KRISTIN MUELLER: PORTFOLIO
TERM 1_FALL 2006 CRITIC: MARK GAGE
This project called for the design of a volume of 50,000 cubic feet, focusing on the impact of precise decisions about skin, aperture and volume and the dialogue between them. Inspiration for the skin came from that of an armadillo and the qualities of tapering and overlapping densities. In an armadillo, the skin is thicker in both directions on one side and gets proportionately thinner as it overlaps the next ring of armor, keeping an overall consistent thickness. In the project, a consistent volume is maintained within, but the reading of that volume changes as the skin allows more light penetration through both a decrease in thickness and increase in aperture sizes as the volume ascends.
Displaying the consistent interior volume, effects of light passing through, and changing densities. Diagram of changing plate sizes and aperture sizes within and a shadow of the structure showing light qualities.
TERM 1_FALL 2006 CRITIC: MARK GAGE
This project investigates the idea of field as a matrix within which several spatial orders, complementary or resistant, are held in suspension. It called for a transportation Landschaft near the New Haven train station. The project uses the existing qualities of different uses on varying sectional levels as a departure point. These uses were are added to and amplified and yet simultaneously blurred. Existing platform surfaces peel up to become a new network of paths that interweave with existing systems. Smaller â€œinter-path pathsâ€? allow for crossing between and form another system. Larger paths delaminate at certain points, creating pods for indoor program.
Use and Directionality
Diagram showing existing layers of electrical infrastructure, passenger platforms, train tracks, and tunnel. View of elevated undulating paths and pods. Site determination diagram using icons for business people, tourists, station employees, cars, taxis, trains, and pedestrians. Lineweight indicates sectional elevation off ground plane.
View of proposed park over parking garage, overall site with shadows displaying the undulating nature of the paths, close-up of cafe pod, view from bridge
Rental Counter Bicycle Storage Cafe
TERM 1_FALL 2006 CRITIC: MARK GAGE
This project investigated a continuum between form and informe. It looked at formal/geometrical scaffolding and excessive operations on that scaffold. The project begins with six very common shoe profiles nested to maximum efficiency within a 7’x40’ rectangle through the use of a computer program. The negative space between the shoes then becomes the positive space of the wall and armature to hold the shoes. As shoes are removed the transparency of the wall changes and positive nature of the “negative” space between is revealed. The shape of the shoe dictates the shape of the wall but the wall also takes on a new layer of shape as it responds to other conditions of efficiency, minimalism, and display. This new shape can effectively shed traces of the generating shoe form.
Maximum number of shoe profiles nested within a 7’x40’ area. Lines drawn between every two shoes to ensure a stem from the armature will uphold each shoe. Negative space becomes the positive infill of the armature and excess is removed based on the center-lines of the “columns,” leaving a meandering pattern based on the forms of the shoes, yet also independent of them.
One shoe â€œcolumnâ€? with nested shoes Wall at maximum capacity showing ability to display the side view of as many shoes as possible and the opaque nature and seeming disappearance of armature when full. Dynamic nature of wall as shoes are removed. Wall with very few shoes, armature emmerges as something in itself. Sections through wall displaying changing positions of armature.
TERM 1_FALL 2006 CRITIC: MARK GAGE
This project called for the design of an urban club for the training, socializing, accommodation and adoption of animals. Each student was dealt a different set of constraints, opportunities, and precedents. Using the precedents of Le Fresnoy and the De Young museum as a departure point and taking into account the urban nature of the site and desire for light, the project integrated separate programmatic entities under a common roof with possibilities for light to penetrate - both through punctures and skin apertures. All program is elevated off of the ground plane to liberate it for use as an outdoor dog run. Program volumes shift within their structure for other considerations such as surveillance to the dog run below. The punctures taper or expand as they pass through the floor plates to allow light to pass to the ground.
Series of process models exploring an elevated volume and liberated ground plane with different possiblities for light to penetrate. Initial diagram showing a ground lifted up with volumes caught up in a structure. Final model: elevated enclosed pods of program with light shafts and dog run at base.
Light, surveillance, and shifting volume focus. Plans displaying division by program: sleep on top for quiet and detachment, work on lower level for greater public access and ability for surveillance, and play on ground plane for a more natural space and juxtaposition with urban context.
Fluid movement and organization
Orthogonal movement and organization
Light/Plants of ‘ground’
Vertical area most important
Horizontal area most important
Books function as visual screen and light filter
Plants function as visual screen and light filter.
Opaque and modular ordinary tasks to side
TERM 2_SPRING 2007 CRITIC: ALAN ORGANSCHI
Chosen characters for the project were an older male bibliophile that requires low-contrast lighting and a middle-aged female yoga instructor focused on a healthy lifestyle. Because of their lifestyles, it was clear that the yogi could and would engage a more strenuous mode of vertical circulation than the bibliophile, but also require a horizontal plane to do her yoga. The bibliophile would need an easy form of vertical circulation, but more of a focus on vertical usable space to store his books. To filter light and create a dynamic shared space, spines that function as aramature for plant growth and books as well as a climbing surface for the vertical circulation of the yogi rise out of the ground and open up onto the roof.
This project called for the design of a 16’x16’x16’ elevated cube of space in which two characters would be required to cohabit.
Degrees of interaction between the two
Diagram showing how lifestyle needs were translated formally to accomodate both characters by amplifying their interests and considering their physical conditions, as well as how program placement allows for interactions, both visually and physically. Front view, axon view, and study model. Model displaying the implied continuation when placed with other structures, the program, and the effects of the plant walls that contain herbs and vegetables for the yogi, and filter light for the bibliophile
SITE CONDITIONS side yard setback
front yard setback
side yard setback
Typical New Haven house with back garage.
SITE STRATEGY Family Territories
Garage inserted into house, creating shared core.
Yard & Sun Optimization
House and stairs stretch to accomodate inserted garage, forming a central landing.
TERM 2_SPRING 2007 CRITIC: ALAN ORGANSCHI
In collaboration with Rebecca Beyer, Phillip Drew, Travis Eby, Isaiah King, Eric Krancevic, Janwon Lee, Tal Schori, Julie VonZumbusch, and Emily Wells
This group project (also entitled â€œTransmogrificationâ€?) called for a reconfiguation of a typical house in New Haven using a coupling mechanism from a precedent, in this case the Ginzburg Narkomfin apartment building. This project reexamines programmatic relationships in order to give more equal living spaces for two units within one envelope. To accomplish it the house is split, back portion pulled over to create individual yard zones and equal street frontage. Cladding is ripped apart to correlate with interior rearrangement. Car entrys question the notion of the traditional front-door entry and its availability to only one family.
House splits and shifts, isolating backyard and increasing southern exposure. Garage rotates as geometries change.
Original house pieces contract to swallow up garage and further enclose spaces.
rear yard setback
First Floor Plan
Second Floor Plan
TERM 2_SPRING 2007 CRITIC: ALAN ORGANSCHI
This project called for the design of a housing unit with a dwelling unit for a single inhabitant combined with one for a household of three, positing an architectural mechanism for joining and separating the two. The project was then implemented across a site five times as part of a multi-unit project. The project first took a simple courtyard house form, then interfered with it through a series of operations with another secondary volume. The resultant was a switching of ownership of different outdoor spaces based on subtle formal relationships and bounding conditions. When proliferated on the site the forms and sectional shifts allowed for multiple configurations and interlocks, creating relationships between spaces that doesnâ€™t exist in another configuration. Outdoor space and indoor space for private use always exists above or below grade while paths are created for public circulation through and around the units at grade.
Diagram of sequence of initial formal volumetric changes, showing the primary courtyard unit being interfered by the secondary unit by pushing upwards, skewing, and breaking as the first volume comes beneath it and overcomes the courtyard space. A new outdoor space for the primary unit is created on the roof of the secondary unit. Views of an aggregation of the units on the site in different configurations. Section cut displaying the three different levels. Site plan highlighting paths through and public outdoor space for complex. Initial prototype model.
Plans and sections Wall quality showing a gradient towards the courtyards as an indication of their alternate presence. Details of wall Exploded diagram of programmatic qualities and their formal and sectional relationships.
TERM 2_SPRING 2007 CRITIC: ALAN ORGANSCHI
This project was an individual try at the Building Project program and siting. There was to be consideration for accessibility and the coupling of a family unit and a renter unit. The project explored unconvential uses for convential moments and materials in a typical New Haven home. It utilized formal relationships that arose to create create suitable spaces for new required program. For accessibility purposes the house is â€œsunkenâ€? a half level into the ground and car ramps placed on either side to provide easy access for both renter and owner. Separate outdoor space is alotted for both sets of occupants.
PITCHED ROOF Morphed and angled to create sun scoop.
FRONT PORCH Accomodated on second level, only slightly offset from vertical position of previous stoop.
BAY WINDOW Doubles as a covering for car below.
+1/2 floor family unit
CLAPBOARD Extends to act as a screen and become porch enclosure, giving illusion of fullyextended house.
TWO STORY Previous bi-level facade with pitched roof and porch facade maintained from front, less exposed surface area.
-1/2 floor renter unit
TERM 2_SPRING 2007 CRITIC: PETER DE BRETTVILLE, AMY LELYVELD, ALAN ORGANSCHI, JOEB MOORE, HILARY SAMPLE
TEAM B. In collaboration with Leslie Goedken, Isaiah King, Eric Krancevic, Nina Liu, Mieko Okamoto, Karen Rizvi, Matthew Roman, Zakery Snider, and Meghan Spigle
This project called for the design of a house in New Haven for a family of three (portion required to be accessible) and a separate renter. The project turns programmatic restrictions into design opportunities. The efficiency of the plan grows from the need for a clear distinction between owner and tenant spaces, both public and private. The house draws the occupants in from the street onto a shared deck. The ownerâ€™s spaces are arranged around a central spine, giving visual and physical access to both front and back while making the outdoor spaces a significant part of the experience inside. The tenant apartment is designed in section, creating a drammatic connection between the living and kitchen space on the ground floor and the bedroom and study on the second level.
First Floor Plan
Second Floor Plan
View through central spine View from Kossuth Street Renterâ€™s living space View of large model from above Front view of model Small model in site Large model without roof
TERM 3_FALL 2007 CRITIC: MARTIN FINIO
In collaboration with Marianna Mello, Lauren Mishkind, and Shane Neufeld
This project was an analysis of the British Art Center in New Haven by Louis Kahn. The project focused on the ability of the building to provide so many different types of experiences despite (or because of the contrast with) its modularity. The moments when Kahn breaks out of the grid, either in section or in plan, and through means of eliminating physical boundaries or simply changing material, allow for vast changes in the compression and expansion of spaces. The views across and through spaces change drastically from level to level, despite the seemingly similar floor plans. The project highlighted the subtle ways in which spatial recognitions can be made apparent.
Sectional model showing carved out interior space. Includes panels with views that change drastically with only a few steps, displaying the compression and expansion qualities. Detail model exemplifying the trait of glimpses to other program areas while still maintaining the grid. This entrance column detail allows a slight view to the entry area through the rare integration of a curved surface. Diagrams breaking down spaces and the operation of them to bring out relationships. Sectional diagrams showing carved space. Sight line diagrams showing the changing views and greater recognition of the space as one ascends to the higher levels.
SPATIAL + CONFIGURATION
PERFORMANCE + OPERATION Semi-Private + Administration
Circulation + Service Interior Voids
Profile of sectional interior space with windows blackened
Volumes + Structure
Public Gallery Space
Envelope + Daylighting
Freedom of Space
TERM 3_FALL 2007 CRITIC: MARTIN FINIO
This project called for the design of a Kunsthalle for the city of New Haven dedicated exclusively to contemporary art. The program also included educational facilities and other multipurpose facilities. The aim of this project was to be both an extension of a path and a destination. The imposed path is first a connection with Chapel Street that extends and then takes with it the idea of viewing different programs along the way with the opportunity to engage in them being sometimes direct, and sometimes only visual. It is then concentrated into a continuous circuit on the site that enters on second level, circulates down to the first, then one below grade, where it exits onto York. The ground raises to meet and become the building and then the building raises back up over the ground in its circuit, then down below it, yet always as a continuation of it as well.
Site Analyses. Investigates the program and character of surrounding spaces in order to help determine the orientation of the building and adjacencies of program in the approach to the site. The study revealed that Chapel Street functions as a sort of arts corridor at this point, and that re-orientation of the site entrance towards Chapel could be optimal and read as an extension of the fabric of the existing character along the street. Diagram showing the continuation of the path between the Yale Repertory Theater and the Britsh Art Center to become the building, an interest born in the frequent occurances along Chapel street where changes in program occur along a path and recognition of this is accomplished through a sectional shift or various bounding conditions (ex: sunken courtyard at BAC or void space at the opposite corner). Diagram also shows the different qualities of the three levels of galleries. Series of process models displaying progression and changing qualities of interior outdoor space to optimize publicâ€™s engagement. Diagram of courtyard conditions and through-block paths around campus, exemplifying the quality of a courtyard to function as both a destination and a path. Red indicates public, blue indicates private or temporal. Final model showing path and angled ground plane.
2nd Floor Plan
Program diagram Plans, showing compression and expansion of gallery space, divisions of public and private spaces, and sectional relationships to other levels. Sections displaying use of spaces and interrelationships through visual recognition. View looking west
1st Floor Plan
-1 Floor Plan
Exploded plan diagrams showing gallery and viewing spaces in blue, displaying the changing nature of each floor plan. Red arrows indicate visual access outside physical constraints, with other portions of the program being on display and gray arrows indicate gallery space where physical boundaries dictate the end of sight lines. At times the subject is given glimpses of the path to come later on in the circuit, another re-orientation in relation to other spaces. Changes in program are denoted by sectional shifts, harsher angles along the path, and differing bounding conditions, while still leaving the program conversion somewhat ambiguous as the continuation of the path remains intact. Gallery spaces maintain the path, yet allow for variation and differentiation through changes in the ground plane, shape and directionality, and compression and expansion in section and in plan. - 1 Plan, Chapel Elevation View of York Street
Chapel Street Elevation
View in lobby looking both out over angled outdoor theater/sculpture area and down into the gallery level below. Daylighting section study examining possibilities for maximizing summer and winter light and achieving optimal angles, as well as getting light down to the space below. Daylighting model photograph displaying effectiveness of light scoop at ceiling. York street elevation showing the angled ground plane rising up to the second floor and the angled second floor portion that rises up over the ground. View of angled ground plane through multipurpose space and across path that spans the three levels. Image screen that changes opacity with changing program behind can be seen on other side of the path, and through that the education center.
York Street Elevation
View down path spanning three-level atrium. View from York Street looking up at angled ground plane, across into gallery space on first floor, and down into gallery space on level below grade. View from lobby area down to first floor gallery and up to outdoor theater/park as well as across atrium area. View from first floor gallery looking across open below grade gallery and out into sunken sculpture area on York Street. Effects of the sloping plane overhead are seen in the ceiling plane. View towards loading dock and across first floor gallery into atrium path space. Aerial veiw of proposal in site.
Existing Urban Forces
TERM 4_SPRING 2008 CRITIC: ANDREA KAHN
In collaboration with Marianna Mello
The Gowanus Canal , once a important industrial link in Brooklyn, has evolved into a barrier. The steady decline in its industrial use has opened up possibilities for rethinking its use. The project suggests a gradual phasing of a master plan in which the goal is to physically transform the canal into a usable and activated park space. Pedestrian links are created between neighborhoods and new institutional, commercial, and New Industry (based on science and technology) developments are introduced. The relationships between the different typologies are explored in the ways they relate to each other and to the gradually remediating canal, and much of the program, such as the institution to study and aid in the canalâ€™s remediation, responds to the physical needs of the site. Existing Physical Site Conditions (flood zone and brownfields)
Programmatic Relationship Rules Spatial Requirements Chart Typologies
Programmatic Relationships Chart, exploring the physical ways in which elements best relate to eachother and the possibilities for deployment on the site.
Industry Residential Commercial Existing Scattered Zoning
Diagrammatic Proposed Concentrated Zoning
Residential connection to west side of canal through bridge of New Industry
Zoning Strategy: The existing character of streets and neighborhoods is investigated and new zoning responds to the residential character on the west site of the canal by continuing this, gradually phasing old industry on the east bank to New Industry, introducing an institutional element, and keeping the strong commercial character of further east.
Section through drainage basin and phytoremediation Low-land planting: Cattails Prevent erosion
Intermediate planting: Bulrush Tolerates inundation
Dryland planting: Snowberry Stabilizes slopes
Topographic Strategy: much of the rainwater is absorbed through green, permeable ground near the edge of canal planted with species that aid in remdediation and prevent erosion. The rest drains into constructed basins that help prevent flooding.
Site Plan: Metrics, displaying the comparative structural grid and division scale for different typlologies.
View from Union Street looking South to Carroll Street
Site Plan: Typology and Context, displaying the figure-ground relationships of the proposed to the existing.
Physical model of site
Site Plan: Program, displaying relationships of existing land-use to proposed.
Industrial phasing over time
Park space phasing over time
Commercial phasing over time
View of park space looking North towards residential towers
Precedents: Mughal garden and Jali screen
Ecological principles of screen maintained when flipped to be used in plan
ADAPTIVE PATTERNS In collaboration with Yijun Qian
TERM 5_FALL 2008 CRITICS: DIANA BALMORI & JOEL SANDERS
The project utilizes the equal distribution of solid and void existent in the pattern of the jali screen, deploys it at a new scale that allows landscape and building to have a permeable relationship, and allows the program, site, and ecological issues to influence and manipulate this relentless pattern into a responsive interface of landscape and architecture, inside and outside, public and private. The differentiation occurs through a figure-ground reversal, strategic voids for sun and wind, a geometric and spatial pattern analysis, and a program analysis (focusing on a comparative study of office and retail space). It draws on the precedent of the traditional Mughal gardens of India and attempts to render a new, inhabitable and highly responsive architectural solution of gradient conditions.
Optimal orientation for deployment on the site determined by exposure to sun and wind
Transition to figure-ground reversal on site and assigment of program spaces accordingly.
First-floor schematic figure-ground diagram.
Emmerging geometries within pattern of screen and possibilites for coupling and overlap.
Overlap of two nodes.
A coupling of the octagons is employed to create manageable spaces and relationships between portions of the site. Program is arranged based on typological needs: Retail is near entrance, primarily one-story and accessible with a shared green space. Office space is more private and higher-rise. The ground floor plan is cut away to allow for access at key points to interior courtyards and central spine of ciculation. Pairing across the site and maintained central circulation route.
Public circulation spaces across site.
Ground Floor Plan
Aerial Site Plan
Market report on recent developments in two typologies along with square footages.
Two different forms of coupling: sloped gradient for retail, stacked interlock for office.
Analysis of typology needs: circulation and easy access for retail, degrees of privacy and square footage requirements for office.
Circulation and access points for both typologies.
Physical models of each coupling instance.
View looking Northwest from garden space to retail space
GARDEN/ RETAIL COUPLING
View across retail and central space to office spaces
View from North of site, looking South across office and then retail space.
Process models of possibilities for differentiation.
Gradient of paved to plantings.
Conceptual Physical Site Model
Layers of striation and different habitats present on the island due to tidal cycle.
Varying transparencies present in the dense tree cover of the island.
Large cracks and crevaces in boulders on the island.
TERM 6_SPRING 2009 CRITIC: JOHN PATKAU with TIM NEWTON
This project called for a field station on Horse Island, a protected island owned by Yale University for research purposes and part of the Thimble Island chain a few miles off the Connecticut shoreline. With the project I chose to focus on the idea of habitat on the island. The design provides a constructed habitat for conditions that already exist on the island (tidepools, bird nesting areas, etc.), but is concentrated in a specific area for new research. Physical access to the rest of the island is limited to only the program pieces that require it. A system of walls and strategic patterning acts as a vehicle for the habitat and responds to the requirements for inhabitation, but also to structure. The walls serve as a framework for enclosed program volumes and the apertures within them are spaced in such a way so as to support the primary structure of the volumes. A modular prefabricated concrete system is employed for the production of the walls.
Tidal pool on island and sea creatures within.
Sectional study of striations through island and concept of layers of habitat.
Process model exploring structural and habitat possibilites of patterning
Explorative site analysis model showing the eb and flow of the tides and depositories created by tide pools.
Explorative site analysis model showing negative spaces, through the changing tree canopy densities and cracks in boulders around the perimeter of the site.
Process model focusing on enclosure and support possibilites of wallls
Diagramatic process model delineating the different elements through color
Particular habitat exsitant only at perimeter and required disturbance area to access it from existing building. Proposed: concetration of habitat and building into layers within a particular area that allows for less disturbance across entire site.
Successive drawings show sequence of build-up: Site is selected based on location as the lowest-lying point on the island, and thus conducive to tide pools. A series of guide lines, drawn tangentally to the topography are imposed and the footprint for the walls are derived from these lines. Sectional shifts are created between these lines, including the constructed tidepool area and a raised outdoor space. Enclosed program placement is based on the idea that visitors coming for a meeting experience the length of the site along a procession to the main meeting space without having physical access to areas of the site that may be disturbed by them. â€œEducationalâ€? occupants have a network of connective spaces above the flood line and access to the rest of the site for research purposes.
MEETING HALL Midterm model
Diagrams of habitat possibilites and building function possibilities (respectively) of wall perforations.
View showing perforated wall and varying shapes and uses within it, as well as transparent quality that is an abstraction fo the tree canopy.
Production and assembly diagram of pre-cast concrete panels. Reinforcing bars are placed within a frame and 5 pans are arranged differently within this frame for variation. This modular system allows for variation in the surface of the wall with the efficiency of having only a few mold pans. The concrete is poured into the frame and rebar on the outside of the frame is used to slot into an adjoining panel and connect. Vertical spines of structure help carry the loads on the walls.
View of site looking Northeast
Longitudinal site section through meeting hall and constructed tidepool area.
View of collection space and paths supported by extended beams. Lab space and supporting truss structure. Meeting hall overlooking cove and exit to outdoor meeting space through increased perforations.
Sections through two conditions showing support language.
View along tide pool area to meeting space.
View to back of classrooms.
View to cove from meeting space.
FORMAL ANALYSIS WITH PETER EISENMAN
This course studies the object of architecture—canonical buildings in the history of architecture—not through the lens of reaction and nostalgia but through a filter of contemporary thought. The emphasis is on learning how to see and to think architecture by a method that can be loosely called “formal analysis.” Analyses shown here: Serlio Palazzo invention: Existing broken axis, continuos axis restored. Rainaldi Piazza del Popolo churches: dominant cross axes versus perimetral elliptical regulating lines. Borromini geometry in Sant’ Ivo and San Carlo: points of origin for arcs central versus displaced, regular versus irregular, circle versus ellipse. Brunelleschi’s San Lorenzo and Santo Spirito: unrolling of wall poche.
JOHN BLOOD KENT BLOOMER
This course investigates drawing as a means of architectural communication and as an instrument of individual inquiry. Principles of two- and threedimensional geometry are extensively studied and analyzed. Shown: Weaving of concentric pill shapes and proliferation of it with regulating lines. Investigation of lineweight on perception of foreground and background in platonic forms with three-point perspective. Construction drawing of â€œwidgetâ€? displaying embedded shapes. Tiling project overlay of diamond and circle patterns with resulting relationships highlighted through lineweight and selective exclusion. Handed study, pairing individual objects with a certain rule, and then columns of individuals to result in varying negative spaces.
CRAFT, MATERIALS, KEVIN ROTHEROE COMPUTER-AIDED ARTISTRY Two projects were completed in this course: one an architectural screen utilizing the process of aluminum extrusion in an unconventional way and another a series of plaster panels with two colliding optical effects. The screen overcame the monotony often present in alumnimun extruded pieces through utilizing asymmetry and the possibility for different depths and different forms of interlock to create a variation with only a single extrusion die. The plaster panels created a second and third continual pattern in their tiling, dissolving the mundane rectangular shape of the panel and creating extremely varied views of the piece on a whole from different directions.
On student team with Nicholas Hanna and Miriam Peterson. Consultant team consisted of Steven Baumgartner, John Jacobson, and Barry Svigals
The goal of the course was to develop a fully integrated set of structural, mechanical, and envelope systems for a design. I worked primarily on the mechanical systems for the building, a museum. Airflow is channeled through the middle plate of two-story â€œhanging boxesâ€? within the larger volume of the building, feeding from the ceiling to the lower floor and through the floor to the upper floor. Ducts run along perimetral paths and thread through the structural system (a series of large vertical trusses) at key points. Excepts of the mechanical plans and riser diagram are shown.
Piazza del Popolo
ALEC PURVES STEVEN HARBY
This four-week summer workshop took place in Rome and was designed to provide a broad overview of the cityâ€™s major architectural sites, topography, and systems of urban organization, with drawing as the primary tool of discovery. Projects were undertaken that explored the media of watercolor, pen, and pencil. A final project investigated the church of Santâ€™Ivo and the perceptual creation of its own internal axis. Through drawing, the way in which the interior courtyard detaches itself from external relationships and creates a new axis is investigated.
Alley in Rome
Gardens at Villa Farnese
Gardens at Villa Farnese
Gardens of Ninfa
Knights of Malta
Treatment 1 (bridge)
Treatment 2 (underpass)
JOINT FORESTRY NAOMI DARLING
Group projects, designed within a team, all shown documents entirely produced by myself. Design team: Stephanie Carlisle, Tom Gibbons, Kyle Williams, and Seth Zeren.
This seminar looks broadly at sustainable architectural design, reviewing environmental issues, key documents, and larger-scale strategies and, then narrowly, at the current and emerging detailed methods used to support design development of sustainable buildings, communities, and cities. In the course we were asked to design a masterplan for a sustainable city and then develop a specific portion as a designed ecological experiment. The masterplan worked with an idea of small-scale, walkable city nodes connected by mass transit and surrounded by small-scale agriculture and protected wetlands. The ecological experiment expounded on the idea of mass transit connections and investigated different options for wildlife corridors and their impacts on human and animal and plant life over time. Control (traditional road)
PETER DE BRETTEVILLE
The project was based upon an idea about efficiency - both with regard to material use and with regard to time from first to last moment of production. The CNC mill was the vehicle for quick production and all connections and surface effects were worked into a single mill file. The seat and back of the chair come directly from the interior pieces of the arm/leg circuits. With the efficient use of material and precision of the mill, three chairs may be cut from two sheets of 4â€™x8â€™ plywood. Connections are notched so that, after one hour on the mill, a mallet and twenty minutes are all that is needed for assembly. The surface effect expounds on the precision of the mill, incrementally stepping away the plywood layers to reveal different colors and contrast.
Mill file on a 4â€™x8â€™ sheet of plywood, showing material for one and a half chairs
A chronologic academic portfolio of all my studio work (and some additional elective work) at Yale University, 2006-2009.