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Stephanie Henschen Core Design Portfolio University of South Florida


C o n t e n t s

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D es i g n One O rg a ni za t i o n + Ord e r S p a c e + Li g ht S p a c e + Ha b i t a t i o n Tra v e l Jo ur na l

D es i g n Two

The C or n e r The Wa ll Floor + C e ilin g M iam i M u se u m

S u m me r Ele c tive s Fur niture De sign Fl M ap M a k in g

D es i g n Thre e

Tam p a L ibr a r y H ousin g C h a r re tte H ighlin e


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D e d i c a t i o n

I am dedicating this document to my beloved parents, Karen and Joseph Henschen. Without their constant support and love for me I would not be the person I am today.


D e s i g n

O n e

Professor Steve Cooke Assistant Nathan Boyd Semester Fall 2012


To o pen architecture to q uestions of p ercep tion, w e m u st su spe n d disblie f , dis en gag e the r ational half of the m ind , and s im ply pla y a n d e xplore . -S te ve n H oll


D e s i g n

O n e

O r g a n i z a t i o i n + O r d e r Tw o

W e e k s


EXPLORING

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SPACE

This project was intended to explore the fundamental concepts of architecture, scale, hierarchy, datum, figure-ground and so on. Through this we developed a series of four exhibits - one drawing on bristol, two etchings composed on plexi and one final spatial assemblage. The spatial assemblage merged our ideas from the first two portions of this project while emphasizing architectures fundamental concepts. The photographs were taken at specific spatial moments.


D e s i g n S p a c e O n e

+

W e e k

O n e

L i g h t


L I G H T

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C O N S T R U C T

This project is a 12”x12”x12” light aperture. This spatial matrix consists of planes and linear elements of various opacities, mass, texture and color. I created an aperture that transforms light as it pierces and projects onto my construct. I used the concepts rhythm, time, and closure to develop this project. Shadows are what give light character, so I created an aperture the plays with shadows as well.


D e s i g n S p a c e T h r e e

+

O n e

F i n a l

H a b i t a t i o n

W e e k s


INHABITING SPACE

This retreat is located in a clearing, to the south of a historic city and adjacent to thick woodlands and an urban park. Through the site runs the historic city wall that was used to protect and separate the city. On this site an 18th century British poet and essayist, Anna Laetitia Barbauld, will live with her adopted 8-year old daughter. The structure is designed so that both mother and daughter maintain their own identities through ownership and occupation of their respective spaces. There is a place where they can come together and reflect together. Also located in this structure is a space to display the poets work for public viewing. I designed the structure to reflect a poem Anna wrote called “Inscription of an Ice- House.�

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Stranger, approach! within this iron door Thrice locked and bolted, this rude arch beneath That vaults with ponderous stone the cell; confined By man, the great magician, who controuls Fire, earth and air, and genii of the storm, And bends the most remote and opposite things To do him service and perform his will,– A giant sits; stern Winter; here he piles, While summer glows around, and southern gales Dissolve the fainting world, his treasured snows Viewing tower Within the rugged cave.–Stranger, approach! He will not cramp thy limbs with sudden age, Nor wither with his touch the coyest flower Retreat for the adult That decks thy scented hair. Indignant here, Like fettered Sampson when his might was spent In puny feats to glad the festive halls Of Gaza's wealthy sons; or he who sat Entry piece/sequence Midst laughing girls submiss, and patient twirled The slender spindle in his sinewy grasp; The rugged power, fair Pleasure's minister, Exerts his art to deck the genial board; Display of manuscript Congeals the melting peach, the nectarine smooth, Burnished and glowing from the sunny wall: Darts sudden frost into the crimson veins Of the moist berry; moulds the sugared hail: Cools with his icy breath our flowing cups; Or gives to the fresh dairy's nectared bowls A quicker zest. Sullen he plies his task, And on his shaking fingers counts the weeks Of lingering Summer, mindful of his hour To rush in whirlwinds forth, and rule the year.


The floor plan I chose to represent shows the public entry down into the public display room for the manuscripts. The project is situated partially underground. The section displayed shows the spaces descending down the sloping surface along with the public entry. The diagram bellow shows the site and where the project sits. Diagram was given with program by the professor. I added my project and site analysis.

Floor plan

Section


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Tr a v e l

J o u r n a l

S a v a n n a h + C h a r l e s t o n O n e

W e e k


D e s i g n

Tw o

P ro f es s or Bran don Hicks Assistant Ken Williams Semester Spring 2013


“Th e s pace ind uces the p roject. If y ou have a sp ace , som e th in g h a ppe n s, th e p rogr am then star ts. It d oes not star t b e f ore you m a k e th e spa c e .� - L ou is K a h n


D e s i g n T h e Tw o

Tw o

C o r n e r

W e e k s


EXPLORING TECTONICS

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The corner investigates tectonic qualities while addressing the ideas of form, structure, skin, joint, material, ground, inside and outside. My project explores the relationships between three different spaces, transition, threshold and gathering. These spaces are distinguished by different systems and scales while creating different view points out towards the woodlands. The transition fr on the rest of the home into my gathering space is narrow, the light draws you around the tectonic wall forcing you to occupy the corner and creating a threshold into the gathering space. The space then opens up to light and scale creating a place to gather. The ground gradually steps down into the gathering space making it more inviting to rest. The tectonic wall in which you travel around is the core of my project. Everything revolves around this datum.


FLOOR PLAN

SECTION


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D e s i g n T h e Tw o

Tw o

W a l l

W e e k s


q w e

Sections

Elevations

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q w e


r

t

y

r

t

y


INVESTIGATING WHAT A WALL CAN BE

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This project is an investigation of what a wall can become. I explored the ideas of wall as threshold, wall as boundary, and wall as anticipator. There is a deliberate attempt for the client to engage the senses at a human scale. The narrow site links two properties to the east and west. The client is a rare book collector, specializing in Ergodic Literature. The client wants to make her literature public. The lot to the east holds her rare books in a secure, heavy, brutal, bunker-like structure. On the west lot is a light, tectonic, glass structure that holds a reading room. The armature that links the two is occupiable and allows the public to move from the collection space to the reading room. The north provides a view of woodlands while the lot between the two building is vacant. As you travel from the book collection to the reading room you begin underground in a space that has filtered light. The space opens up as you move through the wall, giving you different view points and places to rest. As you reach the reading room you are above ground walking on top of the wall with a view of the reading room.


D e s i g n

Tw o

F l o o r + C e i l i n g Tw o

W e e k s


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CONNECTING PARK AND STREET

This project is built in a local commercial area. The plan was to connect the municipal park and the main commercial street. The street is located 6’-0� bellow the park. The project contains a pedestrian connection, a cafe and gallery, a terrace to both gallery and cafe, and a public plaza for people to stop, rest, people watch, and enjoy the urban environment. Parks are built on roots and so are communities. I designed my project with the idea of the towns roots extending up into the park. The floor provides a variety of places for pedestrians to rest, almost as if the park is spilling into the site. The ceiling was designed to allow light to filter and react to the floor at different moments. The ceiling was not allowed to physically touch the floor. My way of touching the floor was by light. The light distinguishes space while opening up the street level and funneling you in to the park


D e s i g n S o B e Tw o

Tw o

A r t

W e e k s

C e n t e r


AN ART FELLOWSHIP

This project is a collaboration with the ArtCenter South Florida and an art patron to expand their current facility. The project also becomes integrated with the Art Basel event that occurs in Miami every year. At this event (6) Art Fellowships will be awarded. The Fellowships will include a work space and a living quarters for each winner to stay for the year to produce and display their art work. The structure also holds a gathering/dining space, a patron residence with studio, a full-time gallery and a community workshop. I created a structure that becomes the art as well as a place to hold to art. There are a series of panels that move in which the residents can create on and re c re a t e o n . Miami is a place where you spend most of your time outside so I split my site in half allowing the people of Miami to inhabit half of it.

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q w e Patron Gallery Full-time Gallery Communal Workshop (6) Fellow Studio Space(s)

Patron Residence Full-time Gallery (6) Fellow Residence(s) Fellow Gathering/Dining

Patron Residence (4) Fellow Residence(s)


Summer Works Professor Varies

Semester Summer 2013


“To those devoid of im agin ati on a b l ank p l ace on the m ap is a us l es s w as te; to other s , the m os t v al uab l e p ar t.� - Aldo Leopold, A S and C ountr y Al m anac.


MEMORIES OF A RIVER

A blank place on the map is a rare thing to find in an age where technology takes rein. As a child I grew to appreciate these voids in civilization. One place from my childhood sticks out in my memory. As we drive down exit 301, my father suddenly swerves to the right towards a dirt road. We always miss this turn. There are no signs suggesting it leads to anything at all. It is an immediate left then along the right we slowly pull up to two trees that seem to bow towards each other as if welcoming the Queen. The car comes to a stop. Its too over grown this time, we must walk. As we walk past the two trees I bow back at them as a sign of respect to the guardsmen. Slowly we walk along the narrow path as to not run into any creepy spider webs. I hate spiders. The path is dark. At any moment I believe dinosaurs could come from behind the trees and chase us deeper into the woods. Earlier that summer my sister snuck me into her room to watch Jurassic Park. My mother’s voice was now playing in my head, “ you will have nightmares if you watch that movie.” Something distracts my thoughts. There is a light up ahead. This memory from my childhood occurred at my families cabin located along the Withlacoochee River. Summer after summer my family went up to spend days by that river, the Withlacoochee River. The most interesting thing to me about this river is the fact that it is always changing. Not only does the river constantly change direction it also changes in scale because of the constant flooding. My families cabin sits about 25 feet above the rivers bottom. (4.)Some summers the top of the river reaches the edge of exit 301. The creek becomes the sidewalks, the backyards, the front yards and even the streets on which humans travels on. The river becomes the ground. Because the river floods so drastically and so often, it controls everything around it. The river owns everything it touches.

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Through my mapping exercises I begin to study and document how the river has shaped my memories, how the edge is formed by the river and lastly how other people react to this changing environment. The Withlacoochee River controls and manipulates everything along it. Even though the environment around it is unstable the people still live there. Those who lack imagination don’t see the beauty that lies there.


MEMORY LINE

Mapping the Florida Landscape

Professors Nancy Sanders and Martin Gundersen


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DESIGNING A CHAIR

When creating this project we were given one requirement and that was to use ply-wood when creating our chair. I wanted to use my material to its fullest while creating the basic qualities of a chair. I created two chairs using only one sheet of plywood. Each chair consists of 12 pieces, 24 threaded inserts and 24 brass, machine screws. The threaded inserts give the user the ability to take apart and reassemble the project as many times as he or she wishes. I chose a cherry ply-wood to help contrast the grain. My chair is an elegant interpretation of a standard side chair. The seat and back are raised slightly from the structure emphasizing the lines of the chair. The seat is curved, allowing more comfort and the back is shaped to mirror this. I created the seat and back in sections to reiterate the lines of ply-wood grain. Lastly, the shape mirrors the human form, large shoulders that taper down to the thin waist then back out for the bottom. The angled back allows the user to comfortably rest.

Furniture Making

Professor Michael Lemieux


Design Three Professor Michael Halflants

Semester Fall 2013


“A progr am does not exist unti l the archi tect d efi nes a rel ati ons hi p .� - Rafael Vi nol y


D e s i g n

L i b r a r y 6

W e e k s

T h r e e

A d d i t i o n


Port Tampa Library 4902 W Commerce Street Tampa, Florida

RENOVATION AND ADDITION

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This library is situated on a triangular lot in an urban community of downtown Tampa, Florida. The building once was the main bank for the Port of Tampa. It was then renovated to a public library with a nautical museum housed on the second floor. When entering the library you are presented with a beautiful vaulted ceiling. This inspired me to create an addition that created this same feeling. My addition stands alone in respect of the old building. My project was built with the same ideas of a ship docking. When a ship docks it creates a vibrant, dynamic space in between the ships and the building on land. In this space people interact, rest, trade and etc. My project mimics this concept. The entire facade that faces the existing is glass, creating a well lit addition that always reflects the existing building making it visible from all areas of the project. To emphasize this I created the project with three structures in mind, the existing structure, the glass structure and the third is the additions structure. The parti becomes two masses with a light glass feature in the middle.


Existing Library

Space Between

Addition


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q

Reception Bookstacks Childens Area Restrooms Office

w Reading Room Computer Areas Offices Conference Room Directors Office


D e s i g n

H o u s i n g 2

W e e k s

T h r e e

C h a r r e t t e


q w e Retail Residential Entrances Parking Garage

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Four Units: Living Kitchen Bath Terrace

Four Units: Bedrooms Bath


Downtown Zoning District 1243 Second Street Sarasota, Florida

R e s i d e n t i a l

This short, urban housing project is situated in the Downtown Core of Sarasota, Florida. The intent was to design four residential units on a 50’x105’ lot. Each unit is 1,200 square feet, with 2 bedrooms and 1 1/2 baths. There is one parking space per unit located in a four car garage facing the alley. On the ground floor, a 2,500 square foot retail space faces 2nd street. The north side faces the alley and the south faces 2nd street. I split the residents into two sections with two seperate entrances located in the core of the project. The split residents creates a courtyard for the residents. Each residents is shifted allowing light to cut the project in half while lighting the courtyard. Each residents has there own balcony and a double height living space along with a view.


D e s i g n N e w 6

T h r e e

Yo r k

W e e k s

H i g h l i n e


Highline Library Southeast intersection W. 25th Street and the Highline Park, New York City

PROGRAMMATIC STUDY

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This structure holds a collection of children and young adult books. The site is located along the Highline Park in New York City. The Highline, like Central Park, provides a temporary escape from the hustle and bustle of the city. My project extends the highline into it though a cafe terrace. This library also acts as a pedestrian pathway from street to highline. I thought of the street as where the main library entrance would occur. The young adults would come in with their little sister and brother and grab a book then travel up to the reading rooms and children’s area. At the highline level there is the cafe, public restrooms and newsstand. This level is more for the adults. The children and young adults reading rooms are located together on th fourth and fifth floor. These floor are completely open allowing light in and letting the user to view the highline. The parti of this project is a c-shaped mass with a floating glass mass.


Childrens Area

Shared Reading Room

Young Adult Area


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q w`` e Street Entrance Young Adult Bookstacks

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Director’s Office Offices Conference Rooms

HIGHLINE PARK LEVEL Circulation Desk Cafe/Terrace Newstand/Bookstore Public Restrooms


r t y Reading Rooms Computer Labs Magazines

Childrens Read Aloud

Children’s Bookstacks


“We shape our buildings; thereafter they shape us.” -Winston Churchill

Core Design Portfolio  

A collection of selected works from my Core Design classes at the University of South Florida. August 2012-December 2013

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