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STOCKHOLM PUBLIC LIBRARY ADDITIONARIA THESIS SUMMER 2010INTERLOCKFALL 2009 COMMERCE STREET APARTMENTSFALL 2009LIVEABLE COMMUNITYSPRING 2008MUSEUM OF NATURAL HISTORYFALL 2008A PLACE TO DWELLFALL 2007

MINI PROJECTS

Piazza Barberini Metro EntranceAtelier of the ExcavatorBird + House

An Exquisite CubeTwo Room Light Study

RURAL STUDIOSPRING 2008

6-11

2

12-17

18-21

22-25

26-29

30-31

32-33

34-39

40-43

44-47

48-53

54-55

DRAFTINGTemple of the Winds

Sewing Machine

ARTWORK

Hibiscus

Weeping WillowThe Old Oak Tree

A Host of Golden DaffodilsBeach Scene

Herman and Melville

Haley NicoleJessica Lynne

Palazzo Taverna, Interior Wall Elevation

Palazzo Massimo, Plan and ElevationTempietto, Section and Plan

A Theoretical Space

SKETCHES

Series from Study Abroad in Rome, Italy

Series of HandsSeries of Scaled Drawings

3

RESUME

4

5

STOCKHOLM PUBLIC LIBRARY ADDITIONARIA THESIS SUMMER 2010

The division of the site was the first step in the design of the Stockholm Public Library addition. Dividing the site perpendicular to the existing annexes creates depth and breaks the rhythm that has previously existed in the street context. It helps to distinguish between the two exterior zones of the site: the public area off of Odengatan and the private courtyard that wraps around the back of the building. The form of the building developed both parallel and perpendicular to the existing buildings that frame it; it also references the changing geometry between the Library and the Annex. The new west wing of the Library and a new connection piece to the Library Annex are “wedges” which anchor the project and create connection pieces between old and new. The “Z” shape that emerged is a three dimensional representation of the changing geometry across the site and between the existing structures.Three Building zones are directly relational to the “Z” form: The west wing, the central public zone, and the annex wedge. The division of the building into the three zones allows program to be organized according to need. Ceiling height becomes a changing element throughout the zones, alternating between single height (1), double height (2), and mezzanine (½) floor plates.

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The relationship between these changes in floor height becomes important to the development of many of the primary spaces.The circulation is important to the development of the primary spaces and to the relationship between changing floor plates. The central stair becomes a public space in itself, allowing the interaction between floor levels and between people. It acts as a stage for this movement as well as a mediator between the public and private needs of the building.Development of reading carrels is another way of mediating between the public and private zones. They become a common component of both the interior space, and the articulation of fenestration and function on the exterior elevation. Through the “carving out” of the walls, private space is defined, and a clear distinction between the private and public spaces of the building is created. Each carrel is an extension of the space around it; it appears to fold up out of the flooring and continues out through the window unit. Privacy screens are operable to allow for individual modification as needed. Altering the floor system in the units also creates a distinction between this space and the public circulation zone surrounding it.

7

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10

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INTERLOCKFALL 2009

The main principle of this proj-ect was to relate to the imme-diate street context through the use of different planes and axes. The idea came from the study of the VM Houses by BIG Architects; these buildings manipulate form and create very atypical unit plans and shapes. The layout is about interaction between residents, interaction between floor and wall planes, and also a re-lationship site and context. These buildings also utilize both north and south daylight and every residence has equal access to both. The foundation for my design began with the street grid of the area: notably that of Rush Street, Cedar Street, and Bel-levue Place. Bellevue Place runs E-W which allowed for the proposed towers to have an N-S orientation to maxi-mize daylight in residential spaces. Rush Street runs be-side a small triangular park in the middle of the street, creat-ing an axis that is slightly NW-SE. In the development of the different floor levels, the shift-ing of these planes became a system for dividing different spaces and also dividing pro-grammatic elements. Unlike the VM Houses that are an exclusively residential case study, my proposal incorpo-rates this concept of interac-tion into the 3 level plinth as well. This is where the planes are most evident to the pedes-trian walking by.

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Fourth

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Chic

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In the façade system, these planes are indicated as “thick walls”; these walls become actual cavities that contain the storage and mechanical needs of the building, while also acting as a visual state-ment about the building’s in-tentions. They are articulated through a dark colored Trespa Meteon panel system.The shifting of the planes in the ground plane creates unique and interesting points of entry into the building along the three street facades. As a basis for establishing a pres-ence within the community, these entry points pull people through cavities in the façade. These entry points simultane-ously reflect the geometry of the existing street planes and how they can interact with one another; how all the elements can interlock and work togeth-er.The residential spaces of the project also reflect the planes of the street context and rep-resent an interpretation of the VM Housing Units. The unit layout capitalized on a system of interlocking units of single and double height. There are a total of eight unit types and forty-eight total units, one and two bedroom. Each unit has access to a minimum of three views. The residential towers help the building to relate to other ex-isting towers in the area while the three level plinth gives the pedestrian a more comfortable and relaxed experience.

The scale for the plinth is easy for a pedestrian to relate to; it also reflects the context of other two and three story buildings around the park.Programmatic elements in-clude a small theatre, amphi-theatre, commercial and retail spaces, housing, and public amenity/activity spaces. Also, the form of the building allows for a series of exterior spaces and terraces on ground and upper levels. Through these spaces the connection to the exterior and to the park is maintained. The use of Tres-pa Meteon panels helped to articulate which spaces were meant to be private and which public; it also created a way to visually demonstrate the con-cept of “interlocking”.

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COMMERCE STREET APARTMENTSFALL 2009

This project was a remodel of an existing warehouse struc-ture in downtown Montgomery. The program was residential and forced us to think of ways to utilize the space and bring light into it, while not cutting any windows through the ex-isting structure. The system I developed utilized the orienta-tion of the building and also the E-W cardinal axis as planes from which spaces and vol-umes were pushed and pulled. The system that emerged was one of interlocking units that allowed each unit to have ac-cess to light from two direc-tions. Each unit is unique to itself and represents the au-tonomy of the individual.

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Montg

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LIVEABLE COMMUNITYSPRING 2008

The following is an excerpt from the AIAS/AARP Liveable Communities Design Competition Website. This project was the Third Place winning design of the competition in the Spring of 2009.

Communities of all sizes across the United States are applying the concept of livability to holistically address a range of challenges, such as a growing population of older residents, rising housing costs, and limited transportation alternatives. AARP has defined a Livable Community to be “places where people of all ages and abilities have affordable and accessible housing choices, as well as public buildings, retail and services, parks, and streets that meet their needs to stay safe and comfortable in both their homes and neighborhoods.” AARP surveys show that nearly 90% of the 50+ population want to stay in their homes and communities as they age, where they have strong social networks and a sense of familiarity. Additionally, AARP research shows that “Boomers” are following the trend of their parents’ generation, wanting to stay in their current home or community as they age. Designing a home to serve everyone from grandchildren to adults benefits everyone and promotes long-term residence that leads to vibrant communities and neighborhoods.

LIVE

ABLE

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UNIT

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ear A

RC

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New

Orle

ans, Louis

iana

1-bedroom units

2-bedroom units

3-bedroom units

Public Space

Commercial

Circulation

22

Typi

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down Camp Street, increasing accessibility and movement both within the building but also around the neighborhood and city. On the ground level there are eight commercial tenant spaces wrapped around the North, West, and South sides. The main entry for the atrium and residential units is also given a “store-front” character on the West façade.

One of the most important features of universal design is making movement between spaces easy and efficient, through widening hallways, widening doors, and allowing a greater amount of floor space for a wheelchair to turn around. As a livable COMMUNITY, it is important to relate this concept to not only the building but to the neighborhood itself: the larger community. The idea that I strove towards was making the motions of daily life less difficult and to eliminate the discrimination that sometimes accompanies a disabled or aging person. The units in this building are all designed to be accessible and maneuverable for all of their occupants. Not only in the units though is this concept important. The entire building must be equally accessible to all persons: a challenging but crucially important concept.

The site for this project is in the Warehouse Arts District of New Orleans, south of the Business district and north of the Garden district. The site was chosen because of its rich history and unique character. This area is currently undergoing a range of new construction projects, some of which are new residential buildings. The construction alone provided motivation for me: A residential/ multi-use was an idea that could be applicable to the area. New Orleans also provided many obstacles to tackle in terms of design. The hot climate, as well as the tendency to flood, made this project one that focused on the effects of daylighting, ways to passively heat and cool a space, as well as getting the fundamental parts of the building off of the ground in case of flood.

The building is composed of four floor levels, lower being primarily commercial, and the upper three being reserved for residential units. The floors are linked, however, through a central atrium that helps to unite the floors, as well as to create an engagement between the occupants of the lower floor with the residents above, and vice versa. By pushing the communal spaces of the residents into this central space, as well, this interaction is heightened.

The building is easily accessible to all persons. Transportation routes run directly by the site

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MUSEUM OF NATURAL HISTORYFALL 2008

This project was a Science and History Museum that also con-tained a restaurant space and office space. Main design in-tentions include: Varied lev-els of transparency aimed to frame and limit views based on the hierarchy of spaces and relationship between spaces. Wall planes provide direction through the spaces, focus-ing attention down axes that run the length of the build-ing. The courtyards are used to focus the activity of exhibits and classrooms; they become outdoor rooms for the spac-es. The courtyards provide a sense of direction as circula-tion moves around them and through them. The juxtapo-sition of heaviness and light-ness through material choices and light conditions enhances the idea of literal and phenom-enal transparency in the struc-ture.

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a. Exhibitions

b. Courtyards

c. Retail/Restaurant

d. Services

e. Vertical Circulation

f. Activites/Classrooms

g. Office Space

h. Open to Below

28

Interi

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29

A PLACE TO DWELLFALL 2007

This project was a dwelling for five people on a lot 40’ x 150’. Each member of the studio had adjacent lots, and early design phases included neighborhood planning and the establishment of common guidelines for design. Things considered included the relationship of lake front and street front, how to address parking in the neighborhood, and most simply how to react to one another’s designs which would exist in tandem.

This project also considered sunrise and sunset and how light could create different types of spaces. The site was on a 60’ slope, so movement through the site in relation to this incline was also a primary concern.

As the project continued, the design became centered on this movement and transitions of spaces, and also how the building could “perch” ontop of the site.

Final design consisted of two separate buildings. The first contained a large open foyer and two guest bedrooms, and the second contained an open balcony master bedroom, living room, and kitchen. Between the two buildings, an exterior staircase moves through the site.

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31

RURAL STUDIOSPRING 2008

The Cahawba Advisory Committee and the Alabama Historical Commission approached the Rural Studio with the proposed project of deconstructing and moving St. Luke’s Church, which was originally built at Old Cahawba in 1854. In 1876 the church had been moved 15 miles away to Martin Station. In the 1820s Cahawba was the capital of Alabama and a thriving river town but was subsequently abandoned after the Civil War. Phase 1 of the project involved documentation and deconstruction of the church.

Phase 2 of the St. Luke’s Church relocation and renovation involved moving the materials and components to the 1854 site and erecting the church. The majority of the original timbers was saved and used, including the 50’ heavy timber buttressed arches. Some of the original wood had rotted considerably over the years and students replaced it with oversight from the Alabama Historical Society and Cahawba Advisory Committee.

As a participant of the Rural Studio, I was a part of the cleaning and rebuilding of the 50’ heavy timber buttressed arches. As a team, we measured, cleaned, and rebuilt the arches, which were installed during a full week at the end of the semester.

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MINI PROJECTSTwo Room Light Study

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This project was a two-week study of light. The program required two spaces, one 30’x30’x30’ and the other 10’x40’x15’ connected by a stair and a 5’ floor change. My solution suggested that the two boxes should be pushed side by side creating two common walls, and the primary issue became the transition from one wall to another, reflected through changing materiality. Perspectival studies placed the transition between the two spaces in the corner, at the intersection of the two common walls. The stair became a connection piece: as it bleeds out of one space, it descends into the other and across a wall. It also becomes a gathering place: The stair extends along the common wall as a bench and footrest.

34

MIN

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MINI PROJECTSAn Exquisite Cube

An exquisite cube, was the first component of my architectural thesis project in the Fall of 2010. Deliverables included a 4”x4”x4” cube that somehow dealt with issues of light in its execution.

This proposal was about the effect that different layers of transparency can have on the distribution of light through a space or object. As the cube is viewed from different angles, the changing effects of light through the layers, creates a different experience for each.

There are five volumes of layers which are nested within each other. The nesting also served as the fastening mechanism of the layers, eliminating the need for glue.

35

MINI PROJECTS

Piazza Barberini Metro Entrance

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The Piazza Barberini is a major stop on the Rome Metro system. The new metro entrance will serve as a threshold to the neighborhood of Piazza Barberini: a place to travel, have shelter, sit and advertise. Its location at the end of Via Veneto, makes it a promising location for advertisement: it would be accessible to the movie theatre behind it, the museum now located within the Palazzo, and the multiple shops, hotels, and restaurants around the site. The form of the shelter, and its constituent materials, reflects its clearly articulated function. The new metro entrance is intended to serve as a threshold to the neighborhood of Piazza Barberini through the combined forces of orientation, form, and materiality.The metro’s location relative to the Via Vittorio Veneto makes it an important focal point on that axis. The Via Vittorio Veneto was a component of the 1909 Plan, one in a series of building intervention plans of the Fascist regime, which connected the Piazza Barberini to the Corso d’Italia which circles the ancient city walls. The vista of this main thoroughfare terminates with the Metro entry on Via Barberini. One of the applications of the new shelter will be advertisement: the entry will be used as a second landmark, a gesture towards the Via Veneto and its terminating axis, as well as billboard for the movie theatre behind it, the museum now

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located within the Palazzo, and the multiple shops, hotels, and restaurants around the site.The orientation towards Piazza Barberini creates an axis between the Metro and the Fontana del Tritone, the centerpiece of the site. The goal of the master plan is to make the Piazza Barberini an inhabitable and enjoyable space. As a step towards this goal, the metro entry angles in the direction of the fountain, on the northwest corner of the Piazza. In conjunction with new pathways linking the Via Veneto to the Piazza and to the revitalized alley behind the Palazzo, this angle is intended to direct pedestrians into the space of the Piazza Barberini and the Fontana del Tritone.The entrance’s form is a direct representation of its function: as a place to travel, for shelter, and to sit. The primary function of the entrance is to serve the needs of travel: giving direction to people coming and going from the Metro. The design incorporates different geometries to delineate entrance and exit. The secondary function of the metro entrance is as a shelter from the weather. This function is simply stated: an elongated rectangle covers both the entry and exit. The shelter also serves as a place to sit and wait; it may act as a component of the Metro, the movie theatre, and as a transition into the new alley intervention. The seating will be extensions of the structure, folding up from its base.

The materiality of the Metro entrance on Via Barberini is the unifying factor between components. As a way of linking the existing built environment with the organic free flowing expression of the new vegetation, the design is opened up to its surroundings: its transparency allows the user to view and appreciate both the built and the natural. Lights and digital media will be utilized in the main façade as a tool for advertisement. Stone will be incorporated to ground the structure and as the material for benches that will fold up from its base.

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MINI PROJECTS

Atelier of the ExcavatorBird + House

Atelier of the Excavator was the finale to a semester long study of cities and urban functioning. We began the semester with a series of projects which analyzed different city functions and atmosphere in 2 dimensional and 3 dimensional representations. The second phase of the semester focused on “artifacts” which we collaboratively turned into a city of our own designing. To conclude the semester, Atelier of the Excavator focused on the process of excavation, analysis, and description of the /pre-present/ Artifacts. Each person, using their 7+ acre developed site, was to create a temporary apparatus to support the living and working of a team of Excavators: one Master Excavator and seven apprentices. The program of my atelier was for an excavation of water. Living and working spaces are located underground on either side of a waterfall which is spanned by a stair step bridge. Separation of function is key to the project and a clear division is placed between the excavator’s work and rest. Entrances to the spaces are covered by a tensile structure.

38

MIN

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DenCITY is a visual representation of the Barn Swallow. The Barn Swallow resides in man-made structures, under eaves, in corners and crevices. Their attitude reflects the urban nature and rationality of human beings. DenCITY, as a bird+house, reflects this attitude in its geometric and rational form. The project as a whole reveals the density of an urban setting and creates depth revealing the essence of the space. There are three major platforms, 3 minor platforms, and a final platform that serves as a roof-like structure. The platforms are all placed at 90 degree angles relative to the site and some include “walls”, which are 90 degrees relative to the platforms themselves. These solid walls create boundaries for the bird+house, yet do not enclose the space to make it separate from nature; rather, there is a communication and relationship between the two: nature and urban density. To enhance this communication, many of the “walls” are made of translucent boxes, making the walls in some locations seem to be open or hollow. These walls allow light and shadows to play off of the structure, while also providing locations for the birds to nest. The back piece of the structure is made of both translucent boxes and solid board.

The idea of this was to not only open the space, but also to show the two-sided nature of the bird itself; as a creature of nature and metropolis. The platforms are placed around a five foot site which physically runs through each of the major platforms. In this way, it serves as the foundation and the main form of support for the project. Finally, the piece is painted white. As a creature of metropolis, the white reveals the idea of industry, in a simplified modern form. As a representation of the Barn Swallow, DenCITY reveals both the habitat and the attitude of the bird, as well as providing a structure in which the bird could actually nest.

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57

KRISTY LEIGHANN SWANNA COLLECTION OF WORKS, 2006-2011