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Table of Contents 4
The Cube Tectonic | Stereotomic |
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Duelling Dialogue Lakehouse Retreat | Newnan’s Lake, Florida |
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23 Beekman Place Case Study: Folding In |
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Nocturnal Lockstep Lake Resort | Newnan’s Lake, Florida |
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Villa Mairea Case Study | Folding Out |
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Vault|Vessel Public Library | Charleston s.c. |
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Plenum The Space Between |
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Grid Corrosion NYC Hotel |
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Cinema Connection Theatre and Elevated Bridge | Venice, Italy |
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|Hybridized Strata N.Y.C. Block Project |
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Embedded Melody Desert Retreat for the Deaf |
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District 824 Urban Pathway | Wuhan, China |
Fall 2007 | Project 1
Spring 2008 | Project 1
Spring 2008 | Project 2
Spring 2008 | Project 4
Fall 2008 | Project 3
Spring 2009 | Project 2
Fall 2009 | Project 1
Spring 2009 | Project 2
Spring 2010 | Project 2
Fall 2010 | Project 1
Fall 2010 | Project 2
Summer 2010
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East Asia Showcase Gallery Design | Gainesville, Florida |
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Sketching Hong Kong & China |
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Gear-Reactive End Table/Drinks Cabinet |
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65 66
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Tidal Turret Observation Tower |
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Beacon Mega Church |
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| Velocity Idle Bathhouse Racetrack | Monaco |
Combination Lamp Environmental Technology |
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Artist’s Studio Conceptual Iterations |
Chilled Beam Lamp Advanced Building Systems |
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Artist’s Collective Extension to the unbuilt Salk Institute |
Fall 2010
Summer 2010
Spring 2012
Spring 2011
Spring 2013
| Statics | Aesthetics 90 Ethics Structural Investigations | Spring 2013
Curved Truss Spaceframe Structures Project |
Fall 2009
Neural Web Mapping Soft Bodies | Fall 2011
Summer 2011
Seoul, Korea
Spring 2012
Fall 2012 | Project 1
Fall 2012 | Project 3
Paths Entwined Hostel | Barcelona, Spain | Summer 2013
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Immersion Lens Design Thinking |
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Immersion Lens Performing Arts Center | St. Louis, MO |
Spring 2013
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Fall 2013
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The Cube
Tectonic | Stereotomic | Fall 2007 | Project 1 Critic: Nancy Sanders
Approached in stages, the very first project of architecture design school was emblematically called “The Cube”. Beginning as 2 small (3”x3”) cubes, one of stereotomic design and one of tectonic design. The Cubes rapidly grew, first to 6”x6” and finally 3 iterative 9”x9” stereotomic cubes holding 6” tectonic cubes. This project is pure abstract space. No occupation, no discernible feature; pure space. Knotted linear elements combine with plexiglass planes etched and painted with registration lines to create the most spatially diverse arrangement possible. The stereotomic portion; constructed of bristol board, creates a solid, stone like appearance to the hollow mass, contrasting heavily as well as intimately interacting with the basswood and plexiglass tectonic construction held within. After the final cube’s completion, an axonometric drawing was done of it, as well as a ‘negative space’ drawing of part of the larger cube.
Final combined cube
6”x6” stereotomic cube
1st combined cube
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Axonometric negative space
Axonometric Drawing | Graphite on Vellum; Charcoal shading on reverse Detail | Final combined cube
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23 Beekman Place Case Study: Folding In | Spring 2008 | Project 1 Critic: Mark McGlothlin
Plans | Color coded public to private
Wandering Line Diagram | Density of space within the penthouse
The first of two abstract case study analyses during the second semester, the “Folding In” project focused on Paul Rudolf’s New York City penthouse at 23 Beekman Place. Limited by the long and thin Manhattan row house shape, the 4 story apartment folds inward and in order to get light to the inner portions of the apartment, is as open sectionally as possible. Analysis began in section and in plan. Focused on density and program, an abstracted, though to scale axonometric rendering was created. Color coded private to public space to the plan; the drawing aimed to better understand how the complex folding enclosure created the space of the apartment. Lastly several wandering line drawings following the edges of differing concepts were created from the axonometric rendering.
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Abstract Axonometric Rendering
Section
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Villa Mairea
Case Study | Folding Out | Spring 2008 | Project 2 Critic: Mark McGlothlin
One of the great works of the Finnish architect Alvar Aalto; Villa Mairea is a house in the Finnish countryside. The goal of the project is examining the relationship of positive and negative space and the subtle difference of inside and outside. In addition, the goal of developing axonometric drawing skills and non linear relationships were a primary goal of this project. The final product is a model created from a single elevation. Folding out from this elevation is an abstract diagram of the house.
Model | Details
Axonometric drawing comprised of 3 intersecting sections. The entrance and studio are drawn in greatest detail to show their importance.
Sketch | Figure and ground
Final model
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Plenum
The Space Between | Spring 2008 | Project 4 Critic: Mark McGlothlin
Final Model Study model | In two parts
A one week conceptual project investigating the concept of plenum; that is to say the tension and dialogue between the floor and ceiling. Folded and wrapped gestures create dynamic spaces which react across the void in the middle. Minimal vertical connections emphasize the tension in the middle. Abstract and scaleless, the plenum project begins to hint at enclosure and occupation.
Final Model | Within a greater context
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Cinema Connection Theatre and Elevated Bridge | Venice, Italy | Fall 2008 | Project 3 Critic: Robert MacLeod
Within the contextual dynamism of canals, bridges, buildings and walkways of Venice, Italy; the project investigated the edges and connections in this labyrinth of a city. From this investigation a site was selected and project proposed first entirely in large scale section drawing. From this drawing a model was made. The proposed program is an urban theatre complex to house the Venice Film festival. The main screen of the theatre is two sided; an internal multi- level theatre side and an urban theatre side facing the canals and sidewalks. Crossing the canal at the center of the complex is an elevated bridge.
Final model
Context model
Detail of bridge support and canal
Section drawing
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Embedded Melody Desert Retreat for the Deaf | Spring 2009 | Project 2 Critic: Tony White
Conceived as a architectural manifestation of a piece of music; giving an architectural manifestation of sound to the project. It began as a drawing created from Astor Piazzolla’s “Otoño”, from his “Four Seasons of Buenos Aires”. The driving rhythmic harmonies and the swooping sliding melodies of this tango inspired chamber orchestra work are manifested in an abstract, Kandinsky-esq drawing. This drawing became the catalyst for the form of the project; set within a conceptual desert, devoid of life and water; the building embedded within the rock and sand. The rhythm manifested in the context and structure and the counterpoint of the melodies in the enclosure and interwoven spaces.
Catalyst drawing | Brush marker and micron on watercolour
Model | Section through model
Model | Top view
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Dormitori
es
Section | Abstracted light study
Shielded
Courtyard
Outdoor
Pavilion
Great Hall Study Hall
Embedded into the cliff side, The project’s braced datum is the most pronounced gesture of the project. Acting as a solid barrier between the harsh exterior at times, while elsewhere acting as a porous declination between sides.
Entrance
Hall
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Model | Facade great hall
Model | Section cut without roof
Model | Curved bow trusses
Model | Looking down the section cut
Model | The datum spine
Model | Roof alone
Constructed of stained chipboard, museum board, music wire and sanded and clear acetate; the pull apart section model small gestures are aimed to echo back to the original catalyst’s energy and form. The building’s lines and forms are etched into the surrounding desert as registration lines, grounding the building into its context.
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Model | Overhead view, without roof
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Duelling Dialogue
Lakehouse Retreat | Newnan’s Lake, Florida | Fall 2009 | Project 1 Critic: Martha Kohen
Along the bald cypress laden edge of Newnan’s Lake, two monolithic masses rise from the swampy earth. A simple lodge is cantilevered from the masses above ground. Across a short elevated walkway stands a porous tower, a spiral staircase leads to a viewing platform atop. Open to the sky just above the tree line; the tower allows the viewer a framed view of the distant horizon.
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Model | Rooftop over the water
Model | Nestled amongst the dense cypress trees
Model | Aerial view
Tower
Dining Kitchen
Local Context | Newnan’s Lake
Library
Plan | First floor Living
Bed
The perceptive contrasts within the project aim to further distance oneself from the grind of daily life. The stoic heaviness and stone of the two hollowed masses allow great contrast with the lightweight and lively wood cantilevered living spaces.
Bed
Bath
Plan | Second floor
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Model | Living area cantilevered over water, imbedded on the coast among the cypress trees
Model | Elevation through the trees
Enclosed on all sides by dense foliage and denied a complete view of the horizon or sky, the main building allows the power of the separated and physically distancing journey to and up the viewing tower to become a transcendentally enlightening experience. This journey is only heightened at night; the geographically isolated site devoid of the only the most distant light pollution allows for unimpeded views of our Galaxy.
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Model | Looking into living space
Model | Spiral stair semi-visible through skin
Model | Tower lit up at night
27 Model | Looking at the taller thinner mass
Model | Two hollowed masses, a lightweight building cantilevered out from them
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Nocturnal Lockstep Lake Resort | Newnan’s Lake, Florida | Spring 2009 | Project 2 Critic: Martha Kohen
A conceptual manifestation of the complex interactions of water, earth and sky; the project perches on the edge of Newnan’s Lake, one of the few remaining untouched large lakes in Florida. Comprised of a gallery, restaurant and small hotel; the complex loops back unto and through itself. Extending a phenomenal understanding of the untouched Florida landscape, it aims to touch upon and embrace inky blackness of the frontier.
Model | Standing above the trees
Model | From above the lake
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Model | Plan view
Model | Looking down dock 3 Point Perspective | Grand fireplace and atrium
m
ption Rece
t Roo
Grea m
m Roo
Roo
Bar ry
Galle
Patio
Pier
Resta
urant
Kitch
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Swim
At its heart, are a play of stereotomic earth like masses and tectonic view controlled spaces, whose purpose is to understand the narrow horizons’ connection with its visitors context within such an environment. The entire layout is such that upon arrival, the viewer is first denied the transcendent all encompassing view, closing into a compressed and narrow space hinting at its end, then opening into the near-infinite scale of the lake scene before them, only bisected by the long dock with marker stone and platform at its end. As with the previous lake retreat, it expands upon and aims to deny and then reward the visitor the power of the unfiltered nocturnal view of our place in the galaxy.
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Model | Monoliths within the inky blackness
Model | Looking through monumental grand window
Model | Restaurant Roof
The restaurant’s stepped interior provides a unobstructed lake view at every table. Attached, a bar open to the sky with opaque walls reflects that of the hotel’s atrium. A raised path, extending 250 feet into the lake and ending with a monolithic stone, a series of pillars marks the journey along the dock into the expansive view of the lake. Out of the end stone extends another platform for swimming and for viewing the stars, unimpeded by the lights of the city; bringing the visitor closer to the earth and themselves by creating a place where water, earth and sky come together.
Model | Hotel side reflected in water
Model | Monolithic Fireplace
33 Model | Rock pier at the end of the dock
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Vault|Vessel
Public Library Charleston s.c. Spring 2010 | Project 2 Critic: Levent Kara
A pair of monumental vessels; physical and experiential knowledge, are suspended within a volumetric grid. The circulation of the building is contained interstitially between the spatial tension created by the two vessels. The larger vessel, the physical library, houses the stacks on dynamic porous floors creating smaller atria inside, opening to its own skylight. Branching off of the vessel is a small tower of study rooms looking out over the adjacent park. The smaller vessel contains the more ephemeral form of the library; computer labs, a small lecture hall and office functions. The open ground floor has a cafe and other more public spaces.
Figure ground of context | Site highlighted
Concept | Sketch
Bird’s Eye View
Ground Floor
2nd Floor
3rd Floor
4th Floor
The golden section is used to define the proportions of the building, reflecting the classical context the building is in.
Section | Vessel
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Interior | Under the Vessel
Exterior | Completing the urban wall
Interior | Within the circulation chasm
Interior | Within the vessel
Exterior | Courtyard
Completing an urban wall, the project creates a courtyard on its rear. Staggered floor plates provide for a diverse experience during the accent of the building, slight elevation changes in each floor bring attention to the spatial tension within.
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Grid Corrosion NYC Hotel
Critic: Albertus Wang | Partner: Jeffrey Glad
Fall 2010 | Project 1
The hotel navigates the difference in scale from the skyscrapers of midtown and the low-rise of Hells’ Kitchen. Its primary body, a thin 45 floor hotel skyscraper is comprised of four interplayed conceptual frameworks; a static orthogonal core, a fluid seductive void, a vertebrae of galleries grafted vertically onto the core, and a series of programmatic boxes interlaced within the tower. A terraced sculpture garden contains its own spine of horizontal galleries and public spaces gathering the private scale of the garden into the hotel, forming a knotted threshold against the wall of midtown. Aerial | Hotel at night, void illuminated
Equally shared role collaborative project
Section | Tower, through void and gallery vertebrae
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Interior | Grand staircase 12th floor
Interior | Adjacent to the grand staircase and void
Interior | Looking down void into vertical vertebrae of galleries
A large sculpted and terraced sculpture garden contains its own spine of horizontal galleries and public spaces gathering the private scale of the garden to the hotel and finally the skyscrapers of midtown.
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Exterior | Monumental entrance
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Bird’s eye view
Addressing the super tall scale of midtown, the main entrance’s monumental scale is then compressed by the exposed framework of the void, only to be opened unto the uncongested space west of 8th avenue. The monumental scale of the main entrance becomes the residential scale of hells kitchen on the buildings south side.
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Strata|Hybridized N.Y.C. Block Project
Equally shared role collaborative project
Critic: Albertus Wang | Partner: Jeffrey Glad
Fall 2010 | Project 2
Map | Manhattan, Hell’s kitchen and Site highlighted
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Ground Diagram | Massing of towers and elevated street
Drawing in
Cross connections
Three towers and Three Bridges. Organized heavily on the western side, the 3 programs are split apart such that the resulting ‘U’ shape draws the city into the site. Rising from the anchor of the office tower is an elevated street, a series of street-scaled multilevel bridges connecting the residential towers as well as the office tower to create a type hyper urbanism, furthering the congestion which fuels New York’s social discourse.
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Plan | Ground level with urban street highlighted
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By locating the towers in the back of the site, the front is open to the public. Using the dividing line of the buried rail line, the project’s low rise school serves as a buffer zone into the compressed space of the towers.
Elevation | North
Street View | Western side, office tower and root of elevated street
Section | Elevated street and residential building core
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Exterior | Looking up into compressed space between towers and bridges
Exterior | Adjacent to cantilevered shopping center
From the throat of this corridor rises the elevated street within part of the office tower. Rising and bridging up to 25 floors up, this gives the views of the city to the public, while creating urbanity in the raised portion of the tower.
Street View | Eastern edge among the public plaza
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District 824
Urban Pathway | Wuhan, China Summer 2010
Critics: Albertus Wang, Hui Zou
Equally Shared Load Group Project | Partners: Elaine Khuu, Raquel Kalil, Han Zhang, She Shanshan
Situated on a long site between “turtle hill” and the river, District 824 was part of china’s armament production centred in Wuhan. Small scale factories oriented toward the river manufactured small parts. As China has rapidly urbanized and Wuhan has exponentially grown, the area has been repurposed; designated as an arts district, the old factory buildings are being transformed into studios and galleries.
Exterior | Raised garden path, gallery behind
Exterior | Raised garden path, dissected factory and Turtle Hill
Exterior | Raised garden path
Mapping Sketch | Urban path
Mapping Sketch | Intersections
Mapping Sketch | Both paths
Mapping Sketch | Early Proposal
An intensive 2 week collaborative charrette design with Wuhan’s Huazhong University of Science and Technology, the first week was spent analysing and visiting the district. Through dozens of analytical drawings, two paths emerged, urban and garden, from this several interventions grew. Completing the garden path, a raised garden path reaches over to touch turtle hill.
Site Plan
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Concept sketch | Performance
Concept sketch | Path
Concept sketch | Display
Plan | Ground floor
Plan | First Floor
Sketch model | In plan
Sketch model | Gallery and studios
Within the gallery studio building, an open gallery space is surrounded by studios. Under a cluster of factory roofs, the interior skews the rigid lines of the original structure, creating new and unique spaces throughout. Raised office studio spaces overlook the gallery space below. Below a long concept section through total site; corresponding collage below.
Section | Gallery and studios
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East Asia Showcase Gallery Design | Gainesville, Florida Fall 2010 Exhibiting the East Asia Study abroad works, the open gallery was divided into several parts. Sketches, photography, and written research papers are exhibited throughout. Sketchbooks, of the traditional chinese or japanese fold style, are placed unfolded and upright on tables. Photographs are hung like tapestries throughout gallery as well as exhibited on the exterior window. Printed on vellum, they act as a double sided screen. In addition a projector plays a series of stop motion sequences depicting experiences and places among the travels; drawing passerby’s into the gallery.
Group collaboration led by professor Albertus Wang, Responsible personally for the vellum translucent wall and two sided stop motion projection (photographs and stop motion included), as well as photographs throughout gallery.
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Sketching Hong Kong & China Summer 2010
Sketching was a major part of the East Asia study abroad program; several hours per day were spent sketching our surroundings. Analytical or abstracted sketches were encouraged. Sketched on water color paper folded and bound in the japanese fold style sketchbooks, the dynamic folding and unfolding, as well as a continuous nature of the sketchbook creates limitations to work with. Shown is a collage from these.
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Gear-Reactive End Table/Drinks Cabinet Spring 2012 The surface of this small glass topped cabinet is covered in two layers of meshed plywood gears. The mechanism provides a satisfying resistance and a distinct wooden mechanical sound while the variable diameters of the gears creates varied speeds of rotation as the cabinet is slid open or closed. Together it creates an enriched tactile, auditory and visual experience to the otherwise mundane of the sliding cabinet.
Closed
In motion
Ajar
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Combination Lamp Environmental Technology | Spring 2011
Top light
All lights
Bottom lights
The elongated rectangular prism contains 3 bulbs, two are “GE Reveal” compact fluorescent bulbs aimed down, providing glare free warm light to the table’s surface, illuminating food or homework. Each side is individually switched, with a master switch to control both. Also contained within is a fluorescent tube light of very white light. This top lamp serves two functions; illuminating a photograph, as well as providing the perfect ambient light for movies in the small apartment it is in. The skin of the lamp is 1/64” basswood, creating a translucent glowing wood effect.
Chilled Beam Lamp Advanced Building Systems | Spring 2013
Critic: Paul Donnelly | Partners: Nick Brow, Jacob Beebe, John Song
A combination of a chilled beam system with built in fluorescent housing and reflection surfaces. In a chilled beam system, hot air rises and is cooled by a bar of chilled radiator foils and combined with a jet of fresh air, returning back into the space. In the proposed prototype, the chilled beam system is combined with fluorescent lighting in a wide roof duct, allowing for maximum lighting as well as conditioning.
Group project | Ideas developed together, diagrams and rendering my own.
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Ethics|Statics|Aesthetics Structural Investigations | Spring 2013
Critic: Angel Alonso
A seminar class, meeting once per week, each week a new model investigating a structural extreme. Shown here are two iterative models with the requirements of; 6�x6� surface, as light as possible, touching the ground minimally as possible. The first, a circular arch, embedded within a cube, is laser cut from bristol board and the roof covered in trace paper. Under stress it became clear that the long legs were the weakness of the design. The second iteration is shorter and uses mirrored thinner parabolic structural members. At the end of the semester, all projects were crushed while filmed with high speed camera. As noted; the long legs and circular members failed first, while the shorter parabolic could only collapse around its middle.
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Ethics|Statics|Aesthetics Structural Investigations | Spring 2013
Critic: Angel Alonso
Continuing the earlier design process; one of the later projects requirements were to use very small units; equivalent to bricks or tile to create structure. Laser cut chipboard hexagonal units are assembled with copious amounts of accelerated cyanoacrylate to form a porous parabolic pavilion of great strength.
Curved Truss
Spaceframe Structures Project | Fall 2009 A Scale model of a pavilion using the technology of the space frame, with the requirement to hold a heavy structures textbook. It was decided to push the simple triangulated form into curves of post-stressed music wire. Each side of the truss was assembled first with the bottom member and straight, adding the bottom member as it was curved. Diagonal columns hold the pavilion up, and was able to take far more than the required load.
65 Figures added for scale
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Neural Web Mapping Soft Bodies | Fall 2011
Critic: Sung-Ho Kim
The catalyst and source of the project the neural networks in brains. The image to the left; stained hippocampal cells; began an investigation of the complexity of the network. In this image only 1 in 40 nerve cells are shown. Neuron cells exchange information through synapses, creating extremely complex networks, constantly creating and destroying connections.
The final product, a simplified set of 24 ‘neurons’, 3-d printed of durable nylon, is able to be connected with other ‘neurons’ in a near infinite number of ways via clear plastic ‘synapses’. Paling in comparison to the 100 billion neurons and an almost inconceivable 100 trillion synapses in a human brain; and at a relative density far lower than biological neurons; this neural web as an educational tool is able to help understand the flexibility and complexity of neural networks.
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Tidal Turret Observation Tower | Summer 2011
Critic: Patty Heyda | Partner: Jae Yun Cho
A two week orientation project envisioned as a tower partially submerged in a high latitude, coastal cliff region with highly variable tides. The 120’ tower has a 60’ glazed viewing room that at high tide is submerged 23 feet. Working with two concepts, Monolith and Barnacle, two masses of concrete, each carved with passages and then clad by an exterior panelling enjambed with ‘barnacle’ viewing portals growing within the gaps.
Approaching from the higher coast, the occupant chooses to either descend below the waves, arriving at eye level with the sea upon entering the viewing chamber during high tide or climb spirally between the barnacled skin and the central mass of the tower to the top viewing platform.
Equally shared work load collaborative group project
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Beacon
Critic: Sung-Ho Kim
Fall 2011
Mega Church | Seoul, Korea Within the bustling street markets of Dongdaemun, tight winding street markets on an offset grid form canyons within a field of parallel sloping large roof parks. The mega church floats above this, two stacked auditoriums, each seating 8,000-10,000 people are surrounded and encased in circulation. The outer skin, a mechanically dynamic surface rises from the ground, able to conceal or reveal its contents.
Model | Among the dense markets
Model | Among the dense markets
Model | Sloping garden roof below mega-church
Section | Auditoriums, underground parking, subway entrance and sloped roof gardens
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Model | Bird’s eye view
Model | Street View
Model | Aerial
Model | Exterior
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Idle | Velocity Bathhouse Racetrack | Monaco
Critics: Heather Woofter, Igor Marjanovic
Spring 2012
Reaching out from the mountainous coast, a light house and pier adorns the legendary coastal city-state of Monaco. Host of the F1 Monaco Grand Prix and tax-haven for billionaires, the city is less than a square mile, yet is able to host the grand prix by shutting down most of the city.
Diving pool 11th Floor
Spa Level 17th Floor
The Project combines two things Monte-Carlo is well known for; the excitement of race cars and the relaxation of a bath house. The contrast between the two provide for an interesting extreme luxury experience that only Monaco could provide. With a length of 1.25 miles and 15 turns, the track loops around the pier and returns to wind its way along a coastal park. Within the length of the pier is contained a separate entryway and exit for the bathhouse, docking for yachts, and the maintenance pit for the track.
Restaurant 24th Floor
Rooftop Jacuzzi 30th Floor
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Section detail through diving pool and spa
Section with foundations
The tower is comprised of a solid service core and an tectonic exoskeleton with programmatic boxes bridging the space between them. Contained within is a vertical bath house. As you move up the tower there is a varied set of aquatic and relaxation experiences; a basement sauna, sea level wading pool, 11th floor diving pool complete with diving platforms, top of the line spa, restaurant and bar, and a roof top with hot tubs. At night, the tower aglow, steam pouring off of the roof hot tubs; the building becomes a type of lighthouse for the city.
77 Detail of exterior structure
Model with Context behind
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Artist’s Studio Conceptual Iterations | Fall 2012 | Project 1 Critic: Robert McCarter
A vertically ribbed ribbon of concrete wraps and contorts around an artist’s studio in this two week conceptual catalyst project. A large operable glass wall opens to the softer northern light while a second occupied operable wall opens to the west. The studio is shielded from the harsher southern light by the artist’s apartment and several occupied walls of channel glass and perforated concrete. The roof, raised above the ribbon, contains a set of compact louvres to maximize natural light. Set within the nondescript southwestern pacific coast, this project was limited by a 33 foot bounding cube, of which a 22 foot cube must be the artist’s studio. With these design limitations and the short completion time, the catalyst for the artist’s collective was born.
Model | First iteration 1 /8 scale
Model | Second iteration 1 /8 scale
Model | Third iteration 1 /4 scale
Final Model | 3/8 scale
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Final Model | Operable window wall open
Final Model | Operable studio wall open
Final Model | Apartment and shower, eastern wall removed
81 Detail | Operable window wall
Interior | Studio space with operable window wall open
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Artist’s Collective
Extension to the unbuilt Salk Institute | Fall 2012 | Project 3 Critic: Robert McCarter
Gallery
Loft
rd
Courtya
Studio
A serialized set of 6 studios and apartments extends west, a proposal of an addition to the unbuilt meeting house of the Salk Institute in La Jolla, California. Built upon the catalyst of a modified artist’s studio cube, the ribbon of concrete unrolls across a long courtyard, capped with a gallery overlooking the Pacific Ocean. Each living unit provides contemplative privacy while the studio encourages collaboration and communication around the common ground of the interior courtyard. Keeping the large operable walls allows the studio to adapt and make use of La Jolla’s nearly always favourable weather.
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Studio space | working
Studio space | Display
Module | A single artist studio/residence, an exploded version of the artist studio straddling the courtyard
Section perspective | Apartment and more distant studio.
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Interior | View down the courtyard, looking towards gallery and the Pacific
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Interior | Gallery
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Section perspective | Gallery
Section perspective | Studio, courtyard towards the Salk institute
Aerial | Unbuilt portion of Salk institute, addition behind
Exterior | Towards pacific ocean
Model | Top down
Model | Roof removed, unbuilt Salk institute in background
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Paths Entwined Hostel | Barcelona, Spain | Summer 2013
Critics: Adrian Luchini, Elena Canovas,
A sinewy set of ribbons rise and form a public square adjacent to the ancient roman wall. A thin cantilevered hostel forms a spatial and auditory barrier against the busy road, Via Laietana. Enclosed within a mesh skin, the building conceals by daylight and reveals by night its interior and pronounced structure. The 20 bed hostel is contained within the thin cantilevered wing, completing the urban wall of Via Laietana. The rooms themselves are suspended from the superstructure. A public gallery forms the roots to this sinewy form.
Section through hostel cantilever
The building’s form originated in a mapping of the pedestrian traffic moving around a sunken sand courtyard adjacent to the roman wall. Far from a celebrated public space, the site is a void while the masses of people traffic move around the edges and along the noisy chaotic street. Correlating to the volume of traffic, a enclosing form began to grow.
Catalyst drawing
Project within its context
91 Chipboard study model
Catalyst drawing | 3-d Extrusion
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Courtyard view
Steel frame
Concrete ‘ribbons’ and interior structures
Glass and skin structures
Street View
Skin structures and interiors
Floor plates and handrails
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DAVIDBOYNTON Under the Gallery
Courtyard view at night
ry lle Ga
Res
First floor plan
stel
/Ho
ant taur
lic Pub
ce
Spa
Under the Hostel
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Gallery entry area
Hostel hallway
ry lle Ga
Bath Bath
Site plan
tel Hos
3rd floor plan
2nd floor plan
ms
Roo
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Below gallery
Cutaway structure of hostel rooms
Inside Stair and elevator core, within the knot between hostel and gallery
Gallery night view
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DAVIDBOYNTON Looking up stair core
Immersion Lens Design Thinking | Spring 2013
Critic: Derek Hoeferlin
Design thinking is an intensive investigation where the final product is the site, program and concepts used in the final graduate course, degree project. A lengthy and in depth book of uniform size is the product. While only a book of guiding suggestions, the depth and breath of research allows for a very well informed degree project. It began as an investigation of the ways in which urbanity has separated and disconnected humanity from our place in the cosmos. Focusing in particular on the broad effects of light pollution, the concept of “lensing” developed. Researching what kind of architecture can bring light to place or transport an occupant elsewhere was the goal. The concept of the threshold between contrasting experience as an immersive lens to transport the occupant emerged. Transitioning between these highly divisive experiences would separate layer by layer the occupants connection with outside. The program of a theatre is an obvious choice in this regard; the goal of a great performance is to have the audience lost in it, brought back to reality only when the curtain falls. The project would facilitate this transition; peeling back the layers of the day to day life until only raw experience remains. The site of grand center was chosen in this regard as well, a theatre among its illustrious peers.
St. Louis’ enigmatic Gateway Arch with the current light pollution and in a hypothetical reality without
Extreme Artificial
Fabricated
Dark
Passive
Soft
Extreme Natural
Untouched
Light
Active
Hard
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Above, the site is chosen in the heart of St Louis’s theatre district, Grand Center. To the left, a sequence of pages within the book, contrasting experiences noted. Thresholds between these extremes would be the main motive of the architecture.
DAVIDBOYNTON
Using the tools of collage and analysis, a phenomenological and analytical understanding of the concept is sought out. As the semester progressed, so did the ideas. On the left we can see a collage of two photographs from the taken from the same location; contrasting night and day. Below that is an analytical drawing taken from a 360 panorama of the site, the sky obstructions in silhouette.
Sample page | Contrasting collage of night and day adjacent to the site
90째Above Horizon (Zenith)
45째Above Horizon
Sample page | Horizon line at site.
Site Section North-South
Total Unblocked View
Partially Blocked View
The two images to the left, the same section through the site, show the severity of sky obstruction at different altitudes. As can be seen, at a higher altitude the low rise buildings no longer obscure, though the high rise do to some degree. This idea would later be the driving force of raising the theatre above ground to create a piano noble, a new ground above the city streets for the public.
Obstructions of the sky on ground level are fairly extensive here as well, it is however more open than the shorter section.
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Sample page | Unobstructed view limit lines at ground level in site
Site Section
Total Unblocked View
Partially Blocked View
North-South
By raising the view here, a much more dramatic change occurs, nearly all of the sky is open along this axis.
100째
Sample page | unobstructed view limit lines in section from site at a raised elevation
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Immersion Lens Performing Arts Center | St. Louis, MO | Fall 2013
Critic: Philip Holden
Final Concept Model
Final Concept Model | Layered acrylic formed from the extruded site; the interior hollowed by complex geometry of intersecting rays
The Abstract The Camera- its constituent parts of lens and body, is the driver in the project. The Lens- taking the optical concepts of refraction and reflection of light as a metaphorical driver for the passage into a raised pair of theatres. The project uses several colours and programmatically linked spaces that move in plan and section to wrap the theatre in transient active space. These refracted “tunnels of light” serve to both veil the theatre as well as enhance the visitors experience of the performance by distancing them from the street and regularized life. The Body- the mechanical and service portion of the project that allows the theatre to function. The project has a single “ultra-fly” that travels through the totality of the project within which each theatres individual fly is contained, as well as a stage with horizontal segmentation. This ultra-fly allows the rest of the production and other back of house operations to be above street level, freeing the ground to the city.
Bird’s eye view
Street view
Three miles west of the Gateway Arch and Mississippi River, The historic theatre district of Grand Center sits atop one of the subtle hills of St. Louis. Adjacent to Saint Louis University, the site is bordered on 3 sides by Lindell, Grand and Olive; 3 major thoroughfares east/west through the city. Early on, the site’s strange tapered shape became a driver for the project. As such the building is enclosed by these boundaries. Satellite view
Site Panorama | Adjacent field
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Foil imperfect mirror Light apparatus | Linear progression
Telescope Eyepiece lens
Optical Grade telescope eyepiece mirror
The investigation began where the previous semester; design thinking, left off; using architecture as lens to transport the occupant unto a new plane as they go to the theatre. Light is the occupant, the lens the architecture. A mock up lensing abstraction of this can be seen above, depending on initial trajectory the light gets focused at a different node. This concept had limitations however; creating a very defined itinerary was stifling. While working with this, a new apparatus was created, using the sites’ shape and ideas about the trajectories inside. A mylar screen was placed atop; and the resulting complexity and overlapped rays of light became the source of the geometry of the project.
Light apparatus | Used below
Light apparatus | Complex geometry
The final 1/32 scale model is constructed of layered plexiglass carved and etched with the interior details of the building. Color is added to the interior walls abstracting the vertical corrugated polycarbonate fins in the blue and green portions of the building. The context is basswood with rough sanded acetate; all of which is illuminated from below.
Final Model | Not illuminated
Final Model | Intervention and context illuminated
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Mega-Fly Megastructure
An intensely layered building, the following serialized diagram seeks to make clear the multiple intertwined path wrapping around the core and connected theatres.
Underground parking
Plan | -29ft | Parking -2
Ground level
Step-ramp
Plan | -8ft | Parking -1
Red theatre
Piano noble
Seating | Blue theatre
Enclosure blue theatre
In section, the large central space of the building becomes prominent. Extending 200 feet from basement to roof, the fly spaces of two theatres act as a single combined “mega-fly�. As the body portion of the camera, it serves to connect vertically the entire building, while providing necessary stage movements.
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Circulation towers, interior enclosure
Blue corrugated poly-panels
Plan | 3ft | Ground
Green Corridor
Yellow restaurant
Plan | 115ft | Backstage
Columns, upper stage, set shop
Superstructure
Curtain wall mullions
Roof, exterior glass
Each stage has 4 divisions on large elevator tracks; this allows an unending configuration of stages, as well as the ability to move the entire stage to create multilevel performances. Attached to this mega-fly, set shops, rehearsal halls and all back stage functions.
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Plan | 25ft | Step-Ramp plaza, rising into Blue Theatre
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Plan | 55ft | “Piano Noble”, Main floor Red Theatre
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Plan | 82ft | Green Corridor Blue Theatre Orchestra Backstage
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Plan | 100ft | Blue Theatre Balcony Yellow restaurant Green Corridor
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Elevation | East
Elevation | North
Elevation | West
Elevation | South
Interior | Backstage blue theatre
Interior | Blue theatre
Interior | Red theatre
Section perspective | Mega-fly, blue and red theatres, backstage, parking, loading, circulation towers and piano noble
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Night interior | Piano noble, looking east, circulation towers of blue theatre
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Interior | Piano noble, looking west, circulation towers of blue theatre
The Blue Theatre, the larger proscenium theatre, seats 1348. It is encased in several differentiated enclosure layers. The large backstage space is open physically to the viewers within the hall. Large vertical baffles, made of variable opacity glass; as well as variable height suspended acoustic shells, can acoustically enlarge the hall as well as visually obscure the space. An outer glass shell encases the hall and baffles. Two circulation towers extend over and into the “piano noble� that serves as the main social space of the project. Forming a sort of urban lens, the variable transparency and acoustical nature of the space provides the space in which new forms of theatre can be performed.
Interior | Escalators at intersection of blue and green
DAVIDBOYNTON
Interior | Looking into green corridor
Interior | Red theatre, stage perspective
Interior | Green corridor, color overlapping void to the left
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Interior | Green corridor, southwest corner of building, adjacent to circulation towers of blue theatre
The Red theatre, a smaller end stage theatre, is in the lower section of the building. Glass with variable opacity forms the sides and back wall of stage of this theatre for different functions. Seating 513, it does not have an extensive backstage. The Green Corridor; wrapping from ground level to the very top of the building, functions as a prefunction space for the entire building. Containing a small cafe during daytime use and a rooftop bar for evenings, it provides unique views at the highest elevations in the project.
DAVIDBOYNTON
David m Boynton
1671 Legion Dr. Winter Park, FL 32789 407.491.6045 iogeon@gmail.com www.linkedin.com/in/boyntondavid
Education
Experience
Master of Architecture
Jan 2012-Dec 2013
May 2011
Bachelor of Design, magna cum laude
Dec 2013
May 2007
Washington University in St. Louis University of Florida [Major] Architecture [Minor] Music Performance
International Baccalaureate Diploma Winter Park High School
Washington University In St. Louis
2010 Aug 2010-Dec
University of Florida
May 2008-Aug 2008 May 2009-Aug 2009
Teaching Assistant, Design Studio 3
Student critique and project and curriculum development
Lamar Design
Laser Lab Monitor
Manage and prep student and faculty files and run and maintain the laser cutting machines in the Sam Fox fabrication labs
Summer Intern
Preparing and editing working drawings Site surveying and creating existing building drawings Building load and other technical calculations
Noel’s Engine Remanufactor
May 2007-Aug 2008 May 2012-Aug 2012 Jan 2014-Jul 2014
Shop Intern
Replacement of fluorescent lighting systems and electrical wiring Repair and maintenance of compressed air systems Cleaning and resurfacing engine components Aid in Engine Assembly and Automotive Repair
Awards + Extracurricular
Architecture + Design 2013 Excellence in Craft Award
2014 Approach Work Publication [P
Washington University in St. Louis
ending] Issue 2012-2013: Immersion Lens, Artist’s Collective
2010 Architrave Work Publication
Issue 2010: Duelling Dialogue
Music 2010 Viola Scholarship, University of Florida 2011 Bell South Youth Ensembles
2009
2012 Vice President, Professional Graduate Architecture Council
Washington University in St. Louis
2012 Parabola 2012 Graduate Student Work
Furniture Design: Gear-Reactive Des Lee Gallery, Washington University in St. Louis
Photography 2010 1st Place Category 1- Study Abroad Students
2011
7th Annual UFIC Global Culture Photo Competition Washington University in St. Louis
Parabola 2011 Graduate Student Work
Photo Series: “It is only when we wake up that we realize something was actually strange.” Des Lee Gallery, Washington University in St. Louis
2009 Gallery Exhibition Reitz Union, University of Florida 50 Selected Works
Collaboration with London Symphony Orchestra
Florida All State Orchestra
Skills
Software
Model Making Photography
AutoCAD|Rhino|Vray Illustrator|InDesign|Photoshop
www.flickr.com/photos/boyntondavid/
Spanish [4 academic years]
Viola [University trained] | Piano [19 yrs]
Languages
Musician
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DAVIDBOYNTON
1671 Legion Dr.
Winter Park, Florida 32789
iogeon@gmail.com
www.linkedin.com/in/boyntondavid/
407 491 6045