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Fourth year bachelors of architecture student at the Academy of Art University in San Francisco. 2014 portfolio with resume included.
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SAM
AN
THA
V B
UCK
LEY
Samantha V BuckleyAcademy of Art University, School of ArchitectureBachelors of Architecture 2015 Candidate
630 Leavenworth St. #2 San Francisco, California 94109
562-237-6996
[email protected]/in/sbuckley4
i
Architecture has to be designed in such a way that it maintains occupancy. We design with the user in mind. As architects, we Photoshop people into our renderings of architecture to make it believable, and draw silhouettes in sections to cognize how a space works. In order to be understood as architecture, a space or building must be occupied. It must be occupiable, otherwise it cannot be architecture; it becomes strictly art, the way a car that is perfectly polished becomes an object of beauty instead of utilitarian when put in a museum.
Architecture is not a strictly aesthetic art form. It must meet a series of expectations derived from each individual project. Sure, projects strive to please the eye, but a project’s success takes more into consideration than just how beautiful it is, but how it is used. A highly efficient building that is seemingly perfect on paper that fails to attract and activate people cannot be deemed successful. Program is what has the ability to make or break a project, to really stimulate a building. If done well, a building can become a local icon in that it becomes a participant in everyday life and potentially can transcend beyond the local sphere.
When programming, it is important to weigh the expected and required but also to anticipate unpredictable events. Perhaps the current needs in programming are not to cross-program, trans-program, or dis-program but to remove preconceived notions of what a specific program requires. Precedent studies are a wonderful tool, but should be used to help redefine program. The current understanding of so many programs is based on typology; a library has been a place to store books in the past, but now needs to recognize the increasing amount of auditory and visual medias, and the use of the internet by its users. Rem Koolhaas did an exemplary job in taking the library and updating what was thought to be an understood program in his Seattle Central Library.
Part of what has made many of the Renaissance buildings last so long is how easily they could be reworked into new programs. In Palladio s Four Books on Architecture, he discusses the need for a variety of room sizes: small, medium and large. This arrangement has allowed people to easily adapt the programs of the room to modern uses, and has kept otherwise dated architecture relevant in today s society. I do not suggest that the specific details of Palladio’s Four Books On Architecture are to be followed to the T, and are the modern solution to programming, just that a foresight of how things might change with time is necessary. A variety of scale of spaces within a project allows it to adapt well to both users and time.
PUR
POSE
AS
AN A
RC
HIT
ECT
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TABL
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CONTACT INFORMATION
MANIFESTO
MIXED-USE HIGHRISE
POINT REYES VISITOR CENTER
EMBARCADERO FILM THEATER
FLEISHHACKER LIBRARY
PARKOUR ACADEMY AND CULINARY INSTITUTE
CUBE STUDY
WILLIAM STOUT AND TWIST HYBRID HOME
STOOL DESIGN
RESUME
MIXED-USE HIGHRISE
TECTONICS AND STRUCTURE
ARH 410: STUDIO 7
INSTRUCTORS: KAREN SEONG, BEN DAMRON
MIX
ED-U
SE H
IGH
RISE
9AM MAX. SUN ANGLE
9AM MIN. SUN ANGLE
FOUR SEASONS
ST. PATRICK’S CHURCH
5PM MAX. SUN ANGLE
5PM MIN. SUN ANGLE
12PM M
AX. SUN
ANG
LE
12PM MAX. SUN ANGLE
MARRIOT HOTEL
4TH STREET 3RD STREETYERBA BUENA
LANEJESSIE SQUARE
PLAZA
JEWISH CONTEMPORARY MUSEUM
3
GROUND LEVEL
LEVEL 2
LEVEL 3
LEVEL 4
LEVEL 5
LEVEL 6
LEVEL 7
LEVEL 8
LEVEL 9
LEVEL 10
LEVEL 11
LEVEL 12
LEVEL 13
LEVEL 14
LEVEL 15
LEVEL 16
LEVEL 18
LEVEL 17
LEVEL 19
LEVEL 20
LEVEL 21
LEVEL 22
LEVEL 23
LEVEL 24
LEVEL 25
LEVEL 26
LEVEL 27
ROOF LEVEL
20'-0" 30'-0" 30'-0" 30'-0" 30'-0" 30'-0" 28’-0”"
226'-0"
28'-0"
1 3 4 5 6 7 8 92
0 4 16FTEAST-WEST SECTION
AUDITORIUM
SKY GARDEN
SCULPTURE GARDEN
CASUAL COLLABORATION
SPACE
HACK-A-THON
WESTIN PLAZATHIRD STREETMISSION STREETJESSIE SQUARENORTH-WEST ELEVATIONNORTH-EAST ELEVATIONSOUTH-EAST ELEVATIONSOUTH-WEST ELEVATION
WALL SECTION DETAIL: VOID MEETS GRID
GROUND LEVEL
LEVEL 2
LEVEL 3
LEVEL 4
LEVEL 5
LEVEL 6
LEVEL 7
LEVEL 8
LEVEL 9
LEVEL 10
LEVEL 11
LEVEL 12
LEVEL 13
LEVEL 14
LEVEL 15
LEVEL 16
LEVEL 18
LEVEL 17
LEVEL 19
LEVEL 20
LEVEL 21
LEVEL 22
LEVEL 23
LEVEL 24
LEVEL 25
LEVEL 26
LEVEL 27
ROOF LEVEL
20'-0" 30'-0" 30'-0" 30'-0" 30'-0" 30'-0" 28’-0”"
226'-0"
28'-0"
1 3 4 5 6 7 8 92
0 4 16FTEAST-WEST SECTION
AUDITORIUM
SKY GARDEN
SCULPTURE GARDEN
CASUAL COLLABORATION
SPACE
HACK-A-THON
5
Aperture, n. an opening, an open space between portions of solid matter; a gap, cleft, chasm, or hole (Oxford English Dictionary, 2013). The idea of introducing open spaces, physically, visually, and programmatically, throughout my building has led to the concept of aperture. Associating it with the colloquial connotation, the opening of a shutter in an analog camera, openings are created to relate the cone of vision and the experience of the individual into and through the high-rise. Apertures through the building take away from the physical mass by allowing visual connectivity through and beyond the building helping to inform program relationships, and to create interesting spatial experiences. There is one primary aperture that opens the building from the entry to the skyline beyond, allowing views, light, and air to move through the mass of the building, inventing the relationship of mass and void.
transparent, or open program-- program that can be publicly accessed, or involves a more collaborative environment. Throughout there are programmatic pairs of solid and
and a complimenting program, introduced for an improved experience. To preserve the Aronson building, the historic building on the site, I am re-presenting the building by encasing it in glass. Wrapping the existing building in glass, like a jewel box, will evoke new interest in the previously mundane façade. To further revitalize, programmatic voids are inserted, such as the high-rise’s core and a space for hack-a-thons at the pedestrian level.
7
OPEN-AIR VOID
RESIDENTIAL
SKY GARDEN
SPLUNK OFFICES
CAFETERIA
COREREC
RESIDENTS
SCULPTURE GARDEN
COMMUNICATION STAIRS
MEETING AREAS
OFFICESCUBICLES
MEETING ROOMSCOLLABORATIVE WORK SPACES
LOUNGE AREAS
SPELUNKING COURSEVIDEO ARCADE/BAR
ELEVATORSEGRESS
RESTAURANTSOPEN KITCHEN
COFFEE SHOPGENERAL STORE
ASSEMBLYLECTURE HALL
LOBBYPROJECTION ROOM
STORAGE
CAFETERIA
CORE
RECREATION
RESIDENTIALSKY GARDEN
OPEN-AIR VOID
SPLUNK OFFICES
FOU
RTH
STR
EET
MISSION + 3RD
YERBA BUENAJESSIE SQUARE
CREATE PHYSICAL ACCESS INTO BUILDING
CREATE VISUAL ACCESS INTO BUILDING
CREATE VISUAL COMMUNICATION WITHIN BUILDING
MISSION + 3RD
YERBA BUENAJESSIE SQUARE
9
POINT REYES VISITOR CENTER
SITE CONDITIONS AND BUILDING PERFORMANCE
ARH 350: STUDIO 6
INSTRUCTORS: MARK DONAHUE AND PAUL HAYDU
POIN
T RE
YES
VISI
TOR
CEN
TER
POINT REYES VISITOR CENTER
SITE CONDITIONS AND BUILDING PERFORMANCE
ARH 350: STUDIO 6
INSTRUCTORS: MARK DONAHUE AND PAUL HAYDU
POIN
T RE
YES
VISI
TOR
CEN
TER
11
WINTER SOLSTICENOON SUN
SUMMER SOLSTICENOON SUN
PASSIVE SOLAR DESIGNSTRATEGIES
FRESH AIR CIRCULATION
INTERIOR AIR VENT
FOUCAULT’SPENDULUM
SUN PATH
SEASONSWATER LEVELS
WAVES
FOG
WIND
FAULTS
EROSIONROCKS
POINT REYES
FLORA
FAUNA
DISPLAY PROGRESSIONDIAGRAM
TAFONI AS FORMINFLUENCE
13
ENTRY
INFO
OBSERVATION TOWER
BACK OF HOUSE
DISPLAY
DISPLAY
LONGITUDINAL SECTION
CONCRETE STEM WALL
DRAIN ROCK
4” PERFORATED DRAIN PIPE
CURVED GLULAM POST
CURVED 16” GLULAMBEAMS @ 4’-6’ O.C.
STRUCTURAL SLAB
RIGID INSULATION
RIGID INSULATIONSHAPED TO SPECIFIC PROFILE
2 LAYERS 1/4” PLYWOOD
SHAPED PLYWOOD FIN
FREEFORM LATH AND PLASTER FINISH
WATERPROOFINGMEMBRANE
TAR PAPER
ANCHOR BOLTAND PLATE
STEEL POST BRACE
WOOD SHINGLE SKIN
1/2” PLYWOODSUBFLOOR
WOOD FLOORING
CONCRETE TOPPING SLABWITH RADIANT HEATING TUBE
PRESSURE TREATED SILL PLATE
WALL SECTION DETAIL
1” = 1’-0”
15
EMBA
RCA
DER
O F
ILM
TH
EATE
R
EMBARCADEROFILM THEATER
ASSEMBLEY BUILDINGS AND CONTEXT
ARH 310: STUDIO 5
INSTRUCTOR: CAROL BUHRMANN
17
Las Meninas Vaillancourt Fountain
“AND OF ALL THE PARTS OF THE FACE
“THE VANISHING POINT AS THE PLACE WHERE THE SUBJECT DRAWS ITSELF OUT OF THE PICTURE, LITERALLY AND FIGURATIVELY” -LIBESKIND’S PRACTICE OF LAUGHTER: AN INTRODUCTION BY STANLEY ALLEN
DIVIDE DESIGNATED FIGURE BY NUMBER OF BLOCKS REMOVED FROM SITE
MAKE RECTILINEAR FORMS BASED ON THE FIGURES MOST EXTREME DIMENSIONS
MAJOR GEOMETRIES WILL BE SEPERATED
TO EMPHASIZE DIRECTIONALITY BASED ON IMPLIED LINES,CUT OFF A CORNER OR EDGE OF THE VOLUME
BASED ON RELATIONSHIPS WITH THEIR SURROUNDINGS, DIVIDE THE FIGURE WITH A PLANE
DEFINE AN AXIS OF ROTATION OPPOSITE MAJOR DIRECTIONALITY
POWERFUL, THROUGH ITS MOBILITY AND THROUGH THE IMPORTANCE OF THE GAZE ITSELF, WHICH, IN PAINTING FOR EXAMPLE,
INTERPRETS AND STRUCTUES SPACE ITSELF.” -LOSING FACE, ANTHONY VIDLER
ACTION REACTION PAIR OF MIDGET KICKING DOG
VELAZQUEZ AS A KEY COMPONENT OF MULTIPLE FIGURES AS AUTHOR
CONTRIBUTING TO THIS EFFECT OF DYNAMIC ECONOMY, THE EYE IS THE MOST SUBTLE AND
“AND OF ALL THE PARTS OF THE FACE DIVIDE DESIGNATED FIGURE BY NUMBER OF BLOCKS REMOVED FROM SITE
MAKE RECTILINEAR FORMS BASED ON THE FIGURES MOST EXTREME DIMENSIONS
MAJOR GEOMETRIES WILL BE SEPERATED
TO EMPHASIZE DIRECTIONALITY BASED ON IMPLIED LINES,CUT OFF A CORNER OR EDGE OF THE VOLUME
BASED ON RELATIONSHIPS WITH THEIR SURROUNDINGS, DIVIDE THE FIGURE WITH A PLANE
DEFINE AN AXIS OF ROTATION OPPOSITE MAJOR DIRECTIONALITY
19
LITERAL INTERPRETATION OF ANALYSIS DRAWING USING STRUCTURE TO SHOW VISUAL CORRESPON-DENCE, CONNECT THROUGH THE VOID
CONCEPTUAL INTERPRETATION OF PERSPECITIVE AND DIRECTIONALITY
ACTION REACTION PAIR OF MIDGET KICKING DOG
VELAZQUEZ AS A KEY COMPONENT OF MULTIPLE FIGURES AS AUTHOR
DIVIDE DESIGNATED FIGURE BY NUMBER OF BLOCKS REMOVED FROM SITE
MAKE RECTILINEAR FORMS BASED ON THE FIGURES MOST EXTREME DIMENSIONS
MAJOR GEOMETRIES WILL BE SEPERATED
TO EMPHASIZE DIRECTIONALITY BASED ON IMPLIED LINES,CUT OFF A CORNER OR EDGE OF THE VOLUME
BASED ON RELATIONSHIPS WITH THEIR SURROUNDINGS, DIVIDE THE FIGURE WITH A PLANE
DEFINE AN AXIS OF ROTATION OPPOSITE MAJOR DIRECTIONALITY
NOW FIGURES CAN CONNECT STRUCTURALLY THROUGH THE IMPLIED LINES, USING THE NEWLYCREATED VOIDS
SITE: 370 DRUMM STREETSAN FRANCISCO, CA 94111
KEY FIGURES WITHINSITE VACINITY
EACH BLOCK FROM SITE REPRESENTSDIVISABLE FOR PERSEPCTIVE
1
5
9 10 11
N
EACH BLOCK FROM SITE REPRESENTS
COIT TOWER
PIER SEVEN
GATEWAY APARTMENTS
VISTA TOWER
TRANSAMERICA BUILDING
FERRY BUILDING
VAILLANCOURT FOUNTAIN
EMBARCADERO CENTER
1
2
2
3
45
6
78
4
6
7
8
3
13 1412 15 16
9
10 13
14
12
15
16
11
21
DN
DN
DN
DN
DN
DN
DN
DN
LOBBY
AMPHITHEATER
AUDITORIUM
RESTAURANT PATIO
PIT
DN
DN
DN
DN
DN
DN
DN
DN
LOBBY
AMPHITHEATER
AUDITORIUM
RESTAURANT PATIO
PIT
23
FLEISHHACKER LIBRARY
SITE, CULTURE, AND AGGREGATE MASSING
ARH 250: STUDIO 4
INSTRUCTORS: PETER STRZEBNIOK, KEVIN HACKETT
FLEI
SHH
ACKE
R LI
BRA
RY
25
Site Major Roadways Major Biking Paths Public Transportation Major Walking Paths Public Parks
N
NWes
t Coa
st, S
an F
ranc
isco
66,430 Sq Ft
Fleishhacker Pool House Site The Fleishhacker Pool once was the site of the largest pool in the world. The Fleishhacker Pool house, adjacent to the pool is 450 feet long, containing 22 skylights, and once grand upstairs restaurant that looked onto the 1000 foot long pool
abandon building (bathhouse) is currently being occupied by squatters and has two collections of books found by the squatters. The area is notorious to have a strong northeastern winds and dense fog in the early mornings. The coastal cur-rents crashing against the sand are beginning to diminished the vast beach, but in attempt to keep the shore line as we
Ocean Great HWY.
Bath house
Zoo paking
Zoo
Diagrammatic Section
pool is 450 feet long, containing 22 skylights, and once grand upstairs restaurant that looked onto the 1000 foot long pool
- FUNDAMENTALS OF COMPRESSION
PRESENT MODEL OF A LIBRARY MODERN ARCHITECTURE
TRADITIONAL MODELOF A LIBRARY
HISTORIC ARCHITECTURE
BRINGING THE OUT-OF-DATEUP TO DATE
MAKING THE PRESENTAWARE OF THE PAST
B R
I D
G E
ENTRYVISITOR INFO CENTER
BOO
K RESALE
CAFERESTAURANT
RESERVED MEDIA PICK-UPCHECK-OUT
LOCKERSADDRESS “P.O.” BOXES
S T U D Y R O O M SCOPY CENTER
NO
N-F
ICTI
ON
FIC
TIO
N
CHILDREN’S
TEENS
D I V I S I B L E CLASSROOM DISCUSSION AREAS
RESOURCE CENTER
PERIODICALSREFERENCE
COM
PUTER LA
B
MEETING ROOMSLIBRARY PRIVATE OFFICES
STAFF LOUNGE
BOOK RETURN
A U
D I
T O
R I
U M
SCREENING ROOMS
LISTENING ROOMS TRA
NSI
ENT
PERF
ORM
AN
CE
SPAC
E
R E A D I N G A R E A
TANGENCIES AND RELATIONSHIPS OF PROGRAMS
27
UP
WOMEN’S LOCKER ROOM MEN’S LOCKER ROOM
COMMUNAL LOCKERS COMMUNAL LOCKERSP.O. BOXES
STAFF STORAGE
OUTDOOR STAGE
RESTROOM REST-
STAGE TECH/ DRESSING
ROOMS
STAGE TECH/ DRESSING ROOMS
UP
UP
ORCHESTRA PIT
STAGE
REFERENCE
TEENS
COMPUTER STATIONS
INFO DESK RESOURCE
CENTER
DN
REST-ROOM
REST-ROOM
SCREENING ROOMSCREENING ROOM
SCREENING ROOM
SCREENING ROOM
AUDIO CARRELS
UP
AUDITORIUM
ROOM
UP UP
UP
FICTION
PRIVATE STUDY ROOMS
SMALL GROUP STUDY AREAS
NON-FICTION
DN
DN
PRIVATE STUDY ROOMS
PRIVATE STUDY ROOMS
WOMEN’S
RESTROOMMEN’S RESTROOM
RESTAURANT AND VENUE SPACE
OUTDOOR DINING AREA
KITCHEN
BOOK STORAGE AND PRICING
TOURIST INFORMATION AND BOOK RESALE
DN
UP UP
CHILDREN’S AREA
LIGHT COURT LIGHT COURT
DN DN
MEETING ROOM
INFORMATION DESKAND
TECH ROOM
DN
PERIODICALS
COPY AND PRINT CENTERDN
UP
DN
DN
AUDITORIUM
DN DN
UP
UP
DN
UP
UP
WALK-IN COOLER
DN
UP
DN
UP
ZOO ENTRANCE
GREAT HIGHWAY
SLOAT BLVD
.
BEACH ACCESS PARKING
WATER PUMP STATION
29
PARK
OU
R AC
AD
EMY
AN
D C
ULI
NA
RY IN
STIT
UE
PARKOUR ACADEMYAND CULINARY INSTITUE
SITE OPERATIONS AND TECTONIC SYSTEMS
ARH 210: STUDIO 3
INSTRUCTOR: MONICA TIULESCU
31
Park RouladeSamantha Buckley
A mix of breaking boundaries and play. Park Roulade is a public space containing learning facilities for a Parkour Academy and a Culinary Institute. The landscape is
also programmed for many other activities. The park caters to the diverse surround of Downtown Oakland and the city’s very popular Art Murmur art walk. On the first
Friday of each month, the Culinary Institute will cater to the public various appetizers from the kitchen in the tasting area. The Parkour Academy will also demonstrate
their newest skills alongside street performers filling the various stages.
While walking through, the flooring of the pathways changes back and forth between concrete, synthetic lumber, grass, and herb gardens. These changes are designed
around the potential for a contemplative moment. A contemplative moment can be a result of various things from the usual cup of coffee to a place to catch your breath,
people watch, or reflect.
Creating access to what is “off limits”. The aggregate skin condition is composed of concrete tubes averaging in a two foot diameter. The skin provides easy accessibility to the roof tops. To blend with the landscape, the skin fades into the flooring when they meet at an obtuse angle.
kitchen class room cafe
class room
gym
Contemplative Moments
Each Line Represents 100 sq ft(ie. 500 sq ft)
0 6 12 18 24
Projected Occupancy Based on 24 Hour Clock
Exterior and Landscape
Parkour Academy
Cafe
Office
Culinary Academy
24 0
6
12
18
24
0
6
1218
24
6
12
18
0
6
12
18
0
24
24
0
6
12
18
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CUBE
STU
DY
35
WIL
LIA
M S
TOU
T A
RCH
IVE
AN
D T
WIS
T H
OM
E
37
STO
OL
DES
IGN
39
detail oriented
Samantha V Buckley
Summer 2011
Summer 2012
Education:Academy of Art University: School of Architecture Fall 2010 - Present Current cumulative 3.61 GPANorthern Arizona University: School of Art, Interior Design Fall 2008 - Spring 2010La Serna High School, Whittier, California Fall 2004 - Spring 2008 Graduated in June 2008 with honors, 4.21 GPA
’
Skills:
multi-tasking patience
Work Experience:
PVH Neckwear Inc. Summer Internship Customer Service & Sales Support assistant Merchandising Operations assistant
Corazonas Foods Summer Internship
outgoing shipments Prepared, packed and shipped out bound packaging
organization leadership
record keeping
design public speaking
Michael Heacock ArchitectsSummer InternshipDraftingLEED consultingDesign
Summer 2013
Currently, I am working towards a Bachelor’s of Architecture at the Academy of Art University. After my graduation in Spring 2015, I will work full time while obtaining licensure. I plan to specialize in restoration and preservation within the Bay Area while maintaining sustainable practice principles.
630 Leavenworth St. #2San Francisco, CA 94109Cell Phone: 562.237.6996E-mail: [email protected]
Clubs and Other Activities:American Institute of Architecture Students (AIAS) 2012 - Present President, Vice President, Secretary Planning Committee for the 2012 AIAS West Quad ConferenceChildren’s Hospital of Orange County (CHOC) 2004 - 2013 Responsible for training and managing all volunteers, run silent auction, and
$300,000 in six years Co-captain Liaison between the Mad Hatter Guild and CHOC for the annual “Walk in the Park” that has generated nearly $20,000 for the Mad HatterAlpha Delta Pi, Epsilon Xi Sorority (ΑΔΠ, ΕΞ) 2008 - 2010 Philanthropy chair, Historian, Spirit chair, Big Diamond Sister Actively participated in four recruitments, multiplying chapter numbers by four from 2008 to 2010
Computer Skills:Adobe Acrobat, Adobe Illustrator, Adobe Photoshop, Adobe InDesign, Rhinoceros, AutoDesk 3dsMax, AutoDesk Revit, SketchUp, Vectorworks BIM+CAD, Microsoft O�ce, Mac and Windows platforms
Academic Achievements:2014 Spring Show nominee2013 Spring ShowPresident’s Honor List Fall 2012, Fall 2013Northern Arizona University Honors College, accepted Fall 2008
Hobbies and Interests:Painting, Hand drafting, Architecture, Music (Clarinet, 10 years), Photography, Art History, History of San Francisco, Travel (13+ countries), Interior Design, Historic Preservation
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