Kyle Jonasen: Selected Work 2006-2012

Page 1



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

5


M

as sA ve Berkel ey St

Back Bay

STR

EET

TR

EM

M

S TT SE

U CH SA AS

n to ew

EN AV

UE

er st ce or W

"

4620

T ES Charles/MGH W

BEACON HILL

Arlin gton

4900"

59 50

Chinatown Branch Library

N VE

UE

"

SOUTH END

E TR

ET

TS

ON

Union Park St

N

St

St

Mass Ave

N

CO

N

R TO EC

CAMBRIDGE STREET

Boylston

BAY VILLAGE Park Street m

GOVERNMENT CENTER riu

ua

LONGFELL OW BRIDGE

Aq

Kendall/MIT

RY RA LIB H C AN BR END WEST D EN

Do Cr wnt os ow sin n g

OW

ST OR R

OA DW AY

TREM ON TS TR EE T

"

BR

T

ley

00

IVE

DR

Science

TREE

GTON S

56

EAST CAMBRIDGE

WASH d St IN

UE

EN

Heral

ON LST

East

BOY

2950"

E ENU

S AV UE

Cop

BOS TON ’S A RC OF LI BR A R IE S RI

OB

0"

ETT

6 AV EN

M

H UT SO

BACK BAY R

t ke

RIVE

NO

ar

WD RRO

IG

ym

STO

LIBR ARY

NS

Ha

N AVE LTH

EA ONW

HUBOSTON P UBLIC NT IN GT ON AV EN UE

MO

ion

COM

RARY H LIBC C N O LU RA M DB BU EN S

GE STR

at St

REET

Pr ud en tia l

rth

No

M M MIT MIT IT IT T M T M M MI MIT MIT IT M IT M M I IT T M MIT MIT IT IT IT M T M M MI MIT MIT IT M IT M M I IT T M MIT MIT IT IT IT M T M M MI MIT MIT IT M IT M M I IT T M MIT MIT IT IT IT M T M M MI MIT MIT IT M IT M M IT IT IT T M M M M MI MI IT M IT IT IT IT IT M M MIT MIT IT IT T M T M MI M M M M I I T M IT IT IT IT IT M M MIT MIT IT IT T M T M MI M M M M I I T M IT IT IT IT IT M M MIT MIT IT IT T M T M MI M M M M I I T M IT IT IT IT M IT M M M MI IT IT T T M MIT MIT IT IT IT M T M M MI MIT MIT IT M IT M M I IT T M MIT MIT IT IT IT M T M M MI MIT MIT IT M IT M M I IT T M MIT MIT IT IT IT M T M M MI MIT MIT IT IT T M IT M M I I M M MIT IT IT IT T M T M M MI MIT MIT IT IT T M IT M M I I M M MIT IT IT IT T M T M M MI MIT MIT IT I M IT M T M T I I M MIT MIT IT IT T M T M M MI MIT MIT IT I M IT M T M T I I M MIT MIT IT IT T M T M M MI MIT MIT IT I M IT M T M T I I M MIT MIT IT IT T M T M M MI MIT MIT IT I M IT M T M T I I M MIT MIT IT IT T M T M M MI MIT MIT IT I M IT M T M T I I M MIT MIT IT IT T M T M M MI MIT MIT IT I IT M T M T I M MIT MIT IT IT IT M T M M MI MIT I IT M T M T I M MIT MIT IT IT IT M T M M I IT M M T I M MIT MIT IT IT IT M T IT M M M MIT MIT IT IT IT IT M M MIT MIT IT IT M MIT IT

CAMBR ID

375

HUS

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

Ma

Y

HW

Park

NORTH END BRANCH LIBRA RY

NORTH END

2850 "

Bowdoi n

Government Center

So CHINATOWN uth S St U atio M n M BRANCH ER ST CHINATOWN LIBRARY RE E Chinatown Co urth

T

Br oa

dw

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

U

M

M

ER

S

ST RE E

T

T

R

EE

CH

AU N

CY

T

ESSEX STREET ESSEX STRE

WASH ING

ER OA D SU RF AC

TON S T

ET STRE ONT TREM STUART

N AVENUE HARRISO

REET

ET

BEA CH S

TRE

ET

STREET

KN

EEL

AN

DS

TR

EET

Chinatown Branch Library Site

SU

RF AC E

UE

RO AD

STREET

N AVEN

O HARRIS

STREET EDINBORO

KINGSTON

CHAU

NCY

STRE

ET

ESSEX STREET

BEA CH S

TRE

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


! AD

B

intErLoCking rowhoUsE UnIt DIStRIBUtIon 38

roxbury housing

T

T WIS

(xy)

!

G

D OO


)

LL

xz xIzS)T ( ( ISTTW

L U UL /P P H H/ US S U P

TW

R!

! E ER TT T T BE

P

BE

2.5f

2.5f

2.5f 3f

3f

3f roof

roof

roof

bf

bf

bf 1f

1f

1f 2f

2f

2f

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

10

20


1

2

1

SECTION

SECTION

SECTION

1

2

1

SECTION

SECTION

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


H

HA A R HA D AR RV HA RV HA RD VAR RV HA D AR RV HA A R HA D AR RV HA D AR RV HA RD VAR RV HA D AR RV HA D H HA A R HA D AR RV HA D AR RV A RV HA RD VAR RV HA D AR RV HA D H AR RVA HA A R HA D AR RV HA D AR RV A D R RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H HA A R HA D AR RV HA D AR RV A D R V A RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA HA A R HA D AR RV HA D AR RV A D R V A H R RV HA RD VAR RV HA D AR RV HA D H AR RVA HAR D H ARD RVA AR D H HA AR RV HA D AR RV HA D AR RV A D H R VA AR H RD VA AR RV HA D AR RV HA D AR RV HA D H AR RVA AR D H RD VA AR H RD VA HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD 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 R H D HA A R HA D AR RV A D AR V A R V A H R VA AR H RD VA AR 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 R HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD VA AR H D 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 R V A HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD VA AR 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 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 H R A D 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 H RD VAR RV HA 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 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 R V A HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD VA AR H D A R H D A R HA D 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 R V A HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD VA AR H D A R H D A R HA D AR 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 HA D R V A HA A R HA D AR RV HA D AR RV A D R V A H R VA AR H RD VA AR H D A R H D A R HA D AR 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 HA D AR R R V A HA A R HA D AR RV HA D AR RV A D R V A V H R VA AR H RD VA AR H D A R H D A R HA D AR 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 HA D AR R R V 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 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 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 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 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 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 AR RV A D HA D AR R R V 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 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 AR RV A D HA D AR R R V 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 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 AR RV A D HA D AR R R V 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 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 AR RV A D HA D AR R 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 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 AR RV A D HA D AR R R V A R V 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 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 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 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 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 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 I M IT T M M I I T T M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M M IT IT M M I I T T M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M M IT IT M T T I M I 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 M M I I T T M M IT IT IT T IT IT M M MIT MIT IT IT T M T M MI MI M M I M I M M M I T T T T IT IT IT M IT M M M MIT MIT IT IT IT M T M MI MI M M I I T T M M IT IT IT IT 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 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 M IT IT M T T I M I M M MIT MIT IT IT T M T M MI MI MIT IT IT M IT M IT IT M T T I M I M M M MIT IT IT IT T M T M MI MI MIT IT IT IT IT M M IT IT T T M M M M MI M M IT IT IT IT IT IT M M MIT MIT IT IT T M M I I M M M IT IT T T IT IT M M MI MI IT M M MIT MIT IT IT T M T IT M M M MIT MIT IT IT IT IT M M MIT MIT IT IT M MIT IT

W

M D CAMBR DGE

M H N

B

52

in Form

M

AGASS Z

MB D

SOMERV LLE

HARVARD UN VERS TY

CENTRAL SQUARE

MM NW H

FENWAY

M SS ON H LL

LOWER ROXBURY

C

D

M

W

WD

NU

BROOKL NE N

W

MB D

EAST CAMBR

M N

W

CAMBR DGEPORT

MT

ALLSTON/ BR GHTON

W

BACK

MM N

N


HISTORIC BOSTON 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

eyfus Laboratory deral Reserve Bank st and Second Church of Boston st Lutheran Church vernment Center Parking Garage en Center for Earth Sciences nd Hall man Library rkness Commons yoke Center hn F. Kennedy Federal Building hn Hancock Tower iah F. Quincy School ius Adams Stratton Building sge Auditorium

D3 A1 A1 B2 A2 C3 F2 H3 G2 G3 A2 A1 F2 G3 C3

Landau Chemical Engineering Building Leverett House Loeb Drama Center Martin Luther King Jr. Elementary School Mather House MIT Chapel Museum of Science New England Aquarium North End Branch Library Park Street Ministries Building Peabody Terrace Science Center State Services Center State Street Bank West Campus Houses

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

DSGN RESTAURANT

Boston Athenæum Boston Public Library Custom House Faneuil Hall First Baptist Church First Harrison Gray Otis House King’s Chapel Maclaurin and Rogers Buildings Massachusetts State House Mercantile Wharf Building Old City Hall Quincy Market Sever Hall Symphony Hall Trinity Church

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

IMBIBE

Bin 26 Enoteca Cambridge, 1. Restaurant Clover DOMA Liquors Drink Fin’s Foumani Mantra Mela Restaurant Menton Middlesex Lounge Myers + Chang Oleana Sportello Upper Crust

C5 F5 F5 F4 F5 C3 C2 C5 D4 F5 C2 E6 H4 C3 F5

106 107 108 109 110 111 112 113 114 115 116 117 118 119 120

SHOP

Basho B&G Oysters Beehive Bina Butcher Shop Central Bottle and Provisions Central Kitchen Citizen Clio Coppa Craigie on Main Flour Bakery & Cafe Flour Bakery & Cafe Flour Bakery & Cafe Franklin Cafe

121 122 123 124 125 126 127 128 129 130 131 132 133 134 135

F5 F5 C4 F4 G2 G3 G4 E6 B2 F5 C5 E6 A1 G3 C2

The Gallows Gaslight La Verdad Market Mike’s Pastry No. 9 Park O Ya Orinoco River Gods Stella Sweet Cheeks Toro Tory Row Woodward at the Ames Hotel ZuZu Bar

136 137 138 139 140 141 142 143 144 145 146 147 148 149 150

A1 F5 F3 A1 D5 H5 F3 C1 H4 F4 F3 F5 H3 I5 F5

Abodeon Addo Novo Black Ink Black Ink Bodega Front Good Grand ICA Store Kartell Koo de Kir Lekker Louis Machine Age Uniform

42 N AI M ST

STIN

ST

AU

CHARLESTOWN ST

WY AV E

NE

W

RU

ES TO WN

TH

FO R

RL

DA VE

AU ST IN

EAST BOSTON

HW

CO

MM

N WASHINGTON ST

Science

Park

DR IV RO W

HA

ST OR

m riu

NEW

HA n

MM

ER

H ST

118

CO

NG

ST

RE

RE

AP

ET

95

SEAPORT RD SE RV ICE

RF AC E

AV E

N3

80

D

DS

T

W

E ST

HA

RD

AVE ISON

AS

T

HARR

SU

MM

ER

D

ST

T Br oa

149

19

ay

W

U CH SA AS

130

TT SE

S

1S

ST

W ST

7T

H

2N

D

UE

ST

E 1ST ST

2

E 2ND ST

6

ST

e st ce or W

ST

D

EN AV

t rS

ET

29 E

M

BR

OA DW AY

W

RE

5

SOUTH BOSTON

St

ST

W AY

ST

dw

PA S

ST

122

Union Park St

RN

PA P

AM

DH

147 137

HE

BOSTON CONVENTION AND EXHIBITION CENTER

N

132

RT

Silver Line Way

T

n to ew

4 NO

NG

141

W

117

28 CO

RE Wo SS Ce rld Tra ST nte de r

UL

ST

DE

E AV

LVD

T

ER S

ST

W UT

TB

SS S

V

W 4 TH

121

128

OR

104 100

ST

AVE

tio

RD

ON ST

Sta

e

SE

SU

SU

HUDS

uth

BS T

HANCOCK ST

TREM ON TS TR EE T

GTON STRE ET Hera ld St

So

127

ALB ANY

UE AV EN S BU

ous

RD

BEAC

ST

TRA VEL

AM

LU M

CUR

East

l tia

Tufts Medical Center

WASH IN

NT HU

TH AL W

T

CO

Berkele y St

NU E AV E

GT ON IN

Do Cr wnto os sin wn g

CHARLES ST

IT

M

en ud

RD FACE SUR

Pr

ALD

Co

120

M

AW SH

UE

102

ZGER

ST

AVEN

ST

TH S

MOU

E TR

F FIT

T

ON

T DAR

LEY

115 110

MO

KE

107

ET

RE

ST

ER

99

SOUTH END NT

EB

NTIC

EY S

D REN

150 4

108

ST

KEL

LD ST

JOHN

SS

NAL RD

HERA

RE

LES ST

MARGI

BER

Bay

LAND

CHAR

ST

NG

ST

T

E AC RF

SU

CHINATOWN 58

14 144 6

urth

KNEE

BAY VILLAGE

ST

47

Chinatown

ST

148

CO

LES

AR

GH

17 30 124

3

HI

A

ART

35

109

Z PLA

STU

145

TS UAR

Back

L ST

98

68

ATLA

Park Street

BOSTON COMMON

32

FEDERA

ST

CH

AVE

K PAR

57

Av e

97 74

ST

MES

T JA

SAIN

CLA

43

S

TON ING

TON

YLS

ET TRE

DOWNTOWN

T

90 ley

Cop

77 3

gton Arlin

ST STATE

38 70

84

Boylston

ST

Y ST

BUR

NEW

31

EY S

DON

NUE

VE TH A EAL

OM

KEL

REN

80

ACK BAY

BER

RO

LBO

MAR

CLA

ST

PUBLIC GARDEN

ARL

49

48 T

S UGH

82

76

78

79

37 State St

ST

TH

86

5

87

T

HS

RT

NO

K

CON BEA

105 91

DE ANA

L

P E ES

134 COU RT S T

R PA

C

33

T

UT S

TN HES

T

Government Center

126

ST JOY

146

MYRTLE ST

OS SS

SS ST

REVERE ST

85

CR

23

56

GOVERNMENT CENTER

BOWDOIN ST

BEACON HILL 138

N DO AR CH

50

ST

Bowdoi n

CAMBRIDGE STREET

ON ST

W MON

STANIF ORD ST

Charles/MGH

MT VERN

CON BEA

IMA C ST

73

RE CONG

M MIT MIT IT IT T M IT M M I M M MIT MIT IT IT T M IT IT M M I M M MIT MIT IT IT T M IT IT M M I M M MIT MIT IT IT T M IT IT M M I M M MIT MIT IT IT T M IT IT M M I M M MIT MIT IT IT T IT IT M M M MIT MIT IT IT IT M M MIT IT IT M IT

E

2

125 69

MER

81

LONGFELL OW BRIDG

T

NORTH END

t ke

WEST END

142

RIVE

U CA

ar

EUM ST

S AY W

SE

RD

LS

ym

ATHENA

D OW

T

RT

CIA

Ha

10

n tio ta

S th

E

r No

MA

ER

ua

CO MM

ER

Y 67

GE

MBRIDGE

Maverick

Aq

T LS CI A

EN

ID BR

RI

ST

OB

R

R

NO VE

NO

NTIC

IG

ATL A

NS

WN TO ES RL

1ST ST

MO

A CH

3RD ST

1

ER

ST /C HA

Lechmere

STREET

CH EL

SE A

Community College

R TO EC

Mass Ave

E N

UE

TS

HU

T SE

E AV

FN N CO

G

5 minute walking distance

H

I

53


photos courtesy of over,under 54

In Form


Boston harbor Islands Pavilion

Community Boathouse

Cambridge Public Library 55


56

in Form


57


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.

1968

1969

1970

1971


1972

1973

1974

1975

1976

1977

1978

1979

61


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

1980

Publishing Practices

Architecture/design bookstores108

1981

1982

1983

1984

1985

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

1987

1988

1989

1990

1991

1992

1993

1994

1995

63


1996

1997

64

Publishing Practices

1998

1999

2000

2001

2002

2003

2004


4

2005

2006

2007

2008

2009

2010

65


66

Publishing Practices


67


68

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.

fire fig hters’ com

munal

fire fig hters’ com

munal

.

ities

activ

.

ities

activ

itories

dorm

itories

dorm

itories

dorm

itories

dorm

wall

2’-0”

s

& work offices

with

ence confer

ls & work offices

ness rs fit . l cove n wal ations curtai& work st room

s station

rden

ic ga

s

publ

room

ss fitroneom

ings

open

” pane

x 8’-0

s station

tio

pa hters’

fire fig

tio

pa hters’

fire fig

rden

ic ga

s

publ

room

G R

E

E N

S

T

R E E

T

s stroom rs re s cove e room louverti-purpos ul &m

ence confer

ls

wall

2’-0”

ss fitroneom

ings

open

” pane

x 8’-0

ness rs fit . l cove n wal ations curtai& work st room

stroom rs re s cove e room louverti-purpos ul &m

with

G

R

E

E

N

S T

R

T

E

E

T

EE

TR ES

N OW

SD ND

LA app

ara

circ

ula

tion

EE

TR ES

N OW

D DS

N LA

tus

T

on

ulati

c circ

publi circ

ula

tion

S

A V

E

N

tus

E

ara

U

app

T T E S U M

A

S S

A C H

U

S

E

T

T

S

A V

E

N

U

E

M

A

S S

A C H

on

ulati

c circ

publi

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

DSD

OW N

ES

TRE

ET

novartis

rowhouse

novartis

rowhouse

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

1f

4f

ET

RE

ST

VIL GE LA

S

T

EE

TR

ET

RS

RE

ST

SO

ND

WI

TE TA

LAN

DSD

OW N

ES

TRE

ET

MASSACHUSETTS AVENUE

GREEN STREET

71


1

2

3

4 7 6 5

72

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

5 10

5

10

10

20

20

20

50’

50’

50’

75


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

tg mon

tmo

dar

ry

ome

tg mon

tgo

y mer

building entrances pedestrian circulation pedestrian destinations

vehicular and pedestrian circulation

school bus drop-off

uth

greenspace

mon

e clar

uth

re war

on

tmo

dar n

ren

n arre w n arre w n arre w ren war n ery arre tgom n w o m ren ery war m o tg end clar

uth

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

2

corridor sections 1

2

3

4

unwrapped skin 84

South Boston Elementary School


3

4

85


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

89


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

C

F

I

I

A

V

O

V

A + F

A + O + F

V + S + F

A

O

O

O + A + F

O + A + C + F

G + A

A + O

A + O + A

A + O + O

E + O

E + O

G + A + O

A + O

G + A + O

A + O

A + F

E +

E + F

A + G + F

G

S

S

S

S + F

A + F

A + F

S + A + F

S + F

S + F

V + F

V + F +

S + O + F

S + F

A C E F G

Administrative Cultural Building Energy Food and Beverages Green Space

I O S V

I

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

a3 sect

south elev

1 A-203

a1 sect

a2 sect

a3 sect

b2 sect

b2 sect

1 A-204

1 A-202

b1 sect

b1 sect

a1 sect

a2 sect

a3 sect 1 A-201

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


Bus hawaii

oahu

honolulu

july 2008

:

>IN %

H ^c\/ G : ^i

A 9D

,

>K h lV C J iZ ^cj

b

A V^i 8 C h l

^

b

=DI:A 7>H=DE

C<

b^cjiZh lV^i^c\/&)%

@>

^ c\/,* E D V^i = H l 7>cjiZh @DC6 @DC6 ^ b

b^cjiZh lV^i^c\/%

8>'% G /

6> ^c\

H>cjiZ

:

A G8 H

:

6 6A

> 6 L

% \/&

J>^i^c D # AZh lV I H i ^cj

b

6

: 6J

A @> /*% 6 V^i^c\ D = l

E6cjiZh ^

b

L6>6A6: @6E>DA6C> b^cjiZh lV^i^c\/''*

J

J

6 ::

@>C< 6A6@:6 b^cjiZh lV^i^c\/,%

@ D B

C>

@

/&* 6 \ A ^c

>D lV^i E 6 h

@ cjiZ ^

b

b^cjiZh lV^i^c\/ (* b^cjiZh g^Y^c\/ )* cjbWZg d[ g^YZh/ ' bZVc lV^i i^bZ/ &,#* bZVc g^YZ i^bZ/ ''#* 148 Infographics

b^cjiZh lV^i^c\/ (,% b^cjiZh g^Y^c\/ &!&&* cjbWZg d[ g^YZh/ (+ bZVc lV^i i^bZ/ &%#',bZVc g^YZ i^bZ/ (%#.,'

b^cji b^cji cjbW bZVc bZVc


cjiZh lV^i^c\/ &(% cjiZh g^Y^c\/ (+% bWZg d[ g^YZh/ &% ZVc lV^i i^bZ/ &( ZVc g^YZ i^bZ/ (+

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!

b^cjiZh lV^i^c\/ &-* b^cjiZh g^Y^c\/ &,% cjbWZg d[ g^YZh/ ) bZVc lV^i i^bZ/ )+#'* bZVc g^YZ i^bZ/ )'#*

b^cjiZh lV^i^c\/ +% b^cjiZh g^Y^c\/ ,* cjbWZg d[ g^YZh/ ' bZVc lV^i i^bZ/ (% bZVc g^YZ i^bZ/ (,#*

*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 100ËšF/37.8ËšC 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, Hawai’i, to its current location in a Boston brownstone. While I was a student at Northeastern University, I gained the reputation as “that guy in the studio who works constantly and never sleeps,� 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


34

23

25

27

28

31

35

36 37

26

32

29

39

30

24

33

40

41 42

43

44

45

46

47

48

49 1

50

51

52

53

54

55

56

57

58

59

14

a typical day’s contents 158 nocturnal design


34

WHAT’S WHAT’S INSIDE? INSIDE?

37 38 38

2

2

6

4

3

3

4

7

5

6

5

7

8

8 9

9

11 11

12 12 10 10

13 13

20 20

19 19 21 21 15 15

16 16

17 17 18 18

22 22

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59

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



Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.