RUHL WALKER ARCHITECTS BOSTON, MA
RUHL WALKER ARCHITECTS BOSTON, MA
RUHL WALKER ARCHITECTS CAMBRIDGE, MA
Architects
60 K Street Boston, Massachusetts 02127 617.268-5479
www.ruhlwalker.com
RUHL WALKER ARCHITECTS INTERIOR RENDERS & COLLAGES
DUFFY-BULLIS INTERIORS 90 Waltham Street #3 Boston, MA 02116
December 3, 2015
MASTER BEDROOM
RUHL WALKER Architects
60 K Street
Boston, MA 02127
617.268.5479
www.ruhlwalker.com
LIVING ROOM MASTER BEDROOM FURNITURE FURNITURE MORENO INTERIORS 30 Union Park Street Unit #301
October 7, 2016 -5-
LIVING ROOM GUEST BEDROOM FURNITURE FURNITURE MORENO INTERIORS 30 Union Park Street Unit #301 Boston, MA 02118
October 7, 2016 -6RUHL WALKER Architects
60 K Street
Boston, MA 02127
617.268.5479
www.ruhlwalker.com
FOLEY FIORE ARCHITECTURE WESTON, MA
FOLEY FIORE ARCHITECTURE CAMBRIDGE, MA
FOLEY FIORE ARCHITECTURE LINCOLN, MA
BREESE ARCHITECTS/ISMV VINEYARD HAVEN, MA
BREESE ARCHITECTS/ISMV SAG HARBOR, NY
BREESE ARCHITECTS/ISMV CHILMARK, MA
BREESE ARCHITECTS/ISMV CUSTOM WALNUT BAR STOOL
RHODE ISLAND SCHOOL OF DESIGN
Palads cinema, also known as Palads Theatre, is located at Axeltorv in the center of Copenhagen. Axeltorv is a square named after the founder of Copenhagen. Axeltorv is a square named after the founder of Copenhagen, the Archibishiop Absalon. Today it is part of the city’s amusement area and situated not more than a stroll from city hall, between the main entry to the amusement park Tivoli, and the movie theater with the Circus building as neighbor. Central station, the main station until the recent present station was also taken in use December 1, 1911. The Palads opened in the summer of 1912 with 3000 seats and was the largest cinema in northern Europe. In 1916 the bilding was demolished and the Palads Theatre moved into the present building.
Research was done on past successful projects that have involved new modern cultural spaces and main transit hubs humming with human interaction. From there, the scale grew smaller looking mmore at modern furnishings in historical settings and also structurally preserved significant buildings with modern facades.
Palads cinema, also known as Palads Theatre, is located at Axeltorv in the center of Copenhagen. Axeltorv is a square named after the founder of Copenhagen. Axeltorv is a square named after the founder of Copenhagen, the Archibishiop Absalon. Today it is part of the city’s amusement area and situated not more than a stroll from city hall, between the main entry to the amusement park Tivoli, and the movie theater with the Circus building as neighbor. Central station, the main station until the recent present station was also taken in use December 1, 1911. The Palads opened in the summer of 1912 with 3000 seats and was the largest cinema in northern Europe. In 1916 the bilding was demolished and the Palads Theatre moved into the present building.
Research was done on past successful projects that have involved new modern cultural spaces and main transit hubs humming with human interaction. From there, the scale grew smaller looking mmore at modern furnishings in historical settings and also structurally preserved significant buildings with modern facades.
Through analysis and research we began to focus on the socio-economics of the neighborhoods from 1979 until present times. With this data it became apparent that the most under performing areas were located around the capitol and downtown.
UNIVERSITY OF NEBRASKA - LINCOLN
An interdisciplinary design studio at the University of Nebraska - Lincoln College of Architecture in the Spring of 2012 engaged in the process of systems-thinking and research to understand and impact urban conditions in Des Moines, Iowa. The studio sought to re-frame student projects through this research-based process. This included an analysis phase to understand the City through a given lens (3 weeks), an on the ground urban framework to address analysis findings at a master planning scale (6 weeks) and an individual design phase to express the details of an intervention. The studio - called ‘System, Strategy, Site: Des Moines’ - looked at how the process of systems- thinking can influence the way one views and interprets the City. We looked at creating a green-way along the river’s edge. Then the industry would move into the void and work to connect everything. Some of the vacated buildings would be reused with other program injected into them. Mixed-use would replace the industry and rejuvenate the area. A live-work community would occupy a portion of the Village East neighborhood and work to attract people to live in the area.
Within the Historic East Village neighborhood, areas that were vacant, run down, or no longer working industrial sites were used as spaces for new Live-Work mixed use zone. By adding in this new mixture of commercial and small business with residential complexes it provides this historic neighborhood south of the Capital a connection with the downtown along with livable, affordable housing for the residents that would be walking, biking, or taking a vehicle to a local business nearby.
The Urban Block ReMix project began with an intensive analysis along with gaining knowledge on all restraints brought to an urban context in Lincoln, Nebraska. This led to a greater understanding of logistics of basic building and design components that directed us to productively conceptualize, develop, and produce our own individual projects. This project began in a smaller group to focus on the urban system. Our conceptual ideas were based on views and pathways making a direct connection to the downtown area. Through Grasshopper we were able to generate a path consistent with vehicular and pedestrian traffic
The final solution was approximately 32,800 square feet with a maxiumum occupancy of 700 people. Typology and the envrionmental factors were very important in creating the tower with the rest of the system. It was derived from the gradient of the entire “Tetris� concept from the original group project. Then was integrated by doing research on light studies of the building and area, adding balconies from 5 feet to flush with the building from the maximum amount of sunlight areas to the least amount. These sides would also need a double pane window panel to block out radiant heat from extra exposure from the sun. The North and West sides would be introverted with the same gradients also following the sun pattern. These would need a single pane of glass, allowing for weaker light to penetrate and warm areas during the winter.
The buildings will be built at the highest points while also along the levy wall. This strategy plus adding second and third elevation circulation will allow the viewer in the park to experience many different sights, sounds, direct interactions with their surrounding environment. The programmatic areas of our site are seperated by elevation, views, and interacton with the river and the surrounding Council Bluffs residences and downtown business area. Because of where our program is located along the highest points there were levy changes needed to allow for maximum buildable area. The voronoi pattern was originally created in the beginning o fproject two with the intention of only following along the curve, in this case the levy urve, but after further research, more was needed to determine voronoi pattern size. The areas outlined in black will be changed to larger voronoi to show a transition from larger outer green areas to smaller voronoi that later determined building size and circulation paths
This entire site is about transitions between people and environment, river, and land-Buffetville and Counciltucky. It is mor ethan just about bringing aesthetic to a site now be underutilized, it is about making the site a place for people to interact directly with each other on a different level while also interacting with their environmental whether it be painting, walking, biking, or looking at exhibitions from the visiting artists.
Transitions throughout the site with my individual project are shown in many ways. There is a slow gradient between natural environment to built and then back to natural on the lowlands part of the site. There is also the more micro transition between the building and the earth surrounding it. The highlands studios are built above the steep site using it as an advantage, while the work areas with less slope are used as platforms. Then lower at the visiting artists studio there’s again the interaction between the earth and the building, except pushed below the surface instead of above. All show different experiences while also providing privacy where needed, and public access along the levy for entrances. This project was brought about in a semester where the focus was on landscape design. Flood control, extreme elevation change, contour manipulation, and vegation were all issues that were researched and discussed. This was iitially a group project and at a later point was split into individual designs based on individual analysis and conceptual ideas. The site was 84 acres.
The site is located in the center of the area called Trastevere. While Rome entices with its extraordinary monuments, Trastevere, one of its many distince neighborhoods, captures the traveler’s heart. Trastevere, which translates literally to “across the Tiber” was once considered the outskirts of Rome. Allowed to develop its own flavor and now part of il centro storico, it’s the perfect place to glimpse a bit of the old world while still enjoying the lifestyle of today’s Romans. Historically a major part of the city hall or communal space was its vast size, especially its large floor plan. In modern times, power and ominance has been shown through taller, thinner towers or high rises. Taking into considering the already abundant portion of the site cast in shadows, I looked at having a smaller floor plan that was no less prestigious or important as a city room. By pushing the building taller into a tower, it saves the smaller areas that do have light left. Through iterations and research, I made connections from the past and on into the future by looking at repetition, scale proportions, light, materiality, and structure. It may be a different period of time, but the language stays consisitently the same..
In this project, students of architecture, landscape architecture, and community and regional planning worked in Ecuador to protect the local culture, environment, and economy by developing a regional model for sustainable development. Having already had success with eco-tourism, area residents wished to reinvest in their village. They requested master planning assistance and schematic design for multiple buildings and public structures to accomodate the changing local community, increased tourism, and broader protection for their lush, but fragile regional environment. We worked within the community to develop an inventory and analysis of existing conditions. While planning for growth, the students were careful to balance tourism with privacy and cultural continuity for the villagers. This group project was chosen for the 2011 ASLA Student Cultural Sustainability Award. The community service learning project brought about a greater understanding of Rain Forest life, along with the culture of the Anangu Community. Today, the plan is being built by community leaders and the Ecuadorian government.
The project was an addition to an ongoing community project by a local family who wanted to start an Urban farm outside of Omaha. The site was an acreage farm with various different barns and additional buildings aside the main farmhouse. The class was given the assignment to build a parasitic addition to one of the buildings that housed the workers, families, and local artists that would possibly be staying out there to grow and harvest the fruits and vegetables. Through iterations and research of plant growth, pods were designed atop the largest barn to allow for the required amount of people to stay and rest.
This project looked into the manipulation of two-dimensional images along with using them to form a type of design that dilineates from the urban fabric straight into the site and project. The client was an artist of our choice, in this case a sculptor, and through many iterations of linear form, space, and human ergonomics, the sculptor’s haven was designed to have movable spaces depending on what the function within was. Because of these movable panels, it created a space that was lively, not static which is what my particular sculptor chosen intends with many of his pieces. The location was set in the Haymarket of downtown Lincoln where many local artists already reside. If the purpose was to turn the space from gallery to work space, all that is needed is a change in panels to create a more private space for the artist to create his work. In the end, the space was very multifunctional for whatever the artist may need.
The conceptual idea surrounding this project was really to create a space that allows interaction between the interior and exterior environment. This is accomplished by free flowing universal space and simple linear forms. The site was located in Pioneers Park outside of Lincoln, Nebraska. The project looked at designing a visitor center for the local park which provided information on the surrounding environment. After surveying the entire site, the location of the center was based on sunlight, access from the road, and pedestrian traffic.