Eva Groos Portfolio

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CONT CONT ENTS ENTS

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p. 31-37

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p. 13-19

p. 20-27

PROJECT 1

PROJECT 1

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Captivating markets are not solely defined by their food and produce; rather, their success hinges on community engagement and site integration. This concept underpins, 'Modifying Modern Food Markets,' which reimagines a community-focused cultural market within an abandoned 19thcentury locomotive rotunda near the Luxembourg City train station. In response to the observed decline in community values amid the rise of trendy food halls, my project proposes a cultural market that not only sells goods but also serves

as a venue for hosting community events. Emphasizing accessibility and interaction, the design fosters a sense of community engagement by seamlessly connecting the rotunda with its surrounding urban landscape near the station. By prioritizing consistency and permeability between exterior and interior, the market becomes responsive to its surroundings. This approachability imbues the market with a distinct sense of place, forging connections with neighboring communities within downtown Luxembourg City.

2376m 2 individual capstone Illustrator, Photoshop, Indesign, Rhino3D, Enscape, Cove Tool

MODIFYING MODERN FOOD MARKETS

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The rise of these trendy urban food markets often serves as an early indication of retail gentrification. Unfortunately, these modern iterations overlook the impact that public markets have on a city’s cultural diversity. They tend to lack in capturing the community value and social placemaking of traditional markets. Despite their aim to provide a dynamic dining experience, many of these spaces are designed to cater to specific demographics, isolating individuals who rely on public markets for socialization. Research on literature reviews and precedent studies revealed four key components essential to consider when designing a modern food market that caters to all.

1 Rendering of market stalls with integrated seating

“The Power of 10+” to create public gathering spaces

adding noncommercial spaces for social integration

incorporating “third places”

foster social wellbeing and are hubs for ethnic foodscapes

importance of vendor connections and communication

incorporating site specific needs and the unique cultural identity of surrounding area

broadening target audience by changing typical aesthetic qualities increase local activity and participation

permeability and visibility. Connecting interior with exterior adaptability and encouraging social interaction and participation

Public/Community Involvement

Adaptability for

Responding

Community centered strategies

The site for the modern food market (Rotondes 2) is an abandoned locomotive rotunda built in the 19th century. The shape of the building provides an exciting opportunity for circular circulation. The main issue identified is its accessibility.

Nestled in a corner compound, one must walk through surrounding buildings to find an entrance (seen in red), but when approaching the building from the north access street, one is presented with an eye-level view to the building.

This complex composition of the site, allows the building to be visible from multiple different heights creating interesting opportunities of increasing and altering the buildings accessibility from multiple levels/heights.

Project Site

3D graphic of project site and surrounding buildings

Community Kitchen

Small Local Studios

Community Event Space

Markets are not just transactional spaces but are valuable places for gathering. This informs a programming scheme that incorporates both market stalls and community spaces (event space and studios) to engage the surrounding area.

Once a program is established, analysis is carried out designing three solutions to make the building more responsive to its surrounding context. An added floor plate, new entry points and multiple ways to access the building are explored

Creation of outdoor plaza steps on north

Stalls centrally located in space

Office/studio space individually treated

AMPHITHEATERSTEPS

Seating Space

Agricultural Vendor Stalls

MARKET/VENDORS

Maximizing entrance by pushing inwards

Stalls located near front entrance

Community event space separate

RECESSING ENTRANCE

Outdoor Plaza

New additional entrance on second floor

Separating community spaces and market

Individual entrance for community kitchen

The program revolves around community activities, emphasizing gathering spaces that promote interaction. With a height of fifteen meters, the rotunda allows for an added floor plate (12), accessed via spiraling stairs (11) and a new entryway (14). This entryway can be reached through a walkway leading to the north access street, serving as an eye-catching entry point to address the site’s complexity and create an inviting entrance to the market, attracting visitors. The second floor is dedicated to local community studios (15) and seating (16), while the ground floor accommodates market vendors stalls (7), a community event space (9) and the community kitchen (8). The exterior is treated to be an outdoor plaza to be used in the summer for local events.

1. Building Shell

Columns

Recessing Entrance

Entrance w/ context 5.

Primary Entrance

Second Floor

Second Floor w/ context

Secondary Entrance

Vendor Stalls

Community Kitchen

Community Event Space

Hand sketch showing main recessed entrance and outdoor plaza

Hand sketch showing added walkway with new entry leading to second floor

VENDORSTALL“STREET”STAIRS

MULTIFUNCTIONALEVENTSPACE

On the ground floor, the vendor stalls are centrally located and visible from the entry, allowing for immediate access. The stalls follow the circular shape of the building, creating a clear circulation path within the market. The curvilinear and organic form of the stalls facilitates movement. Event spaces are strategically placed both on the exterior and interior, ensuring their usability throughout the year.

Public + Community Involvement

1

5

Abundant outdoor seating in the open outdoor plaza enhances its usability for a variety of community events beyond the scope of the market

Community strategies

3 Rentable studios with shop fronts for local businesses are allocated a secluded space on the second floor, offering a tranquil working environment

4 Organically shaped vendor stalls scattered along the main circulation path of the market fosters conversations between vendors and market visitors

6 The open seating area on the second floor allows for views down onto the bustling market floor, creating a greater sense of activity and community

7 Seating, specifically designed for the elderly, is placed on the ground floor among the stalls, providing a space to sit, observe, and rest while walking along the circulation path

Responding to local site

2 A new walkway with an added entry to the 2nd floor responds to the site’s complexity and improves accessibility, making it visible from the main street

The second-floor plate is divided into three varying “islands”, creating a cascading effect of various spaces. The floor plate covers only a portion of the surface area to allow for openings, fostering visual connections between the ground floor and the second floor. Accessibility to the floor is facilitated through stairs and an elevator, providing access to all of the “islands”. All the seating provided offers views out onto the market floor.

The perspective section illustrates the permeability of the design from interior to exterior in a circular motion, extending beyond the rotunda walls. However, this is achieved while still respecting the history and design elements of the historic rotunda, such as the windows and columns.

The center of the market is expressed through a large-scale timber fanning structure that accentuates the rotunda and creates dynamic seating for visitors. The structure is broken down into three separate parts, allowing for meandering between the timber elements and providing structural support for the ‘islands’ on the second floor.

2 Rendering of central market area

Percentage of Foreigners

Nationalities

89 63.8% BEGGEN

100 42.4% CENTS

93 58.3% CITY CENTER

101 49.8% MERL

133 81.6% GARE

120 70.0% BONNEVOIE

At the heart of designing a community-focused modern food market is responding to the cultural setting and fostering local involvement within the surrounding area. To achieve this, research was conducted on the surrounding neighborhoods , Gare + Bonnevoie, where the market is located. Compared to other Luxembourg city municipalities, Gare + Bonnevoie exhibit a much larger range of diversity, reflected in the percentage of foreigners and the number of nationalities. This diversity is also evident through the various supermarket stores in the area, each catering to and acknowledging the needs of their local community.

Stores/Supermarkets

Indian

North African

South-East Asian

Eastern European Middle East

SK Cash and Carry Epicerie Fine Dracula Market

Dafa Market

Shayan Super Market Balkan Food Market Au Gourmet Grec Local 2U North African Store

data from ville de luxembourg “facts and figures”

To represent these communities and effectively cater to the neighborhood surrounding the market, the vendor stalls are designed with flexibility and adaptability in mind. In order to create a more engaging cultural display—going beyond merely hanging a flag—the vendor stalls are designed to accommodate various cultural fabrics with motifs, allowing vendors to personalize their spaces. Additionally, the stalls are designed at a lower profile/scale to encourage connection and conversation between visitors and vendors. They can be approached from all sides, eliminating distinct user zones and promoting ease of use to facilitate involvement.

5 rendering of vendor stall street

Exploded axon of vendor stalls illustrating the interchangeability of cultural fabrics

Interchangeable fabrics

Produce Shelves

Produce Boxes

Space for Boxes

Base

Hand sketch of vendor stall design exploration

Recessing entries and opening up the surrounding area around the market allows the building to be used as a local resource and community hub for a variety of uses. The exterior community event space functions as a stage in conjunction with the amphitheater steps, serving as seating for outdoor events, with the rotunda as an exciting backdrop.

3 Rendering of walkway view from main street

amphitheater steps event space/stage

4 Rendering of second entrance + outdoor community event space

Along the walkway leading to the new second-floor entry, one can pause to observe the outdoor plaza from above, echoing the concept applied to the interior, where the open floor plate of the second floor overlooks the ground floor. Through site-specific design choices and research, the final design proposes a market that can cater to everyone, provided respect and awareness are given to the cultural, local, and site settings of the surrounding area that the market is located in.

PROJECT 2

PROJECT 2

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‘Recycling Lane,’ addresses the challenges posed by the popular Brick Lane shopping street in London and its adverse impact on neighboring parks and green spaces. By developing a recycling installation for responsible waste management and a place for gathering, the project aims to foster ongoing park cleanliness and respectful park usage guidelines for both locals and tourists.

Located at Allen Gardens, just a street away from Brick Lane, the recycling installation draws inspiration from the abstract forms

and architectural language of the surrounding buildings. This approach creates an engaging recycling center and gathering space tailored to the needs of the community. Positioned strategically in a corner of Allen Gardens, the installation mimics the layout of Brick Lane itself.

By incorporating translucent openings and varied sloped surfaces in the design, the installation encourages tourists to responsibly dispose of their waste while enjoying other activities in Allen Gardens.

RECYCLING LANE

RECYCLING LANE

spring 2022 london abroad allen gardens, brick lane, london 2787m 2 individual Illustrator, Photoshop, Indesign, SketchUp folded colored paper for models

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PROJECT BACKGROUND

Location

Allen Gardens, a public park accessed via a side street off Brick Lane, a shopping street that has gained popularity over the years.

Challenge

BrickLane

Target Audience

A primary audience of tourists and a secondary audience of locals living in proximity to the park.

Proposal

A locally specific recycling installation that is interactive and engaging, aimed at altering irresponsible waste habits and encouraging increased activity and usage of Allen Gardens.

Design Journey

The process of reaching the final stages of design is mapped out (right) with distinct stages identified, including research, interviews, and initial models and sketches.

research on green gentrification

Allen

case study research visualization and user experience

Initial

creative mapping analyzing observations site

primary visit to brick lane and observation of littering issues in surrounding parks interviews and site visit distinguished allen gardens as target green space initial recycling concepts and models developed and reconfigured

Whitech

illustration indicating Allen Garden’s proximity to Brick Lane and transport connections

1.

2.

Playground 1

Spitalfields City Farm

Playground 2

Brick Lane

Tube lines

Whitechapel Junction

abstract map distinguishes park locations along Brick Lane (green)

Brick Lane

AllenGard

aerial view of Brick Lane identifies its role as a shopping street with its major buildings

creative mapping graphics of Brick Lane

motifs and shapes of buildings begin to form from aerial view

site map beginning to combine the aerial view of Brick Lane positioned atop Allen Gardens

site study identifies major form of movement through park and its main entrances

graphics finalizing positioning of design on Allen Gardens

location of design adjusted to allow for other activities in the park to occur as well

final graphic illustration of recycling installation from left view

IDEATION SKETCHES AND MODEL ANALYSIS

seating option

recycling bins

explorative model

explorative sketch

Taking inspiration from Brick Lane and its aerial view, initial designs for the interactive recycling installation are generated. Emulating the form of the buildings, geometric boxes serve as seating or recycling bins. From large to small, these boxes dissolve into smaller shapes and forms, enhancing the entry point by reducing their scale.

geometric boxes in a variety of shapes, angles and sizes to accomodate different seating preferences

explorative sketches of boxes

The recycling containers are designed with interaction in mind, deliberately placed among the seating rather than being separated. Glass openings, providing a view of their interior serve to clearly identify their purpose and goal, encouraging greater initiative against littering. Additionally, their scale is reduced to make them more approachable.

SECONDARY AUDIENCE

Local Park Users

The design can serve as a local site for waste disposal or a community space with seating for park users. Its positioning does not detract from the park’s original function

PRIMARY AUDIENCE

Tourists

The engaging features of the design will encourage responsible waste disposal by tourists visiting Brick Lane and spending time in Allen Gardens

Seating that faces for group interactions and community development

Glass openings as a form of initiative and community responsibility

The installation becomes smaller as you go along to incorporate into the park

Two entry points to help with circulation

Variety in forms and heights allows for seating that accomodates everyone

final graphic illustration of axonometric view of recycling installation

PROJECT 3 PROJECT 3

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Over the past decade, 7,000 refugees have settled in Syracuse New York. The early integration of refugees and immigrants into established migrant communities is paramount for the long-term wellbeing of displaced individuals. Through collaboration with the Syracuse University Lender Center for Social Justice, our project is linked with the North Side Learning Center (NSLC), providing English language learning classes for adult and youth literacy development. The vision “Empowering Communities: Redesigning the

North Side Learning Center” aims to transform the three-story building, constructed in the late 1960s, into a culturally relevant hub for staff and students. The renovation focuses on enhancing accessibility, comfort, and flexibility, with spaces allocated for literacy classrooms, educational facilities, recreation, offices, and community events. Inspired by the arch as a symbol of connection, the project emphasizes inclusivity and integration, serving as a bridge for refugees and immigrants newly transitioning into Syracuse.

NORTH SIDE LEARNING CENTER

NORTH SIDE LEARNING CENTER

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Group of four students. My contribution included building model in revit, conducting demographic research and editing all renderings. Worked collaboratively on client presentations, construction documents and floor plan layout.

Syracuse Demographics

2.2 Average Household Size

35.6%

% of family households

12% Educational Attainment less than High School

3.7%

% of people that speak English not well

1

Average number of cars per household

Northside Races (2019)

2+ Races White Hispanic Asian AmericanNative Black

31.3% Family households

Below Poverty Level

data from city-data “Northside neighborhood in Syracuse, New York (NY)”

Northside Demographics

8.4 Average Household Size

47.9%

% of family households

37% Educational Attainment less than High School

5.8%

% of people that speak English not well

1

Average number of cars per household

Northside Races (2019)

Native Hawaiian White Hispanic AmericanNative Black

24.3%

Family households

Below Poverty Level

Black

White Hispanic Asian

Majority

Race Key in Syracuse

7000

Refugees calling Syracuse their home over the last decade (2012-2022)

266

Refugees were welcomed to Syracuse in 2022

To initiate the design process, research is conducted on the surrounding community served by the center. The findings reveal that this area of Syracuse is remarkably diverse compared to other parts of the city, emphasizing the importance of prioritizing inclusivity and cultural diversity within the final design.

Site Study and Observations

Beyond demographic studies, site studies are also conducted. The pre-existing building, dating back to the late 60s, is not ADA accessible. Upon entry, one encounters an immediate split level, necessitating the ascent of flights of stairs to access the ground floor or the first floor. Additionally, most of the glazing is oriented lengthwise north/south, primarily along the classrooms. Client interviews revealed that the center grapples with air circulation issues and heat gain during the summer months. Hence, two crucial factors needing improvement were identified: accessibility and the creation of a comfortable working environment.

illustration showing sun path and heat gain issues on the interior

Heat Gain

Hallway sunlight

Blocked Air Circulation

1st

2nd ExistingSchematic

G.

Existing Existing New

The layout lacks diversity in space usage, as the community event space has no capacity to be separated into different functions for various events occurring at the same time.

By adding curtains and arched openings, the community space can be easily reconfigured, allowing for flexible division into different zones to accommodate a variety of uses.

Accessibility for all is constrained by the need to use stairs. The layout is straightforward, featuring a dominant hallway that obstructs air circulation and light into the space.

Pre-K Classroom

Pre-K Classroom

Middle School Classroom

Office

Pre-K Classroom

Office

Second Floor

Bathroom Staff

Multi-use

Middle School Classroom

Multi-use

Elementary Classroom

Elementary Classroom

Adult Education Classroom

4-6 Classroom Bathroom

Library Student Lounge

Office Staff Lounge

Student Lounge OpenBelowto

Office Office

Second Floor

Evaluation of Second Floor

Existing New New

Opening the hallway and adding windows to classrooms helps create a sense of place, while also facilitating improved air circulation and allowing more light to enter the hallway.

Like the first floor, the design of the second floor lacks a communal personality due to its layout. The single classroom layout does not accommodate various students and their learning styles.

High School Classroom

High School Classroom

College Preparation Classroom

1st

G.

Opening up the floor plate, and adding a skylight above, increases air circulation and creates a community feel. The curved walls and added library provide exciting learning spaces.

Proposed Design

The new proposed design aims to foster community and interaction between floors by opening up the floor plate on the second floor to brighten the hallways. A new skylight above the opening, along with operable windows along interior classroom walls, allows natural light to flood in and enhances air circulation throughout the center, creating comfortable working environments for students. An added elevator

visible from equal access ground floor hosted by NSLC, local organizations. second floors collaborative solely used students. Flexibility, community design to accommodate groups that

2. rendering of second floor showing skylight and floor opening

13. Middle and High School Classroom

14. Adult and College Prep. Classroom

15. Office

16. Student Lounge

17. Library

the entry, will ensure access to the center for all. The floor is designated for events NSLC, as well as other organizations. The first and floors consist of classrooms, collaborative spaces, and offices by NSLC members and Flexibility, interaction, and are prioritized in the accommodate the diverse the center interacts with.

To enhance noise control and create comfortable working environments, a cork floor finish is applied in learning spaces, including classrooms and the library.

For wayfinding guidance, wall paint colors are employed to demarcate specific areas, facilitating navigation for students and staff throughout the space.

For budget consideration, the existing terrazzo floor in most areas is simply re-polished, and the load bearing CMU walls are cleaned and painted white.

rendered exploded axonometric of proposed design

3. rendering showing event space use for large gathering

G.

1.

2.

Layout2

Meeting/Ceremony

Layout3

AdditionalClassrooms

Ground Floor - Event and Community Space

The innovative design on the ground floor centers around movable curtains that create distinct zones, addressing diverse needs within the center and cultivating a dynamic environment. Embracing flexibility, the curtains along the hallway adapt to accommodate smaller gatherings, workshops, and additional classrooms (Layout 3). The curtains to the prayer space and enrichment program can be drawn to facilitate larger community events (Layout 1). This multifunctional curtain system allows NSLC to customize the ground floor according to their specific requirements and size.

4. rendering showing event space hallway curtains which can be closed off or left open

5. rendering of event dining space

Construction Documents and FF&E Packet

Given that this project involves a real client and aims to implement the desired design within the next five years, the process extended to the construction document phase. This entailed developing a comprehensive construction document set along with an accompanying FF&E Packet.

student lounge

event dining space

hallway

hallway

main entrance

stairs with wayfinding

student lounge

hallway

hallway

staff lounge

event space stairs with wayfinding

Sections

Construction Documents and FF&E Packet

The existing building was modeled in Revit to generate demo plans, and the file was further refined to produce all necessary construction documents—from site plans and vicinity maps to interior elevations and sections. A conclusive client presentation was conducted to ensure a seamless transition when delivering the final documents to the client.

PROJECT 4

PROJECT 4

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extraction, and three-dimensional modeling, the process develops a modular design based on porcupine behavior and quill function. Although the project was interrupted by the COVID-19 pandemic and never fully realized in a physical space, I revisited it later to expand it into an installation for my portfolio. This experience underscored the significance of scale and attention to detail in design, emphasizing how overlooked natural textures, patterns, and surfaces can inspire future design decisions.

+ LOGIC + PATTERN + CRAFT + LOGIC + PATTERN + CRAFT

spring 2020 michigan, USA

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With the aim of introducing students to the concepts of biophilia and biomimicry and exploring their potential integration into design, the project focuses

on selecting nine cultural or biological samples that showcase forms or features of a desired geographical region. Through various stages of manipulation

and exploration using both analog and digital tools, these nine samples evolve from twodimensional representations into three-dimensional concepts for a spatial installation.

cheloneglabra

Guardian Building

artdeco

architecture

Petoskey Stone

hexagonoaria

mineral

Broad Museum

plant modern

Turtlehead architecture

Birchbark Box textile indigenousamerican

populustremuloides

Bandolier Bag

indigenousamerican

textile

Lake Superior Agate

quartz

mineral

Wild Lupine

plant lupinusperennis

Quaking Aspen plant

This logical formfinding process is continued through ten additional operations.

Initially, analog operations, such as hatching and stippling, are performed and then further explored with digital tools.

For digital exploration, Illustrator and Photoshop effects are applied to the samples, initiating the formation of interesting patterns.

Birchbark Box textile indigenousamerican

Utilizing the Birchbark Box as a reference, the details of the ten black-andwhite operations become apparent. Each operation highlights distinctive motifs and patterns, derived from a cultural sample of a textile crafted by Indigenous Americans through the process of folding porcupine quills.

The next operation involves integrating color through the introduction of color theory and the color wheel.

Colors are extracted from the nine samples using specific schemes and harmonies related to their placement on the color wheel.

Two black-and-white operation samples are selected. Utilizing Illustrator, the samples are colored using the previously extracted color schemes.

Observations are made on new patterns and motifs.

Comparing color schemes using Lake Superior Agate as an example, it becomes evident that certain color combinations stand out more than others. For instance, the complementary color scheme is more eye-catching, while the monochromatic scheme is less noticeable.

Lake Superior Agate mineral quartz

Moving from 2D to 3D, the next phase involves envisioning the samples as threedimensional forms.

The analogous and monochromatic color samples are selected for manipulation.

Utilizing a combination of Illustrator and SketchUp, forms are extracted. Emphasis is placed on avoiding an outward push of the pattern but rather on playing with the composition.

To compare colored with b&w, one b&w sample is also manipulated. Integrating a wireframed effect on illustrator, the forms are outlined in 3D.

When enlarged, it becomes evident that even though the operations originate from the same sample, the Petoskey Stone appears strikingly different in 3D as well as 2D, due to the various phases and manipulation processes that were carried out.

Petoskey Stone mineral hexagonaria

Transitioning from digital tools, the samples are explored through model-making. Instead of constructing models based on visual qualities, original samples are researched to discover plant, mineral, or cultural behavioral characteristics that are integrated into model composition.

The bark of the aspen tree possesses unique qualities that enable it to thrive even during the winter when other tree species are dormant.

Beneath the thin white outer bark layer is a green photosynthetic layer, allowing the tree to generate energy, layers and sugars for growth.

Petoskey Stones are formed from Hexagonaria coral, a sea creature with miniature tentacles that fossilized during a geological event.

This sea creature possessed the unique ability to clone, divide, and bloom into thousands of repeated clones spread across the sea floor.

To facilitate the dispersion of its seeds and promote the growth of more plant colonies, the wild lupine employs a mechanism where it explodes.

Ejecting the seeds with a considerable force, this force generates tension within the pods containing the seeds, eventually causing them to split into two.

Turtlehead plants exhibit an ordered composition, with lance-shaped leaves evenly positioned throughout the stalk in a specific organized arrangement.

As the plant grows in height, each new growth rotates 90 degrees from its opposite or subsequent leaf, ensuring an even dispersal of leaves.

Quaking Aspen Model

Petoskey Stone Model

Wild Lupine Model

Turtlehead Model

initial model sketch barbed “quills” “quills” arranged

Out of the 5 models, one is revisited and chosen for development based on feedback. With the aim of creating a modular design that could be repeated, the birchbark box model has been selected. The final model varies as the ‘sticks’ are now anchored to a platform.

While this sample is an indigenous american textile, it is made by folding multiple porcupine quills to develop an intricate pattern.

For defensive purposes, porcupine quills contain overlapping backward-facing barbs. Once embedded into tissue, they are difficult to remove.

“quills” arranged “quills” anchored to wooden platform for module module begins to be repeated

Birchbark Box Model

Before immersing into the design of a spatial installation depicting the chosen sample and model, a 1’ by 2’ box is crafted to explore repetition, arrangement, and scale.

Following a similar approach to the sample operations, the module’s repetition is carried out to represent the qualities and characteristics of porcupine quills.

Two modules are crafted—one with overlapping ‘barbs’ (created by indents in the cookie sticks) and another with simple barbs. The modules are arranged alternately.

These modules are attached to both the roof and base of the box, creating an ‘overlapping’ and ‘lodging’ quality that resembles quills being inserted into the skin.

A step-by-step instructive illustration is presented on the left page, to easily recreate the box and the modules.

Having constructed a module and box, these elements now guide the design of the installation. Although the actual module’s height is approximately 6”, sketches explore various scales, depicting the human experience if the module were at different heights.

Despite the absence of a specific site or space for the installation, engagement and interaction remain crucial. Returning to digital software, the module is recreated in Rhino3D at a larger scale, surpassing the height of an average person.

The installation is centered around representing the porcupine quill as it is ‘lodged’ into the skin. Each of the six modules features ‘quills’ that progressively go deeper as you walk through them. On one side, the ‘quills’ are smooth and clear, while the ‘barbed’ side is spikey and dynamic.

PROJECT 5

PROJECT 5

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The conceptual project proposes a ‘wellness’ hub within the iconic Barbican Centre, built in 1982. Amid complaints about the famous brutalist building being an architectural “eye-sore”, the project aims to revitalize the site and attract a broader audience. Collaborating with a graphic design student, ‘Barbican Balance’ offers a unique wellness experience that merges nature, brutalist architecture, and outdoor activities. While preserving the Barbican’s spirit and brand, it introduces a new facet of the

brutalist building, fostering an inclusive wellness experience for residents and the wider surrounding neighborhood. The proposal includes an outdoor juice and gathering bar, as well as various fitness elements, envisioning a contemporary wellness hub. It seeks to address the emptiness and harshness of the brutalist structure, particularly within its outdoor courtyard areas. By designing interactive fitness equipment and creating a local gathering space, the project aims to cultivate a more engaging community atmosphere.

spring 2022 london semester abroad barbican center, barbican, london individual Illustrator, Photoshop, InDesign

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Group of two students. Working collaboratively with a communication designer, together we developed the concept and I lead the interior design and experience portion of the project. The communication designer worked on brand identity and advertisements.

WHY FOSTER WELLNESS AT THE BARBICAN?

Research on Wellness and User Journey

Despite the dominant brutalist aesthetics, the Barbican exudes a sense of tranquility within the tall buildings that surround it. Leveraging these calming qualities and recognizing the Barbican’s demographic, a proposal for a health bar and gym emerges, addressing the absence of fitness facilities for its current residents.

USERJOURNEY

HEALTH BAR

Curious about Wellness Practices

AUDIENCE

Barbican Residents + Greater Barbican Area

Experienced in Wellness Practices

Fitness/Exercise EquipmentSport GamesOpen Interactive SpaceActive Events -

ACTIVE TRANQUIL

- Health Food Options

- Clean Juices

- Conversational Seating

- Check-In for Activities

To ensure the design presents an inclusive and inviting environment, research is carried out on the types of wellness and fitness activities

1.

An audience is established that is split into people experienced in wellness practices and those that are curious but unsure

2.

This informs a schematic approach that focuses on active and tranquil spaces that alter from being open to secluded

3.

- Yoga

- Meditation

- Relaxed Environment

- Peaceful Events

LOCATION AND LAYOUT

Spatial Arrangement and Programming

Analyzing the Barbican’s layout, the wellness activities are strategically positioned near the entrance around ‘Defoe Place.’ This ensures that the wellness zones and health bar are easily visible and accessible upon entering the Barbican. The health bar is prominently displayed for activity check-ins or to purchase health food options. Active spaces are centrally located, while tranquil areas are situated near covered and secluded spots for convenience and comfort.

ACTIVITY KEY

T.S. - Tranquil Space

A.S. - Active Space

wants a mid-day pick-me-up takes bus/tube stops at juice bar heads to tranquil space plans trip back

DISCOVERY TRAVEL ARRIVAL STAY SHARE

shares experience with others uses recreational facilities browse wants to exercise makes plans to visit socializes

Defoe Place

Entry access to Defoe Place

Barbican Entrance Stairs entry entry barbican health bar

tranquil space active space active space

tranquil space

BRAND ADVERTISEMENTS

and Posters

In collaboration with a communication design student, advertisements and posters were created to inform and engage the audience in trying out this unique wellness experience. A serene and modern brand identity was developed, while also respecting the original Barbican brand identity.

a unique wellness experience combining brutalist architecture, nature, and outdoor activities including fitness classes, sports games, yoga, meditation, and more.

find your concrete calm, only at barbican.org.uk

BRAND STYLE GUIDE

WORKOUT SPACES

Juice Bar and Exercise Spaces

After visiting the juice bar to check-in for activities, visitors can choose their preferred workout space. The tranquil workout area features secluded dome-shaped alcoves for a private exercise experience. The alcoves are adjustable and movable, allowing users to customize their workout environment. The active workout spaces feature outdoor fitness and elliptical equipment in a more open environment.

INITIAL SKETCH OF JUICE BAR

INITIAL SKETCH TO FINAL DESIGN OF TRANQUIL PODS

PROJECT 6

PROJECT 6

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the dynamic interaction between vendors and diners, mirroring the canal’s bustling activity. With the first floor dedicated to street food activities and the second floor offering a serene tea cafe experience, the project celebrates the site’s heritage while embracing modern dining trends. Through meticulous research and design innovation, the project seeks to create a space that not only serves as a culinary destination but also fosters a deeper connection between the community and the building’s rich history.

PVC

board,

VIETNAMESE CULINARY TRADITIONS IN SYRACUSE

NEW YORK

HISTORICAL SIGNIFICANCE + CONCEPT DEVELOPMENT

Before delving into the design of the restaurant, thorough research is conducted on the ‘Erie Canal,’ the building site (Smith Restaurant Supply Building), and the current state of Vietnamese dining in Syracuse. An interview with the ‘Vietnamese Community of Syracuse’ revealed that the majority of Vietnamese establishments are situated in the north, separated from the rest of the

Great Lakes

Erie Boulevard

SYRACUSE

Site Location

NYC

ErieBoulevard EastWaterStreet

Original route of Erie Canal

city by Highway 81. In an effort to broaden the influence of Vietnamese culinary traditions across Syracuse, the ‘Smith Restaurant Supply Building,’ chosen as the site, is conveniently located downtown. Furthermore, the building’s historical connection to the former ‘Erie Canal’ inspires a design concept that seamlessly integrates the history of Syracuse with that of Vietnamese street food.

Erie Canal

A waterway active during the 19th century, the Erie Canal played a crucial role in transporting inland goods to larger cities through the use of canal boats.

Westside Southside

Site Location

Map of Syracuse locating various Vietnamese establishments

Smith Restaurant Supply Building

Situated along the former canal, the building served as a point for loading restaurant supplies onto canal boats. These boats would stop, load their supplies, and then continue their journey.

Northside

SYRACUSE

Eastside

vietnamese restaurants

oriental supermarkets

community center highways

Vietnamese Street Life

This type of movement and speed bears a strong resemblance to that of Vietnamese street food—people stopping at vendors, buying something to eat, and then continuing on. 3.

erie canal turned into erie blvd.

1.

2.

Erie Blvd East

heavy traffc

Parking ve

surrounding visibility

SITE STUDY AND OBSERVATIONS

While the designated commercial area for the project is situated on S Townsend Street, the majority of the building is allocated for residential apartments. Positioned right under the raised highway 81 and along Erie Blvd East (formerly the historical Erie Canal), both renowned for their significant

traffic and constant activity, the design embraces rather than resists this surrounding high movement. Visitors will enter from E Water Street, experience the restaurant, and exit on the Erie Blvd East side, establishing a one-way circulation path on the ground floor with a constant flow of movement throughout.

Site Map

As the space spans two floors, the ground floor immerses visitors in the rush of street food, while the second floor offers insight into Vietnamese tea culture. In contrast to the fast-paced nature of street food, tea culture emphasizes relaxation. With a slower pace of movement compared to street food, the two experiences are intentionally separated by floor.

SPATIAL STUDY MODELS

To explore initial ideas of the concept, paper study models have been created. One potential idea, paying respects to street food, is to incorporate interior and exterior counters for food pick-up. The paper model also delineates the different circulation paths on each floor.

BLOCK DIAGRAMS AND INITIAL AXON LAYOUT

Initial ideas are developed to create a programmatic scheme identifying spaces and their locations. For vertical movement, an elevator is provided on the interior, and additional stairs are constructed on the exterior, as the pre-existing stairs are only accessible to residents living in the building.

Concept Section

Concept Bubble Diagram

OVERALL CONCEPT DEVELOPMENT

exterior + interior counters

2nd floor = seating + observing, 1st floor = pick up + movement

2nd floor primarily seating

linework

1st floor - high movement

streetfood space tea/cafe space

vertical movement

2nd floor - slow movement

FRONT TERRACE PERGOLA

As the entrance faces south and includes an exterior terrace, a sun study is conducted to regulate sunlight. A pergola structure is designed, initiated on the exterior and replicated on the interior, to manage sunlight and glare. The beams not only block sunlight on the exterior but also disperse light, creating dynamic and interesting shadows on the interior. To honor the building’s history on the exterior, architectural features, apart from the added pergola beams, remain unchanged rather than modified.

SUN STUDY AND DESIGN CHOICES

1.

some light reaches the breeze block feature wall which highlights its shape and plays with shadows on the 2nd floor

2.

on the interior, pergola beams are repeated allowing sunlight to enter the entrance space and to create dynamic and interesting shadows

3.

outside, Pergola beams disperse the sun in the summer creating pockets of shade on the front patio and providing cover from direct sunlight

wood flooring with a high gloss finish is used on the interior to reflect some of the light further into the space

Summer Solstice 73°

Winter

Solstice 28° 3. 2.

north to south wall section

4.

4.

1.

rendering 1 - view of front terrace and pergola design

Countertop engineered stone slab

Short Pull Out Drawers plywood with HPL finish

Tall Pull Out Drawers plywood with HPL finish

Handles brass

Panelling Wood Cabinet Base plywood with HPL finish

Concrete

Breeze Block

Feature Wall

5 1/2” Wall with ceramic tile finish

Engineered Stone Slab

Plywood cabinets with HPL finish

Brass handles

2 by 4 wall stud

1/2” backer board

1/4” waterproofing

1/8” Mortar

5/16” tile

exploded axon of ADA countertop

ENTRYWAY AND ORDERING COUNTER DESIGN

With the pergola structure replicated on the interior, the secondfloor floor plate is opened to provide a dramatic double-volume height upon entry. To enhance the experience upon entering, lanterns are suspended from the beams, accompanied by a breeze block feature wall with openings for the ordering counter.

As part of the project, a custom counter is constructed for use within the design. The counter is ADA compliant, designed with a 1-foot overhang to ensure easy access with a wheelchair. The countertop material consists of an engineered stone slab, featuring plywood cabinets with an HPL finish.

section of ADA countertop front elevation of ADA countertop

rendering 2 - view of entry and interior pergola

LED Umbrella Ceiling Mounted Lamp

Round LED Recessed Lamp

Long Glass Pebble Pendant Lamp

LED Conical Shaped Pendant Lamp

23” x 23” Felt Pendant Lamp

Glass Pendant Ceiling Lamp

Decorative Ceiling Lanterns

enter through front terrace be greeted by staff order at counter

see food being prepared

finalize order

pick up

exit through back terrace

enter through back terrace order at outdoor counter see food being prepared pick up

exit through back terrace

GROUND FLOOR LAYOUT AND CIRCULATION

With a visible ordering counter at the entrance and a pick-up counter located on the interior and exterior near the exit, the ground floor features a one-way circulation path that customers follow while their food is being prepared. Windows placed near cooking stations provide views into the kitchen, allowing customers to witness the food prep firsthand. This visual narrative mirrors the experience of street food, where vendors prepare and serve food in front of customers.

MATERIAL USE AND DESIGN LAYOUT

The placement of materials on the ground floor serves both aesthetic and practical purposes. The breeze block feature frames the circulation path, creating a decorative doorframe that accentuates the desired form of movement through the space. Additionally, the terracotta tile along the window frame guides the customer’s eye toward the prep/cook station, engaging them in the food preparation process.

Bamboo Wall Covering

Pre-existing original Wood Flooring Terrazzo Flooring

Graphic Terracotta

Tile - Colorway 1

Interior Wall Finish

Floor Finish

Floor Finish

Interior Wall Detail

rendering 3 - view of movement on ground floor and windows into the prep/cook area

enter through terrace stairs be greeted by staff order at counter pick up/wait for tea choose desired seating sit, observe and enjoy sit, observe and enjoy

SECOND FLOOR LAYOUT AND CIRCULATION

While the ground floor offers minimal seating, the second floor is organized into private seating lounges separated by breeze block walls. The majority is designated for seating, with the cafe area situated in a small corner immediately visible upon entry. The large seating area at the back features a window that allows observation of the ground floor from above, as the floor plate has been opened. This creates the experience of enjoying tea while observing the activity below.

rendering 4 - exterior steps on back terrace leading to second floor

Interior Wall Finish

Bamboo Covering

Floor Finish

Pre-existing original Wood Flooring Terrazzo

Floor Finish

Flooring

Interior Wall Detail

Graphic Terracotta

Tile - Colorway 2

MATERIAL USE AND DESIGN LAYOUT

The second floor also employs materials to distinguish specific areas, creating zones for a relaxed form of movement through the space. The triangular terrazzo floor finish and the terracotta tile backdrop help accentuate the different seating lounges. Additionally, the dropped ceiling with low-hanging pendant lamps reduces the ceiling height, creating a comforting environment within the separated lounges.

rendering 5 - second floor view depicting tea lounge with separated seating

FINAL CONCEPT SECTION

While the ‘Smith Restaurant Supply Building’ along the ‘Erie Canal’ and a Vietnamese foodway may appear strikingly different at first glance, honoring and researching the history and culture of both topics allowed for the design of a dynamic dining concept.

By utilizing the streetfood and tea culture, ‘Food and Motion’ delivers a unique and distinctive Vietnamese dining experience that celebrates both Vietnamese traditions and Syracuse history through different forms of movement.