Olivia Morgan 400 35th Street, Virginia Beach, VA 23451 firstname.lastname@example.org 757-243-6101 oliviarch.com Internships • Work Program Architects (Summer 2012 -current) • Kutonotuk, Project Manager (Summer 2013) • Clark Nexsen (Winter 2012) • Lyall Design Architects (Summer 2011) • Design Collaborative (Artistic Advisor, Summer 2011)
Contacts Work Program Architects Norfolk, VA 757-227-5310 Supervisor: Mel Price Email: email@example.com
Technical Skills • Proficient in the Adobe Suite and Final Cut Pro • Proficient in Rhino, Grasshopper, AutoCad, Sketchup, Maya, Revit, Blender • Proficient in information gathering programs GIS, TAS Ambient, and IES • Extensive knowledge of fabrication tools and application • Extensive knowledge of manual arts
Kutonotuk Charlottesville, VA 434-249-5732 Supervisor: Matthew Jull Email: firstname.lastname@example.org
Office Skills: • Proficient in all Microsoft applications • Proficient in Wordpress Other Relevant Experience • Work Program Architects, Junior Architect, 2012–current • Scholar’s Lab GIS consultant and Makerbot Specialist 2013–current • Product Designer and research assistant for Prof. Earl Mark of UVA • Kutonotuk, Project Manager for Afton Inn Redesign, 2013 • Artistic Director/Graphic Designer for O Records, 2014 • International Residence Student Mentor 2014 • Proficient in Italian, semester abroad program 2013 • Properties Master, Culbreath Theatre, University of Virginia, 2010–2012 • Cover Artist, Spectrum Engineering Magazine, University of Virginia • International Baccalaureate Diploma, 2010 • World Affairs Council, Hampton Roads, events volunteer, 2009–2010 Affiliations • AIA member
Clark Nexsen Norfolk, VA 757-455-5800 Supervisor: David Keith Email: email@example.com Lyall Design Norfolk, VA 757) 622-6306 Supervisor: Randy Lyall Email: firstname.lastname@example.org Design Collaborative Norfolk, VA 757-340-4272 Supervisor: Ed Lazaron Email: email@example.com
My name is Olivia Morgan. I am a student architect and professional model-maker. I can bring skills and experience to your company atypical of most recent architectural undergraduates. I pride myself on the high quality of my projects and production speed. I look forward to my career as a designer.
NSU Brown Hall Model Norfolk Stateâ€™s New Brown Hall for Work Program Architects
Venice Work Exploring the Veneto Region, dealing with the sea level rise and intervention through restoration
After Piano Nobile (After the First Floor)
Main hall with low water, only side channels are filled
Main hall with high water, space transformed with constriction of circulation
How do you fortify a building against the extreme water fluctuations of Venice and view aqua alta as an opportunity verses an inconvenience? Using Palazzo Grimiani as a model, I create an exhibition space that demonstrates conservation methods of preserving a building against rising water. The once private home can now function as a public space. The form and function of this space will change based on the water height by the introduction of different pathways. See full description at http://oliviarch.com/2013/12/22/after-piano-nobile/
Tiny Glass Architecture After Visiting a Murano glass factory, we designed spaces made from glass. The following project was inspired by hollow glass beads used for jewelry but used on a larger scale where the densest beads are the foundation with light, large and thin beads on top.
Sketches from The Veneto
Lady Charolette Fitting the Rivanna River with a voluminous screen dress
In a school-wide competition, we were given the task toâ€?fixâ€? the Rivanna River. Our solution was a fluctuating screen that dips and rises in a dynamic relationship with the river. The screen filters the water, renewing the environment and also creates areas for specific outdoor activities.
Last Resort Hotel for the Insane. A study in the extremes of design
3 1 2 3 1
This studio dealt with preparation in the face of a hypothetical catastrophe. In my apocolyptic narrative, a virus strikes the earth causing the CDC to hastily make a vaccine. This vaccine has adverse side effects causing insanity for most who take the cure. This project focuses on creating a resort area for the insane. Each specific characterâ€” the disorganized, the paranoid and catatonic have their own area of the building which caters to their particular needs.
Models On Uncertainty Think of five words dealing with uncertainty and create abstract models based on those concepts
Sculpting Climate Shaping fabric structures to control the wind
Buildings with Topo
Solar Exposure based on Terrain
Solar Exposure based on Terrain and Structures
General site chosen based on topography and human traffic. Lower areas less likely to receive SW winds. Project channels wind, creating cool micro-climates around the downtown area where there is high traffic and therefore affecting more people. Specific site chosen based on solar exposure. Wind will be channeled into areas of high solar radiation
This is a project that aims to create microclimates though the manipulation of air to channel or block ventilation. I chose the site based on the amount of solar radiation and area of ventilation or wind movement. It is in a relatively low elevation in comparison to the rest of the city. This equates to possibly lower ventilation from southwesterly winds. In particular, the site has high levels of solar radiation throughout the year, based on both topography and building height/positioning. This site would best benefit from a cooling wind. The fabric architecture shapes the movement of the wind based on the time of year and the predominant prevailing winds of Lynchburg.
Wide Spread Damage
110 Storm 100
Considerable Structureal Damage
40 Moderate Breeze
30 Gental Breeze
Raise Dust, Loose Light Air Leaves and Paper smalltwigs Wind Felt in motion Smoke on Face drifts Light Breeze
10 Calm Smoke Rises Vertically
Small trees Sway
Move Large Branches
Twigs Break off Trees
A thickened section through one of the fabric structures shows how air pressure travels across the curve. Using the fluid dynamics in TAS ambient was a major tool in determining the exact form of each fabric structure. The image above is associated with the graph on the opposite page. The shape pulls and directs air underneath creating a well-ventalated area. The diagram to the left associates wind speed (mph) with the human experience. The curved fabric causes a light to moderate breeze.
Hard-Soft Surface Study Study models using fabric and hard surfaces to make a hybrid collapsible structure
The project was to make a hut out of hard and soft surface pieces for four occupants that could collapse and be packed.To begin my study I did a series of different paper folds and geodesic studies as a starting point for a final product. I used intersecting â€œhard surfacesâ€? to make a morphing, fluid shape with a fishbone fold. I experimented with different sizes and uses of the fold as a dome from many intersecting pieces, as opposed to a smooth, curved surface. For a soft surface, I went through several iterations of how fabric could be stretched over a tube frame. The study eventually lead to a vertical arrangement with a tensioned tube in the middle and draped fabric around the side. It became a temporary hut for naturalists. I was inspired by ReOrder designed by Situ Studio.
Tension Drums Making a Collapsible tent for childrens learning centers on two sites: Cow Island and Schoodic Point
Cow Island (site one)
Cow Island (site two)
Schoodic Point Tent The Schoodic site was highly controlled by the park service to look as natural as possible. The existing buildings were out of place and there was no smooth transition from the built to the wild or clear integration into the site. The site for my tents created new pathways based on both topography and rock formations and were almost hidden, the foot paths changing from cement to dirt. The Schoodic tents were designed to accommodate specie collection, which is already a well established activity in the park. The tent itself is a light, tensile structure constructed with carbon fiber poles and supported by a single pole. By steadying the single pole, the whole structure erects itself in one motion, complete with collection shelves and center table, which circles the main pole. When the collection is done, the tent also stores the specimens, which are zipped up in their shelves, and the tent is rolled back to base camp as one package.
Cow Island Tent The tent on Cow Island follows a similar pattern, using a center pole to support the main frame. Instead of specie collection, this tent is used as a platform and meeting space integrated into a ropes course. Because the tent has a top and bottom platform, the structure is heavier than the tents on Schoodic. The pieces themselves are still light enough for children to carry and get involved in the process. This building takes two forms: the tension of the fabric walls create a protected environment; the wall also can be loosened and gathered. The walls also transform into a hammock for use in calmer weather.
Cow Island Model
Parts and Mechanics Top Plate Supporting Lattice
Fabric Wall and Attachments Gathering Walls Tensioning Wire
Ladder Rungs Bottom Plate
Ladder Rungs The diagram to the left is a section from the outer edge of the lattices. The darker blue is where the fabric wings attach. Poles sewed into the edge of the fabric can slide into the notch so tension Is distributed the length of the slot as opposed to single one point attachments. The lighter blue are poles where the shelves ďŹ t into.
The ladder rungs used to get to the top platform can be completely detached from the structure.They ďŹ t into a cut through the pole and lock in place when turned 90 degrees clockwise.
This adjustable ring in the fabric walls of the tent allows the walls to transform into hammocks. The inner tube goes farther into the outer loop the walls gather and create a pouch. Because the ring is connected to the roof of the tent, its distance from the top stays ďŹ xed allowing the fabric to droop and form pockets.
Truncated Icosohedron Lamp A personal project inspired by an earlier study in geodesic shapes
1) Forming Cardboard Cutout into the Truncated Icosahedron Starting with a ďŹ‚at cardboard cutout of the ďŹ nal form, fold into the geosphere.
2) Making Metal Skeleton Frame and Joints
Around the cardboard frame two skeletal halves were made from piano wire and triangular paper joints.
3) Final Assembly of Interior Frame
The two parts made to be separated from the discarded cardboard frame, are now connected with the triangular paper joints. Cardboard
4) Adhering Shell Pieces
The outer shell is made of plexiglass with a screen center dispersing light randomly.
Frosted Plexi Wire Screen
5) Covering the seams
The outer seams are covered with foldable paper strips. The corners again are covered with the triangular joint but these pieces are much larger to cover the whole strip.
See time lapse at https://vimeo.com/73731534
“What set Olivia apart from some of our previous employees was her ability to simultaneously focus on present and future issues. While working on a task, she was already focused on the next step, letting us know when we could expect her to complete a project, so that we had time to prepare for the next step.“
Mel Price, Principle of Work Program Architects, AIA, LEED AP, BCOM certified
“Olivia has shown me a level of intensity, independence, dedication, and confidence in her work that I admire and I consider her a role model for her peers. From the way she spends long hours in the studio, deeply immersed in pushing the boundaries of her work, and yet is modest, charismatic, and articulate when among her classmates.”
Matthew Jull, Principle of Kutonotuk, Professor of Architecture at the University of Virginia
“Olivia is a remarkable student, tenacious, inventive, willing to take risk, completely exhaustive in her approach, and comprehensive. She quickly emerged as one of the leaders in my studio”
Earl Mark, Associate Professor and Chief Technology Officer at the University of Virginia, AIA
Olivia Morgan oliviarch.com 757-243-6101 firstname.lastname@example.org