hannah kramer

hannah kramer314.308.9456

hannahckramer@gmail.com

Hannah Kramer 2603 Windsor Place #B300 • Lawrence, KS 66049 • 314.308.9456 • hannahckramer@gmail.com

Educationcurrent GPA: 3.73

University of Kansas Masters of Architecture Fall 2009 - Spring 2014 (anticipated graduation date)

Universität Stuttgart study abroad – architecture + design-build Stuttgart, Germany 2011 - 1012 academic year

Internationales Kulturinstitut study abroad – German language intensive Vienna, Austria Summer 2011

Cor Jesu Academy College Preparatory Fall 2005 - Spring 2009

Employment Hastings+Chivetta Architects intern architect – graphics + programming + marketing May 2013 - December 2013

Chesterfield Concessions cashier + stocker + food preparation 2008 - 2010

Carol Bowman Academy of Dance teaching assistant 2007 - 2009

Honors + Awards

School of Architecture ARCHU/M.Arch Honor Roll – Fall 2009, Spring 2010, Fall 2010

University of Kansas Honors Program – Fall 2009 - present

Amsden Art History Award for outstanding work in an art history course – Fall 2009

Scholarships AIA St. Louis Scholarship – 2013 - 2014 academic year

Robert L. Rosenfeld Scholarship – 2013 - 2014 academic year

AIA St. Louis Wischmeyer Scholarship – 2012 - 2013 academic year

Donald P. Ewart Memorial Scholarship – 2011 - 2012 academic year

Baden-Württemberg Stipendium – 2011 - 2012 academic year

J. Gordon Moorman Memorial Scholarship – Fall 2011

Office of Admissions Scholarship – Fall 2009

Computer Skills Adobe Illustrator • Adobe Indesign • Adobe Photoshop • Autodesk 3-D Studio Max • Autodesk Revit • Corel Draw • Google Sketchup • Microsoft Excel • Microsoft PowerPoint • Microsoft Word

well-versed in both PC + Macintosh computers

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37 Spring 2O12

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M1 à la Tour de l’Architect

SpanFall 2OO9

Kit of PartsSpring 2O1O

Graduate Study LibrarySpring 2O1O

Performance PavilionFall 2O1O

Lawrence Public LibrarySpring 2O11

Chicago Lyric OperaFall 2O12

Culinary IncubatorSpring 2O13

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Location: Five Points, Denver, Colorado, USA

Project Description: Design a culinary incubator community center for the Five Points district.

The central focus of my design is the unpredictable and unusual café space. I have drawn on multiple inspirations for its unique form. I hearkened back to grain silos of the plains and farms surrounding Denver for its initial iteration. I then began to derive the shape further, inspired by both the kivas of the local Native American heritage and by the Rocky Mountains so symbolic of Colorado. Furthermore, the glimpses that passersby on Welton Street will get of the café’s peaks are a play on the setback residential eaves that peek out over the storefronts all over the Five Points District. In terms of the lighting and interior feel of the café, I took additional precedence from the kivas previously mentioned. The angular oculus in each of the pockets of the café brings light down into the space in the same way that the oculus in the Native American kivas brought in light. The light becomes an event, tracing its way across the walls and floor of the spaces as the day progresses.

The rest of the building sits in stark contrast with the faceted, unique form of the café. It is my hope to take the brick that is so typical of the Five Points and apply it to the façade of the rest of the building. These spaces indicate a less frivolous function than the activity boasted by the café, featuring various shops and public services. So as to even further contrast the café in terms of materiality, I decided to play with the brick in the same way that Office dA did with the Tongxian Gatehouse. This will make the brick masonry seem lighter, further contrasting the heavy monolithic walls enclosing the café.

The U-shaped plan of the building is designed to envelop the café and adjacent plaza while still allowing sunlight to stream into the central square. Suddenly the most desirable space to be, this plaza will thus become a focal point for community gathering. Its draw comes from the warmth provided by the sunlight, the shelter from outside forces provided by the outer building, and the distinctive character provided by the backdrop of the faceted café walls. The central plaza becomes the hearth of the community building. Here, a number of planters are mixed among outdoor café tables. They are arranged in a way reminiscent of harvest lines stretching off into the distance in the agricultural areas surrounding Denver. This dual function serves the true meaning behind the idea of a culinary incubator—it is where people come to cultivate, sell, and purchase food. It will be a link for the community to connect back to itself and feed revenue and resources back into the neighborhood, as well as a link for the entire city to connect to the Five Points community. It will bring in additional revenue to this reemerging part of Denver, rejuvenating the area by giving its residents something to rally around. By educating the people of the Five Points in healthy, organic eating, the culinary incubator only further serves the community. The benefits of this culinary community center are boundless for the physical, fiscal, communal, and spiritual health of the Five Points District.

Spring 2O13Culinary Incubator

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Top left: Native American kiva featuring the oculus to bring in sunlight - served as inspiration for the development of the form of the café.

Top right: the front of the culinary incubator hearkens back to this neighboring storefront setback of the residential eaves that can be seen throughout the Five Points district

Bottom left: brick patterning on the Tongxian Gatehouse by Office dA

Bottom right: grain silos setting a backdrop for the grain harvest - my initial café inspiration.

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Top: City of Denver with mountains serving as a dramatic backdrop

Bottom: Denver airport with mountains serving as immediate local formal inspiration

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26th St

25th St

Welton St

California St

Glenarm Pl

Tremont Pl

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TRAM LINEPEDESTRIAN

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(Opposite Page) site circulation - green represents vehicular; purple represents public transit

(This Page) concept development

Top: the first concept with a central courtyard, putting the garden at the heart of the plan

Middle: flipping the plan so that the central courtyard sits on the south end of the site, optimizing sunlight

Bottom: creating a backdrop for the central garden courtyard. it began as grain silos, and developed from there.

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Parti

caFÉ aS phySical and cOnceptual cOre

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Parti

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Level 212' - 0"

Level 324' - 0"

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CommercialKitchen

Cafe

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1’0 3’ 8’ 18’

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CommisaryKitchen

Food Truck

BusinessIncubator

Think Tank

Food Pantry

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Longitudinal Section

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Level 212' - 0"

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CommercialKitchen

Cafe

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CommisaryKitchen

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Welton Street Elevation (Southeast Elevation)1/4” = 1’

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26th Street Elevation (Northeast Elevation)1/4” = 1’

Welton Street Elevation

26th Street Elevation

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Welton Street Elevation (Southeast Elevation)1/4” = 1’

Level 10' - 0"

Level 212' - 0"

Level 324' - 0"

26th Street Elevation (Northeast Elevation)1/4” = 1’

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1’0 3’ 8’ 18’

Longitudinal Detail Section

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1’0 3’ 8’ 18’

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SectiOnal mOdel

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Food Pantry

Tool LendingLibrary

Wood Shop

Seed Bank

Storage

CommercialKitchen

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Food TruckCommisary/Kitchen

Cafe

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Think Tank

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Conference Room

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SECOND LEVEL

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Location: Ogden Plaza, Chicago, Illinois, USA

Team: Daniel Allen, Chinonso Ike, Hannah Kramer

Project Description: In teams of three, design a new opera house for the Chicago Lyric Opera.

Two different site options were available: Wolf Point and Ogden Plaza. My team chose Ogden Plaza because of its location as a more central pedestrian hub. Our focus was on creating a rich auditorium that was subtle enough not to take away from the performance. We accomplished this by lining the walls with rich but darkly-colored wood akin to the Copenhagen Operaen and giving the chairs a dark red velvet material. This dark, rich auditorium contrasted the lighter jewel box lobby area that encased it.

Everything about the materiality suggests a gradient from public to private spaces. The diamond windows around the lobby grew smaller and more sparse as the opera house transitioned from public foyer to private backstage. The form of the building with its glass lobby quite literally symbolized the theater as a cultural gem in the city. This jewel would shimmer during the daytime and glow during the nighttime. The terraced plaza designed around adjacent to the opera house created a journey for the opera-goers: the patrons must ascend up toward the pinnacle jewel that is the opera house, the highest point on the site. Lush planter boxes and an urban orchard created interest along this path up to the opera house.

Fall 2O12Chicago Lyric Opera

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Top: aerial view from northwest

Bottom: aerial view from southeast

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BASEMENT LEVEL ENTRANCE LEVEL

1- Mechanical2- Orchestra Pit3- Orchestra Lounge4- Scene Shop5- Lift6- Loading Dock7- Trap Space8- Instrument Storage9- Conductor’s Dressing Room10- Green Room11- Offices12- Rehearsal Room13- Staff Lounge

14-Restroom15- Electrical Repair Shop16- Box Office17- Boutique18- Cloak Room19- Solo Dressing Rooms20- Dressing Rooms21- Warm-Up Rooms22- Prop Shop23- Storage24- Chorus Lounge25- Wig Shop26- Wardrobe27- Costume Construction Shop

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FIRST BALCONY LEVEL UPPER BALCONY LEVELS

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auditOrium SectiOn

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Location: Monthoiron, Poitou-Charentes, France

Team: Sean Ahlquist + Julian Lienhard | Markus Bernhard, David Cappo, Celeste Clayton, Oliver Kärtkemeyer, Hannah Kramer, Andreas Schönbrunner

Project Description: Adjacent to the site of a historical medieval tower designed by an unnamed but renowned architect, the client requested a structure that would initially serve as the headquarters for the tower’s restoration and eventually act as part of the restored tower’s Visitors’ Center.

Dubbed M1, this structure served as a demonstrator, showcasing the technologies being developed at Universität Stuttgart in the Institute for Computational Design (ICD) and the Institute for Building Structure and Structural Design (ITKE) by Sean Ahlquist and Julian Lienhard under Achim Menges and Jan Knippers, respectively. The innovative structural concepts of M1 are spatially and technically oriented to situate a canopy with a minimal exertion of force, but with a maximally articulated spatial presence on the site. This was accomplished, at multiple scales, through a macro-system of interwoven bending rods that form leaf-like shapes, and an internal differentiated cell system installation. The minimally invasive, force-active, articulated material system was a necessity given the closely neighboring and currently very unstable context of the crumbling stone tower.

Overall, the material system of M1 explores the structural capacity and formal variability of a lightweight structure comprised of highly elastic rod elements and stiff membrane surfaces. The very nature of the system demanded simultaneous study of how structural equilibrium is formed and determination of the spatial performative capacity of the result. As such, the design methodology was formed to track both articulation of material properties and differentiation of spatial consequences. The final building serves the tower as an exemplification of innovitive structures generated of experimental means, as well as providing fundamental function for meeting and workspace within the complex of buildings as the site undergoes redevelopment. For ongoing research, the building serves as a demonstrative prototype for hybrid force-active structures in their realization, as well as computational design methodologies for their generation.

M1 à la Tour de l’ArchitectSpring 2O12

Study aBrOad - Stuttgart, germanydeSign Build - mOnthOirOn, France

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Site Plan_00 | La Tour de l’Architecte10m N02m

Site inFOrmatiOn

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ENTRANCE

GALLERYCIRCULATION

ENTRANCE

GALLERYCIRCULATION

Top left: site - Monthoiron, France

Bottom left: final plan with tower, circulation, and projected location of

one of the buried buttress footings

Middle: aerial photo of tower + site

Right: options for circulation and plan organization

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iteratiOnS

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Bending rOd Structure

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laShing cOnnectiOnS

(This Page) Top left: test connection

Top right: setup for connection test

Bottom left: GFRP fiberglass rods + rubber for added friction + lashing rope

Bottom right: setup for connection test

(Opposite Page) Top left: lashed connection for footings

Top right: tying the lashed connection

Middle left: parallel connection for lashing three structural leaves

Middle right: bamboo lashing method for connecting two perpendicular rods

Bottom left: connection label system

Bottom right: connecting rods + membrane + open-weave mesh

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memBrane inStallatiOn

(This Page) Left: membrane pieces for installation

Top right: welding cell connectors onto membrane

Bottom right: temporary zip tie connection for fully tensile

membrane

(Opposite Page) while installing the membrane, we took great care

not to cause tears or rips before the membrane was fully tensioned

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deep SurFace cell cOnStructiOn

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cOmpleted Structure

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Location: Downtown Lawrence, Kansas, USA

Project Description: Design a new public library for the city of Lawrence, KS.

This studio placed strong emphasis on hand craft — both high-quality model making and hand drafting. The focus of this library was community, featuring a children’s reading room, a Langston Hughes special collections reading room, an historical gallery for the underground railroad movement, and a community meeting room. The plaza shape was another community focal point, which I emphasized by creating interest with the trapezoidal shape.

I chose to handle the issue of harmful direct lighting in several ways. The clerestory above the lobby filters diffused light down into the atrium and mezzanine level. The screen over the special collections reading room keeps direct light from fading the Langston Hughes Special Collection. The children’s reading room is shaded from direct sunlight by the overhanging special collections. Much of the historical gallery, as well as the computer lab, is glazed with frosted window panes.

In order to engage the context, the plaza and library are oriented in such a way that the diagonal outer wall beckons pedestrians from Massachusetts Street — Lawrence’s main downtown avenue — and entices them to approach the community plaza and public library. A nearby parking garage and on-street parking both draw any vehicular traffic nearby as well.

Spring 2O11Lawrence Public Library

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Top: west elevation

Bottom: east elevation

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Top left: upper level of library as seen by the removable roof on the model

Top right: detail of reading room screen, which provides a buffer between the

room and the plaza and serves to diffuse light into the special collections reading

room

Bottom left: detail of the variety of options used to bring light into the

library and diffuse direct sunlight (clerestory, frosted glass, screens, and

transparent fenestration)

Bottom right: detail of atrium + mezzanine which serves as the focal

point of the interior of the library

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hand draFted FlOOr planS

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UPPER MEZZANINE LEVEL

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hand draFted SectiOnS + elevatiOnS

SECTION A-A’

SECTION B-B’

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EAST ELEVATION

WEST ELEVATION

NORTH ELEVATION

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Location: Potter Lake, University of Kansas, Lawrence, Kansas, USA

Project Description: Provide a performance facility including a pavilion and platform on site at the University of Kansas.

The studio was given two site options: Pioneer Cemetery and Potter Lake, both at the University of Kansas. I chose the Potter Lake site for several reasons. Primarily, Potter Lake is a more frequented site, which gives the opportunity for more visibility across the university community. However, more importantly, Potter Lake sits at the bottom of a bowl-like valley — contrasting Poineer Cemetery which sits atop a hill. The topography around Potter Lake offered a chance for the site to envelop the building. To keep consistent with the concept of the site hugging the building, the green roof seeks to join the building with the slope of the hill rising behind it.

Fall 2O1OPerformance Pavilion

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cOncept develOpmentTop: concept 1 - treehouse

Bottom: concept 2 - lines of intersrection

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Top: concept 3 - colonnade

Middle: concept 4 - intersected rectangles, inspired by concept 1

Bottom: precedent - Reitveld Pavilion: sliding planes + rectangles

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indoorperformance

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greenroom

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Location: Potter Lake, University of Kansas, Lawrence, Kansas, USA

Team: Jordan Goss, Hannah Kramer

Project Description: With a partner, design a small study library for graduate students at the University of Kansas at the heart of campus near Potter Lake.

My partner and I decided we wanted to use light to create varying senses of urgency and peace for different parts of the library. Essentially, the design was driven by the idea of a transition of light and space. The first space that occupants encounter is an open space containing bookshelves, backlit by soft diffused light from the channel glass. Overhead is a skylight that highlights the central table, used for organizing research. The narrow transition spaces at the stairs feature louvers and dim lighting that promote a more urgent sense of passage through the space rather than promoting a sense of lingering. The final space encountered is the open reading room that features light streaming in through the ceiling-height window which frames a view out toward the picturesque lake landscape. Opening up to the back half of the building, it becomes the destination of any path through the small library.

Spring 2O1OGraduate Study Library

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Top: study model 1 - pentagon shape

MIddle: emphasis placed on study desks, giving enough space for

students to spread out

Bottom: separation of intensive study space and relaxed reading space

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Top: study model 2 - separation of stacks space and study space

Middle: stacks area

Bottom: study area with individual

light wells for more private study

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(Opposite Page) Top left: site model - Potter Lake at the University of Kansas

Top right: stair and louver daylighting detail

Middle left: our specific site selection

Middle right: desk for private study

Bottom left: section model

Bottom right: full model

GRADUATE STUDY LIBRARY TRANSITION OF LIGHT + SPACE

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Location: Island of Santorini, Greece

Team: Katie Caufield, Hannah Kramer

Project Description: Create a meditation space using a set kit of parts. Additionally, the design must be centered around the procession of Approach, Threshold, and Destination.

We were told to design for a blind person in order to consider more than just visual stimuli. My partner and I chose to implement a more tactile stimulus by orienting our space in such a way that the “Destination” side of the parti wall would be warmed by the afternoon sun. However, in order to incorporate visual stimuli as well, we decided to color the wall behind the “destination” space a deep blue that would glow on the “Approach” side of the parti wall. In addition, this blue and white aesthetic reflects the traditional whitewashed stone buildings and blue accents typical of Santorini.

As an additional factor of this project, the studio learned how to hand draft perspective drawings, and the final presentation included three different perspectives of the design. These perspectives were to be done twice: once with the sight and perspective lines included and once rendered by hand in the style of each student’s choosing.

Spring 2O1OKit of Parts

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kit OF partS: pieceS

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Project Description Part I: The goal of the first part of this project was to teach the first-semester studio how to draft and how to build quality models. We were to choose from a selection of Tony Smith sculptures. The emphasis was on the repeated cellular structure that features prominently in most of his artwork. For my very first studio model, I chose Smith’s Bees Do It as a precedent. The second requirement for this part of the project called for hand-drafted axonometric, plan, and section drawings of the model, expanding the pattern to show a basic understanding of the sculpture’s structure.

Team: Adam Brcic, Joseph Chan, Ken Grothman, Hannah Kramer, Brendan Nelson

Project Description Part II: After dividing into groups, we then had to choose another Tony Smith sculpture to work with, expanding and interpreting the sculpture’s structural pattern in order to span a set base as a requirement for all groups. As an added challenge, each model had to hold fifteen pounds of plaster for several days. My group chose to take Smith’s Smug and reinterpret the triangular pattern into a space frame. The final model easily held the required weight, suspended from three anchor points held in the center of the structure.

Fall 2OO9Span

Bees Do It - Tony Smith Smug - Tony Smith

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(This Page) Top row: my individual model based on Bees Do It

Bottom left: charcoal abstraction of

the honeycomb cellular structure

Bottom middle: 3D axonometric

Bottom Right: plan and section

(Opposite Page) Top left: the final model was required to hold

fifteen pounds of plaster

Top right: the group’s initial design inspiration based on Smug

Middle row: close-ups of the modified triangular structure

Bottom left: mylar was used to highlight added structural support on the base

Bottom right: expansion of initial modellearning tO draFt and Build mOdelS

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