Student Architecture Portfolio

SUSANNA DAVY

CONTENTS

3 Lines

7 Portland Innovation Leadership Lab

11 Vela - Tensegrity Pavillion

13 Scherzo - Community Music School

17 Make Visible - Makerspace

25 Permeability - Parametric Louver Design

27 The Golden Goat - Tasting Room

33 Elemental Studies

Atmosphere

Sun

Earth

LINESArch 583 - Winter 2016

Morphological Studies and Architectural Interventions

This studio consists of multiple design projects, related to the

transport of coal by rail through the Pacific Northwest. First, I

reasearched the lines of coal transport from the Powder River

Basin to ports on the Pacific coast.

I am in the process of designing three architectural

interventions, which take the form of land art, to give a visitor

a haptic, time based experience of the magnitude of the

damage inflicted by the use of coal.

Money generated from the sales of coal from Cherry Point Coal Terminal over 50 years:

Projected social costs of carbon emmissions of coal from Cherry Point Coal Terminal:

$26,400,000,000

$345,917,191,000

$Time

BROKEN CIRCLE

Intervention 1 of 3

PORTLAND INNOVATION LEADERSHIP LABArch 583: Fall 2016

Team Members: Wade Hanson, Sean Link, Yan Meng

One of our key goals was to restore the ecology of the site, using strategies which would have additional benefits for

the users of the building, as well as the surrounding community. Ultimately, we wanted to create a building which was

not simply net-zero, but also a positive force for the local ecology, economy and community.

The building itself was meant to be as self-sustaining as possible, generating its own power, and collecting and

recycling enough water to serve the needs of both the building and surrounding landscape. The roof photovoltaics

generate enough electricity to power the building, and more besides. The creased roof forms channel water down

to a series of cisterns, serving both the building and the urban farm, which in turn provides fresh, organic food to the

building’s cafe.

Col lect Store Use Fi l ter Retur n

The roof was inspired by the shape and funcitons of a leaf. The form channels water, while solar panels generate power and a generous overhang shades the building.

Solar gain is managed by a louver system on the south facade. Winter sun penetrates to heat a radiant concrete slab, while the high-angle summer sun is blocked

The facade is peeled awat from the building to allow direct views to the Willamette River

-3EUI

better than net-zero

100%STORWATER MANAGED

ONSITE

VELATensegrity Pavillion

Group Members: Connor Davies, Erik Wadman

Our goal for this project was to create a

lieghtweight, portable, and easily erected pavillion

structure with fabric panels. To achieve these

goals, we developed a grid of tensegrity units.

Basic tensegrity unit: triangular prosm of tension with diagonal struts in compression

SCHERZOCommunity Music School

Arch 682 - Intro Grad Design III- Winter 2014

This building has three programs: a Suzuki School, a recital

hall, and academic classrooms for the University of Oregon.

Here, each use has its own space, tied together by a core of

circulation.

The recital hall anchors the building, as the piece of the

program which is shared by all: the Suzuki school, the

University of Oregon, and the Community at large.

The panels that make up the facade, as well as the interior paneling of the recital hall are alternating triangles, to create a layered, woven eff ect.

The music school will cascade down the hill from Beall Hall through a new greenway, landing in the new recital hall.

There will be a prominent visual axis from Beall Concert Hall to the new building.

East Elevation

North Elevation

U of O

Suzuki School

Recital Hall

Glass Structure ties programs together and creates common space

Three Programs

Suzuki School and University of Oregon frame Recital Hall

Suzuki School defi nes outdoor space

Room Model - 1/4” = 1’

1

2

THE NEW CONCERT HALL

The concert hall will use the same system of panels used on the exterior facade of the building. They will be deployed regularly In their interior iteration, creating a baffl ed pattern on the walls. White, sail-like acoustic panels hung from the ceiling will echo the anlged nature of the panels.

The stage will be framed by two angled walls, both for acoustic performance and the creation of backstage areas, with an additional wall forming a backdrop, scaled to an appropriate size for young performers.

The hall is designed to seat 400 persons, with seating on both the ground fl oor and a horseshoe balcony.

M A K E V I S I B L ECommunal Artist Studio / Makerspace

Arch 681 - Intro Grad Design II- Fall 2014

This building is a makerspace near the industrial preserve in notheast Portland, which

aims to cultivate a comminuty of local artists by providing a working space which

promotes collaboration among the occupants of the building as well as the community

at large. This would be accomplished through visibility: seeing out of the building,

seeing into the building, and seeing within the building. The building would utilize

semi-enclosed interlocking spaces which would allow the community to engage with

the operations of the building, the occupants to feel that they are a part of the local

community, and would allow the artists to gain inspiration from one another and cross-

pollinate.

Cafe

Kitchen

Gallery

Communal Workspace

Semi-Private Workspace

Digital LabClassroom

Studio

Conference Room

Gallery Storage

StorageClassroom

B’

A’

SE Division St

SE 12th Ave

N 0 5 10 20 5030

Cafe

Gallery

Studio

Gallery Storage

Cafe

Kitchen

Gallery

Communal Workspace

Semi-Private Workspace

Digital LabClassroom

Studio

Conference Room

Gallery Storage

StorageClassroom

B’

A’

SE Division St

SE 12th Ave

N 0 5 10 20 5030

Kitchen

Digital Lab

Storage

Begin with rectagular prism

Subdivide into cubes

Erode prism

Add glazing, screens or walls

1 2

Rectangular prism

Divided into cubes

Eroded

Added glazing, screens or walls

Cafe

Kitchen

Gallery

Communal Workspace

Semi-Private Workspace

Digital LabClassroom

Studio

Conference Room

Gallery Storage

StorageClassroom

B’

A’

SE Division St

SE 12th Ave

N 0 5 10 20 5030

Communal Workspace

Semi-Private Workspace

Cafe

Kitchen

Gallery

Communal Workspace

Semi-Private Workspace

Digital LabClassroom

Studio

Conference Room

Gallery Storage

StorageClassroom

B’

A’

SE Division St

SE 12th Ave

N 0 5 10 20 5030

Conference Room

Classroom

Conference Room

Classroom

3 4

Sketch Model

1-2

3

4

Spaces are open boxes which look into each other and out to the surrounding community

Studio/Workspace

3rd/Gathering Space

Sketch Model

Interior Perspective

The building made use of louvers to create layers of visual connection both within the building, and with the neighborhood.

Cafe

Kitchen

Gallery

Communal Workspace

Digital Lab

Classroom

Studio

Conference Room

Cafe

Semi-Private WorkspaceSemi-Private WorkspaceSemi-Private Workspace

Cafe

Semi-Private Workspace

Conference Room

The corner was also a node of foot traffi c, increasing the likelihood of running into someone familiar

There were many opportunities st the site to reinforce visual proximity to active 3rd space

The site is at a busy intersection, with designated bike paths and multiple convenient public transit stops

Section A Section B

PERMEABILITY - PARAMETRIC LOUVER SYSTEMFor this project, I developed a parametric louver system that was designed to respond to varying degrees of desired visual con-nectivity. Viewed head on, there is a consistent degree of visibility through them, but from an angle the visual permeability varies greatly based on the depth of the louvers. The depth of the slats was determined by a Grasshopper script which responded to desired degrees of visual connection. Where a level of privacy was desired, the depth of the louvers was increased, and where a visual connection was desired, the louvers became thinner, allowing people to see through.

Full visibility Disappearing Invisible

Group Project with Eric Barth, Ali Lau, and Stephanie Morales

We used the grasshopper script I had developed to cut the louvers for a cardboard prototype of the louver system. When tested, the louvers had the desired eff ect, allowing more visibility through the thinner side, and obscuring vision on the thicker.

Full Visibility

Looking Out

Looking In

Full Privacy

Thin louvers allow maximum visibility from inside to out

Louvers thickened on the top obscude vision of passers-by, while allowing full vision from people working

Louvers thickened at the bottom allow passers by to see in, while still retaining a sense of boundary from inside to out

Louvers thickened in the middle obscure vision of the interior, while still allowing light to penetrate

Full Visibility

Looking Out

Looking In

Full Privacy

Thin louvers allow maximum visibility from inside to out

Louvers thickened on the top obscude vision of passers-by, while allowing full vision from people working

Louvers thickened at the bottom allow passers by to see in, while still retaining a sense of boundary from inside to out

Louvers thickened in the middle obscure vision of the interior, while still allowing light to penetrate

Full Visibility

Looking Out

Looking In

Full Privacy

Thin louvers allow maximum visibility from inside to out

Louvers thickened on the top obscude vision of passers-by, while allowing full vision from people working

Louvers thickened at the bottom allow passers by to see in, while still retaining a sense of boundary from inside to out

Louvers thickened in the middle obscure vision of the interior, while still allowing light to penetrate

Full Visibility

Looking Out

Looking In

Full Privacy

Thin louvers allow maximum visibility from inside to out

Louvers thickened on the top obscude vision of passers-by, while allowing full vision from people working

Louvers thickened at the bottom allow passers by to see in, while still retaining a sense of boundary from inside to out

Louvers thickened in the middle obscure vision of the interior, while still allowing light to penetrate

PROTOTYPE

Full VisibilityThe louvers allow maximum visibility from inside to out

Full PrivacyLouvers thickened in the middle obscure vision of the interior, while still allowing light to penetrate

Looking OutLouvers thickened on the top obscure the vision of passers-by, while allowing full vision to people working inside

Looking InLouvers thickened at the bottom allow passers-by to see in, whie still retaining a sense of boundary from inside to out.

The site for this project was the Laurelwood golf course in Eugene, OR. We were to imagine that it had been converted into an urban farm. This building is a tasting room for goat cheese, prodiced by the animals which would be grazing on the former greens.

The steeply sloped site and the presence of goats suggested a playful building partially buried in the hillside. The walls were con-ceived of as rammed earth, so it would appear to have risen from the ground as a natural geological formation. The roofs were conceived of as usable space, where the patrons could climb up and enjoy the view, and feel a little goat-y themselves.

Site Model - 1’ = 1/16”

The tasting room is divided into two parts:

The first is an informal tasting room with communal tables, built-in seating and a patio. Light would enter through the south-facing windows, as well as a north-facing skylight positioned above the bar. The roof of the skylight would create a sloped seating area on the exterior, facing the view down the hill.

The second was a formal restaurant, which was deisgned around the exterior bays. Each alcove was designed with a picture win-dow which looked toward Spencer’s Butte. The other tables were made special with skylights, from which light would wash down and land in a special niche carved out of the wall.

Interior Perspective

Model - 1’ = 1/8”

ELEMENTAL STUDIESWe began our initial design studio over the summer with a series of quick spatial studies focused on engaging with the elements

ATMOSPHEREFor this project, we were asked to engage with the atmospheric qualities of a precedent building, in my case, Peter Zumthor’s Baths at Vals. The drawing opposite represents the building’s engagement with stone, air and water.

Next, we used our pbservations to inform a cast plaster model, which was designed to maintain similar atmoshperic qualities in a solid. My goal was to capture the rugged yet refined character of the baths, the radiating orthoganal nature of the plan, and the slopes of the pool floors.

Air

SUNThis project began with a model designed to create varying qualities of light and shade throughout the day. This model was designed to cast strips of light that would begin as delicate strips, widen to bands in the middle of the day, and grow thin again at day’s end, while the different angles and slight upward thrust of the model formed pattern among the overlapping shadows.

The drawing was concieved as an expression of the model over time, expressed as a sundial, showing the different qualities of the shadow throughout the day.

Earth

EARTHFor our inaugural architecture project, we were tasked with carving three rectangular volumes of specific sizes from larger solid to create a subterranean room.

I chose to treat the largest volume as the room, a secondary volume as an entry alcove, and I used the third to carve out both a skylight and a small, contemplative seating area from which an occupant could view the sky and observe the qualities of the light in a sunbterranean space.

Susanna Davy - 2016