Working Portfolio by Matthew Schexnyder

MATTHEW

SCHEXNYDER M ARCH SEGMENT I

2008-2010

RÉSUMÉ RÉSUMÉ

CONTACT 31 Linden Place, Unit 5 Brookline, MA 02445 617 459 5828 matthew.schexnyder@the-bac.edu

EDUCATION January 2008 - Present

Boston Architectural College [Currently enrolled in Master of Architecture program]

July 2005 - July 2006

University of Oklahoma [Human Relations, Continuing Education Program]

May 1992 - May 1996

United States Air Force Academy [Bachelor of Science Degree, Human Factors Engineering]

September 2009 - Present

Menders Torrey & Spencer Architects, Intern Architectural Designer

Fall 2009

Boston Architectural College, Teaching Assistant, Architectural History

May 2008 – September 2008

Miller, Dyer, Spears Architects, Revit/AutoCad Drafter

June 2008 – August 2008

Boston Architectural College, Summer Academy Design Studio Leader

March 2007 – September 2007

Air Logistics Alaska, Commercial Helicopter Pilot

September 2006 – March 2007

Heli USA, Commercial Helicopter Pilot

May 1997 – July 2006

US Air Force, Officer, Pilot

May 1996 – May 1997

US Air Force, Officer, Teaching Assistant, Human Factors Engineering

EMPLOYMENT

SKILLS Freehand drawing, orthogonal and technical perspective drafting Abode Creative Suite, Revit, AutoCad, Rhinoceros 4.0, SketchUp and other visualization software Scale model-making and computer generated model design and rendering On-site existing conditions surveying and documentation Sustainable design principles and LEED certification document preparation LEED® Green Associate

TABLE OF CONTENTS

A STUDIO //POINTS, LINES,PLANES A STUDIO//WEARABLE DEVICE/INHABITABLE WALL A STUDIO//MUSIC ANALYSIS B-1 STUDIO//20th CENTURY HOUSE ANALYSIS B-1 STUDIO//BOAT HOUSE B-2 STUDIO//PROJECT 0 B-2 STUDIO//ARBORETUM B-2 STUDIO//CHINATOWN CULTURAL CENTER FREEHAND DRAWING ARCHITECTURAL SKILLS PERSPECTIVE DRAWING STRUCTURES I STRUCTURES II PRACTICE PERSONAL DEVELOPMENT

8 16 24 34 48 62 68 78 92 96 98 100 102 105 113

ACADEMIC 2008-2009

A-1 STUDIO

SPRING 2008

CONVERTING 2D TO 3D: POINT, LINES, PLANES Studio Leader : Mila Chun Duration : 4 weeks

The goal of this project is to investigate figure-ground relationships in 2D and discover how they might be expressed in 3D. Emphasis is placed on abstraction, figureground ambiguity, and visual heirarchy. After exploring multiple arrangements of 2D elements, the process of creating 3D models focuses on concepts of extrusion, intersection of planes, mass/void relationships, and enclosure. Ultimately, the 3D model becomes a scaleless object that can be viewed from all elevations. REQUIREMENTS Arrange several 2D compositions using black and white paper on chipboard. The compositions should create deliberate figureground ambiguity. One composition is then extruded and transformed into a final 3D object. Sketches, sketch models, and measured drawings are employed to invesigate and document.

Final model.

Preliminary sketches, early identification of diagonal movement, pixels evovling into curvilinear planes.

11 The three figure-ground compositions to the left are the products of exploring the visual potential of points, lines, and planes. While these derivatives of my preliminary sketches appear formally diverse, they all express a common dynamic of diagonal movement. Unhappy with the rigidity of the pixelated grid, I wanted to further explore the properties of motion using curvilinear planes or freeform ribbons. This preference for the curvilinear allows for an exploration of interlocking/ overlapping figure-ground relationships while exploiting the movement of diagonal elements.

13 Thumbnail sketches and Initial sketch models (opposite page) are interpretations of the chipboard compositions in the language of curved, intertwined planes. Constructing them proved very instructive in defining how curved planes intersect in 3D.

As part of the exercise, we were instructed to visialize/reinterpret the figure-ground studies as intersecting planes. Placed on two sides of a cube and extruded, what resulting 3D geometries appear? More importantly, what fields become masses and what fields become voids? Based on the planes illustrated on the left, I constructed a model and drafted sectional drawings to explore not only the emergent structure, but the scale and spacial qualities of the resultant open and enclosed volumes.

14 14

Based on critiques from my studio leader and colleagues, I made several adjustments to the model on the previous page. The final model reflects a greater attention to connecting previously enclosed spaces and eliminating features that had appeared to be â&#x20AC;&#x153;added onâ&#x20AC;? to the exterior. As a result, the final model evokes the language of the initial figure-ground studies while establishing a balance of mass, structure, enclosure, and volume. To reflect on the transformation from 2D composition to 3D model, we were asked to construct sectional studies of the final model as 2D figure-ground works on chipboard. By doing so, a complete cycle of evolution can be traced from 2D to 3D and back again to the source of investigation.

A-1 STUDIO

SPRING 2008

WEARABLE DEVICE/INHABITABLE WALL Studio Leader : Mila Chun Duration : 4 weeks

Project requirements: Through a series of visual and measured studies, analyze a particular movement/ action. Based on these observations, design a “wearable” device that evaluates this specialized action. Considering this device, then design a wall that can be inhabitated based on the priciples of the movement and device. Develop sketches and models to illustrate these concepts. This project is divided into two distinct design phases. First, a device must be designed to assist or support a particular action or movement. This process requires the documentation of the human scale, the analysis of kinesthetic mechanics, and finally, the construction of the device at full scale. Based on the findings and observations for this “wearable” device, the second project phase represents a change of scale. An “inhabitable wall” is designed as a metaphorical extrapolation of the human scale device and the movement it articulates. Through this exercise, I observed that while there is a relationship between mass and structure, structure does not always reveal the center of gravity or character of mass. At some point in the act of sitting, the structure of the body must be assisted by the chair. The device exposes this tenuous balance between the demands of mass and the limitations of structure. The wall expresses this relationship by suspending the mass of the room from an exposed, precarious structure.

I chose the relatively mundane act of sitting as my movement of analysis. I wanted to investigate this action precisely because it is mundane to the point of being reflexive/involuntary. By examining a series of photgraphs, I began to isolate the stages involved to the process of sitting.

The action is mundane, but physically complex. A second series of photographs more closely documents the structural aspects of sitting. The bodyâ&#x20AC;&#x2122;s structure only supports the body for half of the process. This reveals the assumption that some thing external to the bodyâ&#x20AC;&#x2122;s own structure will intervene to support the mass of the body.

19 My device maps the skeleton and attempts to expose the geometry of the body. By employing this device, it is possible to isolate the structural activity of sitting to determine the point at which the skeletal system reaches its limit to support the mass of the body. As the arms and spine move forward to balance and the legs bend to lower the body, the geometry of this structural map reveals the complex demands a shift in mass can create. It also reveals a dependence on external structure. For the final version of the device (below), I asked myself, “What would be the most minimal addition to the human structure to enable sitting without the influence of peripheral structures? The final device incorporates an “extension” of the spine and demonstrates “suspension” of mass. Ultimately, sitting is an act of confidence, based on our assumuptions about intervening structures and our certitude in their strength.

Details (right) show the PVC structure of the device and the straps which connect the device to the user. The essential stages which express the essemce of the action, the transition of the body's weight from the skeleton to the device, are shown below.

mass carried by skeleton

mass needs external support

mass is suspended from device

CONNECTO

CONNECTOR

ECTOR

MASS

CONN

STRUCTURE

By sketching and isolating examples of mass and structure, I began to conceive of a wall design to express the physical relationships of the wearable device. An initial model (top) shows structure but does not have any mass. It was clear that my inhabitable wall would have to express both mass and structure as unique elements and that a third connector element would have to be introduced to allow for the suspension condition that takes place in the final stages of the device action. For that purpose, I began to think of spheres as placeholders for body mass and an armiture and cables as means for an articulated, independent structure.

To further explore the mass/structure relationship as it might relate to the â&#x20AC;&#x153;inhabitableâ&#x20AC;? wall, I chose a class room wall that overlooks the street. Given that the wall is two stories above ground, it presents the opportunity to explore the physical aspects of suspension. The final model (below) expresses mass as volumes that extend out of the room and above the street. The obvious structure from which the mass is suspended amplifies the message that this mass would otherwise be unable to support itself. As an interior, this structure/mass becomes a collection of inhabitable spaces. The exposed structure gives the user the confidence to step out of the room and work/reside above the street. This action is essentially the same as the mundane act of sitting, only here the metaphor is acted out at an amplified scale and at the risk of hovering two floors above the ground.

subterranean homesick

alien

rtu

de re

rtu

de re

te at re

rtu

r pa

d ve

l so re

te at re

f pe

r pa

d te ita ag

te at re

ick es

r pa

de ick

The amorphic forms of my initial sketches (above) are place holders for specific recurring stanzas and emotions in the composition. They become formalized to express the complexity and specificity of those emotions as depicted in the diagram (right).

A-1 STUDIO

SPRING 2008

TRANSLATING CONCEPTS: MUSICAL ANALYSIS Studio Leader : Mila Chun Duration : 6 weeks

This studio project aims at transforming a musical composition into inhabitable space. Project requirements: Analyze a piece of music from a group of compositions offered by the studio leader. Based on observation, visually record some aspect of the music. This visual record will serve as the basis for further exploration and eventual transformation of the piece into a proposed inhabitable space. I chose the String Quartet’s rendition of Radiohead’s, Subterreanean Homesick Alien. My first impression of the composition was informed by the agitated and despondent atmosphere created by the strings. My analysis is in no way mechanical; instead it is an emotional response to the sequence, mood, and romantic nature of the piece. By identifying and mapping repetitive segments of the song I discovered a cycle that along with the title, suggests a narrative. Despite the “homesick” tones of the strings, the structure of the song allows agitation to give way to hopeful resolution. My intial sketches (opposite page) record this narrative as a body attempting to depart from the inert, “homesick” state. In accordance with the segments of the song, this departure attempt fails several times yet the body remains resolute. By the end of the song, new musical arrangements signal a change, and the body is free to depart. My analysis reveals a narrative of persistence and hopeful departure.

After developing an analytical understanding of the compostion, the studio was presented with a proposed site. While some site analysis was required, the real focus of the project remained on transforming the music into a three dimensional form with spatial qualities. Without a specific program, I began to adapt my interpretation of the song to the site. This was particularly challenging because the site revealed itself to be rather inadequate in length when I placed my interpretation at a human scale. Unable to maintain the linear nature of my musical analysis, I identified the underlying principles that were indispensible to my interpretation of the music. Formally, I decided to loop the segments upon themselves. To adhere to the compositionâ&#x20AC;&#x2122;s metaphor of departure, I extracted 3 axes from my analysis on which the visual metaphor of departure occurs. It is this disconnecting that is the most important emotion displayed in the composition.

Departure in 3 axes

Stacking the sequence to conform to the site and represent the metaphor of departure.

site

section

level 0

I am working here towards resolving the newly assigned program into the music analysis sequence. The drawings show the sequence of departure in section and plan; a journey from the subterranean space for one to the detached/ departed viewing space. The large area on Level 0 is an open air group space.

level 1+

31 The introduction of program added an additional layer with which to explore the concept of departure. The studio was directed to provide a space for isolation and a space for a group. The departure concept as defined by the musical analysis afforded the opportunity to ponder how one might move through a series of spaces and experience the emotional sequence of the song. The multi-level site was the first component in this sequence. By starting in the dark depths of the space, one is forced to wander, gaining and losing glimpses of the sky. This process of denial leads ultimately to upward movement, detatchment from the subterranean, and finally to departure. The last module of the space is literally detached from the structure to represent the final figure in the musical analysis and the metephorical departure of the homesick alien. The final proposal (this page and following pages) is the synthesis of the musical analysis with site and program. The spirit of the initial analysis remains in two ways: 1) the metaphor and sequence of the compostionâ&#x20AC;&#x2122;s emotional narrative and 2) the visual expression of complex forms departing from the ground datum.

Final proposal.

33 33

Final model.

ANALYSIS AND DIAGRAMMING/ DESIGN PRINCIPLES OF A 20th CENTURY HOUSE Studio Leader : Bob Cook Duration : 4 weeks

A full understanding of a building is only possible through observation and analysis. By assessing the existing conditions and contexts of a well known 20th century residence, it is possible to develop a clearer knowledge of not only the structure and its surroundings, but the conceptual design principles that it make it unique. Focusing on methods of critical examination, the processes of identifying, mapping, and internalizing key design principles were at the heart of this project. Out of a small selection of 20th century dwellings, I chose to study the early Modernist house, Tempe á Pailla, by architect Eileen Gray. This dwelling was built between 1932 and 1934 and still stands (albeit in rather poor condition) in Castellar, France. After researching all aspects of site, program, structure, daylighting, circulation, materials, etc., I attempted to record these elements through study models, measured drawings, and diagrams. This combination of analysis and diagramming was essential in developing an informed understanding of the architect’s intentions and successes. It was also essential in developing my appreciation for Gray’s ability to combine a uniqie layering of new and existing construction with Modernist ideals and personal eccentricities. The assignment culminates with an “intervention” of the existing dwelling based on the key principles uncovered through the building analysis. I proposed a single guestroom addition that would reflect the key design principles while respecting the priorities of the original design.

B-1 STUDIO

FALL 2008

Base drawings of the existing structure. The architect built upon existing stone cisterns and, in fact, used similar stone in parts of the new construction.

new slab

new columns

g existin cistern

Gray built upon two existing stone cisterns. In fact, these elements informed her original design in two ways: structurally and materially. The model (left) shows the layering of new and old structural elements. The diagrams depict the sequence and manner in which Gray augmented the existing stone walls; the result is an irregular structural grid and reinforced retaining walls to tame the narrow, hillside site.

existin

Key concept #1. Existing and New construction: Gray’s new construction essentially conforms to the site: terrain, existing structures, and existing paths. But upon this canvas, Gray overlays an irregular structural grid that unifies the existing fieldstone walls and new concrete volumes into a textured whole. Strategically, Gray extends the stone walls to provide a contrast for a Modern vocabulary: concrete and rectilinear mass. As one writer suggests, Gray’s interest in the layering of new and old demonstrates the “material’s expressive potential versus an interest in tectonics.” The existing substructure then serves multiple purposes; most importantly, it provides an impermeable boundary between dwelling and public. But while doing so, it becomes a “texture”, a material to be manipulated. By honoring the history of the site, the spirit of the project predates and enriches the Modern and expresses Gray’s avant-garde tendencies.

RECESSED LAYERS

TEXTURES/STONE AND CONCRETE

The sequence of construction (this page, top). Stage 5 marks the beginning of the architect’s involvement with the site. The diagrams at left highlight the architect’s use of material and recessed volumes to created a highly textured facade. The use of a variety of materials and the manipulation of depth to break up the elevation are the primary visual strategies used on the exterior of the building.

Key Concept #2. “Bridging” and Privacy. First and foremost, Gray designed this building as a personal retreat from her Paris lifestyle. By rejecting the “free plan”, Gray has created a space shifting ground plans, functional zones, and semiindependent compartments. Special emphasis is placed on threshold and boundaries. The “corridor” is entirely removed from the plan and relocated to the exterior (pedestrian pathway) to maximize the use of highly specialized zones. The line between architecture and furnishing is blurred and spaces are allocated multiple, specific functions, e.g.: studio/ living room and entry/dining area. The home is designed inside out with greater priority given to functional, interior volumes over exterior, formal gestures. In addition to primary entryways, Gray offers two alternative access routes. Both of these routes are exterior “bridges”. One is a literal bridge between the terrace and garden and the other links terrace, guestroom, and street. It seems the primary purpose of these lanes is not convenience, rather privacy. In one case, a bridge joins home and garden while circumventing the public path. In the other, the guestroom is connected to the street and terrace while avoiding contact with the main living spaces. This speaks to the dwelling’s primary, stated purpose of “isolated retreat” and highlights Gray utmost regard for privacy.

The building is unusual because it lacks a central interior corridor. The corridor is removed to the exterior; there are even two entrances, one for the owner and another for the live-in house-keeper. One literal bridge and a stairway that acts as a bridge allow access to the main living area while avoiding trespass of the “private” zones.

CIRCULATION/BRIDGING

The narrow site is defined by the terrain, the existing public path, and the street. The retaining wall facing the street deliberately becomes a boundary between public and private.

SITE FORCES/AXES

The dwelling can be broken into unique, semi-independent volumes. Boundaries are strategically employed to highlight thresholds between private and public spaces.

DAYLIGHTING

slab/bridges

FIGURE-GROUND ELEVATIONS

external rooms

interior volumes

ownerâ&#x20AC;&#x2122;s domain

axon

wireframe

terrain

GRIDS AND ALIGNMENTS

VOLUMETRIC STUDY MODELS

I attempted to document as many aspects of the building as possible through a variety of media. Work on this page and opposite contributed directly and indirectly to my overall understanding of the building’s situation on the landscape, its program, and its components. The models here document the three dimensional shapes of Gray’s interior spaces which guided the formal development of my “intervention”.

INTERVENTION Based on my understanding of Gray’s compostion, I found that the key concepts of mixing existing and new construction and “bridging” would be necessary and logical components of any built intervention on the site. The nature of this project, approaching an existing site and building upon what is already there, is sympathetic to Gray’s original design. After all, even she appropriated the existing elements of the site to guide her own composition. As I began to sketch through possible formal and programatic additions to the existing structure, I looked for opportunities to built upon existing physical elements. Hoping to use an existing garden wall adjacent to the front patio and garden bridge as a foundation, I sketched ideas of a detached guest house. Materially, this would also present an opportunity to use the field stone of the old walls and the concrete of Gray’s Modernist pallet. The second key design principle, bridging, is also appropriated in my design intervention. By locating the detached guest house on the garden side of the existing patio bridge, I am able to respect Gray’s relatively strict divisions of private and public space. Like the original, the circulation to and from the guest house is kept outdoors. Access from the guest house to the semi-private front patio is accomplished by using the patio bridge without trespassing the private domain of the main residence.

Sketches here explore the siting and form of the new guest house. The result is a “bridge tower” that mirrors Gray’s formal elements while respecting the division between public and private zones. The square footage of the guesthouse is approximately based on the size of the existin housekeeper’s quarters.

The guest house (upper left of axon) features several elements of the original: a dedicated stair, a retaining wall, full length glazing oriented to the west, and a mix of existing and new structure. The overhangand long column of the new construction mimick the pole and shading feature of the existing front patio. The interior (right) features formal elements and built-in furniture inspired by Grayâ&#x20AC;&#x2122;s design.

Grayâ&#x20AC;&#x2122;s priority for privacy is articulated through the use of semi-independent living units and external bridges and corridors. The new guest house and resulting program are based on this model. The diagram at bottom left highlights the role of bridges and external stairs as links between uniques functional (private and semi-private) volumes. The elevations (right page) show how materials not only create a variety of textures, but also link the present and the past. In this case, the stone material of the foundation walls visually links Grayâ&#x20AC;&#x2122;s residence with the new guesthouse. Also note the new retaining wall (in plan) which, like the main residence, is required to site the addition on the steep terrain.

SITE FORCES/AXES

NEW CIRCULATION

47 The digrams on the opposite page highlight additional links between the existing and new construction. The Site Forces/Axes diagram indicates that the axis of the new retaining wall is derived by continuing the array between the existing road/retaining wall and the existing footpath. In other words, the angle of the new wall is drawn from the intersection (origin) of existing axes. The final diagram (this page) documents the evolution of the site from a period prior to any built structure through the addition of my proposed guest house. This is a means of linking the spirit of my intervention with that of Eileen Grayâ&#x20AC;&#x2122;s. Aside from learning valuable lessons regarding Grayâ&#x20AC;&#x2122;s design methods and process, this project demonstrates the unique potential of adaptive reuse, a potential that Gray realized in 1932. The critical assessment and understanding of existing structures can lend a rich texture, inspiration, and meaning to new construction. Also, analysis and diagrams are essential tools for documenting and developing that understanding.

B-1 STUDIO

FALL 2008

SITE ANALYSIS: CHARLES RIVER BOAT HOUSE Studio Leader : Bob Cook Duration : 10 weeks

Site analysis is essential to establishing the context for new construction and an invaluable method for balancing specific program and functional needs. This project focusesd on site analysis as a basis for site programming, building programming and design development. Tasked to design a boat house on the Charles River, I chose to provide a link between the Back Bay community and the river by creating improved access opportunities, a public boat house to introduce the activity of rowing to the community, and landforms to add to the value of the riverside green space. The site and building offers visual, physical, and activity-based connections to the Charles River. The site and building offer visual, physical, and activity-based connections to the Charles River.

Evolution of the Charles River

Community

Greenspace

River

Site Circulation

Proximity to Community Infrastructure

The diagrams on the opposite page depict the broader context of assigned site, the Charles River. Conceptually, the evolution of the Charles River has been shaped by human needs. As in the past, we look at the site with our own needs in mind. The diagrams here document the site as it exists today; its challenges, potentials, and relationships to adjacent infrastructure. This analysis reveals a site with limited physical connections between the community and the river, despite an apparent desire of local residents to experience the recreational potential of the riverside area.

Boston has a long relationship with the Charles River. While not an outright antagonistic relationship, it is one charaterized by manipulation and human intervention. Since the 18th century, we have seen the Charles River as obstacle, opportunity, and object of desire. Clinging to those various attitudes, we have been inspired to reclaim the marches, build roads over what once was water, harness and reshape the river to suit the demands of an expanding urban population, and in some cases, sculpt the river to rekindle connections between man and a domesticated nature. While our intentions toward the Charles River habitat have spanned the reange between abuse and romantization, we have always felt it quite appropriate to modify the landscape, for which there are many historical examples. Today, the existing conditions are challenging. The road system is essentially a semi-permeable barrier between river and residence. As a general site concept, I would attenp to restore the connection between city and river. My intervention is shaped by a reaction to the attitudes of those that came before us. To restore our physical connections to the river habitat, I propose a reshaping of the landscape that would 1) provide new pedestrian connections, 2) re-integrate the river park into Back Bay by bridging over the vehicle lanes, and 3) create a land expansion to accomodate new river park features and the proposed boat house.

The precise site location (this page, top) was chosen for its potenial to be framed from various veiwpoints; ideally, the site should also have a close proximity to existing pedestrian access and have the potential for new, convenient access. This diagram and the diagrams on the opposite page demonstrate my site concept: Isolation of community and river are transformed by integration and expansion.

Back Bay community

traffic below

pedestrian overpass

existing river bank

new land forms

new river bank

The diagram at right and conceptual model below attempt to more clearly show the extent of the proposed land development. Unlike past efforts of reshaping the Charles river bank (e.g., Olmsted, late 19th century) my proposal is overtly “man-made” as opposed to “picturesque”. This will hopefully convey some honesty regarding the manipulation of the habitat for human use.

53 The introduction of program on the site allows the opportunity to address the community and its relationship with the river. If the site analysis and modifications help stregthen physical connections between the community and the riverside, then the boat house program reinforces that connection through activity. Since my concerns thus far relate to community needs, I chose to specify that this boat house proposal be a â&#x20AC;&#x153;communityâ&#x20AC;? boat house that would be open to the public. This determines that the program would then have two objectives: 1) to serve the public and give access to a unique activity, and 2) serve the needs of the elite athletes and staff who might use the facilities for training. To better understand (or represent) this dual function of program, I turned to the sport itself. The two fundemental reference points in the rowing stroke are the catch where the blade is placed in the water, and the extraction where the oar blade is removed from the water. Pondering this analogy, I began to sketch ideas that might express the dual purpose of the program in one unified form.

Below, conceptual sketches of two rectilinear forms that diverge yet share a common circulation space. These sketches are formalized in the diagram shown above.

55 The catch and extraction metaphor implied to me two linked but distinct and diverging rectilinear forms oriented in a “v” shape to express the two actions of the rower’s stroke. The down river form is the catch phase. Implying the blade of an oar, this form houses community and event program functions. I feel this is fitting for two reasons: 1) newcomers and the community not familiar with the sport will interact directly with this form as it will house classrooms, event spaces, and community orientations to the sport and 2) this introduction of the community is much like setting the oar onto the river for the first time. The second form is larger and positioned to appear as if being extracted from the river. This is to illustrate the final phase of the rowing stroke and appropriately houses the more technical elements of the program, athlete training and coaching. Assuming that there will be a more organized base of users, e.g., teams in training from local schools or clubs, this extraction form will accommodate team meeting rooms, coaching offices, and weight training facilities. As I stressed in my site concept, I am seeking to increase connections between the community and the river. Regrading this concept of integration, there are several aspects of the boat house design that attempt to reiterate this concept. While there are two distinct functions and forms that constitute the boat house, I intend for them to be integrated, not independent. This will be accomplished by using the boat storage area as a common circulation area between athlete and community functions. The boat storage area will have common access and serve as a place where elite and novice athletes can interact. The boat house proposal offers users and the general public a platform from which to experience the river visually and/or through activity and interaction. This diagram (left) plots the axes of visual and physical connection between the community (or river park users) and the river. Visual connects are achieved with glazing while physical connections imply access to the water’s edge. Essentially, the two forms become ducts through which the user may have varied, experiential connections with the river. The sketches (opposite page) are explorations into the siting of the two rectilinear forms and the experience they might create for the user. The sections on the right show the diverging arrangment of the two forms; one angled towards the water’s edge, the other lifted high out of the water.

Diagrams document the proposed changes to the site and the addition of the community boat house.

59 The final drawing set (this page and opposite). The two detailed drawings (this page, bottom) are sections through the entrance and depict some material choices.

Sequence above: This model shows the interior of the diverging forms and the common circulation that connects them. Note that the skin of each form is unique; one form is rendered in structural glass while the other is rendered in wood. These material choices come form the highly glossed boat hulls (glass-like) and the polished texture of the wooden oars.

Sequence below: The model at far left is an earlier conceptual model exploring the juxtaposition of two unique forms. This later evolved into the final conceptual models (and proposed building) which show the skin of each component rendered in opaque glass and wooden panels respectively.

B-2 STUDIO

FALL 2009

PROJECT 0: TECTONIC INVESTIGATION

NOTCH & JOIN This is a method of forming connections between two or more components. The operation of notching allows each component the ability to interlock with other members in a modular system.

Studio Leader : Ned Baxter Duration : 3 weeks

This studio project focuses on tectonics. Given a series of random detail drawings, we were tasked to explore the tectonic potential these details might present through sketching and/or model building. Out of these initial explorations, I chose one detail to further investigate. This detail is then explored further through sketches, measured drawings, and physical models. We were also encouraged to look at the tectonic at a variety of scales. I found it helpful (and quite necessary) to also use computer models to manipulate the tectonic in the numbers required to form architectural scaled surfaces. While this was considered a short studio assignment, I found great pleasure in developing a working tectonic logic from a simple, somewhat ambiguous detail drawing. I tried to develop my presentation of the tectonic, its evolution and its logic, through the use of a storyboard. The work samples here are presented as close as possible to that storyboard sequence. By relating the development of the tectonic chronologically, I feel it best presents the nature of its evolution and logic. I found this exercise helpful in looking for a certain logic in tectonic strategies. It is not only helpful in the following studio projects, but helpful in comprehending the logic (or lack thereof ) in our current built environments.

1 3 2

The explorations on this page and opposite were not chosen for further development. However, I include them here because these early investigations helped be better understand and document the potential of tectonic relationships. I eventually chose a fourth tectonic detail for development (as depicted throughout the following pages).

COLLECT & COVER

ENCLOSED VOID

COLLIDE & FUSE

This detail shows an intersection between two units, one a mass with an enclosed void, another mass with an open void. My study looks at what might happen when the intersection is exaggerated to create a spatial link between the voids of each object. In this case, the mass is always subordinate to the void to reveal a connection to the enclosure.

The detail desribes a collection of objects packed into a congruous form. This collection is then uniformly covered by a thin material layer. The operation of “covering” becomes most significant since the number, size, and arrangemnet of the objects can change. The “cover” drapes the objects then records the resulting terrain.

MASS

OPEN VOID

project 0

ANGLE & PIN 1. A fourth detail inspires a basic connection: two members joined by an angled pin.

5. Here the tectonic changes as a result of studio feedback and the admission of the limitations of the previous method of joining with a bent metal plate (aesthetic and structural limitations). The single pin connection (a screw) reduces weight, is easier to assemble, and can be counter-sunk to both strengthen and hide the connection.

2. Through sketching, I attempted to discover how this simple joining logic could be used to form a surface; the rigid, angled connect established a geometry while the tiles form an undulating surface.

6. To make the single pin connection work, the geometry (previously a property of the angled plate connector) is transposed from the connector to the tile member itself.

geometry

CONNECTION:

UNIT:

ANGLED PLATE

TILE

3. A scale model with a finite number of members; presumably, this pattern could be extended (until we run out of pieces!)

4. These sketches and digital model samples are attempts to discern the logic of the connection and surface: how many components are really necessary to form a surface, or are there other potential patterns?

7. The single pin connection basic components.

8. Imagine this forming an infinite undulating surface. Varying the arrangement of the tiles will yield variations in pattern (this variation will also create curves that help the surface carry its own weight).

UNIT 1:

ANGLED TILE CONNECTION:

UNIT 2:

TILE

1x pattern

turning corners

9. I explored the tectonicâ&#x20AC;&#x2122;s ability to form patterns and turn corners via digital model. The digital model made it possible to test the potential of the tectonic as an assembly of hundreds of pieces (something not possible to do with physical models given the short time frame of the project).

13. Again, imagine this continuing in all directions! One property of the final assembly that I did not anticipate is that the rather mechanical assembly pattern is juxtaposed with the warm grain of the wood. This pattern rendered in another material (perhaps metal) would not be nearly as evocative or appealing to the senses.

the final version emphasizes the method of connection; the method of connection becomes part of the pattern.

10. However, I did construct a physical model to scale with a finite number of components. The final assembly underwent two last changes; the single pin connect is replaced by two screws and the angled tile is routed on two sides to accommodate the connectors. Unlike the previous version, this method makes the connection method visible, adds another layer of texture to the whole assembly, and improves the strength of the assembly.

14. The project concluded with an assignment to employ the resulting tectonic assembly at various scales. This shows a self-supporting wall and ceiling assembly.

passing through

Typical Connections/Geometry

Right

Front

Section

Top

Section

11. Final assembly.

15. Here the tectonic is deployed as a screen to divide outdoor spaces.

Section

Typical Corner Connection/Geometry Front

12. Detail of typical corner geometry.

15. Here, instead of 3” wooden tiles, the tectonic utilizes 6’ square sheets of plywood.

waiting for aid finding a path

B-2 STUDIO

FALL 2009

PROJECT 1: ARNOLD ARBORETUM EDUCATIONAL PAVILION Studio Leader : Ned Baxter Duration : 4 weeks

Building upon the tectonic investigations of Project 0, this project looks at the tectonic as it might relate to a specific site. The Peter’s Hill area of Arnold Arboretum is a somewhat isolated (and perhaps neglected) site with a great potential for improved development and facilities. This studio project aims at proposing a new visitor’s learning pavilion to promote accessibility and the visitor’s experience. With relatively simple program requirements (an office, utility closet, restroom, and a semi-enclosed outdoor gathering space) it is a perfect opportunity to employ the previously explored tectonic assembly. However, given the rich history and sensitive community issues of the site, this tectonic strategy must be balanced with a critical analysis of the site and its contexts. Through careful observation and site analysis, the resulting proposal should be useful to the park’s visitors and make a positive contribution to the landscape and experience that is the Arnold Arboretum. The first task was to propose a small bus stop adjacent to the proposed site (this structure is independent of the pavilion assignment). This is a chance to use the tectonic assembly at an architectural scale. I found that my assembly could in fact be manipulated to accommodate a simple program. Its primary limitations are aesthetic as the strict geometric rules it relies on for structure dictate the form. Nevertheless, I was able to scale and shape it for practical use.

The bus shelter shows how the tectonic can be deployed to accommodate a specific scale. I resized the tiles to 18â&#x20AC;? (the width of a typical chair seat) so that it could be used as seating.

70 Of the two possible sites at Peter’s Hill for the proposed pavilion, I was immediately interested in documenting the site which overlooks a small, flat meadow toward the residential area of Jamaica Plain. I feel that this sight has the strongest potential relationship (practical and visual) with the community. There is also an existing feature on this site which prompted me to translate some of the concepts from my tectonic exploration. I found the properties of an existing bamboo grove to be similar to my assembly; both form a screen whose apparent density changes based on the viewer’s perspective. My documentation and analysis of the site prompted me to consider the proposed pavilion as an addition to the existing bamboo grove.

site forces rk

a op

ath

al p

informal trail

un t

ra il

bamboo “screen”

co m

Peter’s Hill

re e

m for

residential

1 East - West Section Through Site 1 & Site 2

proximity extends existing natural screen proximity highlights pattern and density This bamboo grove and elevation change form trail to open, flat meadow are the most striking features of this site; I was immediately interested in the potential of these conditions

2 North - South Section Through Site 1

3 North - South Section Through Site 2

72 The placement of the proposed pavilion on the Peter’s Hill site is intended to provide a visual and symbolic connection between the community of Jamaica Plain and the Arboretum. Like my tectonic solution, the pavilion will “connect” to the terminal end of an linear, existing bamboo thicket. The pavilion will join this site feature through proximity and site placement to increase the presence of this barrier. But unlike the bamboo barrier, the structure will provide and highlight a method of passage through (rather than around) the barrier between the exhibit space and gathering space. This attribute will take advantage of (and hopefully improve upon) an existing, informal trail that cuts through this area. The structure itself is based on the method of joining elements together at an angle. On a large scale, the walls, ceiling, and floor planes behave like units within the tectonic assembly that I have explored in the last few weeks. At a smaller scale, that same tectonic strategy will be employed to create walls and ceilings of varied porosity. A key element will be the use of solid and perforated elements to frame views from the interior to exterior and establish the relationship of interior exhibit space to the outside environment, particularly the existing bamboo grove.

Roof Plan

site forces rk

a op

1. 2. 3. 4. 5. 6. 7.

Existing Bamboo Exhibit Space Passageway/Entry Office WC Utility Gathering Space (Semi-Enclosed) 8. Park Path

ath

al p

4. 5.

bamboo “screen”

un te rr ai

RAMP DN

Peter’s Hill

informal trail

re et

m for

Floor Plan

residential

Peter’s Hill, Arnold Arboretum This siting diagram shows the proposed pavilion’s relationship to existing site elements.

Roof Plan and Floor Plan SCALE : 1/8” = 1’-0”

Section A

North West (Facing Park)

Section B

Section C

South East (Facing Public)

Section A

Peter’s Hill, Arnold Arboretum

Elevation and Section SCALE : 1/8” = 1’-0”

Section C

Peter’s Hill, Arnold Arboretum

South West (Adjacent Bamboo)

North East (Facing Poplar Gate)

Elevations and Sections SCALE : 1/8” = 1’-0”

mesh

1 solid PLANAR COMPONENTS

mesh

2 JOIN GEOMETRY

core FOLD (ANGLE) FOR ENCLOSURE

floor plane

4 BEND FOR SITE The diagrams on this page show the methodology behind the form of the proposed structure. In the diagram on the left, the tectonic is used at a macro scale; the elevations of the building act as singular planar components that are then joined. The angles of those joints are then manipulated to create inhabitable spaces.

The exploded axon above shows the two smaller scale uses of the tectonic. The mesh of the semi-enclosed gathering space and the screen of the far end of the covered hall are variants of the tectonic assembly.

This â&#x20AC;&#x153;unfoldedâ&#x20AC;? study model shows the grid-like arrangement of planar components as it resembles earlier photographs of the tectonic from Project 0.

The model of the final proposal, above, shows how the final form is bent to conform to the existing path while maintaining its adjacency to the existing bamboo grove. The building is meant to be a screen through which the community can enter the park.

76 The proposed Peterâ&#x20AC;&#x2122;s Hill pavilion attempts to tie directly into the existing features of the site. It is not meant to be viewed as an isolated or singular entity in the landscape. Like the foliage that the Arboretum is dedicated to preserving for the enjoyment of the community, the pavilion has varied layers of density and opacity. This is achieved by employing the tectonic at varied scales; from a macro scale that defines the overall shape to a micro scale that defines the level of visual permeability of certain walls. In some cases, the patterns and density of the tectonic are highlighted by their proximity to site forces. The end wall adjacent to the existing bamboo, for example, is designed to give the visitor a visual connection to the bamboo. Unlike glazing, the tectonic would allow air, smells, leaves, and sounds to pass between zones, hopefully sparking an awareness of the parkâ&#x20AC;&#x2122;s beautiful natural features.

proximity extends existing natural screen proximity highlights pattern and density

B-2 STUDIO

FALL 2009

PROJECT 2: CHINA TOWN CULTURAL CENTER Studio Leader : Ned Baxter Duration : 8 weeks

sampan

Boston’s Chinatown is a place with a rich cultural history; it is sometimes difficult to sort out exactly what forces are at work. The object of this project was to apply site analysis and tectonic strategies to a proposed Cultural Center for the Chinatown District. A site was assigned for the project. It is a small lot squeezed between a typical concrete multi-use building and a small greenspace with a large brick exhaust tower. Located near the main gate of Chinatown, this site has the potential to be transformed into a cultural gateway; a place to celebrate and explore the cultural identity of Chinatown. This project was completed through several phases. First, much site analysis was accomplished to discern the prevalent character of the district. Soon after, elements of program for the final center were introduced including a performance space, a gallery, office space, and live/ work quarters for three resident artists/performers. Building upon site analysis and documentation, a small assignment was undertaken to design a facility for a specific piece of program for a Chinatown site other than the assigned site. I found this step instrumental in finding my direction for the final proposal. Lastly, we were tasked with offering a formal proposal for the center that not only addresses the cultural character of the district and needs of the users, but makes a logical tectonic statement. The sampan and paifang are both cultural symbol adopted by the Chinatown community. The sampan can be seen on the existing site in the form of an abstract mural. The paifang (or “gate”) is the most recognizable feature of Boston’s Chinatown. Both of these symbols reference the hope and good fortune of the community; these symbols inform my approach to this project.

paifang

C C C

H I N A T O W U L T U R A E N T E

N L R

public green industrial commercial institutional mixed use residential

0ft

300ft

600ft

chinatown gate

hudson street

albany street 0ft

150ft

300ft

My initial documentation of the site focused on geography and the areaâ&#x20AC;&#x2122;s relationship to adjacent districts.

BOSTON CHINATOWN

31K 38 2

15K

DOWNTOWN/ CENTRAL

40K

41K

32 3

EAST BOSTON

CHINATOWN

BACKBAY/ BEACON HILL

SOUTH BOSTON

SOUTH END

LOCALIZED

SENSE OF CULTURE ETHICITY &

LANGUAGE IN THE HOME

My research on Chinatown revealed that culture is preserved in the home in the form of language; statistics show that the majority of Chinatown residents speak an Asian language in the home. This establishes a need in the community to have a cultural center that provides another outlet to promote culture through language, performance, and the arts.

MEDIAN HOUSEHOLD INCOME ($) HOUSING TENURE, OWNER OCCUPIED (%)

IDENTIFIES SELF AS ASIAN (%) ASIAN LANGUAGE SPOKEN IN THE HOME (%)

CHINATOWN

DOWNTOWN/ CENTRAL

BACKBAY/ BEACON HILL

42K

69K 4

EAST BOSTON

MARGINALIZED

SENSE OF OWNERSHIP INCOME & RENTAL HOUSING

STRUCTURE

COMMUNICATION NETWORKS & BULLETIN BOARDS

enclosed

semi-private

LANGUAGE

CULTURE

enclosed private

COMMUNITY

PRESENT PAST

open public

Typical Arrangement of Chinatown Residential/Commercial/Public Space

A central community bulletin board stood here until 1991. The bulletin board was a long-standing tradition in Chinatown, emulating the custom in China where announcements, job notices, news items, and cultural events were posted in a similar fashion. The bulletin board helped to foster community cohesiveness and served as a neighborhood resource center.” The Bostonian Society (http://www.bostonhistory.org/?s=education&p=histmarkers&sub=m_china) “As the wall became a fixture of immigrant life, so did the myriad of family associations, regional associations, Chinese schools, and faith communities. In many ways, these social institutions sustain the fabric of Chinese culture and chronicle the changes through the generations from the Chinese Exclusion Act to the immigration growth in latter half of 20th century.” Samuel Tsoi, Sampan Newspaper (http://sampan.org/show_article.php?display=2004)

My initial reactions to the district focused on the mass of the built environment. . It is not surprising then that signage is so prevalent. In fact, signage here is not new. A community bulletin board existed in Chinatown until the early 1990’s. I want the final proposal to promote communication by being more visually accessible.

boston common

performance space

chinatown gate chinatown gate

chinatown gate

FILMS AT THE GATE . ORG FILMS AT THE GATE . ORG The first design assignment of this project was to consider a Chinatown site to place one particular element of the assigned program; I chose the performance space because it is a perfect vehicle for displaying culture and fostering public interaction. This exercise is not part of the final proposal, but just an exercise to test-drive some early design intentions. I was interested in a garage entrance because unlike the rather solid facades of Chinatown, the garage opens into a wide, well-lit slope; I imagined a concert or gallery performance in this unusual space.

FILMS AT THE GATE . ORG

PERFORMANCE

The Chinatown Performance Space allows local residents and visitors the opportunity to venture into the interior spaces of the typical Chinatown built environment. Like an “interior” vacant lot, the use of this space is intented to give life to the local culture. It provides the occassion to explore (in cultural, vertical, and horizontal senses) in a more experiential way than simple passing the many storefronts. While the typical storefronts strive to communicate and outward hospitality, the mass and solidity of this post-industrial sector can create a boundary between the pedestrian and the bustle and activity of Chinatown’s spaces. For thethe non-local visitor, perfornace space andspaces the activities it hostsChinatown can begin to The Chinatown Performance Space allows localinterior residents and visitors opportunity tothe venture into the interior of the typical meaning to thean unexplained signage, traditions Chinatown. Forlife thetoresident, is a conduit to communicate to a to curious public; builtgive environment. Like “interior” vacant lot, sights, the useand of this space isofintented to give the localitculture. It provides the occassion explore a vehicle to promote and celebrate a sense of community, culture, and simple ownership. (in cultural, vertical, and horizontal senses) in a more experiential way than passing the many storefronts. While the typical storefronts strive to communicate and outward hospitality, the mass and solidity of this post-industrial sector can create a boundary between the pedestrian and the bustle and activity of Chinatown’s interior spaces. For the non-local visitor, the perfornace space and the activities it hosts can begin to give meaning to the unexplained signage, sights, and traditions of Chinatown. For the resident, it is a conduit to communicate to a curious public; a vehicle to promote and celebrate a sense of community, culture, and ownership.

stage

stage seating stage

seating seating above

seating

seating above street

TYPICAL RETAIL TYPICAL RETAIL TYPICAL RETAIL

boston common

performance space

stage stage ramp

boston common

stage

ramp ramp

chinatown gate

TYPICAL RESIDENTIAL chinatown gate TYPICAL chinatown gate RESIDENTIAL PERFO RMANCE TYPICAL RESIDENTIAL PERFORMANCE

TYPICAL RETAIL TYPICAL RETAIL TYPICAL RETAIL

C H I N A T O W N P E R F O R M A N C E S P A C E C H I N A T O W N P E R F O R M A N C E S P A C E

boundary between the pedestrian and the bustle and seating above activity of Chinatown’sstreet interior spaces. For the nonlocal visitor, the performance space and the activities it hosts can begin to give meaning to the unexplained signage, sights, and traditions street of Chinatown. For the resident, it is a conduit to communicate to a curious public; a vehicle to promote and celebrate a sense of community, culture, and ownership.

what happens inside

what does that mean

physical barriers, language barriers, localized culture, stereotypes, cultural barriers, immigrants, americans, isolation, exclusive culture, minority, novelty, commerce, identity, ownership, introverted,

communication, information, misinformation, private life, public sphere, commodity, signage, food, income, history, propriety, righteousness, honest, humility, potential

site section of a monolithic chinatown

what are they saying

now i might

sound, drama, music, comedy, politics,

action, activism, fes-

understand

tival, memorial, gathering, inclusion, exploration, dialogue, monologue, education, inspiration, commitment, fun, romance, tragedy, communication, curiosity, culture

site section of a permeable chinatown

After considering the site context and the performance space assignment, I committed to a final design that would convey a sense of openness, as if one could simply pass through and in the process discover something new about the culture. These diagrams are elements of a conversation that might take place between the community and a broader public through the vehicle of a cultural center.

roof

existing structure

level 1

level 2

entry from greenway

ramp up (garden)

public/staff mtg reception/ staircase

ramp up to entry (gathering)

lower exhibit entry from community services (public)

sidewalk B

bulletin board

sidewalk

peformance

existing building

entry/stairs for live/work; 2nd egress performance

The drawings and model on this page are my first iteration of the cultural center. While the needs of the program are met, the building does not convey a sense of openness. However, the element of providing a covered area above the sidewalk (by pulling the street-side facade into the building) is feature retained in later developments.

staff

live/work

sampan

live/work units as independent modules

building as gateway PERFORMANCE boston common

performance space

chinatown gate

FILMS AT THE GATE . ORG

stage stage ramp

chinatown gate

TYPICAL RESIDENTIAL

seating

seating above

street

TYPICAL RETAIL

C H I N A T O W N P E R F O R M A N C E S P A C E TYPICAL RETAIL

paifang

After feedback from my first iteration, I realized that I could build upon my initial efforts by adopting the sampan and paifang as design elements. In some ways, my previous performance space design acted as a broad gate; this generous entry both makes the building visually accessible and presents the cultural activities in plain view. Additionally, the sampan offers a perfect metaphor for the guest artists’ live/work units; they are like small boats docking in the center for a short time to share their knowledge and creativity. From these images, I derived my final proposal.

7 3

2 7

CTCC 1. Entry 2. Performance 3. Backstage 4. Gallery 5. Reading Room 6. Studios

7 1

section a

7. Live/Work 8. Director’s Office 9. Conference Rm. 10. Staff Lounge 11. Staff Office

section b Because I have chosen to associate the live/work units with the image of the sampan, they are allowed to “float” free of the main structure of the building. They are deliberately arranged at angles to show that they are independent elements. This also plays into the image of the building itself as a gate. On one side the sampans enter and dock. On the other side, pedestrians enter through a broad glazed entry adjacent to and in view of the performance space. The building is a gate on both street sides, while the elevation facing the green space remains relatively solid (its openings are veiled by an exterior copper mesh).

1 live/work

CTCC

site pl

To complete the metaphor of building as gate, I sized the performance space according to the proportions of the existing Chinatown gate; the model opposite top shows this relationship. The bottom three pictures on the opposite page show detail views of one sampan (live work unit) and its relationship to the main buildingâ&#x20AC;&#x2122;s floor plane. It is deliberately placed just a few inches off the second floor to accentuate its â&#x20AC;&#x153;floatingâ&#x20AC;? situation. It is supported by thin steel pylons.

Renderings of the final proposal act as study models for material conditions. Because I want the whole building to read as a gate, it is necessary to veil the upper openings; this makes the street level access more apparent as it functions as a gate. The section rendering visualized the relationship between the sampans and the core vertical circulation of the building.

m a t e r i a l s / f a ç a d e a

copper

COPPER AND BRICK CLADDING RENDER MASS AS UNIFIED WHOLES. IN DAYLIGHT, COPPER AND BRICK CLADDING SHARE SIMILAR QUALITIES: COLOR AND TEXURE GIVE A UNIFYING APPEARANCE TO THE NEIGHBORHOOD.

m a t e r i a l s / f a ç a d e The Community Center façade borrows from the deep entrances and cut openings of the local neighborhood but manipulates this language to subvert the mass of the typical masonry conditions. a) The deep entrance cove is widened to open the activity of the ground level program to public view. b) Since the mass and texture of the building is passed on to the copper skin, glazed openings are expanded. And since they do not measure scale as in the masonry construction, they are allowed to evade regular placement and size. Instead, they are placed to suit program and lighting requirents and remain masked (until illuminating interior spaces.) c) The building is essentially a shell similar to the local typology. However, the openings of this shell are exaggerated and are veiled by a cladding that subverts perceptions of opacity and scale.

brick

COPPER CAN BE TILED TO CREATE PATTERNS AND VARIATION; A KEY CHARACTERISTIC OF A MODULAR UNIT SUCH AS BRICK. BY CHANGING THE SCALE AND MATERIAL OF THE UNIT, COPPER CLADDING IMITATES THE LOCAL NEIGHBORHOOD WITHOUT COPYING IT.

HOWEVER, COPPER SCREEN BEHAVES DIFFERENTLY BY CONCEALING SCALE. WITH COPPER, SCALE IS REVEALED WHEN ILLUMINATED FROM WITHIN. THIS IS A CHARACTERISTIC CONTRARY TO OPAQUE, MASONRY CONSTRUCTION. COPPER ALLOWS US TO “SEE” INSIDE.

COPPER SCREEN CONCEALS OPENINGS WHILE MASONRY IS MEASURED AND PUNCTUATED BY THEM. COPPER CLADDING REVERSES THE LOCAL CONDITION OF MASS AND OPACITY.

WHEN THE SCREEN IS PUNCTURED, IT ALLOWS AN OPPORTUNITY FOR MATERIAL CHANGE AND THE CHANCE TO EXPRESS THE DEPTH OF THE ENTRY OR APERTURE. a. David Chipperfield, Des Moines Public Library, Iowa; b. TEGET Architectural Office, Istanbul, Turkey; c. Mangado y Asociados S L, Archeology Museum of Vitoria, Spain.

6 mm single-pane security glass on the outside, an expanded copper inlay in 2 mm cavity 6 mm single pane security glass with a sun and heat protective coating 14 mm air-filled space 6 mm single security glass pane.

The triple-glazed Okatech cladding elements were assembled in Germany by Okalux and shipped to the US as sealed units. The facade elements used in Des Moines were then silicon-bonded to an aluminium sub-frame, which was in turn bolted to steel fixtures set into the concrete floor slabs at 4ft centres.

The models above show the principle features of the final building: the wide entry on one elevation, the live/work units extending from the main building on the second elevation, and a copper mesh skin covering all but the main openings. Below are study models executed before I chose a method of rendering the exterior. My main concern was to allow views out of the building while maintain the â&#x20AC;&#x153;appearanceâ&#x20AC;? of a massive building for the purposes of maintaining the metaphor of a gate. I finally chose a copper mess for the qualities discusses on the opposite page.

SPRING2008 FREEHAND DRAWING Instructor: Mike Daniels Duration : 1 Semester

This course offered a broad introduction to freehand drawing and visual composition using a variety of media. With an emphasis on visual proportion and drawing from observation, this instruction included still-life, figure, gesture, perspective, and contour drawing methods. Drawings were accomplished in graphite, charcoal, ink, and color pencil. This course was a great re-introduction to freehand drawing. For years I have kept a sketchbook. However, the exercises completed in this semester provided an opportunity to improve my visual observation and drawing skills. Methods of drawing and observing learned in this course have broadened my ability to express my ideas.

SUMMER2008 ARCHITECTURAL SKILLS Instructor: John Murphy Duration : 8 Weeks

Architectural Skills was my first introduction to technical architectural drawing. I found it very satisfying to learn the art of drafting. Perhaps more importantly, I began to develop a knowledge and appreciation for drafting conventions and standards. In fact, I found that learning the essentials of laying out a drawing actually improved my drafting skill and speed. The collection of drawings presented here were all assigned by the instructor. Accomplished by drawing from a template, it was necessary to scale all of the drawings (there was no tracing). A special emphasis was placed on line weight and legibility. The assigned drawing cover site plans, floor plans, elevations, and details. Architectural lettering and tables also had a special emphasis. I have always enjoyed drawing... but this was a lesson in drafting. I can say that this course have even improved my CAD drafting.

FALL2008 PERSPECTIVE DRAWING Instructor: Dave Harris Duration : 1 Semester

Perspective drawing covered the theory and practice of one and two-point perspective drawing. By methodically studying and applying various tools such as station point, cone of vision, horizon line, etc., the techniques of perspective drawing were employed. I was most interested in learning techniques for drawing measured perspectives from an existing scaled plan. This has become a valuable tool a making quick interior study sketches and renderings. While most of the class assignments were practice exercises, the final project was a series of drawings of an existing building. I chose a villa by architect Charles Pictet in Frontex, Geneva, Switzerland. I was interested in this building because the architect reused an existing stone barn. The combination of old and new yields some interesting textures and in this case, interesting angles. I find the contrast between the existing building and the sleek, new concrete construction to be an interesting juxtaposition and tried to render that quality.

100

FALL2008 STRUCTURES I

Instructor: Kurt Benedict Duration : 1 Semester Structures I provides an introduction to static mechanics. For my final project, I have designed a roof system that relies on a cantilever deck, support cable, and post-tension backstay system. I have elected to keep the members one material, concrete, for aesthetic purposes. I wanted to design a very slender concrete structure in which the towering backstay members share similar dimensions and proportions with the underlying support column and beam. The entire system (covering 20,000 SF) is divided into 11 of these structures positioned at 20’ intervals. I have spanned these structures with a steel/concrete deck. For materials, I have selected fly ash concrete and recycled steel to address sustainable issues. My analysis revealed that the highest compressive forces are in the tilted support column beneath the deck. However, to keep all of the concrete members the same dimensions, I had to size them based on the S/D ratio of the 60’ concrete, horizontal member (beam) that supports the deck. This results in a very deep structural member (36”) which I feel enhances the overall visual proportions of the design. Unfortunately, this increases the overall dead weight and dictates in a heavier structure. This design is possible but would require significant steel reinforcement in the concrete members. This is especially true for the beam which is subject to complex forces over its total 100’ span. Another area which generates concern is the backstay member subject to tension. Since concrete is not the suited for tension, I specified a post-tension system and noted the required cable gauge to cope with the forces. Lastly, I included two details. These details show the connection between the support cable and the backstay and the cable and the deck. This includes information regarding the reinforcing plate sizes to anchor the connection.

101 dimensioned engineering sketches

sketch for concrete/steel deck

details for upper and lower cable anchors.

102

FALL2009 STRUCTURES II

Instructor: Garrick Goldenberg Duration : 1 Semester Structures II builds upon the foundation of Structures I. This course features a more in-depth discussion of beam and column behavior. Particularly, the course covers slenderness ratio, bending moments, and modulus of elasticity. It is a thorough review of statics as required knowledge for architectural designers. The course culminated in a final project. We were tasked to design a small structure with a simple but specific program. Materials could be specified at the designer’s discretion. In addition to designing the formal elements, we then had to make all of the calculations to safely size the structural members. I included specially designed brackets to connect the frames to the beams. I chose to design a wooden structure with the simple program of “observation”. This wooden structure is designed to frame a view from a hillside. The box consists of exposed “frames” and is made rigid by fastening wood panels as floor, walls, and ceiling. The assembly rests on two cantilevered timber beams which sit on two pairs of timber posts. By exposing all of the structural components on the exterior, the interior is rendered as a smooth, empty box. This allows the visitor to step off of the hillside and into a perfectly framed vista.

engineering sketch

frames rest on 2, 12”x24” douglas fir beams

103

18 x brackets for top corners of all frames

9 pairs of frames (2”x8” pine) w/steel brackets

1” wood plank floor, walls, ceiling; 5/8” plywood subfloor

105

PARTITION NOTES:

1. SEE FINISH SCHEDULE FOR ADDITIONAL FINISHES. 2. SUBSTITUTE 5/8" CEMENTITIOUS BACKER BOARD FOR 5/8" GWB AT ALL WET PLUMBING W SCHEDULED TO HAVE TILE FINISH. SEE FINISH SCHEDULE. 3. PROVIDE 20GA. CONTINUOUS SHEET METAL BLOCKING FOR GRAB BARS, LAVATORY TOP ACCESSORIES AS REQUIRED. SEE BATHROOM/TOILET ROOM PLANS. SHEET METAL MUST 4. PROVIDE FIRE STOPPING SEALANT AT ALL RATED PARTITIONS. 5. HORIZONTALLY BRACE STUD WALL FRAMING AS REQUIRED. 6. INFILL ALL GAPS BETWEEN PARTITION AND UNDERSIDE OF STRUCTURAL DECK WITH MIN 7. STC VALUES ARE BASED ON ?????????? AND MAY DIFFER FROM ACTUAL STC VALUES. 8. VERIFY REQUIRED STUD SIZES AT NEW PARTITIONS TO MATCH EXISTING WALL THICKNE

FINISHED CEILING SEE RCP.

SECTION AT TOP

(E) STRUCT. DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

STRUCTURAL COLUMN OR WALL

SECTION AT TOP

STRUCTURAL COLUMN OR WALL

SECTION AT TOP

1 LAYER 5/8" GWB

1 1/8" 4 1/4"

STRUCTURAL COLUMN OR WALL

PLAN

3 1/8"

04A

2 1/4"

PLAN

4 7/8"

3 3/4"

03A

METAL STUD

1/2" RESILIENT CHANNEL AT 16' O.C. MIN

3" SOUND ATTENUATION BLANKET (TYPE 04) 1 1/2" SOUND ATTENUATION BLANKET (TYPE 04A)

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

PLAN

STUD SIZE

1/2"

GYPSUM BOARD

STANDARD

FIRE RATING

REMARKS

STUD SIZE

GYPSUM BOARD

FIRE RATING

STUD SIZE

GYPSUM BOARD

3 5/8"

STANDARD

3 5/8"

STANDARD

03A

2 1/2"

STANDARD

02A

2 1/2"

STANDARD

STC 45, UL U419

04B

1 5/8"

STANDARD

02B

STANDARD

STC 49

01B

(E) STRUCTURAL DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

1'-0"

CLEAR

METAL STUDS, STAGGERED 12" O.C.

4 7/8"

PLAN

2 LAYERS 5/8" GWB

1 LAYER 5/8" GWB

1 LAYER 5/8" CEMENTITIOUS ON WET SIDE

3" SOUND ATTENUATION BLANKET

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

STUD SIZE

GYPSUM BOARD

FIRE RATING

2 1/2"

HI-IMPACT

1 HR

REMARKS

STC 57, UL U493

STUD SIZE

GYPSUM BOARD

FIRE RATING

2 1/2"

CEMENT BOARD

1 HR

REMARKS

STC 57, UL U493

SECTION AT TOP

STUD SIZE

GYPSUM BOARD

3 5/8"

STANDARD

GYPSUM BOARD

3 5/8"

STANDARD

2 1/2"

STANDARD

METAL STUD 6"

PLAN

1 HR

REMARKS

STC 40, UL U419

DEFLECTIO 1/2" DEFLEC FRICTION F

3" SOUND ATTENUATION BLANKET

1 LAYER 5/8 ROOM SIDE TESTING

METAL STU

3" SOUND A BLANKET

PLAN

1/2" RESILIENT CHANNEL METAL STUD

FIRE RATING

REM

(E) STRUCT DECK (VAR

1 LAYER 5/8" GWB

1 LAYER 5/8" GWB ON EACH SIDE

5 1/2"

2 LAYERS OF 5/8" GWB

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

2 LAYERS O CORRIDOR

ACOUSTICA TOP, BOTTO PENETRATI SECTION AT BOTTOM

SECTION AT BOTTOM

STUD SIZE

01A

SECTION AT TOP

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

PARTITION TYPE

FIRE RATING

PARTITION TYPE

STC 49, UL U419

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

SECTION AT BOTTOM

PARTITION TYPE

REMARKS

(E) STRUCT. DECK (VARIES)

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

PARTITION TYPE

REMARKS

SECTION AT TOP

PLAN

SECTION AT BOTTOM

GYPSUM BOARD

FIRE RATING

PARTITION TYPE

1'-1 7/8"

EXIST.

FIRE RATING

PARTITION TYPE

STUD SIZE

ACOUSTICA TOP, BOTTO PENETRATI SECTION AT BOTTOM

SECTION AT BOTTOM

STANDARD

METAL STUDS, STAGGERED 12" O.C.

MATCH

PLAN

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

STANDARD

SECTION AT TOP

01B

METAL STU

3 5/8"

REMARKS

1 LAYER 5/8 EACH SIDE 01 01A

METAL STUD

2 1/2"

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

1/2" RESILIENT CHANNEL

7 1/4"

02B

(E) STRUCTURAL DECK (VARIES)

SECTION AT TOP

3 3/4"

04A

PARTITION TYPE

4 7/8"

PLAN

3" SOUND ATTENUATION BLANKET

PRACTICE 2008-2009 PARTITION TYPE

7 1/4"

1 LAYER 5/8" GWB ON EACH SIDE 02 02A

METAL STUD

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

SECTION AT BOTTOM

DEFLECTIO 1/2" DEFLEC SPACE, FRI STUDS SECTION AT TOP

04B

1 LAYER 5/8" GWB

SECTION AT BOTTOM

SECTION AT TOP

1 LAYER 5/8" GWB 4 1/4"

3 1/8" PLAN

(E) STRUCT DECK (VAR

(E) STRUCT. DECK (VARIES)

PARTITION TYPE

STUD SIZE

3 5/8"

GYPSUM BOARD

HI-IMPACT

FIRE RATING

1 1/2 HR

REMARKS

STC 59, UL U452

PARTITION TYPE

STUD SIZE

3 5/8"

GYPSUM BOARD

HI-IMPACT

FIRE RATING

1 HR

REM

106

SUMMER2008 Summer Internship Miller, Dyer, Spears Boston, MA Duration : 3 Months

LOCUS MAP

E NU AVE

DRAWING LIST DRAWING TITLE

NO.

Unnamed Unnamed

00 GENERAL 00.1 DEMO PHASE I COVER SHEET 00 COVER SHEET 01 SITE DRAWINGS C1.1 SITE PLAN

02 ARCHITECTURAL DRAWINGS D0.1 DEMOLITION NOTES, SCOPE DESCRIPTION & DETAILS D1.0 GROUND FLOOR DEMOLITION PLAN D1.1 FIRST FLOOR DEMOLITION PLAN D1.2 SECOND FLOOR DEMOLITION PLAN D1.3 THIRD FLOOR DEMOLITION PLAN D1.4 FOURTH FLOOR DEMOLITION PLAN D1.5 FIFTH FLOOR DEMOLITION PLAN D1.6 SIXTH FLOOR DEMOLITION PLAN D1.7 ROOF DEMOLITION PLAN D1.8 PARTIAL DEMO ELEVATIONS A0.1 CODE ANALYSIS & EGRESS DIAGRAMS A0.2 PARTITION TYPES A1.0 GROUND FLOOR PLAN A1.1 FIRST FLOOR PLAN A1.2 SECOND FLOOR PLAN A1.3 THIRD FLOOR PLAN A1.4 FOURTH FLOOR PLAN A1.5 FIFTH FLOOR PLAN A1.6 SIXTH FLOOR PLAN A1.7 ROOF PLAN A1.8 ENLARGED PLANS - APARTMENTS A1.9 ENLARGED BATHROOM PLANS, ELEVATIONS & DETAILS A1.10 GROUND FLOOR FURNITURE LAYOUT PLAN (FOR REFERENCE ONLY) A1.11 FIRST FLOOR FURNITURE LAYOUT PLAN (FOR REFERENCE ONLY) A1.12 TYP. RESIDENTIAL FLOOR FURNITURE LAYOUT PLAN (FOR REFERENCE ONLY) A2.0 GROUND FLOOR RCP A2.1 FIRST FLOOR RCP A2.2 SECOND FLOOR RCP - TYPICAL A2.3 THIRD, FOURTH, FIFTH FLOORS PARTIAL RCP A3.1 NORTH & SOUTH EXTERIOR ELEVATIONS A3.2 EAST & WEST EXTERIOR ELEVATIONS A3.3 COURTYARD ELEVATIONS A3.4 ENLARGED ENTRANCE ELEVATIONS, SECTIONS & DETAILS A3.5 WINDOW SCHEDULE & DETAILS

The most valuable skill I took from this short internship (aside from learning what a collaborative process architectural design can be) was a working knowledge of Revit. This was my first experience using BIM software; the firm was fully committed to using the software with its team members and staff. It was a great learning experience and it really taught me how I might incorporate this methodology in my own studio projects.

A4.1 A4.2 A4.3 A4.4 A4.5 A4.6 A4.7 A4.8 A4.9 A5.1 A6.1 A6.2 A6.3 A6.4 A6.5 A6.6 A6.7 A6.8 A6.9 A6.10 A7.1 A8.1 A8.2 A8.3 A8.5 A8.6 A8.7

NO.

BUILDING SECTIONS PARTIAL BUILDLING SECTIONS ELEVATOR PLANS & SECTIONS KITCHEN & EAST ELEVATOR PLANS, SECTIONS & DETAILS ELEVATOR DETAILS STAIR #1 PLANS, SECTIONS & DETAILS STAIR #3 PLANS, SECTIONS & DETAILS STAIR DETAILS EXISTING LAWN Unnamed EXTERIOR DETAILS INTERIOR ELEVATIONS INTERIOR ELEVATIONS INTERIOR ELEVATIONS - GROUND FLOOR BICYCLE STORAGE INTERIOR ELEVATIONS - GROUND FLOOR INTERIOR ELEVATIONS - LOBBY INTERIOR ELEVATIONS - SERVERY LOADING AREA INTERIOR ELEVATIONS - DINING ROOMS INTERIOR ELEVATIONS - FIRST FLOOR INTERIOR ELEVATIONS - TYP. RESIDENTIAL COORDIOR, LOBBY, LOUNGE INTERIOR ELEVATIONS INTERIOR DETAILS 1-STORY ROOF DOOR SCHEDULE - PART 1 DOOR SCHEDULE - PART 2 DOOR SCHEDULE - PART 3 FINISH SCHEDULE FINISH SCHEDULE SIGNAGE DUMPTERS

03 STRUCTURAL DRAWINGS S0.1 GENERAL NOTE AND TYPICAL DETAILS S0.2 TYPICAL DETAILS AND SCHEDULES S0.3 TYPICAL DETAILS AND SCHEDULES WALKWAY S1.0 GROUND FLOOR / FOUNDATION PLAN S1.1 FIRST FLOOR FRAMING PLAN S1.2 SECOND FLOOR FRAMING PLAN S1.3 THIRD FLOOR FRAMING PLAN S1.4 FOURTH FLOOR FRAMING PLAN S1.5 FIFTH FLOOR FRAMING PLAN S1.6 SIXTH FLOOR FRAMING PLAN S1.7 ROOF FRAMING PLAN S2.0 TYPICAL SECTIONS AND DETAILS EMERGENCY GENERATOR

04 MECHANICAL DRAWINGS H0.0 HVAC LEGEND AND GENERAL NOTES H0.1 HVAC DETAILS H0.2 HVAC DETAILS H0.3 HVAC DETAILS

1-STORY ROOF

H1.0 H1.1 H1.2 H2.0 H2.1 H2.2A H2.2B H2.2C H2.3 H3.0 H3.1 H3.2 H3.3 H3.4A H3.4B H3.5

DRAWING LIST DRAWING TITLE HVAC GROUND LEVEL DEMO PLAN HVAC FIRST FLOOR DEMO PLAN HVAC TYPICAL FLOOR DEMO PLAN HVAC GROUND LEVEL PLAN HVAC FIRST FLOOR PLAN HVAC TYPICAL FLOOR PLAN (2ND - 6TH) BASE OPTION HVAC TYPICAL FLOOR PLAN (2ND - 6TH) FAN COIL OPTION NEW HVAC TYPICAL FLOOR PLAN (2ND - 6TH) VALANCE OPTION MANSORY PIERS HVAC ROOF PLAN HVAC MECHANICAL ROOM PART PLAN PLANTING HVAC SUPPLY AIR RISER DIAGRAMS HVAC EXHAUST RISER DIAGRAMS HVAC PRESSURIZATION RISER DIAGRAMS HVAC FINNED TUBE RISER DIAGRAMS HVAC FINNED TUBE RISER DIAGRAMS HVAC FAN COIL RISER DIAGRAMS

05 ELECTRICAL DRAWINGS E0.0 ELECTRICAL LEGEND AND GENERAL NOTES E0.1 ELECTRICAL SITE PLAN E1.0 ELECTRICAL GROUND FLOOR DEMO PLAN 1-STORY ROOF E1.1 ELECTRICAL FIRST FLOOR DEMO PLAN E1.2 ELECTRICAL TYPICAL FLOOR (2ND - 6TH) DEMO PLAN E2.0 ELECTRICAL GROUND FLOOR POWER PLAN E2.1 ELECTRICAL FIRST FLOOR POWER PLAN E2.2 ELECTRICAL TYPICAL FLOOR (2ND - 6TH) POWER PLAN E3.0 ELECTRICAL GROUND FLOOR LIGHTING PLAN E3.1 ELECTRICAL FIRST FLOOR LIGHTING PLAN E3.2 ELECTRICAL TYPICAL FLOOR (2ND - 6TH) LIGHTING PLAN E4.1 ELECTRICAL PARTIAL PLANS E4.2 ELECTRICAL TYPICAL UNIT PLANS E5.1 ELECTRICAL RISER DIAGRAM E5.2 ELECTRICAL RISER DIAGRAM ALTERNATE #1 E5.3 ELECTRICAL RISER DIAGRAM ALTERNATE #2 E5.4 ELECTRICAL RISER DIAGRAM ALTERNATE #3 E5.5 ELECTRICAL RISER DIAGRAM ALTERNATE #4 E6.1 ELECTRICAL SCHEDULES E7.1 ELECTRICAL DETAILS 06 PLUMBING DRAWINGS P0.0 PLUMBING LEGEND, DETAILS AND GENERAL NOTES P0.1 PLUMBING DETAILS P0.2 PLUMBING SHEDULES AND GENERAL NOTES P1.0 PLUMBING GROUND LEVEL DEMO PLAN P1.1 PLUMBING FIRST FLOOR DEMO PLAN P1.2 PLUMBING TYPICAL FLOOR DEMO PLAN (2ND - 6TH) P2.0 PLUMBING GROUND LEVEL PLAN PLANTING P2.0UG PLUMBING UNDERGROUND PLAN

P2.1 P2.2 P2.3 P3.0

EL +0.00

BLUESTONE STAIRS

PLUMBING FIRST FLOOR PLAN PLUMBING TYPICAL FLOOR PLAN (2ND - 6TH) PLUMBING ROOF PLAN PLUMBING WATER RISER CONCEPT DIAGRAM

07 COMMUNICATIONS T0.0 COMMUNICATIONS LEGEND, DETAILS AND NOTES T1.0 COMMUNICATIONS GROUND LEVEL DEMO PLAN T1.1 COMMUNICATIONS FIRST FLOOR DEMO PLAN T1.2 COMMUNICATIONS TYPICAL FLOOR DEMO PLAN T2.0 COMMUNICATIONS GROUND LEVEL PLAN T2.1 COMMUNICATIONS FIRST FLOOR PLAN PLANTING RAMP T2.2 COMMUNICATIONS TYPICAL FLOOR PLAN T4.1 COMMUNICATIONS PART PLANS T4.2 COMMUNICATIONS TYPICAL UNIT PLANS T5.1 COMMUNICATIONS RISER PLAN

EL +4.00

BLUESTONE TERRACE

NEW CANOPY

RAMP

08 FIRE PROTECTION FA-100 FIRE ALARM SYSTEM GROUND FLOOR LAYOUT PLAN FA-101 FIRE ALARM SYSTEM FIRST FLOOR LAYOUT PLAN FA-102 FIRE ALARM SYSTEM TYPICAL FLOOR (2 THROUGH 6) LAYOUT PLAN FA-201 FIRE ALARM SYSTEM RISER DIAGRAM STORAGE FP-100 BIKE SPRINKLER SYSTEM GROUND FLOOR LAYOUT PLAN FP-101 SPRINKLER SYSTEM FIRST FLOOR LAYOUT PLAN FP-102 SPRINKLER SYSTEM TYPICAL FLOOR (2 THROUGH 6) LAYOUT PLAN FP-201 SPRINKLER SYSTEM RISER AND DETAILS

XX Design Sheets 1 FIRE COMMAND CENTER OPTION A 2 FIRE COMMAND CENTER OPTION B 3 FIRE COMMAND CENTER OPTION C XX-3 EGRESS PLAN Grand total: 153

OWNER:

MASSACHUSETTS INST

DESIGN-BUILD CONTRACTOR:

SHAWMUT DE

DESIGN-BUILD ARCHITECT: STRUCTURAL ENGINEER:

MDS

SOUZA Key Plan Not to scale

R.W. S

MEP ENGINEER:

FIRE PROTECTION ENGINEER:

HUG

UNDERGRADUATE D BU BLUE STONE TERRACE

PLANTING

DEM

DATE ISSUED:

MDS JOB NUMBER:

architec planning interiors

FOOD SERVICE CONDENSORS

c Copyright Miller Dyer Spears, Inc. C:\Revit Projects\0842 - MIT-W1_MS.rvt 8/28/2008 3:45:57 PM

UNDERGRADUATE DORM BUILDING W-1

RAMP

09 FOOD SERVICE DRAWINGS FS1.0 FOOD SERVICE

W-1

MASSACHUSE INSTITUTE OF TECHNOLO

DRAWING LIST DRAWING TITLE

NO.

AMHERST STREET

MASSACHUSETTS AVENUE

00.2 00.3

EY ALL

E RIV LD RIA MO ME

DRAWING LIST DRAWING TITLE

NO.

S TTE USE CH SSA MA

T RS HE AM

During the summer of 2008, my work at the Boston architectural firm, Miller Dyer Spears, involved extensive existing conditions drafting for a student dormitory on the MIT campus. My role included on-site surveying, Revit/AutoCad/ SketchUp plan and detail drafting. I also worked directly with project team members, consultants, contractors, and facility managers. The examples here represent the range of the products and applications I worked on for the project. This was my first opportunity working in a design firm. I was surprised at how quickly I was included in the firm’s projects.

MILLER DYER SPEARS INC.

99 CHAUNCY STREET BOSTON, MA 02111 617-338-5350 tel 617-338-0033 fax WWW.MDS-BOS.COM

The work samples here are all products that I helped create. An interesting aspect of Revit is that any single model or drawing is really the product of several project members. This increases productivity and is also a good way of sharing information. The partition details on the opposite page where my first drafting assignments; it’s hard to convey how much these simple details taught me about drafting expectations in the design profession!

Project Status:

DEMO - P

Project No: Drawn By: Checked By:

AUG.

Issue Date: LAWN

Issues No.

ADJACENT BUILDING

PLANTING

Date

Description

PLANTING

Revisions No.

Date

Description

Drawing Title

C:\Revit Projects\0842 - MIT-W1_MS.rvt 8/28/2008 4:08:44 PM

EXISTING IRONWORK TO BE REPAIRED

SITE PLAN

1" = 10'-0" Drawing Number

C1.1 c Copyright Miller Dyer Spears Inc.

107

PARTITION NOTES: 1. SEE FINISH SCHEDULE FOR ADDITIONAL FINISHES. 2. SUBSTITUTE 5/8" CEMENTITIOUS BACKER BOARD FOR 5/8" GWB AT ALL WET PLUMBING WALLS AND AT LOCATIONS SCHEDULED TO HAVE TILE FINISH. SEE FINISH SCHEDULE. 3. PROVIDE 20GA. CONTINUOUS SHEET METAL BLOCKING FOR GRAB BARS, LAVATORY TOPS, MIRRORS AND TOILET ACCESSORIES AS REQUIRED. SEE BATHROOM/TOILET ROOM PLANS. SHEET METAL MUST EXTEND OVER (3) STUDS MIIN. 4. PROVIDE FIRE STOPPING SEALANT AT ALL RATED PARTITIONS. 5. HORIZONTALLY BRACE STUD WALL FRAMING AS REQUIRED. 6. INFILL ALL GAPS BETWEEN PARTITION AND UNDERSIDE OF STRUCTURAL DECK WITH MINERAL FIBER INSULATION. 7. STC VALUES ARE BASED ON ?????????? AND MAY DIFFER FROM ACTUAL STC VALUES. 8. VERIFY REQUIRED STUD SIZES AT NEW PARTITIONS TO MATCH EXISTING WALL THICKNESS.

1 25

25 25

DOUBLE 249 260 SF

PLAN LEGEND

DOUBLE 250 277 SF

EXISTING WALL TO REMAIN

A6.7

246

25 25

D1.8

231

25 11

12 10

A6.7

BATHROOM (ACCESSIBLE) 244 174 SF

200B2

BATHROOM (ACCESSIBLE) 235 245 SF

235

DOUBLE 227 278 SF

S1-2

DOUBLE 253 270 SF

F.A. CL. 243 33 SF

IST CLOSET 242 91 SF

01 11

243

DOUBLE 241 270 SF

DOUBLE 240 269 SF

CORRIDOR 200C 255 1319 SF

GRT APT. 255 650 SF

3 A4.2

7' - 0"

ELEVATOR LOBBY 200 112 SF 4

A6.9

A4.6

DOUBLE 202 318 SF

225 205 F.A. PANEL CL. 224 236 10 SF

A6.9

A1.2

BATHROOM 203 224 SF

DOUBLE 206 288 SF

01A

16.23

BATHROOM 257 140 SF

257

207

01A

A3.4

01A

ELEC. PANEL

DOUBLE 268 256 SF

F.5 01A

200C1 260

SINGLE 262 118 SF 01

267

NOTE: FURNITURE SHOWN FOR REFERENCE ONLY

REMARKS

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

FIRE RATING

REMARKS

FIRE RATING

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

3 5/8"

STANDARD

STC 40, UL U419

01A

2 1/2"

STANDARD

STC 40

STANDARD

STC 40

3 5/8"

STANDARD

3 5/8"

STANDARD

3 5/8"

STANDARD

2 1/2"

STANDARD

03A

2 1/2"

STANDARD

02A

2 1/2"

STANDARD

STC 45, UL U419

04B

1 5/8"

STANDARD

02B

STANDARD

STC 49

01B

STC 49, UL U419

(E) STRUCTURAL DECK (VARIES)

(E) STRUCT. DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

1'-0" CLEAR SECTION AT TOP

SECTION AT TOP

Key Plan

REMARKS

Not to scale

1 LAYER 5/8" GWB

1 LAYER 5/8" CEMENTITIOUS ON WET SIDE

1 LAYER 5/8" GWB METAL STUD 6"

PLAN

2 LAYERS 5/8" GWB

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS SECTION AT TOP

1 LAYER 5/8" GWB ON EACH SIDE 4 7/8"

PLAN

2 LAYERS 5/8" GWB

(E) STRUCTURAL DECK (VARIES)

SECTION AT TOP

METAL STUDS, STAGGERED 12" O.C. 1'-1 7/8"

EXIST.

PLAN

1 LAYER 5/8" GWB ON ROOM SIDE TESTING

3" SOUND ATTENUATION BLANKET

METAL STUD 3" SOUND ATTENUATION BLANKET

PLAN

1/2" RESILIENT CHANNEL METAL STUD

5 1/2"

2 LAYERS OF 5/8" GWB

2 LAYERS OF 5/8" GWB ON CORRIDOR SIDE

3" SOUND ATTENUATION BLANKET ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

FIRE RATING

2 1/2"

HI-IMPACT

1 HR

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

SECTION AT BOTTOM

REMARKS

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

FIRE RATING

2 1/2"

CEMENT BOARD

1 HR

STC 57, UL U493

REMARKS

FIRE RATING

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

3 5/8"

STANDARD

STC 57, UL U493

1 HR

REMARKS

STC 40, UL U419

PARTITION TYPE

STUD SIZE

3 5/8"

GYPSUM BOARD

HI-IMPACT

FIRE RATING

REMARKS

PARTITION TYPE

STUD SIZE

3 5/8"

STC 59, UL U452

1 1/2 HR

FIRE RATING

GYPSUM BOARD

HI-IMPACT

1 HR

REMARKS

MILLER DYER SPEARS INC

99 CHAUNCY STREE BOSTON, MA 0211 617-338-5350 te 617-338-0033 fa WWW.MDS-BOS.COM

STC 50, UL U465

No.

220

DOUBLE 220 263 SF

2 A1.9

BATHROOM 212 138 SF

212

Date

SINGLE 266 116 SF

11 266

SECTION AT TOP

265 263

SINGLE 265 116 SF

262

12 SINGLE 214 114 SF

12 DOUBLE 215 272 SF

12 DOUBLE 264

217

12 SINGLE 217 114 SF

11 25

214 215

264

218

SINGLE 218 113 SF

23 213

PLAN

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

(E) STRUCTURAL DECK (VARIES)

STRUCTURAL COLUMN OR WALL

9 1/4" Description

Date

SECTION AT TOP

2 LAYERS OF 5/8" GWB PLAN

PLAN

3 3/4"

(E) STRUCTURAL DECK (VARIES)

(E) STRUCT. DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

3" SOUND ATTENUATION BLANKET

3 3/4" PLAN

METAL STUD

C-H STUDS @ 24" O.C.

1'-3"

PLAN

METAL STUDS, STAGGERED 12" O.C.

1" GWB LINER PANEL 2 LAYERS 5/8" GWB

METAL STUD

3" SOUND ATTENUATION BLANKET

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

SECTION AT BOTTOM

METAL STUD TRACK FASTENERS@ 2'-0" O.C. TOP & BOTTOM

SECTION AT BOTTOM

2 LAYERS OF 5/8" GWB ON CORRIDOR SIDE

2 LAYERS 5/8" GWB 1/2" RESILIENT CHANNEL ON CORRIDOR SIDE

1/2" RESILIENT CHANNEL ON ROOM SIDE

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM Drawing Title

1 LAYER 5/8" GWB ON STAIR SIDE

SECTION AT TOP

SHAFT SIDE

2 LAYERS 5/8" GWB ON EACH SIDE

24A

CLEAR SECTION AT TOP

FIRESTOP SEALANT, TYP. SECTION AT TOP

6 1/8"

1'-0"

2 LAYERS OF 5/8" GWB

12 DOUBLE 216 285 SF

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

METAL STUD

8" CLEAR

03A

216 11

SECTION AT TOP

METAL STUD BATHROOM 219 136 SF

219

(E) STRUCT. DECK (VARIES)

Drawn By: Checked By: Issue Date:

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS STRUCTURAL COLUMN OR WALL

Revisions

SINGLE 213 113 SF

25 12

Description

23 23

(E) STRUCT. DECK (VARIES)

JULY 25, 2008

200B1

Project No:

(VARIES)

Issue Date:

ENLARGED GRT APT. PLAN-WEST WING TYPICAL OF ROOMS 255, 355, 455, 555, 655 MIRROR IMAGE FOR ROOMS 022, 122, 222, 322, 422, 522, 622

FIRE RATING

GYPSUM BOARD

0842

Checked By:

Issues 211

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS SECTION AT BOTTOM

SECTION AT BOTTOM

Issues No.

Date

Revisions No.

Date

SECOND FLOOR PLAN PARTITION TYPE

STUD SIZE

2 1/2"

GYPSUM BOARD

CEMENT BOARD

FIRE RATING

2 HR

REMARKS

PARTITION TYPE

STUD SIZE

2 1/2"

GYPSUM BOARD

HI-IMPACT

FIRE RATING

2 HR

REMARKS

GYPSUM BOARD

FIRE RATING

PARTITION TYPE

STUD SIZE

3 5/8"

HI-IMPACT

2 HR

STC 55, UL U419

24A

2 1/2"

HI-IMPACT

2 HR

STC 50, UL U419

REMARKS

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

FIRE RATING

2 1/2"

HI-IMPACT

2 HR

REMARKS

STC 50, UL U415

PARTITION TYPE

STUD SIZE

GYPSUM BOARD

FIRE RATING

3 5/8"

CEMENT BOARD

2 HR

REMARKS

STC 57, UL U493

PARTITION TYPE

STUD SIZE

3 5/8"

GYPSUM BOARD

HI-IMPACT

FIRE RATING

2 HR

REMARKS

Drawing Title STC 59, UL U453

PARTITION

As indicated 2 A3.1

Revit Projects\0842 - MIT-W1_MS.rvt 9/2008 10:09:53 AM

C:\Revit Projects\0842 - MIT-W1_MS.rvt 8/19/2008 3:06:59 PM

261

c Copyright Miller Dyer Spears Inc.

23 11

KITCHEN DOUBLE 263

SCALE: 1/4" = 1'-0"

SECTION AT BOTTOM

STUD SIZE

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS 1/2" RESILIENT CHANNEL

BJ, (E)JR STRUCT. DECK

Drawn By:

S2-2

03A

BATHROOM (ACCESSIBLE) 267 01A 01A 146 SF 11 01A

SINGLE 261 114 SF

16.13

PARTITION TYPE

Project Status:

Project No: STAIR #2 S2-2

No.

DINING

A3.3

2 12

23 BATHROOM 260 139 SF

LIVING

REMARKS

99 CHAUNCY STREET BOSTON, MA 02111 617-338-5350 tel 617-338-0033 fax WWW.MDS-BOS.COM

268

DOUBLE 259 268 SF

A4.2

architecture planning interiors MILLER DYER SPEARS INC.

221

8' - 5 5/8"

01A

SECTION AT BOTTOM

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

04A

3" SOUND ATTENUATION BLANKET

210 DOUBLE 210 213 SF

DOUBLE 269 211 SF

FIRE RATING

GYPSUM BOARD

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

A1.9

COAT CLOSET

METAL STUD

3" SOUND ATTENUATION BLANKET

(E) STRUCTURAL DECK (VARIES)

SECTION AT BOTTOM

DOUBLE 221 256 SF

DOUBLE 209 280 SF

2 A4.2

269

259

01 23

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

01B

S4-2

STUD SIZE

A3.2

BATHROOM (ACCESSIBLE) 222 169 SF

222

8' - 8"

8' - 3 5/8"

01A

PARTITION TYPE

208

209

F.2

BATH

REMARKS

METAL STUDS, STAGGERED 12" O.C.

SINGLE 223 159 SF

BATHROOM 208 140 SF

270

STAIR #4 S4-2

BUILT-IN BOOKSHELVES

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

01 01A

Project Status:

BEDROOM

7 1/4"

2 HR RATED

10' - 8 3/8"

STANDARD

MATCH

22 DOUBLE 270 275 SF

258

METAL STUD

Not to scale

3 22

D.8

PLAN

02B

1/2"

FIRE RATING

GYPSUM BOARD

SECTION AT TOP

223

DOUBLE 258 278 SF

CLOSET

PLAN

23 2

BATHROOM 271 136 SF

01A

25 25

STUD SIZE

GRT APT. 224 625 SF

SINGLE 207 177 SF

SINGLE 272 174 SF

271

3 3/4"

02A

7 1/4"

METAL STUD

1 LAYER 5/8" GWB ON EACH SIDE

Key Plan

206

23 23

SCALE: 1/4" = 1'-0"

PARTITION TYPE

EMERG. 23 ELEC. CL. 204 8 SF ELEC. CL. 11 225 8 SF 204

203

272

ENLARGED GRT APT-EAST WING

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

SECTION AT BOTTOM

4 7/8"

3 3/4" PLAN

04B

3" SOUND ATTENUATION BLANKET (TYPE 04) 1 1/2" SOUND ATTENUATION BLANKET (TYPE 04A)

A1.9

SINGLE 256 176 SF

SECTION AT TOP

1 LAYER 5/8" GWB ON EACH SIDE

4 7/8"

03A

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

SECTION AT TOP

3 1/8" PLAN

(E) STRUCT. DECK (VARIES)

23 A6.5

LOUNGE 201 545 SF

4 A4.3

202

JAN. CL. 276 73 SF

236

DOUBLE 273 292 SF

238

TRASH 236 36 SF

IST CLOSET 237 01 94 SF 237

11 239

256

TRASH/ RECYCLE 275 65 SF 01 6' - 3"

273 A3.2

16' - 7 1/8"

4 1/4"

04A

2 1/4"

1/2" RESILIENT CHANNEL AT 16' O.C. MIN

DOUBLE 226 257 SF

DOUBLE 238 326 SF

CORRIDOR 200A 882 SF

276 10' - 5 5/8"

BATHROOM (ACCESSIBLE) 274 274 77 SF

254

8' - 3 5/8"

A6.6

275

13 A6.5

240

A6.9 ELEC. CL. 254 14 SF

DOUBLE 239 270 SF

241 1

2421

4 11

A4.2

3 A4.6

8' - 0 5/8"

A1.2

226

STAIR #1 S1-2

STAIR #3 S3-2

253

A4.1

PLAN

METAL STUD

SECTION AT BOTTOM

STRUCTURAL COLUMN OR WALL

SECTION AT TOP

1 LAYER 5/8" GWB

ACOUSTICAL SEALANT @ TOP, BOTTOM & ALL PENETRATIONS

227 4

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

3 1/8" STRUCTURAL COLUMN OR WALL

A1.9

(E) STRUCT. DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

S1-2

S3-2

252

4 1/4"

05 PLAN

228

A3.4

(E) STRUCT. DECK (VARIES)

DEFLECTION TRACK & 1/2" DEFLECTION SPACE, FRICTION FIT STUDS

1 LAYER 5/8" GWB

DOUBLE 228 264 SF

(E) STRUCT. DECK (VARIES)

STRUCTURAL COLUMN OR WALL

SECTION AT TOP

229

A3.3

5 A1.9

DOUBLE 252 263 SF

SECTION AT TOP

1 1/8"

SINGLE 234 131 SF

FINISHED CEILING SEE RCP.

25 25

11 1

UNDERGRADUATE DORMITORY BUILDING W-1

234

SINGLE 245 135 SF

200C2

23 23

A4.2

230

245

251 DOUBLE 251 233 SF

TRIPLE 229 358 SF

232 233

11 12

DOUBLE 230 225 SF

SINGLE 231 134 SF

STAINED WOOD PANELING

DOUBLE 232 229 SF

247

250

TRIPLE 246 382 SF

12 TRIPLE 233 352 SF

12 249

NEW FLOOR INFILL

2 A4.1

DOUBLE 247 260 SF

1 HR RATED

PROVIDE NEW FINISHED FLOORING THRU-OUT

PROVIDE DRAPERIES AT ALL WINDOWS IN DINING ROOMS AND FLOOR LOUNGES.

UNDERGRADU BUILD

NON-RATED

MASSACHUSETTS INSTITUTE OF TECHNOLOGY

A3.1

PLAN NOTES

MASSAC INST OF TECH

Drawing Number

A1.2

1" = 1'-0" Drawing Number

FALL2009 Internship

Menders Torrey & Spencer, Architects Boston, MA Duration : 4 Months I was employed at Menders Torrey & Spencer architects in September 2009. Hired primarily as a drafter, I have quickly become involved in a variety of projects. MTS is a small firm that specializes in historic preservation. While I can say that before I was hired I had an interest in adaptive reuse, I have learned in a few months that there is much more to the architecture of preservation. Sometimes reuse and preservation overlap. In any case, it is exciting to work in a firm where emphasis is placed on preserving, restoring, or reusing existing structures. Not only is it a sustainable practice, but much can be learned by studying the art and craftsmanship of historic architecture. My role in the firm thus far has not been limited only to drafting. I have been tasked for site visits, documenting existing conditions, and surveying building envelope integrity on the Wellesley College Campus. After getting settled for a few months, I hope to expand my role to contribute more to larger project demands. I am currently learning about construction documentation while completing a drawing set for two local bank branches. The work samples here document some of my early contributions at MTS. They include drafting revisions, finish schedules, and some code and accessibility diagramming. Also included are shop drawings that I coordinated with a manufacturer for an access ramp. Besides being thrilled to be working in a firm, I think my own studio work is benefiting from the productivity skills and design approaches that I take from full-time employment.

109

The two drawings above are revisions for an access lift.

Finish Schedule.

110

On this project I worked with a manufacturer to correct shop drawings for the access ramp railing. This project underscored the importance of communication and field verification. The project has been build and is currently in use.

111

I researched and documented life saftey and accessibility requirements for these diagrams of a local church vestibule.

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PERSONAL DEVELOPMENT 2008-2009

SUMMER2009 Design Competition Duration : 1 Month

ICELANDIC “SKÝLI”

Shown here is my entry for Google SketchUp’s DesignIt competition. The guidelines required a design for a small shelter (less than 100SF) and the use of SketchUp to render the competition entry. I submitted an entry because I thought it would be a great way to become more proficient using SkethUp. As it turned out, I also got very interested in small structure design in general. I was living in Iceland during this period and based my entry concept on the Icelandic notion of shelter. The resulting proposal is shelter adapted for the wet, windy climate of Iceland. The weather demands that Icelandic shelters or “skýli” must express the ideals of “enclosure.” This shelter focuses on the thermal envelope: a foundation of black lava stone collected on site, earth-sheltered on the uphill elevation, and black cladding to absorb the low angled Icelandic sunlight. The form relates to the Icelandic vernacular of farm buildings and mountain refuges: pitched roof, earth-sheltering, wood siding, and punched openings for operable windows. This proposed shelter on the mountain, Esja, (near Reykjavik, Iceland) is intended for tree planting volunteers and hikers. It is located in a highland area where trees are planted each season to mitigate soil erosion on the steep slopes. It is an inhabitable link between the humane shelter of the sparse forest and the vast scale of the exposed mountain heights.

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SUMMER2009 Independent Reserch Duration : 1 Month

In November 2008, Icelandic architecture firms began announcing dramatic layoffs due to the collapse of the building industry. By February 2009, an estimated

90% of Icelandic architects became unemployed as a result. After a decade of optimistic (perhaps unrealistic)

growth, designers were faced with the dire consequences of

expansion.

unbridled urban

Olafur Mathiesen, an architect who now finds himself unemployed

lack of coordination between local communities and zoning and planning practices after 12 years, explained that the

led to a form of adhoc urban development, resulting in a suburban sprawl of shoddily built multi-family housing, outof-place highrise apartments, little green space, and a road structure so complex that it makes

Instead of planning for a sustainable future, the design and construction industries built themselves out of a job.

public transportation slow and inconvenient.

Adda Birnir. “After the Gold Rush,” The Architect’s Newpaper, April 3, 2009.

During the summer of 2009, I moved back to Iceland. Given the economic climate and it affect on the building industry, I wanted to document my impressions of the state of the Icelandic architecture practice. These images and the text excerpts on the following pages were submitted for Practice Credit in the Fall of 2009.

TIL SÖLU “Til Sölu” means “For Sale” in Icelandic. In the midst of the construction boom in 2006, 186 contracts for new homes were signed every week. As housing costs soared, the building boom went into overdrive. Architectural critic Guja Dögg observes, “People were just building and building, with no consideration for what anyone else was doing. It’s like they were all cowboys shooting into the air, and now the bullets are raining down on them.”1 Iceland is littered with empty, unfinished homes and the ubiquitous “Til Sölu” signs. In 2009, less than 30 contracts for new homes are signed weekly.

Adda Birnir. “After the Gold Rush,” The Architect’s Newpaper, April 3, 2009.

L U

The largest of Iceland’s recently nationalized banks, Landsbankinn, reports, “In recent years, housing prices have risen far more than construction costs, which has led to high profits for contractors. This trend has taken a sharp u-turn recently as building costs have increased by 33% over the last 18 months, while nominal housing prices have fallen by 12% over the same period.” The design community has been complicit in creating a built environment in limbo—a landscape in which contemporary life exists among ready-made ruins.

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Velkomin í 89.900 kr.

KARLSTAD hst stunginn/ Grann hvítt

KREPPA

149.900 kr.

ARILD 3ja sæta sófi Karaktär svart

15.990 kr.

STARTBOX TILLAGA eldhúsáhaldasett 38 hlutir

5.290 kr.

LJUSÅS UVÅS borðlampi rautt

39.950 kr.

MANDAL rúmgrind+geymslubox 160x200 fura/svart

34.950 kr.

GRANÅS borð+4 stólar svart/gler

In late 2008, the Icelandic Krona lost over two-thirds of its value on world markets virtually overnight. To describe the ensuing collapse that followed, Icelanders use a single word, “Kreppa.” In Icelandic, this word means “crisis” and is used to generalize the fall-out and failure of the country’s economic and developmental policies. The days of designer dreams and IKEA fantasies have been put on hold. For a nation in which over 62% of the entire population are urban dwellers living in the capital city, could this be an opportunity to rethink the consumer behavior that is the ever-faithful companion of urbanism?

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

 

     1

On June 17, 2009, an Icelander named Björn Mikaelsson hired a bulldozer, drove it back to his family’s brand new, five bedroom home, and completely leveled the entire residence. Just one day before the home was to be repossessed by the national bank, the recently bankrupt Mr. Mikaelsson literally and symbolically crushed any hopes of homeownership. This form of protest, though thankfully quite uncommon, highlights the tenuous situation many Icelanders find themselves in today. Mr. Mikaelsson not only bulldozed his home, but perhaps signaled a definitive pause in Iceland’s unchecked, speculative building market. This event may also pose a tentative question about the kind of unsustainable development to which the industrialized world has become so addicted; an addiction reiterated in Iceland’s urban landscape and its failed ambitions. 1

Title photograph by HJH. From Nei, June 18, 2009. http://this.is/nei/?p=5932.

It would be impossible for anyone visiting Iceland not to notice that something has recently gone very wrong in the built environment. Where just a few years ago there were unworkable fields of ragged, black lava rock, covered by spongy and unbelievably green moss, there are now motley rows of reinforced concrete structures. While many of these developments have been occupied, serving some necessary function for housing a growing urban population, a more unfortunate alternative has become increasingly common. Due to many factors, which will be briefly addressed in this essay, the new neighborhoods of Iceland are and will remain for some time unfinished. In some cases, solitary residents live in half-realized homes among streets lined by more uninhabitable, unfinished homes. I would like to relay my observations of Iceland’s built environment as it exists today: a function of over-indulgence and economic collapse. Since January of 2009, I have been living in Iceland with my wife and our new daughter. We live in a 450 SF flat in a multi-family apartment block. The priorities of the Icelanders who designed this flat in the late 1960’s still show through in the design. There is ample natural lighting and ventilation, clean geothermal heating, access to a back garden and adjacent greenspace, and the satisfaction of sharing a relatively small footprint (by comparison to the single-family dwelling) with our neighbors in the housing block. Despite the complete adequacy of this residence and the fact that the small dimensions and communal set-up are quite normal in Icelandic society, more and more Icelanders have adopted the desire for the single-family dwelling over the last decade. Iceland’s new homes have a larger footprint and are meant to reflect Icelanders’ increasing wealth and prosperity. Indeed, until the recent collapse, Iceland had become one of the world’s richest countries. Icelanders had begun to dream big, but this dream was exploited in the last several years by rampant commercial development and the marketing of an unsustainable future. The trend of home-ownership and commercial development is not new to Iceland. A 2004 report indicated that of all of the Scandinavian countries, Iceland had the highest proportion of home-ownership due to housing policies that encouraged private development over state involvement; a policy diametrically opposed to that in similar European socialdemocracies.2 Combined with a migration trend beginning in the mid-20th century from small fishing settlements to a few urban centers, the pattern of urban development in Iceland has had to content with sprawl and an increasing impact on fragile ecosystems. But perhaps an equally dangerous side effect is that of distorting market expectations beyond the capacity of 2

Jón Rúnar Sveinsson, The Urban Studies Institute, University of Iceland. The Formation of Urban Homeownership in Iceland. Paper presented at the ENHR 2004 Conference “Housing: Growth and Regeneration”, Cambridge, 2–6 July 2004.



119 



the economic structure. In other words, the dream of Iceland’s urban built environment is closer to the “American Dream” than it is to the more appropriate models of Iceland’s Scandinavian cousins.

do have consequences. It also suggests that we should resist the urge to design beyond our needs because of an ideological impetus to build a bigger, newer, and more elaborate future.

Iceland’s march of urban expansion ended so abruptly in 2008, that the builders, designers, engineers, contractors, and job captains simply went home and never returned to work. A Reykjavik architect, Aldis Nordfjord, lost her job in October 2008—on the same day as all 44 of her co-workers. She reported that as many as 75 percent of Iceland’s architects were fired in recent months.3 What good is an urban plan or construction documents, when the specialists responsible for them never return to work? Of the endless contingencies designers plan for, a sudden meltdown of the economy that fuels the industry is rarely addressed. This stresses the point that designers must not only do their jobs, but also turn a critical eye on the processes of urbanization and development on a macro level. We should ask ourselves if our work is part of a sustainable strategy or if it is part of a speculative wave that, if it fails, subjects the environment, the society, and our own profession to unnecessary risk. The New York Times recently quoted a local resident who lamented, “If you drive through Reykjavik, you see all these new houses, and I’ve been thinking for the longest time, ‘Where are we going to get people to live in all these homes?’”4 I would like to know if the architects and developers ask the same question.

While it took a little more than five minutes for Mr. Mikaelsson to destroy his home, the after-effects of Iceland’s economic collapse will live on for many more years. Mr. Mikaelsson’s desperate act, though extreme and violent in its finality, is however just one indicator of a larger phenomenon that is occurring within the built environment of Iceland. Iceland’s decadelong construction boom and the optimistic speculation that propelled it are absolutely over; the dreams of home-ownership and the voracious expansion of the built environment have been totally squelched by economic collapse. Iceland’s built environment today is a portrait of halted development and bruised ambitions. Only time will tell if the lessons of this era will be internalized by the next wave of Iceland’s designers.

The real underlying message with the failure of Iceland’s ambitions in the built environment is one of sustainability. There are, of course, the matters of unsustainable development, incursion into natural ecosystems by urban sprawl, the IKEA fantasies of home consumerism, and material excess at the heart of contemporary building modes. But Iceland also shows a more persistent effect of what happens when reality catches up with a speculative dream. The waste of halted development lags on behind the end of economic collapse and manifests itself in the half-built, forsaken wastelands of reinforced concrete. We are left with an incomplete built landscape that, despite the warning signs, neither the designers nor the society had anticipated. In their own ways, the exposed structural skeletons, the streets grids of unrealized urban plans, and the lonely residents dwelling in unadorned concrete boxes present an engaging narrative. The narrative is not apocalyptic; it does not suggest a moral failure or signal the decline of modern society. Instead, it serves as an architectural signpost warning us that our best designs and best intentions 3

Sarah Lyall. “Stunned Icelanders Struggle After Economy’s Fall,” The New York Times, November 8, 2008. http://www.nytimes.com/2008/11/09/world/europe/09iceland.html?pagewanted=1 (accessed June 28, 2009). 4 Ibid.

Afterword This essay and attached journal excerpts look at design at the urban scale. I have attempted to include current research and facts associated with the recent decline of Iceland’s building industry. I am particularly interested in the casual/mutual relationship between that decline and the behavior and practices of the design professions leading up to it. By photographing the offspring of that relationship and matching it with the “facts”, I hope to investigate what might have gone wrong. As a designer, it is an opportunity to examine the difference between actual demand and unlimited ambition. The attached journal excerpts are also meant to illustrate the current landscape of Iceland’s urban development. Evident in this landscape is a tension between the built and natural environments. I have to say that this tension is atypical of articulated environments in Iceland; the country has a strong building heritage of harmonious interaction with nature which has been quite respectful of the natural environment. It is the speed and scale of the current mode of development that has shifted the balance. In these new landscapes, there is an obvious disconnect between man, his dwelling, and nature. Perhaps the passing of time will help these new places settle into their own natural rhythm, but for now, they are monuments to lost ambition. The photos and illustrations aim at capturing this moment in time when materialism, desire, and audacity collide with disappointment, austerity, and failure.

120

VISUAL VISUAL STUDIES STUDIES

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