Genesis (Abbr.)

GENESIS MADDY ORICK

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GENOVA

shroud+Reveal

Loblolly

CITY ROOTS COLUMBIA, SC

IBARAKI, JAPAN

DYNANDO

AGGRE(GATE)

SPRING 2014

SPRING 2014

FALL 2014

FALL 2014

GREENVILLE, SC SPRING 2015

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GENOVA, ITALY FALL 2013

TAYLORS ISLAND, MD

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NEW YORK, NY

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5

GENOVA

WAR AND PEACE MEMORIAL AND MUSEUM

SITE ANALYSES IN ANALYTIQUE

AMBIGUATIONS

CUBIST DRAWINGS

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CUBIST MODEL TRANSLATION

WAR AND PEACE memorial and museum design in the historic city of Genoa, Italy.

Our view of peace is that it is a continuous circle, FRACTURED by moments of conflict or WAR. The fractures are the focus and remain vividly in our memories. The evidence of war is still present but no longer tangible, peace can develop again but the scars will always remain.

The model was created from the cubist sketch based off of an ambiguation of our site analyses. The darker colored portions of the drawing were interpreted as depressions in the 3D model, lines translated to cuts, and lighter areas became the highest relief. The resulting digital model was cut out of paper in layers and is pictured to the right.

PHYSICAL CUBIST MODEL

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the site is close the port coast of Genoa, along a small cliff. Half of the site remains at the street level and has a view to the ocean, and the other half is on a steep slope and has no view to the port.

What made most sense on the site is to maintain the view to the port on the upper half of the site, but keep the view focused with a small window in the wall to view the water, having this half become the memorial. The other half of the site became the location of the museum, with a direct yet meaningfully mindful connection to the memorial, and bringing the city connection to the road below.

SITE PLAN

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PUBLIC WAR MEMORIAL

PEACE GALLERY

MUSEUM + MEMORIAL ROOF PLAN

PUBLIC WAR MEMORIAL

MUSEUM + MEMORIAL ELEVATION

PEACE GALLERY

ENTRY LEVEL

GROUND LEVEL

FRACTURE DERIVATION

MUSEUM SECTION

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MEMORIAL RENDERING

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EXTERIOR GALLERY RENDERING

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LONGITUDINAL SECTION

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hinging

Loblolly

framing

allows architecture to exist focuses and limits vision realm of enclosure mystery adds freedom to security

REDESIGNING A CASE STUDY’S ROOF

LOBLOLLY HOUSE JOINT B KIERAN TIMBERLAKE

weaving CASE STUDY: KIERAN TIMBERLAKE’S LOBLOLLY HOUSE

purposeful and aesthetic order move/remove/replace construct and craft organization

slipping

silhouette profile revealing the boundary forest and sky ground/building/sky

joining

separation desire to join opposites linking japanese wooden joinery

loblolly pine

native tree used for timber pom pom needles (6”-10”) tall, most branches at top looses lower limbs after youth very tolerant to conditions

hinging

arrest and movement selective passage open/closedPLAN 1.5” = 1’ - 0” revelation/privacy hinging

framing

allows architecture to exist focuses and limits vision realm of enclosure mystery adds freedom to security

weaving

purposeful and aesthetic order move/remove/replace construct and craft organization

slipping

silhouette profile revealing the boundary forest and sky ground/building/sky

“We wanted not only to envision anew the process of design and construction, embedding within it an environmental ethic, but also to create a house that evokes the extraordinary Kieran Timberlake natural world that is its home.” joining kieran timberlake 2006 Taylor’s Island, Maryland SECTION

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loblolly House

separation desire to join opposites linking

1.5” = 1’ - 0”

Redesigning the roof of the Loblolly House by Kieran Timberlake. Keeping with the loblolly theme of nature and loblolly pines, we used Japanese joinery and the image of opening pine needles to create our operational roof.

JOINT B

PLAN

1.5” = 1’ - 0”

SECTION

1.5” = 1’ - 0”

JAPANESE JOINERY

kieran timberlake 2006 use Taylor’s Island, Maryland

ELEVATION

1/4” SCALE MODEL

1.5” = 1’ - 0”

Re-presented by sam duggan + Maddy ORick

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JOINT A

ELEVATION

1.5” = 1’ - 0”

SECTION A

1.5” = 1’ - 0”

PLAN

1.5” = 1’ - 0”

SECTION B

1.5” = 1’ - 0”

JOINT DETAIL

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EXPLODED AXONOMETRIC

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Dynando

CAST-IN-PLACE / PRECAST TRANSFORMATION TADAO ANDO creates powerful and simplistic architecture out of simple cast

in place concrete. So to get a better understanding of precast concrete, I transformed Tadao Ando’s church of the light into a precast structure, aiming to construct it efficiently, while keeping the original intent consistent. In order to complete the task, studies of both the original design’s method of cast-in-place concrete as well as precast construction had to be considered.

CORNER CONNECTION

CORNER CONNECTION

TADAO ANDO’S CHURCH OF THE LIGHT

WELDED PLATE

WELDED PLATE

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PLAN

0

5’

10’

EXPLODED AXONOMETRIC

PRECAST MOLDS 1.

2.

3.

4.

13’

12’-6”

9’-6”

20’

ROOF HOLLOW-CORE (x13)

FLOOR PLATES (x12)

PRECAST MOLDS MODEL TRANSPORTATION TO SITE

48,000 LBS

MAXIMUM WEIGHT

1-3 SLABS PER LOAD

150 LBS X FT 3

Building models at several scales =

13’ X 24’ SLAB MAX

throughout the process of the exercise really forced me to think with more details at respective scales.

The large model was quite special because it could be assembled and reassembled in the same way the precast would have been.

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Transforming Tadao Ando’s church of light while incorporating a non euclidean

Dynando

PRECAST / NON-EUCLIDEAN TRANSFORMATION

aspect was a challenge. I wanted change the space by altering the light and the walls, while still keeping the simplicity that Ando intended in the original design.

My transformation is limited to the vertical walls, pushing and pulling in opposite directions to still keep a peaceful environment but show opposing forces in the world. The wall splits open near the back of the church, to welcome people inside.

The walls gradually come together toward the front of the church, meeting with the light formed by the original cross cut into the concrete, lining up exactly the same.

SPLIT

BEND

WALL

NEW CORRIDOR WALL ADDED TO MAINTAIN INTERIOR LIGHT

FACADE REMAINS “FLAT” IN ELEVATION

SPLIT

BEND

WALL PRE-CAST ASSEMBLY

PRE-CAST MOLDS

PLAN PLAN

0

5’

NEW CORRIDOR WALL ADDED TO MAINTAIN INTERIOR LIGHT

10’

8’-3” 12’-6”

5’-3” 6’-3”

ROOF PLAN

0

5’

10’

13’

ROOF PLAN

16’

+

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PRECAST MOLDS

PRECAST ASSEMBLY

This project was a refreshing way to learn how to incorporate other people’s ideas and concepts into my own. It was great to explore design through a building that already exists, so it felt like i had some boundaries, yet I had enough freedom in my design. I used models again in this process to form the light and shadow in the building.

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aggre(gate) aggre(gate)

PRECAST CONCRETE HIGH RISE HIGH LINE TOWER

The task was to create a TESSELLATION which then would be the basis for the design of a precast concrete high rise tower over the high line in New York City. This project pushed my limits on how I could create a functional and interesting precast structure. It was an enormous challenge to think both aesthetically and technically at a more in-depth level than I previously have.

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N

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Site Plan KEY PLAN: HUDSON YARDS

Sun Direction SUN DIRECTION

Optimal Window Areas OPTIMAL WINDOW ZONES Curved walls focus preferable city views

RESIDENTIAL Residential

RESIDENTIAL LEVEL Residential Floor Plan

COMMERCIAL Commercial

Commercial Floor PlanLEVEL COMMERCIAL

SITE PLAN

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TYPICAL LEVELS

LOBBY LOBBY Program PROGRAM PROGRAM NEW SITE FOR THE NEW YORK HORTICULTURAL SOCIET Y

40’-0”

CONCRETE CONNECTION ANCHORS

2’-2”

Section

0

5

10

20

40’

BUILDING SECTION

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GROUPED PRECAST PANELS

PERSPECTIVE FACING HUDSON YARDS

PERSPECTIVE FROM HIGH LINE

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INDIVIDUAL PRECAST MODULES

Plan

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N N

N

Residential Floor Plan Sun Direction

Sun Direction

Commercial

Optimal Window Areas Window Curved walls focus Optimal preferable city Areas views Curved walls focus preferable city views

Commercial

Commercial Floor Plan

Residential

LOBBY

Commercial Floor Plan

LOBBY

Residential

Program

NEW SITE FOR THE NEW YORK HORTICULTURAL SOCIET Y

Program

Residential Floor Plan Residential Floor Plan

NEW SITE FOR THE NEW YORK HORTICULTURAL SOCIET Y

Commercial

Commercial Floor PlanCommercial Floor Plan

Commercial

LOBBY

LOBBY

Program

Program

GROUPED PRECAST PANELS

NEW SITE FOR THE NEW YORK HORTICULTURAL SOCIET Y NEW SITE FOR THE NEW YORK HORTICULTURAL SOCIET Y INDIVIDUAL TESSELLATION VARIATIONS

INDIVIDUAL TESSELLATION VARIATIONS

Flat walls used on the straight walls.

Formliner used in concrete mold to continue tessellation.

Heights and widths of mold expand and contract to fit any floor plate. concrete molds are used only 20-30 times, now an advantage.

Flat pieces (precast concrete tessellation pieces) connect non uniform shapes (edges of floor plates) to create a curved wall.

TESSELLATION INSPIRATION THE SHAPE DERIVES FROM THE HIGHLINE TO GIVE CONTEXT TO THE HIGH RISE AND INTEGRATE IT INTO THE SITE

TESSELLATION INSPIRATION

TESSELLATION INSPIRATION TESSELLATION INSPIRATION:

PRECEDENT STUDY

TESSELLATION Derives fromINSPIRATION the High Line to give context to

PRECEDENT STUDY PRECEDENT STUDY:

SHAPE TO DERIVES FROM THE THE SHAPE DERIVES FROM THE THE HIGHLINE GIVE CONTEXT TOHIGHLINE TO GIVE CONTEXT TO PRATT’S CONCRETE HIGHLY VARIABLE REPEATING CONCRETE BLOCKS BLOCKS HIGHTHE RISE AND INTEGRATE IT INTO THE SITE PRATT’S HIGHLY VARIABLE REPEATING THE HIGH RISE AND INTEGRATE THE IT INTO SITE

high rise and integrate it intoTOthe site THE the SHAPE DERIVES FROM THE HIGHLINE GIVE CONTEXT TO THE HIGH RISE AND INTEGRATE IT INTO THE SITE Section

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5

10

20

40’

Pratt’s highly variable PRECEDENT STUDY precast wall

PRECEDENT STUDY PRATT’S HIGHLY VARIABLE REPEATING CONCRETE BLOCKS

PRECEDENT STUDY

PRECEDENT: Maison Folie, inspiration for use of ruled surfaces

MAISON FOLIE, INSPIRATION FOR USE OF RULED SURFACES

PRATT’S HIGHLY VARIABLE REPEATING CONCRETE BLOCKS

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revealed domain surrounding shroud

SHROUD+ REVEAL

shrouded place-form bounded edge

semi-private shrouded pocket buliding creates edge

URBAN CHILDREN’S THEATRE IN GREENVILLE, SC

WINNER: Clemson Senior Undergraduate Design Prize and Award Visualizing Greenville through a new perspective through analysis of the paradox SHROUD + REVEAL Shroud - where a boundary envelops an area that arranges an attitude of safety against the urban front Reveal - where the realm of the private meets the public domain and takes on a new function from that edge

public area

lobby

auditorium

support + production

transport

SITE AND BUILDING STRATEGY

downtown greenville + site axis augusta street + education axis

PLAN Plan DEVELOPMENT Development

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contain/release

shrouded exterior public area

shrouded interior public area

semi-private terrace + safe drop-off

procenium shrouds

BA 2

B

BA 1 KITCHEN

CL

AS

SR OO

M

#1 CL

AS

SHROUD

SR OO

#2

ED

U. OF FIC E

S

M

A

LOBB Y

TIC

MAIN STAGE

KE

EXEC. DIR. OFF. RECE

TIN

G

COSTU M STORAG E E

PTION

ART. DIR. OFF.

BREAK

CO

SCEN E SHOP

NF

SCEN E STORA GE ER

EN

CE

BLACK B THEAT OX ER

SHROUD

SITE PLAN

COSTUM E SHOP

B

LARGE REHEARSAL

A

GREE

NROO

FIRST FLOOR PROGRAM

BA 1 BA 2

ADMIN OFFICE SUITE

GIRLS DRES S ROOM

PROGRAM LEGEND LOBBY

MAIN STAGE

EDUCATION

SUPPORT

BLACKBOX

PRODUCTION

ADMINISTRATION

DRES S ROOM

SECOND FLOOR PROGRAM

SECOND FLOOR PLAN

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BOYS DRES S ROOM

STORAG

E

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Roof Axonometric

INTERIOR LOBBY RENDERING Site Analysis

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In this final studio competition project, I earned a first place prize and title for my proposed design of the Greenville children’s theatre. It was a huge honor and thrill to be a part of the studio, and to be considered a winner of the first annual competition.

ROOF AXONOMETRIC

SOUTH CAROLINA CHILDREN’S THEATER SOUTH CAROLINA CHILDREN’S THEATRE

FRONT ELEVATION

NORTH ELEVATION

SITE SECTION B

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16’ 0

32’ 16’

32’

64’

64’

128’

0

16’

32’

64’

128’

0

16’

32’

64’

128’

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SITE SECTION A

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0

16’ 0

32’ 16’

32’

64’

64’

128’

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Sketching+ Professional Work

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KARLSPLATZ STATION OTTO WAGNER VIENNA, AUSTRIA

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CENTRAL PARK IN SPRING STUDY ON ADOLF DEHN NEW YORK CITY

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Professional work samples While at Dwell, I was invited to design and draw the elevations for a multifamily and retail mixed-use development in the Research Triangle region of North Carolina.

I aimed to create a connection between the residents and the urban center the project would generate. I drew inspiriation from the industrial past of the area, while maintining the strong front axis in the center and providing the necessary privacy the residents desire.

Another example project from Dwell, in Charleston, South Carolina, I created multiple renders, perspectives, plans, and elevations for many design and architecture review approvals and presentations, and for our marketing imagery. I also led summer architecture interns through this process for the Design Review Board for this project in Charleston.

OPA OPA.1

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OPA.2

3' - 8 3/8"

3' - 8 3/8"

29' - 4"

While at Bradley Heppner Architecture, I created a handmade model of one of his residences being designed. It was so thrilling to see the design on paper and have it brought to a reality I could hold in my hands. However, the best part about creating this model was revealed to me in an email from Brad after completing my internship: “I loaned the model you built to the clients, and your work has inspired another generation. Their daughter was having difficulty figuring out what to do for her career project at school. When she came down for breakfast and saw the model she was fascinated enough by it that she decided to focus her project on architecture.”

As the Marketing Coordinator at Dwell, I was presented with the opportunity to use my passion for graphic design and communication to create all project brochures for the company, as well as some advertisements, and all awards submissions. It was great to discover how much I enjoy it and hope to continue,

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412 4' - 0"

42' - 8"

4' - 0"

104' - 0"

4' - 0"

26 7' - 0"

Of course, along with these highly creative parts of architecture, I created many drawings in AutoCAD and in Revit for construction.

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