selected works winter 2015

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Veronika Jonssonundergraduate design portfolio

b.arch 2015

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design studios

..............................................“st(AIR) MOVEMENT”Row Hose Retrofit

.....................................................“THE ARTHOUSE”Production Cinema

...............................“AN ORCHARD’S THRESHOLD”Dorris Rance Visitor’s Center

.........................................“TAILORING DISTRICTS”Revitalization Plan for Downtown Springfield

other works

Timber Truss for a Meeting Hall................................Arbutus Corridor Bus Shelter....................................

“Silver Lining” Luminaire Design.............................

“Shift” Furniture Design...........................................

Boeing Aviation Safety Interpretive Center................

“Impressions”..........................................................

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HISTORIC ROW HOME SHARES PART Y WALL CROSS VENTIL ATION IS LIMITED IN ROW HOME T YPOLOGY OPENING IN ROOF CREATES NATUR AL VENTIL ATION

“st(air) movement” rowhouse

retrofit

:: Washington dc

Team MembersAdam Oswald, Gabrielle Steffel, and Abigail Woods

Within the urban enviroment many constraints exist which make passive forms of ventilation very difficult. In such dense environments it is often impossible to introduce cross ventilation, however there are a myriad of ways in which buildings can be retrofitted to take advantage of the stack effect, especially in spaces with high internal heat gain in temperate climates.

In this project the client wanted to retrofit his hisotoric rowhouse, which experiences incredible heat gain during the summer, to create roof access without sarificing his existing living space. Therefore, the design of a moving piece of architecture in this project llowed for the occasional roof access while also using the stack effect to cool the home at any time.

The design criteria for the project was to provide passive cooling of the home, roof access when desired, shelter from rain, various degrees of light exposure, a railing system integrated with the stair, and an artful human powered mechanism. As a result. the project worked to celebrate the science behind kinetic mechanisms while coordinating many parts moving at different rates.

Historic row homes share party walls Cross ventilation is limited in row home Opening in rood creates natural ventilation

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4 CROSS SECTIONThrough skylight showing integrated assembly

5RELATIVE ROTATION Pivoting stringer and rotating tread integrated with railing stystem

ROTATION RATIOTread:Stringer -- 1:4

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Identifying the Street Room

Planning to enliven Railspur Alley as Pedestrian Spine

ELEVATIONSNorthwest and Northeast Facade Studies

Expanding the Street Room

tHE ARTHOUSE

:: Granville Island, Vancouver

BC

To understand the design of the Granville Island Arthouse, the bizarre context in which it is set should first be understood. Vancouver is a hot bed of modernism. The site of Arthouse on Granville Island, however, is situated inside a drastically different context. Granville Island is the former industrial center of Vancouver’s shipping and manufacturing industry. The island is home to historic sawtooth industrial buildings, originally created for shipbuilding and other industries. Now, however, Granville Island is a tourist hub in the city, home to artist markets, food markets, street performers and Emily Carr University of Art and Design.

This historic context sits confused amidst the modernism of the young city of Vancouver. This places the design of the new building in a unique context with an ultimately appropriate response. Is the building to mimic the historic context which surrounds it or shall it respond to the exciting modernism that is bringing so much attention to the city of Vancouver? Responding to this design problem, the Arthouse has the industrial palate of the island but a drastically modern, deconstructionist, form. GROUND FLOOR

Lobby, Cafe and Bar, Reception, Recording Studios, Editing Suites, Film Archive, RetailSECOND FLOORArt Cinema, Bar Lounges, Administrative Offices

THIRD FLOORFestival Theater, Exterior Stair

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The Granville Island Arthouse is situated in a bizarre context that is not easily understood. Though the city of Vancouver BC is a rampant with modernism, Granville Island itself is drastically different. Historically the industrial center for Vancouver’s shipping and manufacturing industry, the island has been transformed into a tourist hub, complete with artist and food markets, street performers and the Emily Carr University of Art and Design.

Originally planned as an artist haven in the middle of the city, the island has a strong dedication to craft. However, with Emily Carr set to move off the Island in the next couple of years, the display and public access to craft will suffer. The Arthouse responds to this emerging need by fusing film and craft into a space made available to students and aspiring independent film makers seeking to do post-production film editing and viewing.

The Arthouse will also attract the public to its showings with amenities for all ages as well as enhancing the island’s night life with dine-in-theater showings and an attached bistro and bar.

Identifying the Street Room

Planning to enliven Railspur Alley as Pedestrian Spine

ELEVATIONSNorthwest and Northeast Facade Studies

Expanding the Street Room

tHE ARTHOUSE

:: Granville Island, Vancouver

BC

To understand the design of the Granville Island Arthouse, the bizarre context in which it is set should first be understood. Vancouver is a hot bed of modernism. The site of Arthouse on Granville Island, however, is situated inside a drastically different context. Granville Island is the former industrial center of Vancouver’s shipping and manufacturing industry. The island is home to historic sawtooth industrial buildings, originally created for shipbuilding and other industries. Now, however, Granville Island is a tourist hub in the city, home to artist markets, food markets, street performers and Emily Carr University of Art and Design.

This historic context sits confused amidst the modernism of the young city of Vancouver. This places the design of the new building in a unique context with an ultimately appropriate response. Is the building to mimic the historic context which surrounds it or shall it respond to the exciting modernism that is bringing so much attention to the city of Vancouver? Responding to this design problem, the Arthouse has the industrial palate of the island but a drastically modern, deconstructionist, form. GROUND FLOOR

Lobby, Cafe and Bar, Reception, Recording Studios, Editing Suites, Film Archive, RetailSECOND FLOORArt Cinema, Bar Lounges, Administrative Offices

THIRD FLOORFestival Theater, Exterior Stair

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Disconnected Pedestrian Spine

Major Pedestrian Route

Heavy Automobile Traffic

Steady Traffic

Light Traffic

EXPANDING THE STREET ROOM

Connecting outdoor public space and bringing the street room into the building to enliven the intended “pedestrian spine” of Granville Island.

Number of Theaters

Number of Showtimes Per Day

Available for Private Rental

Age Restriction

Children's Programs

Educational Programs

02468101214

Reference Library

Recreation

Cinemateque

Vancity Theater

Vogue Theater

Rio Theater

Scotiabank Cineplex

Cineplex Odeon

Park Theater

Festival Cinemas

The Arthouse Cinema

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Number of Theaters

Number of Showtimes Per Day

Available for Private Rental

Age Restriction

Children's Programs

Educational Programs

02468101214

Reference Library

Recreation

Cinemateque

Vancity Theater

Vogue Theater

Rio Theater

Scotiabank Cineplex

Cineplex Odeon

Park Theater

Festival Cinemas

The Arthouse Cinema

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FIRST FLOOR - Ampitheater, Video Production Facilities and Restaurant

SECOND FLOORLiving Room Theater and Facility Administration

THIRD FLOORFestival Cinema and Outdoor Access

NORTHWEST ELEVATION

9NORTHEAST ELEVATION

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‘an orchard’s threshold’

visitor center

:: dorris ranch, eugene, or

Located on the border of Eugene and Springfield, Dorris Ranch attracts visitors to its historic filbert orchards and pastoral landscapes year around, acting as a site for weddings, historic education and family-oriented events. The ranch’s increased popularity has produced the need for a visitor’s center and the opportunity to house the existing functions of the ranch and incorporate new ones.

Programmatically, the visitor’s center incorperates a main gathering space for use in large events, artist studios to house future artists-in-residence, and the supporting program for these activities. In developing the design, preserving the filbert orchard on the site became both a goal and an asset. The orchard was preserved at the heart of the building and at its edge. This allowed for the historic view corridors of the ranch to be maintained and it inspired the design and organization of the building’s structure. Framing views, and affecting light through structural articulation intigrates the character of the building with its natural environment.

Controlling the points of interaction between public and private - whether in sight or circulation - was also a goal in order to provide the artists-in-residence the serenity to productively work while also enjoying the Ranch’s natural historic character. This goal led to the organizational parti of the building in which the interlocking Ls are zoned for privacy.

SITE PLAN

Parti Views Structural Grid

Gathering Hall ‘Orchard’

SECTION ELEVATIONThrough entry facing artist studios

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SECTION ELEVATIONThrough entry facing artist studios

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“Tailoring districts”

downtown revitilization

:: springfield, oregon

Team MembersAmanda McCaffrey and Daniel Kendra

In this project the city of Springfiled asked for aid in the development of a new downtown plan that would revitalize the city’s vision for its future. Many city officials, private stakeholders and community members were involved throughout the entirity of the process. Regular critiques allowed city members to freely contribute in the design process and communicate desired criteria.

Our team first worked to define the existing identity of downtown Springfield. Recognizing what opportunities and constraints there were informed our planning for future development. The envisioned plan tailors three districts to the primary user groups of the Springfield downtown. These districts change in scale from a northwest regional character, to one that is more metropolitan and then finally to a smaller local character. The public space design responds to this by celebrating the natural identity of the pacific northwest (Mill Plaze) as well as supporting the thriving local foods market in downtown (Fith Street) , and building on the transit hub in a populated city ‘entrance’ (Transit Hub).

% glazing

50%

60%

60%

60%

80-90%

50%

MILL PLAZA DISTRICT TYPOLOGYGround:: restaurants, retail, entertainment, venueUpper:: venue, office space, loft apartments

Occupiable facadesGround treatment integrates itself with the “plaza room”

MULTI-UNIT HOMES

COURTYARD HOUSING

ROW HOMES

MIXED-USE APARTMENT

OPPORTUNITIES AND CONSTTRAINTS

SITE PLAN

STORM WATER MANAGEMENT ACROSS BLOCKS

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PresentPHASING DIAGRAMS

Phase 1

Phase 2

Weekday lunch hour:: 30 peopleMILL PLAZA OCCUPANCY

Summer afternoon:: 100 people

Community event:: 750 people

SPRAWLED COMMERCIAL CENTERS

Sprawled and Contained Commercial Centers

The regulatory diagram above zooms in on Springfield’s town center encircled to the left to show a permeable commercial zone that is central to the area and runs along main street, bringing people into the downtown rather than out of it.

To Walkable Commercial Main Street

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Site Plan and Urban Structure

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LOCAL

PLAZA AT FIFTH TYPOLOGYGround:: small retail [cafes, ice cream parlors, pizza joints]Upper:: office space [dentist, physical therapist], limited residential

METROPOLITAN

TRANSIT HUB TYPOLOGYGround:: restaurants [breweries, bistros], recreational retailUpper:: office space [large employers] limited residential

REGIONAL

MILL PLAZA TYPOLOGYGround:: restaurants, retail, entertainment, venueUpper:: venue, office space, loft apartments

% glazing

50 %

50 %

60 %

60 %

60 %

80-90 %

% glazing

70 %

70 %

70 %

80 %

% glazing

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40 %

75 %

Ground treatment provides attractive regude from high-volume traffic

Occupiable facadesGround treatment integrates inhabitants with the “plaza room”

Ground treatment creates intimate zones that encourage interaction

::IDENTIFYING DISTRICTS::

Existing Identity Collage

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Community event:: 750 people

Summer afternoon:: 100 people

Weekday lunch hour:: 30 peopleMILL PLAZA OCCUPANCY

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1.125”

2.5” 1.5”

1.125”1.5”1.125”

Timber truss for a meeting

hall

:: coos bay, oregon

Team Members: Tegan Firth

The intentions in this project were to explore how structural elements could inform a meaningful experience of light in relation to context. Located in the forests outside of Coos Bay, we wanted to have the roof of the meeting hall filter light in a manner reflecting the experiential qualities of being under the canopies of the Oregon Coast. As a result, part of the truss structure is much shallower to house sunken skylights arranged sporatically that dapple light through the roof.

We also desired that our structure to be light and layered. This informed much of our bult design and our choice of dark steel knife plates. The lightness would also speak to a feeling of wonder in the space - the sense that the structure is a floating element despite its large span.

Lastly, the geometry of the structure was meant to scoop light into the space from the clerestories on one side. By using straight members to create a curve in the truss profile, the truss resolves applied forces while creating different spatial experience along its length. From heavier wood members, to light - almost disappearing - cables, the truss meets the sky appropriately at is right side.

Clerestory Lighting

Distribution of Forces

Clerestory Lighting

Distribution of ForcesClerestory Lighting

Distribution of Forces

CONNECTION DESIGNKnife Plate Connections and Sliding Cables

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B

C

A B CCompression forces in wood members and tension forces in tension cables

Moment forces acting along glulams Shear acting across glulam members

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Compression forces in wood members and tension forces in tension cables

Moment forces acting along glulams Shear acting across glulam members

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1.125”

2.5” 1.5”

1.125”1.5”1.125”

CONNECTION DESIGNKnife Plate Connections and Sliding Cables

A

B

C

A B C

18“Silver lining” LUMINAIRE DESIGN

::: Eugene, oregon

Team MembersAlex Goetz, Madeline Gorman and Noah Green

Silver Lining is designed for young children, who spend much of their time dreaming, wondering and learning. It serves infants and toddlers age 8 weeks to 2 years old in a daycare center. The form is an abstraction of a cloud, countoured by light that emenates from the core of the unit. The organic form hangs above the children and is meant to be a decorative top-lighting luminaire rather than a primary source of light.

“INTERACTION IN STEEL”

ARBUTUS CORRIDOR BUS

SHELTER

:: VANCOUVER BC

The design of the streetcar shelter for the Arbutus Corridor in Vancouver, B.C. explores how structural members can energetically relate. Using the rail line as precedent in its own manner of expressing tectonic relationships, the form was defined as two halves supporting one another in a whole. Dynamically pointing in their own respective directions, these shelters were designed to brace one another and evoke the symbiotic relationship the future rail line will bring to the Arbutus area in its form.

The left shelter braces the right shelter’s cantilever through tension cables that counteract the dead load acting upon that canopy. Simultaneously, the right column functions to brace the left in order to allow for greater rigidity and a lightness in material that would not be achieved otherwise.

The design lends itself to a subtle but clear heirarchy, despite its light members. Members are sized and tapered to allow for their welded connections and to allow the viewer to understand the moment forces acting in the cantilevers and the lighter right canopy resulting from the compensating tensile force of the cables. The structure as a whole is braced through moment connections and the columns are fixed to a concrete plynthe to provide further resistance from lateral loads.

19 20“Silver lining” LUMINAIRE DESIGN

::: Eugene, oregon





SHELTER

:: VANCOUVER BC




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19“Silver lining” LUMINAIRE DESIGN

::: Eugene, oregon





SHELTER

:: VANCOUVER BC




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Concept & Design IntentThe Dreamers room serves infants and toddlers ages 8 weeks to 2 years old. The space is inviting, cheerful, and filled with natural light. Silver Lining responds to the nature of the young children, who spend much of their time dreaming, wondering, and learning. It is an abstract representation of a cloud, contoured by a “silver lining” that emanates from the core of the unit. The organic form hangs from the ceiling high above the children and is meant to be a decorative top-lighting luminaire rather than a primary source of light, due to the space’s hours of operation.

Plan

Elevation

30”

16”

5 1/2”

Sections and Photometric Diagrams

Wood depth: 1/2”Gaps between wood: 3/8”

Concept & Design IntentThe Dreamers room serves infants and toddlers ages 8 weeks to 2 years old. The space is inviting, cheerful, and filled with natural light. Silver Lining responds to the nature of the young children, who spend much of their time dreaming, wondering, and learning. It is an abstract representation of a cloud, contoured by a “silver lining” that emanates from the core of the unit. The organic form hangs from the ceiling high above the children and is meant to be a decorative top-lighting luminaire rather than a primary source of light, due to the space’s hours of operation.

Plan

Elevation

30”

16”

5 1/2”

Sections and Photometric Diagrams

Wood depth: 1/2”Gaps between wood: 3/8”

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DESIGN EXPLORATION

Book slot and rocking high desk

DESIGN EXPLORATION

Book deposit and inclined reading surface

DESIGN EXPLORATION

Book slot and rocking high desk

DESIGN EXPLORATION

Book deposit and inclined reading surface

Book depdosit and inclined reading surface

Book slot to secure reading material

shift

Shift explores what a desk surface can become by re-thinking what it means to read and write in today’s universities. It seeks to solve the design problem created by academic research in three meaningful ways:

::SPACEWhen writing, books being quoted are splayed out everywhere, open to specific pages - 3 to 5 at a time. How can these be stored but remain open and close at hand?

::QUOTING SOURCESThis presents and ergonomic problem if there is no mechanism to hold these pages open while quotes are being transribed.

::DIVIDING ATTENTIONNeeding to visually seperate reading and writing in instances when one is trying to concentrate on one and not the other. How fo we create task-oriented space or surfaces?

The following design process explored these issues, coming to a solution which utilized a sliding mechanism to express the dynamic shifting that is required in reading and writing today. The shifting capacity of the top desk surface is pronuounced through themes of floating and contrasting materials.

Iterative sticky-note design process investigating task oriented space or surfaces

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Reading & Writing WritingReading

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1 planed and laminated table top

7 drilled holes in aluminum c-channels

8 screwed rails to table top bottom

6 rabetted rails for slinding aluminum channels

5 routed channel holding folded aluminum

4 sliding dove-tail joinin routed rail with apron

2 slot and tenon joining table frame

3 dadoed h-brace

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BOEING AVIATION safety

INTERPRETIVE CENTER

:: Everett, WAshington

The Miller Hull Partnership

As part of the Request for Proposals for their interpretive center, Boeing asked three local firms to produce a schematic design for a new aviation safety center at Boeing Headquarters. Coming into the project shortly after it began, I worked to finalize and clearly convey the firm’s ideas in the following scheme.

In response to the greater site, the project creates an extraordinary experience for employees to experience in their every-day life. Siting, circulation, form and transperancy play integral roles in accomplising this concept.

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ITERATIVE PROCESS DIAGRAMS

1. Cutting the parking deck 2. Programmatic massing 3. Experiencing “the void” 4. Allowing clearance 5. Sculpting the “icon” 6. Site design and landscaping

Everyday experience

Filtering outeveryday experience

VOID

ICON

CIRCULATION ::Through entry, permenant exhibits and out through special exhibit::

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Graphite

:: gathering impressions

Drawing is an essential medium for me. Because of the wide value scale a soft lead provides, I use pencil as a way to understand the spaces I create and inhabit. This kind of documentation teaches me about the places I visit and the detailed level of their design. The intentions and intricacies of three dimensional space come to my attention, and through drawing quickly I learn to distinguish the most important elements.

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Colored pencil

:: understanding the color spectrum

There is a bit of a fear associated with color in architectural design. In my colored pencil drawing and mixing I work to familiarize myself with color and to play with its capabilities. The results are often surprising and always revealing.

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selected works winter 2015

Documents