BRAYTON GREGORY
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BRAYTON GREGORY MArch I | Harvard GSD Selected Works 2017-2019
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CORE I Fall 2017 | Sean Canty Hidden Room, Perimeter Plan, Campus Infill
CORE II Spring 2018 | Jeffry Burchard “Hyperbolic Embrace” Film Studio, “Torus City” Millennial Club
CORE III Fall 2019 | Oana Stănescu “Palais New Haven” Integrate
CORE IV Spring 2019 | Jennifer Bonner Partners: Willem Bogardus & Goli Jalali “Post-Lux” Co-Housing
HABITAT KASHGAR Fall 2020 | Zhang Ke Thick Boundaries
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1 HIDDEN ROOM Core I | Instructor | Sean Canty Fall 2017 This project involves designing a group of five rooms, one of which seems to be hidden from the other four. The program requires providing a means of access to the hidden room while controlling the degree to which the room becomes vulnerable to disclosure. The hypothesis of concealment requires consideration of the relationship between the visual, experiential, and conceptual bases of architecture. Hidden room: defined as a space that mimics another through doubleness; perceiving two spaces as one. Achieved through the use of symmetry, double circulatory elements, and elliptical spatial designs.
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Sections
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Massing Model
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Sectional Models
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Sectional Model
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2 PERIMETER PLAN Core I | Instructor | Sean Canty Fall 2017 The objective of this project was to design the perimeter shape of a building in relationship to the fenestration, the interior plan of rooms, and the circulation. This building was to be a dormitory that had a total linear dimension of the perimeter set at 960 feet long and 54 feet tall, composed of a regular pattern of windows spaced 6’ on center. This design started with an exploration of the collision of three geometries (2 circles and a rectangle). Josef Albers’ color studies influenced this decision and was an inspiration in finding a harmonious grouping of these two shapes that became the formal strategy for the project. This reading at an architectural scale, caused for a combination of two different grid systems. There was an overlap of a radial grid on top of a regulated grid present in the rectangle. These new overlapping areas became areas of common space and begin to introduce vertical circulation between the three zones.
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16 PLAN 1 1/16” = 1’-0”
PLAN 2 1/16” = 1’-0”
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3 CAMPUS INFILL Core I | Instructor | Sean Canty Fall 2017 The process of bringing order and hierarchy of two typologically different buildings and their surroundings were the driving factors within this design. The large grain of the site was first analyzed to determine the best placement for each existing building, that produced a new symbolic center of the campus and maintained a connective passage relative to the site. The small and large grains of each building were then analyzed and then purposely projected into the interstitial space which separated them. This new orthogonal grid created from the two existing buildings was then oriented relative to the site passage to ultimately integrate the grid with the overall connective passageway.
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Plans 2 + 3
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Hyperbolic Stair Generation
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Ground Plan
PLAN 1 1/16” = 1’-0”
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Sections
SECTION 2 3/32” = 1’-0”
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Renderings
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4 FILM STUDIO Core II | Situate Instructor | Jeffry Burchard Spring 2018 With the study of the geometric capabilities of hyperbolic parabolas, there was a creation of a structural module that could perform multiple moves. The module is composed of three hypars that are stitched along tangencies and then scaled in a vertical fashion. The structural system used for spanning large distances, samples part connections of hypars mimicking typical planar truss systems. The truss system acts as the main structure but also creates modular sized spaces of inhabitation above each film studio. The module is also capable of creating columns, walls, and a gradient of sized spaces. This includes the creation of a covered arcade system surrounding each individual film studio that produces a layered system of public and private spaces. The ultimate goal within this project was the deployment of one structural module that could achieve the following; spanning structure across large open spaces, creating multiple scale of spaces, housing a variety of sized program, and providing layers of enclosure.
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Module
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Module Aggregated Initial Study
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Module
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Module Aggregated
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Sectional Model
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Rendering
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5 TORUS CITY Core II | Situate Instructor | Jeffry Burchard Spring 2018 This project examines the nature of inside versus outside relative to the unique characteristics of the torus. This project involved the design of a club for millennials in the city of Boston. The goal was to create a new “front� to the building within the interior. Using a set of 3 concentric torus repeated vertically, the mass was carved to create a continous space of alternating geometries that defined the programmtic elements within the design. The torus was able to create moments of inclusion, rest, passage, exhibition, and expansion. Through this continious loop, the inhabitant faces 3 different moments, forced to create a circulatory decision. Moments that create sidedness; towards the exterior city, towards the new interior city, or secluded in-between.
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Module of Torus Carving
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Module Exploring Inside vs Outside
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City Analysis
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Elevations
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Torus Seating Condition
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Torus Ramping
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6 PALAIS NEW HAVEN Core III | Integrate Instructor | Oana Stanescu Fall 2018 This project involves the addition of a hotel and event center to the Temple Street Parking garage designed by Paul Rudolph located in New Haven, Connecticut. The site is situated in between the City of New Haven as well as highways I-95 and I-91. Because of these conditions, the site gives way to a space of mixing between guest of New Haven and locals. The concept of the design aims to design an addition to the parking garage that gradually mixes the two extremes of public spaces and intimate spaces relative to the program required of events spaces and a hotel. The new addition seeks to create a linear experience for guest of New Haven with locals through a gradient of public to private and intimate spaces. Exploring the linear progression of spaces, the idea of the enfilade was challenged in order to reestablish the Baroque meaning of the term in an updated manner. The establishment of the idea of spaces given by program, defined on a scale of public to private followed consecutively after each other, set parameters for the addition. The programmatic spaces created; event lobby, event hall, hotel lobby, and hotel, are challenged against their traditional circulatory path through the idea of the enfilade. Expediency of the linear pathway Experience that is continuous that’s not convoluted and difficult The interior organization of the addition to the garage is based off a grid that was derived from the existing structural grid of the garage, as well as the garage’s division of space in order to maintain the architectural standards for functionality of parking garages; parking space dimensions, circulation, and head clearance.
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City Analysis
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Enfilade + Structure Initial Models
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Grid + Cores + Circulation + Structure
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Plan
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Model 1/16th Scale
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Exterior Renderings
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Interior Renderings
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7 “POSTLUX” Core IV | Relate Instructor | Jennifer Bonner Spring 2019 Partners | Willem Bogardus + Goli Jalali “Is the alphabet and its letters merely a stand-in to generate an architectural discourse around the problem of the offset? The offset, or parallel curve, seems to be prime material for working on the topic of housing where single and double-loaded corridors often define organization and mass. In its most simple form, the offset is easy to read, producing legible units in plan with parallel layers of space—CL-T—corridor, living, terrace. Yet the potential of the offset might be in challenging past housing paradigms, particularly the very stable bar type (I or L). Letters have shapes, sticks, and loops, containing various thicknesses of offsets, made of curvilinear and orthogonal parts. These parts when arranged in plan and section produce a threedimensional massing with a resemblance closer to that of a pile, than the straightforward stack found in modernist housing exemplars.” When approaching the city, the attitude taken by designers plays a major role in the future of certain developments and their affect onto surrounding regions. The design could act as a formal misfit that ripples and creates changes to the area in which it now inhabits, or it sneaks its way in and blends seamlessly being undetected. Our project, titled, Post-Lux, sought to become an urban intervention that could seamlessly blend itself into its surroundings of Somerville, MA, externally, but act as a radical formal misfit from the interiority. The attitude taken first, addressed the contributions that we could develop for the city of Somerville; a project that sought to provide co-housing for students and luxury, two impeding masses that are quickly finding their footings in the developing region. These contributions addressed the economical, spatial, social, and formal differences faced by students and the wealthy. 62
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If the project attempts to imitate that of Somerville, a thorough study had to be done of the housing stock that exists. Our extraction of parts in Somerville looks through the lens of typography or font. The analyzation of typography led us to understanding that we can analyze architecture in a similar fashion.Using Somerville’s housing stock as precedent, we found that there was plethora of {Serifs} and [Sans Serif] edifices.
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The creation of typography for us, distills down to the idea of a systematic generation; a combination of lines and circles. This combination ranges from {flourished combinations}, to that of [minimalized combinations]. We defined these flourished combinations as {Serif architecture} and the [minimalized combinations] as [Sans Serif architecture]. The interests that developed from this generalization revolved around the attempt to fuse the two types together.
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If we go back to typography, {Serifs} and [Sans Serifs], we find an opportunity within our project to introduce l of taking and de-stilling luxury moments back into a familiar housing stock, then we have established that luxu stock, is arbitrary and not wholistic. What if there was a way for us to exaggerate one through the other in order formal exploration of pushing the geometrical qualities that exist within external {Serif} benign gestures into in maintain an image of Somerville.
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luxury into Somerville. If we deem {serifs} as a form of luxury and [Sans serifs] as the modern derivative ury already exists. However, the way that these two combating formal languages play a role, in the housing r to achieve an internal exuberance while maintaining the generic of the exterior? We theorize that through a nternal formal [sans serif] bodies, that we can achieve a creation of idiosyncratic luxury spaces that externally
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The figures above represent singular exaggerated moves of {Serif} architecture that impede upon the base body eyebrow dormer, turret, window wrap, bay window, and conoid dormer, as the generics. We strive to reimagine forms of {luxury}. We find our explorations of these moments as being innovative because of the fact that there effect on interiority and the interior’s residue onto the exterior was slight.
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y classified as [sans serif] architecture. We identify moments from our precedents such as that of the, entrance, e and re-establish their formal reading on an exterior base in order to reinvent their internal existence to recreate e was a lack of internal and external cohesiveness within both forms of architecture. The exterior had minimal
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Section
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380 single and double student rooms comprise the dominant housing condition. Double loaded corridors provide the most efficient means of honeycombing rooms within the bar type. However, co-existence requires architectural accommodation. As 17 2,000 square foot luxury units intersperse amidst the tight grid of student housing, they push against the default double-loaded corridor, creating a single loaded condition that swings from side to side of the bar.
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As each bar building intersects with its neighbors, disjoint corridors feed in from the student sections into large common spaces. Judicious applications of the circular bay, turret, or window wrap bend circulation back into continuity. What student rooms lack in space and variety is therefore made up for in the 13 bar building intersections, which house student common spaces and amenities.
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Circular Bay + Circular Bay ⅛” = 1’ 0”
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Here, two circular bays enclose a quintuple height cylindrical common space. A double double helix wraps circulation around and around and around the space, bringing in students from each of the three intersecting bars. At the top, two luxury units share a discrete segment of the circulatory system. At lower levels, student rooms infill all extra space.
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Turret + Eyebrow Dormer + Turret + Eyebrow Dormer ⅛” = 1’ 0”
Here, the horizontally extruded cylinders of two obliquely intersecting eyebrow dormers catches the floorplate of alternating double height common spaces. Turrets pop up at the acute corners, bending circulation in towards the spaces. Kitchens, showers, and meeting rooms fill in the interstitial spaces between common areas and student rooms.
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Conic Dormer + Conic Dormer ⅛” = 1’ 0”
Here, a conic dormer collides with its mirrored partner. Their intersection line stitches together a semi-gothic dining hall that pushes out to the edge of its modest gabled envelope. At upper level, a corridor wraps around its conic boundary to arrive at smaller gathering spaces. Below, a window wrap guides occupants into the front face of the adjacent bar and into the common space.
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8 THICK BOUNDARIES Option Studio | Habitat Kashgar Instructor | Zhang Ke Fall 2019 The site of this project is located on a plateau in a small farming village in the region of Kashgar along the silk road. This project questioned what it meant to design in this region. It could be a place for interconnectivity for locals and tourists. On one hand it could introduce tourists to the culture of this region and provide temporary dwellings spaces in a remote location. It could also function as a space for locals to sell their goods and trade their stories over tea. My proposal therefore seeks to bring tourists and locals together in a project that programmatically consists of a 14-person hostel, a tea house, a restaurant, and an open-air market. The design started with an exploration of a module that could be repeated. This idea of repetition emerged from the structural bays of traditional caravanserais. These modules aggregate as a mat building in a checkerboard pattern creating a series of connected spaces. Some interior and exterior. It’s entirely imagined as rammed earth construction through the use of ruled frame work. The spatial organization originates around a thick boundary that feeds into adjacent program. These two boundaries organize the programs. The first acts as connective corridor to each of the hostel rooms and hostel reception office. The second acts as back of house for the restaurant. Connecting to a kitchen, staff lounge, office, and storage. There are a few floating programs within the center of the project that are accessed along the public thoroughfare. These programs seek to provide intimate interaction between guest and locals. We have a tea house, communal space, and a market store. And lastly the exterior courtyard spaces of the project act as an open air market for interconnectivity across all programs seeking to mix two dichotomies of individuals. 86
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Site Plan
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Model
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Hallway Rendering
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Tea House Rendering
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