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nicole H AT J I O A N N O U


experience architecture

I believe it is extremely important to not only study architecture from a textbook, but to study and experience it in person. I have visited many pieces of architecture throughout the United States and Europe. I relish the opportunity to compare buildings of different eras and methodologies to each other. In doing so, I expand my knowledge of architecture.


Prague, Czech Republic

Prague, Czech Republic

field

sketching Drawing is a revealing experience. It develops my observational skills and helps me be aware of my surroundings. Drawing is a way to vividly remember spaces and buildings that I have experienced. During my semester in Prague, I was introduced to new media such as charcoal and watercolor. My drawings allow me to recall architectural form, ornamentation, shape, scale, value, and textures of the places I visited. St. Peter’s, Rome, Italy

Guggenheim Museum, Bilbao, Spain


Altes Museum, Berlin, Germany Cesky Krumlov, Czech Republic

Prague, Czech Republic

Chapel of Notre Dame du Haut, Ronchamp, France


sensing and traversing the city “turn on / tune in� Fall 2012 Prague, Czech Republic


A walk from South Vltava River to North Vltava River (Charles Bridge)

“I wish I had a tape recorder to record you reading this!� - Henry Hanson, Studio Professor, Prague, Czech Republic Architect and Landscape Architect


Masterplan

žižkov

The sculpture park is adjacent to the train depot’s platform, therefore, the platform extends out to create terraces for people to enjoy their food/drink and watch others interact with the sculpture. The maple, evergreen, gingko, and cherry blossom trees were picked to add an element of art due to their changing leaf colors throughout the seasons. The types of walls, seating, and cobblestone ground treatment vary throughout the sculpture park.

sculpture park LAR Studio Spring 2013 Prague 3, Czech Republic

Sculpture Park

Illustrative Plan The sculpture park depicted in these drawings is part of an urban design masterplan project previously undertaken in Prague, Czech Republic. The proposed plan is an 11.4 hectare (28 acres) sculpture park motivated by conceptually contrasting the form of the park with the masterplan’s existing structure and the character of Prague that surrounds it. The proposed design uses topography, plazas, and placement of sculpture to compress and release the spatial experience of the visitor much like those experienced in historic Prague. The Zizkov Sculpture Park is a part of everyday life for the people of the Czech Republic.

Top

Bottom

Restaurants, Retail & Offices Cafe Beer Garden

Flower Kiosk & Gelato

0

Compress

Release

10

Proposed Grading +20

+20

compress

+20

release

lp 17

+20

lp 16 hp 20 +20

hp 23

+17

hp 21

+18

hp 22

22 21

2322

21

24 23 22 21 20 19

+20

19 20 21 22 23 24 25 26

hp 22

hp 23

20

24

+21

21 22 23

23

lp 18

20

30

40


Permanent Sculpture Terrace and Plaza

Vegetation

Vegetation

0

Stone Cheek-Walls

Built-In Seating

Tall Grasses

Monochromatic Cobblestones

Walls of Different Materials

10

20

Flower Beds & Shrubs

Extended Terrace and Rain Garden

Vegetation

Cast-In Place Concrete Wall

Rain Garden Grasses

Half-Wall Seating

Ornamental Cobblestones

30


Surrounding Sculpture in Prague

Sculpture Park Site

The art in Prague is not only displayed in museums, but in the public realm for people to engage with as they walk through the city. During my time in Prague I saw sculpture displayed in four different areas, most of which is focused alongside the Vltava River. With this proposed sculpture park design, the sculpture displayed will be an addition to the importance and experience of Czech culture throughout the city.

“... Czech people LOVE art to this day... as a school girl, art was just part of everyday living ...�

- Edda Letang

Born in Brno, Czech Republic Left Czech Republic in 1968 Lives in Charlotte, NC, but still visits CZ


Louise Bourgeois: Maman

David Černý: “Babies” Project

David Černý: Metalmorphosis

0

Richard Serra

10

20

30

40


B

A

7

ncma

sculpture center

1

3

2

5

ARC Studio 301 Fall 2011 Raleigh, North Carolina

6

4 0 A

This Sculpture Center for the North Carolina Museum of Art in Raleigh, North Carolina, not only displays sculpture inside the building, but along the pedestrian paths, on the terrace and green roof, and in the sculpture pavilion. This Sculpture Center is placed on an east-west axis to maximize the amount of southern daylight into the building. Since this building is placed on a steep part of the site, it allows for parking beneath the building. 1: Entrance 2: Office Support 3: Gallery 4: Terrace 5: Workshop 6: Storage 7: Sculpture Pavilion

Section AA

B

12


Sculpture Center

Section BB


First Floor

Leazar Hall

a design campus

expansion ARC Studio 302 Spring 2012 NC State, Raleigh, North Carolina

Kamphoefner Hall

A

Partner project with Scott Hefner

SAS Hall

This building creates a transition between the College of Design and the remaining North Carolina State University’s campus. In studying the relationship between threshold and space, this addition becomes the front door to the College of Design that creates a variety of spaces for students to use. Two grids were used to create two buildings connected by a core beneath a raised plaza. The north building follows the historic campus grid while the southern building follows the modern campus grid.

Section AA

A


Fourth Floor

The design contrasts the stereotomic, which in this case is the brick and earth mass, along with the tectonic, which is the steel and channel glass box. The masonry serves as the base and a vertical core that anchors the glass boxes. The load-bearing masonry wall contrasts with the light channel glass box throughout all elements of the building. Brick is exposed on the interior of the basement level, while the above floors’ glass box walls are thin and translucent with hanging ceilings that expose structure.


wall-section case study parco della musica

Parco Della M Parco Della Musica Renz Renzo Piano

renzo piano building workshop Group project with Tori August, Sarah Hucker, and Taylor Smith

ARC Studio 501 Fall 2013 Rome, Italy METAL DECKING

METAL DECKING

The Romans nickname this cluster of three buildings as “the cockroaches.” The nickname introduced me to look further into the idea of biomorphism. This building has an exoskeleton that floats atop a heavy base, similar to the anatomy of a roach.

INSPIRATION “BIOMORPHISM”

INSPIRATION “BIOMORPHISM”

PRE-OXIDIZED LEAD PANEL ROOFING MEMBRANE MARINE-GRADE PLYWOOD METAL DECKING

WOOD PURLIN LAMINATED TEAK VENEER

SITEPlan PLAN Site

TUBULAR METAL PURLIN

STEEL STRUT LAMINATED WOOD STRUCTURE

Floor Plan FLOOR PLAN (Larger Auditorium) (LARGER AUDITORIUM)

ROMAN BRICK


STEEL TO WOOD

Parco

PREOXIDIZED LEAD ROOF PANELS ROOFING PAPER MARINE GRADE PLYWOOD

TUBULAR STEEL PURLINS RUBBER WATERPROOF MEMBRANE 3/4” UNDERLAY BOARD

STEEL TIE

RIGID INSULATION

METAL DECKING

WING STRUT ROD CONNECTION

INSPIRATION “

GYPSUM BOARD

1” METAL STUD WITH INSULATION

STEEL STRUT

METAL C-CHHANNEL

PREOXIDIZED LEAD FINISHED PANEL

STEEL SEAT METAL FLASHING BUILDING PAPER

STRUCTURAL ELEMENT CONNECTING STEEL STRUTS TO BEAM

TONGUE AND GROOVE LAMINATED TEAK INTERIOR FACADE

SITE PLAN

WOOD PURLIN

VARIABLE LAMINATED WOOD BEAM

LAMINATED WOOD STRUCTURE

8” DIAMETER GALVANIZED TUBULA R STEEL STRUT

STEEL TO STEEL

FLOOR PLAN (LARGER AUDITORIUM)

METAL C-CHANNEL

STEEL STRUT ADJUSTABLE PLATE

STEEL STRUT

HANGING ACOUSTICAL PANEL

ADJUSTABLE PLATE

METAL STUD WITH ACOUSTIC INSULATION

STEEL TIE PREOXIDIZED LEAD ROOF PANELS

ROOFING PAPER

2” AIR GAP WITH Z-CLIPS 20” O.C.

MARINE GRADE PLYWOOD SPACER WOOD BACK VENEER UNSTAINED

STEEL TIE

METAL PLATE TUBULAR STEEL PURLINS

PERFORATED MINERAL FIBER SUBSTRATE

WING STRUT ROD CONNECTION

STEEL STRUT

WOOD FACE VENEER STAINED STRUCTURAL ELEMENT CONNECTING STEEL STRUTS TO BEAM

STEEL TIE

TONGUE AND GROOVE LAMINATED TEAK INTERIOR FACADE

LAMINATED WOOD STRUCTURE VARIABLE LAMINATED WOOD STRUCTURE

GALVANIZED STEEL BRACKET

STEEL TO BRICK

PRE-OXIDIZED LEAD PANEL ROOFING MEMBRANE MARINE-GRADE PLYWOOD METAL DECKING

SANDBLOWN ROMAN BRICK 4”x12”x 2”

2” AIRGAP WITH BRICK TIES

WATER MEMBRANE

1” RIGID INSULATION

3/4” HARDWOOD FINISH

VAPOR BARRIER

2”x 4“ SLEEPER 16” O.C.

SCALE: 3“ = 1’- 0”

TAYLOR SMITH - TORI AUGUST SARAH HUCKER - NICOLE HATJIOANNOU

1’ CAST-IN-PLACE CONCRETE WALL

WOOD PURLIN


ncma performing

arts center

ARC Studio 501 Fall 2013 NCMA Campus, Raleigh, North Carolina

West Building: Thomas Phifer and Partners

Blue R

idge R

oad

East Building: Edward Durrell Stone

k Road Reedy Cree

ek Road

Reedy Cre

Outdoor Amphitheater: Smith-Miller and Hawkinson Architects

The proposed performing arts center is placed to form the fourth corner of a square that coincides with the existing Phifer, Stone, and Smith-Miller / Hawkinson buildings on the NCMA campus. These existing three buildings form three corners of a square, allowing the performing arts center to become the fourth corner. The performing art center’s location becomes a new front door to the NCMA campus and initiates the start of a new sequence of experiences that links, connects, and engages other museums, sculptures, and paths on campus.


BALCONY

LOBBY

OVERLOOK

INTERIOR COURTYARD

MUSIC ROOMS CONCERT HALL

Second Floor

OVERLOOK

SMALL PRACTICE ROOM

LARGE PRACTICE ROOM

FACULTY OFFICE

DIRECTOR OFFICE

MUSIC LIBRARY

INTERIOR COURTYARD

FACULTY OFFICE

LARGE APPLIED TEACHING STUDIO

LOBBY

CONCERT HALL

PERCUSSION REHEARSAL

VISITOR OFFICE INSTRUMENTAL REHEARSAL

VISITOR OFFICE SEMINAR

SMALL APPLIED TEACHING STUDIO

SEMINAR

ELECTRONIC REHEARSAL

CHAMBER REHEARSAL

ADMIN. CONFER. CHORAL REHEARSAL EQUIPMENT STORAGE

First Floor


Interior Courtyard

MS K

RD

O CO

U

RT

YA

LO O

V

ER

SIC

MU

O RO

The form originates from flower petals overlapping. This inspiration led to four rectangles of various sizes, shifting, to create three unique overlaps: an interior courtyard, an overlook, and music rooms. The exterior of the building consists of three layers: transparent glass, colored metal panels, and metal tubular pieces. These layers shift vertically to reveal themselves throughout the building. The concert hall is solid, the lobby is mostly transparent, and the support spaces have a combination of these three layered materials.

Overlook

Music Room


2” GRAVEL RUBBER MEMBRANE 6” RIGID INSULATION (SLOPES TO 3 DRAINS) 1” SHEATHING

METAL CAP

STEEL ANGLE

HANGING CEILING

CATWALK

3/8” = 1’0” Wall Section Study Model HANGING ACOUSTICAL PANELS

COLUMN (IN DISTANCE) 1” FINISHED WOOD VENEER

1” INTERIOR SHEATHING 4” METAL STUD 16” O.C. 4” ACOUSTICAL INSULATION 8” AIR GAP

8”x2”HOLLOW ALUMINUM TUBE

2” FURRING STRIP 1” METAL PANEL

1” EXTERIOR SHEATHING 4” METAL STUD 16” O.C. BATT INSULATION

HANGING CEILING

METAL C - CHANNEL 8” CMU BLOCK 5” CONCRETE SLAB 2” RIGID INSULATION 2” GRAVEL

COLUMN FOOTING (BEYOND)


Phase 1 Phase 1 consists of developing the northwest mixed-use blocks and the northern part of the train depot building. The sculpture garden will begin to have vegetation planted. Phase 2 consists of the development of civic-object buildings and the rest of the train depot. The greenway from the civic buildings to the east is also developed. Phase 3 introduces the residential and recreational areas. Phase 4 is the final phase with the completion of the residential and recreational areas.

ĹžiĹžkov train depot

adaptive reuse ARC Studio 490 Fall 2012 Prague 3, Czech Republic Partner project with Abe Drechsler

The site responds to the surrounding grids, park, cemetery, and overall west to east expansion of the city of Prague. Two separate grid systems are utilized. One follows surrounding building context while the other follows the northern park’s existing topography. The overlap of these grids facilitates the development of civic buildings. Both grid systems facilitate East/West movement at a vehicular level while focusing pedestrian traffic in the North/South direction. A historic cemetery borders the southern edge of the site. In order to respect changes in noise and landscape, a sculpture garden transitions people from the train depot building to the graveyard below.

Metro Exit Tram Station Tram Line Vehicle Traffic Bus Stop


Phase 2

Phase 3

Phase 4

Summer Solstice (S) Winter Solstice (W) Equinox (E)

S

S E

S

E W

The buildings on the northwestern part of the site will be commercial in nature and incorporate larger courtyards while the eastern residential blocks’ courtyards are more intimate. Both typologies will utilize mixed use and retail on the ground floor and both address day-lighting by stepping back to allow for southern light. East/west streets accommodate vehicles, bike lanes, and pedestrians, while the residential north/south streets are more suited for pedestrian traffic. Furthermore, both provide opportunities for rooftop gardening that will integrate food production at a community and specific building level. The occupants therefore experience the changing seasons in a direct and tangible way.


deck design &

construction Summer 2012 - Current Charlotte, North Carolina

I worked with a registered architect on the design and the construction of a residential deck. This 50 ft long x 12.5 ft wide deck has diagonal supports that hold benches and a canopy. The 2 ft o.c. bench module increases in 2 ft increments. A prototype bench was built in order to test bench height, back support, curvature of seat, and overall proportioning. The deck will be completed in summer 2014.


I helped make the design a reality as I assisted with the construction. I produced drawings to clarify the assembly and recorded the construction sequence and progress. I even experienced pre-construction tasks like obtaining a building permit and interacting with the building inspector. Paint selections were made from color samples to match the house’s brick, while the bench supports, canopy, and trellis will resemble green tree leaf colors.


nicole H AT J I O A N N O U


nicole hatjioannou bachelor of architecture portfolio