Portfolio

P O R T FOLIO

K E L S E Y

S HAW

R E SU M E

University of Arizona, Office of Global Initiatives, June 2013-May 2014888 n. euclid avenuetucson, arizona 85721Melody Buckner, see reference Duties included: compiling online courses in Adobe InDesign, creating infographics and other graphics for various events, participating in Study Abroad presentations and events & member of Innovative Learning Project.

Ace Hardware, Cashier Supervisor, March 2010-June 20132830 n. campbell avenuetucson, arizona, 520.325.2432 Mark Rios, Owner, 520.300.0989

University of Arizona, Bachelor of Architecture, Minor in Italian Language August 2008-May 2014Study Abroad, Orvieto, Italy Summer 2012Millennium High School, Goodyear, Arizona August 2004-May 2008

Wildcat Excellence Scholarship August 2008“The House of Water”, icarch.com August 2012

AIAS Member, Arizona Chapter August 2011-May 2014Member of C.I.A.O. club August 2010-May 2014

EDUCATION & ACADEMICS

INVOLVEMENT

RECOGNITION

WORK EXPERIENCE

Autodesk Revit Rhinoceros 3D Adobe Illustrator Adobe Photoshop Adobe InDesignMicrosoft OfficeGoogle SketchUpAutodesk AutoCAD3ds Max

England, France, Lichtenstein, Germany, Switzerland, Italy, Austria, & Mexico

Brian AndrewsAdjunct LecturerUniversity of Arizona 1040 n. olive road tucson, arizona 85719 m. 213.840.4669em. [email protected]

Melody BucknerInstructional DesignerUniversity of Arizona, Office of Global Initiatives888 n. euclid avenuetucson, arizona 85721em. [email protected]

Michael KothkeLecturer + IDP CoordinatorUniversity of Arizona 1040 n. olive road tucson, arizona 85719em. [email protected]

Matthew Trzebiatowskiblankstudio1441 east sunnyside drivephoenix, arizona 85020m. 602.692.3123em. [email protected]

REFERENCES

S K I L L S

T R A V E L

kelsey shaw 13109 w. monte vista dr.goodyear, arizona 85395m. 623.556.7569em. [email protected]

C O N T A C TINFORMATION

TABLE OFCONTENTS

HOUSE OF W R I T I N G

The House of Writing was a competition located in the rural town of Montricher, Switzerland. The total square footage of the project was not to exceed 50 square meters and must be suspended from an existing canopy. The small structure would temporarily house an author from a winning competition to continue his or her writing in a secluded place. The existing site contains a newly built library as well as an auditorium, cafeteria, and a computer room for the visiting authors. The initial stages of the project involved heavy research of the site, context, and culture and was compiled into a book.

R E S E A R C H

Questioning: La Maison de I’Écriture Preparing for Proposition Through Inquiry

Questioning: La M

aison de I’Écriture

How

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Le Corbusier

Le Corbusier was an infl uential force in the revolution and reform of design in the early 20th century; architecture began to break away from Neo-classicist ideals. His legacy would solidify into a series of architectural publications and principles that drove the modernist movement not only in Europe but throughout the rest of the world. With regard to La Maison de l’Écriture, a concrete structure is hoisted to the sky as if it were the canopy of a forest. This new stone canopy both emulates the physical height of a forest and creates a dappled “underbrush”. This formal move described by

The Five Points

1 - Pilotis elevate the mass off the ground2 - Free plan, achieved through the separation

of the load-bearing columns from the walls subdividing the space

3 - Free facade, the corollary of the free plan in the vertical plane

4 - Horizontal windows5 - Roof garden, restoring the area of ground

covered by the house.13


Corbusier as “lifting the horizontal to the top,” and it is utilized in many of Corbusier’s works, most obviously in the Villa Savoye. Corbusier’s architectural tenants became widespread conventions in the fi eld during his career, speaking not only to a new methodology of design, but also to a revolution in social and artistic spheres. Perhaps the most well-known assertions are the “Five Points”. These serve as stylisitic guidelines giving a clear order to modernist design. The Five Points fi rst appeared in the journal “L’Esprit Nouveau,” and then later in a publication of his own in the early 1920s, as he developed the principles.12

“In the Soviet Union, where construction of communist society and the subsequent cultivation of the “new man” was under work, Le Corbusier’s ideas of the needs of a mass society drew much attention. Thus he was invited in 1928 to Moscow, but his high hopes soon changed into struggles with Soviet authorities and left-wing criticism. For his disappointment, Le Corbusier did not win the competition for the Palace of the Soviets. The country was not ready for modern architecture; in the 1930s the Soviet Union and Nazi Germany openly rejected modernism in favor of Neo-Classicism. Le Corbusier himself was not attracted to Communism or Fascism, but in 1930 he joined the Neo-Syndicalist movement and contributed to the group’s journal Prélude and its successor Plans. Infl uenced partly by the thought of Pierre-Joseph Proudhon, the anti-parliamentary movement attracted a number of intellectuals in the late 1920s. Some of the essays written for Plans Le Corbusier collected in La Ville Radieuse.”14

“We see how Le Corbusier, who appreciated governments only for the possibility of obtaining architectural commissions, was drawn to the new Soviet Union and extolled the merits of communism (he never joined the party); and in 1928, as the possible architect of a major new building, went to Moscow, where he was hailed by Trotsky and was received at the Kremlin. Le Corbusier praised the ideas of Mussolini and worked for two years under the Vichy government, hoping to oversee new construction and urbanism throughout France. Le Corbusier believed that Hitler and Vichy rule would bring about “a marvelous transformation of society,” then renounced the doomed regime and went to work for Charles de Gaulle and his provisional government.”16

“Le Corbusier believed that Hitler and Vichy rule would bring about ‘a marvelous transformation of society,’ then renounced the doomed regime”17

How has Le Corbusier infl uenced this region?

17

Le Corbusier and Communism

Le Corbusier‘s association with the communist state through architecture is both tumultuous, and worthy of note in the eff ort of understanding the evolution of design in Europe. Michalski published anti-communist literature through Noir sur Blanc. Le Corbusier’s infl uence permiates Montricher and La Maison de l’Écriture both architecturally and politically. The relationship between Le Corbusier and Communism can be found in many sources of literature:

“The turn toward social engagement in the Radiant City refl ected not only Le Corbusier’s participation in CIAM and his disillusionment with both communism and capitalism, but also his involvement with regional syndicalism, a group inspired by the pre-World War I French labor movement and committed to social change.”15

In a similar way as Le Corbusier combatted the artistic and political tendencies of the Communist state—with regard to their rejection of progression specifi cally in the fi eld of architecture, Jan Michalski’s authors made pertinent statements about the role of government.

The Palace of Soviets was conceived during the early years of Stalin’s Administration in the mid 1920s, shortly after the Lenin’s death in 1925. The Palace was to be constructed in Moscow, near the Kremlin. The intention behind the project was not only to incorporate administrative space for the government, but also a congress hall. This would serve as a symbol of the imminent triumph of the Communist philosophy; a constant reminder to the state of the principles of Marx and Lenin. In 1931, an international competition was held, which received over 160 submissions, twelve of which were from commissioned architects including Erich Mendelsohn and Walter Gropius. After the second round of entries, the council specified several design requirements: the main tower was to rival the Eiffel Tower in height, incorporate a hammer and sickle, and place monuments to Lenin, Marx, and Engels at the base. Le Corbusier also entered the competition; his modern-style submission was rejected. Instead of announcing the winners on time, however, the Council announced the three favored proposals and opened up

“Corbusier called the decision of the judges a ‘direct insult to the spirit of the Revolution…A tragic betrayal.’ “


a third portion of the competition. All three architects moved away from the avant-garde styles and into more Neo-Classical style proposals. Le Corbusier called the decision of the judges a “direct insult to the spirit of the Revolution…A tragic betrayal.”18

A Neo-Classical concept won the competition. It was revised to include a 100m tall statue of Lenin atop the structure—making the Palace of Soviets the tallest building in the world, surpassing both the Eiffel Tower and the Empire State building (1362 feet tall). Occupying the site was the Cathedral of Christ; it was promptly demolished. By 1939, the foundations for the palace were complete; a year later in 1940 the steel frame for the base levels had been constructed. However, shortly after Hitler invaded the U.S.S.R. in June 1941, the steel structure was taken down and used to fortify defenses in Moscow. The site gradually filled with water seeping down from the Moscow River until 1958; the foundations were then opened as the world’s largest open pool. In 1990, the Orthodox Church received permission from the state to rebuild the Cathedral of Christ. The Cathedral was completed, and commissioned in 2000. 19


19

Le Corbusier and Jan Michalski

Shown are the major works and major movements of Le Corbusier which are superimposed on places in Michalski’s life. Clearly Le Corbusier’s influence coincided with moments in his travels and education, as well as publishing company locations. Cities like Paris, which are illustrated with a larger circle, saw more activity from both Jan Michalski and Le Corbusier. Le Corbusier also has major works in the same area as Montricher. There is the Immeuble Clarte in Geneva, and several villas in his hometown of La Chaux-de-Fonds—as well as many famous works in the south of France. Jan Michalski would have been exposed to many architectural and philosophical ideals of Le Corbusier throughout his life, which transferred into his personal and professional ideologies.

“Le Corbusier left an enormous body of work, including some 30,000 architectural plans, 7,000 watercolor paintings, 500 oil paintings and 52 books. He was perhaps as famous for his philosophy of architecture as for actual works.”

Huffington Post


Le Corbusier: After Cubism

In 1918, Le Corbusier was introduced to Amédée Ozenfant who was a Parisian painter and critic. Ozenfant convinced Le Corbusier to paint more often, and together they exhibited their work—which eventually turned into a manifesto called “After Cubism”.20 This manifesto dealt mainly with the decorative excessiveness of Cubism, but also with revising the style itself. Le Corbusier did appreciate the Cubist idea of rational logic in composition, however, only understandable objects, like bottles, glasses, and guitars, could be manipulated. According to Le Corbusier, these objects represented “the virtues of the new industrial world: its order, its anonymity, and its purity—in short, its ‘purism’”.21 This term, “purism”, also began to symbolize characteristics of modern thought. One of his fi rst purist paintings, appropriately named “Still Life with Pile of Plates”, was rigorously limited to warm and cool color tones and the geometry was more realistic. Over ten years later, Le Corbusier began to use more vivid colors “entering a dialogue with pre-industrial folk culture”.22 These are the colors that are seen in the Heidi Weber Pavilion and the Assembly Building in Chandigarh. Because of his infl uence from Cubism, and his reintroduction to painting, Le Corbusier uses colors as a symbol and an architectural artwork.


21


Over the span of twenty years, Le Corbusier developed collections of colors, which he named “color keyboards”. The color keyboards were compiled in collaboration with the Swiss wallpaper company, Salubra. Arranged in rectangular keys, like on a piano, they were meant to sit in a specifi c order, dictated by the artist and the context of the installation. In the fi rst collection there are forty-three pastel hues, compiled at length in the 1930s, that were derived from fourteen key colors. This particular set of tones was meant to refl ect artistic atmospheric concepts, as well as to be visually appealing. Alongside these fourteen basic colors, Corbusier made the decision to include white to adjust the balance of shade.23

The second collection of colors was introduced in the 1950s and was meant to contrast with materials such as plaster, concrete, and wood. There are a total of twenty colors and are more vivid than the fi rst collection. Overall, the colors by Le Corbusier turn into an “autonomous element of a great mythical-symbolic machine”.24


23

Le Corbusier’s Legacy Le Corbusier’s view on new architecture, which stemmed from his use of reinforced concrete, was compiled into a collection of ideas called “The Five Points of Architecture.” Roughly 90 years later, Le Corbusier’s Five Points are exemplified in La Maison de l’Écriture. First, Le Corbusier describes the pilotis, which raises the building


off of the ground using reinforced concrete pillars. Clearly, La Maison de l’Écriture borrows this concept by the use of the canopy on tall, reinforced concrete columns. Le Corbusier goes on to describe a use of pilotis “with the idea of a town entirely built on a lattice grill work twelve to sixteen feet above ground”.26 As defined in the program, La Maison de l’Écriture is built and should function as its own village within Montricher.

Secondly, Le Corbusier outlines the idea of the free floor plan. Because of the nature of the material, structural walls were no longer needed, and slender columns took their place. The canopy in La Maison de l’Écriture also functions as a free floor plan, where beneath the perforated roof is open space, not obstructed by structural walls.27 As a result, this space becomes the most important area as it will contain the suspended

“...the ground is to be reserved for vegetation and moving objects-- i.e. circulation-- whereas stationary activities such as working and living belong on the upper fl oors.”25


25

structures, thereby exemplifying Le Corbusier’s defi nitions of pilotis and the open fl oor plan. Finally, Le Corbusier explains the use of the roof garden. With the use of reinforced concrete, the roof could allow for the additional soil load and the addition of green space on the roof. In La Maison de l’Écriture, the canopy becomes the roof garden because of the organic shapes and the

horizontal connection with the surrounding vegetation. Similarly to Le Corbusier’s use of the free façade, La Maison de l’Écriture uses white, reinforced concrete that is kept clean and free of ornamentation. In addition to this

material being categorized as one of the fi ve points, it is highly favored by Le Corbusier due to its aesthetic nature and structural qualities. Thus, La Maison de l’Écriture follows the same ideology.

CONCEPT

U N D U L A T I O N

M O D E L

ROOM IN THE DESERTThe project goal was to ethically place an installation in King’s Canyon, Arizona by disturbing as little of the native environment as possible. The installation, or the “Room”, had to address the factors of climate, such as solar orientation, rainfall, and protec-tion from the heat. The Room only needed to be large enough to protect a few hikers or visitors from the harsh summer sun or intense monsoons.

K I N G ’ S C A N Y O N

DOWNTOWN T U C S O N V I S U A LARTS CENTER

Group project: Kenneth Lowe, Laura Dinardo, and Kelsey ShawThis project is currently involved in a bond election to move collections from the Center for Creative Photography and the University of Arizona Museum of Art to a new facility in the Arts District of Downtown Tucson. The site had existing historical structures and pedestrian pathways, as well as a newly built Modern Street Car stop on the Northeast corner. The DTVAC’s clients, the University of Arizona and the Directors of both the Center for Creative Photography and the UAMA, had given a series of issues that the collaborative studio addressed and reformat-ted into architectural strategies and principles. From the client’s needs, a research book was compiled of the context, culture, and program needed. The project’s main principles of design were responding to the context, creating an experience for the patron, and also maintaining flexible gallery space.

BROADWAY BLVD

CHUR

CH A

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VENU

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ECKBO LANDSCAPE

GAZEBO

STABLES

STREET CAR STOP

SKY BRIDGE

S IT E

CONCEPT

SECTION: MOVEMENT THROUGH GALLERIESSCALE 1’=1/32”

STRUCTURES

CANTILEVER | TOWER

At the University of Arizona College of Architecture, the Structures program is a large part of our education. In the following projects, which were completed in two separate groups, we built a glu-lam cantilever and a steel tower. Once these projects are complete, we test their capacity and purposefully break them to understand their limits.

C A N T I L E V E R

T O W E R

ARIZONA IN ITALYThe “House of Water” was an intervention into Piranesi’s view of the Baths of Caracalla. Like the ancient roman baths, each room in the “House of Water” changes size and material in accordance with the temperature of the water. The first room, or the Natatio, is made of light, wooden boards, and the water is open to the sky. The Frigidarium is represented as the frigid, or cold glass room-- as if to make the frosting of the glass visible from the exterior. The third room, or the Tepidarium, is the warm bath made of thick marble. This is also the smallest room in accordance to the exist-ing baths. Lastly, the Caldarium, is represented as besalt-- a thick, volcanic material to define the scalding water inside. To supply the water are four massive steel water tanks, built according to the amount of water they will hold. The supply pipes are hidden in the stone walls, but exit out the four main entrances of the an-cient baths.

The sketches were drawn on-site and depict buildings and landmarks from Rome, Milan, Tivoli, Pompei, Paestum, Como, Florence, Orvieto, Sienna & Vicenza.Work was displayed as part of an exhibition both in Orvieto and Tucson,

E X H I B I T I O N

SENIOR CAPSTONEThe Senior Capstone consisted of an entire year of defining a position statement, analysis, and design. The studio was given a site in Detroit, Michigan and the base program was a Historical Society. Through research of the needs of the city, a fire department and police station were added onto the program. All aspects of the project were required to refer back to the position statement.

DETROIT POLICE DEPARTMENTDETROIT FIRE DEPARTMENTDETROIT HISTORICAL SOCIETY

POSITION STATEMENT

Singular functions in architecture produce staleness, while versatile conditions generate multivalent, or multifunctional, programmatic spaces.“Ambiguity and tension are everywhere in an architecture of complexity and contradiction. Architecture is form and substance-- abstract and concrete-- and its meaning derives from its interior characteristics and its particular context. An architectural element is perceived as form and structure, texture and material. These oscillating relationships, complex and contradictory, are the source of the ambiguity and tension characteristic to the medium of architecture...”

Robert Venturi, Complexity and Contradiction in Architecture: 1977, page 20

MULTIVALENCE

SITE: DETROIT, MICHIGAN

D E T R O I T R I V E RJ E F F E R S O N A V E N U EM I C H I G A N A V E N U E

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