Meredith Garda Portfolio

MEREDITHGARDA \ SELECTED WORKS 2012-2016

MEREDITHGARDA Bachelors of Science in Architecture Knowlton School of Architecture ‘14 Masters of Architecture The Knowlton School of Architecture ‘16 2536 Adams Avenue Apt. 2 Columbus OH 43202 513-291-0525 garda.6@osu.edu

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TABLE OF CONTENTS 01 COMBINED

INFLUENCE

Studio: Senior GUI CompetionFirst honorable mention

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123MUSEUM

Studio: Museum of European History

17 HOUSE

FOR A GEOLOGIST

Competition: Single person homeSecond place

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DATA-VERSITY

Studio: University master plan

25 CAN’T

STOP WON’T STOP CITY Studio: Honors Research

33 GARDEN

CITY

Studio: Comprehensive

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JAY GARGUS MEMORIAL LIBRARY Studio: University library

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PROFESSIONAL EXPERIENCE 51

TRAVEL SKETCHES

COMBINED INFLUENCE / MUSEUM/ARTS ACADEMY Project type: Studio 7: Gui Competition Finalist/ First honorable mention Critic: Andrew Cruse When: Fall 2013 Location: Buenos Aires, Argentina Program: Museum/School of Art

EXISTING CONDITION MIDDLE OF THE BAR LIFTED TO ACTIVATE PUBLIC SPACE

WESTERN GRID INFLUENCE

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The proposal for a new museum and architecture school in Buenos Aires focuses on acknowledging the rich history of the city along with a push towards a contemporary development.

the historical grid and using the Puerto Modero influence to break up the linearity of that grid. The building is about loose organizations (museum) existing with rigid organizations (school).

The building itself looks at the existing condition of the grid around it and also the situated buildings on the site, keeping in mind that the buildings are oriented along

The overlapping of the two bars (linear and loose) create the public center which, much like the site itself, is a mediation of the development of Buenos Aires.

CUT BACK TO MAKE THE SHIP PART OF THE SCHEME

COMBINED INFLUENCE

EASTERN GRID INFLUENCE

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2

gallery 1 (hanging gallery)

gallery 1

gallery 1

studios facilities

modular workshops

gallery 1

auditorium

auditorium museum offices

studios gallery 1

souvenier shop

cafe

library gallery 2

outdoor exhibition area

seminar room

Lounge

facilites

gallery 3

studios

offices

lobby

studios

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gallery 4

gallery 3

[ABOVE] Site plan representing the density and dominance of the urban grid to the west and the less dense Puerto Modero to the east.

gallery 3

The sight is oriented north-south along the dique leading into the Rio de la Plata. The existing buildings along the dique are predominately oriented north to south as well. With such a long site, the building itself tries to engage the linearity while also resolving an issue of connection between the east and the west sides of the site.

This happens by creating a public center, drawing the building bar up and visually connecting the two sides. The part of the plan that does this is the open air exhibition space (reference ground floor plan) where it is the main connection from east to west and vice versa. There are different ground conditions as a result.

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[ABOVE] Interior rendering of gallery 1

[SECTIONS] The section shows that the two parts of the building, the school and the museum, come along side eachother in the end conditions but do not share space, they become accessible through visual connections. Gallery 1 is the most public and open place, whereas Gallery 4 is private. In the rendering, you can see where the studio bar on the far right comes alongside the gallery.

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gallery 4

studios

offices

gallery 1

gallery 4

studios audiotrium

gallery 1

offices

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[ABOVE] Rendering of open air exhibition space

[SECTIONS] The middle part of the building that gets lifted up to create the outdoor exhibition space connects the bars in a different way, verically. they are still related through views but never share space. The outdoor space is meant to be the communal space. It is meant to be a further exaggeration of the connection between the old and the new by literally leading one side in to the other through the sloping.

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gallery 3

cafe

studios

gallery 2

gallery 3

library

gallery 2

gallery 3

studios

gallery 2 cafe

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House of European History This museum aims to take a completely neutral approach as it looks to organize not only the 28 countries in the EU but the objects that each country wishes to display as a part of their permanent exhibit. The ability to 3D scan objects has allowed each object to be scanned and thus seen without the original being displayed, diminishing heirarchy of the objects and the parenting countries. Each object for a given country is placed centrally in that countries “room� and then scaled to the exact same height as the next. The scans themselves become the permanent exhibit which is a pavilion like structure that combines with Leopold park. The White nature of the objects acts as yet another nuetralizer. The effects of the scans can be seen below:

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123MUSEUM Project Type: Studio Critic: Curtis Roth Studio Book Award Winner When: Fall 2015 Location: Brussels, Belgium Program: European History Museum Collaborators: Dina Elawad Site Plan

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Plinth Plan

Pavilion Plan

Our design for the new European History Museum seeks to remain neutral in its treatment of display of objects and artifacts from each country in the EU. Because of this , the museum becomes a warehouse.

The warehouse has 28 neutral and equal zones organized in a grid.

Each country is able to select 3-8 objects of their choice to become part of a permanent display. The objects, in order to preserve the orginals and maintain them for research, are 3d scanned. Each mesh that is created from an object is then placed in the nuetral grid of their designated country. The objects are all scaled to the same height and combined, thus creating a new object. .

This new object allows patrons to view an entire curated collection in just one object This also takes a nuetral approach to towards the objects because it does not care about size. They are all scaled to the same height, making them all seemingly the same size to begin with.

The scans remain white to further emphasize the equality and nuetrality, but also to trick the eye further into seeing one object instead of a combination of multiple.

Patrons can view the objects from afar as a pavilion, or they can venture into the forest of objects where parts of a whole can be further revealed. .

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RESEARCH & SCANNING

competition The initial research for this project began by looking at precedent history museums. This project was a competition for the proposal for the musuem that began to take the idea of scanning objects to create buildings, rooms and exhibits made entirely from the objects that would otherwise be on display.

The competition looked at Tschumi’s Parc De La Villette as a precedent, displaying objects in a field. It was importatnt to emphasize that the scanned objects are not just buildings or exhibition rooms but are still meant to be displayed as a series of objects.

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scanning The research phase also focused on teh capabilites of the 3d scans.

Autodesk 3D catch was used to scan everyday objects. The meshes created from these objects were then combined to create a column. The trick was combining and choosing the objects in such a way that they could be recognizable as individual parts, but still create a larger whole.

The drawings were meant to resemble mathematical drawings of old ionic columns with scale references and the cross-hatching language of the drawing. The columns were rendered, printed and then drawn over to enhance shadows and hatching. .

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The lower levels of the museum are designed around a drop ceiling where the tiles that create the drop ceiling are a series of scans. Patrons have the ability to scan the drop ceiling objects on their phones and take home a 3d scanned object at the end of their visit.

The floor is organized at different levels , four to be exact, that create the ability to scan objects at higher and lower resolutions. The farther a patron is from an object on the ceiling, the lower resolution the object will be.

As guests work their way up the levels they get the opportunity to scan objects at higher resolutions.

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The museum is free to the public as well as the scans with the exeption of the highest resolution level. These are objects that are a part of traveling exhibitions. Patrons have the option to pay to enter this level where they are only 1 foot from the objects. This makes the scans the highest resolution possible in the museum.

Because of the nature of a drop ceiling, the tiles are constantly changing so that everytime visitors come back to the museum they will get a different experience than before.

The drop ceiling scans are individual objects and unlike the pavilion objects, they are not combined. This gives visitors the ability to see individual objects.

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HOUSE FOR A GEOLOGIST Project Type: OSU/IMI Sponsored Competition: Winner, Second Place When: Fall 2013 Location: Columbus, OH Program: Masonry Construction

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THE DESIGN The design for this house incorporates the pure brick on CMU wall with the two different units (CMU and brick) becoming seperate entities in certain parts of the home.

Together they serve one purpose of an efficient and sustainable wall, but separately they can serve a different aestetic and tectonic purpose. The CMU acts as your typical brick veneer on the front facade of the home to break up the planes of the house

and represent a larger module. It also allows for a different tone (cool vs. warm). The CMU on the top is the only part of the home requiring additional fabrication.

The hollowness of the CMU lends itself to use as plant holders to emphasize the green roof atop the front patio for the geologist’s further examination. The brick then becomes part of the interior and the boundary walls acting completely independent of the CMU.

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A

47’4‘’ 13’-2’’

22’8’’

8’8’’

2’-0’’

8’-0’’

3’-4’’

12’0’’

1’-4’’

2’-8’’

4’-8’’

1’-4’’ 2’-8’’

4’-0’’ 3’-4’’ 1’-3’’ 2’-0’’

3’4’’ (M.O.) 1’-3’’

5’-4’’

22’-8’’

2’-0’’

2’-0’’ 6’-8’’’ 31’-6’’

30’6’’

4’-0’’

4’-0’’ 8’-0’’

1’-5’’

8’-3’’

6’-8’’ 2’-0’’ 9’-4’’

12’-0’’

21’-4’’

27’-4’’

48’-8’’

GROUND FLOOR PLAN

A GROUND FLOOR PLAN

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11’-8’’

SECOND FLOORPLAN

1’4’’

4’2’’

3’0’’

14’1’’

5’5’’

2’0’’

SECTION A

WALL SECTION 20

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DATA-VERSE-ITY

LONGITUDINAL SECTION

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Project Type: Studio Critic: Ann Pendelton-Julian Studio Book Award Winner When: Spring 2015 Location: Nairobi, Kenya Program: University Collaborators: Dina Elawad

DATA NETWORKS

RING

LINE

STAR

BUS

TREE

MESH

THE PROPOSAL The future of education as we know it revolves around technology. Digital advances have created opportunites that are unprecedented in the University. Moocs have become a new standard for education, global communication and economy are now integrating themselves into universities.

It used to be that we bought a packaged education. We ordered a meal and ate what was served. Now, education gives people the opporunity to customize based on their individual interest and growth. We have the ability to cater our own meals. Universities have been operating like databases for years and now digital networks make it possible to link each database. Like networks, Universites collect, sort, and connect data as they see fit.

Data is the input factor (the students, professors and the site as the data field). The network is the connection between the data (infrastructure, or less literally: technology). There is a system that governs all of this data. By identifying that different parts of the university either govern data, connect data, or act as data, we can begin to understand how each piece should be governed, connected and sorted.

Data networks are simple in topology but can become complicated as the network grows and more data is input into the system. Because of this understanding, we have approached the univesity as a series of network topologies. These topologies differ depending on the connections required for specific data points.

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TRANSFORMING THE NETWORK

1. The bus network topology governs the university.

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THE DATABASE THE DATABASE DATA GOVERNANCE

ACADEMIC BARS TECH NODES

DATA NETWORKS

SOCIAL BARS

2. Tech nodes connect more

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3. Residential herds follow

rigid academic networks to loose

the social spaces. They are

social spaces. They act as social

pastoral, meant to wander

learning nodes.

the land.

DATA/DATA SETS 1000101000111100010101 0001010100011110000111 1000111000101000111001

RESIDENTIAL HERDS

CAMPUS CAMPUS RESIDENTIAL

SOCIAL

LEARNING

ACADEMIC

ENVIRONMENT

APPLICATION

APPLICATION

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CAN’T STOP WON’T STOP CITY Project type: Honors Research Studio Critic: Lisa Tilder When: Spring 2014 Location: Global Program: Designer’s choice Collaborators: Jay Herman, Luke Dougal, Jose Navarette

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The Honor’s Research studio called for an examination of post modern masters and the architecural proposals of the late 20th century.

Our team decided to take on Archizoom’s 1969 project “No Stop City” taking modernism to its limits. We took on this premise in conjunciton with Rem Koolhaus’s “Junkspace” to further emphasize the commercial and

highly industrialized language that modernism was starting to reveal.

With this we decided to revisit the theme of this project and take modernism, once again, to its limits.

As Andrea Bronzi describes it, “There is the idea of radicalizing the industrial component of modern architecture to the extreme.” This is what we intended to explore.

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To set the scene, we began with a series of iconic or perhaps isotypic buildings that have become the standard cookie cutter of architecture. The world as we know it has turned into a giant wasteland of “junkspace�. Endless strip malls, empty office buildings, run down suburbs all built out of the curiosity of form follows function. The only forseeable solution is to rid the entire spread of the earth with such things and move everyone to the equator to preserve what is left of the earth.

As everyone relocates a system of cities and planes emerges on the strip. The cities are

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taken longitudinally in line with their former locations.

The strips of the valleys are organized by program.

There is an airport strip, a school strip, an office strip, a housing strip and so on. These are all meant to organize each program into its respective and somewhat isolated location so that we can control the spread of each. The cities operate in much the same way. Each floor of the square mile towers takes on a different program so essentially the towers become cities within the city. As population grows the towers will start to build up and the cities will become more dense.

[ABOVE] The above model was made to demonstrate the redistribution of the cities based on population to the equator strip.

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[BELOW] A map depicting where populous cities have been relocated on the equator.

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[LEFT/RIGHT] The right image is a closer view at the program strips in the valleys. The left image depicts an aerial view of the program being laid out horizontally and vertically in the towers.

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GARDEN CITY Project type: Comprehensive Studio Critic(s): Robert Livesly & Bart Overly When: Fall 2014 Location: Downtown Columbus Program: Housing, Commercial, Office Collaborators: Mike Zumpano, Darren Spensiero

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This project called for a large amount of apartment style housing in a downtown block of the city of Columbus. In addition the project was the include retail spaces, a grocery store and commercial space.

The site sits adjacent to two major green spaces in Columbus (two of few in the city). Our approach to this project was to further the element of publicly owned and shared green space that activates the site and

combine that with privately owned garden centered apartments. The scheme developed as a perimeter scheme to begin to mimic the idea of containing a garden.

However, the perimeter gets broken in certain places to allow for public traffic and sharing of the space. The perimeter creates a barrier to the outside to give residents a recluse from the high traffic and pedestrian streets creating a city within a city.

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PERIMETER 4TH LEVEL SCALE: 1/8” = 1’-0”

PERIMTER 3RD LEVEL SCALE: 1/8” = 1’-0”

TOWER UNIT PLAN SCALE: 3/16” = 1’-0”

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TWO STORY UNIT - KITCHEN & GARDEN WALL SCALE: 1/2” = 1’-0”

COMMERCIAL ATRIUM SCALE: 3/16” = 1’-0”

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5

1

TOWER UNIT

PERIMTER 3RD LEVEL SCALE: 1/8” = 1’-0”

STORY UNIT BATHROOM 7DATE:SINGLE SCALE: 1/2” = 1’-0”

Varies

SCALE:

PERIMETER 4TH LEVEL SCALE: 1/8” = 1’-0”

Spensiero Zumpano

DRAWN BY:

111 E Town St. Columbus, OH 43215

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NOTES:

GARDEN CITY

Michael Zumpano, Merdeith Garden, Darren Spensiero

Units Interior Elevations

DRAWING TITLE:

DATE:

12/04/2014

SCALE:

Varies

DRAWN BY:

Spensiero Zumpano

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NOTES:

IT - KITCHEN & GARDEN WALL -0”

PERIMETER DUPLEX UNIT

TOWER UNIT PLAN SCALE: 3/16” = 1’-0”

PERIMETER SINGLE UNIT

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TWO STORY UNIT - KITCHEN

SCALE: 1/2” = 1’-0” Michael Zumpano, Merdeith Garden, Darren Spensiero

GARDEN CITY

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111 E Town St. Columbus, OH 43215

111 Colum

GAR

Michael Zumpano, Merdeith Garden, Darren Spensiero NOTES:

DRAWN BY:

Spensiero Garden SCALE:

1/32” = 1’ DATE:

12/04/2014

GROUND FLOOR PLAN GROUND LEVEL PLAN

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SCALE: 1/32” = 1’-0”

DRAWING TITLE:

Parking Ground Level DRAWING NO:

A1

GROUND FLOOR PLAN

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THIRD LEVEL PLAN SCALE: 1/32” = 1’-0”

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SIXTH LEVEL PLAN SCALE: 1/8” = 1’-0”

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GARDEN CITY

[RENDERING] This view shows the 4th street entry. The entry is a line of trees to the tower that acts as an outdoor market space, leading people from the retail spaces through the site into the gardens.

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FACADE

[ABOVE] Each part of the scheme is divided into levels of gardens. There is a private punch for each room, vertical gardens created by the facade treatement as well as residentail gardens on the roof of the tower, roof of the market and on every third floor of the tower. Finally, there is the large public garden on the ground level.

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[RIGHT] Section of the perimeter. Below is retail space and above is single unit apartments on the inside of the corridor and duplex apartments on the exterior. The duplex, however, has a second level that faces the interior as well and houses the garden.

[ABOVE] Cross Section

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[ABOVE] Drawing of tower gardens and vierendeel truss structure.

[ABOVE] Every three floors there is a two story vierendeel truss system that changes the veneer technique but also supports the residential garden.

[ABOVE] East Elevation

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JAY GARGUS MEMORIAL LIBRARY Project Type: Studio Critic: Jackie Gargus When: Fall 2012 Location: Case Western Reserve University Program: Medical Library

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The site of the Jay Gargus Memorial Library marks a clear transition between the institutional buildings on campus and the more natural botanical gardens and Wade Park (both of which sit west of the site). The site is largely marked by trees and is used mostly for recreation or commuting to and from class for students of the univerisity.

The goal of the design was to allow as little interference of the trees as possible. There was a clear division already made by the trees on the site suggesting the idea of a canted bar scheme.

However, with further examination, the treelines could be more meticulously outlined to create a bar that becomes indented on both sides from the influence of the trees. This bar became the space independent of the actual library. The bar was then lifted on top to house the stacks and actual library resources.

The scheme became and inverted tree in itself with the library bar being woven by the canted bar. The facade was traced from an image of a tree canopy. The idea was to create a skin that suggested being inside thick brush of a tree.

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[TOP LEFT] Lobby interior, highlights lighting affects from the perforated skin.

[BELOW] Model photos.

[BOTTOM] Longitudinal section from the east: Lobby, stacks and reading rooms.

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[ABOVE] Outdoor theatre space rendering.

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PROFESSIONAL EXPERIENCE The following are selections of professonal experience and collaboration.

All proximity studies,diagrams, and images were done in conjunction with GBBN architects.

Research and plans are property of GBBN Archtiects.

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SCHEMATIC DESIGN I worked with architects in all phases of the design process. These images are renderings that I did for the schematic design of a health innovation center. The images represented two potentialschemes.

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Activity Type: Activated Zones: Gathering Size:

QUIET Personal 1-2 people

Activity Type: Activated Zones: Gathering Size:

CASUAL

Activity Type:

Personal - Social 1-4 people

Activated Zones: Gathering Size:

INTERACTIVE Personal - Social 1-4 people

Activity Type:

COMMUNAL

Activated Zones:

Personal - Public 4-6 people

Gathering Size:

Relaxed, informal gatherings and flexible use of space. See and be seen behavior.

Activity:

Activity:

Focused on more intimate gatherings or individual use of space.

Social engagement happens near a second focused activity.

Lively socialization for larger groups.

Dispersion:

Dispersion:

Dispersion:

Activity:

Activity:

Dispersion:

PROXIMITY STUDIES As a designer at GBBN Architects, I was given the task of continuing research based on proximity studies specifically in higher education and healthcare building.s I was able to develop a script that would change the density of a given space based on its predicted average occupancy. The result was a different way to visually see density of space and analyze the effectiveness of a space as it relates to its use.

All proximity studies,diagrams, and images were done in conjunction with GBBN architects.

Research and plans are property of GBBN Archtiects.

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Activity Type: Activated Zones: Gathering Size:

QUIET Personal 1-2 people

Activity Type: Activated Zones: Gathering Size:

CASUAL Personal - Social 1-4 people

INTERACTIVE

Activity Type: Activated Zones: Gathering Size:

Personal - Social 1-4 people

Activity Type:

COMMUNAL

Activated Zones:

Personal - Public 4-6 people

Gathering Size:

Relaxed, informal gatherings and flexible use of space. See and be seen behavior.

Activity:

Activity:

Focused on more intimate gatherings or individual use of space.

Social engagement happens near a second focused activity.

Lively socialization for larger groups.

Dispersion:

Dispersion:

Dispersion:

Activity:

Activity:

Dispersion:

QUIET

PROXIMITY RINGS

CASUAL INTERACTIVE

4’ 8’ 12’

25’

COMMUNAL

QUIET

PROXIMITY RINGS

CASUAL INTERACTIVE

4’ 8’ 12’

25’

COMMUNAL learning studio

kinesiology lab

meditation space

student forum

circ/lobby

human artisitic movement

HIC LEVEL ONE - COMMON SPACE DIAGRAM CASUAL QUIET

PROXIMITY RINGS

CASUAL INTERACTIVE

4’ 8’ 12’

25’

COMMUNAL

HIC LEVEL 1.5 & 2 - PROXIMITY DIAGRAM

CASUAL

HIC LEVEL 1.5 & 2 - PROXIMITY DIAGRAM

INTERACTIVE

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AMALFI COAST

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TRAVEL Project type: Study sketches When: Spring 2013 Location: Rome, Italy

PIAZZA DELLA ROTUNDA, ROME

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IMPERIAL FORA, ROME

BRIDGE TO TRESTEVERE, ROME

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VILLA DESTE, TIVOLI

IMPERIAL FORA, ROME

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SAN CARLO ALLE QUATTRO FONTANE, ROME

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TEMPIETTO, ROME

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MEREDITHGARDA Bachelors of Science in Architecture Knowlton School of Architecture ‘14 Masters of Architecture The Knowlton School of Architecture ‘16 2536 Adams Avenue Apt. 2 Columbus OH 43202 513-291-0525 garda.6@osu.edu

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