated deck to make it suitable as a destination for weddings, small concerts, and weekly happy hours. Penumbra was completed by a class of 12 undergraduate and graduate students. I played a role in almost every aspect of the project, including supporting the build of the Rhino model design, doing construction and iteration work, and heading up the budget and purchases for the project.


ITERATION IMAGES


Penumbra | 11

The construction process was a combination of physically assembling the various components on site and manufacturing the materials on location in Ames. The process from idea to full construction included meetings for approval with structural engineers, the Des Moines City Zoning and Planning Commission, and the State Historic Preservation Office. The final design works to integrate aesthetically with the iconic theater sign and the art wall backdrop already existing on the deck. Wood and fabric shade panels are removable for off season storage, reversible for diverse aesthetic orientation, and reconstructible when in need of replacement.


Deck Reinforcement

Columns

Girders

Beams

Knee Braces

Cantilevers

Fabric Panels

Edging


Penumbra | 13

CONSTRUCTION IMAGES


FINAL PURCHASING LIST Budget $7500.00 Shade Panels $1282.30 Coolaroo Shade Fabric $459.52 Thread + Fabric Cutters $42.96 2” x 2” x 8’ Pine Lumber $244.46 1” x 2” x 8’ Pine Lumber $131.74 Staples $19.58 Outdoor Thread $19.65 3” Deck Screws $98.84 1/4” Nuts $19.65 Threaded Rod $37.32 Finish Nails Mending Plates $97.32 Simpson Strong Tie Plates $115.42 Flat Washers $2.99 Transportation $550.00 Vans $550.00 General Tools $251.86

Pergola Structure $2866.57 Exterior Stain $233.70 Gauge Strap $24.15 Black Paint $27.67 Screws $268.46 1” x 4” Lumber $99.97 2” x 8” Lumber $514.31 2” x 6” Lumber $76.89 6” x 6” Cedar Posts $1161.48 Joist Hangers $166.98 Post Bases and Shipping $254.03 Storage Boxes $12.45 Joist Hanger Nails $12.49 Thermometer $3.47 Structural Reinforcement $2075.62 Green Treated Wood $1295.41 Screws $116.04 2” x 10” Joist Hangers $570.24 Shipping Costs $93.93 TOTAL COSTS $7026.35


Penumbra | 15


Gatehouse | 17

02

VILLA CHIERICATI GATEHOUSE Design through Precedent Analysis Individual Project Instructor: Andrew Gleeson January - May 2017 The gatehouse project began with a precedent analysis of two seemingly different buildings: Renaissance Villa Chiericati, a forgotten design of Andrea Palladio, and the Post-Modern Vanna Venturi House. This project takes defining characteristics from both precedents and combines them on site of the Villa into a full-service gatehouse. Much of the inspiration from this project’s design comes not only from study of the architecture, but also study of texts from both architects. Though a gatehouse for a Palladian villa wants balanced symmetry, the inspiration from Complexity and Contradiction demanded that another layer of ambiguity be added to the design. The Villa Chiericati Gatehouse is both symmetrical and asymmetrical. It is both prominent and hidden. At the end of the Villa’s drive, the gatehouse buildings sit behind two existing pillars, out of sight lines from the street to the Villa itself. The basic concept of the design is for the gatehouse to be functionally and protectively between the entrance and the drive, but lightly placed on the site so that the focus remains on the Palladian architecture.

Gatehouse Build Site Villa Chiericati


Analysis metrical yet Asymmetrical

Grid Analysis Symmetrical yet Asymmetrical “The perforations in elevation reflect the circumstantial disortions within.” - Complexity and Contradiction

ce Relationships

1 1. Proportion and Grid in Plan 1

2. Centrality

1

ea, though not symmetrical alanced from side to side

3. Front to Back Analysis Grid Analysis Symmetrical yet Asymmetrical

“The perforations in elevation reflect the circumstantial disortions within - Complexity and Contradiction Balance Relationships

2

Vanna Venturi House Analysis

Front Elevation

N Architect Robert Venturi Location Chestnut Hill, Pennsylvania Date completed 1964 Client Vanna Venturi

1

Window area 5:5 or 1:1

Front to Back Analysis

3

Scale Venturi designed this house for his elderly mother. Everything she needed was located on the ground level, with an additional bedroom on the second floor. “The perforations in elevation reflect the circumstantial disortions within.” - Complexity and Contradiction

ysis cal yet Asymmetrical

Balance Relationships

0 4

1

8

2

2.5 1

2

2.5

2 Elevation Ratios

Vanna Venturi Hou

Anal

24

N

East Elevation

1

Wall area, though not symmetrical is balanced from side to side

dow area 5:5 or 1:1

Wall area, though not symmetrical is balanced from side to side Orientation

16

Approx. Window Area 1:1

Orientation he perforations in elevation reflect the circumstantial disortions within.” - Complexity and Contradiction

Relationships

8

16

VANNA VENTURI HOUSE BY ROBERT VENTURI Vanna Venturi House | Completed 1964 Chestnut Hill, Pennsylvania Analysis

24

N

Robert Venturi’s design for his elderly mother incorporated the architect’s 1 complex principles of “both/and”. The house achieves balance in elevation by offering windows that are identical in terms of area, yet is irregularly asymmetrically arranged. As Venturi himself writes, “the perforations in elevation reflect the circumstantial distortions within”. The fusion of the fireplace and the staircase in the center of the house become a single element that is both centripetal and centrifugal in nature. The fireplace is a hearth that Vanna Venturi draws one inHouse and the staircase is a element of circulation that deposits people Analysis on various levels with continuous change in direction. 1

though not symmetrical ced from side to side

N

Back Elevation 1


Gatehouse | 19 Form

A

Form

1. Centrality 2. Form and Room Proportion

Grid

3. Ration Analysis in Plan

3 1 2

3

Section AA

2

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Scale

Grid

2 3 1 2

Centrality 1Architect Andrea Palladio

ct Andrea Palladio n Vancimuglio, Italy 50s - 1580s Giovanni Chiericati

1.5 Location Vancimuglio, Italy 2 Date 1550s - 1580s Client Giovanni Chiericati 2 Scale Palladio’s work on the villla stopped 2 after the death of the client. The villa was purchased and The natural center of the villa, thecompleted middle of the main room in plan, is asymetrical yet balanced. Orientation death. FormafterofPalladio’s The Form asymetry the crossown section due to the long, pronouced staircase balances with the pushed back “central” location of the house. 0 5 10 25 Front Elevation Arch. Giuseppe Conte

Front to Back Analysis Arch. Giuseppe Conte

N

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

0

5 10

25

Villa Chiericati 40ft

Arch. Giuseppe Conte

Villa Chiericati

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Analysis

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

40ft Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Analysis

Back Elevation

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Villa Chiericati

N

Plan and Section

4

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

3 Orientation 2 1 3

etnoC eppesuiG .hcrA

2

s work on the villla stopped death of the client. The villa chased and completed ladio’s own death.

2 1 3

2

4. Front to Back Analysis

A

3

1.5

etnoC eppesuiG .hcrA

Arch. Giuseppe Conte

etnoC eppesuiG .hcrA

Arch. Giuseppe Conte

Arch. Giuseppe Conte Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte

etnoC eppesuiG .hcrA

etnoC eppesuiG .hcrA

2

1.5

1

1.5

2

Villa Chieric Elevation Ratios

Grid Grid

1.5 1.5 22 22 22 Orientation Orientation

25 25

40ft 40ft

33 11 22 33 22 11 33

VILLA CHIERICATI BY ANDREA PALLADIO Vancimuglio, Italy | 1550s - 1580s

This Italian villa is designed using the symmetrical values for which Palladio is famous. The form of the building in plan is made up of a series of rectangles and squares with even proportional relationships. The natural center of the villa is placed in the middle of the main room. The asymmetry of the cross section Ndue to the long, pronounced staircase balances with the pushed back Villa Chiericati Chiericati Villa N Analysis Analysis “central” location of the house. The back of the villa is a distorted mirror of the most important elements of the front facade. Though the proportional relationship from front to back remains constant, the back-of-house is a flatted version of the front facade’s grandeur.

Eleva


Site Map

Floorplans

Level 1 A

Basement Level

50 ft 0

2

6

14

30


Gatehouse | 21

A A B A

close to

A

B

A

B

A

B

A

actual

A

B

C

D

C

B

A

Circulation


A

A

Built Area at 1:1 ratio

A

A

A

A


Gatehouse | 23

Front Elevation

Back Elevation

Section AA


Observatory | 25

03

WINTERSET CIDERY OBSERVATORY Framing Views of Central Iowa Individual Project Instructor: Reinaldo Correa August - December 2016 The Winterset Cidery Observatory is a six-story open air building designed with a steel core structure and wood cladding and detailing. The observatory was designed as an architectural beacon for the rural site. The structure is a place of exploration and relaxation for Cidery customers. On each level it offers views of the surrounding natural and planted Iowa landscape below. The height and orientation of each level of the Winterset Cidery Observatory is carefully calculated based on a specific framed view target. Sights include lakes, corn fields, the rolling hills of the Iowa landscape, and specifically some of the infamous Bridges of Madison County. The observatory project was the final design out of four projects in my first architectural studio. While designing this project, I learned about the significance and impact building material has on architectural construction. The use of wood as a more natural element helps soften the impact of a six-story structure straight off a country highway. At the same time, the wood exterior has a deeper meaning to the sight, rising high amongst rows of thriving apple trees.


The photographs on this page are images of precedent inspiration for my observatory design, seen in the render below. The Ghost Projects by McKay-Lyons Sweetapple Architects are a series of research projects in Nova Scotia, Canada. What impressed and inspired me about this particular iteration, Ghost 6, was the impactful way the wooden structure manipulates sunlight as it enters the interior. The exterior walls of my observatory design are also made up of a series of slightly separated wooden boards. This design decision allows for passage of light on the side walls of the structure while distorting the sight. Instead the views towards the end-caps of each level are left open, highlighting the importance of the view in a specifically chosen direction. The structure, then, has vertical and horizontal levels of hierarchy in landscape observation.


Observatory | 27


Observatory | 29


Post Parking | 31

04

POST PARKING An Urban Parking Lot Retrofit In collaboration with: Wade Vollink Instructor: Ulrike Passe August 2017 - January 2018 Post Parking is a community project in downtown Cedar Rapids that uses low energy emissions by transforming an existing six-story parking garage into a series of sustainable and adaptable units to be used for apartments, micro-retail, and indoor amenity space. The project retains the existing structure while introducing a new high-performance skin to the exterior that is adaptable and operable between seasons. As climate change forces Americans to think about their way of living, Post Parking challenges consumerism by replacing unnecessary lot parking downtown with shared living spaces. Shared amenities provide tenants with services in a way the reduces consumption of resources. The project was submitted to Innovation 2030, an AIA Committee on the Environment 2017-2018 student design competition. The goal of the project was to design for energy, emissions, adaptation, and resilience when introducing higher density housing to downtown Cedar Rapids.


ILR RA D OA BUS ROUTE PATHS

GREEN SQUARE PARK

Y HW

3RD AVENUE PARKING RAMP

380

GROUND TRANSPORT CENTER

PLAZA PARK

IRD

TH

E AV

C RI EDA VE R R TR AI L

RIVERFRONT PARK 2008 FLOOD PLAIN CEDAR RIVER

The most sustainable building is the one that is already built. Through adaptive reuse of existing structural concrete and recycled reuse of crushed concrete removed from the site, Post-Parking decreases construction carbon emissions by 62% and dramatically cuts the cost of making the building. An introduction of denser living options reduces absenteeism in the downtown area by adding life during offpeak business hours. Tenants and community members are encouraged through the Makers’ Space and close living quarters to share resources. Additionally, the bike culture of the space promotes a healthier lifestyle for users.


Post Parking | 33


Available Area

Extend to Create Uncompressed Zone

Recessed Entrance

Operable Windows on Both Sides

Mirror Unit

Interlock Units


Post Parking | 35

24%

40%

72%

37 EUI

The competition submission required all content to be presented on four 20�x 20� boards. The limited space forced us to be smart with our graphics and use quickly perceived visual elements to present important information. For our design, we analyzed not only the energy consumption of the building, but also the site’s connection to alternate transportation. Less than 0.2 miles from the Ground Transportation Center, the site was chosen due to proximity to public transit facilities as well as existing bike paths. The new project design offers bike parking, bike rental, and car rental facilities to encourage alternate transportation choices. On-site 25 electric cars are provided for tenants and community members as a new ride-share program.


Design Section 0

100

500 ft


Post Parking | 37

Solar Array 341,000 kWh/yr generated to offput EUI = 37 kBTUs/ft2 Solar Strategy: Operable Shading Lightshelves through light further into units, increasing daylighting Roof Rainwater Collection 80,000 gallon tank = 3 month storage capacity Ventilation Strategies Competely operable shades & windows and air vents. Floor-to-floor stack ventilation. Piping designed to pull air from paths to atrium. Exterior atrium venting through operable sawtooth windows. Ecology 10,900 ft2 of green roof and bioswale design


DSN S 102 | 39

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DESIGN STUDIES 102 Core Program Design Studio August 2017 - present Currently, I am working as an instructor for an core design studio for entry-level design students of all majors. The Core Design Program is the foundation for all undergraduate degree programs in the College of Design: Architecture, Community and Regional Planning, Graphic Design, Integrated Studio Arts, Interior Design, Industrial Design and Landscape Architecture. Students are exposed to the practice of interdisciplinary work and to the fundamental languages and practices that support all design disciplines. The College of Design requires that beginning students acquire a range of abilities regardless of the program they intend to engage. Therefore, DSN S 102 is an intensive four-part projectbased course giving students the opportunity to explore color theory, line weight drawings, musical analysis, orthographic drawing presentation, and 3D installation construction. The following pages contain work from the students I have taught over the course of the current school year.

PUSH BY JORDYN KLOSS


COLOR COMPOSITION EXERCISES IN COLOR THEORY

PROCESS WORK BY MARA LOFTSGARD

In the Color Composition project, students study the interaction of color through a series of exercises inspired by the work of Joseph Albers. They begin with paper collage and transition into new media and scales. The students are then challenged to compose a tryptic artwork at a 6’ x 3’ scale. By requiring the students to constantly switch media and scale, the project allows students to focus on the texture, illusion, and abstraction of color itself. Design Studies 102 is taught by a series of instructor that create the same syllabus and deliverables. It is up to each individual instructor to create the exercises and lessons that make up the 3-5 week projects. For Color Composition, I assigned each student a verb of motion to drive their final composition. The students were challenged to use color as their tool to abstractly explore the movement of their verb.

PAPER COLLAGE PROCESS BY BRADY COOK


DSN S 102 | 41

FROLIC BY ANNA MARIE HEATON


30-20-10 EXERCISES IN FIGURE-GROUND DEVELOPMENT

ITERATION BY MAE MURPHY

The 30-20-10 project teaches the students the importance of iteration. In this project students explore the concept of figure/ground by depicting pattern through photography, drawing, sketching, and 3D composition. Students are taken through a series of six exercises, each developed through inspiration of previous work. The use of color is not yet allowed in this project. Rather, students use blackand-white single-weight pen line drawings to convey their ideas. In order to properly produce drawings of figure/ground difference, attention to shadow and hatching detail is a must. Final sketches later translated into diagrams of design principles, and a cardboard sculpture exploration of figure/ground translation to solid/void.

COLLAGE WORK BY LUKE MCDONELL


DSN S 102 | 43

PIPEWORK BY DAVIS HUNT


MOBILE MUSICAL ANALYSIS TO 3D CONSTRUCTION

The Mobile projects asks students to analyze a piece of music and from their interpretation on how the musical qualities relate to the design principles, work in groups of 3-4 to create an interactive kinetic form. Throughout the project’s duration, students document and film the processes of iteration, construction, and interaction of the piece to create a film of their construction. I assigned a list of music to choose from of various genres, all without lyrics so that students were forced to interpret the nonverbal sounds. Students worked with pieces such as Elegy for the Arctic by Ludovico Einaudi, Green Onions by Booker T. & The M.G.’s, and Libella Swing by Parov Stelar. The project gave students the opportunity to utilize wood shop tools and other skills of 3D construction.

FILM BY NICK BRECHT, MEGHAN WHITLOCK, TRAE MEYER

FILM BY JORDYN KLOSS, ZACHARY SELF, CAILEE MILLS


DSN S 102 | 45

DESIGN PROCESS BY MARA LOFTGARD, JADEN SCHURMAN, PARKER BISHOP


JENNIFER HAKALA jhakala@iastate.edu

Jennifer Hakala Spring 2018 Portfolio  
Jennifer Hakala Spring 2018 Portfolio  
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