aaron hill application portfolio
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8/11/2019 Aaron Hill Application Portfolio
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01
WINTER OASIS[ career discovery project 1 ]
02
EXPLODED VIEWS[ career discovery project 2 ]
03
ALGAE-CYCLE [ career discovery project 3 ]
_______
04
EMPTY CITY [photography ]
05
CONSTELLATIONS[ photography + book binding ]
06
SCULPTURES[ woodwork + stonework + metalwork + drawing ]
07
CONVEYOR[ book design + book binding + letterpress printing ]
AARON HILL MLA I Applicant, Harvard GSD, 2014
Personal, academic and professional works in art and design.
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CAREER DISCOVERY 2013
Disc ipl ine
LANDSCAPE ARCHITECTURE
Lead Facul ty
ROSETTA ELKIN
Section Instructor
ELLEN GARRETT
Representation Instructor
FRANK HU
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Career Discovery | WINTER OASIS72 HOURSSITE ANALYSIS / MAPPING SYSTEMS / HAND DRAFTING TECHNIQUESHARVARD SCIENCE PLAZA, CAMBRIDGE, MA
[duration][focus]
[site]By mapping and subsequently overlaying apparently unrelated
systems, relationships surface. The connections, bifurcations,
transitions, and vacancies that emerge can highlight an
underutilized space or indicate potential opportunities for
hybridized functionality.
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[mapping phase]LAYERING SYSTEMS
The agenda of a plaza is one of meeting and interaction, but it must also act as a
conveyance to the places it connects—but what conditions are most conducive to
interaction? Initially I mapped the moveable tables and chairs considering whether
or not, and how far they moved, the amount of noise across the space measured in
decibels, and the motion of passersby (in part to see the arteries of movement, and
in part to see how often and where people would stop to gather).
[steam pipe][noise (dB)][table movement] [pedestrian circulation][table + chair position]
[nodes]
[table movement + pedestrian circulation + noise (dB) + steam pipe + plan]
TENT
BENCHES
BIKE CIRCULATION
ICE MELT
MOVING TABLES
AND CHAIRS
CONVERSATION
PAVEMENT
INTERACTION
DIURNAL/SEASONAL
WEATHER CONDITIONS
LIMITED SPACE
NOISE POLLUTION
STEAM PIPES
AWNING SYSTEM
MODULAR BENCHES
ELEVATED + GRATED
BICYCLE PATH
URBAN RIVER
CAMPUS INTERACTIVE
ART INSTALLATIONS
ABILITY TO MOVE
SEATING INTRODUCES
PUBLIC/PRIVATE DIMENSION
HEATED WINTER OASIS
[systems + site analysis brainstorm]
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During the winter months, the plaza loses a great deal of functionality due
to freezing temperatures and snow. Seasonally installed in an underused
area of the site, out of the way of pedestrian and bicycle circulation, this
geodesic structure encloses a misty, steamy winter oasis achieved by
syphoning steam from an existing system running underneath the site in
order to allow the continued use of the plaza.
The sphere-like domes echo the form of the Peter Walker fountain nearby,
creating a poetic ebb and ow in the plaza that reects the seasons: the
fountain mists in the warmer months and the domes steam in the colder
ones, all the while visitors may continue to use the plaza year round.
[design phase]INTERVENTION
[geodesic iterations]
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[design phase] RETHINKING INTERVENTION
STEAM-HEATED PAVEMENT
STEAM VENTS
Lacking the rm boundary of an enclosed structure, an open steam area
allows people to stop and warm up, or siply stroll through on their way
across the plaza. Setam is also syphoned and used to melt ice and snow
along pathways according to existing pedestrian circulation, and is further
directed to the plaza benches making ach one a warm respite from the
winter cold. And as an external feature, the steam spiral directly dialogueswith the form of the Walker Fountain, its neighboring precedent.
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Career Discovery | EXPLODED VIEWS12 DAYSPRECEDENT RESEARCH / TOPOGRAPHY / TIME / MODELING TECHNIQUESFRANKLIN PARK, BOSTON, MA
[duration][focus]
[site]
[research phase]PRECEDENT OPERATION METRICS
[detonation velocity + crater metrics]
[bore-hole angles + charge placement]
In the eort to reshape topography, complex operations are often performed—
even in a case such as Olmsted’s Franklin Park in which the resulting landscape
is decidedly ‘natural’. The site that is now Franklin Park was regraded,
steam-rolled, partially deforested, subsequently reforested, and terraced with
retaining walls and stairs. The site was rock blasted with dynamite to obtain
puddingstone from quarries to use for walls, stairs and other infrastructure.
Research into rock blasting techniques contemporary to the park’s construction
yielded a language of forms based on metrics of dynamite composition,
detonation velocity, and charge placement.
[franklin park construction: steam rolling + terracing for stairs]
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[modeling phase]OPERATIONS + TOPOGRAPHY
Serial sections of the site revealed an organ
shape through the length of the site resembl
a curving stream, which introduced an attent
to hydrology—specically how people woul
circulate and interact with the moving wate
Plastalina allowed for a great degree of play because changes could
be made to quickly and easily. The clay topography was manipulated
in reference to diagrams pulled from rock blasting manuals published
around the time construction began on Franklin Park in the early 1880s.
These rock blasting techniques were abstracted from their traditional grid-
like use to form a more varied topography.
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[modeling phase]ELEVATION + FLOWS
Considering elevation became key in order to organize the edge condition
betweenland and water. A SketchUp model of the site proved useful to
manipulate elevations so water would not overow the ssures and craters
created by the dynamite charges, and so the site would be graded gently
enough for visitor circulation. People are provided space to gather and
circulate while water simultaneously pools and ows.
Paper modeling in conjunction with contour
drawings and models aided in furtherrening the slopes and plateaus that guided
movement and rest around the site.
VISITOR CIRCULATION
WATER
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[modeling phase]FORMS + SURFACES
The planar surfaces of the SketchUp model did not capture the texture of earth
reshaped by the force of explosives. Shattered plaster and rockite casts of the
topography simulate the initial ssures of rock blasted topography.
Photographic study of the ‘exploded’ models illustrates the tactile
quality of the surfaces revealed by the blasts.
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[program phase] VEGETATION + VIEWS
At this nal stage, vegetation is introduced to slow erosion of certain areas to
maintain the terraced landform created by the explosives, and to modulate the
views from various vantage points, creating a spectrum of experiences. Wind, light
and heat were also a concern as the exploded topography had created a number
of microclimates that would inevitably shift the vegetative palette in wind-shaded
craters close to water as opposed to exposed, dry ridgelines.
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Analysis of the Brickbottom transect site revealed a nexus of infrastructure in disrepair.
Public transportation such as the T and the public bus system are inaccessible or
infrequent. The network of bike lanes becomes fragmented as it approaches and
then disappears entirely at the transect site. Layering maps of Somerville’s roadways,along which stormwater travels, and overall topography indicated that Brickbottom is
also low point where stormwater collects. Research and site visits told of the area’s
former industrial functions, subsequent pollution, and current impoverishment.
This rst phase of analysis indicated the possibility of intervention where
bike infrastructure, stormwater management and surface impermeability
overlap—a network of permeable bicycle lanes with a planted trac buer.
[roads] [topography ]
[photo study: approaches to transect] [natural stormwater collection]
Career Discovery | ALGAE-CYCLE3 WEEKS
TRANSECT AS TYPOLOGY / PHASING / DIGITAL ILLUSTRATIONPOPLAR STREET CORRIDOR + MCGRATH OVERPASS; SOMERVILLE, MA
[duration][focus]
[site]
[bicycle lane network ] [transportation infrastructure]
[Somerville , MA + Brickbottom Transect Site]
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[SEA LEVEL: +1m +2m +3m +4m]
[elevated bike paths + inundation + bioluminescent algae]
[BRAINSTORM: interrelated systems over time]
Looking to sea level rise projections as a framework to shape the development of
an elevated park that straddles both land and sea, the McGrath Overpass transect
site is treated as a typology for other highland sites throughout the Somerville area. The shifting cusp between land and rising marine inundation dictates where and
how infrastructure, industry and recreation develop.
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[biking + algae]
[closed farming systems][open farming systems]
[bioluminescent + biofueld-producing algaes]
[typologies] ALGAE FARMING
[iterations]INTEGRATING SYSTEMS
Algae is utilized in two capacities. First, bioluminescent phytoplankton is introuced
as a vegetative strategy relevant to inundated ares to create a nighttime spectacle.
Second, algae farming is installed as a future bioindustry that can remediate
polluted water and capture carbon dioxide from other industry and transpotation
systems to produce biofuels and renew Brickbottom’s industrial heritage.
[pedestrian circulation + bicycle network + inundation + algae farming]
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RENOVATE / RE-PURPOSE
INDUSTRIAL INFRASTRUCTURE
RE-ROUTE / ELEVATE RED LINE
ELEVATED BIKE CIRCUIT
RE-ROUTE / ELEVATE YELLOW LINE
DREDGE
FILL
EXPANDED BIKE INFRASTRUCTURE
ELEVATED GREEN LINE EXTENSION
OPEN-POND ALGAE FAR
ELEVATED MULTI-USE P
[PHASE I]SEA LEVEL +1 METER
[PHASE II]SEA LEVEL +2 METERS
[PHASE III]SEA LEVEL +3 METERS
[phasing]LAND / SEA TRANSITION
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[program]POLYFUNCTIONAL BOARDWALK
SAILKAYAKROWFISHRUNBIKE
SHELTERED WATER
SPORTS ZONE
OPEN WATER /
SAILING ZONE
ELEVATED CONVEYANCE /
RECREATION ZONE
WATER SPORTS ZONE
As part of the three-phased plan, a fragmented network of bicycle lanes is
connected, elevated and expanded in concert with re-routed, elevated public transit
in order to retain Somerville’s connection to Boston. Most importantly the elevated
conveyance invites the city’s inhabitants to enjoy their new relationship with the
ocean by providing facilities for shing, sailing, and a range of water sports.
[BEFORE/AFTER: existing transect site + proposed site intervention]
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ART
Discipl ines
PHOTOGRAPHY DRAWING
SCULPTUREBOOKBINDING
2006-13
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Empty City is a series of long exposure lm photographs that utilize the analog
photographic process to erase the city’s inhabitants, its congestion, and its noise.
Neutral density lters dim the light entering the camera to extend the exposure time to
between one and three hours, in eect preventing bodies in motion from registering
on lm. The photographs are eerily quiet ctions—views of the city only possible forthe camera, but never for the naked eye. Accompanying titles point to what has been
obscured and call on viewers imagine the full scene themselves. This gap between th
photograph and the world it purports to represent disrupts notions of photographic
realism and emphasizes the active role of the viewer’s imagination.
The series was recently exhibited in the show Speed of Dreams during Art Base
2013 in Miami, FL, and has been proled by Create Collect, a website that promotes
and sells emerging artists’ work.
EMPTY CITY CONCEPTUAL LANDSCAPE PHOTOGRAPHY
2012
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Grand Central Station at Rush Hour , 2012Exposure Time: 3 hrs | Archival Pigment Print | 47 x 47 in.
Flatiron at Rush Hour , 2012Exposure Time: 2.5 hrs | Archival Pigment Print | 47 x 47 in.
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Astor Place at Rush Hour , 2012Exposure Time: 3 hrs | Archival Pigment Print | 47 x 47 in.
Tugboats and Seagulls at Twilight , 2012Exposure Time: 1 hr | Archival Pigment Print | 47 x 47 in.
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Playing Fetch, Barking, 2012Exposure Time: 2 hrs | Archival Pigment Print | 47 x 47 in.
Smoke Break, Yelling on Phone, 2012Exposure Time: 1 hr | Archival Pigment Print | 47 x 47 in.
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“I wonder what your constellation would look like,” mused Sarah one afternoon
in October. “Connect all my freckles and let’s nd out,” I replied.
The process of drawing on each other embodied such attention and care. It
was gentle, but it tickled. After three, or four, or sometimes ve hours of at rst bashful
drawing, a warm space would open up and envelop us. In the beginning we were notyet dating, and the oering to draw on the other’s bare skin, and to search every nook
and curve for more freckles was uncomfortable, but attractive.
The afternoons of drawing would then turn into mornings of photographing. We
would work slowly to elongate the period of time in which were fully present to each
other; we used the drawing process as a meditative act to propel us into the close
proximity we wouldn’t yet otherwise allow. The photographs, intended to be hung
in large salon-style constellations that lack the chronology of a linear narrative, and
accordingly are otherwise contained as loose prints in a handbound portfolio case
rather than in book form. These vignettes are glimpses of nascent intimacy.
They are about adoration and trepidation, and they are steeped in sentimentality.
CONSTELLATIONS A COLLABORATION WITH SARAH MOODY
2010-11
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Handbound Folio + Slipcase + 30 Print Set6.5 x 6.5 in. | 2011
SCULPTURES
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The following works in wood, bronze and stone began as
experiments in conceptualizing and sketching planes that bend, fold
and twist into three dimensional forms. Later pieces, inuenced by
gure drawing, use the same language to render the body as an
undulating landscape of surfaces, creating abstractions that hover
between genres. Final sculptures are never kept rigidly faithful to anyone sketch in order to allow a responsiveness to idiosyncratic features
of the materials such as wood grain or stone color.
Untitled (No. 21)9 x 4 in. | Canadian Pine | 2006
Untitled (No. 88)21 x 7 in. | Canadian Pine + Marble | 2008
SCULPTURES Wood | Bronze | Stone
2006-10
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Untitled (No. 28)6 x 10 in. | African Mahogany | 2008
Untitled (No. 165)13 x 5 in. | African Mahogany | 2010
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Untitled (No. 187)13 x 3 in. | Mahogany | 2010
Untitled (No. 105)9 x 15 in. | Canadian Pine | 2009
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Untitled (No. 11, No. 17, No. 19, No. 34, No. 54, No. 55)3 x 3 in. | Bronze | 2009 Untitled (No. 147)
22 x 10 in. | Bronze | 2010
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Untitled (No. 43)18 x 12 in. | Texas Limestone | 2008
Untitled (No. 62)7 x 7 in. | Alabaster | 2008
CONVEYOR
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CONVEYORDark Matter, Issue No.4
2012
Conveyor is a biannual photographic arts publication that curates essays, and
conceptual landscape and still life works. Because the studio also operates as a
professional printer and art book publishing house, there is a heavy emphasis on
the delity of printing and the overall production quality of the journal.
My role in the production of the Dark Matter issue took multiple forms: I was an
active participant in editors’ meetings to select work for the issue; I worked on page
layout, copyedited, and retouched images; and I assisted in the restoration of a
19th century letterpress that we used to individually stamp each cover.
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