sara ashley hawkins

o e x p a n d

d e s i g n e x p a n d s f r o m a s i n g l e m o m e n t , s p a r k i n g a c r e a t i o n o f b o u n d l e s s p o s s i b i l i t i e s

table of contents

connectivity + horizontality of the analogue city

geometric integration + extraction

visualization + representation

spaces of [de]formation

spaces of [de]mystifi cation

spaces of [de]construction

spaces of [de]acceleration

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march gradyear l

southern roots-- the swamp rabbit brew house

march gradyear ll

the athens rehabilitation center

bfainterior design

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m arch gradyear l l

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southern roots

s w a m pr a b b i tbrew house

Greenville, South Carolina

MArch 851-- Studio IIIDustin Albright

Fall 2012

This semester-long project called for a brewery located in Greenville, South Carolina. As Greenville is a city full of history, culture, and arts, the aim of this project was to bring the city’s, as well as a brewery’s, industrial characteristics onto the local scale. The forces acting on the brewery site, located near the West End on Pendleton Street, are an array of important aspects that help shape the conceptual process of the brewery design.

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The industry, as a part of Greenville’s major history, and how it has evolved onto the local scale has become the backbone of the conceptual process. A precedent in particular is the Rails to Trails project, the transformation of the once very industrial railroad into a local trail appropriate for pedestrian and bicycle usage. The conceptual layout, therefore, as a series of events that are essentially three “stations” where one moves from the lobby, the brew house, and eventually, the restaurant. Connecting the spaces is a circulation route that in itself creates events for the patrons interacting with the brewery and its spaces.

harvesting perceptions

ecological scale

social force

materiality

functionality

001: meet

002: brew

003: dine

private

public

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scale: 3/64”=1’-0”

scale: 3/64”=1’-0”

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tranverse site section

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north elevation

south elevation

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displayed brew house fermentation tanks

swamp rabbit restaurant

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exterior view from brewery looking toward the restaurant

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Created to house the fi nal project boards, the container was based off the conceptual idea of a lever sliding and pushing railroad tracks onto a diff erent railroad track. The lever for this container slides from the upper right corner to the left, then down in order to push the constraining wall of the container out so the boards may be removed.

the container

1/16”=1’-0” structural model detailed sectional model

structuralHAIKU

poeticASSEMBLY

iteration 01

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1/4”=1’-0”

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detailed sectional modeliteration 02

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1/4”=1’-0”

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timber branch merge steelseries translate local craft

join journey savor

rendered detail section scale: 1/4”=1’-0”

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ashley hawkinsarch 872

rendered detail elevation scale: 1/4”=1’-0”

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m arch gradyear l

c h e l s e a grasslands m u s e u m

connectivity + horizontality of the analogue city

Kunstall in Chelsea, New York

MArch 842-- Studio IICriss Mills

Spring 2012

e x t r a c t i o n

This project called for an art exhibit in Chelsea, New York, also known as the Meat Packing District. The site housing the exhibit resides immediately adjacent to the High Line, a public park built on an elevated 1930s rail structure between West 19th and West 20th Street.

The scope of the project was to provide a fl uid connection with and at the level of the High Line. The project’s design program inquired for a versatile program housing various exhibits. Among the various exhibitions are performance arts, multi-media displays, and public events held for conferences, lectures, and workshops.

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The High Line as it is being raised vertically The High Line as it stands today Longitudinal Section

Second Floor (High Line Entrance) Third FloorGround Floor (Street Entrance)

The conceptual process began during research over this history of both the High Line and the Meat Packing District. The High Line once read as a very industrial setting; however, it was translated into a natural setting of a stretched horizontal green space. As the Meat Packing District evolved over the years, it has climbed vertically on the social scale impacting the surrounding areas of New York.

Through the use of horizontal and vertical integreation by means of an extraction of industrial and natural sources around New York, Chelsea Grasslands Museum began to build upon itself, allowing distinct connections to the High Line and the surrounding cityscape.

The program of the interior spaces were set up through the use of extracted shapes from the connections among the industrial and natural points of interest throughout New York.

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The vertical circulation diagram displays the egress routes throughout the building. The main circulation is found centrally in the museum, while there are two emergency stairways located on either side. The program resides in the museum as follows:

Orange: Loading/Storage Yellow: Administration Red: Autditorium Blue: Interior Exhibition Green: Restaurant/Cafe White: Lobby/Circulation

W 20th Street Entrance

roolF htfiFroolF htruoF

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Section Model-- Visual Connectivity + Light Study Interior Light Study

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a t l a n t a b r a n c h l i b r a r y

geometric integration + extraction

Reynoldstown in Atlanta, Georgia

MArch 842-- Studio IICriss Mills

Spring 2012

c o n n e c t i o n

nwotsdlonyeR ta etis ehTtnedecerP

This design was an exploration in dynamic public spaces. The program called for a branch library in Atlanta, Georgia where the community would embrace a new learning experience with tactile design.

The site was chosen in Reynoldstown, where it would be central to surrounding areas of business, a neighborhood, churches, and a school. With close proximity to all areas, the public nodes ensure consistant use, as well as a safe, walkable space.

The initial intent was to derive an architectural structure divided into volumes interconnected by a central circulation space. Diagrams and research guided the design and established a parti to enrich and clarify the fi nal form.

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Floor Plan

The overall form and function of the building was derived from site geometries and how they react to and work with the site and its surrounding areas. The main radiating nodal points were determined through the use of the trees located around the site. The position of the surrounding streets extracted the use of a parallel and perpendicular grided system.

As the form began to take shape, distinct associations were made among the surrounding areas. The horizontally shaped triangles provided a relationship between the outer businesses encompassing the site, and the relationship to the main circulation of traffi c. The vertical shapes extracted from the nodal points provided a relationship between the neighborhood and its connection to the main road. It is also the major link connecting the school to the neighbohood with the library presenting itself as the central hub.

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Transversal Section

South Elevation

West Elevation

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Longitudinal Section

North Elevation

East Elevation

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d i g i t a lt e c t o n i cfabrication

visualization + representation

Lantern in the Cityscape

MArch 811-- VisualizationDouglas Hecker

Spring 2012

e x p l o r a t i o n

Form

The aim of this project was to improve and explore the synthesis of a variety of digital tools. Various graphic methods and technologies were investigated to critically and intuitivelycommunicate ideas. The resources for this project included Rhinoceros 4.0, Photoshop, and a digital modeling source to successfully render a digital section in an urban context from a simple rectangular structure along with fabricating a section model.

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Skeleton

Skin

Section Model Fabrication

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[ p h y l l o ]p u l s eart exhibit

spaces of [de]formation

High Museum, Atlanta, Georgia

MArch 841-- Studio IArmando Montilla

Fall 2011

[Phyllo]pulse was an additional art gallery extension from the High Museum of Art housing two pieces of interactive art created by the electronic artist, Raphael Lozano-Hemmer. The two pieces of artwork sparked the conceptual process of the structure’s form. The main piece of art is derived from phyllotaxy that was translated into the sculptural shape of the building revolving solely around a ramp.

e x t e n s i o n

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nalP leveL tnemesaBnalP leveL dnuorGnalP fooR

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Section A Section B

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East ElevationNorth Elevation

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the reds u m m e rp a v i l i o n

cation

Jean Nouvel’s 2010 Serpentine Pavilion

MArch 841-- Studio IArmando Montilla

Fall 2011

e m u l a t i o n

Chosen from an array of existing pavilions, Jean Nouvel’s 2010 Serpentine Pavilion was thoroughly investigated and documented through a scaled model and drawings. This included gaining a full understanding of how the project “works”--through its organizational logic as well as its structural and material aspects. The analysis and dismantling of the architectural pavilion was reproduced at a scaled 1/4”=1’-0” model by cutting multiple cut sections of the structure, isolating the pieces, and understanding the assemblage through the incorporation of complete working drawings.

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Evoking a strong sense of emotion, Jean Nouvel’s 2010 Serpentine Pavilion is a structure of intense color utilizing many materials and forms. Central to the notion of play, the design of the pavilion is open and spacious, allowing people to move and interact within the space in various ways. Nouvel expressed the pavilion with bold geometric forms; one of which as a freestanding wall acting as a primary vertical element. As movement and prominent structures are prevalent to the design, a relation is made to Anthony Vidler’s article when he states, “There seems to be no fear that the body is entirely lost: rather the question is one of representing a higher order of truth to perception of movement, forces, and rest.”

Floor Plan showing structure

Structural Section

Elevation

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the yellows u m m e rl a b y r i n t h

spaces of [de]construction

A Deconstruction of Jean Nouvel’s 2010 Pavilion

MArch 841-- Studio IArmando Montilla

Fall 2011

t r a n s l a t i o n

from Jean Nouvel’s 2010 Serpentine Pavilion, the second pavilion was a parallel derivative based on the logic

ed in the existing work. Guided by the language, relationships, and organizational strategies used by the original architect, the second pavilion was to share visual relationships/

erences with the original pavilion and its concept.

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Floor Plan

Longitudinal Elevation

Transversal Elevation

Anthony Vidler’s article states, “There seems to be no fear that the body is entirely lost: rather the question is one of representing a higher order of truth to perception of movement, forces, and rest.” This same quote can also relate to the newly [de]constructed model further suggesting a forced direction of movement within spaces. The maze-like structure exudes a new emotional response of curiosity and perhaps timidity of movement throughout the many

erent types of spaces. The free-standing vertical wall is repetitive, creating an implied sense of horizontality expressed through the brightly yellow colored pathway. Vidler explains, “…horizontal structure is a wall of nerves from which all layers of urban skin have been peeled away.” As an individual travels through the space, he/she will experience the layers of skins (repetitive vertical walls) as an intriguing motive to continue traveling across the bridging pathway, getting “lost” within the forces of static movement.

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b o d y- s c a l e -a r t i f a c t

spaces of [de]acceleration

Frames of Frozen Time

MArch 841-- Studio IArmando Montilla

Fall 2011

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is design exercise called for the capturing in frames of a series of frozen time moments from a dynamic system with the characteristics and quality of movement.

erent morphologies/ gurations, the exercise

introduces the element of change/transformation stemming from a framework of design drivers in order to shape the ideas. As the work is deterministic, the design decisions are made as a response to a certain need or action, such as engagement of the body. Once the moveable model was made, a series of snapshots were taken to display the movement. Windows Media Player was then used to incorporate the snapshots, as well as a

gures, into a movie which included music of choice.

e music chosen for the short lm was Hoppipola by Sigur Ros.

e v o l u t i o n

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bfainter ior des ign

the athens rehabilitation center

Athens, Georgia

To sustain and give refuge to those

from the deluge of life’s hardships as a

result of poverty and homelessness

Undergraduate WorkARID 4650-- Exit Studio

Meng’kok TanSpring 2011

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Many people are given more than a second chance throughout his or her lifetime; however,

ected by poverty or homelessness, a second chance of living a

lling life is often unwarranted. Living in poverty or without a home is a continuous

ects their daily life because their future is so uncertain.

t organization, is a place to take another chance for an individual to become better equipped when handling life’s many struggles residing around poverty or homelessness. With proper services and ample lodging provided, one can begin to rebuild his or her life as a sustainable individual in society.

t r a n s f o r m a t i o n

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As one of the most disadvantaged counties in the state of t from

a rehabilitation program designed to help those who are at risk of becoming homeless or those who are currently homeless. The proposed site resides on the north side of downtown Athens on Willow Street, the location of walking distance from downtown, near the many frequented areas of the homeless around Athens, and also located near one of the city’s bus stops. The site is untouched and in an area where there is not much industry or residential housing, allowing the center to be situated in an environment that is more private to better accommodate the residents.

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Conceptually derived from the Bible story, Noah’s Ark, The Athens Rehabilitation Center (The ARC) provides for the foundation and path for individuals who are seeking to gain a higher quality in life and society. The ARC acts as a vessel to house, protect, and transform one’s lifestyle in ways a typical homeless shelter cannot. As a full rehabilitation facility, The ARC includes many programs that address and solve the problems of homelessness and of

x for an ongoing problem, but involves the interaction among a small campus community lling life. Answering the needs of all persons, The

ARC is composed of an array of programs for all individuals. Such programs and services include: educational and career advancement, a nutritional nancial services, medical and dental services, and a creative arts center.

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