Sara Vernia Portfolio

DESIGN+ENGINEERING

PORTFOLIO

SARA VERNIA

DESIGN+ENGINEERING

PORTFOLIO

SARA VERNIA

CONTENTS

STUDIO PROJECTS Helsinki South Harbor

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Veloscape

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Surveyor’s Home-Shop

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Lyceum Competition 2009

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Piazza Guiseppe Mazzini

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MISCELLANEOUS PROJECTS A New School: Details

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The Responsive Surface

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Steppin’ Station

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PROFESSIONAL WORK Crow Creek Road Rehabilitation

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CURRICULUM VITAE

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HELSINKI SOUTH HARBOR University of Oregon: Winter-Spring 2012 ARCH 585-586: Advanced Arch. Design I & II Location: Helsinki, Finland Professor: James Tice

HELSINKI SOUTH HARBOR The South Harbor is Helsinki’s premier marine landscape and has functioned since the end of the 17th century as a port and quay area neighboring the city center. Today the South Harbor features public markets, plazas, parks and impressive civic buildings. Even with this vibrant infrastructure, the area is in need of some major urban improvements, especially regarding public access to the waterfront.

This studio was based on an actual competition held in 2011 and focused on developing a comprehensive plan for urban improvements as well as a design for a building of our choosing that would be incorporated within the project area.

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PROPOSED HARBOR PLAN

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EXISTING HARBOR SHORELINE

PROPOSED URBAN PLAN

EXISTING PUBLIC SPACES

PROPOSED PUBLIC SPACES

EXISTING ROADWAY TRAFFIC

NEW HARBOR TRANSPORTATION PLAN

HELSINKI SOUTH HARBOR: RESTRUCTURING THE WATERFRONT LANDSCAPE The challenge that faces the development of the harbor focuses on the harbor’s dual roles: first as a historic, symbolic and “people” center of the city with a strong emphasis on recreation and, second, as a working port with concomitant demands for services and infrastructure required for the thriving cruise and ferry operations. As time has passed the city’s needs have changed and now require a restructuring to accommodate a more connected system for all the harbor’s users.

canal area that separates the Katajanokka neighborhood (8) from the mainland. The current traffic condition, as one can see in the existing diagram, is troubled with cross streets and has minimal pedestrian access to the area’s amenities. The solution to this was to open up the canal creating an inner cove, eliminating several of the unnecessary streets and enhancing the park area in front of the Uspenski Cathedral.

The final improvement was to create an entirely new neighborhood block on the eastern edge of the harbor (10-12). The proposed buildings would speak to the existing grid system but would be extruded from Katajanokka to create an intimate canal which would be used as a docking area for local residents. The proposed Institute of Technology in Arts and Sciences (ITAS) lies at the northern tip of the peninsula and acts as a beacon while simultaneously extending back to the mainland, celebrating the heart of Helsinki. The buildings south of ITAS would be composed of ateliers and live/work complexes which would attract lively activity to the area.

The first step to accomplish this was to tackle the western edge of the harbor (1-5) and extend Observatory Hill above the main arterial to the water, leaving the heavy traffic to pass underneath. This would provide a safe and enjoyable pathway to the water while maintaining the important vehicular thoroughfare. In addition to this, a new ferry terminal and generous quay extending along the entire western edge would increase the amount of docking space for larger ships on the outer edge and smaller boats within a more protected inner bay.

The second urban move was to confront the problematic

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LARGE FERRY DOCK FERRY TERMINALS DOCKING QUAY OBSERVATORY HILL OLYMPIC PARK MARKET STALLS MEMORIAL CANAL KATAJANOKKA NEIGHBORHOOD TEOLLINEN CANAL PROPOSED INSTITUTE INSTITUTE ANNEX LIVE/WORK COMPLEX

NEW HARBOR PLAN WITH PROPOSED INSTITUTE

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INSTITUTE OF TECHNOLOGY IN ARTS AND SCIENCES: BUILDING PROGRAM DEVELOPMENT Finland for years has been at the centrer of the continent’s technological industry even though it is located on the fringe of Europe. To attest to this phenomenon, recent government funding has been appropriated for a new institute of technology that will be sited within the Helsinki Harbor. This project will promote a new link between the people of Helsinki and the fast-paced world of technology within the arts and sciences.

VOLUMES

PUBLIC

The Institute of Technology in Arts and Sciences (ITAS), will house public gathering spaces as well as private and commercial research centers. The interdisciplinary nature of ITAS is intended to be a vessel for innovative expression of the human condition through the arts and sciences and technology.

SEMI-PUBLIC

cafe

PRIVATE

shop

SERVICES (PR)

PUBLIC INTERFACE The entrance to ITAS really begins from the moment one lays eyes on the glazed central atrium that acts as a beacon from the northern edge of the Helsinki Harbor. From this point one makes his way towards the Katajanokka neighborhood and crosses Teollinen Canal to the entry plaza.

atrium

entry

digital

craft book

garden

lecture hall

shop

kitchens lounges

SERVICES (PUB)

restaurant

event hall

research labs

terrace

conference

offices

classrooms

computing

admin

parking

circulation

service

mechanical

ADJACENCIES PUBLIC

The building entry and winter garden are intended to be an extension of the city itself as a kind of outdoor room.

This central atrium space spans the gap between two programmatic volumes and terminates as a glazed facade that looks back to the center of the city. A minimalist waterscape as well as temporary exhibition space occupies this area.

EDUCATIONAL

IONAL

The main floor houses many of the public gathering spaces and then becomes more and more private moving upward to the second, third and fourth floors.

Even so, both programmatic volumes that flank the atrium space have minimal separation, mainly for acoustical purposes, in order to maintain a high level of transparency throughout, making ongoing research visible and encouraging connections and collaboration among researchers.

SERVICE

ENTRY LOBBY GALLERY SM GALLERY LG LIBRARY CRAFT CENTER SCIENCE CENTER MEDIA CENTER EVENT SPACE WINTER GARDEN CONFERENCE SM CONFERENCE LG DIGITAL LAB RESEARCH LAB A RESEARCH LAB B WOOD SHOP METAL SHOP CLASSROOM ART CLASSROOM DIGITAL LECTURE HALL STUDIO OFFICES SM STUDIO OFFICES LG ADMINISTRATION CAFE KITCHEN/LOUNGE CAFE/RESTAURANT KITCHEN PRINT SHOP BOOK STORE

(SOLID) = HIGH INTERACTION (OPEN) = MEDIUM INTERACTION (VACANT) = NO INTERACTION

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VOLUMES AND ACCESS (SQ METERS) ENTRY LOBBY GALLERY SM GALLERY LG CRAFT CENTER SCIENCE CENTER MEDIA CENTER

PUBLIC

WOOD SHOP METAL SHOP CAFE LIBRARY ADMINISTRATION

SEMI-PUB

DIGITAL LAB CONFERENCE SM KITCHEN/LOUNGE RESEARCH LAB A RESEARCH LAB B CLASSROOM ART CLASSROOM DIGITAL STUDIO OFFICES SM

SEMI-PRV

STUDIO OFFICES LG CAFE/RESTAURANT KITCHEN

PRIVATE

EVENT SPACE CONFERENCE LG WINTER GARDEN LECTURE HALL

AREA IN SQUARE METERS 10

PROGRAM DESCRIPTION

TRANSPARENCY

AERIAL VIEW FROM NORTH

NORTH VIEW OF THE INSTITUTE FROM MARKET

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1st FLOOR 1 2 3 4 5 6 7 8 9

WINTER GARDEN BOOKSTORE & PRINT SHOP EXPERIMENTAL CENTER WOOD SHOP METAL SHOP CAFE/RESTAURANT LIBRARY MEETING ROOM GALLERY

URBAN INTERFACE

2nd FLOOR

INWARD REFLECTION OUTWARD EXTENSION

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CLASSROOM LOUNGE & KITCHENETTE RESEARCH LAB OPEN STUDIO DIGITAL LAB RESEARCH LAB OPEN STUDIOS MEETING ROOMS UPPER LIBRARY MEETING ROOMS AUDITORIUM EXHIBITION SPACE

3rd FLOOR

VERTICAL WRAPPING & VISUAL TRANSPARENCY

SERVICES SEMI PUBLIC

PUBLIC

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FLOORS 4-5 TYP. BUILDING ZONES 1 2 3 4 5 6 7 8 9 10 11 12

STRUCTURAL BAYS

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CLASSROOM LOUNGE & KITCHENETTE OPEN STUDIO DIGITAL LAB RESEARCH LAB OPEN STUDIOS MEETING ROOMS RESEARCH LAB MEETING ROOMS AUDITORIUM EXHIBITION SPACE

CLASSROOM LOUNGE & KITCHENETTE RESEARCH LAB OPEN STUDIO DIGITAL LAB STUDY AREA OPEN STUDIOS DIGITAL LAB RESEARCH LAB MEETING ROOMS AUDITORIUM EXHIBITION SPACE

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THE INSTITUTE: ROOM EXPLORATIONS THE LABORATORIES The research labs are the heart of ITAS’s mission to foster interdisciplinary innovation. The five research labs in the building are flanked by the offices for researchers.

The labs are double height spaces and serve as testing areas, collaborative hotbeds of creativity so to speak, that can be easily adapted depending on the investigations being implemented at any given time.

FLOORS 2&3

RESEARCH LAB LOCATION

Each lab is served by the Gigabit-Optic Plant located under the building. This infrastructure enables the flexibility to modify and adapt to the researchers needs within their own laboratories as well as encouraging a culture of mixing and matching seemingly disparate research areas.

The private offices are purposefully oriented facing the central laboratory space in order to strengthen the alliances between fellow researchers but also give privacy for quiet contemplation. Each office ranges from ten to fourteen square meters. There are a total of eighty private offices throughout the building.

THE AUDITORIUM The auditorium is located on the southern portion of the west wing and is furnished with 320 seats which include narrow removable tabletops that extend the entire length of each row. The stage has a multipurpose function which can accommodate venues that include small performances, lectures and panels.

The geometric design of the auditorium was designed to maximize the best possible acoustical and visual connections between the performer and the audience.

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DOUBLE HEIGHT RESEARCH LAB FLOOR PLAN

MAX SCREEN HEIGHT

RESEARCH LAB, TYP.

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ɵ = 20˚ ( < OF PROJECTION FROM HZ ) α = 190˚ ( MAXIMUM VIEW ANGLE ) d = 1.2 ( EYE HEIGHT ABOVE EACH LEVEL ) AUDITORIUM PROJECTION STUDY

NS SECTION

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EAST FACADE

WEST FACADE

SOUTH FACADE

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NORTH FACADE

INTERIOR PERSPECTIVE

EW SECTION

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VELOSCAPE University of Oregon: Fall 2011 ARCH 584: Design Studio Location: John Day, Oregon Professor: Jolie Kerns

VELOSCAPE: A SCENIC BIKEWAY â&#x20AC;&#x153;Forget about your own weaknesses. Follow the most natural path.

Upset the obvious assumption. Glide over your own roots. Repeat endlessly. Dilate rather than concentrate. Visit nature.â&#x20AC;?

-Alessandro Mendini

The intention of the veloscape project was to examine an infrastructure that would encourage bicycling as a type of regional transportation and would develop an architectural approach supporting this kind of system. For this particular study, we focused on developing potential architectural elements that would accommodate bicyclists along the Old West Scenic Bikeway, a 180-mile route located in Grant County Oregon. The infrastructure for this phase would include facilities ranging from a simple rest stop or gathering space to a hostel complex that would provide all the amenities a cyclist would need for a long distance tour.

A strong emphasis on process was encouraged throughout the project and led to in-depth explorations of the relationships between the bicycle and the body, how movement and speed can inform architecture and how an organizational taxonomy can be developed to formulate concepts that could be translated and adapted to distinct terrains.

Two preliminary exercises were executed before undertaking the actual project. The first was a study of an alternate mode of movement and a re-read of past architectures through a present-day lens. The second was an investigation of the relationships between the bicycle and the human body. Both these exercises were intended to inspire the development of an architectural language for our final project.

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PROPOSED RESPONSIVE SURFACE

BIKE ROUTE

JOHN DAY

LONG CREEK HOSTELRY

LONG CREEK SITE PLAN

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VELOSCAPE: EXPLORING PAST MODELS Before beginning our investigation of the Old West Scenic Bikeway, we focused on the explorations of alternate modes of movement. The exercise entailed the analysis of an existing precedent that could inspire the development of an architectural language.

SKI TRIP IN RETURN TRIP ALTERNATE ROUTES START / FINISH HUT LOCATION WMNRA LOCATION

WHITE MOUNTAINS RECREATION AREA (WMNRA) Located just an hour’s drive from Fairbanks, Alaska, the one-million-acre WMNRA offers stunning scenery, peaceful solitude and outstanding opportunities for year-round recreation. The WMNRA is one of the most extensive winter trail systems in Alaska. Well-maintained cozy cabins accommodate cross-country skiers, skijourers, dog mushers, snowshoers and snowmachiners.

The 250 miles of groomed trails and twelve public use cabins make route options extensive. Gentle rolling hills dominate the landscape and only a few steep pitches are found in the mix.

LEE’S CABIN, MP79 ELEAZAR’S CABIN, MP7

The northern loop has a total distance of 84 miles. The average speed of a cross country skier is 2-4 miles/ hour and the average distance between cabins is 10 miles. Since the energy expended between nodes is approximately 600 calories/hour, the typical length of stay to recuperate at each node is approximately 16 hours.

The WMNRA is a park run by the Bureau of Land Management (BLM). The trails connect a total of twelve cabins which can sleep from four to six people and are constructed from local logs or lumber and vary in size from 120 to 200 square feet.

DEVELOPING THE LANGUAGE USING SOUND The vibrations that travel through the air or another medium can be heard when they reach a person’s or animal’s ear. How much of what is heard is really perceived though? This is an attempt to analyze the intensities of sound in relation to the experience of the WMNRA terrain and its environ. The vertical lines represent the frequency of elevation change while the horizontal lines map the amplitude and frequency of noise that the skier experiences.

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BOREALIS-LEFERVE CABIN, MP67 BOREALIS-LEFERVE CABIN, MP18

MP 15

MP 20

CARIBOU BLUFF CABIN, MP27 CARIBOU BLUFF CABIN, MP58

MP 25

MP 30

WOLF RUN CABIN, MP37 WINDY CABIN, MP46

MP 35

MP 40

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VELOSCAPE: BIKE AND BODY ANALYSIS The purpose of this exercise was to develop insight about how the bicycle operates and to explore its its rhythms with the body and its surroundings. The analysis was initially driven by the pedal, an essential element of the operation and function of the bicycle, and included a comparative study of a four-mile journey outside Eugene, Oregon, experiencing the power of the pedal in an automobile and on a bike. Data for both trips was collected through sight and sound using a camera and microphone.

The resulting exposures to the senses between the two vehicles were quite disparate. In the case of the car, sight and sound were limited and significantly muted due to the amount of enclosure. The bicycle ride, on the other hand, was charged with stimuli ranging from the acute visuals of the countryside to the sensitive sounds of the animals and even the electrical power lines.

The diagrams shown begin with the sound waves recorded along the trip, first with the sounds while driving the automobile and second on the bicycle.

The analysis from this point was a process of data deconstruction and reformation, using the frequencies and amplitudes of the sound waves captured on the bicycle and composing new methods of conceptualizing the data. Three particular zones were extruded from the data set in order to focus on specific sound bites. Two main systems were extrapolated from these sections, the first being an edited version of the wave which shows the irregularities of the ambient noise and the second being the rhythmic noises made by the body (my pants making swooshing noises as I pedaled). This set of regulating lines created data that reorganized the information into a new pattern. The final step in the process was to analyze the interstitial spaces created within the new pattern and to explore the volumetric qualities that they may begin to express.

Using the elements of a site to inform an architectural language can produce some surprisingly beneficial results. Great attention to this process was used on the Old West Scenic Bikeway for the Veloscape project to design an infrastructure of rest stops.

LAYERING THE VOLUMES IN 3-D

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sounds from within the motorcar

bike surveillance/detection level: high

three targeted moments: initiation, wind, power

rhythmic leg movements

cadence & chaos reinterpreted

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With any generative design process there needs to be a clear set of parameters that define the program components and how they come together to create a more holistic outcome. In the case of veloscape, the process began with a single element, a surface, which then was allowed to evolve and adapt in order to accommodate environmental and human exposures.

Depending on programmatic needs, the surface could be scaled, multiplied, folded and/or extruded in order to create a diversity of enclosures for the bicyclists along the scenic route. The degree of enclosure needed for each rest stop would inform whether the surface would be a simple wall or modified to create a room, or even a building complex.

PLANE

ROOM

COMPLEX

The quality of the surface itself would acknowledge the surrounding activities by self-adjusting its degree of transparency. This would be achieved at each stop by using a high tech responsive surface composed of dynamic louvers programmed to open and close according to their prescribed function. How these surfaces are oriented to each other and the degree of their fenestration would create the potential of defining a multitude of occupiable spaces whether they be interior, exterior or somewhere in between.

The dynamic performance of the surfaces is designed to sense ambient environmental factors such as light or sound and interactively communicate them to the user in real time.

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The intelligent surfaces are composed of louvers made from a light canvas which rotate at specific locations in order to respond to environmental conditions. Local sensing units such as photoresistors and motion detectors would be installed along the surface for immediate detection. The information from the sensors is then sourced to a computer for processing which prompts the mechanical system to react.

The definition of the adjustable louvers was formulated by using Grasshopper, a plug-in for McNeel’s Rhino Modeler, and Firefly, a set of comprehensive tools that bridge the gap between Grasshopper and the Arduino Microcontroller, allowing for real-time data to flow to and from the three-dimensional digital world and the physical world.

For the simulation, photoresistors are used to feed into the analog inputs on the Arduino board and produce readings in a gradient using pulse-width modulation.

The data are then translated to a 10-bit numeric value (0-1024) which directs the louvers to rotate between 0° & 90°.

The parameters that are examined which determine the quality of the surface are site specific. Each rest stop would take unique qualities from the location as well as from its programmatic needs to develop its architecture. The Long Creek Hostelry Rest Stop used the wind patterns, local historical geometries and the site’s terrain to develop a complex of buildings with responsive surfaces.

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VELOSCAPE: SURFACE ARTICULATION

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GRASSHOPPER DEFINITION

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FOLDING TOPOGRAPHY

ADHERING TO CONTEXT

Located at the midpoint of the scenic bike loop, Long Creek lends itself as a perfect site for a more robust rest stop. The proposed hostelry has a wide range of amenities that would serve the cyclist for a restful overnight stay. Private and dormitory accommodations are available as well as a full-service kitchen, a small bike repair shop, lounge & reception areas, a small intimate library, laundry services and a community sauna.

WIND DEFINING STRUCTURE

VELOSCAPE: LONG CREEK PROPOSAL

SITE PLAN 1 2 3 4 5 6 7

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LOBBY / COMMUNICATIONS BIKE / EQUIPMENT STORAGE KITCHEN / DINING HALL BICYCLE REPAIR SHOP INTERNET / LIBRARY LAUNDRY / SHOWERS / SAUNA HOSTEL ROOMS

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SURVEYORâ&#x20AC;&#x2122;S HOME/SHOP University of Oregon: Summer 2011 ARCH 584: Design Studio Location: Eugene, Oregon Professor: Josh Hilton

SURVEYOR’S HOME/SHOP “He had brought a large map representing the sea without the least vestige of land and the crew were much pleased when they found it out to be a map they could all understand.”

-Lewis Carroll

The approach to the Home/Shop studio was driven by an ideation process in which concepts were to be generated through various mini-projects. This process was broken up into four phases: an investigation of a particular craftsman, an exploration of a box, the development of a detail, and then the final design of an actual residence.

The objective for this project was to develop an architectural language that reflects the identity and sensibility of a specific craftsman, a surveyor in my case.

The Surveyor This craftsman is defined as one who investigates conditions, situations or values. The profession goes beyond documenting physical elements such as topography, buildings, vegetation or utilities; it entails a keen awareness of the surroundings so that the collected information can be interpreted and transcribed into a visual language for communication.

This surveyor abides closely to the Bauhaus philosophy, specifically, to the idea of the Gestalt, a configuration, pattern, or organized field having specific properties that are derived from the summation of its component parts; a unified whole. He must look at the world objectively, focusing his analysis on the details while simultaneously viewing the environment holistically as a complete system.

It is essential that the home/shop of the surveyor be a place for quiet contemplation and reflection. The home and shop are coupled together yet maintain their own distinctive purpose, each configured to obtain a certain amount of refuge while still cultivating connections to the surrounding environment.

Critical Terms datum coordinate control point view point boundary backsight environment solid/void SITE PLAN

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order/chaos precision perception connection evaluation orientation regulation declination

survey topography geometry elevation section contour element detail

MODULATION IN SECTION

MODULATION IN PLAN

FRAMING VIEWS

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SURVEYORâ&#x20AC;&#x2122;S BOX Every act of seeing is a visual judgment. It is immediate and composed of indivisible ingredients. What we see gives us a way to orient ourselves, a way to navigate through an extremely complex world.

The box project served as a means to examine the surveyorâ&#x20AC;&#x2122;s way of seeing and way of making. My first explorations consisted of models that looked at how a surveyor might document terrain using a telescope to measure data points. The concept in the model below shows contours with the middle section eliminated, demonstrating the inevitability of interpolation. This exhibited that not all that is documented is perfectly accurate and poses an existential question: does it exist if it is not actually perceived?

The final models were viewfinders that would reverse the idea of interpolation by cutting out information in order to perceive the framed data in a different way.

The first iterations consisted of concrete masses, their weight depicting the information not realized. The final iteration incorporated the angled interior edges of the aperture. Eliminating the reference of the interior walls gave the illusion that the view was flattened into a two dimensional system so that the information being discerned was self-contained.

This technique was incorporated into the final design to frame exterior elements. To accomplish this the main structure is specified as cast-in-place concrete with key apertures that reveal advantageous prospects.

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THE SURVEYOR’S SITE The quantity of data entering the average mind has exponentially grown over the last several decades. The onerous task of editing the information we encounter on a daily basis can be strenuous. The surveyor is obliged not only to encounter information, but also process it in a meaningful way. It is of the utmost importance then that his home and shop should be a sanctuary, a place that is able to combat “useless” information and yet offer moments of filtered reflection and valued outlooks.

The datum then orients the surveyor, perhaps not as a single object but as a singular concept. In this case, a distinguishable, rhythmic pattern of parallel lines has been employed in the architecture in order to reduce the amount of environmental variables. A nine-foot modular pattern was overlaid on the site with a series of layers which were extruded, projected, offset, and then are derived by being bent, peeled, counter-posed, and filtered.

ACCESS ROAD COMMUNAL GARDEN PRIVATE DRIVE CAR PORT

LIVING SPACE WORKSHOP WORK PATIO SUN DECK

CONTEXT

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THE SURVEYOR’S HOME/SHOP

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SECTION THROUGH LIVING SPACE

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NS SECTION THROUGH SHOP SPACE

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LYCEUM COMPETITION 2009 University of Oregon: Fall 2009 Arch 584: Design Studio Location: Abuja, Nigeria Professor: Erin Moore

LYCEUM COMPETITION 2009 The concept for the 2009 Lyceum Fellowship was to focus on a design solution for a community center in Abuja, Nigeria that would simultaneously address local and global issues, being mindful of the past and respectful of the present, contemporary needs.

The community center for Abuja would be a â&#x20AC;&#x2DC;hubâ&#x20AC;&#x2122; for international exchange, inviting people of all backgrounds to this singular place. Whether visitors arrive by car or on foot, the sculpted site entices people inward towards an experience that is both a journey and a destination. The monochromatic materiality of the structure does not disregard the colorful nature of Nigerian cultures, but rather provides a blank slate that reflects all people.

Sweeping walls of local limestone emerge as an extension of the native ground to guide and draw people into the site from the adjacent market and roadways.

The western portion of the site responds to the Friday Market, offering a swooping roofscape to serve as public park space and overflow seating area for the outdoor amphitheater. Arriving by car from Constitution Avenue, visitors first get a glimpse of the large curtain walls that extend to the north/northeast. As they approach the complex, the large extruding walls hide the buildings momentarily until the central courtyard is revealed at the drop-off. From there, visitors move into and then out of the parking structure/bus transit to the ceremonial core of the building and finally to the event halls.

The structure itself acts as a spatial organizing system that defines paths and programmatic spaces throughout.

The walls begin at the ground and curve upward from the market area. As they continue inward, they cradle the central hub of the site and form the amphitheater ceremonial core. Finally the walls radiate outward with linear directionality to define the main building complex and event halls. From this unifying core, the outward extending walls allow visitors to return to their city, viewing and celebrating its people and resources with fresh eyes.

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PROPOSED COMMUNITY CENTER

ABUJA, NIGERIA

SITE PLAN

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FIRST FLOOR PLAN 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

MAIN ENTRANCE LOBBY INFORMATION & CLOAKROOM THEATER FOR DANCES/PLAYS DRESSING ROOMS REHEARSAL ROOMS CATERING SERVICES OPEN GALLERY SPACE ASSEMBLY ROOM MEETING ROOMS LECTURE HALL ART WORKSHOPS BISTRO LIBRARY SECONDARY COURT MAIN COURTYARD & REFLECTING POOL AMPHITHEATER PARKING GARAGE

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SECOND FLOOR PLAN 1 MULTI-PURPOSE ROOM 2 THEATER, 2ND FLOOR 3 REHEARSAL ROOMS 4 OFFICES 5 STORAGE 6 MULTI-MEDIA CENTER 7 2ND FLOOR PARKING 8 AMPHITHEATER LIGHTING RMS 9 ROOFTOP PARK SCAPE

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SHADING TENT OVER AMPHITHEATER

INWARD JOURNEY & OUTWARD REFLECTION

ROOF SURFACES

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OUTDOOR AMPHITHEATER

PERFORMANCE WINGS

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ENTRY COURTYARD

INTERIOR PERSPECTIVE OF GARAGE

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PIAZZA GUISEPPE MAZZINI University of Oregon: Spring 2009 Arch 688: Exchange Program Location: Macerata, Italy Professors: Don Corner & Jenny Young

PIAZZA GUISEPPE MAZZINI Piazza Guiseppe Mazzini, located just inside the lower city gate, was the historic market square of Macerata.

Today, the piazza has little use except for the weekly temporary market. The purpose of this studio project was to activate this public space by undertaking an intervention and designing a public structure that would divide the long inclined square into upper and lower regions. To initiate this work, the studio visited comparable Italian towns such as Fermo, Fabriano, Ascoli Piceno and Ancona to discern key characteristics of successful piazzas.

From these studies, several important factors, such as connectivity, circulation, enclosure and local context, were carefully considered throughout the design. The geometric shape of the existing piazza also played a large role in the formal qualities of the new proposed buildings. The intention of massing and spatial concepts of the layout was to create connections between an informal cascading upper piazza, a more formal lower piazza in front of the courthouse and the existing park just above the bell tower, while still providing enough enclosure to make each space feel unique.

The program for the proposed building(s) was created on an individual basis. My concept was to develop a multi-use complex that would activate the piazza and stimulate local commerce. The ground level of the main building, would hold several enclosed shops as well as a flexible space that could be occupied by temporary vendors. The second and third floors of the main building would be occupied by a museum. An auxiliary building, placed at the edge of the site would frame an additional courtyard in front of the museum and would house live/work units for artisans.

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LOWER EAST PIAZZA

MACERATA, ITALY

PIAZZA G. MAZZINI

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UPPER WEST PIAZZA LOOKING EAST

GEOMETRIC FORMULA

UPPER WEST PIAZZA LOOKING WEST

PUBLIC SPACE

CONNECTIONS

NS SECTION

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S ELEVATION

EW ELEVATION

The structure itself acts as a spatial organizing system that defines paths and programmatic spaces throughout.

The primary structure is built of concrete parallel walls clad in white limestone and bound by an exterior limestone wrapping for enclosure and stability. The placement of these walls allows for connections between the two piazzas on the ground floor and creates delineated spaces for the museum above.

The composition and materiality of the facade was realized by taking cues from the adjacent buildings and by programmatic daylighting requirements. The roof structure is elevated to provide clerestory windows and is separated in the center of the building to allow light to penetrate further into the galleries. Placement of glazing with operable shading devices on the second floor allows for light to flush the parallel walls for gallery displays.

SECTION & FACADE DETAILS

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ARTIST STUDIOS

COMMERCIAL

2nd FLOOR

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3rd FLOOR

PIAZZA FLOOR PLAN

EW SECTION THROUGH SITE

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MISCELLANEOUS PROJECTS A NEW SCHOOL: DETAILS THE RESPONSIVE SURFACE STEPPIN’ STATION

A NEW SCHOOL: DETAILS University of Oregon: Fall 2012 Arch 571: Enclosures Location: Eugene, Oregon Professor: Don Corner The goal of this project was to explore the design and detailing of a high performance envelope for the anticipated Architecture and Allied Arts (AAA) facility located on the University of Oregon campus. The proposed building would be composed of terracotta rainscreen facades and glass connecting elements.

UPPER VENTILATION FLAP BLOCKING FOR VENTILATION FLAP ALUMINUM POST-AND-RAIL FRAMING SHEET ALUMINUM COMPOSITE PANEL METAL BEAM SUPPORTING EXTERIOR GLAZING PERFORATED METAL LOUVERS

ALUMINUM VENT LOUVERS TUBE STEEL SUPPORT STEEL BENT SUPPORT WOOD CANT BITUMEN ROOF MEMBRANE

3” RIGID INSULATION 3” COMPOSITE METAL DECKING DECKING FASTENERS 8” CASTELLATED BEAM 8” TUBE STEEL BEAM TUBE STEEL ANCHOR STEEL SUPPORT ANGLE 8” HSS STEEL BEAM 8” STEEL COLUMN, 10’ O.C.

ALUMINUM POST-AND-RAIL FRAMING 5/16” TOUGHENED SAFETY GLASS 7/8” CAVITY FILLED W/ INERT GAS 5/16” FLOAT GLASS W/ LOW-E COATING

KAWNEER ALUMINUM OPERABLE WINDOW WOOD PODIUM W/ STEEL SUPPORTS CUSTOM LOUVER JAM MECHANICAL OPERABLE VENT LOUVERS ALUMINUM OPEN GRID FLOORING KAWNEER STEEL MULLION, TYP.

ARCH 571 : ENCLOSURES PROFESSOR : DON CORNER

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A NEW SCHOOL : WINDOW WALL

SARA VERNIA : 951049736

11.3.2012

1/2

WALL #

1

WALL TYPE

COMPONENTS

2

3

4

OPAQUE WALL

R

VIEW GLASS

R

CLERESTORY GLASS

R

MULLIONS

R

OUTSIDE AIR FILM

0.17

SERIOUS 1125 SERIES

11.10

SERIOUS 600 SERIES

6.30

ALUMINUM

1.25

TERRACOTTA SIDING

0.00

1-5/8” AIR SPACE

1.00

3” RIGID INSULATION

21.60

CMU BACK-UP WALL

1.11

INSIDE AIR FILM

0.68

∑ R-VALUE

24.56

11.10

6.30

1.25

∑ U-VALUE

0.04

0.09

0.16

0.80

AREA (SF)

74.00

14.50

37.50

22.00

ΔT (°F)

1

1

1

1

HEAT LOSS

3.01

1.31

5.95

17.60 ∑ Uequiv ∑A ∑ U equiv / ∑ A ∑ R equiv

EXTRUDED CAP STRAP BRACKETS ON EITHER SIDE NBK TERMINATION CLIP VERTICAL SUBFRAME SUBFRAME ANCHOR NBK STANDARD CLIP FULL GROUT CMU @ ANCHOR 3” RIGID INSULATION WEATHER RESISTANT BARRIER 8” CMU BLOCK

BENTS FLASHING BED TILE ON SILICON NBK SOFFIT TILE

= 27.87 = 140.00 = 0.20 = 5.02

PARAPET AT COPING BY NBK 5/8” PLYWOOD SHEATHING BITUMEN ROOF MEMBRANE WOOD CANT PLASTIC FOOTINGS 2” WALING PAVER 6” STEEL SHELF SOIL MEDIUM ROOT REINFORCEMENT DRAINAGE & FILTER LAYER MEMBRANE 3” RIGID INSULATION 3” METAL COMPOSITE DECK DECKING FASTENERS 8” CASTELLATED BEAM 20” CASTELLATED BEAM

CONCRETE HEADER METAL C-CHANNEL FOR FINISH WOOD BLOCKING OPERABLE SHADING OPERABLE WINDOW BY SERIOUS

INTERIOR FIXED SUNSHADE WINDOW MULLION BY SERIOUS EXTERIOR FIXED SUNSHADE FIXED WINDOW BY SERIOUS

SILL NBK TERMINATION CLIP

1-9/16” THICK NBK TERRACOTTA TILE NBK STANDARD CLIP BRACKET VERTICAL SUBFRAME 3” RIGID INSULATION

ARCH 571 : ENCLOSURES PROFESSOR : DON CORNER

A NEW SCHOOL : TERRACOTTA RAINSCREEN

3” METAL COMPOSITE DECK DECKING FASTENERS 8” CASTELLATED BEAM

SARA VERNIA : 951049736

11.3.2012

2/2

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THE RESPONSIVE SURFACE University of Oregon: Summer 2011 Arch 508: Grasshopper + Firefly Workshop Instructors: Jason Johnson & Andrew Payne Partner: Roussa Cassel

Every act of seeing is a visual judgment; it is immediate and composed of indivisible ingredients. What we see gives us a way to orient ourselves, a way to navigate through an extremely complex world. What if however, we transcribed these visual ingredients (light and shadow) into a tactile or physical language? Our initial thoughts were to mimic the camera obscura, an optical device that was first conceived in order to view an external image which would be projected onto a two dimensional screen. The intent was to be able to represent a scene in real time through a static lens and filtered onto a dynamic surface. For the sake of time we decided to simplify our project by using light sensors instead of a live image feed to collect our data.

For this project we were interested in locating a particular spot within the White Stagg Building in Portland, Oregon, where we could install our theoretical responsive surface. Our immediate thoughts were to find a space that would be animated with motion and changing light. This in the end turned out to be an interstitial space within the main lobby where skylight windows connect two existing brick buildings. We felt this would be an interesting place to reflect images of the cloud cover and daylight conditions throughout the day.

THE SURFACE The initial inspiration for the responsive surface was a project done by Daniel Rozin which utilized 830 square pieces of wood and a built-in camera to rotate blocks which would recreate the images directly adjacent using light and shadow. Our project also used a grid of blocks, sized at two inches on edge, but the faces of the blocks were colored white, gray and black, each face representing the average value of the pixel detected above. Each block would connect to a motor and a light sensor and rotate to display the face with a tonal value depending on the light reading. We envisioned the surface as an elongated floor installation composed of a 15x240 grid of blocks which would mimic the sky above.

MAKING IT WORK To implement the design we used Grasshopper, a plug-in for McNeel’s Rhino Modeler, and Firefly, a set of comprehensive tools that bridge the gap between Grasshopper and the Arduino micro-controller, allowing for real-time data to flow to and from the threedimensional digital world and the physical world. For the simulation, the objective was to use light meters that would feed into the analog inputs on the Arduino board and produce readings in a gradient using pulse-

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width modulation. With the data we translated the 10bit numeric values (0-1024) into three specific rotations.

The light values between 0-333, 334-666 & 667-1024 would respectively correspond to 0°,90°,180°. The data would then be sourced to the digital output and direct the servo motors to turn the cubes so they would display their appropriate tonal value.

The prototype we constructed for our project evolved from a set of three cubes mounted directly on servo motors connected to an apparatus which would conceal the mechanical parts and expose only the critical elements. Because the motors we were working with only rotate 180 degrees, we were limited to using three faces of the cube. rotating cube rotat e

3-cogs 3-co servo se ervo rvvo

FOR THE FUTURE As the next step, a digital model would be developed more fully so that one could read the pixilated image on the face of the boxes within the 3D model. A continued investigation of the initial concept would be to translate real-time data collected through the lens of a camera to a digital model that would instantaneously average the pixels of the photograph and then output to a responsive surface. An even more ambitious continuation of the project would be to translate the visual data into a tactile surface, allowing for one sensory experience to be interpreted with a different sensory language, perhaps giving a more holistic understanding of reality.

DIGITAL RENDERING

ANALOG INPUT SCHEMATIC

DIGITAL OUTPUT SCHEMATIC DIGITAL PIN #

ANALOG PIN #

+5 VOLTS PHOTO RES.

GROUND RES. 10K

SERVO

GROUND +5 VOLTS

MIMICKING THE SKY

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STEPPIN’ STATION University of Oregon: Fall 2010 PD 430: Computer Design & Production Instructor: Jason Germany Partner: Brittney Rekate

flat storage / floor table

This product design course focused on digital fabrication and the skills necessary to take design concepts to final working pieces using various digital tools. For this project we used McNeel’s Rhino Modeler as well as Rhino CAM, a plug-in that generates machining operations that would be sent to a CNC Router to mill the final product.

Steppin’ Station was designed to adapt to the progression of a child’s needs as he grows both physically and mentally. Children’s products are commonly discarded when they no longer fit the needs of the intended age group, producing unnecessary waste and expense.

The concept of reuse through adaptation is pertinent in the Steppin’ Station as it allows for multiple uses for both child and adult. Alone, each stepping stool provides a sturdy and easy way to reach high places, for both children and adults. The steps are also contoured, providing a comfortable seat for a child’s body. When two stools are put together and the table top is set in place, it becomes a work station large enough for several children. Steppin’ Station has a simple, clean aesthetic so it is appropriate for any age group, in any home.

Storage was another important consideration designed into the Station. Using two stools, the articulating legs can be collapsed to nest together. They then rest in channels running along the bottom of the table-top. This is an easy and compact method of storage, designed to fit under most beds, tables or in closet spaces.

separate parts unfold

set stepping stools and use separately

62” 46”

22.5”

0.13”

14”

3.25”

60

17.75”

24” 10” 10”

6.25”

0.75”

6.9” 5”

set table top for table station

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PROFESSIONAL WORK CROW CREEK ROAD REHABILITATION

CROW CREEK ROAD REHAB. Location: Girdwood, Alaska Client: Alaska Dept. of Transportation Consulting Firm: ASCG Inc. Role: Lead Civil Designer Construction Date: Summer 2008 Project Budget: ~$2.5 Million

DRIVEWAY PLANS

The objective for this project was to rehabilitate the existing unpaved road by realigning the roadway centerline, regrading and paving the roadway surface, improving roadway drainage and provide access to existing trail-heads and driveways.

The challenge for this project was to design a new road that would have minimal impact on the pristine Alaskan environment. In particular, much attention was given to the geometric design of the road in order to minimize both the excavation of soil and the extent of the fill to avoid impacting the stream below.

DRIVEWAY PROFILES

My role in the design process was to create a full set of construction documents to be used by Alaska DOT to successfully bid and construct the project. The design process included: • • • • • • •

Roadway alignment and layout Public involvement Geotechnical interpretation Roadside safety design Preliminary cost estimates Bridge design coordination Right-of-way acquisitions.

BRIDGE DRAINAGE DETAIL

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CROW CREEK ROAD ALIGNMENT PLAN

CENTERLINE PROFILE

TYPICAL SECTION

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CURRICULUM VITAE

SARA VERNIA PO Box 4844, Seattle WA 98194 +1 541.915.1954 svernia@gmail.com www.saravernia.com

EDUCATION 2012 2003 1998

Masters of Architecture, University of Oregon Bachelor of Science in Civil Engineering, University of Alaska Fairbanks Career Discovery Program, Harvard University WORK HISTORY

2010-2012

Graduate Teaching Faculty, University of Oregon, Architecture Department Assistant teacher for the following: Graduate Design Process, Structures I & II, and Spatial Composition

2004-2007

Civil Designer, ASCG Inc., Transportation Engineering Department Lead Designer: Crow Creek Road Rehabilitation Project, Girdwood Alaska Staff Engineer: Shotgun Cove Road, Whittier Alaska Staff Engineer: Homer East End Road, Homer Alaska

2006-2007

Civil Designer, ASCG Inc./WH Pacific (work share in Boise Idaho), Land Development Depart.

Staff Engineer/Lead Designer: Residential land development projects

1999-2004

Figure Skating Instructor/ Choreographer, Self Employed Private and group lessons Ice-Skating Instructor at the University of Alaska Fairbanks Artistic Director of Fairbanks Figure Skating Club annual ice show “Broadway on Ice” INTERNSHIPS

2003 2001-2002 1998

Project Management Intern, Fairbanks North Star Borough Public Works Architectural Intern, Charles Bettisworth & Co. Highway Design Internship, Alaska Department of Transportation EXHIBITIONS / LICENSING / AWARDS / AFFILIATIONS

2013 2003 2002-2003 2003 1999 1997

Member Artwork Exhibition at AIA Seattle Design Gallery Fundamentals of Engineering Exam President, Associated General Contractors Student Chapter Chi Epsilon Civil Engineering Honors Society Spanish National Figure Skating Championships: 5th Place, Senior Ladies Freeskate USA Pacific Coast Sectionals: 11th Place, Senior Ladies Freeskate

SKILLS & SOFTWARE Second Language: Spanish Computer Applications: Autodesk AutoCAD, Autodesk Revit, Rhinoceros 3D, SketchUp Software Plug-ins: Grasshopper, Firefly, Ecotect, Rhino CAM Adobe Creative Suite: Lightroom, Photoshop, Illustrator, InDesign Microsoft Office: Word, Excel, PowerPoint Digital Fabrication: Laser cutter, 3D Printing, CNC mill

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