JAYNE M. GOETHE design

Sunrise on the Ganges. Banaras, Uttar Pradesh, India. 2011.

We shall not cease from explorationAnd the end of all our exploringWill be to arrive where we startedAnd know the place for the first time.

T.S. Eliot

North Carolina Cultural Resources Visitor CenterARC 502 SPRING 2013 Instructors: Patrick Rand, FAIA and Dennis Stallings, AIA

The North Carolina Cultural Resources Visitor Center explores the possibilities of an edge condition that is inviting to vegetation while remaining decidedly ur-ban. Following the western and northern perimeter of its block, the project connects two of the original five green squares from the 1792 William Christmas plan for Raleigh, which are now home to the North Carolina State Capitol Building to the south-west and the North Carolina Executive Mansion to the north-east. The con-cept capitalizes on and adds to Raleigh’s lush, green cityscape, using the dichotomy of North Carolina’s ru-ral heritage and contemporary high-tech culture as a springboard for design.

The design is conceived as a floating bar hovering over an undulating, earthen plane that activates the street by encouraging public gathering along its edge. The mate-rial palette is kept simple, with ash flooring and ceiling slats outlining the interior. Grassy berms on the north side provide points of prospect for important state gov-ernmental speeches that are routinely delivered on the steps of the North Carolina State Archives Building di-rectly across the street. Two defined cuts into the north berms articulate classrooms and studios on the ground floor and allow for generous amounts of soft north light to reach the partially-submerged spaces. The gesture on the west-facing side is a dramatic sweeping of the ground plane from the street, lifting up towards the Capitol Building. The gentle, grassy incline acts as an informal amphitheater and gathering place for visitors.

CAPITOL BUILDING

EXECUTIVE MANSION

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first floor plan

mixed-usedevelopment

structured parking + roof-mounted solar panels

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A

A

B

B

C

C

ground floor plan

section BB

section AA

section CC

second floor plan

north elevation

While the active public edges of the NCCRVC remain street-facing, a narrow interior courtyard running the length of the main building provides artists-in-residence and students exterior workspace on the ground floor. An allee of dogwood trees, the state tree of North Carolina, provides shade and a colorful spring. Running along-side the courtyard on the second level is a wide, covered walkway allowing visitors to pass protected from the west side of the block to the east while enjoying views of the activity below. Hovering above in the “floating bar” is the North Carolina State Archives Heritage Library and Reading Room. The library space is designed as a simple, large hall filled with soft light which is diffused through translucent screens hung from the exterior. At each end, an ample covered porch continues the indoor-outdoor theme set by the composition below.

COMPOSITE SLAB

STEEL BEAM@ 1’-2” DEPTH

3” METAL DECKING

3” CAST-IN-PLACE CONCRETE

4” CONCRETE SLAB

4” HARD PACKED GRAVEL

STRIP INSULATION

10” TUBULAR STEEL COLUMN

6” ANCHOR BOLT

2” GRANITE SLAB BENCH

UNDERFLOOR PLENUM @ 1’-2” DEPTH

FLOOR RISERS

6”x1” ASH SLATS

5/8” POLYCARBONATE PANEL

TAPERED RIGID INSULATION

SINGLE-PLY ROOF MEMBRANE

6” ALUMINUM SUPPORT

1/8” THICK STEEL OUTRIGGER

EXPANSION JOINT

LOW-E INSULATING GLASS

DRAIN

5/8” ASH FLOORING (INTERIOR)

PERFORATED METAL GRATE FLOORING (EXTERIOR)

Jenkins Craft CenterARC 501 FALL 2012 Instructor: David Hill, AIA

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B

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15 16 1

7 18 19 20 2

1 22 23 24 2

5 26 27 28 2

9 30 31 32

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B

Considered a rural retreat only a short drive from Pitts-burgh, Mill Run’s rolling terrain and winding rivers is the inspiring site for the Jenkins Craft Center. One cannot travel to the site without noticing the mark Pittsburgh steel has left on the landscape, an elemental material in the construction of the famous Pennsylvania Railroad.The mountainous topography of western Pennsylvania could only be conquered by intensive engineering, re-sulting in a landscape spotted with elegant steel bridges spanning the region’s many rivers and valleys. It is the elegance and rigid honesty of the steel railroad truss that inspired the design of the Jenkins Craft Center. Just as a bridge bounds effortlessly from the earth, the building springs from a high point on the site, connecting visitors to stunning views of the mountains beyond. To achieve such a cantilever, the structure itself is built using the same principals as long-spanning bridge design. A deep box truss runs the central length of the building, support-ing a cantilever system perpendicular to itself. This two-way system creates an openness void of exterior col-umns, resulting in bountiful uninterrupted studio space. ground floor plan

first floor plan

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lobby entrance

lobby entrance

The lightness of the bridge is balanced by the building’s rootedness in the earth. A simple sectional relationship creates an airy bar structure cradled by a heavier grounded one, demarcated by thick field-stone walls. The carved-out earth beneath the cantilever creates a large open work yard. ‘Heavier’ crafts such as woodworking and metalworking are located below, while painting, drawing, and move-ment studios take place in the bridge.

work yard balcony with louvered panels

longitudinal section

Exploration of structural possibilities drove the design process.

Exploration of structural possibilities drove the design process. section structural model @ 3/8”

structural cross-section

The perimeter wall in each studio space is constructed of glass panels that can be arranged in various states of enclosure to welcome in air and scenery. Additionally, light and breezes can be controlled with the sliding louvered panels that compose the building’s skin. All circulation on the ‘bridge’ is open-air, wide enough to allow for ample exterior workspace and pin-up space between studios. As one travels along the perimeter of the bridge, the disappearance of the ground can be keenly felt.

south elevation

view from exterior circulation

box truss spine

Person Street mixed-useARC 401 FALL 2011 Instructor: Thomas Barrie, AIARecipient of AIA Triangle Scholarship Award, 2012

It begins with the trees. Establishing a central datum between streetfront and urban farm, an urban orchard is pulled through the site, gently dividing the public and private realms while connecting them in an in-the-trees public space above street level. The design offers plenti-ful flexible space for saturday farmers markets and art fairs, creating a lively environment for residents, who can choose from small one-bedroom ‘treehouse’ units which hover above the public space and more spacious units that gain privacy behind the orchard walk.

south elevation

Future Mixed-Use Development

Additional Family Units

Urban Farm

Pers

on S

tree

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Site Plan + Opportunities1”=50’

Farmers Market

Elevated Orchard Walk

Branch Library (Below)

Retail/O�ces

Co�ee Shop

Future Mixed-Use Development

Additional Family Units

Urban Farm

Pers

on S

tree

t

Site Plan + Opportunities1”=50’

Farmers Market

Elevated Orchard Walk

Branch Library (Below)

Retail/O�ces

Co�ee Shop

Unit Plan/600 sq ft1/4”=1’-0”

typical unit plan/600 sfN

section through corner retail

living area in single bedroom unit covered public patio

corner retail urban orchard through site single bedroom ‘treehouses’ above public courtscovered public patio

CarrboroARC 301 FALL 2010 Instructor: Ellen Weinstein, AIA

public libraryRecipient of AIA Triangle Scholarship Award, 2011

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carrboro/chapel hill: linked communities

downtown carrboro: public/private realms site at 1”= 100’

The proposed design responds to the duality of ‘old’ and ‘new’ Carrboro while also reflecting the contemporary di-chotomy found in libraries today, in which the institutions function as both a traditional container of books and a house for modern computing and information technol-ogy. The space is hence divided into two distinct realms: the technology spine and the traditional reading room. The push and pull relationship between the technol-ogy spine and reading room creates ‘porches,’ or lofts, evocative of the front-porch living that is characteristic of the Carrboro community.

ground floor plan

first floor plan

second floor plan

roof plan

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section AA

section AA

reading porch

Brion Cemetery visitor centerARC 202 SPRING 2010 Instructor: Epifanio Pazienza

As an introduction to both a sacred place and notable work of architecture, the visitor center attempts to en-hance rather than distract. Echoing Scarpa’s sombre formal language, the design guides visitors from gallery to cemetery entrance along a single wall, choreograph-ing a path while framing the experience. Terminating the southern end of the wall and standing testament to the sacredness of the site is a small candle room. While similar in weight to the formed concrete throughout Brion, the visitor center is without the gilded qualities re-vealed once inside the cemetery, allowing the cemetery itself to stand out while still relating to its material palette.

site plan

plan

longitudinal section

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view towards candle room

view towards candle room courtyard

triPODARC 302 SPRING 2011 Instructor: Paul Battaglia, AIA with Jeremy Leonard, Shaan Hassan, Tierra Thompson, Stephen Bell, Brian Cheek

In the wake of natural or human-generated catastrophe, emergency housing is an essential form of relief. Emergency housing should be easy to ship, swift to assemble, climate responsive, and able to be assembled in multiple arrange-ments to accommodate for the needs of both small and large families.

triAID is designed to meet all of these standards. Utilizing simple geometries, triAID provides easily assembled, structurally sound shelter. The basic triangle module can be arranged into clusters or stand alone to comfortably house two adults. Click-in shear panels provide extra sturdiness and increased protection from the elements; however, fabric or mesh can be stretched over the framing members to allow for passive climate control in warmer regions.

Each unit case houses two triangle units, increasing efficiency in transport. The diagram below demonstrates the assembly of a single unit.

triAID arrives as a compact, easy to maneuver unit.

The unit unfolds to reveal its three main framing members, the ceiling triangle, and a variety of cushtomizable shear panels. The flexible 4-prong joints are already connected to the main framing members.

Each framing member swings up 90 degrees to connect to the vertices of the ceiling triangle. Shear panels or fabric can then be inserted between the framing members.

Joints are of a flexible, durable material and can lay folded or flat when in transit inside the unit case.

triAID

In this project we were asked to develop a shelter using a panel, column, and beam structural system. Inspired by collapsable and modular designs, triPOD developed into a modular and easily fabricated shelter that be-comes occupiable art. The design-build component to the project forced our team to extensively examine con-nections between materials. All steel joints were custom designed and can be easily replicated.

assembly process

The Masonry Society’s facade is composed of a thick masonrywall built to emphasize the structural honesty of bricks working in compression. The stretchers are arranged to form a subtle gradation that expresses a wide range of tones bricks are capable of engendering. The mason becomes more than a mere constructor, but a craftsman-artist who plays a vital role in selecting the materialgradation. To provide order to the system, a Flemish Bond formation is used in which the headers are a consistent light toneall the way through while the stretchers vary from dark to light. Ascolor changes from brick to brick, the pedestrian begins to understand the wall’s part to whole relationship. Instead of a merepuncture in the wall, the entry becomes an experience in which one interacts with and understands the thickness of the wall.

LEGEND

THE MASONRY SOCIETY

Southeast Region

1. Flemish Bond2. Steel I-beam3. Solid masonry wall4. Corbel5. Glazing6. Steel decking7. Wood flooring8. Precast concrete sill

The Masonry Society’s facade is composed of a thick masonry wall built to emphasize the structural honesty of bricks working in compression. The stretchers are ar-ranged to form a subtle gradation that expresses a wide range of tones bricks are capable of engendering. The mason becomes more than a mere constructor, but a craftsman-artist who plays a vital role in selecting the material gradation.

THE MASONRY SOCIETY wall facade

FALL 2010 STRUCUTURES AND MATERIALS CLASS Instructor: Patrick Rand, FAIAwith Jeremy Leonard and Shaan Hassan1st Place, Sigmon Memorial Scholarship in Masonry Design

The Masonry Society’s facade is composed of a thick masonrywall built to emphasize the structural honesty of bricks working in compression. The stretchers are arranged to form a subtle gradation that expresses a wide range of tones bricks are capable of engendering. The mason becomes more than a mere constructor, but a craftsman-artist who plays a vital role in selecting the materialgradation. To provide order to the system, a Flemish Bond formation is used in which the headers are a consistent light toneall the way through while the stretchers vary from dark to light. Ascolor changes from brick to brick, the pedestrian begins to understand the wall’s part to whole relationship. Instead of a merepuncture in the wall, the entry becomes an experience in which one interacts with and understands the thickness of the wall.

LEGEND

THE MASONRY SOCIETY

Southeast Region

1. Flemish Bond2. Steel I-beam3. Solid masonry wall4. Corbel5. Glazing6. Steel decking7. Wood flooring8. Precast concrete sill

The task of this project was to join any two materials together to create a 14-inch cube without any adhesives or fasteners. Using mason line and plastic water bottles cut and joined by their grooves, I was able to create a system of plastic tubes that could then be tied together.

TWO MATERIALS

ARC 301 FALL 2010 Instructor: Ellen Weinstein, AIA

Raleigh Fire Department MuseumARC 402 SPRING 2012 Instructor: Roger Clark, FAIA

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NORTH SECTION

1/8” = 1’ - 0”

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NORTH SECTION

1/8” = 1’ - 0”

EQUIPMENT AND APPARATUS DISPLAY

ELEC

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1/8” = 1’ - 0”

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LL O

F IM

AGES

ARTIFACT RESTORATION AND PREP

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AST

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NEW BERN AVENUE

FIRE SAFETY AT HOME DISPLAY

9/11

CHILDRENS AREA

LOBBY / GIFT SHOP

HONOR COURT

PARKING

9/11

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SITE PLAN 1/32” = 1’ - 0”

Honoring one-hundred years of paid service to the City of Raleigh, The Raleigh Fire Department Museum stands as a memorial, a house of artifacts, a place of gathering, and an educational facility for both those belonging to the brotherhood of firemen as well as the general public they protect. The design features three main components of hierarchy: the tower, the ‘garage,’ and the honor court. A place to hold demonstrations and ceremonies, the honor court is the museum’s focal point, around which visitors traverse. Affording both views from above of the honor court as well as the Raleigh skyline to the west, the 60-foot-high tower houses the historic warning bell. Displaying the most alluring pieces of apparatus, the garage hovers above the street, act-ing as a physical billboard. While waiting for the light at the intersection of New Bern Avenue and N. East Street, drivers and pedestrians are treated to enlarged images of firefighters in action.

section AA

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SECOND FLOOR 1/8” = 1’ - 0”

MULTIPURPOSEKITCHENMECH

LIBRARY

DIRECTOR

HISTORICALSOCIETY

WORKROOM

first floor second floor

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B

C C

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WEST ELEVATION

1/8” = 1’ - 0”

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west elevation

lobby stair tower

west elevation

stair tower

NWEST SECTION

1/8” = 1’ - 0”

section BB

hall of images path to main display room

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SECTION THROUGH COURTYARD

1/8” = 1’ - 0”

section CC

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SECTION THROUGH COURTYARD

1/8” = 1’ - 0”

section CC