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andrew case sedersten | oklahoma state university school of architecture 2007-2012

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Through my years at Oklahoma State University, I have acquired a multitude of information. I have gained knowledge in the math and sciences. I have learned to think critically of my work. I have been exposed to the arts and their infl uences on culture. Most of all, I have learned to be a well-rounded individual. It is my philosophy that having knowledge in several fi elds is more valuable than knowing everything in one particular area of study. As an architect, it is important to have a decent understanding of what goes on around us – everything from the proper organization of a structure to the movement of the stars.

Through my work, I attempt to fi nd inspiration through several sources. No two projects are ever alike, so why should the source of one’s inspiration be consistent? Over the years, I have found inspiration from the landscape, the natural phenomena, the built environment, and many more sources.

The natural world is full of wonders and I believe the greatest design of all. There is no reason for the built environment to not mimic and integrate itself with the natural world. As we move forward in history, I believe, that later generations will look back on this time period and commend us for our push for sustainability and a better environment for our descedents. During this push, architects have the chance and the responsibility to lead the way.

As I enter a new chapter in my life, I am at a major crossroads. The paths and outcomes are unlimited and I look forward to the journey from this point forth. I am excited about my future and the future that I will have a hand in creating for my children, grandchildren, and great grandchildren.

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traveling environment

portable2 week project

bass woodcopper

mylar

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vespa dealership

stillwater, oklahoma4 week project

ink on board

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The design of Stillwater’s Vespa dealership was influenced greatly by the design of the scooter. Following the simplistic design and honest nature of the Vespa scooter, the structure began to take shape. Wanting to open the structure to the city, the showroom took shape as a transparent box, shielded by the concrete element hous-ing the service programs. By exposing the showroom, the scooters acted as advertisement for themselves. Because of the simplistic design, special attention was given to the connections of the steel members.

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hotel dwell

tulsa, oklahoma6 week project

autocad3dsmax

photoshop

deco-district philcade site location

philtowersite location bok tower

bok tower

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The approach taken for the design of Hotel Dwell was what some might say ‘backwards’. Most designers tend to start from the outside and work their way into the heart of the project. Hotel Dwell was different in the sense that the guest rooms were the fi rst thing that was designed. Focusing on the most basic element in the rooms, the furniture, the overall design of each guestroom took shape. From there the design expanded outward to look at how each room would interact with one another and how they would infl uence the overall form of the hotel. Once an idea of how the hotel rooms would be arranged, the service programs could be integrated. The approach taken for the design produced the fi nal image of the hotel much like a single cell expanding into a network of cells.

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Wanting to design the guestrooms with the individual in mind, the furniture became an intricate and vital element of the hotel. The layout and design of the room is derived directly from the chosen furniture. Researching the history of downtown Tulsa, the infl uence of the art-deco architecture was great in the selection process. Wanting to maintain the clean, linear design of the surrounding context, a minimalistic design was sought in the furniture. Through the search, a line of furniture, designed by Pianca, was selected for its simplistic designs with clean edges. This same design criterion was used to select the bathroom fi xtures as well. The NIC designed fi xtures refl ect the clean lines and simplistic design that the furniture possesses.

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The fi nal design of the guestrooms closely follows the characteristics of the furniture. By creating clean edges and simplifying the layout, the room becomes a relaxed space. Considering the proximity of the adjacent rooms, the layout of the guestroom begins to limit the possibility for noise transfer. To reduce the amount of noise transferred through the shared walls, the fi xtures and major functions are centered in the room in a main core area. This core gives the furniture and fi xtures a central plane to organize around. By moving the fi xtures to the core, noise transference from the plumbing is reduced to within the individual room. Giving order to the living and sleeping spaces, this core also serves as a room divider while maintaining views to and from each space. To further divide the space, a fl oor level change helps to separate the sleeping space from the living and bath spaces. The sleeping space steps down to create a sense of seclusion. The sleeping space is oriented to have views of the downtown area, including the Philtower, Midcon Tower, and other deco-district buildings.

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The final design of the suite guestroom follows the same design ele-ments that are found in the standard room. Keeping with the idea of a centralized core, the suite is laid-out radiating from the hearth. The hearth separates the entertainment area -- which includes a large seating area, bar, and balcony -- from the sleeping area, with large bath and walk-in closet. Large windows allow for the guest to view across the cityscape, offering the historical architecture to act as art-work within the room. Clean lines and simplified design mimics the furniture, once again, creating a cohesive language across the room spectrum. With the design of the interior rooms, the arrangement of rooms followed, which gives the hotel its form.

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Situated in the heart of downtown Tulsa, and the deco-district, this project created the challenge of blending the historic art deco architecture with a more contemporary architecture. I wanted to be able to respect the history while giving the district a rejuvenation. The decision to refrain from copying the older architecture made the design more challenging. I believe that it is never possible to capture the essence of history by imitating it. It should rather be respected and complimented. To achieve this complimenting, the hotel took on two distinct forms. One form, the room blocks, represented the orthographic design of the historic architecture. By letting the horizontal and vertical lines infl uence the facade, the historical architecture starts to become incorporated with the new hotel. The second form took on a more freeform shape, creating an angular form. This form pen-etrates the room blocks, fusing the two into one object. This is intended to represent the transition point from Tulsa’s rich art deco generation to a new contemporary generation.

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The completed hotel refl ects the intersection of architecture that the city of Tulsa faces. With such a strong history in art-deco, it is important for the new architecture to relate and respect the past while creating a new dynamic image that will help rejuvenate and rehabilitate the downtown area.The approach taken with this project looks at the most important element of a hotel – the guest. From the design elements that the guest has the most interaction with, the furniture, to the overall image of the hotel amongst the vast cityscape, the design process developed around the individual.

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folk art museum

MoMA

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times square

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stillwater cohousing

4 week

revitphotoshop

team: matt callanandrew sedersten

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planar/cube composition

2 week project

bass woodfoamcore

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eclipse floor lampilluminati

2 week project

birch plywood

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52 | acsa steel competition:honorable mention

okc family assistance center

oklahoma city, oklahoma16 week project

autocad3ds max

photoshop

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The design of the Oklahoma City Homeless Assistance Center for Families will offer a place of protection and shelter while creating connections to the greater Oklahoma City community both within and beyond the facility. This connection is achieved through relating residents to a common interest in rebuilding their lives, that builds and encourages relationships with their families, neighbors, and community. For the family assistance center, this common link is the Beacon of Hope, a sculptural piece located east of the site that signifies hope for the families and patients of the nearby medical center. Organized around views of the sculptural piece, the center offers hope to all residents.

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56 | acsa steel competition:honorable mention

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With this design, the individual units help build an open relationship between the members of the family by limiting the physical barriers within each unit. Although the units are divided into individual spaces, the dividers are not permanently placed, nor do they seal off the space from the rest of the unit.

By organizing the units around the Beacon of Hope, the resulting layout creates smaller communities within the center. A series of nodes connect four units together and form a shared community space that allows for the four families to become familiar with one another. Through these nodes, residents continue to maintain a connection with both the Beacon of Hope and with the greater community.

Organizationally, the main community spaces anchor the assistance center on each end. The administration and health clinic mark the main entry and signify the starting point of the transitional process from homelessness to a more fulfilling lifestyle. Moving from the entry block and through the nodes of units, the recreational areas anchor the other end. Through this organization and design of the assistance center, individuals will build relationships on many levels, thereby helping to reacquaint residents with the community beyond the transitional housing center.

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cubelasercutter

1 week project

plexi-glasshardware

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san juan, puerto ricourban design studio

aquarium+ship terminalshopping district masterplan_urban ikea+performance theater

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san juan aquarium+

cruise terminal

8 weeks

team: tyler homesaustin horton

nicole scottandrew sedersten

joseph valliere

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san juan aquarium

8 weeks

autocad3ds max

photoshop

team: andrew sederstenjoseph valliere

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san patricio district masterplan

8 weeks

team: nick connerjessica impson

josh kunklelaith nabilsi

justin reaandrew sedersten

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The city of San Juan and Guaynabo offer a vast collection of cultural elements. This tradition-rich culture has maintained its image over the centuries, varying slightly to reflect the current times. While searching for inspiration for the master plan of San Patricio shopping district, we did not have to look far. The process started with the imagery of the surrounding area including the architecture, people, and vegetation.

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oklahoma planter

stillwater, oklahomasemester project

materials class

team:andrew sederstenjoey valliere

morgan williams

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smodelterra sancta

6 week project

clayscreen

bamboo threadmetal

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elmer thomas lake site location

naked skin

lawton, oklahoma6 week project

autocad3dsmax

photoshop

mt scottsite location

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The design process for the naked Skin spa and resort originated from the site visit. Scouring the landscape, it was apparent that water and its movement across the site was a major element. Connecting the natural water shed with the importance of water in the spa created a starting point. The process then spread to analyzing the surrounding natural elements such as the lake, the mountain ridge and valley.

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Located in the Wichita Wildlife Refuge, this design was a response to the beautiful nature that is protected. One didn’t have to search far for inspiration. Located near Elmer Thomas Lake, the site is situated in the natural water shed. Water from Mt Scott, and other adjacent mountains, shed water through the site into the lake. On the site, a small pond is the result of this natural drainage. Focusing on the importance of water, small pond is the result of this natural drainage. Focusing on the importance of water, small pondnot only to the protected wildlife, but to the spa iteslf, I decided to locate the spa near this natural element. By splitting the spa into two structures, it became a protective barrier to the pond and maintained the natural fl ow of water from the mountain. This natural fl ow also served the purpose of organizing the structures. Two datum walls run parallel with the fl ow, reinforcing the directional dictation set by the movement of water and the notion of creating a barrier with walls. At the heart of the spa, the interior and exterior pools are located adjacent to the pond while maintaining views to the lake.

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Wanting to continue on with the idea of embracing the environmental elements, the spa took on a natural qual-ity. The low horizontal movement mimics the grasslands found throughout the refuge. The vital spaces, shel-tered by the two barriers mimic the safety of the valley. Keeping this in mind, I wanted to create the sense that the spa grew from the site. To achieve this goal, the spa fl ows with the changes in terrain, hugging the rolling hill very closely. The incorporation of a green roof, seeded with local prairie grass, helps blend the structure with the surrounding area.

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washington_dcurbanUSA 2010

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american universityin paris

6 weeks

autocadrevit

3ds maxphtoshop

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library detail design

ground level

upper level

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visitor centermesa verde, colorado

ink on board

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oklahoma state university | may 5, 2012 @ 1p | gallagher-iba arenaa n d r e w _ c a s e _ s e d e r s t e n20122012

oklahoma state university | may 5, 2012 @ 1p | gallagher-iba arenaa n d r e w _ c a s e _ s e d e r s t e n201220122012

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n_Andrew Case Sederstenp_918.645.9475e_andrew.c.sedersten@okstate.eduw_http://www.wix.com/acsdesign/portfolio

Oklahoma State University BArch _ 2012Architecture History and Theory minor