katherine richard architecture portfolio

Katherine M. RichardUniversity of North Caroliona at Charlotte

4th Year Undergraduate

Portfolio

Contents

Savannah Cultural Center . . . . . . . . . . . . . . . . 3

Brewmaster’s Institute . . . . . . . . . . . . . . . . . . . 9

Portland Children’s Museum . . . . . . . . . . . . . 13

Shadow Box . . . . . . . . . . . . . . . . . . . . . . . . . .15

Digital Fabricated Model . . . . . . . . . . . . . . . . 16 Brooklyn Dance Co-op . . . . . . . . . . . . . . . . . 17

McCall Center Apartment . . . . . . . . . . . . . . . 19

Dance Figure Study . . . . . . . . . . . . . . . . . . . 20

Savannah Cultural CenterSavannah, GAFall 2014

PEDESTRIAN CIRCULATION/ APPROACH

SHADING STRATEGIES - LOUVERS SHADING STRATEGIES - OVERHANGS

PRIMARYSECONDARY

SERVICE

ARTABOUNDS GALLERY

URBANGARDENS

SCIENCE LAB

PLANETARIUM/ AMFI-THEATER

THEATERSUPPORT

TOILETS

RECEPTION

OFFICES (5)

RESTROOMS

CONFERENCE ROOM

TEMPORARY EXHIBIT

CAFERETAIL SHOP

OUTDOOR SPACE

LOBBY

COAT & PARCEL

STROLLERPARKING TICKETING

INFO

TOILETS

LEARNING RESOURCE

CENTER

OUTDOOR SPACE

OUTDOOR SPACE

PROGRAM ADJACENCIES

THEATER

ADMINISTRATION

GALLERY/EXHIBITS

CIRCULATION

OUTDOOR SPACE

CLASSROOMS

SERVICE

PUBLIC

SECTION B3/32” = 1’


SECOND FLOOR PEDESTRIAN CIRCULATION

VISITOR CIRCULATIONSTAFF CIRCULATION

SECOND FLOOR THRESHOLD

FIRST FLOOR THRESHOLD

SECOND FLOORPUBLIC VS PRIVATE

FIRST FLOORPUBLIC VS PRIVATE

PUBLICPRIVATE

PUBLICPRIVATE

FORM DIAGRAMS

PROGRAM DIAGRAMS

BUILDING DIAGRAMS

PRECEDENT


VERTICAL CIRCULATION THRESHOLD

This project located along the Savan-nah River in the historic district of Sa-vannah incorporated many different program elements into one building that responded to the site and the environment. The form was strongly driven by the rigourous grid of the city. It is rotated from the cardinal direc-tions to create more desirable views of the river and back down River Street. Its location along the riverfront made it part of the public street that people interacted with. The building is broken up into two pieces that mir-ror each other and are connected by a public threshold space. The public and private separation was some-thing that was important to the project as well as how both groups of people circulate through the building. There are many public gathering spaces in the building both inside for the pay-ing customer and outside for the ev-eryday user on the street. The ground floor incorporates lots of glass and large windows, creating an inviting atmosphere and allowing the street and the riverwalk to be connected.

VISITORSBUS

WINTER SUNSUMMER SUN

FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET

VIEWS TO SITE VIEWS FROM SITE PREVAILING WIND

VIEWS FROM SITE

VEHICULAR CIRCULATION SUN PATH

VISITORSBUS

SUMMER SUNWINTER SUN

RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK

RIVER STREETMARKET PLACE

TO RIVERTO RIVER STREET

TO PARK

GROUND LEVELS SUN PATH

NOISE

SITE PLAN1/32” = 1’

SITE SECTION1/32” = 1’

500’

3 Fourth Year | Fall

VISITORSBUS


FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET


VIEWS FROM SITE


VISITORSBUS


RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK



TO PARK


NOISE



500’

WALL SECTION3/8” = 1’


DETAIL A1” = 1’

DETAIL B1” = 1’

DETAIL A

DETAIL B

STRUCTURE DETAIL1/2” = 1’

SPIDER CLIP DETAIL1 1/2” = 1’

DETAIL C1” = 1’

DETAIL C

Savannah Cultural Center 4

The materiality of the building is a brick and glass facade with gluelam structure on the interior. The gluelam is exposed on the interior of the build-ing to give a feeling of warmth and also to further enforce the strong grid that the building is based off of. Win-dows are used as frequently as pos-sible to allow natural light and views out to the city. The large glass wall on the east facade creates a connection between the building and the neigh-boring park. Vertical and `` louvers are incorporated on the facade for sun shading.

VISITORSBUS


FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET


VIEWS FROM SITE


VISITORSBUS


RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK



TO PARK


NOISE



500’

VISITORSBUS


FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET


VIEWS FROM SITE


VISITORSBUS


RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK



TO PARK


NOISE



500’

VISITORSBUS


FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET


VIEWS FROM SITE


VISITORSBUS


RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK



TO PARK


NOISE



500’

VISITORSBUS


FROM SAVANNAH RIVER

FROM PARKFROM RIVER

STREET

TO BRIDGETO RIVER

TO RIVERSTREET


VIEWS FROM SITE


VISITORSBUS


RIVER STREET

MORRELLPARK

SAVANNAHRIVER

EMMETTPARK



TO PARK


NOISE



500’



DETAIL A1” = 1’

DETAIL B1” = 1’

DETAIL A

DETAIL B



DETAIL C1” = 1’

DETAIL C



DETAIL A1” = 1’

DETAIL B1” = 1’

DETAIL A

DETAIL B



DETAIL C1” = 1’

DETAIL C


ARTGALLERY

SCIENCE EXHIBIT

URBANGARDEN

THEATER

OUTDOORTERRACE CLASSROOMS

ADMIN

SECOND FLOOR PLAN3/32” = 1’

A

B

MAIN LOBBY

RESTROOMS

STORAGE

RESTROOMS

TEMPORARY EXHIBIT

RETAIL

CAFE

FIRST FLOOR PLAN3/32” = 1’

A

B

3/32” = 1’SECTION A






FIRST FLOOR MECHANICAL SYSTEMS

SECOND FLOOR MECHANICAL SYSTEMS

ROOF STRUCTURE

SECOND FLOOR STRUCTURE


Brewmaster’s InstituteAsheville, NCSpring 2014

BREW MASTER CIRCULATION VISITOR MASTER CIRCULATION

EW

VIEW

VIEW

VIEW

VIEW

VIEW

DOWNTOWN ASHEVILLE

DOWNTOWN ASHEVILLEVIEW

SUN PATH & LIGHTING

CIRCULATION

VIEW

VIEW


EW

VIEW

VIEW

VIEW

VIEW

VIEW

DOWNTOWN ASHEVILLE


SUN PATH & LIGHTING

CIRCULATION

VIEW

VIEW

BREW MASTER LODGES

CIRCULATION OUTDOOR TERRACE

BREW HALL KITCHEN BATHROOMS

PARKING

PROGRAM

BREW MASTER LODGES

CIRCULATION OUTDOOR TERRACE

BREW HALL KITCHEN BATHROOMS

PARKING

PROGRAM


EW

VIEW

VIEW

VIEW

VIEW

VIEW

DOWNTOWN ASHEVILLE


SUN PATH & LIGHTING

CIRCULATION

VIEW

VIEW

This project creates a space for both visitors and short term residents to in-teract and learn from the precise pro-cess of beer brewing. The building design is a response to the steep ter-rain of the site and the need to create a way for people to circulate through it. It is organized into two bars, one that houses the living quarters and the brewing equipment, and the other that is home to the brew hall, kitchen, and primary circulation. The two bars create and “L” shape and produce a space foe an outdoor area at the in-tersection of the two. The first piece transcends the mountain in order to give access to the second one that is perpendicular to it further down the hill. At the end of the first bar, there is a large window opening up to the west, down the hill and out to down-town Asheville in the distance. Along this path is a double height atrium space that opens up to the brewhall below. On the main level the brew hall is accessed and opens up to the outside courtyard. This courtyard is made up of two parts, one right outside the brew hall for sitting and enjoying a beer and the other that is stepped down a level, where the brewing equipment is located.

9 Third Year | Spring

WEST ELEVATION

WEST ELEVATION

Brewmaster’s Institute 10

The view of Asheville is a driving force behind the design of the building. The outdoor terraces are oriented to look out past the brewing equipment to that west view. Three glass boxes are located directly below the lodges on the lower terrace, housing the brew-ing equipment. These boxes both allow an unobstructed view to Ashe-ville and create a contrast between themselves and the large mass that is above them. This terrace can be occupied by people to observe the brewing process or to sit and enjoy their beer. This space is the point of interaction for all the different people at the brewery and for the different program elements. The individual apartments have west-facing balco-nies giving them private access to views of the city.

UPPER LEVEL

MIDDLE LEVEL

LOWER LEVEL0 1 4 8 16

REFLECTIONLODGES (3)

ACTIVELODGES (3)

BREWHALL OUTDOOR

TERRACE

KITCHEN

OFFICE 2

STO

RA

GE

MICROBREWERIES

PRIVATEBALCONIES (3)

ENTRY

REFLECTIONLODGES (3)

OUTDOORTERRACE

LOWERTERRACE

OFFICE 1

OFFICE 3

OFFICE 4


Brewmaster’s Institute 12

Portland Children’s MuseumPortland, ORFall 2013

This addition to the Portland Children’s Museum focuses on free circulation protection from and overhead canopy. The spaces are organized based off of the curve of the existing building. This curve was continued through to the addition and became the base for the shape of the canopy. The structure of the canopy creates a grid where each of the buildings are based off of. This was done to pay recognition to the existing building and create one con-tinuous building complex. Each of the program elements stands alone in its own building to continue with the idea of free circulation. Within each build-ing there are minimal interior walls to enforce this idea. The horizontally of the buildings organization is balanced with the vertical detailing.

Circulation

Pedestrian Circulation

Vehicular Circulation

PartiProgram

Maintanence / Storage

Lobby & Hyper Lobby

Outdoor Space/Rooftop Terrace

Education

Administration

13 Third Year | Fall

EARTH AND COSMOS EXHIBIT

PHYSICS EXHIBIT

SENSES EXHIBIT

CLAY STUDIO

TINKERING STUDIO

PAINTING STUDIO

CAFE

ADMINISTRATION

MECHANICAL

MAINTENANCE

LOBBY

STORAGE

STORAGE

S1

S2

E4

E3E1

E2

Portland Children’s Museum 14

Shadow BoxStructures ClassSpring 2014

PLAN SECTION PLAN

FRONT SECTION FRONT BACK

RIGHT SECTION RIGHT SIDE LEFT SIDE

PLAN SECTION PLAN

FRONT SECTION FRONT BACK

RIGHT SECTION RIGHT SIDE LEFT SIDE

This project was an exploration on designing and building an object that uses three materials - concrete, wood, and metal. This wind chime incorporates a concrete base and frame that allows bamboo pieces to be hung. This is done with the use of a steel connection piece that is de-pressed into the concrete. The major-ity of the work was done in the form work of the rockite. Reinforcements for the weight needed to be added as well as hardware for the metal connection and holes for the string attached to the bamboo. This project taught me a lot about structural prop-erties of different materials as well as the importance of pre-planning every step of the construction process.


Digitally Fabricated ModelComputational Methods Class | Partner Project Fall 2013

Ori

gina

l Obj

ect

COMPUTATIONAL METHODS ARCH 4604 – 002 • FALL 2013SCHMITTER | RICHARD FINAL PROJECT - DIGITAL FABRICATION A.1Mcm Double Hexamer

Original Form Changed Form

Pro

cess

ed O

bjec

t

COMPUTATIONAL METHODS ARCH 4604 – 002 • FALL 2013SCHMITTER | RICHARD FINAL PROJECT - DIGITAL FABRICATION B.1Mcm Double Hexamer

Starting with the Mcm Double Hexamer object, we cut the form in half to work from. Then we stretched the entire object vertically, and then just the middle section even more so that the center part with the spaces had a greater presence. The inside of the object had many jagged edges so we inserted a cylinder and trimmed the center out to make a clean edge in the middle. 6 dowels were added through each of the 6 main cores that continued through out the entire form, even in the middle portion where the rings begin to break up into separate pieces. This was done to support the structure when spacers were added between every contour.

Pro

cess

ed O

bjec

t


Starting with the Mcm Double Hexamer object, we cut the form in half to work from. Then we stretched the entire object vertically, and then just the middle section even more so that the center part with the spaces had a greater presence. The inside of the object had many jagged edges so we inserted a cylinder and trimmed the center out to make a clean edge in the middle. 6 dowels were added through each of the 6 main cores that continued through out the entire form, even in the middle portion where the rings begin to break up into separate pieces. This was done to support the structure when spacers were added between every contour.

This project was an exploration on taking an organic digital form and transforming it and then creating a physical object out of it. Starting with a MCM Double Hexamer form, my partner and I distorted and edited the form in rhino into one that we could then contour and build. We did this by taking every other layer and laser cutting them out of 1/4” plywood. The intermediate layers were turned into space holders that also hid the wood dowels that were added through the cores for support and accuracy when constructing the physical model.

Pro

cess

ed O

bjec

t


Phy

sica

l Obj

ect

COMPUTATIONAL METHODS ARCH 4604 – 002 • FALL 2013SCHMITTER | RICHARD FINAL PROJECT - DIGITAL FABRICATION C.2Mcm Double Hexamer

Phy

sica

l Obj

ect

COMPUTATIONAL METHODS ARCH 4604 – 002 • FALL 2013SCHMITTER | RICHARD FINAL PROJECT - DIGITAL FABRICATION C.3Mcm Double Hexamer

Third Year | Fall 16

Brooklyn Dance Co-opBrooklyn, NYSpring 2013

APPROACH

MANHATTAN

BROOKLYN BRIDGE

VIEWSVEHICULAR & PEDESTRIAN MOVEMENT

CIRCULATION

RESIDENTIAL

REHERSAL/LOCKER

ADMINISTRATION

THEATER

LOBBY/CAFE

This project was located on a 70’x70’ plot of land in Dumbo, Brooklyn, just past the bridge. The urban site as well as zoning restrictions for the site created constrains that drove the or-ganization of the spaces and the circulation. The co-op incorporated 2 major pieces of pro-gram. A theater for dance performances along with supporting spaces for a theater such as dressing rooms, rehearsal spaces, ticket and lobby areas, and service areas; and apartment spaces for the dancers that were participating in performances there. The street corner cre-ated opportunities for a grand entrance and 2 front edges. The apartments as well as the re-hearsal spaces are located on the upper half of the building to give them views across the river to manhattan. The rehearsal spaces are glass boxes that have an exterior connection piece, allowing passersby a glimpse of what is hap-pening on the inside of the building.

PUBLIC VS. PRIVATETHRESHOLD/ENTRYCIRCULATION

MODULARITYSTRUCTURAL GRID

APPROACH

MANHATTAN

BROOKLYN BRIDGE


CIRCULATION

RESIDENTIAL

REHERSAL/LOCKER

ADMINISTRATION

THEATER

LOBBY/CAFE

APPROACH

MANHATTAN

BROOKLYN BRIDGE


CIRCULATION

RESIDENTIAL

REHERSAL/LOCKER

ADMINISTRATION

THEATER

LOBBY/CAFE


MODULARITYSTRUCTURAL GRIDPUBLIC VS. PRIVATETHRESHOLD/ENTRYCIRCULATION






17 Second Year | Spring

A B

A

B

TOP FLOOR

GROUND FLOOR SECOND FLOOR THIRD FLOOR FOURTH FLOOR

FIFTH FLOOR SIXTH FLOOR SEVENTH & NINTH FLOORS EIGTH & TENTH FLOORS

NORTH ELEVATION SOUTH ELEVATION EAST ELEVATION

SCALE 1/16” = 1’

A B

A

B

TOP FLOOR




SCALE 1/16” = 1’

A B

A

B

TOP FLOOR




SCALE 1/16” = 1’

A B

A

B

TOP FLOOR




SCALE 1/16” = 1’

A B

A

B

TOP FLOOR




SCALE 1/16” = 1’

Brooklyn Co-op 18

McCall Center Studio ApartmentCharlotte, NCSpring 2013

AB

C

A B C

AB

C

A B C

This project was based off of a 16’X16’ cube located in a tower of a art cen-ter. It was designed for a specific art-ist in residence whose work focussed on borders and boundaries as well as making space seem like something different than it really is. The studio apartment incorporated a kitchen, liv-ing area that bled into the work area, and a lofted bedroom and bathroom. A moveable wall was incorporated to allow for the work area to be sepa-rated from the living space when the artist wanted. Natural light is incorpo-rated on 3 sides. Many surfaces can double as work space or normal liv-ing space such as a desk that folds out from the wall and large walls that can be used to hang artwork.

19 Second Year | Spring

Martha Graham Dance Figure StudySpring 2013

This project was an exploration on the human scale and proportions. It started with an analysis of a Martha Graham dance performance, trac-ing the movement of a dancer. This was then diagrammed and eventually turned into a 3-D form. The form was then transformed into an installation piece that can be interacted with by people. This was done by taking a piece of the form and duplicating it to create a canopy and bench piece. By adding connecting pieces to the triangles (representing the dancers arms) solid forms were able to be created which assisted in the physi-cal model building. The form relates back to the idea of movement and human scale because the module and proportions used for the installa-tion piece are based directly off of the proportions of the human body.

Second Year | Spring 20

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