RHI Portfolio

Shell Mound Archeological Site, Florida

Academic | Design V Fall ‘22

Prof. Jamie Lindsey

BOATHOUSE CROSS-SECTION

BOATHOUSE PERSPECTIVE

The design of the complex reflects the quality of Shell Mound, as it lies within the site’s natural form. Its abundance of oyster shells informed the shell holding the boathouse, reflecting qualities of light, wind, and acoustics. By studying the form of an oyster, I derive both the form and programmatic procession of the project. In stead of designing a form that blends and loses itself within the landscape, the exaggerated form of the oyster is the intervention’s shell, amplifying the visual, acoustic, and overall experiential quality of the site.

As people are drawn to the complex, they are invited to observe the sunsets and solstices exhibited by the site; its moments of respite align directly with the axis of the solstice.

SITE FROTTAGE

SHELL STUDY

MODEL PHOTO WITHOUT ROOF

One of the palimpcest studies conducted within the site is the study of a felled tree trunk. This—along with studying the form of the oyster—leads to the radial ritual space. The ceiling is a direct reflection of an oyster shell in the dark bed of where the pearl once lay; both are sacred spaces

The space for research exists separate from the beacon that is the boathouse. It is quiet, and is split in two to preserve the axis of the solstice.

The core of this urban intervention comes from within the heart of the city. Its ability to house artisans and host pop-up markets fosters the existing arts culture of Gainesville. In turn, the museum collaborates with local schools in hosting their students works within the first floor gallery spaces.

As guests travel through the museum, they find themselves rooted to the courtyard. An homage to the trees that once stood on the site, the foliage now reflected in the mesh screen that wraps around the building, intertwining and sifting the sunlight throughout the museum.

Gradually, the museum shifts. Its walls unravel, only for its occupants to find that the museum itself is the palimpsest of a tree that was once there.

The courtyard becomes central to the program, acting as a referential navigator for occupants.

By day, a sifter.

Downtown Gainesville, Florida

Academic | Design VI Spring ‘23

Prof. Martin Gold

As the foliage exists in the pattern of the corten mesh, so does its quality. The permeability of the mesh allows a breathability to the spaces. Its most public spaces along the façade are outdoors invite wind, movement, and the Gainesville arts community into the museum.

RUTH HUNTER IGLEHART

WEST ELEVATION

SOUTH ELEVATION

All floor levels are collapsed into one, enacting the courtyard as the central element of the museum. Acting as the main rectilinear public space, it allows the surrounding walls to shift away form the courtyard; the museum opens itself up to the community as a market space.

WATERCOLOR COLLAPSED PLAN

By night, a beacon.

The sun sifts through the mesh though the trees and illuminates the interiors with daylight. The galleries themselves maintain the darkness needed to preserve its artworks.

RUTH

Competition | Design VII Spring ‘24 Prof. Martin Gold

This project is a submittal towards Buildner’s Museum of Emotion competition, a silent competition evoking two contrasting emotions as its only requirement.

Rather than defining two positive and negative emotions, I opted to design a courtyard that blurs the edges between these emotions through transluscency, texturology, and the role of water. The horizontal space encourages social and interpersonal gatherings, while the vertical space holds solitude in intrapersonal reflection.

The emotions experienced are dependent on the individual, not the environment.

N O T I O N S O F M A D N E S S |

In a Vertical City

Academic | Design IV Spring ‘12

Prof. Mark McGlothlin

The void within the structure reiterates the ideology within Orwell's 1984, a text the tower studies and orients programmatic elements around, offseting the sharp linearity of the program. The intended inaccessibility of the structure reflects the dual nature of the tower—of the 'ministry'. It is under constant surveillance, as it pretends to be something it is not. The structure, itself, however, digresses. wherein the truth lies only at its top.

The montage models study how two planes intersect, creating a void. Its study of transparency relates to themes of surveillance in the novel. This is then translated onto acetoned basswood in

SURVEILLANCE STUDY MONTAGE

MODEL PHOTO

MONTAGE MODEL SERIES

TOP MODEL PHOTOS

MINISTRY OF ‘PEACE’ SECTION

MINISTRY OF PEACE SECTION

ATLANTIC CENTER FOR THE ARTS | NORTH CAMPUS

Midtown Manhattan New York City, New York

Academic | Design VII Fall ‘23

Prof. Judi Shade Monk

In Collaboration with Lane Huntley

The ACA North Campus acts as an extension of the existing campus located in New Smryna Beach, Florida.

Sitting in Midtown Manhattan, the Campus becomes the interdisciplinary joint between the Arts Districts of New York. As a transient space, rotating sets of local artists and students are invited to collaborate and exchange knowledge.

Throughout the building, the oculus acts as a datum, forming a vertically open space to invite light into the most interior spaces. This linear oculus and its atrium become traceable element that binds the different programs.

Focusing on transparency, environmentalism, and color, the North Campus' facade reiterates concepts set forth by the existing campus' founder. The south-face would hold a permeable microalgae photosynthesis system to maintain a culture of openness and provide shade. The north-face continues this structural and visual language with dichroic glass.

Select water features embody the creek on the existing campus, regulating and recycling wastewater into the facade system. The rushing water helps to mask exterior noises, further emphasizing the tranquility and refuge needed to foster an environment for the creative process.

SUBWAY PERSPECTIVE with Lane Huntley

BOUQUINISTES PERSPECTIVE

PUBLISHING PERSPECTIVE by Lane Huntley

OCULUS PERSPECTIVE`

The facade consists of a permeable double skin attached with a tectonic diagrid. This diagrid system is attached with a light joint to the façade of the building. CROSS-SECTION

Staying true to the character of the existing campus, the ACA North Campus is constructed with the same light tectonic expression and environmental consideration. This lightness and permeability creates a ‘breathability’ between both its environment and its programs, further encouraging the exchange of ideas.

Focusing on transparency, environmentalism, and color, the North Campus' facade reiterates concepts set forth by the existing campus' founder. The south-face holds a permeable microalgae photosynthesis system to maintain a culture of openness and provide shade. The north-face continues this structural and visual language with dichroic glass

The tectonic system is expressed through both the structure and the diagrid façade.

DICHROIC GLASS FAÇADE ILLUSTRATION

S A V A N N A H E M B E D D E D

COMMUNITY LIBRARY & PLAZA

Telfair Square Savannah, Georgia

Academic | Design VI Spring ‘23

Prof. Martin Gold

The cultural remnants and texturology of Savannah present themselves in the design of its Community Library and Public Plaza. By studying the city from a plan view, it holds itself to a rigid grid. Upon visiting Savannah, I found its spirit and its culture to be anything but rigid. The abundance of trees and foliage express a freedom and curvature to the city that I had not anticipated.

Throughout the day, the sun catches between the trees of the adjunct plaza, casting shadows onto the western wall the canvas. The north, east, and south façades respect the existing edges of the community, while the last unfolds itself to the square and opens itself to the river.

The fifth façades the roofs remains rectilinear, respecting the grid of the city from above.

The programmatic gesture derives itself from the circulatory nature of Savannah’s squares.

Whereas the existing squares exhibit a monument at its center, Savannah’s library and plaza hold a space of community gathering at its core.

The louver system acts as both an external sun-shading device and a privacy screen. This allows for occupants to visually occupy the adjacent plaza, while eliminating the sense of surveillance otherwise exhibited by a glass curtain wall. The concentration of the louver system towards the top pulls focus to the bottom, where a majority glass façade encloses the more public programs. Other shading is enforced by the deviation of the upper levels from original form, casting shadow onto the pavement below.`

An outdoor café and atrium within the library enfores circulation around the building, while inviting the public plaza and its spirit into the library. The sun, too, invites itself inside.

LIBRARY CROSS SECTION

LOUVER MODEL