PORTFOLIO (2022-2024)
Ines Bici
Harvard Graduate School of Design Masters of Architecture
This semester project delves deeply into the triple-decker as a quintessential element of Boston's residential architecture, examining how the remarkable can be found within the mundane to create a conceptual bridge between domestic and institutional spaces. The investigation centers on the roof as a key typological indicator, revealing the activities and functions it shelters.
My primary focus is on the innovative integration of the sawtooth and gable roof designs. The sawtooth roof, traditionally linked with industrial and production spaces, is reimagined here to serve as the backbone for a creative studio. Its unique structure is optimized to ensure consistent, ample natural light, fostering an ideal environment for artistic and creative endeavors. Meanwhile, the gable roof, synonymous with residential architecture, reflects the living quarters' homeliness and comfort.
The prompt requested designs for three triple-decker buildings that serve both as family homes and residential spaces. By positioning these triple-deckers and angling them sideways, an imaginative shift was achieved, blending roof designs with their functional roles in a seamless manner. This creative arrangement not only maximizes the utilization of space but also introduces a dynamic interplay between architectural forms and their intended uses.
This project proposes a hybrid structure that seamlessly combines these two roof types, symbolizing the fusion of work and home life. By doing so, it challenges conventional zoning and architectural norms, suggesting that a building can simultaneously cater to creative production and residential needs, thereby enhancing the quality of urban living. This approach not only maximizes the utility and aesthetic appeal of the triple-decker but also redefines its role in the urban fabric of Boston, making it a model for future architectural endeavors in cities with similar housing typologies.
03 Section A
04 Section B
05 Longitudinal Section
07
Art Studio Perspective
08 Attic Workshop Perspective
When describing how the idea of a house has changed over time, Evans points out how inhabitants of a space have come to be perceived as simple sources of irritation. This influenced modern architecture, diminishing the need for corridors and clear paths. In my duplex design, I embraced this idea, positioning occupants as both sources of disturbance and independent individuals craving solitude and social interaction.
The duplex layout is split into four sections, with units strategically placed opposite each other, fostering both interaction and hierarchy. Adopting a 'T' plan, paths intersect and extend vertically, adjusting in size to manage noise levels.
The design centralizes around a core that simultaneously isolates and connects spaces, with parts designated for shared use, connectivity, and as subtle reminders of cohabitation.
One unit features two workshops and a quiet office for a craftsman, while the other includes two dance studios (ballet and tap) and a workout area. This layout ensures frequent encounters and auditory interactions among residents, promoting a sense of community while respecting individual spaces.
Circulation paths align with the 'T' shape, dynamically expanding to foster social interactions. Ultimately, the 'T' influences the overall spatial arrangement, helping to segregate, insulate, and unify areas within the duplex.
02 Perspective Triptych 1
03 Perspective Triptych 2
04 Perspective Triptych 3
In this project, I delved into the intricate relationship between movement and architectural space, focusing on the architectural promenade as a medium to transcend conventional pathways and corridors. The project was an invitation to reimagine the journey through architectural environments as a rich, sensorial experience, guiding the transition from the exterior realm to the intimate encounter of interior spaces.
I conceptualized the building's entrance as a dynamic interface between the public and private realms, employing a combination of structural gestures and material transitions to craft a sequence of welcoming and intriguing thresholds.
With an emphasis on reducing reliance on traditional signage, the project explores the use of architectural cues — from wall patterns to ceiling treatments — to guide visitors intuitively through the space. This layer of design fosters an environment where the architecture itself becomes a silent guide, enhancing the user's ability to navigate through sequences of spaces without the interruption of conventional wayfinding methods.
03 Section Perspective
The architectural promenade ascends along the building's concrete edges and culminates upon arrival at the performance hall. Throughout the structure, patterns created by altering basic geometric shapes are consistently employed, culminating in their use to modulate light within the performance hall.
“Emergent Paradigm” acknowledges current design principles and the immediate need for fire resilience in Northern California. With a focus on fire, earthwork, and the human body, this project presents a new system of 3D-printed concrete buildings that have a lower chance of burning in a fire by leveraging their surrounding earthwork as an additional protective layer.
The design process started with understanding how fire affects people and buildings. Furthermore, the design process was anchored in an earthwork study of various different artists. Based on a study of “Cuts” by Carl Andre, I was able to develop a site of my own, the geometry of which extends into the two dwellings.
The design approach for the houses began with a series of six situations. The six conditions are proportionally related to the body. They, however, are objects with a physical presence derived from a composition of words.
Situation 01 Stair
Stepping, two planes, vertical off set, seat, cris-cross
Situation 04 Threshold Canopy
Entry door, long wall, seat, ground, cut, shade/rain awning
Situation 02 Corner Intersection
Two walls, one window cut/ aperture, a frame, a seat, fold
Situation 05 Horizontal Plane
Bed for sleeping, one window, floor plane, fold
Situation 03 Cantilever
Reflection, oculus, physical dynamics, structure, extension
Situation 06 Concave Tub
Soaking bath, shift, a depression, a window, reflection
Dwelling A is printed within a 37’ x 47’ x 28’ box. Dwelling B is designed as a continuing series of 25’ x 25’x 14’ prints. The two are conceptually comparable in that they both follow the site's line geometry. Dwelling A is built around a stair, a wall, and water, whereas Dwelling B is built around a wall, a hallway, and water.
Encounter 01
Bedroom, stair, bed, window, curtain
Encounter 02 Wall, stair, mass, window, directionality
Encounter 03
Opening, steps, reflection, continuation
Encounter 04
Pathway, shift, apertures, rythm
Encounter 05
Outside, steps, enclosure, rythm
Encounter 06 Inside, intersection, movement
10 Dwelling B
Top north view of the housing project
A porposal of an urban institute exploring the idea of interwoven spaces. To interweave, in the project means mingling spaces by positioning them in such a way that each space is able to offer a distinct experience. The building is designed so as to not be divided by its floors or corridors, but instead to be thought of as a series of spaces that foster the possibility for different relationships between neighbors.
The stairway stays uniform so as to aid with the rational placement of these space containers, connect, and allow for overall flowing composition. Floors are composed of concrete, which climbs up the walls and changes texture. Areas are enclosed by operative glass panels and wooden frames that attempt to create a rhythm in the facade. This rhythm changes where the program allows for it to: in the two front entrances that open to both sides of the sidewalk, allowing for free movement as well as fresh air, and in the ‘wooden arch’.
Figure 1
Physical model of final design
Several arched shapes intersect in two directions. This allows for a variety of floor levels and different spatial relationships to be present between programs.
Concrete walls are appropriately isolated for temperature control. Additionally, several window openings allow for operability.
The Urban Institute contains both public and private spaces. Private spaces are placed higher up in the building and are usually detached from communal ones.
Concrete decks typically span for a maximum of 25 feet. Shear walls are located on both sides of the building as well as its circulation core.
08 Form Diagram 10 Performance Diagram 09 Program Diagram 11 Structure Diagram
12 Third Floor Workshop View
A moment of intersection between the arched shapes. The glass exhibition space overlooks the urban model as well as the art studio. Visitors walk underneath the exhibiton space to enter the assembly hall.
Concrete arches break down into a wooden structure, providing the visitors an outdoor experience. The space can be used interchangeably as an exhibition or leisure space a moment of peace.
13 Top Floor Outdoor Terrace View
02 La Coruna Center for the Arts by aceboXalonso
Exploded axonometric drawing of the building’s mechanical system
03 Atlas Fire Analytical Montage
Superimposed drawing of layers of information
Thank you for your consideration,