sarah kia: undergraduate architectural works
DESCRIPTION
Design Portfolio (2009-2012)TRANSCRIPT
2011-2012
2007-2012
1A Terrain for Collection & Recollection 1
SARAH KIA DESIGN PORTFOL
IO
SK
SARAH KIA DESIGN PORTFOL
IO
CONTENTS
2011-2012
2007-2012
ARCHITECTURAL WORKS
01 A TERRAIN FOR COLLECTION & RECOLLECTION02 EUROPEAN SKYSCRAPER II03 DIPLOMATIC SPACES04 INSTITUTE FOR CULTURAL ANTHROPOLOGY05 PRIMITIVE HUT & THE THIRD LANDSCAPE06 RETREAT FOR A RAINMAKER07 MED CHAPEL
OTHER WORKS
01 B-LAMP02 SKETCHBOOK
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THE INSTITUTE FOR COLLECTIVE REMEMBERING (ICR)
PROGRAM: ARCHIVE, RESEARCH, EXHIBITIONSITE: 1/9 HEJAB STREET, TEHRAN, IR
A TERRAIN FOR COLLECTION & RECOLLECTIONexplorations in the craft of memory & the act of collecting
‘BONYAD-E-GERDAVARI YADEMAN’
OVERVIEW
The binary nature of the investigation explores two modes of remembering: individual remembering (the garden of collective memories) and collective remembering through the act of collecting (archive & exhibition). Situated in the corner of Laleh Park, the Institute for Collective Remembering (ICR) embeds the mnemonics of memory within the language of the space to foster the construction of memory & associations; providing a terrain for the collection and recollection of memory.
Tehran, Iran
SITE
2011-2012
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2011-2012
A TERRINA FOR COLLECTION
& RECOLLECTION
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SITE MODEL: 1-50”=1’-0”
SITE: LALEH PARK, TEHRAN, IR
LALEH PARK, TEHRANThe Institute for Collective Remembering (ICR) is located at the southeast corner of Laleh Park (currently an abandoned construction site). Similar in function and relative location to New York’s Central Park, Laleh Park is revered as one of the few public spaces for leisure and recreation. A number of attractions line the edges of the park, including: the Tehran Contemporary Arts Museum, Iran’s National Carpet Museum, and a Namaz-Khaneh (prayer room) by prominent Iranian architect Kamran Diba.
TRACES OF THE PASTMuch at the intersection of present-day youth and the historic city center; Laleh Park is one block north of a number of universities, and
not much farther from Revolution Road- a street witness to millions of marching demonstrators since the time of the Shah. In an effort to strategically eliminate op-positional political traces, valiant efforts have been made by the Islamic Regime to erase former place names and mean-ings. Among these, ‘Laleh Park,’ formerly named ‘Farah Park,’ after the former Queen; ‘Hejab’ (Head covering) Street,
formerly named ‘Los Angeles’ Street; and ‘Kesharvaz’ (Farmer) Bou-levard, formerly named Elizabet Boulevard.
‘LALEH’ TULIPIt is an ancient belief in Iran, dating back to mythology that if a young soldier dies patriotically a red tulip will grow on his grave. The em-blem of Iran since the 1979 Iranian Revolution features a stylized
Perso-Arabic script of the arabic word Allah (“God”). The shape of the emblem is chosen to resemble a tulip, for the memory of the people who died for Iran.
EXISTING SITE CONDITIONSThe forgotten foundation serves as the basis for the study of remem-bering. Construction began on a high-rise hotel, at the intersection of Hejab Street and Kesharvaz Boulevard, but work ceased after pouring the foundation- leaving a 50-60 ft. excavation in a major corner of the park. Working with its existing geometries (two grids, shifting on top of one another), the trace of the foundations are imbued within the form of the Garden.
FORGOTTEN FOUNDATIONS (EXISTING SITE CONDITIONS)
EXISTING SITE CONDITIONSforgotten foundations
LALEH PARK
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HEJAB STREET
KESHARVAZ BLVD
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ARBORETUM
INFORM
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LOADING
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PROGRAM
ENTERING THE ICRVisitors slip into the Institute for Collective Remembering (ICR) from Laleh Park- where one can either descend into the Garden, or enter the Archives from one of two entry points. The Arbore-tum extends the park into the Institute. A large reflection pool expanses the corner of the site, providing a buffer between Ke-sharvaz Boulevard and the site. Water enters the building from the east elevation, allowing light to diffuse into below-grade spaces. Staging warehouse and below-grade parking are acces-sible from the service access off Hejab Street.
ICR PRIMARY ELEMENTS
ARCHIVE (30,000+ SF) is the primary dimen-sion of the ICR. Public participation transforms this institute into an engageable open-source, welcoming
stories and histories from every individual. It is paramount that the storage of these artifacts be made accessible to the public.
+Writings: Journals, Letters, Prose, Poetry, Travel Writings, Essays, Periodicals+Film and Media: Photography, music, film, sound+Artworks: Calligraphy, painting, miniatures, embroidery, weav-ing, rugs, other handicrafts+Legal Documents: Wedding contracts, Dowry documents, settlements, endowments, powers of attorney, wills, sales, and other financial contracts+Everyday objects+Oral histories
Exhibition (15,000 SF)+Permanent/Rotating Collections+Story-telling Center +Gallery of Film & Media+Staging warehouse, shop & loading dock
Research (8,000 SF)+Digital Documentation Center+Archivist Laboratories+Offices/Administration
THE GARDEN OF COLLECTIVE MEMORIES (14,000 SF) is an archive curated by the public, for the public, for the deposition and preservation of
memory. Garden visitors are welcome to contribute to the grow-ing collection of the ICR Archives: providing a vast resource of collective material history to ICR researchers. Rotating exhibi-tions are frequently comprised of these artifacts.
+Arboretum (3,200 SF)+Information/Reception+Memory Banks (below-grade)
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ICR ARCHIVES + EXHIBITION STUDY MODEL (1-32”=1’-0”)
RE-DEFINING ARCHIVEThe Institute for Collective Remembering advocates for the collection and recollec-tion of sensitive materials related to the social and cultural history of Iranians in Tehran, and challenges the methods of conventional archival agencies: aiming to minimize the gap between the public and the artifacts themselves. The ICR cam-pus is comprised of two buildings: 1. ICR Archives and 2. The Garden of Collective Memories
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THE INSTITUTE
AXONOMETRIC & PLAN DIAGRAMSTHE GARDEN OF COLLECTIVE MEMORIES (BELOW-GRADE)
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a. exhibition hallb. archives & laboratoriesc. exterior courtyardd. loading docke. parkingf. library & archivesg. reflecting pool on glazing
h. staging warehouse & shopi. film/media galleriesj. digital documentation centerk. story-telling centerl. garden access to archivesm. archive access to gardeno. memory banks
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view to Alborz mountain range
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THE INSTITUTE
SECTION A-A THROUGH GARDEN AND ARCHIVESVIEW TO EAST
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oFROM INDIVIDUAL TO COLLECTIVEREMEMBERING
The transition between the garden & the archive fosters a realization of one’s role within the collective composition. The garden and the archive are connected both above and below grade (through vi-sual space). At their juncture, visitors can make sense of the buildings composition without necessarily having to enter. The story-telling center cantilevers above this connection, emphasizing the multiplicity of inter-connectedness within this axis.
Memory Walls: Precast ModulesBarren and wanting, the thickened walls of the Garden ask for the deposition of memories. Precast concrete modules sit within the steel framework that slips into the voids of the concrete mass. Marble, a precious material, seams the concrete units together: fortifying their immortal-ity. Marble sills and headers hold the travertine doors that shelter the Memory deposits, resonating the archaic sound of stone upon opening.
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Mass To Hold A Light InfrastructureEvery viewport entices you to happen upon a new room to discover: by definition, the Memory Garden is a Zen Garden, hiding and revealing simultaneously in an act of exploration.
The concept of circulation is clear- a cen-tral order is established, though provi-sional, and offered is a range of secondary space systems (like tributaries of a river) beneath its depths to provide a terrain to meander comfortably and with ease.
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DIAGRAMMATIC SECTION B-B
ON INDIVIDUAL REMEMBERING
SECTION B-B THROUGH GARDENVIEW TO SOUTH
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THE GARDEN OF COLLECTIVE MEMORIES
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MEMORY WALL SECTIONMEMORY WALL ELEVATION
a. statuario marble (white)b. precast concrete modulesc. glazingd. sliding travertine panels
e. light-gauge steel framingf. glazing between concrete slab and steel frameg. sealed concrete fl oor slabh. operable glazing
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MEMORY WALLS: PRECAST MODULES
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Light Infrastructure to Hold the Mass[es]Formally, the inquiry of collection begins by collecting the architecture rather than relying on the objects contained within. The various shafts within the Garden of Collective Memories are treated as archi-tectural artifacts, recalling traces of the former foundations.
Where the garden was a large mass, hold-ing a lighter infrastructure, the Archive becomes a light infrastructure, holding a collection of masses.
A hierarchy of spatial linkages provides an orderly system that allows for both con-stancy and change.
ON COLLECTIVE REMEMBERINGwrapper: archive + exhibition
a. load bearing atrium walls b. archivesc. exhibition embedded within archivesd. peripheral & internal circulation systemsallow these two systems to operate concurrently
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ASSEMBLING THE COLLECTION
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ARCHIVE & EXHIBITIONCROSS SECTION DIAGRAMS
SECTION C-C
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ICR ARCHIVES + EXHIBITION
SECTION C-C THROUGH ARCHIVE/EXHIBITION HALL
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FOURTH FLOOR PLAN EXHIBITION: HALL OF MINIATURE ARTIFACTS
EXHIBITIONINTERNAL CIRCULATION
THIRD FLOOR PLAN ARCHIVES & MATERIAL LABORATORIES
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ARCHIVESPERIPHERAL CIRCULATION
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ARCHIVAL LIBRARIES
VIEW THROUGH ATRIUM
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ARCHIVAL LIBRARIES
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...WHICH IS THE SPECTACLE?A wrapping of exhibition [mass] with archive [infrastructure] at varying scales creates opportunities to simultaneously hide and reveal the nature of one to the other. Archivists simultaneously research and curate the collections while visitors experience them.
EXHIBITION WALL SECTION
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a. frosted glazing b. open-web joist framingc. cavities provide fl exible archival storaged. structural glass modulese. polished lw concrete on steel decking
f. structural steel beamg. mechanical servicesh. suspended ceilingi. precast concretej. openings for exhibition display
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EUROPEAN SKYSCRAPER
PROGRAM: SCHOOL, LIBRARYSITE: ALEXANDERPLATZ, BERLIN, DE
EUROPEAN SKYSCRAPER IIbauhaus iAAD studio IN COLLABORATION WITH MARLENE KÜLZ
URBAN CONCEPT: THE CITY IS AN ARCHIVE
The focus is to develop a strong relationship to neighboring buildings of cultural importance, i.e. the Behren’s buildings, House of the Teacher, and Congress Hall. Likewise, to reconnect the building back to Alexanderplatz and landmarks beyond. The extrusion of a central mass beyond Kollhoff’s proposed footprint creates two squares: one to enter the library (tower), and one to enter the school (base).
Berlin, DE
ALEXANDERPLATZ, BERLIN
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BAUHAUS IAAD STUDIO: EUR
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ENTRANCE FROM ALEXANDERPLATZ
ENTRANCE FROM ALEXANDERPLATZThe extrusion of a central mass beyond Kollhoff’s proposed footprint creates two squares: one to enter the library (tower), and one to enter the school (base).
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SITE: ALEXANDERPLATZ, BERLIN
SITE PLANN
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SPATIAL CONCEPTSubtraction is the primary principle for spatial development. A central courtyard becomes the heart of the school, with circulation cores branching off at four central locations. Oversized stairs create additional niches & sitting spaces
SCHOOL LOBBY
SCHOOL LOBBY SKETCH
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CIRCULATION & SPATIAL CONCEPT
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4TH FLOOR
SECTION A-A THROUGH SCHOOL
4TH FLOOR 5TH FLOOR 6TH FLOOR
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CONNECTION THROUGH VISUAL SPACE
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VISUAL SPACEDiverse programs are connected through visual space. The library and the school have strong visual connections where programs overlap or intersect.
A shared roofscape joins the Library and the School where tower meets base. In the tower, cores are pulled away from the center to create a large open space for a main stair to circulate. Stacks are orga-nized on either side with small reading spaces embedded within.
SCHOOL LOBBY
SECTION B-B THROUGH SCHOOL & LIBRARY
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CONNECTION THROUGH VISUAL SPACE
ISRAELI-PALESTINIAN EMBASSY
PROGRAM: DIPLOMATIC SPACESSITE: M & 22ND ST. WASHINGTON, D.C.
DIPLOMATIC SPACESa shared embassy for Israel and Palestine
OVERVIEW
Situated at the corner of M and 22nd Street in Washington, D.C., the investigation advo-cates for diplomacy, formally, through the union of a segregated form. Two monumental walls project through the site, creating a seemingly fragmented mass. Functions of the embassy are shared throughout and a central atrium is created in between. Principles of movement reunite the divided mass, hoping to imbue a spirit of diplomacy through the architecture.
Washington, DC
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OVERVIEW
DIPLOMATIC SPACES: AN EM
BASSY FOR ISRAEL & PALESTINE
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EAST ELEVATION
GROUND PLAN
FORM & NARRATIVETwo monumental walls project through the site, formalizing two entrances (south & east elevations) and a central atrium in between. High-security functions of the Embassy are located in the north wing, in order to give increased public accessibil-ity to the south. Principles of movement reunite the ostensibly separate fragments of the mass.
Passing through the formal divide be-comes a staple in everyday life: perpen-dicular crossings reconnect the volumes, giving access to all embassy functions. Elevators & stairs are located within.
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DIPLOMATIC SPACES
GROUND FLOOR
a. entranceb. atrium & receptionc. elevator lobbyd. formal dining hall
e. public restroomsf. loading & service accessg. auditorium lobbyh. auditorium
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SOUTH ELEVATION
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1ST FLOOR (OFFICES & ADMINISTRATION)
4TH FLOOR (PRAYER ROOMS)
6TH FLOOR (AMBASSADOR & GUEST RESIDENCIES)
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FLOOR PLANS
VIEW THROUGH THRESHOLD
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STUDY MODEL: EARLY ITERATION MASSING DIAGRAMS STUDY MODEL
DIAGRAMMATIC SECTION A-A
FORM & NARRATIVEThe glazed atrium roof establishes a new horizon. Prayer rooms project into the atri-um space, hovering above & below. Per-pendicular crossings reconnect the mass, providing access to functions of the Em-bassy. Elevators are located within, with egress stairs wrapping in and around. Passing through this divide becomes a staple in everyday life: hoping to imbue a sense of diplomacy through the reconnec-tion of this space.
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TWO MONUMENTAL WALLS: CIRCULATION CONCEPT
LAYERED INTERIOR ELEVATION & SECTION
SECTION A-A AND B-B THROUGH EMBASSY
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THE INSTITUTE OF CULTURAL ANTHROPOLOGY (ICA)
PROGRAM: HOUSING, RESEARCH, EXHIBITION, ARCHIVESITE: 7TH & MAIN ST, CINCINNATI, OH
THE INSTITUTE OF CULTURAL ANTHROPOLOGYreactivate site
OVERVIEW
This project began with an eagerness to revitalize an area just on the periphery of Cin-cinnati’s primary downtown area. The desire to liven the site began to manifest itself within the architecture. Public spaces are activated by shifting ground planes and the in-troduction of water. Once inhabited, the permeability of the building animates its’ facades. Visitors observe the weathered brick surface of the Dennison as they circulate exhibition floors, the same they would the artifacts contained within.
Cincinnati, OH
THE DENNISON HOTEL
2011-2012
2010
THE INSTITUTE OF CULTURA
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a. circulation coresb. resident artist studiosc. gallery of small to medium artifactsd. hall of large scale artifactse. film & media archivef. rotating exhibitionsg. gallery of visual & aural anthropology
h. access to reading rooms & residencesi. media libraryj. residencesk. reading roomsl. lecture hallm. permanent collection & archiveso. polycarbonate rainscreen cladding
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LONGITUDINAL SECTION A-A THROUGH EXHIBITION & ARCHIVES
THE DENNISONThe weathered brick surface of the Den-nison acts as a backdrop for the ICA. Visi-tors observe the Dennison as they move beween exhibition floors, the same they would the artifacts contained within. Exhibition and gallery spaces occupy the hanging volumes, supported by the studio spaces above.
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REACTIVATE SITE
RESIDENCYApartments look eastward to the geo-graphic landmark & residential neighbor-hood of Mt. Adams. Directly beneath the residences, a public gathering space & auditorium provides inhabitants and visi-tors with a stage to interact.
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CROSS SECTION B-B THROUGH RESIDENCES
VIEW OF MT. ADAMS BEYOND
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a. circulation coresb. the dennisonc. views to dennison aboved. hall of large scale artifactse ‘urban room’f. reflection poolsg. light wellsh. outdoor public access to archives
i. permanent collectionsj. shop & staging warehousek. shifting roofscape (above) creates a new ground, revealing staging workshop & archives belowl. loading dockm. film & media archiveo. permanent collection
REACTIVATE SITEPublic spaces are activated by shifting ground planes, revealing windows into the archives below. Water provides an-other living landscape within the site. The mediating surface acts as an indica-tor of the shift from research to residency within the site.
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ICA BASEMENT WITH ROOF PLAN OVERLAY
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REACTIVATE SITE
LOOKING [OUT]Exterior egress stairs provide visitors with the opportunity to observe Cincinnati’s downtown area as they move through exhibition spaces.
ICA STUDY MODEL (1-32”=1-0”) EAST ELEVATION
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THE PRIMITIVE HUT & THE THIRD LANDSCAPE
PROGRAM: LANDFILL REUSESITE: FRESH KILLS PARK, NY
THE PRIMITIVE HUT & THE THIRD LANDSCAPEthird year competition
OVERVIEW
Landfill reuse has the ability to transform seemingly irrevocable landscapes into dream-scapes by hiding the rejected matter—artifacts—under a vast curtain veil. This project seeks to confront landfill reuse in an unprecedented way.
Fresh Kills Park, NY
LANDFILL Our society adopts many superficial palliatives. Because yesterday’s negatives are
moved out of sight from their familiar locations many persons are willing to pretend to them-
selves that the problems have been solved.
- Buckminister Fuller
CROSS SECTION THROUGH BOTH LANDINGS
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THE PRIMITIVE HUT & THE
THIRD LANDSCAPE
LOOK[OUT]Two landings branch off a boundary between two conflicting landscapes. Through separation and extension, they lend themselves to the observer.
Through the heaps of rubble, visitors are confronted with countless artifacts: capturing time in an exceptional way.
STUDY MODEL: LANDFILL REUSE (LEFT) & CONTINUED USE- LANDFILL (RIGHT)
STUDY MODEL (AERIAL VIEW)
LOOK[OUT]A thickened wall mediates between force and counter force; communicating the re-sistance of conflicting landscapes on ei-ther side. A series of windows along the elongated corridor frame varying latitudes of the two landscapes: measuring and in-forming one to the other.
SOUTH ELEVATION
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ALTERNATIVE LANDFILL REUSE PROPOSAL
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RETREAT FOR A RAINMAKER
PROGRAM: RESIDENCY, RESEARCHSITE: BLACKSBURG, VA
RETREAT FOR A RAINMAKERa measuring device for the rainmaker
OVERVIEW
The retreat is organized around an existing utility road used for an active quarry. This project proposes to terminate the use of the road (and of the quarry) through the introduc-tion of water. Water revitalizes the site, acting as a mediator between the two bounded landscapes on either side. Embedded are a series of setbacks and landings, paired with measurable surfaces and various lenses to observe and measure the scarred landscape.
Blacksburg, VA
LIMESTONE QUARRY
Landings..social emblems of stabil-ity..serve as clearings by conterring
orientation and giving the sense that something new is about to begin.
- David Leatherbarrow
2011-2012
2009
RETREAT FOR A RAINMAKER
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MEASURING SITEThe site is located at the intersection of three different landscape typologies: the industrialized landscape, suburban landscape, and the natural landscape. Situated adjacent to an active quarry, the site model for this project comments on the subtractive nature of its surroundings.
EXCAVATING SITE
SITE MODEL
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A MEASURING DEVICE FOR THE RAINMAKER
VIEW TO BLUE RIDGE BEYOND
AERIAL VIEW: THREE LANDSCAPE TYPOLOGIES
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THE RETREATThe retreat is organized around an exist-ing utility road used for the quarry. This project proposes to terminate the use of the road and revitalize it with water; pro-viding a mediator between the bounded landscapes on either side.
RETREAT PLAN SKETCH
1-20”=1’0” STUDY MODEL (EARLY ITERATION)
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STAGES FOR OBSERVATION
ITERATIVE STUDY MODELS
WEST ELEVATION
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ENTERING THE RETREATA gradual ascension through a thickened wall provides a new way to measure the landscape; every step referential to an-other frame of the surrounding context.
EXPLODED AXONOMETRIC SKETCH
ITERATIVE STUDY MODELS: ENTRY AS A MASS ENTRY AS A LAYERED COMPOSITION
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STAIR & THRESHOLD AS TOOLS OF MEASURE
PRECEDENT & MATERIAL STUDIES
ENTRY AS A LAYERED COMPOSITION
EAST ELEVATION
CROSS SECTION A-A & ELEVATION THROUGH RETREAT & LABORATORY
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SETBACKS & LANDINGSStages for observation & measurement provide the Rainmaker with a method to treat the scarred landscape. Embedded are a series of setbacks and landings, paired with measurable surfaces and vari-ous lenses to observe and measure daily conditions of the site.
1-20”=1’0” STUDY MODEL
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1-8”=1’0” STUDY MODEL
...A man’s creation, the making of a room, is nothing short of a miracle. Just think, that a man can claim a
slice of the sun.
- L. Kahn, Between Silence & Light
OVERVIEW
Sited along the coast of Lake Myvatn, Iceland, this open-air meditation chapel provides visitors with three rooms to contemplate the landscape with respect to its fundamental elements: the Chapel of the Earth, the Chapel of Light & Shadow, and the Chapel of Sky & Water. CMU and pre-cast concrete serve as primary materials, in response to the remote location of the site.
LAKE MYVATN
MEDITATION CHAPEL
PROGRAM: CHAPEL OF THE EARTH, LIGHT, SKY, & WATERSITE: LAKE MYVATN, ICELAND
MEDITATION CHAPELa mediator between man & nature
Reykjavik, Iceland
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MEDICAL ECOLOGY DEMONSTR
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a. entranceb. gradual ascension to the Lake beyond c. chapel of the Earthd. chapel of Light & Shadowe. chapel of Sky & Waterf. views to Lake Myvatn
CHAPEL OF THE EARTH, LIGHT, SKY, & WATERThree rooms are situated along the coast of Lake Myvatn for the contemplation of nature. Visitors enter by descending into the Chapel of the Earth. The lake wraps the outmost room- where visitors have views in three directions. Water from the Lake is drawn into the innermost room (the Chapel of Light & Shadow).
CHAPEL OF LIGHT & SHADOW
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LAKE TOPOGRAPHY & VIEW OF LAKE MYVATN BEYOND
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MEDIATOR BETWEEN MAN & NATURE
PLAN STUDY (EARLY ITERATION) VIEWS TO LAKE MYVATN
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a. entranceb. gradual ascension to the Lake beyond c. chapel of the Earthd. chapel of Light & Shadowe. chapel of Sky & Waterf. views to Lake Myvatng. precast t-beams
CHAPEL OF LIGHT & SHADOW
MATERIALITYCMU and pre-cast concrete serve as primary materials, in response to the remote location of the site.
VIEW LOOKING BACK FROM LAKE (MODEL PHOTOMONTAGE) EAST ELEVATION
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MEDIATOR BETWEEN MAN & NATURE
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2007-2012
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FABRICATIONSteel (rainbow torch finish), felt, and silk-screened textile construction
Designed & fabricated in the Virginia Tech Industrial Design Lab
B-LAMP industrial design summer studio 2010
B-LAMP (FINAL ITERATION)
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TEXTILE STUDIES
LAMP INTERIOR
FABRICATIONSilk-screened textile and wood frame construction.
Designed & fabricated in the Virginia Tech Industrial Design Lab
C-LAMP
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TEXTILE STUDIES
C-LAMP (SILK-SCREENED TEXTILE & WOOD FRAME CONSTRUCTION)
2010
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SKETCHBOOKSKETCHBOOK2007-2012
UNDERGRADUATE THESIS . FALL 2011
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THE STUDY OF SPATIAL MNEMONICS
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SKETCHBOOK 2009-2012The sketchbook plays a significant role in my practice: it is an active, uninhibited, and contemplative space- one that en-ables me to ruminate a range of inquiry
FOURTH YEAR STUDIO . FALL 2010
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EMBASSY PRECEDENT STUDIES
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SARAH KIA LEED APWWW.SARAHKIA.COM
CONTACT:[email protected]