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

samantha.v.b@gmail.comlinkedin.com/in/sbuckley4

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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

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25

31

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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.

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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

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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”

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EMBA

RCA

DER

O F

ILM

TH

EATE

R

EMBARCADEROFILM THEATER

ASSEMBLEY BUILDINGS AND CONTEXT

ARH 310: STUDIO 5

INSTRUCTOR: CAROL BUHRMANN

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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

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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

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FLEISHHACKER LIBRARY

SITE, CULTURE, AND AGGREGATE MASSING

ARH 250: STUDIO 4

INSTRUCTORS: PETER STRZEBNIOK, KEVIN HACKETT

FLEI

SHH

ACKE

R LI

BRA

RY

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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

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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

33

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

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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: Samantha.v.b@gmail.com

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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