elizabeth dwyer portfolio
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E L I Z A B E T H D W Y E R
P O RT F O L I O 2 016
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CO N T E N TS
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P RO J E C T
H OT E L
G U E ST RO O M S
P O O L
C I V I C S PAC E
H A N D R E N D E R I N G S
PAG E
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H OT E L
K I N G ’ S A R M S 5 0 5 W 19 T H ST , N Y
The King’s Arms is a members only hotel and clubhouse that caters to a multicultural, explorative and affluent group of people who live, work, or travel somewhat frequently to downtown New York and are looking for a respite from the city. I have tried to create a space that allows members to either connect with one another, or to experience the space in a private capacity.
Given that the notions of private and public are somewhat distorted within this environment, I decided to focus on the kinetic dynamic between them. In an attempt to enhance the experience of moving through different levels and combinations of public and private, I have employed the opposition of dark and light, and the layering of different planes and openings to create frames and peekaboo moments.
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Outdoor Pool
Rooftop Bar
Guest Rooms
Wellness
Members Lounge
Bar
Restaurant
Penthouse Pool
Penthouse Suite
Guest Rooms
Conference Rooms
Work Space
Coffee Parlor & Lobby
Library
Spa
GROUND FLOOR PLAN
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LOBBY
MAIN STAIR HOLDING BAR
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CONCIERGE
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HALL TO ELEVATOR BANK ONE
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G U E ST RO O M S
Materiality continues to be especially important in my guest rooms. In order to make the rooms feel comfortable, I have introduced more tactile materials such as antiqued oak parquet floors, woven leather and cashmere.
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PLAN STUDIES
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G U E ST RO O M O N E
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G U E ST RO O M T WO
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G U E ST RO O M B AT H RO O M
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P O O L
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C I V I C S PAC E
J E N GA ! T H E I N T E R N AT I O N A L B R I D G E , E L PA S O / J UA R E Z
In contemplating the structure of a culture and what gives it strength and its various qualities, I started to think of the building blocks of culture as a Jenga game. Together the blocks are structurally sound, but as blocks
start to fall away it grows weaker and weaker. The Kinetic nature of these blocks not only impacts the culture’s constantly evolving stability or instability, but also the makeup and experience of the culture.
Taking this idea further, I began to think about what it looks like inside the Jenga structure, and how each different configuration creates a different environment, especially when intersections and layering occurs.
I introduced transparency and reflectivity in order to really enhance the impact that the different configurations have on one another, and to provide a way for people to actually experience that in a spatial way.
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CO N C E P T M O D E L S
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FIRST FLOOR
SECOND FLOOR
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F LO O R P L A N S
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A SPATIAL EXPERIENCE OF THE BUILDING BLOCKS OF CULTURE
BY ELIZABETH BRUCKMANN
JENGA
LIBRARY
RECEPTION
RECEPTION&
RESTROOMS
VIEWING TOWER&
ELEVATOR & STAIRS
MEETING SPACE
FARMERS MARKET
ELEVATOR TOWER
COOKING SCHOOL
RESTROOMS
RESTROOMS
BAR
FREIGHT ELEVATOR
RESTAURANT RESTAURANTCASUAL RESTAURANT
PUBLIC SPACE
S E C T I O N S
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EXTERIOR VIEWS
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FARMERS MARKET
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COOKING SCHOOL
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MEETING SPACE
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H A N D R E N D E R I N G S
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E B D @ E L I Z A B E T H D W Y E R . CO M