Olivia Harrell | Undergraduate Portfolio

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OLIVIA HARRELL

EDUCATION GEORGIA INSTITUTE OF TECHNOLOGY

MASTER OF SCIENCE IN URBAN DESIGN Summer 2022

KENNESAW STATE UNIVERSITY BACHELOR OF ARCHITECTURE Spring 2021

ARMSTRONG STATE UNIVERSITY

ASSOCIATE OF ARTS IN LIBERAL STUDIES, CUM LAUDE Spring 2018

` R E S U ME

I am 25 years old, and I am currently fulfilling the requirements to obtain a Bachelor of Architecture degree from Kennesaw State University. I am seeking a design position to further apply my skills and practice in the field of architecture.

ADDRESS

2025 Barrett Lakes Boulevard NW Apt 7209 Kennesaw, GA, 30144

PHONE

912.308.3336

EMAIL

olivia.harrell.05@gmail.com

LINKEDIN

www.linkedin.com/in/olivia-harrell-8ab6b585

NOMAS

Member | 2016-Present Treasurer | 2018-2019

EXPERTISE AND INTEREST REVIT AUTOCAD RHINO GRASSHOPPER PHOTOSHOP INDESIGN ILLUSTRATOR WORD POWERPOINT

Member | 2015-Present

PHOTOGRAPHY

ACADEMIC ACHIEVEMENT

DRAFTING

Hunter Museum of Art | Spring 2021 Student Research Symposium Finalists 2021 The Cooper Carry 3-Minute Thesis Competition| Finalist, Runner-Up, + People’s Choice Recipient Dean’s List | Spring 2020, Kennesaw State University Dean’s List | Fall 2015, Savannah State University

MCAFEE3 ARCHITECTS MAY 2018-AUGUST 2018 MAY 2019-PRESENT

STUDENT INTERN

I have performed duties for Project Development + Documentation for numerous projects such as: City of Atlanta Department of Watershed Management

Bolton Road Improvements

Chattahoochee Water Treatment

Plant Improvements, Belt Filter Press Building

Hemphill Building Improvements Fulton County Library System

Buckhead Library

Mechanicsville Library

Northeast/Spruill Oaks Library

Northside Library

Ocee Library Morehouse School of Medicine

EXCEL

NSLS

WORK EXPERIENCE

LASER CUTTING 3D PRINTING

The Hartsfield-Jackson Atlanta International Airport I have performed duties for Project Planning + Design such as: Select materials, finishes, and systems Review local, state, and federal codes for changes that may impact design + construction I have performed duties for Project Management such as: Participate in pre-construction, pre-installation, and regular progress meetings with design team I have performed duties for Construction + Evaluation such as: Review shop drawings + submittals during construction for conformance with design intent Complete field reports to document field observations from construction site visit Review results from field reports, third-party inspections, and other test results for conformance with contract documents

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CONTENTS

SITE PLAN

ACTIVATE THE SITE The new design + cityscape intervention cause parking lots and alley ways to become inactive. To utilize these spaces, the design allows for inactive parking lots to become green spaces and alleyways to become spaces for social activities for bars and restaurants. These spaces are now activated for public or private zones for locals and tourists.

RIV

ER

BAY

YAM AC VILL RAW AGE

SAV

ANN

STR

EET

ST

AH R

IVER

1b

1 1a 1c

7a 5a 5a

7

7b

2

JR B LVD

5

city hall

T

african american monument

cotton exchange

thomas gamble building

slave ship replica

GATEWAY PERSPECTIVE

3

ST

ER S TAK

square

square

river street

public spaces for recreation

BULL

HIST O DIST RIC RICT

7a.FIRST AFRICAN BAPTIST CHURCH 7b. MEMORIAL CENTER GIFT SHOP

HIST O DIST RIC RICT

ST D ST

TON

NAR

N ST ERSO

UGH

BAR

3. JOHNSON SQUARE 4. NKYINKYIM PASSAGEWAY 5. W.W. LAW SQUARE 6. SANKOFA PASSAGEWAY 7. LIELE SQUARE

JEFF

2a. CUSTOMS HOUSE 2b. MOON RIVER CO.

public spaces for recreation

WHI

ST ERY MO

2. EPA PASSAGEWAY

2a

3

BRO

OM

1a. MEMORIAL CENTER 1b. SLAVE SHIP 1c. THOMAS GAMBLE BLDG 1d. BARRACOONS 1e. COTTON EXCHANGE

CH COU ATHAM RTHO USE

NTG

1. GATEWAY

REET

4

MLK

The city is a metaphor for the human body.

Metaphorically, the tunnels, are the “nerves”.

They were devices that aided in their departure from Africa, as well as a ceremonial gateway into the New World. My thesis seeks to shed a new light on this ceremonial gateway which is situated along the Savannah River by inverting the city’s urban fabric and peeling back the skin to rediscover the nerves. The pavement is peeling away in transition, revealing this disruption; the tunnels, a well-choreographed memorial depicting the very essence of the enslaved as if it was present day. This Memorial shall become an experience transcending time and place locally, domestically, and internationally.

R ST

1b 2b

social spaces for eatery/lounge

THE GATEWAY

RIVE

1e

1e

6

liele square

first african baptist church

THE EPA PASSAGEWAY

INTERIOR RENDERING A | EPA PASSAGEWAY view to exit

4

RESEARCH + STUDY

NEW LANDSCAPE DESIGN

1

TELL THEIR STORY + REVEAL THE TRUTH What was forgotten or hidden?

How can the design tell their story?

3|5

HISTORY + CULTURE DEVELOPS MATERIALS + FABRICATION What features of their African Culture were lost?

After becoming slaves, what features of their culture remained?

What materials + structural components reference African Architecture and culture?

3 RETHINK VEHICULAR CIRCULATION DESIGN CONCEPT

INVERT THE LANDSCAPE

TUNNEL | PRIMARY CIRCULATION

STREETS | TERTIARY CIRCULATION

PATHWAYS | SECONDARY CIRCULATION

4 LOWER SQUARE TO TUNNEL LEVEL

1 EXISTING CONDITIONS TUNNEL | HIDDEN TERTIARY

CIRCULATION

STREETS |SECONDARY CIRCULATION

PATHWAYS | PRIMARY CIRCULATION

2 EXCAVATE + ADD REINFORCEMENT

5

5 ADD SHELL

3D SECTION PERSPECTIVE

Image of facade iteration 1

Image of green crustose lichens in the barracoons

Figure 2. Image of preserved slave quarter at Owen’s Thomas House, Savannah, Georgia

CONNECTING NODES

Design references elevation changes in National Museum of African American History and Culture in Washington, DC

Masonry is the original material of the tunnels. Due to aging, humidity, and moisture the masonry has developed green crustose lichens that has etched to the surface of the material.

Slaves were typically stored underground in Savannah. The Owens-Thomas House and Slave Quarters is an example. The home was built by free and enslaved men. The slaves lived in the slave quarters beneath the home, while the slave owners lived upstairs. Slave owners preferred not to see the slaves in captivity while going about their daily activities.

The curtain wall and facade system allows for visitors within the tunnels to have views to the existing site context on the exterior; while ensuring that the tunnels and exhibition spaces are protected from direct sunlight.

The water features within the square symbolizes the Middle Passage during the Trans-Atlantic. Water aided in their departure from their World (Africa), as well as their entry into the New World (Savannah River). Water also symbolizes purification, and that liberates, nourishes, and sanctifies a people.

Design concept stems from the notion to invert the act of hidden truth; allow the daily activity of vehicular traffic flow to circulate underneath the tunnels and excavate the tunnels. This allows for tunnels to be the primary public view. REVEAL THE HIDDEN SPACE.

UPLIFT

The Entry Path and the Promenade path rise up to symbolize the strength of the African American community rising up over adversity. The Corona’s form is an inspiration for this uplifting gesture.

Design references elevation changes in National Museum of African American History and Culture in Washington, DC

6

The Journal of African American History

162

01234567879575 ÿ 2ÿ 7 5ÿ 7 8 9 ÿ75ÿ 9 ÿ 9 5 ÿ 29 7 ÿ !

Table 2: Savannah Planter-Merchants Who Received and Sold West Africans from Rice Growing Regions, 1765–1771 Name of Firm Ingliss and Hall Clay and Habersham John Graham/Ingliss and Hall John Graham Craig, MacLeod, and Co. Joseph Clay Robert Watts Cowper and Telfair Robert Watts Broughton and Smith

Origin of Africans Gambia and Sierra Leone Gambia Rice Coast Sierra Leone Isle of Banana (Sierra Leone) Gambia Bance Island, Africa Windward Coast Isle of Goree (Senegal) Senegal

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Quantity Sold 667 320 340 200 237 170 95 90 84 78

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INTERIOR RENDERING B | EPA PASSAGEWAY, “THE SOIL OF OUR LAND” DISPLAY Source: “Inward Slave Manifests, Savannah,” RG 36, NARA, Washington, DC.

162

The Journal of African American History

Savannah Planter-Merchants Who Received and Sold Table 2: Savannah Planter-Merchants Who Received and West Africans from Rice Growing Regions, 1765-1771 Sold West Africans from Rice Growing Regions, 1765–1771

Name of Firm Ingliss and Hall Clay and Habersham John Graham/Ingliss and Hall John Graham Craig, MacLeod, and Co. Joseph Clay Robert Watts Cowper and Telfair Robert Watts Broughton and Smith

Origin of Africans Gambia and Sierra Leone Gambia Rice Coast Sierra Leone Isle of Banana (Sierra Leone) Gambia Bance Island, Africa Windward Coast Isle of Goree (Senegal) Senegal

Quantity Sold 667 320 340 200 237 170 95 90 84 78

Source: “Inward Slave Manifests, Savannah,” RG 36, NARA, Washington, DC.

Table 3: African Captives Imported Into Savannah

by Origin in the Early Time Period, 1755–1767

Figure Savannah 1765-1798 Origin1. Origins of Slaves Imported in Number of Africans Senegal, Gambia, Sierra Leone, Windward Coast Africaa West Central Africa Jamaica St. Christopher’s Montseratt St. Kitts St. Croix Curacao Grenada Other Islandsb Arrivals from North Americac Total

1,188 148 90 353 430 137 156 76 92 75 166 120 3,318

Percent 35 6 3 11 13 4 13 2 3 2 5 4

Source: “Inward Slave Manifests, Savannah,” RG 36, NARA, Washington, DC; Elizabeth Donnan, Documents Illustrative of the History of the Slave Trade, vol. 4 (New York, 1935), 612–63; Voyages: The Trans-Atlantic Slave Trade Database (TSTD): www.slavevoyages.org. a Origin in Africa not listed. b Includes Antigua—45; Barbados—42; Tortola—31; St. Vincent—15; St. Eustatius—14; St Martins—8; Guadelupe—7; Isle of Pines, Cuba—3; St. Thomas—1. c Includes South Carolina—98; New York—2; Rhode Island—2.

This content downloaded from 104.190.219.2 on Thu, 10 Dec 2020 05:37:21 UTC All use subject to https://about.jstor.org/terms

7

African Captives Imported Into Savannah by Origin Table 3: African Captives Imported Into Savannah in the Early TimeinPeriod,

by Origin the Early1755-1767 Time Period, 1755–1767 Origin Senegal, Gambia, Sierra Leone, Windward Coast Africaa West Central Africa Jamaica St. Christopher’s Montseratt St. Kitts St. Croix Curacao Grenada Other Islandsb Arrivals from North Americac Total

Number of Africans

Percent

1,188 148 90 353 430 137 156 76 92 75 166 120 3,318

35 6 3 11 13 4 13 2 3 2 5 4

Source: “Inward Slave Manifests, Savannah,” RG 36, NARA, Washington, DC; Elizabeth Donnan, Documents Illustrative of the History of the Slave Trade, vol. 4 (New York, 1935), 612–63; Voyages: The Trans-Atlantic Slave Trade Database (TSTD): www.slavevoyages.org. a Origin in Africa not listed. b Includes Antigua—45; Barbados—42; Tortola—31; St. Vincent—15; St. Eustatius—14; St Martins—8; Guadelupe—7; Isle of Pines, Cuba—3; St. Thomas—1. c Includes South Carolina—98; New York—2; Rhode Island—2.

This content downloaded from 104.190.219.2 on Thu, 10 Dec 2020 05:37:21 UTC All use subject to https://about.jstor.org/terms

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African Captives Imported Into Savannah by Origin in the Middle Time Period, 1768-1780

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African Captives Imported Into Savannah by Origin in the Late Time Period, 1784-1798

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EPA PASSAGEWAY

RA

Exihibition spaces are used to “inform” visitors of the slaves original identity and hertiage; the one that was taken from them when they arrived at the gateway. The slave’s heritage was lost and forgotten. Originally the tunnels were spaces that separated the slaves; a space for solitary confinement and a space to remake the human being. Now, with the new design the tunnels are devices were the space is being use to give them back their identity by informing visitors of their true heritage.

RB

The Epa Passageway name references the Adinkra symbol Epa; meaning “handcuffs” representing the notion of slavery. The name and meaning is the design concept of program; an archival introduction of the beginning of their journey, heritage, and identity.

Render location in reference to Site Plan

JOHNSON SQUARE

MATERIALITY

tribal marks

aged masonry

aged steel

sand/soil

wood

water

SPATIAL DIAGRAMS

first african baptist church facade, bracing, + curtain wall facade, bracing, + curtain wall

tunnel facade, bracing, + curtain wall tunnel archival displays jars of soil from their native land

waterfall + reflecting pool of remembrance slave drowning displays

bunks of the dead, rape, or weeping slaves

passage connecting basement of First African Baptist Church

sankofa passageway - name references adinkra symbol meaning “go back and get it”; if you forget and you go back to get it. The name and meaning is the design concept of program; a hall of remembrance of what was lost or forgotten.

bull street (one-way)

hanging sacks of sand to represents the slaves who died by hanging

adinkra symbols

nkyinkyim passageway - name references adinkra symbol meaning “twisting”; represents the tortuous nature of life’s journey. The name and meaning is the design concept of program. The slaves death’s or fate whether rape, death by shooting, death by hanging, enslavement, whipping, or lynching is memorialized in this passageway.

epa passageway - name references adinkra symbol meaning “handcuffs”; represents slavery. The name and meaning is the design concept of program; an archival introduction of the beginning of their journey.

A

RD

primary streets

secondary streets

pedestrian pathways

journey movement

tunnel level Render location in reference to Site Plan

SECTION A

9

SCALE 1/32” = 1’

NKYINKYIM PASSAGEWAY

EPA PASSAGEWAY

SANKOFA PASSAGEWAY

CIRCULATION | 3-DIMENSIONAL MICRO SCALE

slave displays uplighting

hanging sacks

UPLIFT

The Entry Path and the Promenade path rise up to symbolize the strength of the African American community rising up over adversity. The Corona’s form is an inspiration for this uplifting gesture.

Design references elevation changes in National Museum of African American History and Culture in Washington, DC

tunnel floor bridge stairs tunnel retaining wall

barnard street

10

FACADE SYSTEM

FACADE PANEL DESIGN CONCEPT Adinkra Symbol - Nkyinkyim The design of Nkyinkyim depicts the tortuous nature of life’s journey. These twists and turns require one to be versatile and resilient to survive. The proverb associated with this symbol literally means “Life’s journey is twisted.”

The panels will be of an steel material to reference the materiality of the ironwork designed and welded by the former slaves. You can find examples of this throughout the historic district of Savannah and other Southern Architecture.

The facade should reflect that of the adinkra symbol, tortuous twists of life’s journey while also giving off a contemporary design. There are four panels modules in total. There will be voids in the tunnel exterior walls (windows) to allows natural light into the tunnel’s public spaces while ensuring that the tunnels and other archival materials are protected from direct sunlight since the space get direct southern light.

NEW IDENTITY

FACADE PANEL DESIGN ITERATIONS

1

2

end points midpoints

11

3

4

5

6

7

The new design iteration of the Nkyinkyim adinkra symbol references it’s original pattern while also reference this new triangulate pattern. This references the new identity that the slave takes on once a freed person. This has a cultural reference of the African American community. Though African Americans are descendants of those who were enslaved, their culture is much different; yet still poetically beautiful.

EXTERIOR RENDERING F | SANKOFA PASSAGEWAY VIEW FROM FIRST AFRICAN BAPTIST

COMPOSITE DRAWING + FACADE DESIGN

Adinkra Symbols

“Adinkra are visual symbols with historical and philosophical significance originally printed on cloth which royals wore to important ceremonies.

Originating from the Gyaman people of Ghana and la Côte d’Ivoire, the symbols have assumed global importance and are now found in logos, clothes, furniture, sculpture, earthenware pots, and many others. Saturated with meaning, these symbols have come to symbolize the richness of Akan culture and serve as a shorthand for communicating deep truths in visual form. As an example, the fact that most universities in Ghana use at least one Adinkra symbol in their logo demonstrates the gravitas their use has come to symbolize” (Adinkra Symbols & Meaning).

ADINKRA SYMBOL - MAKO

Ironwork of Adrinkra symbol, Mako done by enslaved men.

Many enslaved men were originally blacksmiths in Africa.

The Savannah Cotton Exchange has many reliefs within the facade that depict Adinkra symbols

Adinkra Symbol, Mako, relief in the south facade of the Savannah Cotton Exchange. 100 E Bay St. Savannah, GA.

“Mako translate to the meaning “pepper”. This is a symbol of inequality and uneven development. Mako is a shortened form of the Akan proverb ‘Mako nyinaa mpatu mmere,’ literally ‘All peppers (presumably on the same branch) do not ripen simultaneously.’

This proverb admonishes the greater ones to help the less fortunate with the implicit understanding that fortunes could reverse so that they would also need someone’s help. As the Akans say, ‘Mmere dane,’ literally, ‘Time changes’ so any advantage one may have now may not persist forever” (Adinkra Symbols & Meaning).

Ref. Level 0' - 0"

Architecture within Architecture The building’s existing structure consist on masonry load bearing walls as the envelope with steel beams within the interior.

This industrial design will still be used in the design.

Modern design components will enhance the architecture adjacent to the site. Lofted walkways and spaces will also be added to the design.

Facade + Filigree

With the masonry as the primary material, adding a curtain wall and filigree panels to the facade will bring a modern design to the industrial structure, also added shade to the south facade that will penetrate the conference room and office space.

17

Rooftop Bar

The existing building is along the river.

Similar to other buildings along River Street, roof top bars and space really add character to the existing architecture. People are able to gather and meet. These spaces are typically spaces people would rather gather versus being inside. People are able to enjoy outdoors while getting great views to River Street, the Savannah River, and the Talmadge Bridge.

People enjoy seeing the cargo ships go by.

CrossWay streets allow new tangential branches of medium- to high-density redevelopment corridors out of once low-density and unsustainable neighborhoods.

OUTDOOR RECREATION AREA

This a Before and After rendering of a private outdoor spaces to a condominium in Colonial Homes that sits right off the Creekline. Redeveloping this space into a public outdoor recreation area and pathway will allow new tangential branches of medium-to-high density transitions to what was once low-density unsustainable neighborhoods.

26

COLONIAL CROSSWAY + RENDERINGS

The CreekLine park then allows for new CrossWay streets that transverse the orbit connecting internal dense corridors to neighboring ones.

This CrossWay connects Colonial Homes, a multi-family home area, with Peachtree Battle; which is comprised of single family residences.

The CrossWay is constructed of a light weight wood material and is a ecological wetland which reserves rainwater during heavy rain, decreasing the pressure on the drainage system, reduces flooding.

27

Interstates 85 and 75 to the south, and Peachtree and Clear creeks to the north bound an isolated borough, leaving little available walk-ability and through-track to other centers of Atlanta.

The CreekLine utilizes existing creek and park infrastructure to connect the borough’s neighborhoods with an orbital path and park that compliments the BeltLine.

TRAFFIC TIME ANALYSIS

This is a dead end corridor within the Colonial Homes area. The street led to a potential transverse CrossWay to connect the CreekLine to the existing neighborhood, reducing the track time significantly because it allowed for pedestrians to travel by walking or biking instead of driving.

28

OUTDOOR RECREATION DESIGN + RENDERINGS

UNIT DESIGNS the STUDIO

250 sq ft

AERIAL SITE CONTEX

- Retail Parking will be o parking deck with acc Boulevard - Only residents will hav parking through Level - Access to Level 2 is pa gate of the tertiary str the SINGLE

575 sq ft

the DOUBLE

775 sq ft

FORM + LANDSCAPE DESIGN the TRIPLE

1,550 sq ft

STREET HIERARCHY

PRIMARY STREET BOULEVARD

SECONDARY STREET REINHARDT STREET

TERTIARY STREET RESIDENT ENTRY

31

BUILDING ALIGNMENT

BUILDING PLACEMENT

FORM, CONN

XT

on Level 1 of the cess off of

ve private entry to l 2 of the parking ast the security reet.

NECTIVITY, + EGRESS

AXIS + THE PEDESTRIAN

LANDSCAPE DESIGN | SOCIAL MIX

site plan | 1/16” = 1’ - 0”

32

ORTHOGRAPHIC DRAWINGS

FLOOR PLANS

2nd floor plan |1/16” = 1’ - 0”

SECTIONS

section perspective 33

multi-view section | 1/16” = 1’- 0”

SECTION DETAIL

SCALE 1/2”= 1’

48’ - 0” 4TH FLOOR

36’ - 0” 3RD FLOOR

24’ - 0” 2ND FLOOR

12’ - 0” 1ST FLOOR + SOCIAL MIX

3rd + 4th floor plan |1/16” = 1’ - 0”

ELEVATION

0’ - 0” RETAIL+PARKING LEVEL 12’ - 0” BUFFER

project south elevation| 1/16” = 1’- 0” 34

ANALYTICAL DIAGRAMS

FORM + PROGRAM DEVELOPMENT | winter

SOLAR ANALYSIS 12 pm

The winter solstice’s sun path was studied by using soft foam as my solid building form, and placing it on the Heliodon.

Wherever there was direct sunlight, a piece of the foam was carved out of the block. From there. The studied shown that the sun’s position is low throughout the day. I created a void in my final building form to all for sunlight to penetrate through the bottom of the building allowing for heat to circulate through in the cold winter, and allowing for shade in the hot summers.

solid

extrude

3 pm

void | shade vs heat

FORM + PROGRAM DEVELOPMENT | summer The summer solstice’s sun path was studied by using soft foam as my solid building form, and placing it on the Heliodon.

Wherever there was direct sunlight, a piece of the foam was carved out of the block. From there, the studied showed the sun’s position is high throughout the day. I created a void to create an atrium space, as well as extrusions to allow for the building’s form to naturally act as its own shading device.

The voids and extrusions also helped to create public|social spaces for people to collaborate. The summer solstice also cause me to create static shading devices both on the south and east facades. The shading devices were place on the incubator spaces and the company workout facility. The south facade has horizontal shading devices, while to the east facade has diagonal shading devices. The souther facade has a strategic shading system where there is an view port open between 2.5 ft - 6 feet from the floor This allows for the person’s view to the city to not be obstructed by the shading devices.

extrude east + upward natural shading device 37

experimental shading device

cool zones + views from site

3 pm

12 pm

SECTION DETAIL

9 am

horizontal steel panel

vertical steel bracing concrete floor slab

curtain wall insulation floor tile floor joists

9 am

38

ORTHOGRAPHIC DRAWINGS

PLANS

3rd floor plan| 1/16” = 1’- 0”

8th floor plan| 1/16” = 1’- 0”

9th floor plan| 1/16” = 1’- 0”

ELEVATIONS + SECTIONS

39

east elevation| 1/16” = 1’- 0”

east section| 1/16” = 1’- 0”

site plan | 1/32” = 1’- 0”

south elevation| 1/16” = 1’- 0”

south section| 1/16” = 1’- 0”

40

DESIGN CONCEPT

FACADE DEVELOPMENT + FINAL DESIGN SITE ANALYSIS

WATER REFLECTION

SOLAR ANALYSIS

This color comes from the tiny amounts of the compound silver chloride dispersed throughout the glass. When exposed to ultraviolet light, silver gains an electron from chloride to become silver metal, and gets the ability to absorb visible light and appear darker.

COLOR STUDY Here, colors were extract from the earth’s raw and natural resources. Colors can play a major role when it comes to design and architecture. Humans have emotional i nteractions with colors. This is called color psychology, which is the study of hues as aa determinant of human behavior. Here is a study if the colors yellow, orange, and green. and how these colors can placed throughout interior space to bring emotional connections between the individual and the space.

PARAMETRIC DESIGN|GRASSHOPPER SCRIP

FALL + SPRING EQINOX

BLUE

GREEN

serenity intelligence confidence communicative compassionate spiritual

natural cool GROWTH health tranquility harmony calmness fertility

NATURE STUDY Here, the earth’s raw elements are being studied. They are being studied in a way that the elements itself can become a part of the building design so that both the exterior elements, the interior, and the structure itself are in harmony. They all co-exists in a new fashion. Using the terrain are a foundation, the building can flow right into it. To eliminate cutting down too many trees, the landscape, such as trees can interlock with the plan of the building. So can the creek. Light passage was very minimal at this site due to the density of the trees, but of course this will change dramatically after the new building is further developed.

WINTER SOLSTICE

BUILDING FORM OUTLINE COURTYARD

ASIX ALIGN FOR VIEW TO TRAIL

CREEK

MOUNTAINOUS TERRAIN

SKIN SYSTEM | precedent analysis

SUMMER SPRING

WINTER

water reflection parametric diagram

architectural representation sketch

section cut | sun path + water collection sketch

FORM

cut

void

extrude

rotate

extend

void

cut

extrude

ANALYTICAL DIAGRAMS

mass

ELEVATIONS

circulation

private

basement|gallery

public

ground floor second floor

structure columns, girders + joists

building skin integration building skin

program classrooms

auditorium

restrooms basement|gallery lobby east elevation | 1/16” = 1’ - 0”

43

INACTIVE ACTIVE

RAW

solid

WATER REFLEC DRAINAGE SYS

The window is armed with chemical compounds that spring to action under ultraviolet light. This smart window will transition or darken even on a cloudy day to keep out those damaging rays. Then when there is not direct sunlight, the window will return to its normal transparency.

SUMMER SOLSTICE

VIBRANT

SMART WINDOW SYSTEM TRANSITIONING WINDOW

FLOOR PLANS + RENDERINGS

MODELS

BUILDING SKIN

CTION + STEM

STEEL GRILL + PRIMARY STEEL FRAME

exterior view of entrance + courtyard

PT basement | 1/16” = 1’ - 0”

cafe’

lobby

courtyard

gallery

ground floor| 1/16” = 1’ - 0”

second floor| 1/16” = 1’ - 0”

SITE PLAN|1/16” = 1’ - 0”

SECTIONS

west elevation | 1/16” = 1’ - 0”

south elevation | 1/16” = 1’ - 0”

north elevation | 1/16” = 1’ - 0”

auditorium | 1/16” = 1’ - 0” lobby + gallery | 1/16” = 1’ - 0”

44

SECTION CUT EXPLORATION

sloped roof insulation column

water drainage facade

concrete floor slab steel girder steel I-beam

ground line

underground water tank footing

45 33

SECTION CUT EXPLORATION MODEL

46

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ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITEC ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO ARCHITECTURE PORTFOLIO