CONTENTS

thesis project

ICA

retreat for a rainmaker

three houses

observatory

ice cream scooper

collage

graphic prints

screen prints

photo stitches

sketches

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FIFTH YEAR THESISROANOKE, VIRGINIAreconnect the residents of roanoke to the town’s existing context

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[left] roanoke’s sanborn map logo[above] growth of roanoke throughout time, information gathered from sanborn maps

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[above] town study/photo overlay[left] graphic print: public & private

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The town’s context exists primarily above pedes-trians’ line of sight. The majority of the buildings in Roanoke’s city center have stood for a century; however, the bottom stories of these buildings have changed throughout time in order to cater to consumer needs. Preoccupation with consumer demands has limited focus to the bottom story, blocking the remaining architecture. Architectur-ally, corporate identity has taken precedent over a cohesive reading of the facade, resulting in a disconnect between the bottom story and the top stories. The intervention reinterprets this disconnection by making the polarizing line between the bottom story and the top stories less distinguishable. Public and private weave around one another, each leaving pockets for the other to fill. This simultaneous exis-tence results in a blurry mixture of the two worlds. Through the merging of public and private space, emphasis on the joint has shifted from an external distinction to an internal question of habitation.

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[above] plan and section drawing / graphite over graphic print

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[left] diagrammatic model of the floating city, study model inserted

the floating city : created by the distinct line between public and private. in remembrance of the unseen top stories.

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[left] circulation studies [right] study models in three stages

Housing units stretch the site latitu-dinally and contain two halves. One is closed for privacy, and one is open for light and view. Circulation for the units is held mainly within the cen-tral wall. Where it breaks that wall, opportunities for gathering occur. Within the open half of the structure, the connection between public and private is direct: homeowners co-exist with the city. On the opposite side, the solid housing masses form public space and mediate a public-to-public connection.

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[above] opposing views of housing units. in the top photo, the units themselves are closed off, but the circulation wall opens up to the spaces in between. in the bottom photo, the units are open to view in and out, but the circulation wall is completely closed. [left] working drawings in plan and section

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INSTITUTE FOR CULTURAL ANTHROPOLOGYCINCINNATI, OHIOhall of large scale artifacts, gallery of visual and aural anthropology, gallery of small to medium scale artifacts, archive, apartment

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[above] site model/ programmatic study of surrounding buildings, massing model inserted.

a city’s movement is evident from the streets but tends to disappear within a building. the ICA provides entrance for all transportation types as if to literally invite the city inside. circulation throughout the ICA accommodates gallery visitors and delivery vehicles alike. the primary form is influenced by the interaction between a delivery truck and the curve of the street corner, guiding gallery deliveries to the bottom story or to the path upwards. an internal display of the city through transparency prevents the city’s movement from ever being lost.

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[above] contrasting images of the ICA during the day and at night/ transparency never disappears at any point of the day or night. the luminance of the sun during the day and of the city at night alters the level of contrast of transparency.

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[above] the ICA holds three galleries: the hall of large scale artifacts on the ground floor, the gallery of visual and aural anthropology floating on the left, and the gallery of small to medium scale artifacts floating on the right. An apartment building holds twenty apartments and ten studios for artists and researchers associated with the ICA.

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The Hall of Large Scale Artifacts occupies the ground floor of the ICA. Gallery items are transported and displayed along the interior walls. During the delivery process, the items on display are no longer the only cause for spectacle. The delivery itself then becomes an exhibit.The first gallery encountered when ascending the ramp is the Gallery of Visual and Aural Anthropology. The turning point of the ramp extends past the barrier of this gallery into the lobby space, connecting prospective and active visitors.The second gallery within the ICA is the Gallery of Small to Medium Scale Artifacts. The ramp continues further throughout this volume, beginning and ending on the same level. As opposed to abruptly terminating at the beginning of the space, it continues to maintain a flow of circulation. Its gains responsibility of also becoming a means of exhibition.The method of transparency continues to the apartments as well. The apartments themselves act as a central, solid core to the building, whereas the hallways and egress are wrapped in glass to continue the sense of movement found in the ICA.

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[left] corridor for the delivery of large scale artifacts such as box cars or industrial machines[right] ramp in the Gallery of Small to Medium Scale Artifacts

[left] exposed hallways behind apartments with accress to egress and elevator around the corner[right] hallways behind apartments behind glass

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RETREAT FOR A RAINMAKERBLACKSBURG, VIRGINIAstudy, outdoor room, water room, living

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[above] plan of the retreat/ digital drawing superimposed onto a hand-drafted tree layout/ tree locations measured with 100’ measuring tape, thicknesses measured with string

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[above] elevation of the retreat. study and outdoor room on the far right, water room in the middle, and living quarters on the far left

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The site begins with the study space, elevated from the ground, plunging into the tree canopies. An outdoor room is situated on the roof of the study. The space becomes a room not only by the physical boundaries of the walkable plane, but also by the trees that sur-round it.

[top] view of the outdoor room from above [bottom] section of the study

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The water room floats above the ground to recall the fall of rainwater in a com-plete manner - its path past a building instead of only onto it. Open air gaps stretch along the walls of the narrow room to allow rain inside of the building; the structure literally becomes a water room. As to not disturb the trees native to the site, a few young trees continue to grow through the building, enhancing the quality of water during rainfall.

[left] water room section[right] water room detail, trees extending past roof and showing grated floor below

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Living space for the rainmaker is located sub-grade, beyond the water room. One enters the living space through the kitchen, continues to the living room, and finally to the bedroom. One determinant of privacy for each room is the depth of the space in relation to the ground plane. The depth of the most private space in the apartment, the bedroom, equals the height of the rain-maker. But the depth of the kitchen only reaches his shoulders.

[left] living space interior[top right] entrance to living space perspective[bottom right] entrance to living space from above

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THREE HOUSESRIVA SAN VITALE, SWITZERLANDdesign three houses, where the house is a town

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[above] the town of riva san vitale and lake lugano

There is little to no space between streets and houses in Riva San Vitale. As such, streets are sculpted by the ebb and flow of their adjacent exterior walls. Among the project’s three houses, the street leading to the development becomes very important. From there, the entrances to the houses and the paths throughout the houses begin to take on the same role as original street to house.

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[above] the site is located off of via dell’indipendenza in riva san vitale. the town’s supermarket, the denner, is adjacent to the site. beginning at the iron gate, the remains of a previous road can still be seen. it runs straight past the denner and curves to the right, ending at one of riva’s oldest resident’s back gate.

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[above] floor plans of the three houses, first floor at the top, second floor at the bottom [right] floor plans of the three houses, third floor at the top, fourth floor in the middle, fifth floor at the bottom

the layout of each house reflects the specific set up of riva san vitale through a constant change in vertical elevation and the removal of an uninterrupted interior view. the path throughout each house remains cirular by having multiple staircases, instead of limited with only one central stair. each house also has a partial or full roof garden with the ability to look onto the town’s symbol, la chiesa di santa croce.

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[below] section through each house with corresponding plan cut on the left

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OBSERVATORYuhb-zur-vuh-tawr-ee/ [noun] a place to observe celestial and terrestrial bodies

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[above] collage: town of blacksburg/ geography and context

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[above] superimposed plan and section of observatory

The observatory focuses on celestial and terrestrial bodies in the most intimate way, beginning with a circular structure revolving around three trees. The circular stair case leads to a perforated platform above the trees with the structural columns passing hu-man height, obscuring all except the celestial body above. An elevated path exits the main structure, leads to another group of trees, weaves through them, and returns to the main structure.

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[above] inside of observatory with three trees/ charcoal

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[above] the exterior path leading to the secondary group of trees/ charcoal

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[above] the exterior path among the secondary group of trees/ charcoal

INDUSTRIAL DESIGN SUMMER STUDIOdesign a handle

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dig to build muscle

The handle represents a curved form meant to follow the path from the thumb to the ball of the thumb. A pocket is located on the inner curve of the handle for the thumb, giving the user stability and increased strength during scooping.

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scoop for finesse

The handle’s form also facilitates scooping by following the hand’s inner curve from gripping. The cross section of the handle is also elliptical to allow for stability when scooping.

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COLLAGEthe work ranges from contextual understanding of place or concept to achievement of compositional balance between layers

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[above] collage, “assembling the blue ridge”

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[top] birthday present collage, screen print/ images used from classmates’ screens [bottom] sketchbook collage, screen print [right] collage, defining the primitive hut

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[above] collage, “assembling the blue ridge: the food industry, then and now”

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[above] collage, “assembling the blue ridge: the food industry, then and now”

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GRAPHIC PRINTSan exploration of compositional space and balace

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square and a line 9.13.2011

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CCC: skein 5.8.2012

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[above] evolution of the “skein” print/ an imperfect arrangement of squares and 45 degree triangles force left-over rectangles within a 10 inch grid. with each new com-bination of layers, the print gains depth and complexity.

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numerical pattern 9.27.2011

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1

1+2

1

1

1+2 2

2

2+3

2+3

2+3 3

3

3

3+4

3+4 4

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4+5

4+5

4+5

5

5

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5+6

5+6

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minimalism 8.23.2011

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[above] each in this series of minimal-ist prints has additive and subtractive qualities. additive from overlapping color fields, and subtractive from ink lifted from a clean metal plate.

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garden 11.15.2011

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letter 10.20.2011

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SCREEN PRINTINGemphasis on variation in method, surface, and combination of media

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[above] variations of ernest hemingway quote: “if an eighth of a story is missing, it all begins to fall apart”

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[top] thesis map exploration: the expansion of roanoke due to railroad activity[bottom] thesis map exploration: geographical relation of train to car transportation[left] print of thesis statement for final lobby pin-up

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[left] skateboard design: chuck harrison inspired “the egg is about as good as it gets” [above] detail shots of skateboard design

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[left] fall lecture series: Akshay Sharma, the clash of architectural and industrial sketching[middle] graduation announcement/ screen print and emboss[right] fall lecture series: Christian Gänshirt, a tribute to the umlaut

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PHOTO STITCHINGa new experiment

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[above] view from the top of the stairs that lead to basilica di santa maria in ara coeli, next to the vittoriano

Rome, Italy

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[above] inside of one of many courtyards

Rancate, Switzerland

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[above] looking out onto tuscan country

Pienza, Italy

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360 view from the duomo lantern in Florence, Italy

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360 view from the summit of Monte Generoso in Ticino, Switzerland

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SKETCHESthroughout european travels

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Basilica di Santa Maria del Fiore/ il Duomo 2.18.11Florence, Italy

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Capella Pazzi Florence, Italy

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2.17.11

Castel Grande Bellinzona, Switzerland

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2.27.11

Notre Dame du HautRonchamp, France

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4.2.11

La Tourette/ Cell #58Eveux, France

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4.4.11

Bibliothèque Sainte-Geneviève Paris, France

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4.14.11

Villa SavoyePoissy, France

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4.16.11

Querini Stampalia Venice, Italy

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2.20.11

Basilica of Santa Maria del Santo SpiritoFlorence, Italy

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2.18.11