Sara GordonUndergraduate Portfolio

“Proceed, be bold.”

Table of Content

Winery /Academic : project type Studio 401_Fall 2014 : course_year

Lavinia Fici Pasquina : instructor

A Verdant Way

Residential /Academic : project type Studio 302_Spring 2014 : course_year

Sophia Gruzdys : instructor

The Plaza Within

Urban Infill Housing /Academic : project type Studio 302_Spring 2014 : course_year

Sophia Gruzdys : instructor

El Born De Oberservation

Boathouse /Academic : project type Studio 301_Fall 2013 : course_year

Kent Abraham : instructor

A Dual Perspective

Sculpture Pavilion/Academic : project type Studio 201_Fall 2012 : course_year

Jeffery J. Roberson : instructor

Shifting of Tartans

Library /Academic : project type Studio 202_Spring 2012 : course_year

Christina Cole : instructor

Thersholds of Poetic Volumes

Photography + Sketches : project type Undergratuate : course_year

Other Mediums

Attached Screeded Porch : project type Internship_Summer2014 : course_yearMichiels Architecture& Partners : frim

Schaffer Porch

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A Verdant Way

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When the PATH is ideal the

Intersections are created so the Expirience can follow through

the Architectural Details, form and Material in relationship to

nature and manmade

The design process began with the exploration of a wine informational diagram guided from the concept of nature verse manmade....

V I R G I N I A W I N E S

site location: Richmond Road Rappahannock Country , VAclimate: temperate climate, mild winters and summers average temp 60 degreessoil: granite- based clay soil, slopes and rolling landscapeconcept: interaction of nature and manmade

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SOIL

CLIMATE

WINERIES IN REGION

Warm temperate climate year round, relatively dry growing season with moderate winters.

27 16 14 38 2116 83 10

fertile

slopes and rolling landscape

rocky valley

drainage and air �ltration

granite-based clay soil

loam (sand and slit)

WINE PRODUCED

Cabernet FrancCabernet SauvignonChambourcinChardonnayGewurztraminerMalbecMandolinMerlotMuscat CanelliMuscat of AlexandriaNortonOrange MuscatPetit MansengPetit VerdotPinot GrigioPinot NoirRieslingRkatsiteliSauvignon BlancSeyvalSeyval BlancSyrahTannat Touriga NacionalTraminetteTinta CãoVidal BlancViognierZinfandel

Iran c.500 BCGeorgia c.600 BC “Areni-1” Cave in

Vayots Dzor, Armenia c.4100 BC

Divided from South to North region due to the climate; this e�ects the wine production and consumtion amoung social classes.*Monk produced wine for the church services resulting in the largest producers of wine in France and Gremany.TYPE: most important German grape plant, RESLING.

Climate not suited to grow grapevines so aramic merchants traded wine. Wine was the subject for many poets, sacramental, medical, and trade use.

Mentioned in: Genesus, Flood - Greek Mythology - Persian Legend

Production of wine of grapes was not native to the region, however imported through trade and made of other fruits.

Wine trade in Egypt*wine was predominantly red, resembling blood.* white wine accessable through trade only

Distributed wine, wine grapes, wine making technology throughout the Mediterranean region.

*modern wine inspiration*wine experimented with �avors*wine regions developed wine custom theo-ries, however always relates back to the greek styleTYPE: most popular Greek wine, a strongly aromatic white called RESTINA.

countries without wine traditionsknown for production of high quality wines:AUSTALIA - 1st successful vineyards in the 19th centuryNEW ZEALAND - retained most of its wine for domestic consumptionSOUTH AFRICA - production began in Cape Province in the late 1680’s as a business supply

concept - Americas wine is based on the old world grape vines and wine growth regions but have adopted grapes to closely identify*16th century, Mexico became the most important wine producerTYPE: produce a variety of wines, inexpensive jug wine to high quaity varities and bleands from the regions of Argentina, California, Chile winemaker

winemaking

the science of winemaking

Growth varies depending on the weather (growing season), soil minerals, acidity, time of harvest, pruning method

PICKING OF GRAPES BY HANDPICKING OF GRAPES BY MACHINE

juice �ow out whole berry

process to reduce tartrate crystals ( make cloudy wine clear)

Sulphites are added. In order to inactivate microorganisms, such as unwanted yeasts, acetic acid bacteria and lactic acid bacteria, thus protecting wine from spoilage. As well as act as antioxidants and protect delicate �avors against oxidation.

1-2 weeks » tempature 15-18˚ c / 22-25˚c » yeast is added ( converts surgars to alcohol) » sugar is added by weight 24% surgar = 12% alcohol

3-6 months in air tight container » convert malic acid to lactic acid » barrel: oak barrel, glass bottles, large stainless steel vessels

process varries for type of wine

(periodically run) check for accuracy 2.5-5% error (refractometer) brix – measured in grams for hundred grams of solutionThe test consist of measuring (hydrometer cheaper) ph, titratable acidity, residual sugar, free sulfur, available sulfur, total sulfur, volatile acidity, percent alcohol.

Agents used to remove animal, non animal particles and gelatin, the wine mix is �ned and the tannin (dry taste) is removed.

PRESSING OF GRAPES BY FEETPRESSING OF GRAPES BY MACHINE

rollers used to press and remove skins

Stems are taken off before pressing tin order to lower tannins and the vegetal flavors of the wine

1-2 ton bins of single berry harvesting, pick one grape at a time

Large tractors with plastic or rubber rods –dislodge grape from vine; the process is easier and faster. However, the disadvantages are that leafs/stems, moldy grapes, canes, metal debris, rocks, small animals, and nests will combined in the mix.

Northern hemisphere –early September to early NovemberSouthern hemisphere –mid February to early march

U.S. mostly hand (premium wines) – increased oxidation of the grape juice

Glass bottle color depending on color of wine, red wine dark bottle, white white light bottle. Wine is sealed with crock, synthetic corks, screw caps and a capsule is added on top and heated for tight seal.

W I N E F A C T SWINE LIFE

VINIFICATION

VINTER

OENOLOGY

A still wine produced from green and some-times black grapes. During fermentation the

grapes are crush to extract jucies, the skins are removed. Flavors span from rich and

creamy to light and zesty.

Still wine made with black grapes. During fermentation the skins are left on to give the wine is coloring. These can range from light to

dark and bone-dry to sweet.

Still wine from black grapes produced by removing the skins before they deeply color the wine. Also formed by blending red and white wine together. Both dry and sweet styles of rosé are common.

Carbonation is injected or naturally added to the wine. Reds, whites and rose can be carbonated. Flavor is both dry and sweet.

Provides stabilization to prevent the formation of hazes and deposits after packaging, while microbiological stabilization eliminates yeasts and bacteria that can destroy a wine’s taste.

OLDEST WINERY

1ST ADVANCEMENT BY PHOENICIA

ROMAN EMPIRE

MEDIEVAL EUROPE

MEDIEVAL MIDDLE EAST

NEW WORLD - AUSTRALIA NEW ZEALAND SOUTH AFRICA

MODERN ERA - AMERICAS

BIBLICAL TEXT

ANCIENT CHINA

ANCIENT GREECE

EARLY BRONZE AGE

EVIDENCE OF WINE MAKING

7100 BC

3000 BC

1500 BC

4100 BC

1000 BC

0 AD

1600

1400

1900

2000

WINE CULTURETECHNOLOGY

FAMOUS WINESHISTORIC USE

Winery /Academic : project type Studio 401_Fall 2014 : course_year

Lavinia Fici Pasquina : instructor

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A Verdant WayRappahannock, Virginia

east elevation

west elevation

Wine is both a product of nature and man. In my design I focused on this idea of nature and manmade and how the two interact. A path was created for the visitor as well as the wine produc-tion. The programmatic volumes of the wine path shift levels below ground in order to interact with the topology and visitors path. The visitors path is a linear path that runs above the wine produc-tion then concluding back into the land and a grand room for entertainment with a viewing deck. The two paths

create intersections of volumes through viewing. In addition to ones experience along the path is the guiding element of light. Architectural details are made in the design of the roof to cast differ-ent amounts of light along the way. As one travels the source of light becomes greater as the progression gets closer to the grand entertainment room. Another architectural feature is the orientation of the walls. The linear walls in the hori-zontal north to south direction are thick concrete walls to display manmades

hold against nature. While the angled walls east to south are organically angled to represent natures push on ar-chitecture. The materials of rustic wood, concrete and glass also reflect the idea of manmade and nature. The difference of materials helps clarify the paths and programmatic spaces. A winery is a great project for a design studio due to the knowledge required for the wine production as well as the design aspect of creativity.

WINE PATH

VISITOR PATH

ENTERTAINMENT SPACE

V.I.P TASTING

BOTTLELABEL

BARREL ROOM

FERMINTAION

CRUSH PADS

LOBBY

V I S I TOR

PATH

SERVICEPRIVATE

LODGING

a verdant way

circulation diagram

floor plan on path program diagram

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THE INTERACTION POINT OF ALL THREE PLACES IS SEEN

IN THIS SECTION. THE VISITOR PATH, ABOVE THE WINE

PRODUCTION SPACE CROSSES THROUGH THE POINT AT

WHICH THE NATURE IS SLOPED THROUGH THE BUILDING.

SECTION C-C’

THE PRIVATE LODGING, GRAND ENTERTAINMENT ROOM AS

WELL AS THE SERVICE AREA OF THE WINERY ARE SHOWN IN

THIS SECTION.

SECTION B-B’

the verdant way

THE VISITOR PATH HOVERS THE BARREL ROOM IN THIS

SECTION, ALLOWING ONE TO INTERACT WITH THE GRAND

SCALE OF THIS SPACE.

SECTION D-D’

THE SLIGHT SHIFT OF LEVEL BETWEEN THE VISITOR PATH

AND THE FERMINTATION ROOM ARE SEEN IN THIS SECTION.

AS WELL AS THE SLOPING BEAM ROOF, WHICH CAST LINEAR

SHADOWS ALONG THE WAY.

SECTION E-E’

SECTION A-A’ SOUTH TO NORTH

THE CONSTANT LINEAR PATH TRAVELS THROUGH EACH

PROGRAMIC SPACE OF THE WINERY. HOWEVER, THE SHIFT OF

THE ROOF ABOVE THE PATH CHANGES WITHIN EACH VOLUME

IN ORDER TO SHAPE ONES EXPERIENCE ALONG THE JOURNEY.

perimeter causewayurban void

unit communityunit shiftcommon space

circulation anchors

The Plaza Within

At the urban scale the “new” plaza refelcts surrounding plazas within the old city of Barcelona.

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Residential/Academic : project type Studio 302_Spring 2014 : course_year

Sophia Gruzdys : instructor

Urban Housing:A Volumetric SystemCarrer del Rem Comtal Barcelona, Spain

Concept sketch on the back of a boarding pass travel-ing from The Nethierlands to Barcelona, Spain.

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The city of Barcelona offers the dual city of old and new. However, the old and new city relate through the scale of public space to private housing. This residential building project served chal-lenges of a complicated site shape. So I chose to use this irregular shape to my design advantage. The perimeter of the site shaped the raised public boardwalk where those of the old city could filter through one side of the site to the other.

Furthermore located under the public boardwalk is a market space of commer-cial use and a public plaza. The idea of the public plaza derives from my home city of Philadelphia and The Piazza in the city. The Piazza is a multiuse public space for all types of events. I wanted to create a similar space like this in Barcelona. It also relates to other surrounding plazas of the site. It was a perfect match. The housing units where

placed along the front edge of the site in line with the neighboring building facades. The units were shifted hori-zontally to create a personal outdoor space for the individual. Within the unit building voids were created to provide a common space for the residents only. All together the community of the city can live circulate and gather within one void of the old city.

+3 level first floor live + work

+6 level second floor live + work

+9 level third floor single units + common voids

+12 level forth floor multiple live common voids

+15 level fifth floor single unit multiple live

the plaza within

facade perspective : Interior Plaza + Units facade : Street View

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circulation + boardwalk level : plan

the plaza within

The hipster neighbor of Passage del Born was in need of a dual use infill building. My project consisted of four dwelling units and a commercial space designed for independent chiefs to cre-ate a live work community. The eighty square meter lot led to a tectonic de-sign resulting from a one meter by one

meter plan tartan underlay. The defining lines of axis gave shape to the program, the tectonics of the façade, and in sec-tion the shift of a programmatic space, the kitchen, between the dueling units. This shift creates a community space for the occupants. Focusing a design around a strict use

can lead to a fixed building however designing with an idea of space it can result in a building of a dual uses, such as a community space. Making design a flexible measure.

El Born de observationBarcelona, Spain

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Urban Infill Housing/Academic : project type Studio 302_Spring 2014 : course_year

Sophia Gruzdys: instructor

A Dual Perspective

viewframesplains

structureskin enclosure

voidvisitorrower

community

A dual perspective brings life to a lonely water front of the Anacostia River...

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Boathouse/Academic : project type Studio 301_Fall 2013 : course_year

Kent Abraham : instructor

A boathouse is not only a house for boats, rather a house for those who love to row and who love the atmosphere. A dual perspective derives from this realization. In the design one who experiences this boathouse will see the activity through different frames when traveling throughout. The shift in angels of the floors, walls and roof guide ones view. Horizontal plains are the guiding force to framing ones view. However, not structural, the planes span the length of the programmatic building

and rely on support from two structural vertical walls and a column grid that extends the height of the building to then support the roof planes. A sur-rounding skin encloses the entire site to act as a façade for the buildings. The skin however does not touch or interact with the horizontal planes or structure but thin glass rest between the two to cover the voids created by the separa-tion. This can be seen in the main void that leads one to the waterfront

and divides the two perspectives of program. A visitor will travel right as a rower will travel left to enter their space of programing. The separation divides the function. However, the two functions meet on the second level of the visitors building when a rectangular mass crosses above the void to inter-sect the boat storage. This joining mass is the community center where both points of views interact and displays the grand view of water activity.

A Dual PerspectiveNavy Yard, Washington D.C.

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a dual perspective

exploded axon

surrounding KalwalL Barrier Walls

Multiple slips in Walls for Enterance points

dock // connection path outdoor viewing park

intersection community space

boat storage

private rowers workshop

public program

offices

gym

indoor viewing

restrooms

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anacostia river front

a dual perspective

The design of a pavilion and garden was required to exhibit three well-known sculptures. Theses will be borrowed for the years exhibition. The project required a spatial sequence with an ur-ban context. A sequence of three spaces housed the individual sculptures, while

directing an observers path and view. The spaces, defined through the shift of levels, voids and material made up the sense of enclosure. A viewer interacting with the spaces experiences a different sensation within each sculpture space. This is due to the use of a series of

planes, columns and materials within the pavilion and display simplicity but suggest complexity. This sculpture pavil-ion houses the artwork in a guided path to ultimately form an a complex special arrangement.

Shifting of TartansWashington D.C.

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Sculpture Pavilion/Academic : project type Studio 201_Fall 2012 : course_year

Jeffery J. Roberson : instructor

I wrote the above as inspiration to the design of the library of poetry...

a haiku poem;

the glass between us divides the space of travels from inside and out

Thresholds of Poetic Volumes

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hand model : craft

Library/Academic : project type Studio 202_Spring 2012 : course_year

Christina Cole : instructor

PREFORMANCE

SERVICE

RECREATIONAL

EXPL

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XON

The three lines of the haiku poem reflect the three volumes that intersect to create an experience of thresholds within physical space. Entering the glass box starts one’s travel through theses poetic volumes of the library. When placed into the glass recreational volume of reading and public space, one travels to the three contenting volumes

via a verity of threshold to reach the program of service, knowledge and per-formance. The glass entrance separates the inside to outside yet allows the experience to be shared. The threshold created within the library symbolizes self reflection in that one is able to express themself by different methods, which the library houses. The threshold

experience is seen in the intersection of volumes through the use of mix mate-rial, wood, concrete and glass, in order to greater exemplify the concept. The poetic volumes derive from my haiku poem to shape the structure of my library of poetry.

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Thresholds of Poetic VolumesHst NE & 6st, Washington D.C.

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Schaffer PorchDesign Build Project Michiels Architecture & Partners

Harmonious and subtle modern was the driving concept for the client of a tradi-tional home. The project was to create a porch that would compliment the majestic garden of a traditional house. The existing conditions of the porch did not have a means of circulation to the garden so our goal was to connect the beautiful home to its lush garden. Dur-ing client meetings and site analysis I discovered the clients want for a budget

friendly porch, that created a shaded screened in space with another area for her outdoor grill and plants as well as storage space. This project challenged my knowledge of architecture because in school we do not design with a client or a budget so this was real world. I learned how to produce a design con-cept based on a client’s feedback and my own design ideas, I created a whole set of construction documents, as well

as a proposal and budget at the end of the design process. A material study was very important. I learned that a budget can affect certain design ideas and the material choice was then limited. Under the guidance of an architect I grew and gained experience I could not have gained in the classroom. The porch is currently under construction with a very pleased client.

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Attached Screeded Porch : project type Internship_Summer2014 : course_yearMichiels Architecture& Partners : frim

Photography

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Sketches

Sara Gordon57gordon@cardinalmail.cua.eduThe Catholic University of AmericaSchool of Architecture and PlanningB.S Arch 2015