T A Y L O R M A C K I Eu n d e r g r a d u a t e p o r t f o l i o

I t is through architecture that I provide for the community, this shared universe we inhabit. The needs of

the world continue to emerge and we as architects draw inspirat ion from nature, human behavior, and the

unknown to address these desires through design. It has always been my aspiration through creation to not only

improve a place, but also respect i ts identi ty, both physical ly and spir i tual ly. The axes of art are in a constant

state of overlay. Architecture and the non-objective are always relevant, most l ikely when you least expect i t .

1 5432bernardine monasteryhot springs, ncpage 1

bywater community centernew orleans, lapage 18

la maison basselacoste, francepage 32

théâtre du luberonlacoste, francepage 42

the hidden cityurban designpage 50

savannah: a map of perceptionssavannah, gapage 62

c o n t e n t s

109876shaping spacessavannah, gapage 68

esalen institute - backus batterytybee island, gapage 74

the vue residencehollywood hills, capage 82

treasures of provencelacoste, franceparis, francebarcelona, spainpage 92

sans tempsparis, francebarcelona, spainpage 98

lux et tenebraatlanta, gapage 104

structured chaossavannah, gapage 108

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b e r n a r d i n e m o n a s t e r y h o t s p r i n g s , n o r t h c a r o l i n a

ARCH 301: architectural design studio Iprofessor scott singeisenfall 2011

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“ O n e c a n h a v e n o s m a l l e r o r g r e a t e r m a s t e r y t h a n t h e m a s t e r y o f o n e s e l f . ”

- L e o n a r d o d a V i n c i

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“ T h e r e i s n o e n l i g h t e n m e n t o u t s i d e o f d a i l y l i f e . B r e a t h i s t h e b r i d g e w h i c h c o n n e c t s l i f e t o c o n s c i o u s n e s s , w h i c h u n i t e s y o u r b o d y t o y o u r t h o u g h t s . ”

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A monastic existence is a strictly disciplined way of life which must involve peace, respect with nature, and simplicity. Each day begins with the rising of the sun and a regular schedule of prayer in meditation spaces, services with the church, research, and labor.

Isolation and silence of essential, and monks of a monastery require natural scenery. Workers of God have shared a rich history as servants to their church and community. Devoting to a life of solitude and labor enrich the notion of existence in its most bare and simple form.

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1 church

2 library

3 living cloister

4 visitor center

5 offi ce space

6 refectory

7 common area

8 meditation gardens

9 refl ection ponds

10 parking lot

11 existing cemetery

t h e s i t e

A x i s m u n d i , t h e u n i o n b e t w e e n e a r t h a n d t h e h e a v e n s , t h e i n t e r s e c t i o n o f t h e x , y , a n d z a x e s , t h e w o r l d ’ s c o s m i c p i l l a r , t h e j u x t a p o s i t i o n o f a l l f o u r d i m e n s i o n s .

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parti diagram | private vs. public spaces

massing model

site circulation

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Harmoniously demonstrating the church’s contributions to society, as well as welcoming the public, but doing so in a way that respectively follows to guidelines to keeping both world’s separate within the complex, is the challenge. This Cistercian monastery provides a haven of zen in respects to the natural environment, yet complies with the program of providing the key components of a micro community: a residence with facilities for sleep, work, prayer, dining, and learning.

One method of achieving spirituality is simply clarity. The site plan emulates the significance of various space types, given that the altar within the church is the center piece of the entire site. A monastery conjoins interaction between the monks and the public, yet signify a hierarchy of path and entrance.

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1 bedroom

2 bathroom

3 hallway

interior hallway perspective

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fl oor plan - brother’s cell

fl oor plan - infi rmary cell

fl oor plan - father’s cell

latitudinal section - brother’s cell

longitudinal section - father’s cell

longitudinal section - infi rmary cell

l i v i n g c e l l s

Necessity, a term often neglected by society today. One’s living quarters follow the inclusive net of one’s existence and life style. Monastic life thrives solely on need. For a Cistercian monk, a private residence requires only space for sleeping, washing, storing, and praying.

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exterior perspective of living cellswatercolor11 x 17 inches

r e s i d e n c e c l o i s t e r cell unit - axonometric

Classical ordering systems can be used to establish hierarchy, but they can also be utilized to exhibit equality. Shared housing units with identical floor plans provide a balanced quality of life for all monks residing at the monastery, with the exception of sole living quarters for the father, who represents a closer connection with God.

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t h e c h u r c h

south elevation east elevation west elevation

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1 altar

2 brother seating

3 visitor seating

4 changing room

5 oratory

6 speaking podium

7 storage

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exterior perspective - churchwatercolor

11 x 17 inches

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A place for the sacred and its importance are represented with a gradual rise in ceiling height, creating a phenomenon of holy connection. This mutual relationship between human kind and the beyond occurs at the altar. The altar dictates the orientation of the building, the site, the paths of procession. Therefore the highest pivoting point within the complex exists here, dignified with a bell tower above.

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t h e l i b r a r y

longitudinal section latitudinal section

“ I n t e l l i g e n c e i t s e l f m u s t f o l l o w f a i t h , n e v e r p r e c e d e i t , a n d n e v e r d e s t r o y i t . “- T h o m a s K e m p i s

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1 lobby and circulation

2 ADA bathroom

3 study area

4 stacks

5 rare book section

6 archives

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interior perspective from entrancewatercolor

11 x 17 inches

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experimental study of color and texture - siteprismacolor marker11 x 17 inches15

3D section model - church - exterior3D section model - church - interior3D section model - library - interior

Monks, in addition to their needed isolation and tranquility, share a rich heritage and history of inter-acting with the community. The goal is to take none and leave none. Most monasteries share a local trade, whether it be a crafting skill or farming. The design of the monastery’s contents would respectively imple-ment the materiality of the regional vernacular. Sloped red roofs, local pine and stone construction are all features of the Hot Springs building tradition. Respect and acceptance go hand in hand.

Before the monastery stands an existing world varying in texture and color. I conducted a series of experimental drawings to compare and contrast the materials of the monastic buildings with its surroundings, the mountainous hills of pine trees and the neighboring river.

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b y w a t e r c o m m u n i t y c e n t e r n e w o r l e a n s , l o u i s i a n a

ARCH 302: architectural design studio IIprofessor laraine montgomerywinter 2012

collaborative studio with:

marissa blakeINDS 714: interior design graduate studio IIprofessor crystal weaver

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“ P e o p l e d o n ’ t l i v e h e r e b e c a u s e i t i s e a s y . . .

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. . . They live here because they are incapable of living anywhere else in just the same way.”

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bywater historic district site context existing site lot“The inevitable city on an impossible site,” New Orleans has been named before. The city that was never meant has surely proven its resilience through times of economic woes and natural disaster. The vibrant and diverse cultural makeup of New Orleans exists in a geographical disposition, leaving it vulnerable to hurricanes and environmental contam-ination. The inhabitants struggle to renew the city’s distinguished neighborhoods facing socio-economic conflicts, one of which is the Bywater District.

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3D model - bywater community and site

porosity diagrams - a study of context

This neighborhood, located just east of the French Quarter is bound by access to the water, with the Mississippi River and the Industrial Canal along its edge. Hurricane Katrina changed the demo-graphics and context of the neighborhood signifi-cantly with issues such as a high vacancy rate, lower population density rates, fewer amounts of children and families, and the negative effects of blight.

Bywater is undergoing gentrification, introducing new population demographics and a newly improved identity as an arts community.

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1 bywater community center

2 sculpture garden

3 existing fi re station

4 water channel park and boardwalk

5 covered bus stop

6 proposed road with parallel parking

7 community herb gardens and compost

8 loading area

9 existing stallings center pool

10 existing basketball court for open-air art market

11 existing stables / farmer’s market

12 pergola extension of farmer’s market

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m a r k e t p a r k

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p h a s e I p h a s e I I Ip h a s e I I

human conditionsite conditioncultural condition

concept models

The design process begins with purpose and scope. The user needs dictate function and form of the potential. Phasing allows the concept to come to life with respects to budget. Immediate needs such as a farmer ’s market, remediation of the site, and safety are addressed in the early stages. Effectiveness of its intended use then allows further elaboration. Phase 2 includes a proposed street, an interactive park, and more greenery. In the years to come, the market park becomes a node of community gathering and will wel-come the Bywater Community Center.

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interior perspective from cafe entrance

b y w a t e r c o m m u n i t y c e n t e r

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UP

UP

1 library

2 computer lab

3 restroom

4 daycare classroom

5 open lounge

6 cafe

7 commercial kitchen

8 auditorium

9 art gallery

10 meeting room

11 outdoor patio

12 egress stairwell

13 studio classroom

14 lecture classroom

15 offi ce

16 auditorium balcony

second fl oor

fi rst fl oor

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3D modelAutodesk 3Ds Max

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interior courtyard from patiographite8.5 x 11 inches

sections and details

The primary goal of strengthening an already dura-ble sense of community within the Bywater District Neighborhood Association will be fulfil led with a new facilitiy for organized gathering. Its prominent location along St. Claude Ave. hands the opportu-nity of becoming the hopeful beacon in a neighr-borhood of woes.

Social issues in the area are addressed with the facility’s ammenities. It will provide daycare for an expecting boom of young families, classrooms, an auditorium, a cafe as well as number of programs to actively engage the community in career devel-opment.

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south elevationwest elevation

east elevationnorth elevation

“ To b e e n g a g e d i n s o m e s m a l l w a y i n t h e r e v i v a l o f o n e o f t h e g r e a t c i t i e s o f t h e w o r l d i s t o l i v e a m e a n i n g f u l e x i s t e n c e b y d e f a u l t . “

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distribution diagramwater channel

community gardensarpent system

light well features

The water channel park’s essential purpose is to create a memorable and interactive experience by means of recycling collected rainwater. The form was created by tracing the countours of the Mis-sissippi River, the strongest driving forced in the development and heritage of New Orleans

The spaces radiating from the water follow the shapes created from the arpent system, which the city was set up using. The ordering system geometrically organizes gardens and play zones, reminding the users of their city’s significant rela-tionship with the river.

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“vineyards of the luberon”graphite

8.5 x 11 inches201231

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l a m a i s o n b a s s e l a c o s t e , f r a n c e

ARCH 303: architectural design studio IIIprofessor charles boggs - scad lacostespring 2012

collaborative studio with:

francesca roqueINDS 350: interior design studio IVprofessor christina gonano - scad lacoste

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topography lines

existing stuctures and land

The adaptive reuse of Maison Basse, a 16th centu-ry French farm house located at the lowest point of the Luberon Valley, will create innovative academic and residential facilities for the Savannah College of Art and Design’s graduate studies in Provence. The rehabilitation and expansion of this site utilizes unob-structed views of Lacoste and Bonnieux. The residen-tial quarters follow an organic form derived from the natural contours of the land.

The site design is laid out with a system of modular dorm rooms. The isolation will allow a peaceful en-vironment for further education. Reinforced by the coexistence of modernity and the vernacular Provencal style, SCAD will continue to move forward in an envi-ronment sensitive to alteration. 34

1 existing academic building

2 pool house

3 swimming pool

4 student community center

5 outdoor patio

6 reading room / computer lab

7 seating pod

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exterior perspective of the student quadwatercolor11 x 17 inches 36

cluster 3 - south elevation

perspective fl oor plan - scenario 1

perspective fl oor plan - scenario 2

existing stuctures

Modularity is an efficient solution to creating equal living conditions for multiple occupants. Each room is 12 x 16 x 9 feet and is able to accomodate one or two graduate students per session.

Room features include multi-functional beds, working spaces, shelving in the bedrooms and bathrooms, two arm chairs, a closet for two, and corkboard for personalization.

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t h e m o d u l a r d o r m r o o m

cluster 2 - west elevation

s and land

cluster 1 - west elevation

Lacoste, like most medieval European villages, have constantly been reused and changed over time, giving consisten inconsistency to the town. To emulate the eclectic quality of Provence, three different dorm clusters offer different ammenities, yet utilizing the same modular unit.

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elevations

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s t u d e n t c o m m u n i t y c e n t e r

structural framing

scenario 1

scenario 1

Bringing the students together to snack, lounge, play, and watch was the target for defining a place of communal gathering. Modular seating areas can be moved depending on the students’ preference. A curvilinear path acts as a type of way finding through the space.

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the canopy of sound graphite

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t h é â t r e d u l u b e r o n l a c o s t e , f r a n c e

ARCH 303: architectural design studio IIIprofessor charles boggs - scad lacostespring 2012

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My conceptualization began with the need to em-brace the site’s true identity as an operating quar-ry. The theme of industrialization unique to France involves understanding the significance of stone and iron. During my time in Lacoste, I observed the theme of integration from an abundance of semicircular tiebacks driven into the facade of homes, representing a gesture of stability, a ges-ture I would emulate on a grand scale.

A series of iron structural semi-circles provide a tunnel of enclosure for the primary structure and would cast a non-permanent series of coverings for protection from the sun.

As the quarry carves stone from the earth, the structural members become reintegrated by cutting into the existing walls. Permeability in the open air space allows the spectators to feel protection, yet continue appreciation of Provence’s desireable climate. The coexistence of the proposed industrial structure on top of such an ancient site will prove to be a symbol of Lacoste and its surprisingly pro-gressive vigor.

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1 center stage

2 fabric shading devices

3 embedded structural columns

4 structural framing members

5 auditorium seating

6 second level balcony

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“ Ta k e a s i m p l e g e s t u r e . R e d u c e i t t o i t s t r u e e s s e n c e . R e p e a t i t . M a k e i t g r a n d . ”

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interior view of the auditoriumgraphite11 x 17 inches 48

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t h e h i d d e n c i t yt h e m e d u r b a n d e s i g n

ARCH 404: architectural design studio IVprofessor daniel brownfall 2012student partner - alex otterbein

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parking

entertainment

dining

retail

institutional

gardens

wild groves

service

u r b a n p l a n

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“ D e s i g n i s a p l a n f o r a r r a n g i n g e l e m e n t s i n s u c h a w a y t h a t i s b e s t t o a c c o m p l i s h a p a r t i c u l a r p u r p o s e . ”

- C h a r l e s E a m e s I was presented with a particular site with a set of

urban and programatic issues including the design of transportation flow, inappropriate scale concerns, misuse of potential features, and organization of buildings. Working with a team of additional architec-ture students and themed entertainment designers, we proposed a master plan addressing each issue, while giving purpose and theme to each and every district.

Working in collaboration with a sponsoring client re-vealed a number of obstacles to face, yet insight and motives to make a difference through architecture.

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primary walkways

secondary walkways

public transit

vehicular traffi c

c i r c u l a t i o n

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dining establishments

retail spaces

green features

Designing a facelift for an entire city as opposed to focusing the scope on a particular building means one must consider the functioning compo-nents of a working city and how it works. I had to understand the relationship between retail, dining, and park spaces, as well as how maintainence access would operate ensuring that its interaction with the public is minimal.

Establishing primary and secondary circulation leads to programming the hierarchy of buildings and attractions.

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tree structure with elevator shaft and egress stairs

A primary objective of the overall site plan and program was to find a way to bring daytime revenue to a place that thrives primarily in the evening hours.

Engaging adventures create memorable experi-ences and lure attendance. A canopy walk pro-posal was one of many features included in the overall scheme. A working mechanical system of providing egress stairs through artificial tree structures was one way to make such a fanta-sy-like idea come to life.

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“ W e k e e p m o v i n g f o r w a r d , o p e n i n g n e w d o o r s , a n d d o i n g n e w t h i n g s , b e c a u s e w e ’ r e c u r i o u s a n d c u r i o s i t y k e e p s l e a d i n g u s d o w n n e w p a t h s . ”

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“ B u t I a b s o l u t e l y b e l i e v e t h a t a r c h i t e c t u r e i s a s o c i a l a c t i v i t y t h a t h a s t o d o w i t h s o m e s o r t o f c o m m u n i c a t i o n o r p l a c e s o f i n t e r a c t i o n , a n d t h a t t o c h a n g e t h e e n v i r o n m e n t i s t o c h a n g e b e h a v i o u r . ” - T h o m M a y n e

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DRAW 115: graphics for the building artsprofessor laraine montgomerysummer 2010

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plan - derby ward

The city of Savannah serves designers and residents as a source of inspiration, for its urban plan has cre-ated a plethora of nodes, notable landmarks, and an operating town. Bull Street can be described as the spine of the city. It erected the very first of twenty-two wards from the system that provides primary, second-ary, and tertiary paths, civic buildings, park space, and residences.

At the head of Bull St. lies Derby Ward, Johnson Square, and Savannah City Hall. Such prominence to this building led me to explore through sketching and a hand-drafter analysis.

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south elevation - johnson square

longitudinal section - derby ward 64

south elevation section viewformal ordering systems

parti proportion geometry plan to section spatial confi guration

t h e p o e t i c s o f s p a c eand the phenomenon of place

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“ Yo u m i g h t s a y t h a t w h e n y o u s t e p i n s i d e , y o u ’ r e e n t e r i n g a n h o n o r i f i c s p a c e , b u t t h a t ’ s s o m e t h i n g t o t a l l y d i f f e r e n t t h a n e x p e r i e n c i n g i t . A n d i n a r c h i t e c t u r e t h e

e x p e r i e n c e c o m e s f i r s t . T h a t h a s t h e d e e p e s t e f f e c t o n u s . ”

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s h a p i n g s p a c e ss a v a n n a h , g e o r g i a

DSGN 223: architectural fundamentals Iprofessor matthew dudzikfall 2010

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parti diagrams

Exercise of transformation is uplifting in the phase of design. It pushes one to explore every dimension with-in and around architecture. By narrowing the scope, more detailed components of a design come forth.

The early beginnings of fundamentals provided a blank slate and a limited kit of parts. From there, the evolution of a plan took place.

The art of new creation takes careful planning from the earliest stages. Designing is to create with purpose. My purpose is to create an experiential space for the environment and its fellow occu-pants. My design is about the emphasis of evolu-tion, morphing, and transition.

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1 primary space

2 secondary space

3 tertiary space

4 primary entrance

5 secondary entrance

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p l a n o f s p a c e s

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directional forces

section view

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e s a l e n i n s t i t u t e - b a c k u s b a t t e r yt y b e e i s l a n d , g e o r g i a

DSGN 224: architectural fundamentals IIprofessor judith renowinter 2011

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The Esalen Institute in Big Sur, California certainly is known for providing a waterfront escape from reality where guests staying can cleanse and heal. At the turn of the 20th century, Tybee Island was a luxury retreat for relaxation, due to its identity as a hub for salt, making it a desirable Atlanta Ocean extension of the institute.

The remains of the ruined military Fort Screven on the northern shore of Tybee consist of several batteries, available for adaptative reuse. The con-cept was to create a three-story structure above the existing battery, trying to preserve its historical significance, yet using its structural walls to pivot the columns for the spa above.

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latitudinal section - backus battery longitudinal section - backus battery

concept model - circulation concept model - response to climate

top of battery plan

ground plan

property lines

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1 acupuncture room

2 bathroom

3 changing room

4 large yurt

5 small yurt

6 garden

7 meditation space

8 massage area

9 indoor pool

10 outdoor pool

11 sitting area

12 yoga space

13 maintainence / water treatment

fi rst fl oor

second fl oor

third fl oor

roof level roof structure

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The orientation of the building keeps a directional force in alignment with the true north arrow, dividing the structure into two separate massings. The division programatically keeps activities which require isola-tion and privacy separate from the rest.

Features include meditation rooms and small pools that overlook the beach and the Atlantic Ocean. The overall design is entirely a response to climate.

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fi rst fl oor

roof level

third fl oor

second fl oor

3D modelchipboard, wood, plastic 78

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“ T h e s o l u t i o n o f e v e r y p r o b l e m i s c o n t a i n e d w i t h i n i t s e l f . I t s p l a n , f o r m a n d c h a r a c t e r a r e d e t e r m i n e d b y t h e n a t u r e o f t h e s i t e , t h e n a t u r e o f t h e m a t e r i a l s u s e d , t h e n a t u r e o f t h e s y s t e m u s i n g t h e m , t h e n a t u r e o f t h e l i f e c o n c e r n e d , a n d t h e p u r p o s e o f t h e b u i l d i n g i t s e l f . ” - F r a n k L l o y d W r i g h t

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t h e v u e r e s i d e n c eh o l l y w o o d h i l l s , c a l i f o r n i a

DSGN 225: architectural fundamentals IIIprofessor judith renospring 2011

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case studies - cube transformations

“ T h e h o u s e i s n o t a n o b j e c t i n t h e t r a d i t i o n a l s e n s e - t h a t i s t h e e n d r e s u l t o f a p r o c e s s - b u t m o r e a c c u r a t e l y a r e c o r d o f a p r o c e s s ” - P e t e E i s e n m a n

The private residence is situated on a sloped site in a prominent neighborhood of Los Angeles. To the south, the house would utilize views of the downtown center as well as the Pacific Ocean to the east. The climate of southern California offers a very mild climate with little precipitation and abundant sunshine, allowing ideas for passive energy designs.

The primary inspiration for a cube house came from Pete Eisenman’s approach. Beginning with one 5 x 5 inch cube, I altered the surfaces using subtraction, addition, and proportioning to break down one cube into multiple interlocking spaces.

Projections and recessions in the facade created a series of layers. The layering technique would pull planes wherever appropriate for protection from the sun.

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west elevation north elevation

west elevation

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south elevation east elevation

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1 casual living area

2 formal living area

3 closet

4 kitchen / dining area

5 offi ce

6 pantry

7 garage

8 bathroom

9 guest sleeping area

10 working studio

11 personal fi tness gym

12 master suite

13 master bathroom

14 master walk-in closet

15 outdoor patio

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interior perspective in stairwell

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second level

main level

lower level

exterior perspective of main entrance

interior perspective from mezzanine

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“ W h e n a n a r c h i t e c t i s t h i n k i n g , h e ’ s t h i n k i n g a r c h i t e c t u r e a n d h i s w o r k i s a l w a y s a r c h i t e c t u r e , w h a t e v e r f o r m i t a p p e a r s i n .

N o a r e a i s m o r e a r c h i t e c t u r a l t h a n a n y o t h e r . ”- J o h n H e j d u k

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t r e a s u r e s o f p r o v e n c et r a v e l i n g s k e t c h b o o k

DRAW 341: travel portfolioprofessor charles boggs - scad lacostespring 2012

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The four months I spent in Europe could be described as a period of my isolation. Disconnected from the world I left behind, an unexplored environment stood before me. The rustic nature of Provence showed me how man-made structures and the wild cohabit har-moniously. Architectural marvels and the culture itself forced me to take a period of time at least once a day and begin to capture the essence of my observations in my sketchbook.

The mood of artwork is never captivated through per-fection or precision. Sketches contain raw emotion, movement, and meaning.

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When an artist faces the pressures of time, he or she must capture the most essential elements first. The ornate details found in vertical members of buildings in Barcelona inspired me. The morphic forms that could only have been derived from fantasy and nature were the impressive components that I knew to prioritize.

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s a n s t e m p sd i g i t a l p h o t o r a p h y s e r i e s

DRAW 341: travel portfolioprofessor charles boggs - scad lacostespring 2012

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The French have a saying known as “sans temps,” or “without time.” The lens of my camera could still an image of a place or object that could be described as timeless. The lands of Europe have been continually inhabited for thousands of years and glimpses of that rich past are ever present today.

With black and white photography as my preference, I wanted to display the various moments where I felt a spiritual connection without explanation.

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PHOT 113: photographic foundations Iprofessor sandra phipps - scad atlantaspring 2010

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Before an architect, I was an artist. Nearly every series of paintings of photographs that I have made, color has always been a driving force. Color is the bridge for the relationship between light and human perception. Without light, we see black and white. With light as our revealing agent, different forms of it can reveal different information to our eye.

“Lux et Tenebra,” which is Latin for light and shadow, is a portrait series that I conducted to compare the dramatic effects of white light versus black light.

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The panels behind the models are of acryllic paint with an underlay of transparent paint, only revealed in black light. One image shows the face illuminated with white light and the background lit with black light, while the other demonstrates the reversal. Through this, the models show their true colors.

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PNTG 206: water-based media explorationprofessor josh yufall 2011

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Everything happens and exists for a reason: cause and effect. My latest series has been described as chaotic, non-objective, free. The final product may ap-pear as such, yet every layer and material applied had been carefully selected. Each painting in this particu-lar series begins with a base layer by taping off a grid of linearity. Straight lines represent stability and direc-tional forces. No matter the amount of paint sprayed, splattered, or applied on top, the initial skeleton of the painting manages to translate through.

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C h a o s i s a n e c e s s a r y s t e p i n t h e o r g a n i z a t i o n o f o n e ’ s u n i v e r s e .

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