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VERNA GHIMIRE PORTFOLIO BFA in ARCHITECTURE 2019 VERNA GHIMIRE ALL RIGHTS RESERVED


01 02 03 MULTI CULTURAL DANCE ACADEMY

TIBURON VISITOR CENTER

INDIVISUAL SLEEPING UNIT

MIXED USE BUILDING

VISITOR CENTER

SLEEPING UNIT

PAGES: 06 - 33

PAGES: 34 - 53

PAGES: 54 - 63


04 05 06 GASTRONOMIC COOKING & PARKOUR CENTER

COYOTE HILLS VISITOR CENTER

ASHA LIVING IN MARS

VISITOR CENTER

MIXED USED BUILDING IN MARS

PAGES: 82 - 93

PAGES: 94 - 103

MIXED USE PAGES: 64 - 81


07 08 09 HAND DRAWINGS SELECTED MODERN AND HISTORIC BUILDINGS PAGES: 104 - 115

PERSONAL ARCHITECTURE PHOTOGRAPHY

PERSONAL WORK DESIGN WORK

SELECTED WORKS PAGES: 116 - 135

PAGES: 136 - 145


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DEDICATED TO MOMMA AND DADDA


01 PROJECT 01

MULTI CULTURAL DANCE CENTER LOCATED IN THE CENTER OF THE MISSION DISTRICT, SAN FRANCISCO


INITIAL STUDY MODELS


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Design Narrative Dance is a cultural and universal language where people connect through movement and motion. Dance, if practiced or seen is one of the things that connects people to their roots. Dance also helps people communicate with others. This project is a public dance center that gives people the opportunity to come, enjoy and participate in different dances forms. People have the choice to come in sit down and watch all the performances or they can circulate in a spiral around the dance space and observe dance from different viewpoints and angles.


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G

F

E

D

C

B

A

L09 OFFICE + PRACTIC +132'

L08 OFFICE + PRACTIC +122'

L07 OFFICE + PRACTIC +112'

L06 OFFICE + PRACTIC +102'

L05 ROOF GARDEN +88'

L05 ROOF GARDEN +82'

L04 DANCE SPACE +62'

L03 DANCE SPACE +42' L02 MEZZANINE CAFE +32' L02 CAFE +22'

L02 RETAIL +22'

L01 DANCE SPACE +0'

L01 RETAIL +0

L-01 PARKING -12'

L-01 PARKING -12

L-02 PARKING -24'

L-02 PARKING -24


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SECTION THROUGH THE DANCE AREA Dancers have the choice to practice and perform either in open or closed practice rooms. They can also use the structure of the building for their performance. The whole building is pretty open so people can see from one space to another. In addition, people can circulate around the volumes on each floor. The space inside the lattice structure is used either as a performance or rehearsal area. The spaces are divided rather than one open volume. The atrium space at the back is open all the way through to top. The public are welcome to dance here with the dancers and enjoy the experience. This space is always used as a dance space.


SECTION THROUGH THE ATRIUM At LEVEL 1 People can freely walk around the building and see the dances happening at different spaces. The lattice structure on the ground floor has larger openings into the dance space to allow people to join in. AT the ROOF LEVEL At the roof level, people can see down through the structure, to see performance and the space from a birds eye point of view. The petrusion of the lattice structure allows the building to maximize daylight. People can use the roof area to have food and drinks.


1

L05 ROOF +82'

L04 DANCE SPACE +62'

L02 DANCE SPACE +22'

L01 DANCE SPACE +0'

L-01 PARKING -12' L-01 PARKING -24'

2

3

4

5

6

7


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SHADOW STUDY SEEING HOW LIGHT AFFECTS THE STRUCTURE


BIKE

LANE

LANE

dance space

LANE

N dance space

MCCOPPIN ST

PHYSIO THERAPY

LANE

PHYSIO THERAPY

BIKE

PHYSIO THERAPY

dance space

BIKE

LANE BIKE

BIKE

dance space

LOCKERROOM

VALENCIA ST

SO N ST EV EN

ST

M

AR

KE

16' 8' 0'


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AA

AA

G

G

F

F DANCE SPACE DANCE SPACE BB

BB

OPEN TO BELOW

E

LOCKER ROOM

E

LOCKER ROOM

OPEN TO BELOW

D

D DANCE SPACE

WARM UP ROOM

OPEN TO BELOW

C

C

OPEN TO BELOW

B

B

A

A

1

2

2ND FLOOR PLAN

3

4

5

6

7

1

2

3

ROOF PLAN

4

5

6

7


SHADOW STUDY PICTURES AT DIFFERENT TIMES OF THE DAY


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THE LATTICE STRUCTURE Creates different opportunities for the public to engage with the dance. It also creates large permeable volumes that are voids which invites people to see what is happening.


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SNAPS OF THE FINAL MODEL


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MODEL OF HOW THE DANCE SPACE IS USED WITH THE STRUCTURE


FINAL MODEL


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LOOKING THROUGH THE STRUCTURE AT DANCERS PERFORMING


02 PROJECT 02

VISITOR CENTER, LOCATED IN THE TIBURON PENINSULA, CALIFORNIA.


Design Narrative The site has a rich and varied history. From the time it was a natural cove, before the Europeans came along, to the time that it became filled with a concrete platform to become a large staging area for diverse purposes in the early 1900s. Two important artifacts of the past are still part of the site today and are a reminder of its rich history. The concrete trestle which was used for a coaling station and old structural piles which were used to support a dock for the large ships. The project is inspired by these two prominent artifacts of the past. The concrete trestle is used to organize and hide the parking spaces along the west side of the site while the old pier structural piles are used to support a long pier building. In addition, the large concrete platform was eroded to re-create the natural cove and allow a more gentle relationship between the land and water.


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The project embraces the present site conditions by creating a pier structure that is unified by a large roof reminiscent of the water movement. The building enables visitors and workers to experience the water while remembering its history by using the artifacts of the past to anchor itself.


SITE PLAN A few additional layers are added to the project such as the clustered wooden piles that create stepping ‘stone’ and enable visitors to experience the water more intensely as it will highlight the tides. These will be submerged at high tides and revealed at low tides. These were inspired by an image I saw of children playing in the Giant Causeway ‘stepping stone’ natural structure.


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THE PLAN


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THE ROOF JOINS ALL ELEMENTS OF THE VISITOR CENTER TOGETHER.


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ELEVATION SCALE 1/8 “ - 1’

BACK ELEVATION


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SIDE ELEVATION


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SITE RENDER LOOKING AT THE BUILDING FROM TOP OF THE HILL


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ELEVATION SCALE 1/8 “ - 1’

LONG SECTION


03 PROJECT 03

INDIVIDUAL SLEEPING UNIT LOCATED IN THE CENTER OF TENDERLOIN, SAN FRANCISCO.


ROOF PLAN


B

A

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A

B

PLAN


SECTION AA


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FRONT ELEVATION


SIDE ELEVATION


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DIMENSIONS OF THE UNIT Base 5.5ft Width 6ft Height 6ft Length 6ft Roof 6ft


Design Narrative This project is designed for a very fit 50 year old woman who likes to stay active and paint. The roof is a grand gesture to describe her personality and let her express herself by drawing and painting. The unit is elevated to give her privacy and to keep away the cold. The unit also contains windows so that she can stay connected to the outside world. In addition, ample light can enter the space for her to draw and exercise. The stairs is used to display her art work.


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SECTION BB


04 PROJECT 04

GASTRONOMIC COOKING & PARKOUR CENTER LOCATED IN JACK LONDON SQUARE, OAKLAND. TEAM: VERNA GHIMIRE, ALVARO RUVE, IMELDA ELA, JENSEN CHO


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VIEW OF THE ENTRANCE


COMPONENT CATALOGUE ORIGINAL COMPONENTS GRAVITATIONAL COLLAPSING PROCESS

BLENDING

CENTRALIZING 10%

0%

SPREADING 50%

APPEALING

EXTENDING 25%

20%

SEPARATING 60%

40%

PARASITING

SEPARATING 70%

65%

TWISTING

SPREADING

45%

CENTRALIZING

FOLDING 80%

50%

90%

100%

LOCKING RIBS

SUPPORTING RIBS

ACTIVITIES BLENDING: RIBS START TO AGGREGATE MORE CONNECTIONS BETWEEN EACH OTHER CENTRALIZING: COMPONENTS START TO AGGREGATE STRUCTURES THAT HAVE MORE DENSITY IN THEIR CENTER AGGREGATING RIBS

APPEALING: DIFFERENT POLES IN THE COMPONENTS AGGREGATE TOWARDS EACH OTHERS EXTENDING: COMPONENTS AGGREGATE WIDER BODY IN A LINEAR WAY TWISTING: LAYERS START TO ROTATE GRADUALLY

JOINTS

SPREADING: LAYERS START TO SEPERATE INTO ALL DIRECTIONS SEPARATING: COMPONETS START TO EXTEND ITSELF IN TWO OR MORE DIRECTIONS PARASITING: RIBS START TO AGGREGATE LARGER AND PROVIDE MORE SUPPORT TO THE MAIN STRCTURE FOLDING: COMPONENTS START TO BEND TO A DIFFERENT DIRECTION

GILDING JOINT

HINGE JOINT

PIVOT JOINT

SADDLE JOINT


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Design Narrative This is a gastronomic cooking center with parkour class rooms and exhibition spaces. The form of the building is denoted by the process of cooking and species decaying over time. The decaying process starts with one piece and transitions to a new piece.


FINAL MODEL


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Species Decaying Over Time

APEALING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% DIFFERENT POLES IN THE COMPONENTS AGGREGATE TOWARDS EACH OTHER

BLENDING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% RIBS START TO AGGREGATE MORE CONNECTIONS BETWEEN EACH OTHER

EXPANDING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% COMPONENTS AGGREGATE WIDER BODY IN A LINEAR WAY

SEPERATING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% COMPONETS START TO EXTEND ITSELF IN TWO OR MORE DIRECTIONS

TWISTING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% LAYERS START TO ROTATE GRADUALLY


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CENTRALIZING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% COMPONENTS START TO AGGREGATE STRUCTURES THAT HAVE MORE DENSITY IN THEIR CENTER

UNFOLDING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% COMPONENTS START TO BEND TO A OPOSITE DIRECTION

FOLDING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% COMPONENTS START TO BEND TO A DIFFERENT DIRECTION

SPREADING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% LAYERS START TO SEPERATE INTO ALL DIRECTIONS

PARASITING 10%----------------20%------------------30%-------------------40%---------------------50%-------------------60%-----------------------70%---------------------80%---------------------90%-------------------100% RIBS START TO AGGREGATE LARGER AND PROVIDE MORE SUPPORT TO THE MAIN STRCTURE


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SECTION SECTION


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SECTION


COLLAPSING RATE 0%

SEPARATING RATE 120%

110%

POLYMERIZING RATE

100%

90%

80%

70%

60%

50%

40%

30%

20%

10%

10% 10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

110%

120%

130%

20%

30%

40%

5


50%

60%

70%

80%

90%

100%

110%

120%

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100 YEAR DIAGRAM


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05 PROJECT 05

COYOTE HILLS VISITOR CENTER LOCATED IN THE SAN FRANCISCO BAY AREA, SAN FRANCISCO.


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SITE PLAN


DESIGN NARRATIVE This is a Visitor Center located in Coyote Hills National Park, in the San Francisco Bay Area. The site is rich in different plant and animal species. It is a large park that attracts many people locally and from surrounding cities. It is very popular amongst families with children since there is a lot of space for kids to run around. It is widely used for hiking and family picnics. The building is built where the existing building was, to have minimal impact on the ground and environment. The Visitor Center is facing North so it will get ample amount of natural light and wind. The building is sitting staggered on the ground in the middle of the fairly flat hill. It provides multiple opportunities for the community to interact with it. They can enter from one space and leave from another space. The main entrance is at the center of the building where the pathway leads to the parking lot. There is a ramp leading all the way from the parking lot to the entrance of the Visitor Center. The ramp extends outwards to create a gathering space. The building is all glass except for private spaces, so people can always see what is happening inside the Visitor Center. The doors are always open during business hours to welcome visitors and to circulate the air flow inside the Visitor Center. The doors also allow ample light to enter and brighten up the area.


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SECTION THROUGH THE EXHIBITION SPACE


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LONG SECTION


STUDYING THE MOVEMENT OF ROOF AND HOW LIGHT ENTERS THE BUILDING


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STUDY MODEL OF THE PATHWAY AND ROOF


06 PROJECT 06

ASHA, IN MARS LIVING IN MARS YEAR 3030


ASHA LIVING IN MARS This Project will take place in the year 3000. People will experience a different life style by living in Mars. It will be similar to living in Earth only when they are at ENCLOSED SPACES. They will have bedrooms, bathrooms, kitchen and everything that a house in Earth requires. The difference is that when they want to go to different areas they have to wear their body suits or always make sure that they are holding a rope so they don’t get lost or wander around space unprotected. Similar to Earth, there are many entertainment provided to keep the tenants occupied. They are provided with a bowling alley, gaming center, schools, universities, bars, clubs everything that Earth has. There will be hospitals so that people can go get treated if they have any problems.


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The weather there is similar to that of the Earth so people can live there comfortably. Experiments in the past have shown that oxygen and hydrogen have been found on Mars. The key elements for humans to survive, Water. Food will be provided from Earth. Once people start settling in, science has shown that the soil s capable to harvest crops. Rockets will take people to Mars. Protective suits, and all essential products will be provided, so people can float around in the air where gravity is not present. As of now, nothing about the economy has been decided. The UN has signed the contract and provide funding for this project to take place. Since global warming is affecting Earth too much we are planning to shift people to the other planet as soon as possible, year 3000.


The structure can accommodate up to 15,000 people living comfortably. As of now, this will be the only structure standing. If living in Mars becomes a successful project more structures will emerge. This structure has shopping malls in every building and people can socialize down stairs. Another place for people to socialize is at the center where all the towers connect.


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SECTION


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PLAN


07 PROJECT 07

HAND DRAWINGS SELECTED MODERN AND HISTORIC BUILDINGS


WALT DISNEY CONCERT HALL FRANK GEHRY 2003


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FALLING WATER FRANK LLOYD WRIGHT 1937


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BURJ AL ARAB TOM WRIGHT 1999


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DETAILED SECTION


SAN CARLO ALLE QUATTRO FONTANE FRANCESCO BORROMINI 1646


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SAN ANDREA MANTUA LEON BATTISTA ALBERTI 1790


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VILLA BARBARO ANDREA PALLADIO 1561


08 PROJECT 08

PERSONAL ARCHITECTURE PHOTOGRAPHY


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THE GETTY CENTER LOS ANGELES PHOTOGRAPHED BY VERNA GHIMIRE


THE GETTY CENTER LOS ANGELES PHOTOGRAPHED BY VERNA GHIMIRE


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WALT DISNEY CONCERT HALL LOS ANGELES PHOTOGRAPHED BY VERNA GHIMIRE


BROOKLYN MUSEUM NEW YORK PHOTOGRAPHED BY VERNA GHIMIRE


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THE DOME SAN FRANCISCO PHOTOGRAPHED BY VERNA GHIMIRE


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BANDIPUR NEPAL PHOTOGRAPHED BY VERNA GHIMIRE


CG MANDIR, NAWALPARASI NEPAL PHOTOGRAPHED BY VERNA GHIMIRE


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BUDDHA TEMPLE, LUMBINI NEPAL PHOTOGRAPHED BY VERNA GHIMIRE


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BUDDHA TEMPLE, LUMBINI NEPAL PHOTOGRAPHED BY VERNA GHIMIRE


09 PROJECT 09

PERSONAL WORK DESIGN


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Dancing Homeless Shelter for homeless couples in San Francisco. This building provides shelter and entertainment or them.


Dance classes are offered for the couple so that they can spend quality time together. Dancing also lets the couples socialize with one another.


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Designing a Theater in Miami Beach


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Interpretation of Poli House by Pezo von Ellrichshausen


THANK YOU Thank You Family Momma, Dadda, Unni and Hyung for being my constant support of pillar. You guys push me to be and do my best. Thank You Baba for all the best wishes. (Your ashirwad was much needed) You never gave up on me even when I gave up on myself. Thanks for being my ALARMS on the day I needed you guys the most. This journey would not have been possible without your love and support. You guys kept me motivated and helped me reach the finish line.

Thank You Momma & Dadda Momma, thanks for always talking to me late at night (my night) and encouraging me. You took care of us ( unni, hyung and I) and made us who we are today. You always believed in me and that gave me confidence. Dadda thank you for letting me choose Architecture and pushing me to the finish line. ABA JWAII KHOJNA JUM KOREAAA!!!! HEHE


Thank You Phil Hamlett

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For your constant guidance to make this portfolio the best I can.

Thank You Saathii Anisha, Nivira, Phoebe and Tina for listening to me nag about my career path and supporting me.

Thank You Friends Cherry this journey at AAU wouldn’t have been fun without you stayed with me from beginning till the end. We went through thick & thin in this school. We have many memories that I will cherish forever. Wendy (YOLO) thanks for making this last year the best year with endless laughter and fun. Brii thanks for always being there and giving me great ideas that I would have never thought of. Thank You Juliana, Roni, Dylan, Imelda, Lamiae, Adam, Markish & Ally. You guys made this journey fun and worthwhile. I could not imagine it with other people. We stayed up late at night trying to finish the project and then the struggle of getting through the reviews when we barely had any sleep.

Thank You Faculty Karen Seong, Lise Barrier, Carol Buhrmann and Braden Engel for giving me constant feedback and making me the designer I am today.


COLOPHON

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DESIGNER VERNA GHIMIRE

TYPOGRAPHY HELVETICA

PRINTING AND BINDING BLURB.COM

PHOTOGRAPHER VERNA GHIMIRE

SOFTWARE INDESIGN

CONTACT

VERNA GHIMIRE 415-881-0800 VERNAGHIMIRE@GMAIL.COM WWW.VERNAGHIMIRE.COM

SCHOOL

ACADEMY OF ART UNIVERSITY SAN FRANCISCO CALIFORNIA 2019 VERNA GHIMIRE ALL RIGHTS RESERVED


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