D ani el Ve um S tone Ar chi te c tur e P or t foli o 2018
Making Flippy Floppy Southlight A "Maker" Building for RISD Naragansett Bay Laboratory Performing Providence Between Content & Container Urban Excavations Larking Building Analysis Marking of Design Principles Odds & Ends
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Making Flippy Floppy
“Soft architecture” explores ideas of softness through material, programmatic, and structural flexibility. This studio explored how softness can be applied to architectural design, starting with material experiments in fabric, programmatic flexibility studies and finally a 100,000sf design proposal. The project lies on the rooftop parking lot of New York City’s Port Authority Bus Terminal, a swath of open space in the center of Midtown Manhattan. Though the PABT has negative connotations in public opinion, the rooftop structure is meant to serve as a sort of “people’s palace”, an ambiguous space housing a mash of frictional programs, including a reading library, urban reservoir and a series of delicatessens. The project proposes restructuring the rooftop as an artificial lake, while the various programs “float” above in a flexible, cloud-like grid.
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Advanced Studio with Yasmin Vobis Spring 2016 New York, New York
Diagrammatic study of a multi-use space
Circulation concept diagram with ink wash and pastel
Initial design sketches
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Material study in tulle and blue foam
Massing model, 1/16" = 1'0"
Final Model for Port Authority rooftop proposal, 1/8" = 1'0"
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Program + Circulation Plan Diagram
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Top-Level Plan
Mid-Level Plan
Water-Level Plan
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McCarren Park Pool, 1937
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S OU T HL IGH T
Southlight was a collaboration between students at RISD, community members in Southside Providence, and the City’s Department of Art, Culture & Tourism. What initially began as a RISD design studio developed over the course of a year into a permanent pavilion for the South Side Cultural Center of Rhode Island. The steel-frame and polycarbonate-clad structure provides the Center with a formal, three-season space for outdoor gatherings and performances. The project reformed an expansive asphalt parking lot into an area of lawn, garden, gravel paths and a custom-built cedar fence, setting a precedent for future projects to be implemented by the City in the area.
Professional Internship Summer 2016 Providence, RI
Photographed by Naho Kubota
Adapted fence plan from existing chain-link posts
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Photographed by Naho Kubota
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Photographed by Naho Kubota
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Photographed by Naho Kubota
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Maker Building
What if the Rhode Island School of Design were to construct a new campus building in order to create a space dedicated to making? The vision of the new "Maker" building outlines an interdisciplinary and experimental space where RISD students from various disciplines, such as architecture, textiles, painting, industrial design, etc, can work collaboratively and adjacently. The proposal is based on the narrative of "the bundle." This means inspiration from a literal bundle, a bundle of twigs collected, tied up and place in the site, as well as a conceptual and programmatic bundle, in which RISD's various departments come together in a unified, collected space. The building is envisioned as a mass-timber construction that is easily reconfigurable and re-adaptable, where the highly specialized programs literally "plug-into" the framework of the building, thus achieving a goal of long life, loose fit, and low energy.
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Advanced Studio with Jim Barnes Fall 2017 Providence, RI
Diagrammatic collage for the building narrative. The project takes disparate separate campus programs located throughout Providence Downtown and bundles them together in a single, unified space.
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Ground floor plan
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Circulation diagram
Traverse section through building
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Detail Sectional Model, 1'8" = 1'0"
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The design of the Maker Building went through various design iterations over the course of the semester. While the project always focused on the narrative of the bundle, the way in which the project incorporated the narrative changed several times. In once stage, as seen in the diagrams on the upper left and right, a large organ-like tube projected through the building in order to connect all the distinct spaces surrounding it. In other iterations, such as the section at the right, the building consisted of many tubes interspersed by rectilinear volumes.
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College experiments for "stuffing" the site
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Narr aganse t t Bay Lab or a tor y
Narragansett Bay is an ecosystem that has been in flux over recent years. This proposal for maritime research laboratory and public aquarium located on the shore of Naragansett Bay aims to create a space for studying the changes in the Bay while inviting the public in to interact as well. The studio began with studies in symbiotic material relationships and buoyancy the surface of water. The building, housing research labs, offices, and an aquarium and tide-pools, blends private and public program in cohabited spaces. The design was conceived through the process of shearing blocks of mass, sliced at an angle and pulled apart in order to generate circulation paths and facilitate sunlight within the building. Further cuts were scored within the programmatic volumes in order to allow for natural flow of water and connect lines of vision throughout.
1st-Year Core Studio with Aaron Forest Spring 2015 Providence, RI
1'8" = 1'0" scale model 32
Material shear diagram
Early material tectonic studies 33
Early material studies involved tests in buoyancy. Blocks of blue foam were displaced in water with heavy pieces of wood, and then righted by rearranging and conserving the matter of the existing foam block. The resultant form was then translated to be entirely wood, and next a combination of wood, wire and fabric. These studies which gave precedent to architectural designs in the next phase of the semester.
Foam model lighting study 34
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Administrative Offices, 2nd Floor
Research Labs, Ground Floor
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Aquarium + Tidepools, Water Level
Longitudinal Section
Traverse Section
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1/16"= 1'0" Massing Model
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Massing Model in Site
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P er forming Pr ov i denc e
How can a fictional character influence urban narratives? How does the character shape urban interactions? The international toy company Hasbro is headquartered in Providence, which gives its characters and products a special place in the city. Hasbro's announcement for a multi-day convention expected to draw in thousands of visitors to the city prompted the question of how we begin to read urban narratives through the lens of fictional characters who occupy the city. The sequence of this studio was divided into three phases: The Map, The Artifact, and The Pavilion. Over the course of the semester, the initial studies in mapping Providence informed a proposal for an individually-designed pavilion to be exhibited at HASCON. This is turn culminated in a group design-build that built upon work on the role of the character in the city and the activation of the urban environment.
Advanced Studio with Gabriel Feld Spring 2017 Providence, RI
"Goopy" map of Providence using oil bar and white charcoal pencil 40
Map of Providence circulatory system with red wax, vinyl tubing and piano wire
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P ha se 1: T h e Map
My approach to mapping Providence led to a series of experiments exploring drawing kinetic forces . My intention was to explore the flow of wind through Providence and translate that into drawing form . Ultimately the exploration in kinetic drawing and wind mapping did not meld as I had hoped, but both can be viewed as parallel processes towards the understanding of flow through the city and representation of those forces.
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A series of drawings were creating using an inkwell attached to a pendulum. I pushed the apparatus with my hand to start, and the resulting forces drew the motion and intensity of the swinging cup
Experiments in the push and pull of material on the paper surface; drawing on a malleable plane
"Wind mapping", a simple mechanism based on a wind-sock that was set up in various locations around Providence in order to observe wind flow 43
P ha se 2: T h e Ar ti fa c t
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Circulation diagram model
1/4" = 1'0" Pavilion Model
The focus of the studio on creating a pavilion for the Hasbro's "Has-Con" convention led me to use the game of Jenga as a base point for my design. I was curious how the rigid and rectilinear form of the game would react once it was imposed upon the human body (myself), and how that would then translate to a constructed pavilion. The design came to focus on the pulling and shifting of the blocks and the hollowing of volume in order to create an interior space.
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P ha se 3: T h e P av ili on
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The initial studies of character and mapping as a studio led to the culmination of a final ground project in which we devised a built pavilion that could roughly hold 12 people. The pavilion was the final creation of the studio, but also was designed as a space where we would hold our final critique. The pavilion, nick-named "Spiky Lulu," was designed and built in a 2 week period on a budget of $500. This meant that the project necessitated cheap and recycled materials, light-weight construction and rapid iterations in the design process. We were able to obtain free card board shipping tubes from RISD's 2nd Life store for recycled materials, and a 200 lbs. roll of pink felt from the RI Recycling Center for a minimal cost. The rest of the budget was spent on connective elements such as zip-ties, buckles and webbing, as well as print costs for marketing the opening event of the project. The design of Spiky Lulu references zoomorphic qualities and evokes questions of urban scale. It is meant to have animalisitic traits in an abstract sense, such as bodily symmetry and head-to-tail directionality. Overall, the project encapsulates the rigorous studies of map and artifact over the course of the semester and the result of a quick and intense collaborative process.
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Rain delay; Spiky Lulu is covered with mylar to prevent felt from getting soggy
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Final Critique, held inside constructed pavilion 49
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Betwe en Content & Container
This proposal aims to answer the question, what the role of the physical marketplace in the 21st-century? The design of a 5-story shopping mall and post-office within Merkato, Addis Ababba’s open-air market aims to blend existing market typologies with the emergence of Ethiopia's newly built light-rail system. Research was conducted on Merkato largely though the new phenomenon of cellphone photos and dashcam videos, which informed new programmatic ideas about how people would begin to interact with the project. How can the shopping mall act as a mediator between the existing and the new in the context of material permanence and rigidity of social structures? The project aims to set up an adaptable framework for merchants to “plug-into”, both figuratively and literally, providing modular seller-space units and direct connection to the transportation network.
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Advanced Studio with Emanuel Admassu In Collaboration with Zoe Ritts Fall 2017 Addis Ababa, Ethiopia
Diagram for "layers" of material permanence
Diagram for inward projection of light rail columns
Filmic sequence taken from dashcam video of site
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Collage study for melding of material logic with market infrastructure
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Collage study of the imposition of samples studies on to site, referencing Alvaro Siza's "Bonjour Tristesse"(1984) and Fumihiko Maki's "Spiral" (1985)
Early drawing for study of the spectrum of material permanence in Addis Merkato . The heavy concrete construction lies to the left, while fabric and eucalyptus framing lies at the other end on the right 53
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Examples of adaptable merchant spaces integrated in the column system. The framework for the seller modules allows for adjustable enclosures and surfaces for the display of merchandise.
Longitudinal Section Cut 55
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Filmic sequence from the perspective of a light-rail passenger as the train passes the mall 59
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Urb an Exc ava ti ons
Urban void spaces (often utilized as parking lots in Providence) are areas with high potential for transformation into multi-functional urban spaces. This project focuses on developing an urban design strategy in a large area of parking lots adjacent to Rhode Island Hospital. The master-plan for the site began as a collaborative studio effort, while detailed proposals were formed individually. The site-strategy consists of the overarching concept of carving through mass in order to allow for circulation of people, air and light. The subtle topography of the site is utilized in order to form sub-level courtyards between buildings that function both as parking and common areas for residents, retailers and the hospital institution.
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2nd-Year Core Studio with Ian Baldwin Fall 2016 Providence, RI
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Split-level 1-Bedroom, 800sf
lit Level Split Level
lit Level Split Level
Single-level 1-Bedroom, 800sf
Split-level 2-Bedroom, 1100sf
Single LevelSingle Level Single Level Split Level Loft Split Level L (ADA Accessible) (ADA Accessible) (ADA Accessible) Single LevelSingle Level Single Level Split Level Loft Split Level L (ADA Accessible) (ADA Accessible) (ADA Accessible) 1’0”= 1/8” 1
1’0”= 1/8” 1
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Lar kin Building Analysis
Frank Lloyd Wright's Larkin Building, constructed in 1904 in Buffalo, NY, is characterized by the stark contrast between the central atrium and the dense, hermetically-sealed brick exterior. The hand-drafted and digital oblique drawings take a worm’s-eye view of the building with the purpose of understanding the space of the atrium looking upward. The physical model of the Larkin building splits and hinges open so that the exterior becomes internalized and the core atrium dissipates into an invisible facade.
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1st-Year Seminar with Jack Ryan Spring 2015 Providence, RI
1/8” = 1’0” Hand-Drafted Traverse Section
1/8” = 1’0” Hand-Drafted 22° Section Oblique 69
Digital Plan Oblique
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The scale model of the Larkin building was constructed with hinges on its lines of symmetry so that the model could be opened up and inverted. The aim of the experiment was to start to understand the interior exterior relationship through the process of splitting and bringing the exterior inward. In the inverted model the open atrium dissipates into an airy facade while the heavy brick exterior becomes the dense structural core of the building.
Inverted Larkin Building model
"Inside-out" Larkin Building study, centralizing the existing corner circulation cores by bringing them inwards
Intact Larkin model, 1'8"= 1'0"
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Making o f D esign Pr inciples
This 1st year studio was an exercise in learning the fundamentals of designing; not just how to create architecture, but the core principles of the design process itself. Initial studies involved creating scripted drawings and models that relied on principles of tension and layered density of operation. Later experiments conducted surrounded the study of threshold and the sequence of perspective views through the threshold. This in turn led to a proposal for an experimental black box theater, in which the central stage drew in various circulation paths, essentially "tensioning" the building and shaping the geometry through the projection of views.
1st-Year Core Studio with Kyna Leski Fall 2015 Providence, RI
"Tensioned" drawing 72
Threshold mapping; understanding how perspective views move along a path of circulation 73
Plan + Circulation Diagram
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Site Model and Section Diagram
Process models exploring concepts of tensioning and projection of views along circulation path
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O dds & Ends
A selection of relevant work from secondary studios, personal projects and professional internships.
2013-Present
Stool cut from MDF board on the CNC router 76
"Duality", a collaborative pen-plot drawing with Adrian Gonzalez for the College Hill Independent, 2017 77
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Drawings completed at HB Design in Providence, RI during summer 2018. Part of a proposal for a design-build campus, including fabrication and maker space in West Providence. A communal public courtyard relates the two adjacent buildings containing office and shop spaces.
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Selected Work from my professional internship Naor Suzumori Architecture. I worked on developing a set of residential cabins as part of a larger masterplan for a cabin community in Upstate New York, as well as a speculative house for a surfer in Nicaragua.
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"32 Parking Booths", Exhibited at Brown University's List Arts Center, 2017 81
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Drawings and Prints, 2014-2017
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Water-scape, Gouache on Stonehenge paper, 2013
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D ani el S tone dstone@risd.edu (503)-539-6466 danielveumstone.com