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ELIZABETH HIBBARD SELECTED WORKS
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ELIZABETH HIBBARDSELECTED WORKS
EducationMaster of Architecture, August 2008 - May 2012University of Florida, Gainesville, FL
Vicenza Institute of Architecture, August 2011 - December 2011University of Florida, Vicenza, Italy
Bachelor of Arts in Studio Art, August 2004 - May 2008Indiana University, Bloomington, INFocus on oil painting, watercolor, and drawing.
ExperienceTTVArchitects, Inc. Jacksonville, FL Architectural Designer, June 2012 – August 2012- Assisted Project Managers on construction documents in Revit and AutoCAD.- Worked on a range of multiple projects, such as contractual governmental and institutional work, simultaneously to meet coinciding deadlines.Organized project database for in-house organization and for marketing proposals.- Lead TTV to become actively involved with Downtown Jacksonville’s Art Walk, as TTV was the only participating architecture firm to do so. Recruited students and designed the display of their work for public viewing.- Photographed marketing quality of finished projects, like the Asian Bamboo Gardens at the Jacksonville Zoo.
Gresham, Smith, and Partners, Tampa, FLSummer Intern, May 2011 – August 2011 - Assisted on 3D models, drawings, and documentation in SketchUp, Revit, MicroStation, Photoshop, and Microsoft Office.- Participated in the process of the Ft Lauderdale Airport Request for Qualifications. I worked on a team that put together a powerpoint presentation and material used in it, such as before and after renovation plan diagrams, calculated area imrovements, and time schedules .- Worked on Aviation (RFQ), Healthcare (Room data Sheets), and Educational (University of Tampa Courtyard Revit model).- Visited the Sarasota Memorial Hospital construction site for a walk through with Project Manager and sat in several meetings between the clients, architect and engineers for the St Joseph Hospital.
Skills Software: FormZ, SketchUp, Rhino, Revit BIM, VRay, Adobe (Photoshop, InDesign, Illustra-tor), AutoCAD, MicroStation, and Microsoft Office.Visual Arts: Drawing, Watercolor, Paint, Model Making, Collage, PhotographyLanguages: Italian (Basic) and French (Basic)
Leadership Teaching Assistant, Design Studio 2 and Design Exploration ProgramUniversity of Florida February 2010 - July 2010- Assisted Professor Martin Gundersen, teaching analytical drawing process, translation, and model making. - Introduced high school level students to architecture for a three week summer camp as an assistant and a role model. Encouraged critical thinking and investigation skills, drawing, and model making, while providing positive and constructive feedback.
NCAA Division I Student Athlete, Women’s Varsity Rowing Team Indiana University August 2004 – May 2008- Named to All-Big Ten First Team 2007, named to All-Big Ten Second Team 2006, and - Indiana University’s first Big Ten boat of the Week on March 22, 2005.- Selected to the US Women’s National Team Camp, University of Wisconsin, summer 2006- Received 100% athletic scholarship senior and fifth year.- Fifth year spent as a student assistant coach. - Developed strong work ethic, teamwork, positive attitude, healthy lifestyle, persistence, and a healthy drive for competition, success, and consistent search for team and individual improvement.
References Tri T. Vu, AIAPresident/Founder of TTVArchitects, [email protected]
Chris Noel, AIA, LEED APSenior Vice President of TTVArchitects, [email protected]
Tom Gentry, AIA LEED APProject Manager, Architect of TTVArchitects, [email protected]
Grant J. Clifford, RIBA, LEED APSenior Architect of Gresham Smith and [email protected]
Lisa Huang, AIAAssistant Professor at the University of Florida School of [email protected]
Martin GundersenAssociate Professor at theUniversity of Florida School of [email protected]
Guy W. Peterson, FAIAIvan Sith Professor at the University of Florida School of Architecture Principal Architect at Guy Peterson Office for [email protected]
Stephen PetersonHead Coach of the Indiana University Varsity Women’s Rowing [email protected]
ELIZABETH HIBBARD22 North 6th Street, Apt. 14A, Brooklyn, NY 11249 [email protected] 419.340.5742
SELECTED WORKSORLANDO NATATORIUM + URBAN CENTER
SAVANNAH INTERVENTION
LUKEVILLE, AZ UNITED STATES BORDER CROSSING
CHARLESTON LIBRARY MASTER’S RESEARCH PROJECT B.A. STUDIO SELECTED WORKS
Images Taken During Travels in Europe
ORLANDO NATATORIUM + URBAN CENTERGraduate Studio 1Professor Guy PetersonThe concept of this project is to create an urban point for a diverse range of visitors in downtown Orlando. The site exists where the previous Orlando Magic basketball arena sits, a sixteen acre plot of land. It exists between different cultural zones, such as the downtown business district, low cost housing, and a design college. This point presents an opportunity for creating interaction between Orlando’s people.
The program focuses on an olympic pool and diving center. Professional, recre-ational, and student swimmers will be welcome to the facilities. The pools only re-quire an acre or so of this site. Program pieces are introduced to occupy the site to create urban space to include a cafe, outdoor recreation pools, a gym, administrative offices, and a large multi use space. All of these pieces join around an outdoor gar-den space. Visitors must enter the facilities through the garden space. This space can be reached from all sides of the site.
The top diagram illustrates how a visitor can access the urban center from all directions of the site. The central garden space opens up to the park and hous-ing in the north. Those visiting from the university in south are filtered in through a hardscape plaza be-tween the center and a cultural center. Those parking in the garage have direct access from the east, under-neath a transparent bridge that links the cafe and gym.
The bottom digram illustrates how the site is pressed together to allow visitors to interact in between their individual agendas.
Perspective into the olympic pool and diving center.
Program:1 Main Entry2 Locker Rms3 Olympic Pool4 Diving Well5 Cafe6 Therapy Gym7 Fitness Gym8 Outdoor Pool9 Outdoor Garden10 Spectator Seating11 Administration
Ground Level Plan Second Level Plan
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Interior Perspective inside the circulation Space between the Cafe and Gyms.
Savannah InterventionSavannah, GaDesign 6 StudioProfessor Levent Kara
This proect serves as an introduction to digi-tal design and digital presentation. While the project does not have a specific program, the building focuses on integration into the site and circulation through the spaces.
The Savannah site exists between the street edge and the water’s edge. There is a 20 feet section change between both edges. This project plays with human experience through circulation sectionally. It becomes a passageway of public and private gathering spaces.
LUKEVILLE, AZ UNITED STATES BORDER CROSSING STATIONLukeville, AzGraduate Studio 2Professor Lisa Huang
Border. A break in the horizon. An entry. No man’s land. Internation Zone. A zone. Threshold. Doorway. Transition. Exchange. Crossing. Awareness. Sensation. Moment. Pause. Anticipation. Surprise. Changing. Enlighten-ment. New. Past and future. Memory. Anticipation again. An exit. Beginning.
Left and Above: Watercolor Explorations of the site and border threshold. Below: Longitudinal Section through the Pedestrian Pathway/ Border Crossing Interaction Center.
Site PlanSecond Level PlanThird Level Plan
Circulation:PedestrianCommercialNoncommercial
Narrative of Anticipation Through the US Border Threshold
Arrival
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This border crossing intervention addresses the cultural, program-matic, and conceptual issues of the United States Mexico border. It is an international threshold of humality. This building plays with the idea of anticipation and the human senses. It achieves these ideas by circulating through autonomous spaces to be discovered and surprise their visitors.
To reach these spaces, the visitor wanders above Mexico by an exterior ramp. The constructed landscape encloses the ramp, blocking the direct view of the country. The circulation directs the visitor to the light filled, transparent multi use space. This space faces the United States and glows of light.
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Across from the tranparent light construct, there is another autonomous construct, which is carved from the rising desert landscape. Light is carved from this heavy stone block from the mountain. This heavy, darker space plays with artificial and natural light within several gallery spaces.
These contrasting constructs raised out of the land-scape, allow for integration and exchange through the program and senses. After wandering through, the visitor is directed down through the central cir-culation core and towards the border processing room.
The enclosure of the circulation core is formed as a carving out of the constructed landscape, then fords out into a transparent grand space. It becomes a large, breathable space. The materi-al transitions from mass to light tectonics, as the visitor crosses the border threshold. Those passing through have a large view of the automotive circu-lation and how the station folds into the horizontal desert landscape.
After being processed into the Unitedd States, both the pedestrians and vehicles cross under a trans-lucent, glowing roof. This serves as the welcome banner, the final piece of exiting the threshold.
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Charleston LibraryCharleston, SCDesign 6 StudioProfessor Levent Kara
The urban context of Charleston, along with the site configuration, programmtic pieces, and size, challege this project. The site exists between the government center on Meeting Street and Broad Street, and faces Washington Park. The site, itself, is created by building edges and is awkward and tight. It is open to the street on the east and an alley to the south and west. Circulation must be explored to see how the visitor access the building from the edges and also the void space or created exterior spaces.
This buidling filters the visitors into a gathering courtyard, created between the existing edges and the construct. The building cantilevers create entry space to the building and exterior covered spaces. The gathering courtyard gives the exisiting context a new space to interact or relax, in between their different functions.
The program asks for a large library, meeting rooms, a cafe, and a small theater. The library becomes a place for in-dividual investigation, while the other pieces become places for interaction. A circulation core is at the center, allowing visitors to cross above, across, and below. A series of catwalks allow for direct access from the autonomous spaces to the library.
A large, folding plan holds the cafe, meeting rooms, and the theater. It is constructed from a red molded plastic. It separates these pieces from the library and allows circulation catwalks to puncture through.
Longitudinal Section from North to South throught the Library Spaces.
Ground Plan
Private Spaces
Library Space
CirculationCore
Second Level Plan Third Level Plan Fourth Level Plan
Architectural drawing is often over-valued or the properties of drawing are barely recognized at all. It has redefined its representational role similar to that of early twentieth-century painting, in this sense being less concerned with their relation to what they represent than to their own constitution. Draw-ings can become repositories of effects, while the transmutation that occurs between drawing and building remains troubled. For these reasons, the act of drawing must be rediscovered architecturally. To redefine the representa-tional role of the drawing is to re-imagine the relationship between building and drawing.
More remote destinations can be reached but they aren’t exotic or distant. These beautiful endings are merely potentialities that might be brought into existence through a given medium. An architect must go beyond traditional drawing techniques, driving past the medium to make fully embodied three-di-mensional forms. For any object to gain freedom, the hand must lose control of it.
The best way to rediscover the role of drawing from paper to building is to explore the act of making. This Masters Research Project establishs a set of personal rules between the language of architecture and the language of drawing that could aid in the discovery of new spaces.
Rediscovery of the Architectural Drawing: The Process of MakingMaster of Architecture, University of Florida,2012First Chair: Professor Martin GundersenSecond Chair: Professor Lisa Huang
PICASSO: Painting and ConstructingIn many ways, Pablo Picasso was an architect. He created space. Through his drawings and constructs, he challenged traditional ways of making. Pi-casso’s methods provide inspiration to discover what possibilities lie in ar-chitectural drawing. After studying his Guitars and his rediscovery of Las Meninas, I have found my method of investigating spacethrough t two di-mensional language.
Picasso has begun his obsession over the Guitar as an object and that he is exploring materials to create the subject beyond pencil and paint. He pro-ceeded to use more diverse materials after seeing Braque’s paper experi-ments.
As Picasso invested in the subject of the Guitar, he created a series of paint-ings, collages, constructs, drawings, and photographs. He embarked on a mission of cutting and pasting and creating. As he moved from two dimen-sions to three, the aesthetic language remained the same.
Both dimensions communicated spatial relationships. There was a sense of size and relative scale, color, material and texture. The Guitar redefined artistic procedure along with space and construction.
Robin Evans looks at Picasso’s methods of experimentation with the guitars. These cardboard maquettes of guitars appear like his drawings spilled out into space. Duchamp stated, “The first effort at architecture amongst the cubist fraternity, is, by contrast, generally derided as a facile attempt to simulate the appearance of cubist shapes in architectural details.”
The act of painting became a form of research and experimentation like his collages and constructs. Each experiment was focused on reflections of a masterwork that Picasso had admired and respected during his life. Master paintings were his subjects for formal invention, but never as a substitute or a replacement for the original masterwork. Painting into exclusive subject for his reflections: he studied it, assimulated it, made it his own, and then rein-vented it with an independent, fresh vision
Picasso carried out an intensive exercise in the painting of painting. From tradition, he made a melting pot of forms to be manipulated and recycled. In each series, he ignored the style of his predecessors. Instead, he explored the compositions, figures, light, color, and space.
With this idea turning in his head, Picasso began his Las Meninas series in 1957. This series is made up of 58 oil paintings of 44 interpretations directly related to Velazquez’s painting, 9 scenes of his pigeon loft, 3 landscapes, and 2 free interpretations. He donated them as a set to the Museu Picasso de Barcelona.
The series investigates all of the characters of the family, both together in groups and individually. He examined the pieces of the whole. As the series progressed, he began to expand on the plot and create new spatial dynamics. Each work is analytical. Painting was also an experiment of time. Velazques used space and linear perspective and condensed the moment of Las Meninas into one scene, while Picasso did over a rich series. Each work gives rise to another, each work a part of the whole.
Top: Picasso. Las Meninas (Group). 1957. Oil on Canvas. Museu Picasso, Barcelona.From Left to Right: Las Meninas (Infanta Margarita Maria and Isabel de Velasco). 1957. Oil on Canvas. Museu Picasso, Barcelona. Las Meninas (Group Without Velazquez). 1957. Oil on Canvas. Museu Picasso, Barcelona.Las Meninas (Group Without Velazquez or Maria Barbola). 1957. Museu Picasso, Barcelona. Las Meninas (Infanta Margarita Maria). 1957. Oil on Canvas. Museu Picasso, Barcelona.
Opposite page, Left to Right: Installation in Picasso’s Studio at 242 Boulevard Raspail. 1912 Photographic Composition with Construction with Guitar Player and Violin. 1913.
Caravaggio. The Martyrdom of St. Matthew. 1599-1600. San Luigi dei Francesi
Picasso renews Las Meninas by innovation, aesthetic language, but could not be possi-ble without his exploration in the process of thinking through making.
This manner of working will help bridge to gap in what is being lost between the archi-tectural drawing and building. Picasso challenged the acceptable ways of thinking and making. He treated his art like science, in such a way that Robin Evans might argue architecture needs to be treated like art.
This experiment examined Picasso’s way of making as a model for re-examining draw-ing’s ability to translate into dynamic spatial conditions. Picasso’s process is an inspi-ration to explore the role of architectural drawings and the two dimensional language of transforming master paintings into spatial experiments. Each masterwork became an analytical study of line, texture, and composition. Through drawing and collage, the work became a mapping of the painting. As the collage became a construct, the aesthetic lan-guage was maintained. Through the process of making, each work became something new and independent of the masterwork.
An architect must be the artist. An architect must go beyond traditional drawing tech-nique, his imagination driving past the paper, can he or she can make fully embodied three-dimensional forms.
Tiepolo, The Last Supper. 1745-1747. Louvre. Oil on Canvas.
Opposite Page: Line Drawing and Collage of Martyrdom of St. Matthew. Collage of Martyrdom of St. Matthew. Ink and Oil Paint on Paper. Right: Spatial Constructs Made from Collages of Ink and Oil Paint on Paper. Line Drawing and Collage of The Last Sup-per. Ink and Oil Paint on Paper. Spatial Constructs Made from Collages of Ink and Oil Paint on Paper.
Process Work in Constructing Landscape, Paper Site Construct, and Site Plan painting, Oil and Pencil on Canvas, 36”x60”.
Relief Paper Models and Collages with Oil and Pencil.
The Constructed Landscape: The Process of Making as an Architect, Artist, and Philospher. Appling the Discovered Methods of the Masterworks to the Site of Riddle Point Park, Bloomington, Indiana.
Above: Perspective of Welcome Center From the Lake,, Below: Perspective of the Welcome Center Entry Space and Large Gathering Space, Right: Ex-ploded Axon of Welcome Center.
Left: Site Plan: Projected Image from Projector on to Painted Can-vas.Above: Picasso. Guitar and Bottle of Bass. 1913. Wood, Oil, Char-coal, Newspaper, and Nails on Wood. Galerie Kahnweiler.
The site chosen exists just outside of Bloomington, Indiana. Bloomington sits an hour south of Indianapolis and is home to the Indiana University. The University is home to beautiful white limestone, four comfortable weather seasons, and colorful fall leaves. It is the southernmost of the Big Ten Schools, which is a nice advan-tage for outdoor sports.
Riddle Point Park on Lake Lemon was chosen for several reasons, one being that it is the site for the Indiana University Women’s Varsity Rowing team. With the mild weather, Lake Lemon is one of the best and hidden venues for rowing events. The water edge is covered in tall trees and quiet residences. The trees and surround-ing hills protect and hide the water from most winds. Lake Lemon allows crews to focus internally and practice on calm safe water.
To inform the construction of the site, program must be inserted. The master paint-ed had the story in the painting to inform my making decisions, but Riddle Point in more of a bare canvas. By choosing to create a private rowing venue, the boathouse, and then reinventing the public park, the site will begin to construct into spatial relationships.
Perspective of IU Boathouse approach from the South.
Digital Proposal:What these Spaces Could BecomeThe final investigation is to attempt to bridge the gap between drawing and building through a constructed landscape. The process will implore the same method as before with the painting spatial experiences. Thinking like an architect, artist, and philosopher, the site will be explored and constructed to discover new space within the architecture of the site.
Clockwise: Perspective from Lake Lemon towards the Indiana University Women’s Boathouse, Inside of the far West Boat Bay at the IU Boathouse, Exploded Axon of Boathouse, Perspective of West Boat Bay, and the Second Level of Multi-Use Space of Boathouse.
Top: Approach to Sunset Pavilion, Middle: Perspective in Pavilion, Bottom: View Looking West.
The success of the project is found in examining the series as a whole. Through the process of investigation Riddle Point Park through drawing, painting, collage, construct, and finally projection, the site emerges with as much spatial clarification as a Picasso construct. Each step gives to the next and grows into something more. Architecture emerged from analysis of the programmatic space in the site. When drawing could only go so far, a construct was made. And when a construct was finished, it was drawing after that took it to the next step.
The architectural drawing is not a technical drawing on graph paper. Rather it is a spatial investigation exploring all methods of searching for space. It is the line weights and shapes and constructs of sand and paper that manipulate space. The gap between drawing and building is found in the process of making and think-ing. Drawing shifts from a traditional mode into a more abstract way of imagining.
Picasso has been an icon of the creation process. He was able to create a way of making that people were able to read and understand. Similarly, Goudi, Le Corbusier, Burle, and other now contemporary makers have found a process of in-vestigating and discovering new space. They have constantly worked and proven successful in bridging the gap between drawing and building.
These experiments have translated into spatial discoveries and will continue in my explorations as an architect, thinker, and artist.
BACHELOR OF ARTS, STUDIO ARTIndiana UniversityBloomington, In.
At Indiana University, I found passion in developing my eye and hand skills in drawing and painting. My passion for making and constructing flowed through a pencil, brushes, a knife, and even my fingers. Art allows me to explore different tools and materials that create space.
These skills apply to my architectural design pro-cess. I enjoy exploring light, materiality, and spatial relationships through my hands. I am able to see these explorations clearly and quickly along with communicating my ideas to others.
