Preface I was born in Seoul, South Korea. At the age of three months, I moved to Milwaukee where I was raised by my adoptive parents, two, second generation Americans of Norwegian descent. I lived in Milwaukee until I left for Boston to attend Northeastern University. 2010 BEIJING
NU Dialogue of Civilization
09 ROME
During my time at Northeastern, I have been fortunate enough to study abroad in Rome, Beijing, and Shanghai. I have also had the privilege of co-oping in Honolulu and Shanghai. Currently, I work with the Boston based design firm, over,under. I have had the opportunity to work on projects ranging in scale from handheld objects like books and maps to the building guidelines for Sowwah Island, Abu Dhabi’s new financial district. In addition to working on design projects, I have been hired by Northeastern to give software and graphic design tutorials to students of all levels.
Magia Institute Study Abroad
While I was studying in Shanghai, I met with an American-born Chinese man working at Gensler. I told him about my background and my desires to travel the world to find a place to call home. He told me the proverb, “a man searches the world to find what he seeks and returns home to find it.” When I returned to the States and after much reflection, I realized that my home is not a single place, but rather a state of being. I consider both Milwaukee and Boston my homes, but I am equally comfortable on the road. I have traveled the world in search of a place to call home, and I discovered that what I really desired was the journey itself. Throughout my education and travels, I have never been content to practice architecture alone. I enjoy being able to work on graphic design, urban design, and industrial design projects in addition to architecture. The following is a collection of studio projects, freelance graphic design work, and professional collaborations from 2006 to 2012.
1987 SEOUL
Born October 29
2010 SHANGHAI
NU Dialogue of Civilization, ZEROLABOFFICE Co-op
RISD Campus Buildings
Chinatown Branch Library
4
20
South Boston Elementary School
76
36
Helsinki South Harbor Competition
North End Branch Library
90
Northeastern University Publications
132
Roxbury Housing
98
Infographics
138
Nocturnal Design
152
In Form
50
Publishing Practices
58
68
Rome Sketches
Rome Studio
104
Fire Station 282
118
deCordova School Brochure
126
4
Chinatown Branch Library
Chinatown Branch Library Civic rooms for rent: Rethinking meeting spaces for the 21st century. Spring 2012
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CAMBR ID
375
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SAC MAS
VE N T V IT EA OR ER EA UN ER RS UN Y N Y S T N S IV N I I O R UN Y N ER T V N TE H U T E N SIT IV OR SIT OR R E N ER R UN Y N ER RT UN Y N ER T Y TH N AST IVE N SIT IV OR SIT HE IV OR SIT HEA NO EA UN ER RS UN Y N ER TH Y N AST ER T Y S RT ST IVE N IT IV OR SIT EA O ER SI HE NO TE HE ER R UN Y N ER TH Y N S RT N TY A R R A N SIT IV OR SIT EA O TER HE UN N STE TH N U ST UN Y N ER T Y S RT N AS IV OR R E N ER TH N AST IVE N IV OR SIT HEA NO TER HE UN TE ER ER T Y S RT N AS I RN S EA UN ER RS UN SI HE NO TE HE U TE VER U ITY ST IVE N IT IV TY A R R A N R S N N ER R UN Y N ER N STE TH N U ST IVE N U ITY IVE OR N SIT IV OR SIT OR R E N ER R N R T UN Y N ER T Y TH N AST IVE N SIT NIV OR SIT HE IV OR SIT HEA NO EA UN ER RS UN Y N ER TH Y N AST ER T Y S RT Sy ST IVE N IT IV OR SIT EA O ER m SI HE NO TE HE ER R UN Y N ER TH Y N S RT N ph TY A R R A on N SIT IV OR SIT EA O TER HE N STE TH N U ST UN Y N ER T Y S RT N AS y OR R E N ER TE TH N AST IVE N IV OR SIT HEA NO TER HE ER T Y S RT N AS RN EA UN ER RS UN SI HE NO TE HE TE ST IVE N IT IV TY A R R A R ER R UN Y N ER N N STE TH N ST N SIT IV OR SIT O E E R RT N AS RN UN Y N ER T Y HE TE IV OR SIT HEA NO ER T Y S RT RN AS SI HE NO TE HE TE TY A R R A RN N STE TH N ST OR R E ER A TH N ST N ER EA N ST ER N
MC GR
Community College
Boston’s Chinatown sits at the center of an arc of libraries. AT Chinatown remains as one of the few neighborhoods in H CHARLESTOWN HW Boston without its own library. Chinatown once had a Y library, but it was forced to close in 1956 to make room for the construction of Boston’s Central artery. EET Lechmere
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So CHINATOWN uth S St U atio M n M BRANCH ER ST CHINATOWN LIBRARY RE E Chinatown Co urth
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the Chinatown Branch Library seeks to restore the wealth of knowledge and workspaces that Chinatown once had. In addition to providing a traditional library, the Chinatown Branch Library will introduce SOUTH study rooms, meeting rooms, conference rooms, andBOSTON large multipurpose rooms to its unique interblock site. the goal of the Chinatown Branch Library is to create an efficient machine for meeting while offering a repository of Chinese culture to the Chinatown neighborhood. the business and capital created by the meeting rooms will benefi t the public service provided by the library. the Chinatown Branch Library is more than an ordinary library; it is a civic meeting space for the 21st century.
ay ous e
Tufts Medical Center
SEAPORT Wo Ce rld Tr nte ade r
Silver Line Way
Chinatown Branch Library 1 Chinatown Branch Library Site
Existing Site Conditions
2 Site is adjacent to Chinatown Park
Chinatown Gate
3 Existing party walls
Ubiquitous red brick of Boston
4 Meandering path avoids “urban canyon� Local alley scale
5 Chinatown Branch Library Massing
Chinatown Park
Desired alley scale
Introduce Chinese aesthetic through common Chinese materials 7
S
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ST RE E
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Chinatown Branch Library Site
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CHAU
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ET
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BEA CH S
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Roof Plan 8
Chinatown Branch Library
ET
ChInatown BRanCh LIBRaRy
massing
maximum Building Envelope as a point of departure, the library should not be too large. the library should have a timeless, unmonumental quality that beckons to be discovered rather than screams to be noticed.
organizational strategy the small reading rooms of the library are made visible to the heavy pedestrian traffic along the site’s southern edge while large areas of gathering are featured along the northern edge which experiences heavy vehicular traffic and noise. administrative offices are tucked into the quiet, unobtrusive, western wing of the library.
Programmatic distribution
MEETING ROOM
READING ROOM
LIBRARY STAFF
CAFE
STACKS UTILITIES & CIRCULATION
Reading rooms occupy the perimeter of the library where they have ample access to natural light. Small meeting rooms are placed nearest to central circulation zones. Stacks and a media lab are located within the sliver of the library connecting the south wing to the west wing. administrative offices in the west wing are oriented around a central atrium that allows natural light into the west wing’s infill condition.
ELEVATOR
9
ESSEX STREET
ChInatown BRanCh LIBRaRy
01
groUnd FLoor PLan
05 03
04
02
07 06 09 06
08
06 09 07
08
10
11
12
EDINBOR
13
T
O STREE
PUBIC Y ALLE 15 09
16
17
09
14
10
north wing entrance, primary north wing entrance, secondary north wing public stair 1 pre function space north wing lounge small meeting room large meeting room conference room storage north wing entrance, tertiary north wing lobby west wing lobby staff lounge cafe entrance, primary cafe entrance, secondary cafe cafe servers’ area south wing entrance, primary south wing entrance, secondary circulation desk
TYL E STR R EET
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
Chinatown Branch Library
19
09
20
21 04
BEA CH S
TRE
ET
18
CHINATOWN PARK
2 fl oor
3 fl oor
4 fl oor
transverse section through west wing, bridge, and north wing 11
ChInatown BRanCh LIBRaRy
ProgrammatiC distriBUtion
12
Chinatown Branch Library
13
Beach Street Entrance
Built Up = Brick
Southern Plaza
Western Passageway
14
Chinatown Branch Library
Carved Out = Wood
Eastern Passageway
Central Plaza
North Passageway
Essex Street Faรงade
Essex Street Entrance
Essex Street Faรงade
15
Roof Plan
Beach Street Faรงade 16
Chinatown Branch Library
Beach Street Entrance
Essex Street Entrance
Essex Street Faรงade 17
Southwest Corner
Northeast Corner 18
Chinatown Branch Library
East Elevation
West Elevation
Longitudional Section 19
20
RISD Campus Buildings
RISD Campus Buildings Academic buildings designed to anticipate future programmatic changes. A collaboration with Michael Masi. Spring 2011
21
RISD Campus Building Plans BEN EFIT STR EET
H RT
NO IN MA ET
RE
ST
north Main Street/Parking Level
EFIT
BEN EET
STR
H RT
NO IN MA ET
RE
ST
Upper Level/Benefi t Street 22
risd Campus Buildings
BEN
EFIT
EET
STR
H RT NO
IN MA
ET RE ST
Ground Floor
EFIT
BEN
EET
STR
H RT
NO
IN MA
ET RE
ST
100’
500
20
0 5 10
Roof Plan
23
RISD Campus Building Sections
2
1 24
risd Campus Buildings
3
3 2 1 3
2 1
25
SITE & BUILDING SYSTEMS
STRUCTURE
GRAVITY LOAD
GRAVITY LOAD
SLABS REST ON BEAMS SUPPORTED BY CONCRETE SHEAR WALLS. CORE SYSTEM CARRIES GRAVITY AND LATERAL LOADS.
CONCRETE WALLS SUPPORT SLAB CORNERS
INDEPENDANT STRUCTURAL CORES COMBINE TO FORM BUILDINGS 26
risd Campus Buildings
SITE & BUILDING SYSTEMS
SITE & BUILDING SYSTEMS
STRUCTURE STRUCTURE
GRAVITY LOAD
GRAVITY LOAD
SLABS REST ON BEAMS SUPPORTED BY CONCRETE SHEAR WALLS. CORE SYSTEM CARRIES GRAVITY AND LATERAL LOADS.
CONCRETE WALLS SUPPORT SLAB CORNERS
INDEPENDANT STRUCTURAL CORES COMBINE TO FORM BUILDINGS 27
SITE & BUILDING SYSTEMS
DAYLIGHTING & SOLAR CONTROL 1
FIXED LOUVERS
2
PIVOTING LOUVERS
3
SLIDING SCREENS
4
GREEN WALLS
6
provide shade from the sun and structure for sliding screens and green walls.
provide shade on picture windows. 1 4
provide shade on vertical wondows.
panels of seedum help absorb runoff water while creating and aestetically pleasing faรงade.
5
WINDOW UNITS
6
CLERESTORY WINDOWS
7
LIGHT SHELVES
5
7
floor-to-ceiling window units are inserted into the non-structural wall system.
2
1
bring light into the north side of the buildings.
3 4
upward angled louvers bounce light back into the southern area of the buidling where adjacent buildings may block sunlight.
5
6
7
6
5
7
SITE & BUILDING SYSTEMS
28
MICHAEL MASI & KYLE JONASEN
risd Campus Buildings
4
SITE & BUILDING SYSTEMS
RAIN WATER MANAGEMENT
BROWN ROOFS absorb water, reducing runoff
BIOSWALES
at the top of hill capture and filter water
ORNAMENTAL WATER FEATURE captures, stores, and displays water
PATHS OF WATER
GRASS
absorbs water, reducing runoff
29
1 Main Street elevation
2 Southern elevation 30
RISD Campus Buildings
3 Main Street entrance
5 Courtyard seen from eastern stair
4 Southern pathway
6 aerial view from southeast
5
6
4 3 2 1
31
RISD Campus Building Models
Process models
Southern faรงade 32
RISD Campus Buildings
View from Main Street
View from Benefit Street
Sectional model 33
34
RISD Campus Buildings
My site model is killing me... 35
36
Roxbury Housing
Roxbury Housing Rowhouse aggregation and site development in Roxbury, Massachusetts. Spring 2010
37
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intErLoCking rowhoUsE UnIt DIStRIBUtIon 38
roxbury housing
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INTERLOCKING INTERLOCKING ROWHOUSE UNIT INTERLOCKING ROWHOUSE DISTRIBUTION UNIT ROWHOUSE DISTRIBUTION UNIT DISTRIBUTION
39
Interlocking Rowhouse Plans 2
1
2
SECTION
SECTION
SECTION
2
1
SECTION
SECTION
2 SECTION
40
roxbury housing INTERLOCKING ROWHOUSE 1
/4” = 1’-0”
1
1
2
2
1
1
SECTION
SECTION
SECTION
SECTION
SECTION
SECTION
1
1
SECTION
SECTION
2
2
1
1
SECTION
SECTION
SECTION
SECTION
41
42
roxbury housing
2
1
2
SECTION
SECTION
SECTION
2
1
2
SECTION
SECTION
SECTION
0
1
5
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20
1
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SECTION
SECTION
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SECTION
50
100’
43
44
roxbury housing
45
Roxbury Housing. Roxbury, Massachusetts.
UNIT TYPES RESIDENTIAL ABOVE RETAIL SUBTYPE: LARGE 2-4 RETAIL UNITS 2+ RESIDENTIAL UNITS 3
RESIDENTIAL ABOVE RETAIL SUBTYPE: MEDIUM 2 RETAIL UNITS 2 LARGE RESIDENTIAL UNITS
RESIDENTIAL ABOVE RETAIL SUBTYPE: SMALL 2 RETAIL UNITS 2 SMALL RESIDENTIAL UNITS
INTERLOCKING
SUBTYPE: TYPICAL U 2 PARCELS 2 RESIDENTIAL UNITS
5 30
53
46
KING G ROWHOUSE ROWHOUSE
UNIT CAL UNIT
UNITS S
INTERLOCKING INTERLOCKING ROWHOUSE ROWHOUSE SUBTYPE: SUBTYPE: CORNER CORNER UNITUNIT 2 PARCELS 2 PARCELS 2 RESIDENTIAL 2 RESIDENTIAL UNITS UNITS
COURTYARD COURTYARD ROWHOUSE ROWHOUSE 2 PARCELS 2 PARCELS 2 RESIDENTIAL 2 RESIDENTIAL UNITS UNITS
CAFE CAFE & BICYCLE & BICYCLE SHOP SHOP
1
37
1
37
61
61
47
Roxbury Housing. Roxbury, Massachusetts.
Intersection of thorndike Street and harrison Street.
UNIT TYPES RESIDENTIAL ABOVE RETAIL SUBTYPE: LARGE 2-4 RETAIL UNITS 2+ RESIDENTIAL UNITS 3
RESIDENTIAL ABOVE RETAIL SUBTYPE: MEDIUM 2 RETAIL UNITS 2 LARGE RESIDENTIAL UNITS
RESIDENTIAL ABOVE RETAIL SUBTYPE: SMALL 2 RETAIL UNITS 2 SMALL RESIDENTIAL UNITS
INTERLOCKING ROWH SUBTYPE: TYPICAL UNIT 2 PARCELS 2 RESIDENTIAL UNITS
5 30
53
Interlocking rowhouse corner unit seen from park. 48
Corner unit front faรงade.
TERLOCKING HOUSE INTERLOCKING ROWHOUSE ROWHOUSE INTERLOCKING ROWHOUSE COURTYARD ROWHOUSE COURTYARD ROWHOUSE CAFE & BICYCLE SHOP CAFE & BICYCLE SHOP
TYPE: TYPICAL UNIT SUBTYPE: CORNER UNIT SUBTYPE: CORNER UNIT2 PARCELS RCELS 2 PARCELS 2 PARCELS 2 RESIDENTIAL UNITS SIDENTIAL UNITS 2 RESIDENTIAL UNITS 2 RESIDENTIAL UNITS
2 PARCELS 2 RESIDENTIAL UNITS
1
37
1
37
53 61
Retail unit seen from park.
61
Corner unit seen from outside of retail unit.
Corner unit with recessed patio. 49
50
In Form
In Form An exploration of how design can shape our understanding of the urban realm, expand its cultural sphere, and propose new possibilities for its development. An over,under project. Winter 2012
51
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AR RV HA D H AR RVA AR D H ARD VA AR D H RD VA AR H RD VA AR HA AR RV HA D AR RV HA D AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA AR HA D AR RV HA D AR RV HA D AR RV A D H AR RV AR D H RD VA AR H RD VA AR H RD VA AR H RD VA RV HA D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H AR VA AR H RD VA AR H RD VA AR H RD VA AR HA RD R A A D A R H D H V R A R R A A D A V R H D H V R A R R A A D VA R H D A R H RD VA R H HA A R R V A R V A R V A R V A A H R VA R H D A R H D A R H D A R R V A R A D A D H R V AR H RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR H RD VAR ARV HA RD VAR RV HA D VAR RV HA D H AR RV HA D H AR RVA AR D H ARD VA AR D H RD VA AR H RD VA AR HA RD VAR ARV R V AR RV A D HA D AR R R V A R V A A HA A R HA D AR RV HA D AR RV A D R V A V A D H R VA AR H RD VA AR H D A R H D A R HA D AR R H R V AR H R VA R H D A R H D A R H D A RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR H RD VAR ARV HA RD VAR RV HA D VAR RV HA D H AR RV HA D H AR RVA AR D H ARD VA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD R V AR RV A D HA D AR R R V A R V A A HA HA A R HA D AR RV HA D AR RV A D R V A V A D H R VA AR H RD VA AR H D A R H D A R HA D AR R H R V AR H R VA R H D A R H D A R H D A R RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR H RD VAR ARV HA RD VAR RV HA D VAR RV HA D H AR RV HA D H AR RVA AR D H ARD VA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV R V A R V A A R H D A R H D AR RV A D R V A H R VA AR H D A R H D A R H D A R R V A A D AR RV A D H R VA AR H RD VA R H D A R H D A H R V A HA RD VAR AR HA RD VAR ARV HA D AR RV HA D H AR RV HAR D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD RV HA D VAR RV HA D AR RV HA D H AR RVA AR D H AR VA AR D H RD VA AR H RD VA AR H RD VAR AR HA RD VAR RV HA D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR RV HA AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D AR RV HA D AR RV D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR RV HA D AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D A R HA D H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV HA AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D AR RV HA D AR RV D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR RV HA D AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D A R HA D H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV HA AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D AR RV HA D AR RV R A A D D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR R HA D AR RV HA D AR RV HA D AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR RV HA D AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D A R HA D H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV HA AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D AR RV HA D AR RV D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR RV HA D AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D A R HA H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV D R A H V D H R V A R R A D R A H V D H A AR RV A D AR RV A D R V A R V A R V A H R VA AR H RD VA AR H D A R H D A R HA D A R V A H R VA AR H RD VA R H D A R H D A R H D AR RV A D H R V A D AR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA D AR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD VAR RV HA A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D A R H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV HA RD AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D AR RV H D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA D AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H D H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R HA D A D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR RV HA A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D A R H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H RD VA R H D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR HA RD VAR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H D H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR D R A H V D H R V A R R A D R A H V D H A R R A D R A H V D A AR RV A D D R V A R V A R V A H R VA AR H RD VA AR H D A R V A R V A H R VA R H D A R H D A R H D A R H R V A R V A D AR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H RD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA D AR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD VA R H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA AR H D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR H RD VA A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VA AR H RD H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D H RD VA AR AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA AR H RD VA D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR H RD VA AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R VAR H R V AR H RD VA R H D A R H D A R H D A R H R V A RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D H ARD RVA AR D D AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA AR H RD VA RD D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D H RD VA AR A HA D AR RV A D V HA D AR R HA D AR RV A D R V A R V A R V A H R V AR H RD VA R H D A R H D A R H D A R H R V RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D H AR RVA AR D ARD AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV A D H R VA RD D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D H AR RVA AR D R A H V D A R R A H V D HA D AR R HA D AR RV A D A D R V A R V R V A R V A A R H D A R H D A R H D A R H R V RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR RV HA D AR D AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV HA D H AR RV D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR RV HA D AR RV A D AR A HA D AR RV V D HA D AR R HA D AR RV A D R V A R V A H R V AR H RD VA R H D A R H D A R H D A R RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR ARV HA RD VAR RV HA D AR D AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV HA D AR RV A R H D H V R A A A R H D H V R A R A A D R D H V R A R A A D D H R V A R D H R V A RD HA RD VAR AR HA RD VAR ARV HA D AR RV HA D H AR RV HAR D H AR RVA AR D H ARD RVA AR D H RD VA AR H RD VA AR HA RD VAR ARV RV HA D VAR RV HA D AR RV HA D H AR RVA AR D H AR VA AR D H RD VA AR H RD VA AR H RD VAR AR HA RD VAR RV HA D AR M D AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR H D VAR RV HA D AR RV IT D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR AR HA D AR RV HA D AR M MIT MIT A V HA D AR R HA D AR RV A D D R V A R V A H R V AR H RD VA R H D A R H D A R IT M M RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA AR D H ARD VA AR H RD VA AR H RD VAR AR HA RD VAR D AR H D VA R R M MIT MIT IT IT A V HA D AR R HA D AR RV A D R A V R R A A V D R H V A IT RD VA R H D VA R H D A R H D AR RV HA D AR RV HA D AR RV A D H R V A M M M MI A R H RD VAR H R V A M MIT MIT IT IT IT M T M HA RD VAR AR HA RD VAR ARV HA D AR RV HA D H AR RV HAR D H AR RVA AR D H ARD RVA AR D H RD VA AR D IT RV HA D VAR RV HA D AR RV HA D H AR RVA AR D H AR VA AR D H RD VA AR H RD VA AR H RD VAR M M M MI IT IT M MIT MIT IT IT IT M T M M MI AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR H RD VA AR H RD VA AR D I IT D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA AR H RD VA AR H RD VAR M M M MI IT IT T T R V A A HA D AR R HA D AR RV A D M MIT MIT IT IT IT M T M M MI MIT MIT D VA R H D A R H RD VA AR HA RD VAR ARV HA RD VAR RV HA D AR RV IT M M IT IT IT T H M R D M M H V R M A H V R R A A I VA AR H RD VA R H D A R HA D AR RV HA D AR RV A D A D ARD R M MIT MIT IT IT IT M T M M MI MIT MIT IT IT M RD VA AR H RD VA AR H RD VA R H D AR RV HA D AR RV HA D VAR RV IT T M IT M M I M I M A M H R V M I I I T T HA RD VAR AR HA RD VAR ARV HA D AR RV HA D H AR RV HAR D H AR RVA AR D ARD M MIT MIT IT IT IT M T M M MI MIT MIT IT IT M T M T M I IT RV HA D VAR RV HA D AR RV HA D H AR RVA AR D H AR VA AR D H RD VA M M MI I IT IT M M M MI IT IT T T RD AR RV HA D AR RV HA D AR RV A D H R VA AR D H RD VA AR M MIT MIT IT IT IT M T M M MI MIT MIT IT IT M T M T M MI MI I IT D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA M M MI I IT IT T M T M M M M MI IT IT T T HA D AR R HA D AR RV A D RD R V A R V A M MIT MIT IT IT IT M T M M MI MIT MIT IT IT M T M T M MI MI IT IT I IT RV HA D VAR RV HA D AR RV HA D H AR RVA HAR D H AR RVA M M MI I IT IT T M T M M M M M M MI IT IT T T RD AR RV HA D AR RV HA D AR RV A D H R VA AR D M MIT MIT IT IT IT M T M M MI MIT MIT IT IT M T M T M MI MI IT IT IT M IT M I IT D AR RV HA D AR RV HA D H AR RVA AR D H RD VA M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT H R A D H M R A D M R D A I T M M I I T T M IT IT IT T I I M M M AR H RD VA AR H RD VA AR H RD VA R D IT M M MI MI IT IT T T M M M MI I IT IT T M T M M M IT IT VA AR H RD VA AR H RD VA AR HA RD VAR M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M RD VA AR H RD VA AR H RD VA R D IT IT IT IT M M I I T T I I T M M M R V M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M HA RD VAR AR HA RD VAR ARV HA D AR IT IT IT IT M M I I T T I I T M M M D RV HA D VAR RV HA D AR RV M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT AR RV HA D AR RV HA D AR M M I I T T I I T M M M HA D AR RV D M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M R A D IT IT IT IT M M I I T T I I T M M M HA RD VAR R HA D AR M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M D RV HA D VAR RV IT IT IT IT M M I I T T I I T M M M AR RV HA D AR M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T D I I T M M D AR RV M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M HA D AR IT IT IT IT M M I I T T I I T M M M RV D M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M A I T M IT IT I T M I T M I T M I T M I T M I T M R M M MIT IT IT IT T M T M MI MI IT IT IT M IT M M M MI MIT IT IT IT M T M M M D IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M IT IT IT IT M M I I T T I I T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M M M T M IT IT IT IT T M I T I M M M I I M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M MI MIT IT IT IT M IT M T M IT IT T M I T M I M I M I T M M M MIT MIT IT IT T M T M MI MI IT IT IT M IT M T M M MI MIT IT IT IT IT T IT IT M M IT IT T T I M I M M T M T M M M M I I IT IT M M IT IT IT IT M M M I I IT IT M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T T M M I M M I I T T M M IT IT IT T M IT IT M M MI MI IT IT T T M M M MI I IT IT M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T M T M IT IT M M I I T T I I M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M T T IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M IT IT T T M M M M MI MI IT IT M M IT IT IT IT IT IT M M MIT MIT IT IT T M T M MI MI M M I I M M I I T T M M IT IT T T IT IT M M MI MI IT IT T T M M M M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M M I I T T 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G3 E4 G3 G3 E4 F3 G3 D3 F3 G3 G3 G3 A1 D5 E4
76 77 78 79 80 81 82 83 84 85 86 87 88 89 90
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F3 A1 A1 A1 H4 C4 G3 G3 F5 H4 C2 F5 C1 H4 F3
91 92 93 94 95 96 97 98 99 100 101 102 103 104 105
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photos courtesy of over,under 54
In Form
Boston harbor Islands Pavilion
Community Boathouse
Cambridge Public Library 55
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in Form
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58
Publishing Practices
Publishing Practices Analyzing and mapping the impact of architectural publications on the architectural field. An over,under project. Winter 2010
59
Publishing Practices began as a lecture series given by Michael Kubo. After he had finished lecturing, Kubo sent a survey to architects asking them to list the five books, architecture related or not, that have had the greatest impact on their careers. After Kubo had collected this data, he turned to over,under’s Chris Grimley and myself to transform the numbers and spreadsheets into an infographic that could be viewed and easily understood by architects and non-architects alike. A timeline was created to record the number of times each book was listed in the survey data. Each response is represented by one book, and
1964
60
1965
Publishing Practices
1966
1967
the color of each book corresponds to the book’s genre: blue for architecture, pink for humanities, purple for fiction, and green for instructional or technical books. In addition to the timeline, a series of graphs was created to display the results of questions about the current role that books play in architecture. The work resulting from Kubo’s research was put on display in South Boston’s pinkcomma gallery in the Fall of 2009. The project has since been published in Volume #22, Testing to Failure: Design and Research in MIT’s Department of Architecture, and Banham in Buffalo.
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Did you/Do you read architecture books primarily for:
Are books a valid form of architectural production? Other28 Not relevant - architects should make architecture5 Necessary for PR/ marketing purposes5
Architects are expected to produce them, but they're not essential12
I don't make a distinction between books and buildings32
More important than buildings or other forms of production2
Just as valid a form of production as buildings69
What will happen to architectural books in the future?
Where do you typically buy architecture books? Used bookstores57
Other11 Print-on-demand will replace publishing - everyone will make their own book!4
Amazon85
Books will always be irreplaceable54
Books will still exist, but as niche products19
Book search sites29
Other websites9
Other11
General bookstores34
Books have already ceased to matter2 New media will make books obsolete2
Other media will replace certain types of book content, but not others59
1979
62
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Publishing Practices
Architecture/design bookstores108
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1986
How did you first find this book?
When did you first find this book?
Other15/2
Other1/1
Before startingarchitecture school7/2
In practice5/1
Professor assigned it5/10
Other students had it8/9
During graduate (non-PhD)7/6
It was next to something else in the library2/3
Recommended14/15
Doing research12/7
S,M,L,XL
DNY
During undergraduate36/35 S,M,L,XL
DNY
Is it still valuable to read this book today? Other2/1
When was the last time you looked at/re-read this book? Have not looked at it since I first read it0/1
More than five years ago4/4
Important for historical value only2/2
Will change your life12/8
All the time13/6
More than a year ago11/11
Within the last year29/23
Still interesting/relevant41/34
S,M,L,XL
S,M,L,XL
DNY
DNY
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Fire Station 282
Fire Station 282 A fire station and community center in Cambridge, Massachusetts. Fall 2009
69
jona se n kyle kyle
jona se
n
The site for Fire Station, 282 Mass. Ave., lies at the intersection of differing scales of buildings, differing uses of buildings, and differing concentrations of vehicular traffic. Large academic buildings of MIT lie to the southeast, a large parking garage and grocery store to the southwest, medium sized rowhouses immediately adjacent to the west of the site, and small retail buildings to the north along The site for Fire Station, 282 Mass. Ave., lies at the Mass. Ave., the most heavily trafficked street on intersection of differing scales of buildings, differing the site. The varied building scales was the point uses of buildings, and differing concentrations of departure for the geometries of Fire Station of vehicular traffic. Large academic buildings of 282 while the traffic and programmatic uses MIT lie to the southeast, a large parking garage of surrounding buildings determined the axial and grocery store to the southwest, medium sized condition of the building. rowhouses immediately adjacent to the west of the site, and small retail buildings to the north along Mass. Ave., the most heavily trafficked street on the site. The varied building scales was the point of departure for the geometries of Fire Station 282 while the traffic and programmatic uses of surrounding buildings determined the axial condition of the building.
In order to reconcile the differing scales of buildings surrounding the site, Fire Station 282 is broken into four major volumes rather than a single large mass. There are two largely transparent volumes on the ground floor, one for public use and one for the firefighters’ circulation, a long sleeve for administrative and public use, and a tower for the firefighters’ housing. The artificial fragmentation In order to reconcile the differing scales of buildings ensures that the fire station will not grow too surrounding the site, Fire Station 282 is broken large and overpower the smaller buildings to the into four major volumes rather than a single large north while the use of directional sleeves orient mass. There are two largely transparent volumes the building to axes corresponding to surrounding on the ground floor, one for public use and one streets and building programs. for the firefighters’ circulation, a long sleeve for administrative and public use, and a tower for the firefighters’ housing. The artificial fragmentation ensures that the fire station will not grow too large and overpower the smaller buildings to the north while the use of directional sleeves orient the building to axes corresponding to surrounding streets and building programs.
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Fire Station 282 building massing, façade system, apparatus storage, and public circulation
70
Fire station 282 Fire Station 282 building massing, façade system, apparatus storage, and public circulation
novartis
novartis
LAN
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OW N
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ET
novartis
rowhouse
novartis
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rowhouse
MASSACHUSETTS AVENUE
GREEN STREET
rowhouse
1 existing site condition and site boundary.
2 fire station footprint is minimized to the apparatus bay and two glass enclosures allowing for pedestrian circulation and greenspace under the station.
3 the rhythm of adjacent rowhouses is carried into the fire fighters’ housing tower. office space is created parallel to Novartis and an auditorium created parallel to Mass. Ave.
4 the fire station volume responds to the jog in height of the Novartis building, mediating the height difference between the Novartis building and nearby rowhouses.
greenspace circulation public gathering admin fire fighters utility/support
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Fire station 282 site model with image key
1 corner of Mass. ave. and Landsdowne St.
4 apparatus bay, fire fighters’ entrance, public entrance
5 corner of Green St. and Landsdowne St.
Fire station 282
2 view looking south from Mass ave. towards Landsdowne St.
3 view towards fire fighters’ entrance and apparatus bay
6 view north underneath building
7 view from fire fighters’ private courtyard 73
massachusetts avenue (north) Elevation
Longitudional section towards Block interior 74
Fire station 282
01
01
0 15
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50’
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76
South Boston Elementary School
South Boston Elementary School Classroom module design and aggregation in Boston’s historic South End. Fall 2007
77
urban lattice model 5 completed lattice comprised of sections through the site
4 buildings are cut by the latticework of planes
3 a latticework of strategically placed planes is composed
2 site and base are separated
1 site
78
South Boston Elementary School
typology
end clar
tmo dar
urban lattice
on
on
end clar
mon
ry
ome
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building entrances pedestrian circulation pedestrian destinations
vehicular and pedestrian circulation
school bus drop-off
uth
greenspace
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traffic
war n e
adjacent residential neighborhoods
circulation across site
private play zone public/private threshold
outdoor seating private greenspace public greenspace
neighboring greenspaces
site landscaping strategy 79
80
south Boston Elementary school
1b first floor primary corridor
2a library
1a lobby gallery
2b library stairway
1c west-facing classroom 1d from gymnasium entrance
2c second floor corridor
2d exit from gymnasium
3a media lab
3b from third floor corridor
3c south-facing classroom
3d third floor primary corridor 81
southern section and elevation
western section and elevation 82
south Boston Elementary school
eastern section and elevation 83
northern section and elevation
1
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corridor sections 1
2
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4
unwrapped skin 84
South Boston Elementary School
3
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model and context
bird’s eye from northwest
bird’s eye from southwest
top: view east down Warren Avenue bottom: west elevation
86
bird’s eye from southeast
bird’s eye from northeast
view east down Montgomery Street
87
3 courtyard seen from Montgomery Street
88
1 entrance seen from warren avenue
2 warren avenue faรงade
4 interior courtyard
5 interior courtyard, south-facing classrooms
6 interior courtyard, west-facing classrooms
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90
North End Branch Library
North End Branch Library A library occupying a slot site in Boston’s historic North End. Fall 2007
91
3f
conference room
3f stacks from offices
down wheelchair ramp
offices seen from across void
1f
entrance
northeast stair
from 1f landing
circulation desk
Basement
from basement landing
from 1f landing
auditorium
children’s reading room
92
North End Branch Library
4f
from 4f reading room
from 4f wheelchair ramp
4f reading room
computer room
2f
from 2f reading room
at 2f reading room
from 2f stacks
nested reading area
93
transverse section away from street 94
North End Branch Library
transverse section towards street 95
longitudional section away from alley
Hanover Street faรงade 96
North End Branch Library
Tileston Street faรงade from south
longitudional section towards alley
97
98
Helsinki South Harbor Competition
Helsinki South Harbor Competition Transforming Helsinki’s South Harbor into an urban spectacle. An over,under project. Winter 2011
99
SoUth haRBoR sPECtaCLE the enormous passenger ships that enter helsinki’s South harbor represent a dramatic feature of the city, but the requirements imposed by their presence severely limit public access to the water. Consolidating the port areas allows for a stronger spectacle by drawing greater interaction between viewing areas and port functions. the former expands the public presence on the waterfront while the latter increases its logistical efficiency.
100 helsinki south harbor Competition
SEttInG thE stagE S
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A + F
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V + S + F
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O + A + C + F
G + A
A + O
A + O + A
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E + O
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A + O
G + A + O
A + O
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E + F
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S + F
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S + O + F
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A C E F G
Administrative Cultural Building Energy Food and Beverages Green Space
I O S V
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I
Information Open Space Artist Studios/Galleries Viewing Area
Strategic new buildings serve to highlight and stitch together the newly consolidated waterfront spectacle. operating on two scales—the Beacon and the Pavilion—these structures present diverse programmatic options through typological variation. an observatory on the western shore anchors the theater and expanded Park area and market area, providing for views across the harbor. an observation deck at the Basin Ferry terminal provides unparalleled views of South harbor and out to the sea. wind towers on the Basin create a renewable energy source. Vegetation grows on the green Beacon. arts walk Beacons provide studio spaces for art production, galleries for exhibition, and cafes and restaurants for conviviality. Pavilions host smaller functions, including information booths, cafes, bike shops, and retail facilities.
101
thE Basin SPECtaCLE the Basin consolidates and expands the ferry terminals in a heroic infrastructure built into the sea. the new terminal is highly efficient, eliminating the need for the enormous parking lots previously required onshore. this terminal creates two new public spaces: the great Lawn where staging areas once stood and the Basin Park. It also provides a powerful new gateway to helsinki for those arriving by sea, with observation and loading Beacons seeming to float above the Baltic.
Passenger drop-off area
Wind Tower Basin Park
Cargo handling
The Great Lawn
Long-term parking
Ferry berth Ferry queueing
Green Beacon
Tunnel access
Tramway & bike path
Katajanokan Terminal
Cruise Terminal
Basin Park Tramway and bike path
Tram station
Tunnel access
102 helsinki south harbor Competition
thE harBor SPECtaCLE through a strategic reorganization of the cruise ship logistics, what was once off limits becomes a major public thoroughfare. Car parking and cargo loading are now accessed underground, via the tunnel that connects the Basin to Pohjoisranta. the ground plane is made available for the Cruise terminal and arts walk, a public park punctuated by Beacons filled with artists’ studios, galleries, and cafes that provide a more suitable street edge to the grand Boulevard allée and the growing hotel district along Katajonakka’s western edge.
Market area Arts Walk Park The Basin ferry terminal
Observation pier
Below-grade cargo handling
Grand Boulevard
Beacon
Pavilions
Below-grade car parking
Katajanokan Terminal
Ice rink & summer stage
Uspenski Cathedral
Arts Walk
Observation pier
Grand Boulevard
Tunnel access
103
104 Rome Studio
Rome Studio Design studio from a semester abroad in Italy. Spring 2009
105
inhabiting the tiber site strategy
1 existing structures to remain on site. buildings of historical significance should be kept. also, buildings that can still be used should be saved from demolition in order to lessen the amount of waste created by the project.
106 rome studio
2 existing structures to be demolished. includes but is not limited to illegal structures, impermanent structures, and structures no longer in use.
3 existing voids. voids lack rhythm and are not accessible by the public.
4 proposed voids. create spaces for public gathering as well as points of departure for circulation between the lower, southeast portion of the site and the higher, northwest portion.
5 on-site axes. 1. minor pedestrian circulation axis. 2. major traffic axis. 3. recreational path axis. 4. axes of traffic. carry vehicular and pedestrian traffic into site.
0
5 10
20
6 visual axes across river. opportunities are created to physically connect site to river where voids meet axes.
50
100m
107
1
7
6 108 rome studio
2
urban context 1 view looking north towards the ponte sublicio. 2 housing complex and bicycle shop east façades. 3 view from porta portese towards the arsenal and casa dell’acqua. 4 view from the main piazza towards the arsenal. 5 view from the bank of the tiber towards the arsenal. 6 the casa dell’acqua and arsenal as seen from the via romolo gessi (across the tiber). 7 the housing complex as seen from the via rubattino (across the tiber).
3
4
5 109
Tiber River Lofts
Casa
The Tiber River Lofts are a response to the need for sustainable housing along the Tiber River. This fifty-nine bedroom thirty-five unit structure contains a mixture of single bedroom and studio apartments as well as three bedroom lofts. The ground floor contains a restaurant and bike shops for bike repair, rental, and purchase. Residents of the Tiber River Lofts enjoy a communal, lofted, leisure space on the forth and fifth floors and gardens on the second and third floors. A green roof along with the gardens attribute to the building’s sustainable nature by protecting the building from solar heat gain, thereby reducing the amount of energy consumed. Additional features contributing the Tiber River Lofts’ sustainability strategy include a system of curtain walls placed behind screens of operable louvers to allow residents to regulate daylighting and solar heat gain. Also protecting against solar heat gain is a recessed southern façade which blocks harsh rays if summer sun while allowing the lower angled rays of the winter sun to penetrate the apartment units. Whatever the season, generous amounts of glazing decreases the amount of energy consumed for lighting.
Occupying the n The Casa dell’A public spaces of as well as priva cated to the stud environment. The the existing stru tervention is rais ate a passage b Tiber underneat structed of struc for similar circul
A reading area, dell’Acqua, is su arsenal. A trans tween the readi the Casa dell’Aq
section b1 a1 sect
In the same way gently into the an auditorium, a ployees of the b body of the Casa method of interv temporary and h
1 A-201
a2 sect
a3 sect
b1 sect
b1 sect
b2 sect
b2 sect
1 A-204
1 A-202
a1 sect
section a1
a2 sect
a3 sect 1 A-203
5f
section a1
1 A-201
a1 sect
a2 sect
a3 sect
b1 sect
b1 sect
b2 sect
b2 sect
1 A-204
1 A-202
a1 sect
section a2
a2 sect
a3 sect 1 A-203
3f
section a2
1 A-201
a1 sect
a2 sect
a3 sect
b1 sect
b1 sect
b2 sect
b2 sect
1 A-204
1 A-202
a1 sect
section a3
110 Rome Studio
ground floor
a2 sect
a3 sect 1 A-203
section a3
Casa Dell’Acqua Occupying the northeastern portion of the site is The Casa dell’Acqua. This structure includes the public spaces of a library, an auditorium, and a cafe as well as private offices and laboratories dedicated to the study of the Tiber and its surrounding environment. The Casa dell’Acqua intervenes with the existing structure of the papal arsenal. The intervention is raised off the ground in order to create a passage between the Via Portuense and the Tiber underneath the structure. The arsenal, constructed of structural ribs and lacking walls, allows for similar circulation at ground level. A reading area, part of the library in the Casa dell’Acqua, is suspended amongst the ribs of the arsenal. A translucent bridge crosses the gap between the reading room and the library, unifying the Casa dell’Aqua and the arsenal. In the same way that the reading room is nestled gently into the arsenal, volumes, one containing an auditorium, another housing a lounge for employees of the building, are incorporated into the body of the Casa dell’Acqua. In this way, a common method of intervention in executed in both the contemporary and historic fabric of the site.
sections b1 and b2 a1 sect
b1 sect
north elev
a2 sect
a3 sect
b1 sect
1 A-202
b1 sect
west elev
east elev
b2 sect
b2 sect
b2 sect
a1 sect
section a1
a2 sect
2f
a3 sect
south elev
north elev
a1 sect
b1 sect
a2 sect
a3 sect
b1 sect
1 A-202
b1 sect
west elev
east elev
b2 sect
b2 sect
b2 sect
a1 sect
section a2
a2 sect
1f
a3 sect
south elev
north elev
a1 sect
b1 sect
a2 sect
a3 sect
b1 sect
b1 sect
west elev
1 A-202
east elev
b2 sect
b2 sect
b2 sect
a1 sect
section a3
ground floor
a2 sect
a3 sect
south elev
111
Casa dell’acqua
tiber River Lofts
112 rome studio
north elev
a1 sect
a2 sect
a3 sect
b1 sect
b1 sect
b2 sect
b2 sect
west elev
east elev
a2 sect
a1 sect
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south elev
1 A-203
a1 sect
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113
Casa dell’acqua
tiber River Lofts 114 rome studio
115
Casa dell’Acqua Piazza 116 Rome Studio
117
118 Rome Sketches
Rome Sketches Field sketches from a semester spent studying in Italy. Spring 2009
119
Pantheon
Rome, January 20, 2009
120 Rome Sketches
S. Carlo alle Cuatro Fontane Francesco Borromini (1599-1667) Rome, March 31, 2009
S. Andrea al Quirinale Gian Lorenzo Bernini (1658-1678) Rome, March 31, 2009
121
Villa Oplontis
Campania, February 4, 2009
wall assembly using different materials of various ages shows how wall was reconstructed over time
Campania foliage 122 Rome Sketches
chipped plaster revels brick and tufa stone underneath
Paestum
Campania, February 5, 2009
natural elements frame views of human creations
modern technology is sandwiched between the ruins of the foreground the mountains in the background
human creations frame views of natural elements
partially excavated ruins show how the ground level has raised over time
contemporary infrastructure and ancient ruins are separated by only a small brick wall 123
Pienza
1
February 25, 2009
4
2 3
“most perfect Renaissance piazza� - Tom Rankin
1a
1. church is built on edge of hill. 1a. partial plan of church 2. decorative paving pattern defines center of piazza. 3. fountain is located along the perimeter. 4. palazzo is asymmetrical, but main entrance lines up with center of piazza. piazza is more important than the individual buildings surrounding it.
124 Rome Sketches
Pazzi Chapel & Old Sacristy of Santa Croce Florence, February 25, 2009
reveal adds threedimensionality to a nearly flat surface
implied tectonics • consoles aren’t necessary to support “entablature” • entablature would appear even more fake if it were to look like it were supported by the wall
without consoles, (fake) entablature would appear too long to be supported by only two columns
• Brunelleschi’s leaf tips curl up to visually support entablature • Pazzi Chapel’s do not
• where there is a short span, the console becomes a keystone for an arch
• Brunelleschi’s pilasters interlock like puzzle pieces. seem is hidden
• Pazzi Chapel’s pilasters are cut vertically. seem is visible
Brunelleschi’s pilasters receive full flute
Pazzi Chapel pilasters receive half flute on sides
Pazzi Chapel pilasters intersect and fold out of wall • Old Sacristy pilasters intersect in center
pilaster protrudes from wall suggesting that the wall is not structural but pilaster is
Pazzi Chapel • wall folds to become vault • planar expression
• Pazzi Chapel pilasters do not
frontal interior elevation
side interior elevation 125
126 deCordova School Brochure
deCordova School Brochure Brand development and marketing materials for the deCordova Sculpture Park and Museum. An over,under project. Fall 2011
127
128 deCordova School Brochure
129
130 deCordova School Brochure
6:00
7:00
8:00
10:00 Encaustic painting Link Stitch/Coptic Binding
2:00
3:00
4:00 Jewelry Foundations
Realistic Oil Painting Beginning Calligraphy: Neulandscape
12:00
Youth Wheel Throwing and Hand Building
Ceramics Open Studio
Sculpting Your Marketing Plan
Teen Art Sampler Workshop Owls in the Family
Teen Drawing and Painting Intensive
Sky
Relief Printmaking Workshop
Link Stitch/Coptic Binding
Extreme Sketch and Paint in the Park
Encaustic painting
Contemporary Painting: Eye Candy
Chinese Brush Painting. Iris and Tulip Collaboration with Nature
Clay Together Making Art Together
THURSDAY FRIDAY
Dynamics of Color Art, Science, and Nature: Mushrooms and Microbes
Jewelry/Metals and Open Studio: Section B
Technical Watercolor I
Jewelry/Metals and Open Studio: Section A
Drawing Outside
Ceramics I: Section C
Colored Pencil: Inside/Out
WEDNESDAY
Metals Monitored Open Studio
Teen Art Sampler
Figure and Portrait Drawing and Painting Youth Drawing and Painting
Prints in Modern Translation
Painting Materials and Methods
Drawing Into Painting
Ceramics II: Garden Vessels and Sculpture II
TUESDAY
Contemporary Landscape
11:00
Make and Take. Two Tuesday Evenings, Two Projects
The deCordova Sketchbook Chronicle
Tonal Drawing
Super-Charged Contemporary Painting
MONDAY
Experimental Lettering
Ceramics I: Section B
Watercolor Foundations
Stone Sculpture
Ceramics I: Section A
The Art of Acrylic Painting II
1:00
Watercolor and the Landscape
Teen Drawing and Painting Intensive
Relief Printmaking Workshop
SUNDAY
Silversmithing and Open Studio
9:00 Dynamics of Color
5:00
Contemporary Painting: Eye Candy Collaboration with Nature
9:00
SATURDAY
10:00
131
132 NU Architecture Publications
Northeastern University School of Architecture Editor of Dialogue of Civilization, China 2010 and Civic Rooms for Rent. Summer 2010, Fall 2011
133
STATE HIGHWAY STREET TYPES DAN ARTIGES & KYLE JONASEN
US NORM
State highways in the US serve as a means of rapid transportation between two destinations. They are similar to American interstate highways with two important distinctions. State highways often have fewer lanes than interstate roads meaning they carry less traffic. Because they carry less traffic and are smaller than interstate roads, state highway can exist within cities.
Route 9 in Massachusetts
detailed section of an American State Highway China 2010. Northeastern University
134 nU architecture Publications
52
SUBWAY
COURTYARD HOUSING
CAR
Mao Dun also known as Shen Dehong spent the last 8 years of his Life living in a courtyard house in Beijing. This courtyard house is in typical Chinese style, and still today has all of the spatial, social, and cultural elements that are included in the courtyard houses of Beijing.
Mao Dun’s home has two courtyards. The front courtyard is the larger of the two and was used as the central courtyard and living space for the family. This courtyard is designed in the typical fashion with a garden with two cypress trees that “guard over the peacefulness of the house.”
spirit wall
building hierarchy
BICYCLE
inward planning
Beijing, China
SUBWAY lines run underground directly below major vehicular roads. CAR lanes are separated by low fences. BUS routes occupy the far right lane of roads for efficient travel. BICYCLE paths are isolated by permeable barriers or elevation changes. PEDESTRIAN walkways bridge over traffic or tunnel under streets.
BUS
COURTYARD HOUSING MEGHAN DORAN & ERICA LELIEVRE
CHINA: MAO DUN TRADITIONAL HOME
Modes of Transportation Methods of Separation
axial planning
The smaller rear courtyard would have been used by the servants or daughters of the house, so as to be kept out of the public eye.
courtyard configuration
China 2010. Northeastern University
PEDESTRIAN
.
33
PEDESTRIAN OVERPASS
60
MAJOR N/S STREET
PEDESTRIAN UNDERPASS
CHINESE EXAMPLES
Major north/south running streets in China are similar in scale to American interstates but the pace of traffic is more consistent with the American avenue. The north/south roads are up to eight lanes wide. Additionally, bike lanes the size of a single lane of traffic line each side. Because of their large scale and location within the city center, pedestrian bridges and tunnels are built to give pedestrians a safe place to cross the north/south roads. Another feature that sets Chinese north/south roads apart from any street type in the US is the large sidewalks adjacent to them. The enormous sidewalk space allows space for subway entrances, bicycle parking, street vendors, and even outdoor dining.
Zhongguancun Road in Beijing as seen from a pedestrian bridge
detailed section of Zhongguancun Road, Beijing 53
135
Civic Room Matrix
Marriott CopleyCopley Marriott Copley Westin Copley Westin
This is a handful of Boston’s rentable civic rooms, 95 to be exact, ranging from the famous Old South meeting house at 2,745 SF to the Boston Convention & Exhibition Center at 513,729 SF. Old South 2,745 SF
Old109 SouthBCEC 259109Four BCEC 259 Sheraton Holiday Inn Republic Sheraton Republic Four Seasons BCEC BCEC Seasons 2,745 SFSF 3,364 SF SF 3,364 3,364 SF SF 3,710 3,364
4,074SF SF 3,710
4,074 SF 4,368 SF
Holiday Inn Seaport WTC Hyatt Regency Hyatt Regency Cityview 4,368 SF 5,046 SF
Renaissance Renaissance Faneuil Water Front Atlantis Water Front Atlantis Hotel Millenium Hotel BCEC 104 BCEC 151 BCEC 151 Millenium 2,976 SF 2,976 SF 4,104 SF 4,104 SF 3,416 SF 3,416 SF 3,364 SF 3,364 SF Colonnade Colonnade 5,104 SF 60 State 60 State Hynes 210 Mandarian Mandarian The Liberty The LibertyHynes 210 4,425 SF 4,425 SF Oriental Oriental 3,723 SF 3,723 SF BCEC 107 BCEC 162 BCEC 162 3,419 SF 3,000 SF 3,000 SF 3,419 SF Intercontinental Intercontinental 3,364 SF 3,364 SF 5,104 SF Hilton Back Bay Hilton Back Bay 4,200 SF 4,200 SF
Faneuil
Langham Taj French
Langham
BCEC SF 204 3,465
BCEC 204 3,018 SF
3,018 SF
Taj French 3,800 SF 3,465 SF Taj Ballroom
3,364 SF
3,800 SF
4,482 SF
Ritz Carlton 3,364 SF
3,364 SF Hynes 311
Hynes 311
3,574 SF
3,244 SF
3,244 SF BCEC 254
Westin Water Front
Westin 3,364Front SF Water
3,320 SF
3,320 SF BCEC 257
BCEC 102 3,364 SF
BCEC 102 3,364 SF 3,364 SF
Ritz Carlton 3,987 SF 3,574 SF
4,320 SF Park4,320 Plaza SF 3,987 SF
BCEC 104 Harbor Hotel Wharf 5,104 SF 5,488 SF BCEC 107 5,104 SF Seaport Water Front
4,482 SF
BCEC 153 Westin Westin Taj Ballroom WaterHotel Front Seaport Hotel Water Front Seaport Lighthouse5,104 SF Lighthouse 3,825 SF
3,364 SF Omni Rooftop Omni3,825 Rooftop SF Best Western Best Western Longwood Longwood 3,513 SF 3,513 SF 4,242 SF 4,242SF SF 4,680 BCEC 206 BCEC 206 Westin Copley Westin Copley 3,060 SF 3,060 SF Courtyard Courtyard 3,364 SF 3,364 SF Tremont Tremont 3,936 SF 3,936 SF Radisson Courtyard Courtyard Holiday Inn Holiday Inn Marriott Marriott Beacon Hill Beacon Hill Tremont Tremont 3,570 SF 3,570 SF 4,682 SF BCEC 252 BCEC 252 Hynes 312 Hynes 312 3,096 SF 3,096 SF
5,046 SF 5,415 SF
4,680 SF BCEC 156 Radisson
BCEC5,546 153 SF
Seaport WTC Marriott Harborview Long Wharf
5,415 SF SF 5,841
5,841 SF
BCEC 156 5,616 SF 5,104 SF Harbor Hotel Atlantic 5,633 BCEC 157 SF
Park Plaza 5,104 SF
8,147 SF10,488 SF
10,488 SF
Marriott Renaissance Water Renaissance Front Water Front Long Wharf 10,744 SF 8,200 SF
8,200 SF
10,744 SF
Harbor Hotel Marriott F Copley F Marriott Copley Marriott Copley Wharf Copley Marriott Park Plaza Imperial Park Plaza Imperial 6,048 SF 5,488 SF
6,048 SF 8,529 SF 16,983 SF
8,529 SF
16,983 SF
Radisson Carver Radisson Carver Seaport 6,426 SF Water Front
BCEC 205 BCEC 210
BCEC 205 6,426 SF
5,546 SF Constitution 8,614 SF Sheraton Sheraton Constitution
5,104 SF 6,726 SF Marriott Copley Marriott E Copley E
5,104 SF
4,682 SF BCEC 157
Seaport WTC Seaport WTC Harborview Cityview
8,147 SF
8,614 SF
BCEC 210
12,994 SF
12,994 SF
6,726 SF Sheraton Back Bay Sheraton Back Bay
5,616 BCEC SF O52
BCEC O52
Harbor Hotel Atlantic 6,922 SF
6,922 SF
9,680 SF
9,680 SF
Sheraton Grand Sheraton Ball MFAGrand Ball MFA
5,633 SF
10,101 SF
10,101 SF 13,320 SF
13,320 SF
5,104 SF Seaport WTC Concourse Fairmont Copley Plaza
4,699 SF 4,699 SF BCEC 160 BCEC 254 Park Plaza Park Plaza Georgian Georgian Sheraton Sheraton Independence Independence 60 State 60 State 3,364 SF 5,104 SF 4,021 SF 4,021 SF 4,327 SF 4,327 SF 3,600 SF 3,600 SF
Fairmont BCEC 160Plaza Copley
Park Plaza BCEC 257 Fairmont Fairmont Terrace Seaport Complex Seaport Complex Copley Plaza Copley Plaza Event Four Seasons Four Seasons Event 3,364 SF 3,680 SF 3,680 SF 5,330 SF 4,050 SF 4,050 4,332 SF SF 4,332 SF
Seaport Park Plaza Long Marriott Marriott LongPlaza Terrace Wharf Garden Wharf Garden
5,104 SF SF 5,720
5,758 5,330 SF SF
2,745 - 5,000 2,745 SF- 5,000 SF
Seaport WTC Concourse Hynes 302, 304, 306 Hynes 302, 304, 306 Park Plaza Exhibition Park Plaza Exhibition
7,316 SF 5,720 SF
7,316 SF
10,115 SF
10,115 SF
Seaport Plaza Intercontinental Intercontinental
7,524 SF 5,758 SF
5,000 - 8,000 5,000 SF - 8,000 SF
14,520 SF 7,524 SF
10,346 SF
14,520 SF
10,346 SF
8,000 - 15,000 8,000SF- 15,000 SF
Meeting Rooms Meeting Rooms Exhibition Rooms Exhibition Rooms
Ballrooms Ballrooms Grand Ballrooms Grand Ballrooms
Banquet Rooms Banquet Rooms Civic Rooms for Rent
136 nU architecture Publications
44
Old South Meeting House Old South Meeting House
Section
Robert Twelves CIVIC ROOM CASE STUDIES OLD SOUTH MEETING HOUSE
Located in Boston, the Old South Meeting House was designed by Robert Twelves in 1729. The meeting house is one of Boston’s oldest and most notable landmarks. Over the course of nearly three centuries the Old South Meeting House has been modified to fit changing uses and tastes. Old South was established as a meeting house with a lateral main axis and a tower at the narrow end. Old South is unique in having an auditorium plan and supporting two tiers of galleries on three sides, which enabled seating for nearly 6,000, a number far exceeding what Faneuil Hall could accommodate after 1742.
88’-0”
16’-3”
10’-6”
61’-9”
8’-6”
10’-6” 14’-0”
12’-0”
14’-0” 16’-0”
123
Civic Rooms for Rent
0
122
8’ 16’
32’
64’
1/32” = 1’-0”
Westin Copley American Westin Copley Hynes American Exhibit B Hynes Exhibit B
15,328 SF
Seaport WTC Commonwealth Seaport WTC Commonwealth Hall Hall
BCEC Grand Ballroom BCEC Grand Ballroom Hynes Exhibit C Hynes Exhibit C
15,328 SF 36,900 SF
36,900 SF
37,590 SF
37,590 SF
37,750 SF
37,750 SF
Royale Concert Royale Concert 118,000 SF
Hynes Exhibit A Hynes Exhibit A 16,004 SF
16,004 SF WTC Complex Seaport Seaport WTC Complex
38,770 SF 44,600 SF
Westin Water Front Westin Water Front
16,725 SF
118,000 SF
16,725 SF
38,770 SF
44,600 SF
BCEC ExhibitionBCEC Exhibition
Marriott Copley Marriott Copley
23,868 SF
23,868 SF
513,729 SF
513,729 SF
Hynes Grand Ballroom Hynes Grand Ballroom
24,544 SF
24,544 SF
Scale: 1" = 160' Scale: 1" = 160'
15,000 - 513,000 15,000 SF - 513,000 SF
Information provided by the Greater Boston Convention & Visitors Bureau, Inc. 45
137
138 Infographics
Infographics Visually quantifications of ordinary and extraordinary events. Winter 2008 - Present
139
Studio Classes
Figures
Rome Studio
Figures placed into drawings
“If I were you, I would kill myself or kill the critic. One of us would have to go.”
Advanced Representation
self 46
fantasy characters 24
“This isn’t advanced rep. It’s just... rep.” other 16
Suburban Types
“I expect you to produce twice as much work as everyone else. I don’t care if it’s good or even if it makes sense. I just expect twice as much.”
advanced representation 19%
suburban types 44%
family members 6
friends 85 Hawai’i references used in drawings: 6
Most times a single person appeared in the same drawing: 8>Ben Hochberg
rome studio 37%
Favorite fantasy character: religious pterodactyl Furriest fansasy characer: Ewok Most heavily armed fantasy character: Ewok
Top 5 Programs Used 5. formZ
Most edible fantasy character: Eggplant Man
4. Adobe Photoshop 3. ArchiCAD
Fantasy character I currently live with: Mowgli
2. Adobe Bridge 1. Adobe Illustrator 140 Infographics
2009 saw the introduction of the loch ness monster
Typefaces Used
Studio Culture Sleep All nighters pulled: a lot Avereage hours of nightly sleep during the week:
black 19/18/0/0
ultralight 0/0/40/0
3 hrs.
Number of times I slept in front of the doorway so as to ensure I would be woken up before my roommates left for work: 2 Nights spent sleeping on something other than a bed (chair, floor, cardboard boxes, etc.): approximately 70 Classes slept through:
only 1!
bold 10/10/22/0
Finals slept through: 0.5 Strangest dream: I was sitting at my desk chair doing studio work when I accidentally fell asleep and had a dream. I didin’t recall what the dream was about; that wasn’t important at the time. I thought to myself, “I’ve only been asleep for ten minutes. That’s not long enough to have a dream.” Then I woke up. I had accidentally fallen alseep at my desk while working on studio and had only been asleep for ten minutes. In essence, I dreamed what I was doing while I was sleeping. It was an out of body experience, only I didn’t leave my body or have the sensation of doing so.
regular 16/11/13/100
light 55/64/25/0 Times scolded for force justifying text: 1 >scolded by: Chris Grimley >>my response: I did it again
Colo[u]r
Number of time I woke up and thought it was the morning but was actually the night: 2 times. I Then I went back to work.
panicked.
Number of times my graphic techniques had been blatantly plagarized in front of my own eyes: 1 major studio related injuries: 0
Favo[u]rite colo[u]rs:
5. 50% C 4. Chartreuse 3. 100% K 2. 100% C 1. 100% M
Most commonly used colo[u]rs: 100% C 10% 25-75% M 10%
25-75% K 16%
100% K 45%
Most commonly listened to playlist at the STUD’: “death by studio” Top songs on “death by studio” 7. Nausea Shreds Yr Head: The Blood Brothers 6. Death of Decadence: Since by Man 5. Bright Lights Keep Shining: Comeback Kid 4. The Difference Between Medicine and Poison Is in the Dose: Circa Survive 3. Iscariot: The Showdown 2. Stabbing Art to Death: Showbread 1. New Noise: The Refused
100% M 19%
141
Top 10 New Foods
Top 10 Non-Alcoholic Beverages
10. kinder eggs
10. ACE succo
9. cotoletta di pollo
9. Trader Joe’s Sipping Chocolate
8. fractoccoli AKA romanesco
8. Aloe drink
7. falafel in florence
7. Sanbitter
6. salad with all the tentacles
6. Bitter
5. blackened mussels from napoli
5. Chinotto
4. anchovies
4. Acqua frizzante
3. purple olives from the olive guy in campo
3. Tea
2. nutella
4. Peppermint
1. grilled tofu and feta sandwich
3. chai 2. yerba maté
new foods by region america 10%
1. green 2. Coffee (french press pressed) *Stone Creek Coffee 1. Café *Cafe Doria
most commonly comsumed non-alcoholic beverage:
italy 90% worst food: the time I accidentally ate a peanut butter cookie
tap water
worst non-alcoholic beverage:
Jay Robb chocolate brown rice protein
it’s like drinking a desert
142 Infographics
Top 5 Alcoholic Beverages by Region
Kyle was fueled by:
Mil-town & the Dirty
5. Rotini
5. Smithwicks 4. Leinenkugel's Honey Weiss 3. New Glarus Hop Hearty Ale 2. Leinenkugel's Summer Shandy
4. Extra Firm Tofu 3. Hummus 2. Rold Gold Tiny Twist Pretzels 1. Stone Creek Coffee
1. Leinenkugel's Sunset Wheat
Boston 5. Harpoon Crystal Wheat 4. Brooklyn Lager 3. Harpoon Munich Dark 2. Harpoon IPA 1. Harpoon UFO
Italy 5. Limoncello 4. Canella 3. Nastro Azzurro 2. any cheap “vino della casa� 1. Tennents Super
silliest beverage name: Splugen 143
Man-Powered Transportation Walking: what’s on my feet?
Bicycle
5. J Crew Flip Flops
Flat tires: 40,000 Times intentionally cut-off by bus/cab drivers: 4
4. Asics from Rome
Times glared at by bus/cab drivers before being intentionally cut-off by bus/cab drivers: 4 Times fallen: 2 Anticipated falls: 6. It was snowing.
Times barked at (by a person): 1 3. Fred Perry Plimsoll
Gondola
illegal gondola rides: 1
2 miles 4 miles 23 miles
2. Aldo Manel
31 miles 198 miles 331 miles 591 miles 716 miles 1,910 miles 11,972 miles 144 infographics
1. Vans paisley slip-ons
Engine Powered Transportation Airplane
1. Milwaukee > Boston 2. Boston > Frankfurt 3. Frankfurt > Rome 4. Rome > Frankfurt 5. Frankfurt > Boston 6. Boston > Milwaukee 7. Milwaukee > Boston 8. Boston > Milwaukee
858 3,674 596 596 3,674 858 858 858
Bus
Exclusively Italian tour buses. >Sit by the window. >Listen to Andrew Bird or Sufjan.
>Dream about Hawai’i. >Hope nobody pukes.
total miles: 11,972
Car/Truck
Kia Optima 94 Nissan Pickup Zipcar Taxi Other
1,910 198 4 23 18
Subway
Rome Metro MBTA T >Most commonly traveled rail: Orange Line >Favorite Rail: Red Line
>Deadliest Rail: Orange Line
total miles: 2,153
smelliest ride:
flights canceled: 1
scariest ride:
times I was told my flight never existed: 1
dog poo everywhere in Rome
taxi to fiumicino airport
most embarassing ride:
borrowing someone’s single speed and not knowing how to dismount the cycle since I’m used to a fixie
strangest transportation experience:
The German flight attendant asked me if I wanted pizza or chicken. I asked for pizza. I received a hot dog.
most uncomfortable transportation experience:
I had bronchitis during a plane ride from Milwaukee to Boston and couldn't stop coughing. I was seated next to a very nice looking Japanese couple and I didn't want to freak them out by looking like I had chicken or swine flu so I gulped down some codeine cough medicine. I got into Boston eight hours later than scheduled due to flight delays. The next morning I threw up.
145
Top 10 Albums
Most commonly played tracks (by time spent listening)
.
. time (seconds)
10. In Ghost Colours
10. Opposite Day
10,064
9. G-Sides
9. Masterfade
11,295
8. XX
8. The Naming of Things
11,920
7. O.C.M.S
7. The Boy With the Arab Strap
13,816
6. The Warning
6. It Could Have Been a Brilliant Career
14,157
5. Hvarf/Heim
5. Fake Palindromes
18,684
4. Noble Beast
4. Tables and Chairs
22,720
3. The BBC Sessions
3. A Nervous Tic Motion of the Head to the Left
24,300
2. The Boy with the Arab Strap
2. Sovay
28,381
1. Andrew Bird & the Mysterious Production of Eggs
1. Sleep the Clock Around
41,124
Cut Copy
Gorillaz The XX
Old Crow Medicine Show Hot Chip
Sigur R贸s
Andrew Bird
Belle and Sebastian Belle and Sebastian
Andrew Bird
Most commonly played tracks (by total play count)
Top 10 New Artists 10. Jenny Lewis 9. Fuck Buttons 8. The Magic Numbers 7. Conor Oberst and the Mystic Valley Band 6. La Roux 5. Old Crow Medicine Show 4. Lightspeed Champion 3. Cut Copy 2. The XX 1. Andrew Bird
146 Infographics
.
. count
10. The Naming of Things
40
9. Measuring Cups
43
8. The Boy With the Arab Strap
44
7. Masterfade
45
6. Tables and Chairs
80
5. A Nervous Tic Motion of the Head to the Left
81
4. It Could Have Been a Brilliant Career
99
3. Sovay
101
2. Fake Palindromes
108
1. Sleep the Clock Around
138
Top Top 1010 Tracks Tracks (computer) (computer)
playplay count count
10. 10. /=/ /=/
38 38
9. Tables 9. Tables andand Chairs Chairs
39 39
8. The 8. The Naming Naming of Things of Things
40 40
7. Measuring 7. Measuring Cups Cups
43 43
6. It6.Could It Could Have Have Been Been a Brilliant a Brilliant Career Career
44 44
5. Masterfade 5. Masterfade
45 45
4. A4.Nervous A Nervous Tic Tic Motion Motion of the of the Head Head to the to the LeftLeft
47 47
3. Fake 3. Fake Palimdromes Palimdromes
51 51
2. Sovay 2. Sovay
54 54
1. Sleep 1. Sleep thethe Clock Clock Around Around
63 63
Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & The & Mysterious The Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs BelleBelle and Sebastian: and Sebastian: The Boy The with Boy with the Arab the Arab StrapStrap
Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs BelleBelle and Sebastian: and Sebastian: The Boy The with Boy with the Arab the Arab StrapStrap
& the & the world world expressed expressed according according to the to the music music I listen I listen to to
albums albums acquired: acquired: 46 46
Top Top 1010 Tracks Tracks (ipod) (ipod)
playplay count count
shortest shortest track track acquired: acquired: Ouo: Ouo: Andrew Andrew Bird: Bird: Noble Noble Beast. Beast. 0:00:20 0:00:20
10. 10. A Nervous A Nervous Tic Tic Motion Motion of the of the Head Head to the to the LeftLeft
34 34
9. Crystalised 9. Crystalised
35 35
8. VCR 8. VCR
35 35
biggest biggest disapointment: disapointment: La La Roux Roux show show cancelled cancelled
7. Intro 7. Intro
36 36
silliest silliest band band name: name: Fuck Fuck Buttons Buttons
6. Tables 6. Tables andand Chairs Chairs
41 41
itunes itunes genuis genuis make make such such whywhy does does
5. The 5. The BoyBoy With With thethe Arab Arab Strap Strap
44 44
4. Sovay 4. Sovay
47 47
3. It3.Could It Could Have Have Been Been a Brilliant a Brilliant Career Career
55 55
2. Fake 2. Fake Palindromes Palindromes
57 57
1. Sleep 1. Sleep thethe Clock Clock Around Around
75 75
Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs The XX: TheXX XX: XX The XX: TheXX XX: XX The XX: TheXX XX: XX Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs BelleBelle and Sebastian: and Sebastian: The Boy The with Boy with the Arab the Arab StrapStrap Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs BelleBelle and Sebastian: and Sebastian: The Boy The with Boy with the Arab the Arab StrapStrap
Andrew Andrew Bird:Bird: Andrew Andrew Bird Bird & the&Mysterious the Mysterious Production Production of Eggs of Eggs BelleBelle and Sebastian: and Sebastian: The Boy The with Boy with the Arab the Arab StrapStrap
longest longest track track acquired: acquired: Untitled Untitled 7: Sigur 7: Sigur Rós: Rós: ( ). (0:13:00 ). 0:13:00
terrible terrible mixes? mixes? boys boys noize noize & sufjan & sufjan stevens? stevens? c’mon! c’mon! album album of the of the year: year: Andrew Andrew Bird: Bird: Andrew Andrew Bird Bird andand thethe Mysterious Mysterious Production Production of Eggs of Eggs
vs. vs. ipodipod opportunities: opportunities: the the STUD’, STUD’, walking walking around, around, car/plane car/plane rides rides
*music *music acquired, acquired, notnot released released in, in, 2009 2009 147
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N total wait time
total travel time
13:05
29:25
longest wait
longest ride
60 minutes
45 minutes
most frequently traveled route
most uncomfortable bus ride
bus 1
7.30.08
TheBus driver of the quarter
number of rides with merill miyasaki
bus 6: on way home from wal-mart. purchased six feet of velcro, ten sheets of sandpaper, and one can of white highgloss spray paint
waialae + kapiolani to hotel + bishop. home to RIM architects
merill miyasaki
bus 14: en route to post office to pick up certified mail: credit card, letter from mom, gum, check and letter from yaz via denmark
talked with drunken and possibly homeless man with the alias of Doc. Doc shook my hand twice* and touched me on the knee on numerous occasions.
0
congratulations merill on winning a trip for you and your lovely wife to las vegas!
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*was not offered hand sanitizer by any of the other TheBus riders 149
START work in Hawai’i wake up to the feeling of geckos crawling on me
develop tolerance for heat
kill a scorpian
develop intolerance for cold
omg yogurt!
study in Rome for one semester
there was an earthquake
unrelated, coincidential, & delicious
I told Ben that it was just a train
get heat rash from wearing every piece of clothing I own 24/7 and never letting my skin breathe.
live in an apartment with no heat
we were not near any train tracks
gather around the kitchen stove while cooking to stay warm kinder eggs: “You got the shit toy!”
peanut jar of butter was broken
go to school in Boston for one year
dress up as a stegosarus faint one time receive stitches in face enhance street cred
study in China for one month
vow to never work in a cold environment
apply for another job in Hawai’i
develop love for Chinese
food
eat a scorpian
culture
do not get job
get job
apply for job in LA
work in Hawai’i
people do not get job
get job
apply for job in Shanghai
work in LA
get job
do not get job
accept job
stay in Boston
receive call from Shanghai
apply for visa
visa denied
visa granted
look for apartment
cycle of failure stress out reapply for tourists visa lease apartment
consider business visa get mission notice get JW202 form find out JW202 form is unnecessary
buy plane ticket contact employer reapply for visa
visa denied
150 Infographics
pay $8/month for internet
go to Shanghai
WORK IN SHANGHAI
Getting to Shanghai a working in shanghai sequel
BOSTON
05:00 wake up
DETROIT
12:00 board a plane bound for Detroit 12:35 wait on the tarmac for two hours
miles traveled: 0 total miles traveled: 0 elapsed time in Boston: 35:35 total elapsed time: 35:35
miles traveled: 613 total miles traveled: 613 elapsed time in Detroit: 14:15 total elapsed time: 49:50
> sit next to girl who looks and sounds remarkably like Keira Knightley
16:35 arrive in Detriot two hours late 16:15 miss flight from Detroit to Shanghai 16:40 wait in line for three hours to see a Delta service agent > eat two gingerbread cookies
19:40 get rebooked on a flight to Amsterdam 19:45 wait in airport for two more hours > pay $5.25 for 30 minutes of internet access from cafe >> the staff expresses concern about my exhausted physical state >> hate Detroit airport
21:50 board plane bound for Amsterdam 21:51 fall asllep before plane takes off > end 40:51 of wakefulness >> 31:09 off my record
AMSTERDAM miles traveled: 3,928 total miles traveled: 4,442 elapsed time in Amsterdam: 15:11 total elapsed time: 65:01
01:30 wake up and eat some chicken > immediately fall back asleep upon completion of chicken eating
06:50 land in Amsterdam 07:12 buy tutti frutti 07:18 eat tutti frutti 07:26 walk around airport looking for free internet 09:02 pay $7.68 for 30 minutes of internet > emial friends and family about fears of never getting to Shanghai > use uncensored internet one last time
12:45 board plane for Shanghai > remain appropriately pessimistic that the plane will ever reach Shanghai
13:25 take off for Shanghai 13:26 - 22:00 eat, sleep, fly > repeat
SHANGHAI miles traveled: 5,537 total miles traveled: 9,979 elapsed time in Shanghai: 07:02 total elapsed time: 72:02
22:01 arrive in Shanghai > step out of plane into 100Ë&#x161;F/37.8Ë&#x161;C heat
22:02 wait in line at immigration 22:03 clear immigration 22:04 wait at baggage claim 22:14 wait at baggage claim 22:24 wait at baggage claim 22:25 speak to airline representative about lost luggage > receive care package for my troubles >> awkwardly shaped toothbrush, weird tasting toothpaste, comb, roll on deoderant, and a giant white t-shirt
22:45 drive to hotel 02:15 fall asleep 5:00 luggage arrives at hotel 5:01 go back to bed 5:02 9,979 miles and 72:02 later: finish
*all times listed are in GMT - 5, 1 mile = 1.61 kilometers
151
152 Graphic Design
Nocturnal Design Hand made apparel, bags, and cases. Winter 2006 - Present
153
Nocturnal Design is an apparel and accessory design business founded in the Winter of 2006. I began making shirts by spray painting through crude cardboard stencils made of old cereal boxes. I quickly outgrew cardboard, and my prints have matured to include a variety of simple, sometimes sarcastic, and often humorous designs. All of my designs are lovingly hand-cut out of acetate sheets and screen printed by hand. In 2008, I purchased my first sewing machine. Since then, Nocturnal Designs has grown to include backpacks, messenger bags, and laptop and ipod cases. Initially run out of a Milwaukee basement, the business has travelled from a freezing bedsit in Rome to an apartment on Oahu, Hawaiâ&#x20AC;&#x2122;i, to its current location in a Boston brownstone. While I was a student at Northeastern University, I gained the reputation as â&#x20AC;&#x153;that guy in the studio who works constantly and never sleeps,â&#x20AC;? although I actually do - while rendering. After dozens of sleepless nights, Nocturnal Design seemed to be the only appropriate title for my business.
nocturnal design.
154 Nocturnal Design
155
big enough for your boards...
small enough for everything else.
156 nocturnal design
bag expanded, empty, and open
bag condensed, packed, and closed 157
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a typical dayâ&#x20AC;&#x2122;s contents 158 nocturnal design
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WHAT’S WHAT’S INSIDE? INSIDE?
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Nocturnal Design Design RollRoll TopTop Backpack Backpack 1Nocturnal Macbook Macbook ProPro 215” 15” Macbook Macbook Case Case 3FeltFelt Macbook Charger Charger 4Macbook Logitech Bluetooth Bluetooth Mouse Mouse 5Logitech Western Digital Digital Hard Hard Drive Drive 6Western Wool IpodIpod Case Case 7Wool Touch Touch 8IpodIpod J-Lab II Headphones II Headphones 9J-Lab Sketchbook 10Sketchbook Spare Headphones Headphones 11Spare Camera Case Case 12Camera Cannon Cannon 13OldOld U-Lock 14U-Lock Maxim Instant Instant Coffee Coffee 15Maxim Pedro’s TireTire Levers Levers 16Pedro’s Allen Keys Keys 17Allen Glueless Patch Patch Kit Kit 18Glueless Hacked Planet Planet BikeBike Headlight Headlight 19Hacked Planet BikeBike TailTail Light Light 20Planet Cateye BikeBike TailTail Light Light 21Cateye Sigg 22Sigg Coconut MilkMilk 23Coconut Coffee Grounds Grounds 24Coffee Turkey Sandwich Sandwich 25Turkey Tortilla Chips Chips 26Tortilla Bacchus-D Energy Energy Drink Drink 27Bacchus-D Electriucal Tape Tape 28Electriucal Sudafed 29Sudafed Bandana 30Bandana Stride Gum Gum 31Stride Myntz 32Myntz Tissues 33Tissues Bandages 34Bandages Hand Lotion Lotion 35Hand Antibiotic Ointment Ointment 36Antibiotic Balm Balm 37Lip Lip Drops Drops 38EyeEye Cough Drops Drops 39Cough Black PenPen 40Black Silver Sharpie Sharpie 41Silver Black PenPen 42Black Black Sharpie Sharpie 43Black Mechanical Pencil Pencil 44Mechanical Black Marker Marker 45Black Cyan Marker Marker 46Cyan Magenta Marker Marker 47Magenta Highlighter Highlighter 48PinkPink Folder for A3 for Sheets A3 Sheets 49Folder Folders for A4 for Sheets A4 Sheets 50Folders Passport Copy Copy 51Passport Measurement References References 52Measurement Ecpipse Gum Gum 53Ecpipse Temporary Temporary Tattoos Tattoos 54OUOU Moleskin Moleskin 55MiniMini Sandpaper 56Sandpaper Plastic BagBag 57Plastic Hand Sanitizer Sanitizer 58Hand Post-It Notes Notes 59Post-It
159
1988-2006 MILWAUKEE
Raised by my Norwegian Parents
2006-2012 BOSTON
Northeastern University School of Architecture
2007-2012 BOSTON Designer at over,under
2009
La Ma
2008 HONOLULU RIM Architects Co-op
160
2010 2010 BEIJING BEIJING
NU Dialogue NU Dialogue of Civilization of Civilization
2009 ROME ROME
agia La Magia Institute Institute StudyStudy Abroad Abroad
1987 1987 SEOUL SEOUL
Born October Born October 29 29
2010 2010 SHANGHAI SHANGHAI
NU Dialogue NU Dialogue of Civilization, of Civilization, ZEROLABOFFICE ZEROLABOFFICE Co-opCo-op
161