Shelley J. Warner | Portfolio

SHELLEY J. WARNER | PORTFOLIO

Shelley J. Warner

Architectural Designer

TABLE OF CONTENTS PROJECT 01 THE CABIN AT THE EDGE OF THE WOOD STUDIO CRITIC | Michael Oatman COURSE | Architectural Design Studio 6 SPRING 2019 | Individual Project

PROJECT 02 OPTIMIZED DIAGRID

SEMINAR CRITIC | Marcin Marchewka COURSE | Bedford Seminar FALL 2019 | Partner: Andie Dolan + Anthony Ferraiolo

PROJECT 03 INSTRUMENTS OF TYPOGRAPHY SEMINAR CRITIC | Stefano Passeri COURSE | Casting Against Type SPRING 2019 | Partner: Caroline Golota

PROJECT 04 RENSSELAER CENTER FOR SCIENCE STUDIO CRITIC | Lonn Combs + Grabrielle Brainard COURSE | Design Development Studio FALL 2018 | Partner: Margaret Graves

PROJECT 05 RECONSTRUCTED SYMMETRIES

STUDIO CRITIC | Yael Erel COURSE | Rome Study Abroad - Architectural Design Studio 5 FALL 2017 | Partner: Margaret Graves

PROJECT 06 GENERATIVE EXCAVATION: EXHIBITION | Yael Erel | Rome Study Abroad - Fall 2017 SPRING 2019 | Curation + Exhibited Work

HEAD FACULTY EXHIBITION

PROJECT 07 ROME SKETCHING

SEMINAR CRITIC | Davide Vitali COURSE | Rome Study Abroad - Architecture of the City FALL 2017 | Individual Study

PROJECT 08 SUBLIMINAL DECAY

STUDIO CRITIC | Adam Dayem COURSE | Architectural Design Studio 4 SPRING 2017 | Partner: Margaret Graves

PROJECT 09 CONVERGING INTRICACIES STUDIO CRITIC | David Bell COURSE | Architectural Design Studio 3 FALL 2016 | Individual Project

PROJECT 10 TECHNOLOGICAL DREAMLAND STUDIO CRITIC | William Virgil COURSE | Architectural Design Studio 7 FALL 2019 | Partner: Robert Nilsen

Material Studies of Temporality

MATERIALS OF MEMORY Individual Project Course | Architectural Design Studio 6 Critic | Michael Oatman Spring 2019 This project was a study of materials, history, time, and memory. Design research - to capture a sense of ephemerality and memory - was a launching pad for a series of printmaking studies inspired by the MASS MoCA Arnold Printworks, located in North Adams, MA. The site for a proposed Printmaker’s Cabin at the Tourists Hotel (located a few miles away from the museum) set the tone for a rustic cabin meant to engage locals and visitors.

The site is set along the Hoosick River, where one can walk along 55 acres of trails and soft rolling topography. Nestled into the foliage is the Printmaker’s Cabin at the Edge of the Wood, a proposal for an artists’ residence on the site to help visitors make postcards to recount their travels and explorations. The project reflects upon time and engages art in order to capture memory and history through the permanent act of printmaking, which is a cornerstone of North Adam’s history.

This project was an opportunity to explore new media, while also learning and connecting to the rich history of North Adams, which is at the forefront of Tourist’s mission. The Printmaker’s Cabin is a proposal for the visitor and the locals, because the site is open to anyone seeking adventure and an experience in the serenity of North Adam’s landscape.

Material Studies of Figure Ground

Preliminary Print Rendering - Printmaker’s Cabin

Final Print Rendering - Printmaker’s Cabin

Final Print Rendering - Printmaker’s Cabin

C

B

A

Front Elevation

Ground Floor Plan

Section A - Longitudinal

C

C

B

A A

Section B - Cross

Second Floor Plan

Section C - Cross C

B

B

Site Plan

Perspective Rendering - Winter

Suitcase Model - Printmaker’s Postcard Memento

Inside Suitcase Model - Printmaker’s Mobile Workshop

Suitcase Model - Printmaker’s Mobile Workshop and Presentation Podium

OPTIMIZED

DIAGRID

Partners | Andie Dolan +

Anthony Ferraiolo Course | Bedford Seminar Critic | Marcin Marchewka Fall 2019 Our project proposes a new vision for the roof of the Amsterdam Maritime Museum.

Seeking to alter visitors’ experience, a once entirely open courtyard now has a “touchdown” point generated from the roof. The main goal: to engage visitors with an intimate space that motivates movement throughout the courtyard.

Utilizing a minimal surface - for optimized structural performance - our roof moves from a square perimeter to a circular base with a diagrid mapped to its form. Tension rings placed along the upper portion of the roof help to control outward thrusts from the weight of the triangulated glass. The optimized surface and tension rings help keep members small, with a diameter of 6” throughout the structure. This form also allowed us to limit the density of the diagrid, while not compromising the structural integrity of the roof.

The project featured two architecture students (one of which was myself) and a student in the graduate Civil Engineering program.

Together the three of us were able to achieve a compelling project for the context, as well as a highly optimized structure that utilized parametric scripting and integrated structural analysis software.

DFW Archi

1 A2.01

Site Plan Site Plan

Seal

1/50” = 1’-0”

1 A3.11 C

D

E

F

Consultant

G

B

H

A

I

Project Key

AF

J

AE

K

AD

L

SCHEMATI Revisions

2 A3.11

10’-0”

AC

M

30’-0”

AB

N

AA

O

2 A3.11

Project Titl

Ams P

Z

Maritim Roof

Q

Y

Drawn on: X

R W

V

U

1

T

S

Sheet Title

Roof

A3.11

Proposed Roof Plan Plan Roof 1 A2.02

1/16” = 1’-0”

Sheet Num

A2.

DFW Arc

2

A3.11

112’-0”

Seal

Consulta

Project K

30’-0”

2

A3.11

Principle Elevation

1

A3.01

South East Elevation 1/8” = 1’-0”

SCHEMA Revision

2

1

A3.11

A3.11

112’-0” 112’-0”

Project T

Am

Mariti

Roo

Drawn o

Sheet Tit

Roo Elev

30’-0”

1

A3.11

NorthEast West Elevation Cross Section 1 2 North Principle Section A3.01 1/8” = 1’-0”

3.11

1/8” = 1’-0”

2

A3.11

Sheet Nu

A3

Perspective rendering - Third floor view inside the courtyard

Perspective rendering of the roof touchdown entrance

Perspective rendering - Inside the intimate space created by the touchdown point

DFW Architects + Engineers

Seal

Consultants

Project Key

Structural Silicone Joint 3/4” Point Supported Glass Spider Clip Joint

SCHEMATIC DOCUMENTS

Spider Clip Joint Bolt to Diagrid

Revisions

Diagrid Node - Hidden Connection

6” Diagrid Member Project Title

Pin Joint Bolt Pin Joint Connection Bolted Plate

Amsterdam Maritime Museum Roof Proposal

Water Drain Drawn on:

Water Pipe - to drain water to reflecting pool

2019/11/07

Sheet Title

Wall Section Details

Reflecting Pool Water Reclamation Drain

Sheet Number

Wall Section Drainage Detail

1 A4.01

2 A4.01

2” = 1’-0”

Wall Section 1/2” = 1’-0”

A4.01

DFW Architects + Engineers

6”

6”

”

1/2

Seal

Consultants

6” Project Key

2”

1’-0”

SCHEMATIC DOCUMENTS Revisions

1 A5.02

Central Diagrid Node Detail - Plan

3 A5.02

2” = 1’-0”

Central Diagrid Node Detail 2” = 1’-0” Project Title

Amsterdam Maritime Museum Roof Proposal

Drawn on:

2019/11/07

Sheet Title

Central Node Details 2 A5.02

Central Diagrid Node Detail - Right 2” = 1’-0”

4 A5.02

Central Diagrid Node Detail - Front 2” = 1’-0”

Sheet Number

A5.02

DFW Arc

6” deep hidden node joint.

To be welded to node units during fabrication.

4 piece central diagrid node *Note: each ring is the same node type.

Spider Clip Connection.

Joint to be welded.

Seal

Consulta

Project K

Spider Clip to connect to diagrid node member. To support 3/4” point-supported glass.

3/4” Tempered glass Structural Silicone - to provide weatherproofing

6” diameter diagrid member. Material thickness to be 1/2”. To be welded to diagrid node in the field.

SCHEMA

Revision

Project T

Am Marit

Roo

Drawn o

Sheet Ti

Cent Explo Sheet N

Central Node Detail - Exploded Axonometric

A5

T YPOGR APHIC INSTRUMENTS Partner | Caroline Golota Course | Casting Against Type Critic | Stefano Passeri Spring 2019 The primary goal with this project was to “cast against type” with normal typographic lettering to display the architectural and drawing potential they serve. It was not intended we arrive at “true architecture”, but to instead display a completely nontraditional use of typography through drawing. Intersecting the letters: e, g, & q from the font type Modern No. 20 we were able to arrive at new combinations that are indicative of architecture.

We studied the typographic construction of each letter, reconstructing them for ourselves, in order to see the particular lines and qualities the font possessed. There was a heightened distinction in the filigree, moving from thick to thin moments along the curvature of each letter that interested us.

As we explored the potential within typography further, there became an fascination in the dance-like movements emerging - the heightened twisting and filigree created when the letters interacted.

We began to look at music notation for inspiration, using the letters as notes to find a song written within the strict rules of typography. Through models and rigid drawing techniques we were able to explore the potentials afforded to us through these two art forms, ultimately “casting the letters in their new typographic song”.

Orthogonal Letter Intersections Catalog

Filigree Letter Intersections Catalog

Orthogonal Letter Intersection Axonometric

Orthogonal Letter Intersection Model

Caroline Golota and Shelley Warner Assignment 2 | January 31 2019 Casting Against Type | Stefano Passeri

Filigree Letter Intersection Axonometric

Filigree Letter Intersection Model

Music Notation Sectional Drawing

Swept Letters Intersection Drawing

Orthogonal Model Drawing generated only with linework of the letter q

Swept Model Drawing generated only with linework

Swept Music Notation Model Sections

Swept Music Notation Model

RENSSELAER CENTER FOR SCIENCE Partner | Margaret Graves Course | Design Development Studio Critics | Lonn Combs + Gabrielle Brainard Fall 2018 The scheme for this project was brought forward from my proposal in a precursor Integrated Design Schematic Studio.

The project seeks to unite the Science Axis at Rensselaer’s Campus with the other disciplines of study by creating a literal connection across the site. The primary program is moved to the upper floors, while the ground level is left to act as a fluid public space that becomes indecipherable between interior and exterior.

This unification is heightened by our treatment of the facade both externally and within the internal winter garden that spans the full cross section of the building. The wrapping of the facade mesh allows for light, continuity, and cohesiveness.

Inside the winter garden, one can begin to feel the scale and presence of the building. Four stories up, the roof sweeps in a butterflying motion to enclose the space.

Meant for social interaction as one passes through to class, the winter garden is seen and accessible from all levels with public roof terraces and windows lining it’s perimeter.

The space is open throughout the entire year, with warmer months utilizing sliding doors on either end to allow breezes to pass through unobstructed. It is designed as a space to create and innovate at Rensselaer.

Massing Diagram

Concept Sketches

Site Plan

Eighth Scale Sectional Model

THIRD FLOOR PLAN | SCALE 1/16” = 1’

FOURTH FLOOR PLAN | SCALE 1/16” = 1’

THIRD FLOOR PLAN | SCALE 1/16” = 1’

SECOND FLOOR PLAN | SCALE 1/16” = 1’

Second Floor Plan

Facade Study Model

Third Floor Plan

Circulation Study Model

Massing Study Model

SECOND FLOOR PLAN | SCALE 1/16” = 1’

Ground Floor Plan

GROUND FLOOR PLAN | SCALE 1/16” = 1’

Structural Parti Diagram 1 - exterior truss systems

Thirty-Second Scale Structural Model

Structural Parti Diagram 2 - central atrium truss

Thirty-Second Scale Structural Model

Structural Parti Diagram 3 - central truss and roof surface

Structural Parti Diagram 4 - minor roof truss system

Thirty-Second Scale Structural Model

Eighth Scale Sectional Model

Batt Insulation

Ceiling Elevation

screening) Panel

TGU Dessicant (moisture control) TGU Spacer TGU Sloped parapet cap

Roof and Finish Floor Elevation

Roof and Finish Floor Elevation

Ceiling Elevation Finish Floor Elevation Ceiling Elevation

Metal Mesh Facade brackets Aluminum Metal Panel TGU Dessicant (moisture control) Batt Insulation TGU Spacer TGU Dessicant TGU (moisture control) Metal Mesh (Sun Mullion connection screening) to structure TGU SpacerPanel TGU

Ceiling Elevation Aluminum Rainscreen panel on soffit and wall LED strip lighting

Finish Floor Elevation Batt Insulation

Finish Floor Elevation

Mullion connection to structure

Finish Floor Elevation Ceiling Elevation

Mullion connection to structure

Ceiling Elevation

Aluminum Rainscreen 3” Concrete (sub floor surface and insulation) panel on soffit and wall

Wood finished floor Floor Jacks to allow for inboard heating

LED strip lighting

Ceiling Elevation

3” Cellular Composite Deck Aluminum Rainscreen (allows for electrical wiring to be inboard) panel on soffit and wall LED strip lighting

18” W-Flange Beam 30’ o.c welded to beams 12” W-Flange Beam 15’ o.c welded to girder Acoustical Ceiling Wood finished floorGrid

Finish Floor Elevation

Finish Floor Elevation Ground Floor Ceiling Elevation

Ceiling Elevation

Floor Jacks to allow for inboard heating Wood finished floor 3” Concrete (sub floor surface andtoinsulation) Floor Jacks allow for

inboard heating 3” Cellular Composite Deck (allows for electrical wiring to 3” Concrete (sub floor be inboard) surface and insulation) 18” W-Flange Beam 30’Deck o.c 3” Cellular Composite Rigid Insulation welded to electrical beams wiring to (allows for be 12”inboard) W-Flange Beam 15’ o.c Drainage Pipe welded to girder 18” W-Flange Beam 30’ o.c welded to beams Acoustical Ceiling Grid 12” W-Flange Beam 15’ o.c welded to girder Vapor Barrier (wrapped full length of foundation Acoustical Ceiling Grid and footer)

Exterior Wall Section with Details

Ground Floor

Ground Floor

Rubber Moisture Stopper

Roof Elevation

Ceiling Elevation

Attachment post for maintenance workers with D-ring

12” W-Flange Beam 15’ o.c welded to girder Acoustical Ceiling Grid 18” W-Flange Beam 30’ o.c welded to beams

Aluminum Rainscreen panel Aluminum Metal Panel Mullion connection to structure

Finish Floor Elevation

Batt insulation

Ceiling Elevation

Finish Floor Elevation

Ceiling Elevation

Wood Flooring

Trim overhanging finished floor

Floor Jacks to allow for inboard heating

TGU with metal mesh insert TGU Dessicant (moisture control)

3” Concrete (sub floor surface and insulation) 3” Cellular Composite Deck (allows for electrical wiring to be inboard)

TGU Spacer Batt Insulation

Terrazzo, finish floor of Atrium Metal insert between Terrazzo and wood Wood decking, finish floor of patios

Atrium Finish Floor Elevation

Concrete Structure in basement

Depressed structure allowing for plantings Space for electrical conduits to be run

Atrium Wall Section with Details

RECONSTRUCTED SYMMETRIES Partner | Margaret Graves Course | Italian Study Abroad Critic | Yael Erel Fall 2017 Initially studying the Nolli Plan, we selected the Baths of Diocletian for our point of departure. This project seeks to display a new interpretation of the Roman City grid through the exploration of the Diocletian Baths and it’s expansive complex. First diving into the history and evolution of the baths, there was a rigorous study of the internal grid - dissecting it’s dimensions, variations, and logic to order. As time passes, the baths begin to reflect and display the decay of the city grid, and slowly become part of its reinterpretation in the late 1800s.

The goal of the project was not to propose a design for Rome, but rather to understand the evolution of its city grid, the influences upon it, the impact it has had upon the major historic sites of Rome, and in turn to develop a reading of the city through an architectural language. We were able to depict the reconstruction of the bath’s symmetrical grid through an understanding of light, space, and time within the magical context of Rome.

Exploded Axonometric drawing of the Diocletian Baths progression over time.

303 A.D. Diocletian Baths Plan

Original Bath Plan 303 | Scale 1:3000

303 A.D. Diocletian Baths Space Parti

Michelangelo Church Addition 1562 | Scale 1:3000 2017 A.D. Diocletian Baths Plan 537-1551 A.D. Diocletian Baths PlanRuin of the Baths 537-1551 | Scale 1:3000 1562 A.D. Diocletian Baths Plan

1562 A.D. Michaelangelo Church Space Parti

Current Plan 2017 | Scale 1:3000

1562 A.D. Diocletian Baths Model

1562 A.D. Diocletian Baths Model Detail

Diocletian Baths Space and Light Grid Generative Drawing

Light Grid Generative Drawing - Process

GENERATIVE EXCAVATIONS Exhibition | Curation + Exhibited Work Exhibition Date | Spring 2019 Head Faculty | Yael Erel Fall 2017 Italian Studies Program This exhibition featured work from the RPI School of Architecture’s Fall 2017 semester Italian Studies Program. It was curated

by Professor Yael Erel, and executed by six students that were part of the 2017 Fall program. I was responsible for drawing layouts, title blocks, printing, general organization of files, and general pin-up of the work in our school gallery. The experience was not only rewarding from a curatorial standpoint, but also as an opportunity to see work I helped produce move from ideas and notions of design into a fully comprehensive exhibition.

The exhibition was in honor of the 35th year the Italian Studies Program has been running at Rensselaer, as well as to acknowledge the work that had come out of the most recent semester. Alumni of the Italian Studies Program were present at the opening day.

I was also honored with providing tours to the alumni as a means to speak with them about the current climate of the architecture school and the exhibit. The class of 16 students that traveled to Rome in the fall of 2017 were not only proud to host this event, but to be intimately active in it’s production and curation.

RPI SoA Italy Studies Spring 2019 Exhibition

RPI SoA Italy Studies Spring 2019 Exhibition

RPI SoA Italy Studies Spring 2019 Exhibition - Gallery Entrance

RPI SoA Italy Studies Spring 2019 Exhibition - Gallery Plan

ROME SKETCHING Individual Study Course | Architecture of the City Critic | Davide Vitali Fall 2017 Sketching became an integral part of my reading Rome as not only a magnificent place, but a textbook. The city is host to a magnified sense of superimposition. Visiting sites directly to sketch and hear the history helps to solidify space into memory. It becomes part of how we not only capture the city, but share it.

Rome is a backdrop unlike any other to learn about architecture through paper and pencil in order to dissect the myriad of structural and spatial marvels throughout its city. Traveling along the papal procession, visiting St. Peter’s, climbing the Quirinial Hill, or visiting Sixtus V’s pilgrimage churches are each integral sites toured throughout this course.

By the end, it was more than simply filling a sketchbook; sketching became the way I read and remembered Rome. Proportions, facade details, and processional entrances became the way I speak about Rome. More than memory, Rome is intimately tied to the way I think about architecture. It is due to pencil and paper that I gained such a rich and invaluable understanding of such a significant city.

Sketch of St. Peter’s Basilica

Sketch of San Giovanni in Laterano

Sketch of Santa Maria della Pace and progression through site context

Sketch of Trajan’s Market

Sketch of San Giovanni in Laterano

Sketch of San Giovanni in Laterano

Sketches of the Spanish Steps and Piazza del Popolo

Sketch of Palazzo Farnese and immediate site context

Sketch of Santa Maria Maggiore

Sketch of San Carlo alle Quottro Fontane

SUBLIMINAL DECAY Partner | Margaret Graves Course | Architectural Design Studio 4 Critic | Adam Dayem Spring 2017 This project began with a textural application.

The intricate patterning laid the foundation for an 80 unit residence and sublime park at the edge of Monument Square Park in Troy, NY. The formal cube studies helped develop the tri-rotated square plan. The massive torpedo-like caverns removed from each corner allow for defined entrances and light to fill the space. This project allowed exploration of color, texture, and excavation to portray a subliminal decaying that originated as a critique to the current social climate of Troy. The project began to rectify its formal complexity in the plan. There was a rigorous focus to create privacy and fluidity throughout the housing complex. Everything ties back to the stepped, textural sublimity to create continuity, as well to entice new opportunities of scale.

Generative Texture Model Axonometric

Generative Texture Cube Model

Site Plan

Cross Section

Two Bedroom Family Unit Plan 2 | Scale 1/4” = 1’

Two Bedroom Family Unit Plan 1 | Scale 1/4” = 1’

Student Double Plan | Scale 1/4” = 1’

Two Student BedroomDouble FamilyPlan Unit| Scale Section | Scale 1/4” = 1’ 1/4” = 1’

Student Double Section | Scale 1/4” = 1’

Ground Floor Plan | Scale 1/8” = 1’

Unit Floor Plans

Student Double Section | Scale 1/4” = 1’

Fifth Floor Plan | Scale 1/8” = 1’

Fifth Floor Plan

Ground Floor Plan

Quarter Scale Sectional Model

CONVERGING INTRICACIES Individual Project Course | Architectural Design Studio 3 Critic | David Bell Fall 2016 The shifted rotation of this proposed and detached extension for the Dia: Beacon art museum began to explore concepts that would permeate throughout much of my later work. Through the twisting and layered composition two ideas emerged: a localized central courtyard, and interconnected forms that are created through the convergence of orthogonal horseshoe-like forms that also twist upon themselves. The proposal arrived at a form that was capable of supporting both intimate space for mounting contemporary painting, but also light filled walkways for 360 degree viewing of sculpture. The aggressive twisting of the building creates light cannons that bring light into the space. Isolated in its siting, the building acts like many of the works it intends to house - entertaining creativity and mystery for its contents. Presenting itself differently from each viewpoint, the visitor must also explore to find the entrance into the autonomous structure.

Second Floor Plan

Second Floor Plan Scale: 1/16� = 1’

Ground Floor Plan

N

Building Plan Evolution Diagram

Concept Sketches

Massing Development Diagram

N Site Plan Scale: 1/32” = 1’

Site Plan

Perspectival Cross Section

Detailed Sectional Model

Detailed Sectional Model - pulled apart

TECHNOLOGIC AL DREAML AND Partner | Robert Nilsen Course | Architectural Design Studio 7 Critic | William Virgil Fall 2019 Tasked with the challenge of beginning with baby dolls in order to design a diner, our project studies the relationship between the organic (the human figure) and technology (the mechanical).We are becoming overrun by our own technology, and we often fail to recognize this fact because we are inundated with fantastic depictions rather than directly targeted with the problem itself. Our proposal for a diner near Miami’s abandoned marina begins to situate its inhabitants directly in this fact. Essentially, the diner becomes a machine working for its occupants and in turn they are unable to detach themselves from the entanglement of chords and larger machine. They become dependent on it, without even recognizing this - the fantastical world becomes a normative reality. The kitchen is able to transport food through massive pipes that pass through the structure, becoming indecipherable from the grotesque human geometry. The battle between the mechanical and the organic is resolved through Reconstructive Regurgitation. It is a process in which “we bring the so-called ‘inside’ out”. We began by dripping wax on a model generated by reconstructing baby dolls. The project seeks to acknowledge that beauty is not only subjective but comes from within – and it is through external expression that one can begin to share such ideas.

Sixteenth Scale Massing Model

Quarter Scale Sectional Model - Pulled Apart

Mechanical Detail Perspective Rendering

Diner Cross Section

Quarter Scale Sectional Model

Quarter Scale Sectional Model - Pulled Apart

Front View Rendering of the Diner - Composed on the site

Top View Rendering - Composed on site

SHELLEY J. WARNER | PORTFOLIO