During my time with SHoP Architects, I was able to work on diverse and exciting projects that shaped the built environment of New York as well as important and symbolic structures internationally. Working from concept design through construction administration, I was able to focus on maintaining the integrity and beauty of our designs through the building process.
During my time with SHoP Architects, I was able to work on diverse and exciting projects that shaped the built environment of New York as well as important and symbolic structures internationally. Working from concept design through construction administration, I was able to focus on maintaining the integrity and beauty of our designs through the building process.
During my time with SHoP Architects, I was able to work on diverse and exciting projects that shaped the built environment of New York as well as important and symbolic structures internationally. Working from concept design through construction administration, I was able to focus on maintaining the integrity and beauty of our designs through the building process.
KELLY BECKMAN
DALLAS ARTS DISTRICT | Hatching a Plan
ARCH 402 // SPRING 2014 // SAM STEWART-HALEVY
HATCHING A PLAN.
My thesis evolved from the idea that architects do not always start with a clean slate. My project explores mediation between drawings received and created- using a collection of drawings addressing different levels of detail, program, styles, and completion dates.
I chose the Dallas Arts District as my “site”- or rather the collected building drawing set as my site. With 18 existing buildings, I represent them in a single drawing at a grand scale (originally printed as a 20 foot long drawing). I created a continuous, cohesive whole over a disjointed site using characteristics of each building, through an analytical process that can be applied and expanded to other sites to show their opportunities and benefits.
PROCESS.
In this scale, each building acts as a block with a zone of influence. I created a hatch for each building- based off organization, structure, facade, etc.- and abstracted it from exact to conceptual. I put a neutral grid over the site, determined by average square footage of existing buildings. Where an existing building touched a grid segment, that building hatch was used for the segment- creating a complex layer of information on top of existing information. To mediate between I used three forms of transition: blending, overlay, and splicing/stitching. I was able to create a continuous, cohesive whole. In places I let this project back onto the site, influencing my design of new buildings where program was needed.
Finishing --> Blocking --> BOUNDING
For the first half of the semester, my studio and I worked as a team on group research and studies. The studio sequence was organized as a reversal of the typical design process, beginning with the elaboration of a set of material and product specifications before moving back towards a schematic proposal. It began with a stage called finishing, then blocking, then bounding- the stage shown in this video. Using details and finished materials from the first two steps of the process, we combined the first part of the semesters work into a physical form that would later inform each of our individual projects.