design fuel
DESCRIPTION
A collection of Rebecca Mercer's undergraduate architecture work from Clemson University.TRANSCRIPT
com
munity
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DESIGN FUELdesign fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel
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DESIGN FUEL design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel
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DESIGN FUEL
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
DESIGN FUEL design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel design fuel
DESIGN FUEL
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
design fuel design fuel
r
ebecca m
ercer u
nderg
raduate
portfo
lio
rebecca m
erc
er undergraduate portfolio
rebecca m
ercer u
ndergraduate portfolio
[design FUEL]
As a design student, I have transformed my ideals of problem solving. Every proj-ect becomes an endless puzzle of choices and it is necessary to discover a design FUEL- a propelling force driven by a germane concept that consumes the whole scheme down to every detail. Fueling a design is necessary to a unified and cohesive proj-ect. By fueling my designs, I have learned to answer my design dilemas with a special-ized solution that boosts and strengthens the unity of each project. The three main fuels have been divided into process, community, and concept. Individiual projects overlap all of these dis-tinctions but one gener-ally emerges more pow-erfully than the other two.
REBECCA MERCER
prof. Noce
lla p
rof. C
raig
sprin
g 2
010 fa
ll 2011
2nd year 4th year
prof. Lee
fall 2009
2nd year
reflection pond
radio
head itin
era
ry
GREC charleston
pro
f. Hecke
r pro
f. Houaye
ksprin
g 2
011 fa
ll 2010
3rd year 3rd year
HATCHpad
ITALIA sketchescommunity
prof. C
raig
fall 2
011
4th year
interpretive center
fall 2
009
2nd year
process
pro
f. Lee
pro
f. Mills
greenville folk museum
sp
ring
2011
3rd year
door window stair
concept
fall 2011
4th year
prof. S
ilance
plywood chair
prof. Noce
lla p
rof. C
raig
sprin
g 2
010 fa
ll 2011
2nd year 4th yearprof. Lee
fall 2009
2nd year
reflection pond
radio
head itin
era
ry
GREC charleston
pro
f. Hecke
r pro
f. Houaye
ksprin
g 2
011 fa
ll 2010
3rd year 3rd year
HATCHpad
ITALIA sketchescommunity
prof. C
raig
fall 2
011
4th year
interpretive center
fall 2
009
2nd year
process
pro
f. Lee
pro
f. Mills
greenville folk museum
sp
ring
2011
3rd year
door window stair
concept
fall 2011
4th year
prof. S
ilance
plywood chair
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
greenvillefolk museum
greenvillefolk museum
N̂
up
up up up
museum
museum
museum
museum
up up
up up
pantry
closet
closet
pantry
closet
closet
up up
up up
museum
museum
museum
up up
up up
tesolc
office
pantry
closet
closet
museum
up
down
retail
up
retail
ticketing
museum office space
up up
museum gift shop
up up
tesolc
office
retailmuseumcirculationapartments
greenvillefolk museum
greenvillefolk museum
greenvillefolk museum
art and culture[ view from Falls Park ] left
The goal of the folk art mu-seum was to assimilate the diversity and artistic heritage of Greenville. Folk art not only represents a culture but a community in a specific increment of time. Folk art’s beau-ty derives from this ren-dezvous of a culture and time. Therefore a palimp-sest drawing of clock parts fueled the entirety of the folk art museum.
palimpsest extraction[ site analysis ] left[ bird’s eye view of site ] belowThe layers of mechanical clock parts represented a merging of time as history and a vernacular time germane to the specific culture of Greenville
uniquely specialized[ study models ] above, left, right
From the palimpsest study and a series of study models, the form progressively became an array of jumbled parts. This hodgepodge of parts represented folk art as a proac-tive collection of unique pieces. Oc-cupants pass through the medley of spaces to create an adventure through a cluster of unique experiences.
[ sixth floor ] below [ fifth floor ] below [ fourth floor ] below [ third floor ] below
assimilation[ east to west section ] left[ south to north section ] below
The assimilated circulation system is composed of a main staircase and a series of ramps that creates a winding path up through the mu-seum. This circulation enhances the integration of the community of Greenville and folk art by creat-ing a harmonious experience as the occupant moves through both private and public spaces. Conse-quently, the path winds through the museum and the apartment spac-es to engage the residents with the community and vice versa.
embodying diversity[ street view ] left
While the essence of folk art en-hances the history of Greenville, the cacophonous array of parts working together symbolize the di-versity of the upcoming Greenville.
uniting cluster[ ground floor ] first left[ first floor ] second left
Each jumbled piece transformed into a specific program—museum, office, apartments and circulation tower. Because the folk art muse-um’s program was separate and dispersed pieces, the museum needed an integrated circula-tion to unite the disjointed pieces
[ east elevation ] above[ section program diagram ] above[ clock palimpsest drawing ] above
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
doorwindowstair
narrative inspiration[ plan view of model ] left
DWS was the beginning of my understanding of space as narrative interactions. Through this project, I exposed myself to rethink the con-ditions and meanings of doors, windows, and stairs. I discovered the beauty of narration in relation to spatial qualities and challenged my previously conceived notion of what I thought to be elementary architectural elements. By learning to think of spaces as experiences of pause, my design horizon immediately broad-ened. This project became a catalyst for my spatial experimentation throughout my studies.
regulation vs. dance[ stair model ] large left
Tango dancers fueled my exploration of space for DWS. The collision of aesthetic forms following a brutal reality of rules united my three spac-es into one narrative. The first space represents the necessity of each part-ner to one another. Two masses with undulating treads simulate the two dancers creating the path for each other. The second symbolizes the music forming the dancers’ move-ment. A spiral staircase encompass-es the occupant’s passage through the topography like the music engulfs the dancers. The last space portrays how the regulations provide the foun-dation for the dancers’ movement. The regulation is shown by a repeat-ed window to create a tunnel that supports the inhabitant’s walkway.
capturing movement[ site plan ] left
The dancing metaphor captured the beauty of amorphous move-ment combined with the strict regulations dancers have to follow.
[ inital spatial sketches ] left
[ space study ] top left[ stair detail ] bottom left
[ stair materials ] large above
action representation[ action diagram ] first right
[ section of action ] middle right[ topography formed by action ] far right
[ elevation of model ] below
To create the topography, I wrinkled a piece of aluminum foil. From the foil, the action “wrinkle” became personified in plan and section diagrams and furthermore into a 3D topography mass. This mass became the site for the future DWS design.
N̂
plywoodchair
plywoodchair
sporadic discovery[ front isometric ] left[ back isometric ] right
The design parameters were to make a plywood chair out of one 4’ by 8’ ply-wood sheet (3/4” thick). To use the majority of the sheet with the least amount of waste, my design solu-tion was to cut up the plywood into 4” strips and allow the form to grow from the scrap pieces. This process cre-ated a random seating area formed by stalactites that formed the legs and stalagmites that formed the back rest.
N̂
plywoodchair
plywoodchair
sporadic discovery[ front isometric ] left[ back isometric ] right
The design parameters were to make a plywood chair out of one 4’ by 8’ ply-wood sheet (3/4” thick). To use the majority of the sheet with the least amount of waste, my design solu-tion was to cut up the plywood into 4” strips and allow the form to grow from the scrap pieces. This process cre-ated a random seating area formed by stalactites that formed the legs and stalagmites that formed the back rest.
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plywoodchair
plywoodchair
connection realization[ initial sketches ] first left[ 1/4”=1’ study model ] second left[ study model construction ] below[ final product construction ] right
After I discovered how much the 1/4” scale model warped, the construction method needed to be reconsidered. In-stead of gluing every 4-inch strip to each other, I shifted the strips to they would touch multiple pieces at a time. This change drastically strengthened the chair.
N̂
plywoodchair
plywoodchair
connection realization[ initial sketches ] first left[ 1/4”=1’ study model ] second left[ study model construction ] below[ final product construction ] right
After I discovered how much the 1/4” scale model warped, the construction method needed to be reconsidered. In-stead of gluing every 4-inch strip to each other, I shifted the strips to they would touch multiple pieces at a time. This change drastically strengthened the chair.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpad
HATCH network[ interior photo ] left
HATCHpad is an urban fur-niture piece designed for the HATCH Asheville art festival. HATCH is a biannual art fes-tival that creates a network for the interdisciplinary de-sign professionals --a hub for the exploration and sharing of upcoming creative art pur-suits and projects. It gathers professionals, students, and mentors to generate creative ideas and fuel design for the future.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpad
HATCH network[ interior photo ] left
HATCHpad is an urban fur-niture piece designed for the HATCH Asheville art festival. HATCH is a biannual art fes-tival that creates a network for the interdisciplinary de-sign professionals --a hub for the exploration and sharing of upcoming creative art pur-suits and projects. It gathers professionals, students, and mentors to generate creative ideas and fuel design for the future.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpad
emersion of 7 disciplines[ interdisciplanary diagrams ] above
[ sections ] left
To represent the ideals of HATCH, 7 eggs were placed inside the boundaries to literally and figuratively repre-sent the seven disciplines of HATCH:architecture, photography, fashion, film, journalism, music, design/technology. The egg shapes were then three dimensionally expanded and joined to represent the min-gling and collaboration of the disciplines. The cavern-like space created by the interaction of the disciplines became the void where the space can be inhabited. There-fore, interactions of HATCH designers are collaborat-ing in the spaces created by their figurative exchanges.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpad
emersion of 7 disciplines[ interdisciplanary diagrams ] above
[ sections ] left
To represent the ideals of HATCH, 7 eggs were placed inside the boundaries to literally and figuratively repre-sent the seven disciplines of HATCH:architecture, photography, fashion, film, journalism, music, design/technology. The egg shapes were then three dimensionally expanded and joined to represent the min-gling and collaboration of the disciplines. The cavern-like space created by the interaction of the disciplines became the void where the space can be inhabited. There-fore, interactions of HATCH designers are collaborat-ing in the spaces created by their figurative exchanges.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpadHATCHpad
ode to digital fabrication [ plan showing electronic details ] above[ urban rendering ] top left
Digital fabrication was a driving force that fu-eled the design from the beginning. Therefore, HATCHpad became a limitless form that was un-determined by traditional building methods. It was a boundless expression of technology and determined by technology to shape the design. HATCHpad also integrates technology, such as ipads and speakers, to enhance the user’s ex-perience. It represents the ideals of HATCH as a multifunctional sculpture: a gathering place and an informational hub.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpadHATCHpad
ode to digital fabrication [ plan showing electronic details ] above[ urban rendering ] top left
Digital fabrication was a driving force that fu-eled the design from the beginning. Therefore, HATCHpad became a limitless form that was un-determined by traditional building methods. It was a boundless expression of technology and determined by technology to shape the design. HATCHpad also integrates technology, such as ipads and speakers, to enhance the user’s ex-perience. It represents the ideals of HATCH as a multifunctional sculpture: a gathering place and an informational hub.
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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HATCHpad
proactive mingling[ construction photo ] above
The unique sculptural piece engages the occupants in an exchange of knowledge, in-spiration, and creativity.
instigate interactionThe goal is to create the HATCHpad—a terminal to allow Asheville citizens to learn about the blossoming design stan-dards of HATCH and to encourage and energize .stnapicitrap HCTAH evitca
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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HATCHpad
proactive mingling[ construction photo ] above
The unique sculptural piece engages the occupants in an exchange of knowledge, in-spiration, and creativity.
instigate interactionThe goal is to create the HATCHpad—a terminal to allow Asheville citizens to learn about the blossoming design stan-dards of HATCH and to encourage and energize .stnapicitrap HCTAH evitca
ITALIAsketches
SAN MATTEO PIAZZAgenova, Italiapen and pencil
POMPEII PALACEpompeii, Italiapen and pencil
PARLIAMENT CITYSCAPElondon, England
pen
GENOA ARCHgenova, Italiapen and pencil
ITALIAsketches
SAN MATTEO PIAZZAgenova, Italiapen and pencil
POMPEII PALACEpompeii, Italiapen and pencil
PARLIAMENT CITYSCAPElondon, England
pen
GENOA ARCHgenova, Italiapen and pencil
ITALIAsketches
PONTEVECCHIO VIEW FROM UFFIZIflorence, Italiapen
POMPEII STREETpompeii, Italia
pen
ITALIAsketches
PONTEVECCHIO VIEW FROM UFFIZIflorence, Italiapen
POMPEII STREETpompeii, Italia
pen
ITALIAsketches
ST. PAUL’S CATHEDRALlondon, Englandpen
PIAZZA BIANCAgenova, Italiapencil
ITALIAsketches
ST. PAUL’S CATHEDRALlondon, Englandpen
PIAZZA BIANCAgenova, Italiapencil
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The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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interpretivecenter
importance of growth[ perspective rendering ] above
[ initial sketches ] bottom row
To connect this project to the farming com-munity, the design was fueled by the growth from roots to crops. The ground burrowed into the side of the hill to benefit the natural insulation. The lab, storage, and mechanical rooms are located on the ground level, be-cause they serve as the “roots” and founda-tion of the building; on the other hand, the first level symbolizes the beauty of growth. Con-sequently, the exhibit and offices are located on the first floor where the learning blossoms.
N
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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interpretivecenter
importance of growth[ perspective rendering ] above
[ initial sketches ] bottom row
To connect this project to the farming com-munity, the design was fueled by the growth from roots to crops. The ground burrowed into the side of the hill to benefit the natural insulation. The lab, storage, and mechanical rooms are located on the ground level, be-cause they serve as the “roots” and founda-tion of the building; on the other hand, the first level symbolizes the beauty of growth. Con-sequently, the exhibit and offices are located on the first floor where the learning blossoms.
N
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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interpretivecenter
easily accessible[ site plan ] above
[ section site analysis ] below[ site analysis ] left
The interpretive center is located on the last used agricultural plot of land on Clemson University’s campus. The placement on the site was influenced by the location of the farmer’s market. One of the main problems with the site was the access to the bottoms from perimeter road. Therefore, making a fluid connection from perimeter road into the site became critical. The design implemented a bike/pedestrian ramp, an elevator, stairs, and amphithe-ater seating to encourage visitation to the site.
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The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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interpretivecenter
easily accessible[ site plan ] above
[ section site analysis ] below[ site analysis ] left
The interpretive center is located on the last used agricultural plot of land on Clemson University’s campus. The placement on the site was influenced by the location of the farmer’s market. One of the main problems with the site was the access to the bottoms from perimeter road. Therefore, making a fluid connection from perimeter road into the site became critical. The design implemented a bike/pedestrian ramp, an elevator, stairs, and amphithe-ater seating to encourage visitation to the site.
N
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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interpretivecenter
enhancing design through material[ netzero diagram ] above
[ column detail ] left
The materials enhanced the metaphor. The ground floor is made out of a soil-cement mix to create a cave-like feeling like Gaudi’s Park Guell. The first floor is made from glulam beams that sprout organic forms from the “roots” below. Material choice, building orientation, water collection, and energy saving appliances are amoung the few elements considered to create a netzero building.
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The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
Hpad
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interpretivecenter
enhancing design through material[ netzero diagram ] above
[ column detail ] left
The materials enhanced the metaphor. The ground floor is made out of a soil-cement mix to create a cave-like feeling like Gaudi’s Park Guell. The first floor is made from glulam beams that sprout organic forms from the “roots” below. Material choice, building orientation, water collection, and energy saving appliances are amoung the few elements considered to create a netzero building.
N
The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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interpretivecentercenter
descending arrival[ view from crops ] left
[ ground floor plan ] bottom right[ first floor plan ] left bottom
When I first visited the site, the entrance of walking down into the bottoms played an influential role in my design process. The arrival of walking down a hill fueled the creation of my project; the center was built into the topography to enhance this unique experience. By focusing on the passage into the site, the design created a more formal connection into the site. A retaining wall protruded through the building where the original slop of the hill was located. This wall created a needed division from the public to enhance the privacy of the bottoms.
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The HATCHpad was propeled by the Ashe-ville, NC c o m m u n i t y . T h i s group project was designed for and by the Asheville HATCH festival. The purpose was to de�ne a hub for HATCH members, and Asheville community members to learn about the services of H A T C H
HATC
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interpretivecentercenter
descending arrival[ view from crops ] left
[ ground floor plan ] bottom right[ first floor plan ] left bottom
When I first visited the site, the entrance of walking down into the bottoms played an influential role in my design process. The arrival of walking down a hill fueled the creation of my project; the center was built into the topography to enhance this unique experience. By focusing on the passage into the site, the design created a more formal connection into the site. A retaining wall protruded through the building where the original slop of the hill was located. This wall created a needed division from the public to enhance the privacy of the bottoms.
radioheaditinerary
predetermined pathways[ spatial : action diagrams ] top right
[ still frames from music video ] bottom right
After studying the “High and Dry” music vid-eo by Radiohead, spatial studies of the ac-tion in the video informed the itinerary of the project. The characters in the video all have a morbidly destined path that distinctly ends in betrayal. However, the paths are prede-termined by their own actions previous to the start of the music video. The evasive theme dictates the passage through my spaces.
radioheaditinerary
predetermined pathways[ spatial : action diagrams ] top right
[ still frames from music video ] bottom right
After studying the “High and Dry” music vid-eo by Radiohead, spatial studies of the ac-tion in the video informed the itinerary of the project. The characters in the video all have a morbidly destined path that distinctly ends in betrayal. However, the paths are prede-termined by their own actions previous to the start of the music video. The evasive theme dictates the passage through my spaces.
radioheaditinerary
inevitable solitude[ model detail ] left[ model elevation] bottom left[ model plan ] bottom right
The two distinct passages in the journey represent the isolated paths of the Radiohead characters. Their paths do not meet until their journey ends like the mu-sic video. Both characters’ paths cannot deviate from their predetermined journey like in “High and Dry”. As the characters travel along their destined paths, they are never allowed to see their imminent future because the music video’s plot is deceptive and uncertain.
radioheaditinerary
inevitable solitude[ model detail ] left[ model elevation] bottom left[ model plan ] bottom right
The two distinct passages in the journey represent the isolated paths of the Radiohead characters. Their paths do not meet until their journey ends like the mu-sic video. Both characters’ paths cannot deviate from their predetermined journey like in “High and Dry”. As the characters travel along their destined paths, they are never allowed to see their imminent future because the music video’s plot is deceptive and uncertain.
reflectionpond
reflectionpond
reflectionpond
illuminate texture
During my initial site visit, the sunlight reflected off the pond’s ripples to create a dancing texture that illumi-nated the bridge’s column. This shimmering light devel-oped into a study of the re-flection of water onto spaces. The pond became a tool for natural light and a symbol of the power of reflection.
submerged experience
[ north to south section ] above left[ east to west section ] above right
[ floor below pond ] above [ mezzanine level ] above [ floor 1 above water ] above [ floor 2 above water ] above
The scheme began as a perforated cube half submerged into water. The building evolved into a retreat where in-habitants can experience the water sur-face above, amid, and below to truly embody the symbolism of reflection.
[ south to north site section ] top
reflectionpond
illuminate texture
During my initial site visit, the sunlight reflected off the pond’s ripples to create a dancing texture that illumi-nated the bridge’s column. This shimmering light devel-oped into a study of the re-flection of water onto spaces. The pond became a tool for natural light and a symbol of the power of reflection.
submerged experience
[ north to south section ] above left[ east to west section ] above right
[ floor below pond ] above [ mezzanine level ] above [ floor 1 above water ] above [ floor 2 above water ] above
The scheme began as a perforated cube half submerged into water. The building evolved into a retreat where in-habitants can experience the water sur-face above, amid, and below to truly embody the symbolism of reflection.
[ south to north site section ] top
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
inspiring collaboration[ ground level rendering ] left
On our initial site visit, the cranes and boats created a memorable industrial atmosphere that our de-sign emulated. The gadgets that lifted the boats off the dry dock caught our atten-tion.The improbablity that a heavy object could be elevated by spindle-like objects intrigued us. This mystery became a fore-runner in our design choic-es. To address the base flood level, we designed a large mass hovering over the ground floor to mirror the boat devices. By rais-ing the first floor, the ground floor became an open lounge space for students and professionals to gather.
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
inspiring collaboration[ ground level rendering ] left
On our initial site visit, the cranes and boats created a memorable industrial atmosphere that our de-sign emulated. The gadgets that lifted the boats off the dry dock caught our atten-tion.The improbablity that a heavy object could be elevated by spindle-like objects intrigued us. This mystery became a fore-runner in our design choic-es. To address the base flood level, we designed a large mass hovering over the ground floor to mirror the boat devices. By rais-ing the first floor, the ground floor became an open lounge space for students and professionals to gather.
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
[ LEED diagram ] below
[ structure diagram ] below [ circulation diagram ] below
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
[ LEED diagram ] below
[ structure diagram ] below [ circulation diagram ] below
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
harvesting circulation[ ground floor ] above[ first floor ] left bottom[ second floor ] left middle[ third floor ] left top
People enter the building on the ground floor from any direction just as the build-ing collects wind from any direction. Students and professionals all enter together to enhance the probability of interdisciplinary mingling. Like wind funneling through a turbine, the occu-pants progress to the first floor by tak-ing the escalator or elevators. After the first floor the students and employees separate to the last stage of the pro-cess where they conduct research to give back to the community like wind harvesting giving back to the building.
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
harvesting circulation[ ground floor ] above[ first floor ] left bottom[ second floor ] left middle[ third floor ] left top
People enter the building on the ground floor from any direction just as the build-ing collects wind from any direction. Students and professionals all enter together to enhance the probability of interdisciplinary mingling. Like wind funneling through a turbine, the occu-pants progress to the first floor by tak-ing the escalator or elevators. After the first floor the students and employees separate to the last stage of the pro-cess where they conduct research to give back to the community like wind harvesting giving back to the building.
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
twisting as a generator[ view, wind, and solar diagrams ] top left row[ view from Cooper River ] large left[ wind distribution diagram ] below
Form generators of the building included views, sunlight, and wind collection. Be-cause the site was the perfect for views of the Cooper River, it would be best to provide the most views for the most amount of oc-cupants. To achieve optimal views, we cre-ated an office tower at the back of the building to provide a 360 view of the site. To aid the offices behind the university section, we rotat-ed the building toward the dry dock to create more views for them as well. This twist also formed the best possible angle to collect wind.
wind collection[ longitudal section ] left[ core rendering ] above
Because the main research intended for GREC is wind energy and turbines, the form generator for the building became wind harvesting and wind patterns from the site. Symbolically, the collection of wind energy being collected and dis-persed into the building became an im-portant aspect of the circulation paths.
GRECcharleston
twisting as a generator[ view, wind, and solar diagrams ] top left row[ view from Cooper River ] large left[ wind distribution diagram ] below
Form generators of the building included views, sunlight, and wind collection. Be-cause the site was the perfect for views of the Cooper River, it would be best to provide the most views for the most amount of oc-cupants. To achieve optimal views, we cre-ated an office tower at the back of the building to provide a 360 view of the site. To aid the offices behind the university section, we rotat-ed the building toward the dry dock to create more views for them as well. This twist also formed the best possible angle to collect wind.
LegacyHealth Clinic
facilitatinghealth
[ courtyard rendering ] left
The main goal of this project was to create a healthy learningenvironment for all members of the community. As a team, we
strove to bring in as much naturallight and incorporate a courtyard
scheme to better all visitors to enhance the neighborhood.
LegacyHealth Clinic
facilitatinghealth
[ courtyard rendering ] left
The main goal of this project was to create a healthy learningenvironment for all members of the community. As a team, we
strove to bring in as much naturallight and incorporate a courtyard
scheme to better all visitors to enhance the neighborhood.
north
LegacyHealth Clinic
stitching togethera community
[ masterplan ] left
By showing this low-income arearespect and an opportunity for
growth, the health clinic can becomethe first step in revitalizing the area.
To emphasize the importance ofhealth in the community, we boldly
placed the clinic on the main intersection. This move will allow
the building to act as a catalyst for future development.
north
LegacyHealth Clinic
stitching togethera community
[ masterplan ] left
By showing this low-income arearespect and an opportunity for
growth, the health clinic can becomethe first step in revitalizing the area.
To emphasize the importance ofhealth in the community, we boldly
placed the clinic on the main intersection. This move will allow
the building to act as a catalyst for future development.
LegacyHealth Clinic
protected boundary[ public vs private plan ] far left[ entry sequence ] stacked to the left
To create an experiential entry, a walljuts out to provide a sense of a privacyfor the patients. From the beginning,we wanted to make the patients feellike they are in an oasis protected fromthe exterior urban-scape. By enteringinto an enclosed space, the patientswill feel at ease while visiting the clinic.
LegacyHealth Clinic
protected boundary[ public vs private plan ] far left[ entry sequence ] stacked to the left
To create an experiential entry, a walljuts out to provide a sense of a privacyfor the patients. From the beginning,we wanted to make the patients feellike they are in an oasis protected fromthe exterior urban-scape. By enteringinto an enclosed space, the patientswill feel at ease while visiting the clinic.
LegacyHealth Clinic
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split systemHVAC diagram
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[ north-south section ] above[ southwest-northeast section ] below
LegacyHealth Clinic
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split systemHVAC diagram
roof drainagediagram
[ north-south section ] above[ southwest-northeast section ] below
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rebecca m
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rebecca m
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ndergraduate portfolio