ARCHITECTURE
PORTFOLIO CHLOE FRONING
INSTITUTE FOR THE AFFLUENT SECTION 1
DE-FAMILIARIZATIO
SEC
XPLAY SECTION 3
EMERGING TRANSITI
SEC
ENCOMPASSED FLUID SECTION 5
ON
CTION 2
IONS
CTION 4
SELECTED PROJECTS Figure Ground Study Multi Media Studies Threshold Spaces Materiality Studies
Aggregate Housing Facade De-familiarization Spanish Revival De-familiarization Cubo Library XPLAY
Institute for the Affluent Emerging Transitions
Encompassed Fluid May 4th Memorial
Fall 2017
Spring 2018
Fall 2018
Spring 2019
Fall 2019 Spring 2020
Fall 2020
Y E A R 1
Y E A R 2
Y E A R 3
Y E A R 4
INSTITUTE FOR THE AFFLUENT
Brief 01: Collect - This Brief investigates the role of precedents and the effect of the objective world outside (context) on subsequent design decisions (content). We will start by gathering large quantities of unfiltered data, to then categorize and strain to a created a “carefully collected ensemble� as a design tool. My heterotopia was influenced by the advancement of technology used to enhance the superficial body. A part to whole relationship with the body starts to bend our reality. Starting with the collection of part; mechanical parts chosen by the wealthy individual. These parts are broken down into tiers of bronze, silver, and gold with each tier getting more expensive. These parts are for the wealthy, a show of social status. This is not a need, but a desire. Brief 02: Curate - The curation of the collected data from Brief 01 is used to define sets of spatial requirements and systematic approach toward spatial organization. Specific circulation sequences are determined and created for each set of actors. Each path has a specific system and entry, and sequence that may or may not cross each other. The system is broken down into its parts, coming together to function as the whole. This is compared to the circulatory system of the human body, with each vein system with its own hierarchy of importance and worth within the body. Exploded Axons- These axons were taken from the two most important rooms of the institution. The first being the operating theater. This is the main event for the patrons and client. The second is the Prized Possession room. Both axons showcase the actors place in the hierarchy of the building represented with correlating colors to the class like structure of the institution.
Professor Zahra Safaverdi
SECTION 1
F A L L 2 0 1 9
REJUVENATION
SHOWROOM
PROP ROOM
DRINK FOOD
DRESSING ROOM
DRESSING ROOM
WAITING ROOM
WAITING ROOM
CONSULTATION
CUSTOMIZATION
THEATER WAITING ROOM
SCRUB ROOM PRE PRODUCTION
PRE PRODUCTION
OPERATING THEATER
POST PRODUCTION
POST PRODUCTION
MIRROR ROOM
POST SHOW BACK OF HOUSE
BALL ROOM
PRIZED POSSESSION ROOM
STORAGE
GREAT HALL
SUPERIOR VENA CAVA
INFERIOR VENA CAVA
SYSTEMATIC VEINS
The largest veins in the body
The second largest veins in the body
Returns oxygen-depleted blood from the rest of the body back to the heart.
SUPERFICIAL VEINS Located close to the surface of the skin
CAPILLARIES Small veins that can only be seen under a microscope
PHYSICAL ROOM MODELS The part to whole relationship with the object to body is expanded upon with the physical room models. Rooms within the building were chosen to display physically as objects calling back to the heterotopia of objects within Brief 01. This creates a world within a world system where the mechanical parts are its own given sequence within the system of rooms. The large room is the Ball Room. I wanted to showcase the cause and effects of the projection system within this model. From the front you can see how the projection system leaves an impact aesthetically, but when pulled apart spatial qualities are left behind for the observers. Three rooms were chosen to represent physically within the display cases: Customization room, Postproduction room and the Showroom. These models are placed in these cases as to further present them as objects.
SYSTEMS OF THE HETEROTOPIA
A projection system was created to detail each space. This projection came from a baroque section from the Basilica o in Bavaria Germany. It mirrors yet disturbs what is reflected from the outside world. This portrays the idea of religious a manifesting within the architecture and spaces occupied by the clients. In the X-ray Axon, the shell is extracted, revea and curvature of the interior. As the exterior structure stretches and creeps onto the site, it creates a connection from giving away the purpose of the interior function to the outside world, for that is reserved for the Client themselves to e plans show the complexity of this residual dragging within the projection function on the floor of each room. The sect space and the texture between the inner world of the institution and the outer shell. The void is represented as scaffo almost set like, or produced environment. The pieces of the building itself are the parts that are curated within the stru This reflects the part to whole of the singular object projected to be within the larger structure itsel
of the 14 Holy Helpers and social connotations aling the ornate detail inside to out, without experience. The floor tions focused on the olding, signifying an ucture as a sequence. lf.
OPERATING THEATER The theater is the center of representation physically, and the heterotopia of the Institute for the Affluent in my project. This space is meant to be immaculate and unique but reflective to the other rooms inside the Institute. The projection and extrusion process created a seating structure. The white, bright stage gives off a sterile feel with the glow of cool lighting, contrasting the warm faint glow from the viewers seating. A glass dome covers the surgery, which not only acts as a protector for the sterile field, but a call back to the collection of objects process. The dome reflects that of an object of prized possession being displayed. The surgery becomes an object within itself on display for the viewers within the operation theater, echoing the showroom typology.
PRIZED POSSESSION
A place that holds the Institute’s valuabl client dies or if surgery goes wrong, the Ins that must be made for the development of are celebrated and displayed within the roo the other patrons to honor their sacrifice. room, I wanted to convey a religious exp glass structure sits within the center of become one as reflections filter into the str the heterotopia itself, mirroring yet upsettin within a world, a system within the sys
N ROOM
les and history. If a wealthy stitute sees this as a sacrifice the system. These instances om of Prized Possessions for . With the importance of this perience for the user. A large the room. User and object ructure. This connects back to ng the outside world. A world stem inside the Institution.
DEFAMILIARIZATION
This project focused on taking a style of architecture and “defamiliarizing” it. I chose the Spanish revival style, it uses a very simplistic base accompanied by intricate details. The details project from outside to inside, creating cut out spaces on the inside. This is seen with the plans and sections. When experiencing these spaces, there is a familiarity from the outside structure while you are also trying to figure out what space you are occupying. Looking for clues you find roofing profiles that creates the ceiling above you. I am also using other unconventional details like roofing profiles to create something that is not a roof. This stayed within the Spanish revival style while keeping it defamiliarized. Drawing inspiration from Michel Young’s lectures, a “Para-Fictional Scenario” was developed to give the design process and choices a narrative. This further defamiliarizes my project from reality bringing it into its own narrative and environment. In my Para-fictional Scenario, the expansion of this style mostly took place within 1920-1930 where these homes were built by the thousands in California. In 1927 one of California’s largest earthquakes hit. These towns of Spanish revival houses were destroyed. They understood this as an act of god that destroyed their houses. The next year they were afraid of yet another event that would destroy what they had rebuilt. Therfore, they proposed a sacrifice to the gods. They built a physical object to represent the houses that were destroyed by the god, and then destroyed it for him hoping to please the god. This clay structure is a sacrifice as well as a celebration. Each family of the town places one detail from their house inside the clay structure. When it is destroyed these details come spilling out as if it is a pinata. Professor Jean Jaminet
SECTION 2
F A L L 2 0 1 8
CONCEPT DEVELOPMENT This is how the structure started, with 6 volumes placed together to create one whole. Taking details from inside to outside, like tile and wood beams, I started to develop the detailing of the facade along with the interior spaces. This demonstrates the idea of playfulness of the pieces working together while still defining the style. The style uses stucco walls, tile roofs, arched walkways and decorative ironwork. The detail on the outside was influenced by Michel Young’s lectures specifically about “allure”, taking something it is and making it something it is not. These details played with thickness and thinness, mass and structure, affecting the massing profiles and producing new shapes.
XPLAY
Within yhis project, I wanted to focus on form and how program can create an impact on the formal structure. The requirement for this project was to create a wellness center. I used four shapes as “game pieces” to layout the program: X as movement, circle as open wellness, square as closed wellness, and triangle as public. I wanted to represent these floor plans as old “2D” black and white drawings, as if my building were a game. I focused on each impact point, not just the form, but the area within the form. The skin of the building needed to echo the idea of the volumes affecting one another, while being contained within one building. I took inspiration from a pattern called Razzle Dazzle camouflage that covered some World War One ships. Each volume has its own pattern which keeps them separate, but the building is encompassed with one giant camouflage. The system of cause and effect is applied to the pattern, this creates non-indexical slippages between color and form. The impact can also be seen with the color of the glass changing. This is based on where the volumes collide. The physical model was an interesting challenge to create. I combined techniques of 3D printing, Bristol paper, acrylic, and stickers for the texture.
Professor Diane Davis-Sikora
SECTION 3
S P R I N G 2 0 1 9
CONCEPT DEVELOPMENT The four shapes combine and intersect to create a cross play (XPLAY). I developed the wellness center around the idea of a game. A game has moving pieces and parts, while distinct, they can all interact and effect each other. These diagrams show my process in which I created “slips” or connections between each shape. A system of cause and effect is in place to develop the “game play” of the wellness center. The shapes impact, cause formal effects, and develop the base of the structure, the circulation path, and the spacial system.
EMERGING TRANSITIONS
This studio took place during my study abroad trip to Florence, Italy. The prompt of this project was to take the existing park within Piazza Dei Chompi and elevate the location with a community center. My main goal was to reinterpret the facades of Florence, creating a building that draws the user throughout the center. I wanted to use something sculptural, but develope that idea into something architectural. With the idea of sculptural forming and the facades of Florence, I created a building that allows movement and exploration into the community center. Creating layers and depth throughout the facade brings a sense of exploration through each corner. Up every staircase a new form comes into view. These aspects of design were important to draw in the community not just around the center, but within it. The building needed to react to the site around it. The facade elevations where important to view within the site context and the depth of space in the building itself. The transverse section highlights the structure within this carving with the horizontal layering. The longitudinal section showcases a sort of extrusion process which the layering of facades creates within the building. I did not want to overwhelm the dialogue between the comunity center and the existing loggia on the site. I pulled lines from my building to ground it to the site. This created reactions on the ground creating pockets of green space, cobblestone, and reflecting pools. This allowed a dialogue between the order and repetition of the loggia, and the disorder and curiosity of the community center. The site condition is designed as a transition point to draw users up and into the building from the site.
Professor Paola Giaconia
SECTION 4
S P R I N G 2 0 2 0
C
One aspect I focused on wa using the facades of Florence streets around create reactio one of the most important a created with these layers are demonstrates depth of spac layering of space along reinterpreted the street-scap represent how the form com showing the depth of carving, my whole building. The bu spaces are created for the community center is the large reaction shows the layers w The reaction frames a view space allows the us
as how my center would react to the surrounding site. If I was e, the larger form should also reflect or react in some way. The ons, or carvings into my form. The layering of my building was aspects. This first started with the idea of facade. The depth e represented with the drawings below. Each facade drawing ce with changing forms that move throughout the space. This with the changing facade features of each layer, is how I pe of the surrounding site. I thought an exploded axon would mes together. The form is best viewed in an axonometric view , and layering created throughout, not just the facade but within uilding reacts with itself. These vertical as well as horizontal e user to move with the building. One main viewpoint of the e carving reaction from the main street leading to the site. This within the building while also creating a connection to the site. w of the street leading to the Duomo of Florence. This carved ser to view the depth of layering within the structure.
SITE PLAN
N
CONCEPT DEVELOPMENT
ENCOMPASSED FLUID
The brief for this studio was to create a new consolidated school to teach wood-based craft and fabrication to be sited in the heart of Helsinki, Finland’s largest city. This new facility is to house laboratory workshops, exhibition spaces, and housing for the students all focused on developing cultures of making and material-based education. This studio investigates the relationship between the core material configuration of building elements and the aesthetic figuration of those elements to produce architecture. In architecture, the core most often denotes the longest lasting and most durable part of construction, functioning to support the building, house vital services, and allows movement horizontally and vertically. CoreCore asks a basic disciplinary question of architecture, can we give aesthetic identity to the essentials used in the construction of architectural wholes without them being subservient to the whole itself? I first started with program placement; I wanted the building to be a participant within Helsinki. I did this by leaving an open space on the first floor for locals to walk through the building without having to go inside. This way the community can experience the building without being a direct member of the school. This started to blend the boundary of exterior versus interior. This allows the individual to be a participant within the building without physically entering the building. Extending this idea, the main core of the building is the ridged structure of columns. These columns extend past the boundary while sticking to the strict spacing placement.
Professor Danielle Beaulieu
SECTION 5
F A L L 2 0 2 0
PARTS
GUIDE STAIRS AND ROOF
FIFTH FLOOR
X22
FOURTH FLOOR
X22
THIRD FLOOR
X22
SECOND FLOOR
X22
FIRST FLOOR
X22
CONCEPT DEVELOPMENT Starting with the concept development, my main idea was to have a rigid grid of columns encompassing the programs within. These programs push and pull in and out of the grid. The project highlights the structural columns as the primary Core element. This pushing and pulling responds to the constraints and space around it. The pressure on the program helps shape pathways throughout the building. Each contained programmatic space is identified using color on the ceiling. Each color is contained within the fluid program identifying to the user if the program is public or private. This helps clarify the space in between as moment blending the interior and exterior constraints into Helsinki.
Private
Semi - Private
Semi - Public
Public
FIRST FLOOR
1
3
UP
UP
1
2
1
Practice Lab
2
Teaching Lab
3
SECOND FLOOR
THIRD FLOOR
UP
1 5
1
4
2
2 UP
UP
3 UP
3
4
UP
UP
UP
1
Restoration
2
Reception
3
Library
4
Restoration
FOURTH FLOOR
5
Bath
1
Storage
2
3
Exhibition
Exhibition
4
Bath
FIFTH FLOOR
DN
1
1
2
1
1 UP
1
DN
1
1 UP
1 1
1 1 1
1
1
1
1
1
1
1
1
2
Plant Room
1
Housing Units 1-9
1
Housing Units 10-20
FLOOR PLANS
Bath
The secondary Core to this project was circulation. The external stair running up the outside of the building puts pressure on the programs within the grid. This is accompanied by a stair and elevator Core that also pressures these fluid volumes from within. This pushes and pulls that program throughout the grid. The in between space used for circulation between these programmatic volumes also moves them through the grid. Each program within the grid acts as its own contained space with its own facade. This starts to both blur and blend the definition of interior and exterior. This streetscape of programs allows the user to be within the program while still being a part of Helsinki. This space is clarified using color identifying the contained individual fluid programs. I wanted this design to speak to the playfulness of movement within the grid. This playfulness of movement and color will further draw the community up into the program spaces.
Thank you for your time and consideration