PROJECT
LOCATION
PAGE
01 BURN
BLOCK ISLAND, RI
2-7
02 SAGRADA FAMILIA
N/A
8 - 11
03 PROVIDENCE FIELD
PROVIDENCE, RI
12 - 15
04 PROVIDENCE STATION
PROVIDENCE, RI
16 - 19
05 A PROJECT FOR CHELSEA
CHELSEA, MA
20 - 23
06 PROJECTIONS
N/A
24 - 25
07 DRUBE
N/A
26 - 27
08 ANAMORPHOSIS
PROVIDENCE, RI
28 - 33
09 R.A.M.S.A
PALM BEACH, FL
34 - 37
10 A.B.O.D.B.
PROVIDENCE, RI
38 - 41
PROJECT 00 01
PROJECT 01 2
A. Spatial Arrangement
Ferry Port
750’
Bluff
150’ Waste Processing
Historic Ruins
Spring Pond
B. Site Plan
PROJECT 01 3
This design for a 12,000 sq ft artist residency located on the shores of Block Island was developed during the 2015 RISD spring studio “BURN: Clay In Context“. Beginning with an in-depth look at the material properties of clay and mirrors, the studio first focused on performing physical property tests and researching examples of sustainable energy. Due to the thermal properties of clay, different types of masonry/ceramic facade designs were implemented based on the function of their respective interior spaces. The structures themselves are arranged around parabolic curves. This allows the facility to harness solar energy through a system of mirrors that can be used to heat a kiln room to temperatures that can exceed 1500°F. In addition to the primary function of the buildings as an artist residency, the main structure doubles as a public gallery space and civic center that provide a source of income for the facility.
C. Ground Floor
30’ 10’
100’ 60’
D. Southern Elevation
E. Northern Elevation
PROJECT 01 4
30’ 10’
100’ 60’
G. Exploded Axonometric
F. Unit Section
PROJECT 01 5
PROJECT 01 6
PROJECT 01 7
This project documents the findings made during the studio “Architectural Analysis� in which a specific canonical 20th century building was explored for the entirety of the semester. The process began with the assertion that analysis can be understood as the creative process in reverse. By rendering the building in its completion (through both hand drawing and 3D modeling), thep project was able to arrive at a certain criteria of analysis in which the building could be studied from its geometrical complexities rather than its grand ornamentation. PROJECT 02 8
PROJECT 02 9
The final portion of this process of analysis aimed to discover the relationship between the two dimensional drawings and their translation into a three dimensional medium. The observations were focused on the formal qualities of Gaudi’s Sagrada Familia by testing the construct of the spiraling form through the use of a medium (corrugated cardboard) that emulates a spiraling motion of its own. By laser cutting sections taken from the Rhino model and stacking them in 10 degree rotating increments, the form spirals in two ways: one through actual form and one through material properties.
PROJECT 02 10
PROJECT 02 11
Under the guidance of Friedrich St. Florian, this proposal for the city of Providence offers a compromise between the citizens’ demands for a downtown park and the city’s desire for a minor league baseball stadium to revitalize the Jewelry District. The design for the stadium and park was influenced by the desire to be visually “transparent” and act as a connection between the two sides of the Providence River. In order to achieve these goals, a dynamic earthbermed wall was chosen to act a visual continuation of the adjoining landscape. As one moves around the stadium, the slope of the outer facade adjusts to visually describe the entrances and circulation for the players, visitors and staff. The concourse level of the stadium deviates from common stadium precedents by removing the program located behind home plate. By leaving this space open, the remaining program frames the view of the historic College Hill and Jewelry District neighborhoods and provides transparency where it is most desired. PROJECT 03 12
A. Site Plan
PROJECT 03 13
B. Ground Floor
C.
C. Section N/S
D. Southern Elevation
D.
PROJECT 03 14 D.
C.
E. College Hill View
F. Connection To Downtown
G. Dyer St. Facade
50’
200’ 100’
350’
PROJECT 03 15
The program of this project was to redesign the existing Providence Train Station located in downtown Providence. The station once served as a gateway to the city, but as the city has evolved, so have the different needs for the station. In order to create a space for the city’s present needs, the approach was to gather an assortment of contextual information from the given site in order to create a “matrix�, or abstraction of data that determines the essence of an architectural principle. By describing the data through a topographical gesture, the gathered information became spatial. In order to make the project a grounded architectural idea, the formal language of the matrix model was combined with the environmental context of the site. This led to the development of a green roof structure that combined elements of the pre-existing topography with the program of the station. In order to seamlessly join the architecture with the surrounding green spaces, the building acts as a bridge connecting the existing urban landscapes. The result is a structure that does not disrupt the current environment by limiting itself to a singular program, but rather becomes a multi-purpose center facilitated by community and travel.
PROJECT 04 16
A. Southwestern Elevation
B. Section N/S
PROJECT 04 17
C. Second Floor
PROJECT 04 18
D. Southeastern Elevation
G. Ground Floor Plan
E. Section E/W
F. Building Diagrams
PROJECT 04 19
A. Building Diagrams
B. Section E/W
PROJECT 05 20
This 200 unit housing complex located in Chelsea, Massachusetts was developed as part of the studio “Urban Design�. The project was created by utilizing the preexisting residential urban fabric and deconstructing it based on site conditions such as topography and the construction of an exclusive two way bus route. Due to the existence of a neighboring industrial context, a design strategy was implemented to promote a porous culturally diverse interior with an exterior that would eliminate the overbearing industrial surroundings for the residents. Due to a programmatic emphasis on the need for family units, the eastern facing structure was designed as a cultural center, housing a 300 seat auditorium, a cafe and 20 assorted classrooms.
C. Cultural Center Elevation
PROJECT 05 21
D. Residential Ground / First Floor Plan
PROJECT 05 22
E. Site Plan
By designing the units through the use of the golden section, each unit was able to be scaled according to the number of bedrooms assigned. By aggregating these different apartments along one singular axis, a facade was created to promote an architectural language as diverse as the families who inhabit them. The street-facing facade was designed to be rigid but completely transparent. This allowed the space to communicate with the urban context by exposing the interior program.
F. Cultural Center Ground Floor
PROJECT 05 23
The mission of this project was to use systems of drawing from direct experience and indirect computational operation to develop a language between physical and virtual representation. For example, “seeing” in and of itself can be viewed as a form of representation of information. The eye takes in data and the brain processes it. But to what extent is it accurate? What is lost in this process? What is gained? The project began with the assemblage of irregularly shaped vessels to form a “still life”. Subsequent iterations oscillated between different media to represent the previous version. The final stage of the process was to collect the information modeled in the computer and use it to create rich, multi-layered drawings that would allow further exploration of the objects and phenomena.
PROJECT 06 24
PROJECT 06 25
PROJECT 07 26
Drube is an interactive drawing installation deigned to promote community and challenge precedents relating to authorship and drawing itself. Drubes are the artist’s attempt to remove himself from the outcome of the finished drawing while still maintaining a level of control through the design and fabrication of the drawing tools. Drubes are designed to utilize an unconventional drawing mechanism that allows those who interact with them a sense of freedom and the ability to be involved with the process regardless of artistic skill. The result is a visual map, tracking the moments of interaction and isolation that occur among those who partake.
PROJECT 07 27
Anamorphosis was developed within the first year studio, “Making of Design Principles”. The focus of this project was to define a cubic volume and then combine the volume with situational experiences observed from a given site. This allowed for discovery of individual principles of designing space as an introduction to architecture. The first exercise in this process used planes and continuous lines to define a 5” x 5” empty cubic volume inside of a constructed 24” x 24” mesh cage. The observations of the site led to the core principle of using light and shadow as design elements. Light has a very unusual characteristic: it can hit an object and cause a visual reaction (shadow) that will continue its path parallel to its previous trajectory as an anamorphic projection. By using this same principle, a structure was developed that was defined not by a cubic form, but based on a cubic elevation. The project’s resolution incorporated these principles into the design of a performance space. The final result is a structure that although defined as a black box, experientially is something entirely different and whimsical. Only when one stands far enough away to see the structure in an elevational format does the recognition of the cube appear.
PROJECT 08 28
PROJECT 08 29
PROJECT 08 30
PROJECT 08 31
PROJECT 08 32
PROJECT 08 33
The following work was completed as part of a summer internship with Robert A.M. Stern Architects*. The focus of the work was to fully develop a digital model of a design for a residence located in Palm Beach, Florida. Due to the client’s interest in digital renderings over architectural drawings, multiple renderings were made as a way of simulating different options. *The work shown was completed by Michael Coyle but remains property of Robert A.M. Stern Architects and may not be published, copied, or distributed without the proper consent of both parties.
PROJECT 09 34
A. Perspective 1 (P1)
B. Perspective 2 (P2)
C. Perspective 3 (P3)
D. Perspective 4 (P4)
PROJECT 09 35
E. Perspective 5 (P5)
PROJECT 09 36
F. ISOMETRIC DIAGRAMS
P4
P3 P1
P5
P2
PROJECT 09 37
Architecture Based On Drawing Buildings (A.B.O.D.B.) was a studio focused on developing form through the vagueness of how one can interpret information within a drawing. The work began by extracting a “sample” or 10,000 sq ft contiguous volume from an existing structure, in this case, Sagrada Familia. The volume was then analyzed through the act of computational drawing via a pen plotter. The second stage of the studio focused on reinterpreting the original drawing and creating an abstracted iteration of the original space. The final stage was to model this newly designed space and create a programless structure that utilized this newly developed “sample.” The resulting structure is nestled into the hillside of the site and focuses on giving users a juxtaposed experience between the geometric form of the exterior and the descent into a natural cavelike interior.
PROJECT 10 38
A. AXONOMETRIC B. STREET LEVEL PLAN
C. TRIMMED SAMPLE 1
F. WESTERN ELEVATION
D. PEN PLOTTED SAMPLE
E. TRIMMED SAMPLE 2
PROJECT 10 39
G. N/S SECTION
I. WESTERN PERSPECTIVE
H.
H.
H. TRANSITION LEVEL PLAN
G.
PROJECT 10 40
G.
PROJECT 10 41