2015 Portfolio by Belinda Lee

Belinda Lee Selected Works 2012-2015 Yale School of Architecture, MArch I

Belinda Lee 11 University Pl, New Haven CT. 06511 (408) 489-8625 belinda.lee@yale.edu

Education

Yale University, Yale School of Architecture New Haven, CT Master of Architecture, 2015 Washington University in St Louis, Sam Fox School of Design & Visual Arts St Louis, MO Bachelor of Science in Architecture 2012, Structural Engineering Minor, Summa Cum Laude

Awards

David M. Schwarz Good Times Fellowship, Yale School of Architecture 2015 Awarded to provide a graduating student with a fellowship to travel in Europe. Gertraud A. Wood Traveling Fellowship, Yale School of Architecture 2014 Awarded each year to an outstanding second-year student in the first professional degree program. Rome: Continuity and Change Travel Grant Summer 2014 Hugh Ferriss Award for Architectural Drawing, Washington University in St Louis 2012 Awarded annually to a student who has excelled in architectural drawing in any medium.

Work Experience

Freeland Buck, New York, NY Architectural Design Intern Summer 2013 Worked on winning proposal, Kunshan Phoenix Cultural Mall. Collaboration with Joel Sanders Architects. Developed digital model for design and rendering. Produced final plans and diagrams. XianDai Architecture Design Group Shanghai, China Architecture Design Intern Summer 2010 Designed a proposal for a high school library in Yunnan province China. Six Mile Sculptureworks Granite City, IL Fabrication Assistant Summer 2011 Assisted resident artist in design and construction of 20 ft steel sculpture. Yale Fabrication Labs and Walker Hall Sculpture Studios Wood and Metal Shop Monitor 2008-2015

Academic

Senior Studio, Yale School of Architecture New Haven, CT Teaching Fellow, Spring 2015. Course taught by Stephen Harris and Marta Caldeira. Provided individual critiques on design problems for students in the last studio of the Yale undergraduate curriculum. Prepared and ran weekly tutorials and lectures. Introduction to Architecture, Yale School of Architecture New Haven, CT Teaching Fellow, Fall 2014. Course taught by Alec Purves. Prepared weekly discussions. Provided individual and group critiques on design and sketch assignments. Introduction to Planning and Development, Yale School of Architecture New Haven, CT Teaching Fellow, Fall 2013. Course taught by Alex Garvin. Vlock Building Project, Yale School of Architecture New Haven, CT Construction Document Drawing Coordinator Spring/Summer 2013 Coordinated the development and production of CD set using Revit for permit approval and construction for two single family houses in New Haven. Structures II, Washington University in St Louis, St Louis, MO Teaching Assistant Spring 2012

Skills

Proficient in Revit; Adobe Illustrator, InDesign and Photoshop; AutoCAD; Rhino; Maxwell. Working knowledge in Adobe Premiere, Grasshopper, Vray, Keyshot. Experience in wood-working and metal-working. 2

Under Pressure Studio Fall 2012 Critic: Brennan Buck Two spaces on an imagined sloped site. This project connects evenly spaced points around the perimeter of the site to three points. The resulting lines either carve away at the ground plane or physically extend out from the perimeter to create a layered canopy about the site.

1/4”=1’ Model

Plan and Sections

1/2”=1’ Model

1/4”=1’ Model

Rock Lobster Studio Fall 2012 Critic: Brennan Buck This project organizes the exhibited material for a natural history museum categorically along the grain and chronologically against the grain. Radial, transleucent walls are used to display graphics. Paths and rooms interior rooms are created with spherical booleans through the walls.

1/8”=1’ Model

Plan and Section

1/8”=1’ Model

Detail

1/8”=1’ Model

Site Plan

Dance Machine Studio Fall 2012 Critic: Brennan Buck

The dance studio is created with a gridded system where lines extend from points spaced around the perimeter of the site. This system exaggerates perspectival views from the street and creates terraced seating that opens out onto the stage in the main hall. The dance studios are double height, trapped between multiple layers of radial walls to create multiple points of perspective. The performance space sits in the middle of the second level and steps up from the stage creating double height spaces lit from above around the perimeter of the first level. Visitors are drawn off the street from either of the openings on the first floor and can enter either the lobby or cafe. From the lobby, they can buy tickets for the show, and go up to a middle level and filter into their seats through three staircases. The performers enter through the same entrance through a back door of the shared lobby. The roof is also terraced and accessible from both the studios below and the highline.

1/16”=1’ Model

1 3 4

5 6

Level 01 1-Lobby 2-Cafe 3-Changing Rooms 4-Lounge 5-Dance Studios 6-Offices

Level 02 Pre-Function

Level 03 Performance Hall

Roof 1-Roof Terraces 2-High Line

3 2 5

1-Lobby 2-Grand Stair 3-Pre-Function 4-Performance Hall 5-Changing Rooms 6-Lounge

1-Cafe 2-Lobby 3-Lounge 4-Dance Studios 5-Prefunction 6-Performance Hall

1/16”=1’ Model Aerial

1/16”=1’ View From Highline

Drawings Visualization II Fall 2012 Critic: Sunil Bald, Kent Bloomer

Building Project: Individual Prototype Studio Spring 2013 Critic: Alan Organschi

The prototype house explores the use of a double wall system to spatially organize a narrow house for a New Haven site. Initial studies of OMAâ&#x20AC;&#x2122;s Fukuoka housing project and the Eameâ&#x20AC;&#x2122;s house inform the layout and form. Standardized componenets for bathrooms, porches, doors, windows, laundry are placed within an exterior wall system and a thinner flexible interior wall separates the remaining living space from the intermediate space. The approach offers a prototypical solution for housing that can expand and contract using the same components.

Structure Model in collaboration with Bruce Hancock

Model in collaboration with Bruce Hancock, Hiba Bhatty, Alissa Chastain, Elena Baranes, Michael Cohen, Zach Huelsing, Zach Veach, Tyson Jang, Stanley Cho 34

1/8”=1’ Eames House Study Model

1/2”=1’ Model

Plans and Section

1/2”=1’ Model

1/8”=1’ Study Model

1/4”=1’ Study Model

Building Project: Team Proposal Studio Spring 2013 Critics: Amy Lelyveld, Peter de Bretteville, Trattie Davies, Paul Brouard Team: Sunhi Chung, Kirk Henderson, Tyson Jang, Mun Hee Lee, Emily Bell

A box for living, a shed for shelter. The Team G proposal houses a flexible residential interior within a variable yet contextual structural shed. Technologically savvy yet simple in form, the exterior shed accommodates variation in windows, doors, and overall length and height. This allows the house design -- as a prototype -- to respond to varying site conditions while retaining its overall identity. In the interior, panels on the public ground floor efficiently partition space for domestic functions. Upstairs, the private bedrooms and baths reside in a protective, enclosing box that floats on the second floor. Deep window casements bridge from inside the boxâ&#x20AC;&#x2122;s bedrooms out to the shedâ&#x20AC;&#x2122;s exterior. The house thus becomes a series of concentric dwelling spaces, moving from sidewalk, to porch, to ground floor open living space, to upstairs private dwelling space, and again to the outside. The box and shed remain independent of one another, retaining the advantages inherent in both, and allowing light to play in the spaces between.

1/4”=1’ Model

EAST

WEST

EAST

WEST WEST

Elevations

Plans

Sections

Section

1/2”=1’ Model

Building Project: Construction Document Coordination Ssummer 2013 With Maya Alexander

Additive Components Visualization III Spring 2013 Critic: Ben Pell, John Eberhart In Collaboration with Haelee Jung

Casis Headquarters Studio Fall 2013 Critic: Mark Foster Gage

This building consists of four nested layers: an opaque exterior shell containing enclosed program, and intermediate space with open floor plans, a glazed exterior courtyard and a floating object that houses a dark exhibition space and creates a platform for the exhibition of the destinty module. The form is eroded from the ground up with the eroded portions being glazed so the building is focused outwards on the lower levels and inwards on the upper levels. The monolithic exterior is cladded in small tile that reflects light form a moat that surrounds the building. The exterior is clad in small tiles that break up the monolithic facade and subtly reflect light from a shallow moat surrounding the building. The interior closes as you move up through the building from being mostly open to selected veiws on the lower office floors to opaque and inwardly focused on the upper exhibition floors. The daylight model studies the lighting effects of the the top lit exhibition space. The focus for the top two levels is the destiny module. A skylight is diffuses the light and reflects it off the destiny module and the alternating opaque and transparent walls of the artium.

Rendering

Elevation Studies

Worms Eye Axon

Renderings

1/8”=1’ Model

Section

Renderings

3 1

3 2 2

FLOOR 03 1-Directors Office 2-Research Director 3-Open Office Space

FLOOR 02 1-Security offices 2-Public Services 3-Educational Director 4-Open Office Space

FLOOR 01 1-Entrance Lobby 2-Men’s Room 3-Women’s Room 4-Coat Room 5-Payload Office Space

FLOOR 08 Education Break Out Rooms

FLOOR 07 1-Open Exhibition 2-Destiny Module Display

FLOOR 06 1-Open Exhibition 2-Dark Exhibition Space

6 5

4 1

FLOOR -01 1-Lecture Hall 2-Prefunction Space 3-Theater Storage 4-Men’s Room 5-Women’s Room 6-Payload Operations Control

FLOOR -02 Service and Staging

FLOOR 05 1-Dragon X Display 2-Open Office Space

FLOOR 04 1-Meeting Room 2-Open Open Office Space

1/2”=1’ Daylight Model

1/8”=1’ Model 87

Systems Integration Spring 2014 Consultants: Martin Finio, Victoria Ponce de Leon, Larry Jones In Collaboration with Benjamin Smith and Jason Lee

Steel Grate Steel Structure

Drain

8” CMU 8” CMU

WP Membrane Rigid Insulation 3” Tieback

Tieback 6” Channel

Firesafe Insulation

Glass Facade System

Sprinkler Duct Work Glass Facade System

H&B PTA Anchor Compressible Fill

6” Channel 5/8” Gyp Rigid Insulation 3” Concrete Slab

WP Membrane Can Light

Concrete Slab

Drain

Duct Work 5/8” Gyp Can Light

Rigid Insulation 3”

Drainage Core Board

Waterstop

Drain

W14X26

W14 X26

W14X26

W14 X26

W14X26

W14 X26

103' - 6"

W8X 15

W14X26

W 14X26

W14 X26 W18 X35

W14 X26

W14X26

W18X35 W14X26

27' - 0"

16' - 7"

W14 X26

W14 X26 W14 X26

W14 X26

W1 4X 26

W18 X35

W14 X26

W14X26 W14X26

W14X26

16' - 7"

27' - 0"

22' - 2"

16' - 7"

Date:

02/06/14 Author 1/16" = 1'-0"

W14X26

10' - 9"

W14X26

W18X35 W14X26

Grade -2' - 10"

Level B2 -29' - 10"

W14X26

W 14X26

W14 X26

W18 X35

W 14X26

13' - 9"

W14X 26

02/06/14

Level B1 -17' - 10"

Drawn by: Scale:

Author 1/16" = 1'-0"

Level B2 -29' - 10"

W 14X26

W18X35 W 14X26

Belinda Lee 408.489.8625 belinda.lee@yale.edu Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

Consultant Team Martin Finio (Arch) 212.219.1026 mf@christofffinio.com Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

Date:

02/14/14

Drawn by: Scale:

Author 3/64" = 1'-0"

S113

Casis Headquarters

Bulkhead 122' - 2" Roof 114' - 2"

W14 X26

9 1/ 2"

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

Consultant Team Martin Finio (Arch) 212.219.1026 mf@christofffinio.com Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

Date:

02/06/14

Drawn by: Scale:

Author 1/16" = 1'-0"

Systems Integration Arch 3022 Project Team Jason Lee 703.853.3435 h.jasonly@gmail.com

Level 7 74' - 2"

Belinda Lee 408.489.8625 belinda.lee@yale.edu

Level 6 58' - 2"

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

Level 5 42' - 2"

Consultant Team

Level 4 30' - 2"

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

Level 3 18' - 2"

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

Level 2 6' - 2" Grade -2' - 10"

Level 1 -5' - 10"

W8X 15

W18 X35

W14 X26

W14X26

112' - 0 1/8"

W14X26

W 14X26

82' - 4"

Jason Lee 703.853.3435 h.jasonly@gmail.com

Framing Elevation_West

W14 X26

W14X26

W14 X26

W14X26

W8X 15

W14 X26

W18X35

W14X26

W14 X26

6 4X2 W1

W14X26 W14X26

8' -

W18X35

W8X 15

W14 X26

S104

W14X26

W14 X26

W14X26

W14 X26

W18X35

W14 X26

W18X35

W14 X26

W14X26

Author 1/16" = 1'-0"

Level 4 Structural Framing Plan

Date:

Belinda Lee 408.489.8625 belinda.lee@yale.edu

103' - 6"

W14X26

W14X 26

6 W14X2

W14X26

Drawn by: Scale:

W14X26

Level 1 -5' - 10"

Jason Lee 703.853.3435 h.jasonly@gmail.com

W14X26

W18X35

W14X26

W14 X26

02/06/14

Grade -2' - 10"

Project Team

W14X26

W14X26 W14X26

W14X26

W8X 15

Date:

Level 2 6' - 2"

W14X26

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

16' - 8"

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

Level 3 18' - 2"

Level 8 102' - 2"

W14X26

W18X35

W14X26

Consultant Team

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

Systems Integration Arch 3022

W18X35

W14X26

W14X26 W14X26

W14X26

10' - 9" 13' - 6"

16' - 7"

X26 W14

16' - 8"

W14 X26

W14X26

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

103' - 6"

W14 X26

W8X 15

W18 X35

W1 4X

112' - 0 1/8"

W14 X26

W1 4X 26 W14 X26 26

W14X26

82' - 4"

W14X26

W14X26 W14X26

W14X26

W14 X26

W14X26 W14X26

W14X26

20' - 8"

W14X26 W14X26

W14X26

W14X2 6

W14X26

W14X2 6

W14X26

W14X26 W14X26

W14 X26

W8X 15 W14 X26

W14 X26

W14X26

W14X26 W14X26

W14X26

16' - 8" F

W14X26

W8X 15

W14 X26

W14X26

6 4X2 W1

W14X26

22' - 2"

W14 X26

W14X26 W14X26

W14X26

W1 4X2 6

W14X26

W14 X26

W14X26

W14X26 W14X26

W14X26

9 1/ 2"

Level 4 30' - 2"

Casis Headquarters

4 16' - 7"

6 W14X2

W14X26

26 4X W1

W14X26

8' -

W14 X26

W14X26

D 16' - 8"

26 4X W1

25' - 3"

X26 W14 X26 W14

25' - 3"

13' - 9"

Belinda Lee 408.489.8625 belinda.lee@yale.edu

W14X26

Jason Lee 703.853.3435 h.jasonly@gmail.com

W14X26

X26 W14

W14X26

W14X2 6

2 27' - 0"

Project Team

X26 W14

W14X26

Systems Integration Arch 3022

W14X26

W1 4X 26

W14X26

13' - 6"

16' - 7"

W14X26

W1 4X 26

10' - 9"

W14X26

Casis Headquarters

22' - 2"

W14X26

4 16' - 7"

W14X26

Consultant Team

S107

20' - 8"

2 27' - 0"

Level 5 42' - 2"

Level 7 Structural Framing Plan

112' - 0 1/8"

S102

Systems Integration Arch 3022

W 14X26

82' - 4"

Level 2 Structural Framing Plan

Level 6 58' - 2"

W8X 15

W14 X26

W14X26

W 14X26

W14X26

W 14X26

Casis Headquarters

Project Team

Level 7 74' - 2"

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

W8X 15

W18X35 W14 X26

W14X26

Level 8 102' - 2"

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

W14 X26 W14 X26

W1 4X 26

W14X26

W14X2 6

W14X26

W14 X26

W14X2 6

W14X26

W14 X26

6 4X2 W1

W14X26

W8X 15

W14 X26

02/14/14 Author 3/64" = 1'-0"

Framing Elevation_East

Bulkhead 122' - 2" Roof 114' - 2"

W14 X26 W14 X26

W18X35

W14X26

W8X 15

W14 X26

W18X35

W14X26

W14 X26

W40X149

W14X26

W40X149

W14X26 W14 X26

W14X26

Date: Drawn by: Scale:

S112 A

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

W14 X26

W18X35

W14X26

9 1/ 2"

W14 X26

W14X26

W14 X26

W18X35

9 8' -

W14 X26

W14X26 W14 X26

W14X26

W1 4X2 6

W18X35

W14X26

W14 X26

12/29/13 Author 1/16" = 1'-0"

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

Level 1 -5' - 10" Level B1 -17' - 10"

Belinda Lee 408.489.8625 belinda.lee@yale.edu

103' - 6"

W14X26

13' - 6"

W14X26

16' - 8" E

13' - 9"

6 4X2 W1

W14X26

W14X26 W14X26

103' - 6"

W14 X26

Drawn by: Scale:

82' - 4"

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

Level 2 6' - 2"

Jason Lee 703.853.3435 h.jasonly@gmail.com

W14X26 W14X26

16' - 8"

W14 X26

W14 X26 W18 X35

W16x31

W18X50

W14X26

Date:

W14X26

W 14X26

W14X 26

W8X 15

W14 X26

W18x50

W 14X26

W16x31

W 14X26

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

W8X 15

W16 X31

W18x50

W14X26

W 14X26

W14X26

W14X2 6

W14X26

W14 X26

W14X26

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

Level 3 18' - 2"

Project Team

W14X2 6

W14X26

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

W14 X26

W1 4X2 6

W16 X31

W18X50

W1 4X2 6

W14X26

W18x50

W14X26

W16x31

W14 X26

W8X 15

Consultant Team

Level 4 30' - 2"

W14X26

W18 X50

W8X 15

W16 X31

W18x50

W18X35

X26 W14

25' - 3"

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

W14 X26

W14X26

W16X31

W14 X26

W14X26

W16X31

W18x50

W1 4X 26 W14X26

W14X26

W14X26 W14X26

W14X26

X26 W14

W18X35

9 1/ 2"

W14X26

20' - 8"

25' - 3"

W24X76 W24X76

16' - 8"

W14X26

6 4X2 W1

16' - 8"

9 8' -

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

Level 5 42' - 2"

Systems Integration Arch 3022

W14X26

6 4X2 W1 6 4X2 W1

W14X26

W18x50

20' - 8"

Belinda Lee 408.489.8625 belinda.lee@yale.edu

X50 W21

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

Casis Headquarters

4 16' - 7"

W14X26

10' - 9" 13' - 6"

Jason Lee 703.853.3435 h.jasonly@gmail.com

13' - 9"

Consultant Team

Drawn by: Scale:

Belinda Lee 408.489.8625 belinda.lee@yale.edu

Level 6 58' - 2"

Jason Lee 703.853.3435 h.jasonly@gmail.com

S106

Project Team

Level 7 74' - 2"

Level 6 Structural Framing Plan

112' - 0 1/4"

Systems Integration Arch 3022

Level 8 102' - 2"

W14 X26

82' - 4"

Casis Headquarters

22' - 2"

Bulkhead 122' - 2" Roof 114' - 2"

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

S101

Casis Headquarters

W14 X26

W14X26

W40X149

W14 X26

W14X26 W14X26

W14X26

W14X2 6 W18X35

W14X26

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

W14 X26

W14X26

W14 X26

W14 X26 W14 X26

26 4X W1

W14X2 6

W14X26

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

103' - 6"

W14X26

W14 X26

W40X149

25' - 3"

W18X35

W14 X26

W14X26

W14 X26

W14X26

9 9 1/ 2"

02/14/14 Author 3/64" = 1'-0"

Framing Elevation_South

Belinda Lee 408.489.8625 belinda.lee@yale.edu

8 8' -

W14 X26

W14X26

Level 1 Structural Framing Plan

114' - 1 5/8"

W14X26

W1 4X2 6

W14X26

16' - 8" G

W14X26

H 82' - 4"

13' - 9"

W14 X26

Author 1/16" = 1'-0"

6 4X2 W1

W14 X26

Project Team

W14X26

Jason Lee 703.853.3435 h.jasonly@gmail.com

Date: Drawn by: Scale:

S115

W14X26

11/24/12

Drawn by: Scale:

W18X35

W14X26

W18 X35

Date:

Level B2 -29' - 10"

26 W14X

W14X26

W14 X26

W14X26 W14X26 W14X26

W14X26

W16 X36

W14X26 W14X26

W14X26

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

W14 X26

Level B1 -17' - 10"

Systems Integration Arch 3022

W14X26

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

W16X31

W14X26

W18X35

W16 X26

W14X26

W14X26 W14X26

16' - 8" 20' - 8"

W14X26

W16x31

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

W14X26

W14 X26

W14X26

Consultant Team

W14X26

103' - 6"

W14 X26 W14 X26

W14 X26

W14X26

16' - 8"

W14X26

W18X35

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

Level 1 -5' - 10"

16' - 7"

W14X26

W14 X26

W14X26

W16x31

W14X26

W14X26 W14X26

W14 X26

W14X26

W14 X26

W14X26

5 22' - 2"

W14X26

W14X2 6

W18X50

W40X149

Grade -2' - 10"

Casis Headquarters

X26 W14

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

9 1/ 2"

W14X26

W18X35

W40X149

W40X149 W18X35

W18X35

25' - 3"

W18X35

W14X26

W16x31

8' -

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

Level 2 6' - 2"

Level 5 Structural Framing Plan

4 16' - 7"

26 4X W1

W14X26

Belinda Lee 408.489.8625 belinda.lee@yale.edu

13' - 9"

13' - 6"

W14X26

16' - 8"

W18X35

Jason Lee 703.853.3435 h.jasonly@gmail.com

W14X26

Project Team

W14X26

W18X35

W14X26

13' - 6"

W14X26

W16x31

W14X26

10' - 9"

W14X26

10' - 9"

2 27' - 0"

W14X26

W18X35

Systems Integration Arch 3022

W14X26

16' - 7"

W14X26

Casis Headquarters

22' - 2"

W14X26

4 16' - 7"

Author 1/16" = 1'-0"

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

S105

20' - 8"

2 27' - 0"

02/06/14

Drawn by: Scale:

Consultant Team

Level 4 30' - 2" Level 3 18' - 2"

W14X26

W 14X26

112' - 0 1/4"

FO100

Date:

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

Level 5 42' - 2"

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com

W8X 15

82' - 4"

Level B2 Structural Framing Plan

Consultant Team

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

W8X 15

W14 X26

Belinda Lee 408.489.8625 belinda.lee@yale.edu

Level 6 58' - 2"

Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

W14 X26

W1 4X 26

W14 X26

W14X26

W14X2 6

Jason Lee 703.853.3435 h.jasonly@gmail.com

Level 7 74' - 2"

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

W8X 15 W14 X26

W14X26

W1 4X 26

W14X2 6

W14X26

9 1/ 2"

Project Team

Level 8 102' - 2"

W14 X26

W14X26

W14 X26

W14X26

W W14X26 14X26

W14X26

16' - 8"

W14X26

Systems Integration Arch 3022

Bulkhead 122' - 2" Roof 114' - 2"

Belinda Lee 408.489.8625 belinda.lee@yale.edu

8 8' -

W14 X26

W14X26 W14 X26

W14X26 W14X26

H 82' - 4"

13' - 9"

W1 4X2 6

6 4X2 W1

X26 W14

W14X26

16' - 8"

W14X26

Project Team

W18X35

W14X26

Jason Lee 703.853.3435 h.jasonly@gmail.com

W14X26

Author 1/16" = 1'-0"

W14X26

W1 4X2 6

W14X26

02/06/14

Drawn by: Scale:

W14X26

10' - 9"

W14X26

25' - 3"

X26 W14

W14X26

16' - 8" 20' - 8"

Date:

W14X26

W14X2 6

6 4X2 W1

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

W14X 26

X26 W14

W14X26

W14X2 6

Martin Finio (Arch) 212.219.1026 mf@christofffinio.com Larry Jones (Mech) 203.927.4933 larry.jones@atelierten.com

Consultant Team

20' - 8"

103' - 6"

16' - 8"

W18X35

6 4X2 W1

Benjamin Smith 706.294.0576 benjamin.l.smith@yale.edu

W14X26

13' - 6"

W14X26

Belinda Lee 408.489.8625 belinda.lee@yale.edu

9 9 1/ 2"

26 W14X 26 W14X

W14X26

Systems Integration Arch 3022

W14X26

8 8' -

25' - 3"

13' - 9"

W14X26

Casis Headquarters 1

16' - 7"

W14X26

10' - 9" 13' - 6"

Casis Headquarters

22' - 2"

W14X26

Project Team Jason Lee 703.853.3435 h.jasonly@gmail.com

4 16' - 7"

W14X26

2 27' - 0"

W14X26

Systems Integration Arch 3022

W14X26

16' - 7"

W14X26

22' - 2"

W14X26

Casis Headquarters

4 16' - 7"

W14X26

2 27' - 0"

W14X26

Level B1 -17' - 10" Level B2 -29' - 10"

W 14X26

Victoria Ponce de Leon (Struct) 203.434.4569 poncedeleon@silman.com

Date:

02/14/14

Drawn by: Scale:

Author 3/64" = 1'-0"

Framing Elevation_North

Level 8 Structural Framing Plan

S114

S108

Boston Olympic Village Studio Spring 2014 Critic: Keller Easterling In Collaboration with JT Keely This linear ubran proposal organizes the Olymic Village along summer street. The remainder of the site is flooded to create a large wetland park which mitgates future flooding concerns for South Boston. The linear park is organized with strips running cross-wise creating a constantly changing landscape as you move down the street. The street is programed based on their relationship to the surrounding site. The north end of the street is geared towards entertainment and sports, the middle towards water activities and the south end towards food and leisure. The buildings are unitized and can move in relation to each other to create shared openings. There are several different types of units ranging from dorms to three bedrooms and can house between twenty four to forty eight people.

1/32”=1’ Model

Site Map

OFF 10

7 8

8 10 10

7 OFF

OFF 10

7 8

8 10 10

7 OFF

Plan

Detail Plan

Unit Plans and Diagrams

Renderings

1/32”=1’ Model

1/16”=1’ Model

100

Cube Patternism Spring 2014 Critic: Brennan Buck In Collaboration with Constance Vale Our project employs a regular grid system of walls that becomes irregular when intersected with a set of hierarchically scaled spheres. Depending on the scale of the spherical boolean intersection, the implied rooms can either be entirely open to the adjacent cells or almost entirely closed. When the walls are sparse, they are read as structural and functional for dividing space. As the density of the walls increases, they can be read as a poche tracing the figure of the spheres. A larger sphere that cuts through 8 of the cells is a compositional - rather than computational â&#x20AC;&#x201C; move. This sphere creates a second layer of hierarchy through the opening up of a single larger room surrounded on three sides by smaller ancillary rooms. The elevation simultaneously reinforces the spherical system by describing it on its surface, while obscuring it by projecting as a dense pattern of dissimilar ellipses and figural planes.

101

Physical Model 102

Aggregation Studies

103

Unit Studies

Sections and Elevation

Pattern Studies

104

105

Physical Model

106

Drawing Formal Analysis Fall 2012 Critics: Peter Eisenman, Matt Roman

This final drawing combines the analytical diagrams of buildings by Bramante, Romano, Palladio, Brunelleschi, and Alberti. Bramante’s Santa Maria della Pace adheres strictly to the gridded logic of the courtyard so the column in the corner combines the two orientations of the side columns into a single column. Laurana’s Palazzo Ducale offset’s the columns from the grid of the courtyard so the columns along the side of the courtyard are repeated twice and then connected with a wall. The result is that in Bramante’s scheme the two adjacent sides of the courtyard seem to merge into one at the corners while in Laurana’s scheme, two adjacent sides remain separate entities that are connected with a third element.

The Unreason of the Modern: The Transformation of the Sacred Studio Fall 2014 Critic: Peter Eisenman with Miroslava Brooks In Collaboration with Bruce Hancock A Catholic Church in New Haven. Liturgical space and the problem of testimony share an idea of movement and self reflection within the structure of the church. The inherent movement in confession, of standing outside oneself as a witness, should inform liturgical space. With the early Christian basilicas, the unidirectional movement toward the altar reflected a platonic unity. However, as early as St. Augustine, the unity of the self and God is questioned in the form of confession, “I will confess what I don’t know of myself,” (Confessions - Book on Memory, p. 244). The replication of the self to confess the unknown is an irrational act that, at the time of St. Augustine, did not affect liturgical space. The transept introduced another direction countering the nave within the body of the church. The conventional crossing offers stability in defining a center that smoothes out the problem of self reflection through testimony. Instead, our intersection is the collision of the sacred into the profane. The body of the church embodies the replication of the self and its inevitable conflict with itself.

107

Site Map

108

Ferrara Cathedral Alignment Analysis

109

Ferrara Cathedral Anomaly Analysis

110

New Haven Grid Analysis

111

New Haven Grid Analysis

112

113

Form Studies

114

115

Process Models

116

117

Axon

Sections

118

Plan Level -1

119

Plan Level 1

120

Plan Level 2

121

Plan Level 3

122

Ruin Drawing Visualization IV Summer 2013 Critic: John Eberhart, John Blood

Oil Pastel 20”x 90” Drawing of Philip Johnson’s Knese Tifereth Israel Synogogue in a ruined state.

Unreal City Studio Spring 2015 Critic: Niall Mclaughlin with Andrew Benner

A public building on a site in an imagined newly autonomous London designed through a process of doing and undoing in 5 artifacts. Recently, Londonâ&#x20AC;&#x2122;s mayor suggested that the city should seek greater devolved powers from the United Kingdom. This sprawling urban area generates a significant proportion of the nationâ&#x20AC;&#x2122;s wealth. It does so by selling knowledge and services, to the world. If it became separate, it would take its place among very few autonomous cities that operate without any natural hinterland, thriving off the abstract movement of international trade. It already has formed an international community through its inveterate appetite for immigration. Almost no one in London is from London. To be really at home there you need to be from abroad. How would you make public architecture in a city so divorced from the key determinants of place: people, landscape, ways of making things from what lies nearby? Architects in the twentieth century produced an abstract language for buildings to signify this duality - everywhere/elsewhere. It gradually replaced classicism as the representative system of choice to embody the more abstract institutional values associated with modernity. We wonder whether it is possible to reconsider the representative capacity of architecture. At heart, public architecture has always laid claim to be a representation of the world. (From Studio Brief )

123

Artifact 1: Personal Precedent

124

125

The Borough of City of London: Virtual History Site Analysis

126

127

1:100 Model

128

The City of London has decided to clear a space and build a tower between Bank and Monument. Queen Victoria must be cut off at Walbrook and Old Jewry must be extended to connect to Pancras. The public square will prominently feature the second most important facade on the Mansion House as well as the corner of Mercers Hall and the London Internet Church formerly known as Saint Stephen of Walbrook Church of England.

129

The Borough of City of London: Archaeological Site 130 Analysis

The tower will stand ninety meters tall and extend twelve meters into the ground. Before it will be cleared an empty, open space measuring one hundred and twelve meters long by sixty meters wide. Below this will be housed twenty nine thousand one hundred and sixty servers, handling the vast and ever expanding data processing needs of the City. The ground above this twinkling hall of machines is to be covered over by a four and a half cm deep layer of pure, white sand. The sand is soft and dampens the sound of the servers below. The open space above is quiet. The tower is a cooling stack. The heat of the servers is dispersed as steam, silently billowing and swirling about the light-weight truss structure, all that is solid melts into air. The vapour forms a spiralling tower that rises towards the sky where it mingles with the clouds. The excess heat will make the sand warm.

131

The Borough of City of London: The Ghost of Mies 132 On Poultry

A man is on his way into work. He is transferring at Monument to Bank. The train tannoy announces the stop. He replaces some papers in his case and shuts it with a click. The person next to him is playing tetris. The next stop is being announced on the ticker tape display, yellow dots flickering along. He stands up as the train stops, gets out and walks down the platform. He is not thinking about anything in particular. Sometimes he thinks there is someone watching him, but not today. At one point he emerges from a tunnel into an atrium space which he is crossing to reach his platform. The space is vast, above rises the cooling tower of the server hall obscured in mist. Slivers of light fall through the structural tracery, dancing and splintering across the tiled floor. Twittering noises come from up there, and digital blinkings. The steam shushes overhead, surging this way or that depending on the serversâ&#x20AC;&#x2122; cooling needs. The man passes through the space on his way. He pays little heed. He does, however, notice some sand on the floor, doubtless brought down on peopleâ&#x20AC;&#x2122;s soles. It makes the floor a little slippery, like French chalk. He feels the rolling of the grains underfoot. It makes him uncomfortable and he isnâ&#x20AC;&#x2122;t quite sure why. There are little drifts of the stuff in the corners, where the shadows also gather. Sand penetrates tiny crevices.

133

134

Above, in the cold, the warm sand is causing the air to shimmer. The buildings surrounding seem to quiver and shift, their facades seem to dissolve, the air is like liquid. Crushed mica traces of cloud whipped by the wind, gusts haze the air. The steam rises. In his next train the man sits. He notices the book of the woman opposite. She is reading ‘The Rings of Saturn’ Doesn’t he have something about sand? What is it he says, thinks the man, reminded. He notices a speck on his lapel and flicks it off.

135

136

As he ascends to his office on one of the upper floors of one of Londonâ&#x20AC;&#x2122;s newer, glassier towers, in a glass elevator on the facade, he looks out across the city and sees the tower of the servers in the distance and the steam plume rising to the heavens. His face is close to the cold pane. Some colleagues enter the lift. â&#x20AC;&#x153;Morning Ulrichâ&#x20AC;? someone says. He sighs, and his breath mists the glass, for a moment obscuring the tower in the distance.

137

138

In another tower is a man with a spyglass. He is looking for particles in the air, for the silica twinkling of digital dust, in the clouds. The morning sun is gilding the skyline. The light is piercing. The steam spiral burns golden. The man is watching Ulrich climbing in the glass elevator at speed. He moves the eyepiece, following the motion. In a moment he is caught by a strong emotion, he does not quite know what. His hand is shaking, and the picture in the viewfinder jumps and shudders and disintegrates.

139

140