Julia Spackman Portfolio 2022

Contents

Julia Spackman

Bath House

1

Too Much, Not Enough

5

Leaky MASs

10

Spiral Shims

13

Jump Cut

16

One, One Million

19

Court House

22

Room + Mountain

24

“Not Interesting”

26

Wuhan Waterfront

27

CMC

28

Pool, North

30

Bath House Core IV

Alfredo Thiermann Partner: Elsa Hoover Spring 2021

In this housing project, we operated on an architectural body to mark contemporary dreams of accessible and generous intimate space. A public bath that mediates a body’s care within society can be found in every city’s history.

Returning a bathhouse to Boston requires us to ask what public and private roles for bodies will register. We embed this building in the waterfront, fully receptive to tides and flooding. The building shelters a path against the seawall and unites the public docks, promenades, and water utilities.

In the bathhouse, a cycle of exercise and hygiene is accessible to apartment and city residents. The sequence is as follows: laundry, changing, showers, indoor pool, sauna, outdoor pool, onsen chamber.

We propose the apartment as an exploded set of small, specific plumbing stacks - shower, sink, water closet - with life flowing more freely among them. In orchestrating the infrastructural ends of a simple urban life, most of the apartment is left open to its occupant’s desires. The deep minimum units are entered through an airy park-side hall and open to the ocean-facing porches that can privatize or stitch together multiple units.

Center: Physical Model, Apartment with Structural Bath Stacks

1

5'-0"

5'-0"

4'-0"

Top Left: Section Fragment: Apartment Seaside Top Right: Edges and Porches Bottom: Apartment Plan

2

Center: Transverse Section Water Diagram

3

Park

Laundry

Locker

Shower Pool

Sauna

Outdoor Pool

Onsen

Top Left: Progression through Bathhouse Cycle Top Right: Laundry and Sauna Bottom: Subterranean Bath House Plan

4

Not Enough, Too Much

Immeasurable Enclosure Sergio Lopez-Piniero Fall 2021

This ‘Immeasurable Enclosure’ examines the instantaneous toggle between not enough of something, and too much of it.

I posit the distinction between the two as an authored construct, especially within the context of the Sonoran Desert. On a site where city, nature preserve, and military range meet, the enclosure brings together that which happens in isolation– creating a space for multiple publics to witness opposing perspectives. Due to the physical programmatic overlap, the users would selectively cohabitate.

The enclosure offers readings of the desert calibrated to challenge the preconceptions of visitors. Relative emptiness and fullness flip inside and outside as you move along the enclosure.

Reflective fins shepherd you through the boundary in the nature reserve. For the admission requiring city programs, the enclosure becomes a fenced queue.

The third and final enclosure prevents passage into the target range of the military. Its canopy offers shade for viewership thus converting destruction into spectacle.

Left: Selected Found Programs in the Arizona desert Right: Calendar demonstrating Site Sharing

5

6

Previous Page: Collapsed views in Nature Preserve Center: Plan

7

Left: Model Photos Right: Presentation Photos

8

Top: Inside Simulation Bombing Site Bottom: View past Enclosure into Bombing Range

9

MASS

Core III

Ron Witte Fall 2020

The building provides New York City’s Municipal Arts Society with a space to engage the public, host their offices, provide cultural programming, and have professional tenants. Layering of selectively leaky boundaries produces extreme variation in program. The redundant, offset nature of a delaminated and expanded wall welcomes the public inside and gives the mixed-use building gradual separation of space.

Two layered rings of office space hang from above, supported by the gallery space and elevator cores. Personal offices and supportive program establish the solidity of the rings thereby enriching central communal areas that look out onto Washington Square park and the inner block garden.

Spatial entanglements are produced by the rings and exploited through selective apertures. Cutting through the rings first visually then physically draws attention to material changes and gaps differentiating the spaces. The understanding of suspended solid and held back horizontals is substantiated by details.

Center: Provocation diagram of layers delaminating

10

Top Left: Detail at Office and Ring floors with door Top Right: View of same Bottom Left: Detail of balcony at Office and Ring floor Bottom Right: View of same

11

Left: Finish Plan Right: Perspective Through Rings

12

Sport Shed Core II

Sean Canty Spring 2020

The project’s massing negotiates the angles of adjacencies on its triangular site.

The enclosure abuts the party wall while hosting a dynamic volume of opposing orientation. This figure pinwheels in plan, occupying subsequent quadrants as it rotates upward.

The sports program fills space bounded by the dashed solidity of chamfered walls.

When adjacent spaces meet, their adjoined bays combine into specific rhythms of aperture. When slightly misaligned, they produce a combined partition with a grand opening. The walls coalesce when forming the dense individual fitness room and a series of enfilade connections. For spectating of the central roller rink, the walls subtract and become subtly angled pillars demarcating the space of play.

These walls orchestrate access through their combined positioning and offer the North End of Boston a generous public space.

Center: Chunk Model

13

Top Left: 2nd Floor: Enfilade Bottom Left: 1st Floor: Combination Right: Section Oblique

14

Top Left: 4th Floor: Slipping Walls Bottom Left: 3rd Floor: Pillars Right: Massing Model on Site

15

Jump Cut Core I

Wall

Stair

Step

Plan

Floor

Right: Catalogue of Spatial Implications from Transitioning from Vertical to Horizontal

Disturbed Plan

The project centers on this found object and explores its potential for similarity and ambiguity. Plans resemble sections and visa versa. The building’s assumed program is packed alongside this volume, now a void, offering a narrowing perspective of the converse orientation.

Disturbed Section

The project begins with reconciling two given sections: one raumplan one free plan. I understand these to represent a point of occupation just before pure verticality and horizontality, respectively.

The project addresses the middle space of transition through large scale stepping.

Perpendicularly extruding a more vertical step with its horizontally inclined counterpart produces a symmetrical object that elegantly navigates this transition.

Section

Max Kuo Fall 2019

Patterns 1/16" = 1'-0"

16

Top Left: Process Model Bottom Left: Found Integral Piece Top Right: Raumplan Model Section Opened Bottom Right: Free Plan Model Section Opened

17

D

B

B

Section B

A

Section C

A

1/8" = 1'-0"

1/8" = 1'-0"

C

C

Section C

Plan 02

1/8" = 1'-0"

1/8" = 1'-0"

D

B

Plan 01 1/8" = 1'-0"

B

D

Top Left: Section through Center Middle Left: Section at Boundary

B

B A

Section A 1/8" = 1'-0"

Bottom Left: 3rd Floor Plan (Through Center)

Section D

A

1/8" = 1'-0"

C

C

Right: View into Central Void

B

Section D

Plan 04

1/8" = 1'-0"

1/8" = 1'-0"

18

One One Million Arch 100C

Andrew Atwood Fall 2016

The 2D collision simulation game was written to produce infinitely many variations of compositions. One figure ground study was developed into a low-relief model of stacked paper sheets, then drawn conventionally, in plan and section. This system was leveraged to inform an initial site strategy for a 1 million sq. ft. addition to the Las Vegas Convention Center. With all program contained on one story, traditional architectural representation is challenged through the devaluation of section. Instead, the immense plan describes the addition to be a field of centers. The site brims with repeating square units of domed ceiling convention space. The formal system disintegrates into a disarray of overlaping languages when forms collide and stretches through misalignment of edge conditions. Triangular entry halls present a uniform pedestrian face of the proposal while wedging the orthogonal units securely into the site.

Top: Low- Relief Model Plan Bottom: Low-Relief Model Section

19

Top: Low-Relief Model Photo Bottom: Initial Site Strategy Next Page: Plan

20

21

Court House Env Des 11A Michelle Chang Summer 2014

This house addition began with a drawing of a small portion of Asher Durand’s engraving of Titian’s “Ariadne” when the term “turbulence” was selected developed spatially in the home. The 9 square grid of John Hejuk’s Texas House informed the configuration of wings within the addition, the difference being a central peristyle equipped with a cistern. Turbulence is expressed in the undulation of boundary walls within the courtyard, ranging from a straight sliding door wall to one with three centrally hinging doors. The roof ridges arise from the terminal lines defined in the offset lines of turbulence in plan.

Top Left: Top Right: John Hejduk Texas Program Patrition House 4 Middle Left: Subtraction

Middle Right: Merge

Bottom Left: Turbulence

Bottom Right: Roof Plan

Opposite Top: Offset

Opposite Bottom: Rotation

22

Top Left: Floor Plan Middle Left: Section Bottom Left: Elevation Top Right: Massing Model Bottom Right: Wireframe Model

23

Room + Mountain

Chicago Biennial 2017 First Office Summer 2017

The model examines the relationship between the interior of a Swiss home and the adjacent mountain ranges. A static, perspectival panorama swaths the walls of the Great Hall in French architect Viollet-le-Duc’s La Vedette.

The sunny, clear day depicted is hardly representative of the stormy conditions of Mont Blanc, its subject.

In the model, the Great Hall is isolated and juxtaposed beside a model of the three mountain peaks depicted in the panorama. Both Room and Mountain are constructed with painted plywood base, continuous sheets of foamcore and printed styrene.

In collaboration with First Office’s: Aubrey Bauer, Neil Vasquez, Alex Spatzier.

Center: Isometric View of Model

24

Top Left: Room Model, Interior Bottom Left: Mountain Model, Detail Top Right: Elevation Photo Bottom Right: At the Chicago Architecture Biennial

25

“Not Interesting” Book Illustrations

Andrew Atwood/First Office Summer 2017

This series of drawings aims to illustrate alternative components of architecture in this literary critique of architectural criticism. With the use of alternative terms and styles through which to discuss and draw architecture, the products of the discipline become less entrenched in the confines of canonized thought and therefore more accessible.

Using a combination of hand drawing techniques and digital drafting, I rendered these illustrations of buildings in their everyday lives.

In collaboration with Alex Spatzier.

Top Left: Page House and Gallery Ajay Manthripragada Bottom Left: Danziger Studio Frank Gehry Top Right: Center: A,B 1:2 Michelle Chang Bottom Right: Armstrong House The LADG

26

Wuhan Waterfront Culver City, CA Gensler 2017

I made presentation drawings for the Competition Package for the Yangtze Riverfront Park in Wuhan, China. The project seeks to unite the city with the waterfront, currently separated by a harge hiughway. The augments the flood zone with a series of both landscaped and programmed pads. My contributions were circulation, infrastructural, and landscape diagrams for the presentation stack.

In collaboration with Gensler’s: Roger Sherman and Grace Ko.

Top Left: Underground Parking Plan Bottom Left: Commercial Corridor Top Right: Visualization of Park Bottom Right: Park Plan

27

CMC

Adaptive Reuse Complex Gensler 2017-2019

California Market Center (CMC) is an adaptive reuse of an original 1965 Victor Gruen full block development in Downtown Los Angeles’ Fashion District.

The 14 story complex welcomes the public with a new plaza pavilion and rooftop amenity. In addition to the full Tenant Improvement, upper floor glazing systems are removed to deliver open-air workspace.

My involvement in the project included drawing presentation materials and documenting details from Schematic Design to 100% Construction Documentation. I focused on the restroom design, permiting documentation, zoning compliance, facade details, and partition design.

In collaboration with Gensler’s: Peter Himmelstein, James Kelly, Beth Gibb, Jeffrey Mikolajewski, Raphael Pereira, Pearl Ho, Jennifer Nguyen, Ian Witarsa, and Maria Herrero.

Top Left: Showcase Stair Axon Top Right: Showcase Stair Detail Bottom: Showcase Stair

28

Top Left: Security Desk Shop Drawing Top Right: Constructed Security Desk Bottom: Lobby Render

29

Thank You

Pool, North Exhibited at the Architecture + Design Museum in Los Angeles 2019