hartley jeremy portfolio

8/21/2019 Hartley Jeremy Portfolio

1/19

BLDG + LAND

JEREMY HARTLEYMASTER OF

ARCHITECTURE &

LANDSCAPE ARCHITECTURE

CANDIDATEB.S ARCHITECTURE


2/19

fall2010 house for a winemaker

TABLE OF CONTENT

spring2011 chestertown agriculture and art center

fall2011 dais arts and community center

spring2012 great marsh park community center

ARTWORK charcoal & graphite

ARTWORK/ STUDY ABROAD paintings and sketchbook

0

1-8

9-12

13-18

19-26

27-28

29-30

This portfolio is a culmination of all projects undertaken

throughout my academic career. It challenges the idea that

buildings are discrete objects in an environment by incorporating

the nearby landscape in its design.

Each project foments the idea that the landscape has formal,

practical and ecological uses that can work in accord with

building function.


3/19

1

PROBLEM: Given a limitedamount of square footage, thisproject called for theunication of two antipodalprograms into one solar pavilion.It was to function as both abustling wine tasting cafe as wellas a subdued dwelling place fora local Wine-maker. Its site islocated in Dickerson MarylandsSurgarloaf Mountain, on top of asmall hill within the towns winetasting complex. The pavilion is

to serve as an addition to thisexisting complex,accommodating wine tastingevents for locals and tourist ,aswell as, the daily rituals of awine-maker.

SOLUTION: In order topreserve the discrete characterof each individual program, thetotal square footage isallocated into two separatepavilions: one for public use, theother for private. Where theybecome united is through anexterior terrace garden.Excavated soil is re-used for theterrace gardens inll, top soiland rammed earthretaining walls. Acting as both abuffer and connection betweenthe two pavilions is an open airtheater, accommodatingentertainment and verticalcirculation to the upper levelgarden. The amalgamation oframmed earth and gardenterraces consummates theproject bringing it into a uniedwhole.

fall 2010HOUSE FOR A WINEMAKER09/10 - 10/10TRANSFORMATION

EXCAVATED SOIL FROM THE HILLSIDE IS COMPLETELY RE-USED FOR GARDEN

TERRACE INFILL, TOPSOIL, AND RAMMED EARTH RETENTION WALLS.

PAVILIONS & OPEN AIR THEATER ARE ORIENTED TO THE SOUTH

IN ORDER OPTIMIZED ACCESS TO SUNLIGHT

ACADEMIC


4/19

PRIVATE PAVILION

(winemakers quarters)

PUBLIC PAVILION

SOIL INFILL

RAMMED EARTH WALLS

AGRICULTURE TERRACE

AN UNDERGROUND CORRIDOR SERVES AS THE ONLY

INTERIOR CONNECTION BETWEEN THE TWO PAVILIONS

A DUAL PURPOSE OPEN AIR THEATRE ACTS AS BOTH A

GATHERING SPACE FOR ENTERTAINING VISITORS AS WELL AS A

BUFFER, SEPARATING THE TWO PAVILIONS. THE SOLE

EXTERIOR CONNECTION BETWEEN THE TWO STRUCTURE ARE

EXPERIENCED ON THE UPPER GARDEN TERRACE

3 4


5/19

* HAND DRAWN SECTIONS:GRAPHITE & INK ON COLD PRESS ILLUSTRATION BORD

EARLY SECTION MODEL EXAMINING OPEN AIR

THEATERS RELATIONSHIP TO THE WINE MAKERS

HOUSE

EARLY LINEAR ROOF FORMS WERE

POINTED TOWARDS THE NORTH TO

MAXIMIZE VIEW OF NEAR BY VINEYARDS

AND DISTANT MOUNTAINS

A LATER RENDITION OF THE ROOF USES

CURVILINEAR FORMS TO BETTER MANAGE

RAINWATER FOR IRRIGATION.

SOUTH POINTED ORIENTATION TAKES ADVANTAGE

OF PASSIVE SOLAR HEATING

PRIOR TO THE ADDITION OF

TERRACES, AGRICULTURAL FUNCTIONS

TOOK PLACE IN LIMITED REGIONS

BEHIND THE COMPLEX

TERRACES, CREATED WITH EXCESS

SOIL FROM EXCAVATIONS, PROVIDE MORE

SURFACE AREA FOR TRADITIONAL

AGRICULTURE, AGROFESTRY, AND

PUBLIC RECREATION

A PRIVATE UNDERGROUND WINE CELLAR

PROVIDES A PLACE OF RETREAT FOR THE

WINEMAKER TO ENGAGE IN WINE TASTING RIT-UALS. THE ADJACENT UNDERGROUND COR-

RIDOR ACTS AS SOUND BARRIER TO MUFFLE

EXTERIOR NOISE

5 6


6/19

SECTION - A

Terrace Garden Wine Cafe Open Air Theatre Entry Path

SECTION- B

Open Air Theatre Winemakers House Winemakers

Vineyard/Garden

Underground

Corridor

7 8

ACADEMIC


7/19

Transformation:A 1:20 SLOPING GARDEN INCONSPICUOUSLY EMERGES FROM THE GROUND DISGUISING THE BUILDING AND OFFERING AN UNINTERRUPTED WATERFRONT VIEW. AT THE ZENITH, A CANOPY

PROVIDES SHELTER AND VERTICAL CIRCULATION BY WAY OF ELEVATOR SHAFTS HIDDEN IN ITS VERTICAL SUPPORTS IN ORDER TO ACCESS THE COMMUNITY CENTER BELOW.

PROBLEM: Located along KentCounty MDs Choptank River,Chestertown is a small city

known for privatizing most of itswaterfront its residence.

Sited on one of the only publicwaterfront spaces within the

town, this project called for thedesign of a community center inorder to promote public

interaction with the ChoptankRiver. The site- a plaza found at

the terminus of one of the townsmost salient streets- is revered for

its unencumbered views andaccessibility to the water. Thus

one is challenged with designinga building which will promotepublic gathering without

inadvertently impairing theexisting conditions which make

the site public to begin with.

SOLUTION: The design aims to

maintaining the porosity alreadygiven by the site by proposing abuilding that acts as an axis as

opposed to an object. This axisis enforced through the use of a

slopped garden, a portico and astepped plaza at its terminus. The

sloping garden inconspicuouslyemerges from the ground

disguising the building andoering an uninterrupted viewof the waterfront at its highest

point. At this apex a portico actsas both a point of gather and a

threshold between water andland. Finally the stepped plaza

cascades into the Choptank riverstretching out as far as permitted.

spring 2010CHESTERTOWN

COMMUNITY CENTER01/11 - 05/11


8/19

Site (above):CHURCHILL ROAD, ALSO KNOWN AS I-213,

BRINGS VISITORS AND RESIDENTS ACROSS THE

RIVER INTO NORTH CROSS STREET WHICH L EADS RIGHT

INTO THE CITY CENTER. FROM THE CITY CENTER, H IGH

STREETS AXIS THEN BRINGS THE PUBLIC TO THE

WATERFRONT PLAZA

Chestertown (left):THE DESIGN ADOPTS THE

CONTEXTUAL LANGUAGE OF ITS NEIGHBORS BY

OFFERING A DOCK WHICH STRETCHES INTO THE

CHOPTANK RIVER.

Site (far left):CHESTERTOWN IS ONE OF THE MANY KENTCOUNTY COMMUNITIES ABUTTING THE CHOPTANK RIVER

Main axis Interior Spaces Exterior Spaces Apex Views

11 12

f ll 2011ACADEMIC


9/19

Transformation: THE BUILDING FIRST BEGAN AS A SOLID MASS THAT TOOK ON THE SHAPE OF THE SITE. THIS MASS WAS THEN ADJUSTED

(PUSHED, PULLED, SPLIT, MOLDED, etc.) IN ORDER TO ADHERE TO ITS CONTEXT AND THE CHURCH WINDOW BEHIND IT

Site:THE OLD PARKING LOT ABUTS THE CENTRAL AXIS THAT STRETCHES

FROM MT. VERNON SQUARE PARK.

THE CHURCH WINDOW IS ORIENTED EAST TAKING ADVANTAGE MORNING

SUN LIGHT FOR EARLY SERVICES.

13 8

PROBLEM: Located on the

corner of Read and Charles St.

the site abuts an historic

Baltimore, MD Church. Facing the

site is an east-oriented stained

glass window at the churches

rear which relies on the dawning

sun for its morning services. The

project called for the design of a

residential building which would

provide low income housing to

the surrounding demographic

including students attending the

nearby Maryland College

Institute of Art. This entails adesign that fullls its function

while still bearing in mind the

sacred rituals within the church.

SOLUTION: The approach to this

design treated the building as a

pure cubic mass which was split,

pushed, and extruded

according to the demands of the

site. A portion of the mass was

pushed down to create a dais,

serving as a public sculpture

garden. At the seam where

the taller portion intersects the

pushed-down portion the mass

splits open for the stained glass

window of the church. The design

utilizes the window as an entry

feature for the complex. The

residential tower anks theentrance and frames the church

facade while cascading steps in

front of it bring` you on top of the

dais.

fall 2011DAIS09/11 - 10/11


10/19

PROCESS:THE DESIGN UNDERTOOK VARIOUS PHYSICAL FORMS BEFORE

THE FINAL ONE WAS CONCEIVED. THE INITIAL SCHEME (FAR LEFT

COLUMN) FOLLOWED THE MORE TRADITIONAL SOLID OPAQUE MASS OF

MOST RESIDENTIAL BUILDINGS IN THE AREA (A LOWER COMMERCIAL

LEVEL WITH RESIDENTIAL ABOVE), HOWEVER, THE CENTER OF THE

MASS WOULD BE OCCUPIED BY AN OUTDOOR PUBLIC SPACE. A

REVISED VERSION OF THE SCHEME (MIDDLE COLUMN) BEGINS TO

OPEN UP THE MASS AND DE-PRIVATIZE THE OUTDOOR SPACE FOUND

IN THE CENTER BY SPLITTING AN ENTRANCE AND ALLOWING PUBLIC

CIRCULATION THROUGH THE MORE PREEMINENT STREET.

15 16


11/19

FLOATING GALLERY

OPEN AIR THEATRE

YOGA STUDIO

SCULPTURE GARDEN

COMMERCIAL LEVEL

Longitudinal Section:ONE GOAL OF THE DESIGN WAS TO CREATE A DYNAMIC AND

POROUS ENVIRONMENT THAT WOULD PROMOTE PUBLIC INTERACTION. IN THIS

ENVIRONMENT BOTH SPACE AND FUNCTION EXIST TOGETHER AS A SYSTEM:

THE FLOATING GALLERY DISPLAYS THE ARTWORK OF BOTH STUDENTS AND

PROFESSIONALS WHILE SERVING AS A CANOPY FOR OPEN AIR THEATRE UNDER-

NEATH

THE OPEN AIR THEATRE PROVIDES AS STAGE TO HOST TOWN EVENTS AND

PERFORMANCE ART SHOWS

THE UPPER LEVEL GARDEN EXHIBITS SCULPTURES AND SERVES AS AN OUTDOOR

PUBLIC SPACE FOR RESIDENCE AND VI SITORS.

THE LOWER LEVEL ADHERES TO THE COMMERCIALIZED CONTEXT HOSTING ARTS

AND CRAFT, FRAMING, ART SUPPLY STORES, SMALL GALLERIES, ETC

* HAN D DRAWN SECTION: GRAPHITE, INK, & MARKER ON HOT PRESS ILLUSTRATION BOARD

40x1517 18

spring 2012ACADEMIC


12/19

PROBLEM: A once auent and

prosperous town, Cambridge, a city

located in Eastern Shore Maryland,now faces challenges of climate

change as well as continualeconomic decline. With an already

limited amount of amenities to drawin tourist, Cambridges Great Marsh

Park is threatened by complete

inundation withing the next 50yearsdue to sea level rise. This project

proposed the creative use of threeapproaches: protect, adapt, or

retreat, in order to discover

potential solutions for projected

changes.

SOLUTION: The incentive for this

design is rooted in the concept ofadaptation. As an eective and

sustainable solution a large scalewetland is utilized in order to

absorb incoming rises andintroduce a new sense of character

to Great Marsh Park. The park, a

peninsula constructed from dredgematerial, is severed transversely,

allowing the wetland to form inbetween its apex and its mainland.

A bridge then stitches the two

segments together. Along thebridge are three controlled ponds

used to conduct research on threediscrete wetland regions: the littoral,

the profundal, and the bethniczones. At the entrance of the bridge

is a small research center to

promote public education andawareness. In it are spaces for small

exhibits and a small classroom forchildrens education of sea level rise

and wetlands.

spring 2012GREAT MARSH PARK01/12 - 05/12

20


13/19

Community Center Bldg

Rain Garden

Small Scale Wetland

Wetland

Bridge

Pond

Plaza

PROCESS (FAR LEFT):AN EARLIER RENDITION OF

THE SCHEME BISECTED THE SITE INTO HALVES. ON

ONE HALF THE SITE WAS TO BE PRESERVED IN ITS

ORIGINAL STATE WHILE THE OTHER HALF WAS

FRAGMENTED INTO LARGE PLOTS OF LAND.

BETWEEN THE SPACES OF THESE LAND FRAGMENTS

A WETLAND WAS FORM ABSORBING MOST OF THE

WATER. HOWEVER, THIS SCHEME WAS ALTERED DUE

TO THE DIFFICULTY OF GENERATING AN EFFICIENT

WETLAND IN SUCH A CONFINED SPACE

FLOOD DIAGRAMS:WHILE ONLY A

SMALL PORTION OF THE SITE IS

THREATENED BY INUNDATION IN

THE EARLY YEARS OF SEA LEVEL

RISE, THIS NUMBER IS SET TO

GROW EXPONENTIALLY IN YEARS

TO FOLLOW. IN 50 YEARS 1/4 OF

THE SITE WILL BE COMPLETELY

SUBMERGED UNDER WATER AND

IN 100 YEARS ABUTTING

RESIDENTIAL AREAS WILL BE

FLOODED.

25 YEARS 50 YEARS 100 YEARS

21 22

25 years 50 years 100 years


14/19

LITTORAL ZONE:THE PART OF THE OF THE

WETLAND CLOSEST TO THE SHORE.

IT IS CHARACTERIZED BY ITS ABUNDANT AMOUNT

OF DISSOLVED OXYGEN, NUTRIENTS AND WAVE

MOTION. THIS REGION IS DEFINED BY ITS ITS

ACCESS TO SUNLIGHT DUE TO SHALLOW WATER

LEVELS.

THE BRIDGE:GREAT MARSH PARK IS

ONE OF THE FEW PLACES IN

CAMBRIDGE POSSESSING PIERS

IN WHICH YOU CAN FISH WITHOUT

A LICENSE. THE BRIDGE AIMS TO

MAINTAIN THIS ASSET BY HAVING

PARTS OF STRUCTURE PROJECT

INTO THE WATER PROVIDING

OPPORTUNITIES FOR FRIENDLYFISHING

PROFUNDAL ZONE:THE REGION OF THE WETLAND

WHICH IS SO DEEP IT DOES NOT RECEIVE LIGHT.

BECAUSE PHOTOSYNTHESIS CANNOT TAKE

PLACE PLANT LIFE AND OTHER ORGANISMS

RELY ON DRIFTING ORGANIC MATTER FROM LIT-

TORAL AND LIMNETIC ZONES.

LIMNETIC ZONE:THIS IS THE REGION

FURTHEST AWAY FROM THE LITTORAL ZONE.

IT IS THE LAYER OF WATER TO WHICH PHO-

TOSYNTHESIS CAN OCCUR.


15/19

THE BUILDING:THE BUILDING CONSIST OF TWO MAJOR SPACES:

ONE, AN EXHIBITION SPACE FOR EDUCATING THE PUBLIC ON

CURRENT EVENTS, RECENT FINDINGS AND WETLAND LIFE, THE

OTHER A CLASS ROOM FOR ENGAGING CHILDREN ON SEA LEV-

EL RISE AND WETLAND RESEARCH. BEHIND THE CLASSROOM

IS LAB WHERE RESEARCH IS CONDUCTED BASED ON SAMPLE

FINDINGS IN THE BRIDGES CONTROLLED PONDS.

25 26


16/19

EMPLOYERL: Hickok ColeDATE: Summer 2013

PROBLEM: The projects site is

located in the Union Market

meatpack district. Developersrequested a mixed resdidential

building which would host

commercial retail on the groundoor as well as an acnchor

retailer. Working with a long linearsite, this project called for clever

facade articulation in order toresist the appearance of a long

monolithic eye sore to for tourist,residents, and visitors

SOLUTION: The facade is

broken up into anatomicalcomponents: a head, body and

tail. The head and tail pronounce

each corner and createconnections to the aligning

streets. The body is cladded witha mix of bricks and modular steal

balconies in order to add variety

and uniqueness.

28

SITE:The sites slopping nature provided opportunities for adouble-height retail anchor above which on axis with one of the

regions major streets. However, it also made a challenging entry space

for the lobby located in the m iddle region of the buildings lower level.


17/19

TITLE: FIELD STUDY

SIZE: 20 x 30

MEDIUM: GRAPHITE ON

ILLUSTRATION BOARD

TITLE: PORTRAIT

STUDY (GREG)

SIZE: 20 x 24

MEDIUM: GRAPHITE ON

ILLUSTRATION BOARD

ACADEMIC PERSONAL

ARTWORKGRAPHITE & CHARCOAL

TITLE: TWO POINT

PERSPECTIVE STUDY

SIZE: 8.5 x 11

MEDIUM: GRAPHITE ON

BRISTOL PAPER

TITLE: 2D/3D STUDY

SIZE: 8.5 x 11

MEDIUM: GRAPHITE ON

BRISTOL PAPER

TITLE: DEPTH OF FIELD

STUDY

SIZE: 8.5 x 11

MEDIUM: GRAPHITE ON

BRISTOL PAPER29 30

ACADEMICACADEMIC ACADEMIC


18/19

ARTWORK/ ABROAD ANALYSIS

PAINTINGS & SKETCHBOOK

(FAR LEFT)

TITLE: UNTITLED

SIZE: 20x30

MEDIUM: OIL ON

CANVAS

(TOP LEFT)

TITLE: KITCHEN STILL

LIFESIZE: 20x15

MEDIUM: OIL ON

CANVAS

(BOTTOM LEFT)

TITLE: NAKED MODEL

SIZE: 24x18

MEDIUM: OIL ON

CANVAS

TITLE: BIBLIOTHEQUE SAINTE-GENEVIEVE

SECTION

SIZE: 5x8

MEDIUM: PEN ON

WATERCOLOR PAPER

TITLE: SACRE COUERSIZE: 5x16

MEDIUM: WATERCOLOR

TITLE: LA TOURETTEMONASTERY AXON STUDY

SIZE: 5x16

MEDIUM: COLOR PENCIL ON

WATERCOLOR PAPER

TITLE: LUXEMBOURGMONASTERY AXON STUDY

SIZE: 5x16

MEDIUM: COLOR PENCIL ON

WATERCOLOR PAPER31 32

ALL ACADEMIC

ACADEMIC ACADEMIC ACADEMIC ACADEMIC


19/19

thank you

n

hartley jeremy portfolio

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