Hey! I’m Joe. I’m currently a fourth-year architecture student at Northeastern University, but I’m originally from Long Island, New York. Though much of my current work pertains to architectural design, my heart lies in urban & community design - a passion that I’ve had since high school, where I conducted a research project on bike lane infrastructure in NYC. Being in and out of Queens and Brooklyn my entire life; public transportation, pedestrian-friendly, and bike-friendly design & infrastructure have always played a large role in my daily life, and has propelled me to want to design for a less car-centric future.
I’m also currently a candidate for a minor in Urban Landscape Studies, through which I’ve been exploring how urban communities and the natural environments that exist within them interact with architectural intervention.
PAISAGISMO JARVIS
BOSTON, MA • MIXED-USE HOUSING
URBAN INSTITUTIONS • SPRING 2023
How can we interlace student housing, a strong sense of community, and nature? The Paisagismo Jarvis housing project attempts to achieve this by bringing the beauty of the emerald necklace and community-oriented design to Northeastern University’s campus. This concept can be translated on a micro and macroscopic scale, from mindful unit configurations to intersection-focused site design.
Taking from the meandering path that the portion of Boston’s series of parks known as the “Emerald Necklace” takes on near the Jarvis Street site, the Paisagismo Jarvis housing complex emulates this form by doing away with the originally planned ‘Jarvis Street’ that was intended to cut horizontally through the site, taking on a network of equally winding footpaths in a Burle-Marx-esque fashion.
Both to allow the complex to take on a more intimate relationship with the natural environment and to balance between keeping the site navigable yet ecologicallyfocused, the use of impermeable surfaces is minimized with a wide distribution of permeable and impermeable surfaces. the incorporation of features such as phytoretention mats and bioretention swales come to be especially important given the site’s context and its susceptibility to pollutants from nearby vehicular traffic.
PAVEMENT
TYPES
Model of site showcasing all 4 pavement types.
Concrete Pavers Phytoretention Mat
Lattice Tile/Half Grass Bioretention Swale
At the center of the complex sits the central ‘square,’ which all six buildings surround. All four pavement types are seen painted around this square, so to guide the converging paths that whiplash around elevated garden beds. This open plaza allows an even greater level of lushness to infiltrate the complex, and provides space for residents to plant and care for plants of their own within beds.
‘Central Square’
2nd and 3rd Floor Terraces
Aside from aesthetic, ecological, and sensory appeal, the square also serves as a central intersection for residents and commuters alike, allowing pedestrians to slip past one another as they move through the complex - as if the square is the center of the path network’s axis.
Intimate connections are seen on multiple scales within and between apartments. Most publicly, throughout each building an exposed staircase weaves in and out of the building, starting and landing at public terraces that act as a ‘front porch’ type of semi-public space. Then, the largest third to fourth floor duplex cluter units share a terrace with the corresponding apartment in the adjacent building. Most intimately are the open layouts of the cluster and family units, in which ample living space is provided to residents in anticipation of increased occupation. This is seen in the feature of dual-adjactent living spaces in family units to allow children a ‘living room’ of their own attached to the rest of other centers of domestic activity.
4th Floor Shared Terrace
Family Unit Living Space
The design of this complex emphasizes intersection-oriented layouts to encourage interactions among its diverse residents, including graduate students, single individuals, families, and those in affordable housing. This approach counteracts the isolation often found in densely populated urban housing projects. The design promotes encounters through various scales: large circulation paths that intersect throughout the complex, vertically meandering staircases and porch-like halls in each building, and cluster units on the upper floors of each building.
Responding to Boston’s housing crisis and housing code, each of the six buildings includes three duplex cluster units with ample living spaces, accommodating five bedrooms and two bathrooms. This design reflects the growing trend of micro-housing in cities worldwide while prioritizing intimacy and community among residents.
Aside from aesthetic, ecological, and sensory appeal, the square also serves as a central intersection for residents and commuters alike, allowing pedestrians to slip past one another as they move through the complex - as if the square is the center of the path network’s axis.
Intimate connections are seen on multiple scales within and between apartments. Most publicly, throughout each building an exposed staircase weaves in and out of the building, starting and landing at public terraces that act as a ‘front porch’ type of semi-public space. Then, the largest third to fourth floor duplex cluter units share a terrace with the corresponding apartment in the adjacent building. Most intimately are the open layouts of the cluster and family units, in which ample living space is provided to residents in anticipation of increased occupation. This is seen in the feature of dual-adjactent living spaces in family units to allow children a ‘living room’ of their own attached to the rest of other centers of domestic activity.
MODULATED FRAMES
SEGOVIA, CL, SPAIN • PUBLIC PERFORMANCE SPACE
IN COLLABRATION WITH AUSTIN LAW, MERCEDES MARTÍN, AND NISARGA RAMESH
DESIGN STUDIO V AT IE UNIVERSITY • FALL 2023
The Jardines de Los Zuloaga are a park and public perfomance space adjacent to the Museo Zuloaga, a cultural center founded by ceramicist Daniel Zuloaga. The garden sits along the medieval wall of Segovia, sporting beautiful views of the surrounding landscape.
Within the garde is a stage, which currently remains unused despite the area’s frequent use as a performance space for community events. Instead, performers typically set up on the lawn of the garden, bringing along their own equipment to build makeshift stage spaces.
Our intervention attempts to address this shortcoming by introducing an installation to the garden that highlights the existing stage, allows for audience spectatorship, and respects the uniqueness of the space’s circulation strategy and one-of-a-kind view.
To introduce us to the construction of temporary pavilions, we were tasked with reproducing a construction set of drawings of the ‘Forests of Venice’ installation created by Kjellander Sjöberg and recreating 1/4 of the pavilion at 1:4 sca le.
In this, we were able to analyze the construction methods that had gone into the creation of the pavilion. Its system of carefully balanced joints allow for the upper layers of the structure to cantilever outwards with little help from fasteners, and likewise for the roof structure which cantilevers inwards.
After much research into how each layer was fastened to one another, we were able to deduct from model photos that the layers were secured using pocket screws, in which a long screw is secured diagonally through two members stacked on top of one another (pictured).
As we got to know the structure, we also found a number of criticisms with the project. Its inefficient use of space was most prominent, with the upper layers inacessible. Further, its use of pocket screws to secure layers to one another seems to undermine its committment to using balance to support the structure, as well as its rather inefficient use of imported Swedish pine, although the architects claim that it is a tribute to the ancient piles that support the city of Venice.
Following our analysis of the Forests of Venice, we were tasked with creating a new pavilion using the same materials. To guide our design principles, we took into account the programmatic shortcomings of the Forests of Venice, the site’s programmatic shortcomings, and the existing circulation strategy of our site.
Firstly, to address the lack of program present in the Forests of Venice alongside the site’s need for a proper setup for its stage, we analyzed what a stage and audience needed and used this form to guide the shape of our intervention.
Secondly, seeing the meandering circulation strategy that allows for curated views over the Wall of Segovia into the landscape, we were reminded of the circulation strategies of Japanese Gardens. Using this organization strategy, we were able to determine how users would enter and circulate within and around our structure.
what goes into a Japanese garden?
Re-using pieces from the Forest of Venice, we formed five different ‘modules,’ taking advantage of the replicability and similarity of the connection strategies found in the original pavilion.
Using these five module types, which served to define the vertical and overhead planes, we created an amphitheatre-like structure that both framed the existing stage, created new opportunities for seating, and provided some shade to spectators.
Each of the different module types were born out of pre-existing repeated ‘modules’ found throughout the Forests of Venice.
We first created the ‘intimate’ module, which created a smaller-scale “nestled” space that would allow users to sit and view performances with more privacy from others. The compactness of this module also aided us in creating an overall layout for the structure.
Afterwards, using only one extra piece when compared to the intimate module, came the ‘wall’ or ‘flexible’ module that allows for both seating within the module and for users to pass through the ‘walls’ of the pavilion through an archway. Further, the two exposed joints allow for two wall modules to be connected to create a corner.
initmate module
wall / flexible module
In Kjellander Sjoberg’s construction of the Forests of Venice, a number of wall pieces were cut to create an opening for the pavilion’s entrance. To accommodate for these ‘anomaly pieces’, we took advantage of the short length of the pieces to create the ‘end module,’ as these pieces would not have their view of the stage obstructed in any way - allowing us to place it at the front ends of the seating area.
Taking advantage of the semicircle shape of the seating area, we used a similar logic to the Forests of Venice’s strategy of balancing members to create a cantilever roof to create our own roof modules. We created smaller semicircle modules, also interwoven using the logic behind the hinge system of the structure, that balanced on top of the wall/seating modules and each other to form a stadium-like cantilever roof.
To create further continuity in having our design feel connected to the a stage, we used some of the larger four and five-notch pieces to climb up the stage and ‘frame’ it. This rather decorative element is also connected to the larger structure via a doorway to the side entrance of the amphitheater.
(Shown Below)
In order to aggregate the modules that we’d created to form a singular, interconnected system, we defined a catalogue of allowable connections between modules. Two out of three of these connection types utilize the larger three, four, and five-notch pieces to span larger distances to create larger archways and opportunities for platform seating.
In addressing the aggregation of roof modules, we used lattice-arrangement roof pieces to serve as a bases for the typical roof modules. Semicicular roof module pieces are layered on top of one another, with layers with larger spans placed on top to use its weight to balance the entire system.
In aggregating these modules, using our guide of connections, we followed a diamond-shaped grid centered on the stage, to allow for our modules to maintain orientation towards the stage while maintaining a level of organization.
Following this grid, we were able to form our final amphitheater-esque layout, with the shorter, end modules at the ‘front.’ Due to the larger shape of our structure compared to the Forests Venice, we oriented our roof pieces to align with the stage to be able to span the width of the amphitheater.
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With this, comes various different possible uses for the many different seating opportunities throughout the structure. Users are able to decide how exposed to others or the elements, or whether or not they would like to sit with other audience members.
This sense of autonomy within the amphitheater’s program and opportunity for seating is a polar opposite of the existing spectating infrastructure, which leaves audience with only one choice: to sit on the grass.
On the other hand, the rather distinct circulation pattern of the site is echoed in the amphitheater’s slightly hidden, indirect entrances. In each of the entrances, users ‘slip’ into the amphitheater. Entrance archways are nestled in between seating modules, with their obscurity inviting curiosity for the user.
As the structure sits atop a grass lawn, to protect the amphitheater from moisture that could cause its wooden members to rot, our team devised a ‘foundation’ strategy. This simple foundation, consisting of wooden a wooden floor plate and a steel I-beam, acts as a protective layer between the grass and the amphitheater structure.
Its construction is relatively simple, on par with the rest of pavilion’s level of temporarity. Small L-brackets are screwed into the bottom of wall pieces, which then connects to the floor plate. Floor plate pieces are then connected to the I-beams via a long screw secured from the underside of the top plate of the beam.
Though our foundation intervention was necessary for the maintenance and integrity of our structure, this assembly does admittedly go against our design methodology of relying on the interlocking quality of the wooden members. However, due to the limited space provided to us and the need for a rather minimal intervention so to not distract from the structure itself, we adopted this foundation strategy.
To represent our design physically, we created two models at 1:500 and 1:4 scales. Our smaller model, shown on the left is able to most effectively show how light passes through the amphitheater’s roof structure, with the sunlight dissipating through the roof layers - creating a canopy-like effect.
Attention to site detail and capturing the unique circulation armature of the site were key in our representation. The small scale of the model also demonstrates how the amphitheater is able to provide varying levels of porosity when moving between the site, the pavilion, and accessing the view over the wall of Segovia.
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For our 1:4 scale model, we represented three of the ‘flexible’ units and one of the ‘intimate’ units. With this, we were able to follow our catalogue of allowable connections to aggregate the modules we’d made to show the corner connection type and woven uphead module connection type.
Because we were tasked with only using pieces salvaged from our original model of the Forests of Venice, our rendition of a portion of the roof system needed a supplemental support as it would not stand without the rest of the system present, as its stability depends on the entire system being present.
LIBRARY 5064
BOSTON, MA • LIBRARY
SITE, SPACE, AND PROGRAM • FALL 2022
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The form of Library 5064 attempts to comment on this shift in land use and community makeup by mimicking the site’s overall shape in a collection of smaller buildings connected by a central spine.
Ground Floor Plan
Upper Level Plan
Lower Level Plan
To the immediate southeast of the library (where the image below is taken from) sits the One Greenway Park, a small community green space that slopes down from the SE towards the NW. this is mirrored by the increase in building height, going from the residential area of Chinatown towards Tufts Medical Center and downtown Boston. These topographical and urban elevation changes are mirrored in the library’s roof design.
With each successive building, the floor drops approximately 2 feet, while the ceiling height increases. this is done to make the user feel smaller within the spaces, suggesting that the user should be quieter within the larger portions.
Program and Noise along Spine
Section along Spine
café unit
window punchouts taper towards exterior
café kitchen contained within ‘thick’ of wall
children’s section unit
pickup window punched into wall
array of punched-out windows and bookshelves
bathrooms contained within ‘thick’ of walls slightly elevated children’s reading room
Ultra-thick walls frame spaces, with various types of ‘serving’ spaces depending on the portion of the library tucked into the wall. This aids in keeping ‘served’ spaces, such as browsing areas and open-concept seating as open as possible.
shelving nook allows for an alternatively intimate browsing experience
uniquely designed reading nooks
general collection unit
stair embedded within wall
Model of General Collection Unit
Roof slabs fan out from the central spine to direct the user’s view towards the large window. This is further encouraged by the thick, poured-concrete walls.
Section of General Collection Building and Lecture Hall
Unrolled Façade of General Collection Building
Varied bookshelf sizes dramatize the increase in volume extending out from the central spine by featuring taller bookshelves near the center of the building. Meanwhile shorter furniture and waist-level bookshelves are used near windows so to not obstruct one’s view of the outside.
Unrolled Façade of Children’s Collection Building
Section of Children Collection’s Building and Yard
MARKETING AT HACIN
CO-OP • JAN-JUN 2024
In between projects while working at Hacin, I was able to assist the firm’s marketing team in producing graphics to be used on the company’s website showcasing some of our larger, completed projects. Focusing on key aspects of each project’s design as well as technical challenges that were overcome during the design and construction process.
150 Camden | Affordable Housing South End, Boston | Completed 2019 Full Project
The Whitney Hotel | Hospitality Beacon Hill, Boston | Completed 2019 Full Project
Process:
Revit Models: Hacin Architecture Team. Rhino Models (staircase): Joseph Quan. Adobe + Narrative Work: Joseph Quan, overseen by Katie Dayton.
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SANCTUARY PAVILION
BOSTON, MA • PARK
SITE, SPACE, AND PROGRAM • FALL 2022
Located alongside Chinatown’s Mary Soo Hoo Park, the sanctuary pavilion attempts to create a number of ‘pockets’ of space, with landscaping and elevation changes utilized as a dividing features, shielding users from the smells and sounds of the city. At the moment, seating areas in Mary Soo Hoo Park are typically populated with elderly mahjong players, who lack adequate seating for viewers & space for in-game movements.
At the center of the site sits a public restroom, featuring ADA-compliant stalls and a diaperchanging room. notions of privacy and public engagement are questioned with all sinks being located outside in communal basins, only shielded by a metal-slat wall.
Sunlight dissipation through louvers Front façacde
Site Plan
Site analysis - Mahjong Dynamics Diagram
To the immediate southeast of the library (where the image below is taken from) sits the One Greenway Park, a small community green space that slopes down from the SE towards the NW. this is mirrored by the increase in building height, going from the residential area of Chinatown towards Tufts Medical Center and downtown Boston. These topographical and urban elevation changes are mirrored in the library’s roof design.
Sink Area
Roof Terrace Area
Ultra-thick walls frame spaces, with various types of ‘serving’ spaces depending on the portion of the library tucked into the wall. This aids in keeping ‘served’ spaces, such as browsing areas and open-concept seating as open as possible.
Site view
Sunlight dissipation through louvers
Playground + façade
Mahjong tables with moveable spectator seating
LIGHT WOOD FRAME STRUCTURE
IN COLLABORATION WITH CHRISTINE CHO ARCHITECTONIC SYSTEMS • FALL 2022
34 THE WATCHTOWER
In analysis of wood light frame construction, my partner, Christine Cho, and I designed the layout, form, and structure of a twofloor watchtower. The structure works to dramatize the nature of wood frame construction, exploring concepts of the standardization and modularity of wood light frame planning and assemblies.
In planning for the construction of our watchtower, we devised an extensive set of layouts and framing plans, with stud, joist, and floorboard sizes specified.
Wall Framing Plan
Floor Joist Framing Plan
Roof Framing Plan
Floors and one exterior wall are finished with 2’ x 6’ (scale) sheets, representind decking and clasdding. Placement is adjusted for accuracy to standard construction methods. Openings are built to scale with proper cripple and king studs, etc., alongside headers.
In addition to accomodating for multiple stories, our team was also tasked with featuring a cantilever with a minimum length of 12’, a crawl space with proper footing, and a roof with adequate drainage that would have funneled rainwater to a singular release point.
PLAYABILITY IN ROXBURY
ARCH 3450 • SPRING 2023
What does playfulness within a city mean? As an introduction to ArcGIS and in discussion of how different populations, old and young, rich and poor; interact with spaces intended for playful interaction within Roxbury, Boston. To do so, I began by analyzing the ‘types’ of play seen in a handful of Roxbury parks, as well as their material composition in relation to a ‘playabilty score’ assigned to each park from firsthand observation by classmates and I.
Taking this discussion of play in urban spaces to another level of complexity, I then created two infographics / maps. The first analyzes the accessibility of three Roxbury parks, which comes as an especially important lens given the area’s loss of the Elevated Orange Line in 1987 when it was rerouted. The second analyzes the relationship between percieved social vulnerability to climate change by the City of Boston alongside an overlay of the urban heat island effect’s intensity within Roxbury, with each of Roxbury’s parks outlined.
CRAWFORD ST. PLAYGROUND REDESIGN
ARCH 3450 • SPRING 2023
Having meticulously examined the playability of various park designs in Roxbury, my decision to undertake the redevelopment of the Crawford Street Playground was driven by a multitude of factors. Presently, the existing play area is woefully inadequate in both size and imagination, failing to cater adequately to the local population. Furthermore, it overlooks a unique natural feature: a gentle slope that exists within the park, which has been entirely neglected in the current layout.
In my proposal, I envision a comprehensive transformation of the Crawford Street Playground, one that transcends the conventional notions of a playground’s purpose. Not only will it introduce a more spacious and accommodating layout for the playground equipment, but it will also harness the park’s natural slope to introduce an innovative dimension of play. This unique approach will enable children to engage in both horizontal and vertical play, adding an exciting and enriching dynamic to their outdoor experiences.
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The inspiration for this emphasis on vertical play stemmed from insightful suggestions provided by elementary-age students attending Boston Public Schools. When we asked these young minds about the features they wished to see in their own elementary school’s playground, many expressed a keen interest in activities that embraced verticality. Recognizing the potential to make their dreams a reality, our design seeks to integrate this input, ensuring that the Crawford Street Playground becomes a vibrant, imaginative, and inclusive space where children can explore, learn, and grow.
Our vision for the Crawford Street Playground embodies a commitment to creating a safe, stimulating, and communityoriented environment. By harmoniously blending contemporary design principles with the spirit of innovation, we aim to craft a space that not only fulfills the immediate recreational needs of the neighborhood but also inspires a profound sense of wonder and discovery in generations to come. This project represents a unique opportunity to transform an underutilized space into a cherished community asset, and we are excited to embark on this journey of revitalization.
To demonstrate how kids can also interact with their built environment through modelmaking, a 30’x30’ section model of my proposal and two pop-up book spreads demonstrating how play can occur in my proposed park (all interactive) were created and presented to a class of Boston Public Schools elementary schoolers.
Section Model of Zipline on Slope
Booklet Diagram of Play Activities
Render Location Guide
Crawford St Playground: Before and After Renders
Crawford St Playground: Before and After Renders
JOE’S DIGITAL FIELD GUIDE
LARC 2430 • FALL 2023
Focused on identifying urban plants and their ability to support drainage infrastructure. in order to achieve this, I analyzed 50 plants and their wetland indicator statueses, tolerance properties, and preferred soil conditions. This database aims to aid architecture and landscape arch. students in their site design. Entries come from a variety of urban and suburban conditions, including coastal areas, urban parks, and roadsides. understanding from this project aided in my landscape design in the preceeding studio projects.
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STONE TRUNKS: A GRAPHIC ESSAY
BARCELONA • FALL 2023
This short photo essay was compiled after a week-long case study investigating vernacular architecture and spatial relationships on various scales thoroughout Barcelona. My graphic essay focuses on a prominent concept of “stone trunks,” in which much of the architecture of Barcelona takes elements of biomimicry to another level of incorporation.
These organic forms can be seen in various scales, such as that of the ‘stone forests’ made up of tree trunk-like forms in Gaudi’s Park Guell, or the forest of massive columns comibined with the canopy-like designs of the interior of the Sagrada Familia. Decorative elements can also be seen to mimic natural forms, as one may interpret the trencadiz method of mosaic-making as a representation of cellular forms.
These biology-focused forms are also used to interact with the natural environment, with trunk-like structures in Park Guell supporting various plantings, and elements of repetition in the CaixaBank used to dissipate light entering interior spaces.
Softwares Used: adobe illustrator, photoshop, and inDesign.
