PORTFOLIO 2013 - 2020
MICHELLE BUNCH M.ARCH 2020 | B.S. ARCH 2016 GEORGIA INSTITUTE OF TECHNOLOGY
CONTENTS
M.ARCH, 2018 - 2020
004
PLAY/TIME Fabricated Homescapes 2020
028
S-BUILDING Home, Architecture, Agency
040
THE MASS OF TIMBER Building the Carbon-Positive City
056
WAITING ROOMS Testing Non-Referential Architecture
072
WEIGHT/COUNTERWEIGHT A New Nexus for the ATL Beltline
B.S. ARCH, 2012-2016
SELECTED COURSEWORK
078
ZERO GRAVITY A Responsive Light Instrument
112
KENT STATE CASE STUDY Construction Technology II
088
POBLENOU HOUSING Extended Stay Hotel
122
MATTAPAN SCHOOL WING Studies in Climate, Lighting, + Systems
104
ON THE EDGE The Dormer + the Definition of Space
134
ATLANTA Tragicomedy in Two Acts
XXX
GARDEN MUSEUM Representing Renovation
PLAY / TIME A HOME WHERE CHANGE ENDURES
SOUTH END BOSTON, MA JAN - APR 2020 CRITIC // DEBORA MESA COURSE // M.ARCH D+R STUDIO II
For project video and full documentation, visit: fabhomes2020.cargo.site
How can an apartment typology adapt to our lives as they change over time, rather than requiring us to adapt our lives to available apartment stock? Play/Time answers with a building crafted from a single prefabricated panel with an offset opening, which incorporates all architectural, structural, and systematic functions: wall with window or door, floor with shaft, roof with skylight. Openings in the panel enable the annexation or re-partitioning of adjacent apartments over time, promoting subtle changes in the facade and in cross view as these changes occur. Adjustable interior modules and partitions alike fill this generic system and behave as furnishings, promoting play through the inhabitant’s agency over his or her living space. The project responds to the City of Boston’s RFI for the integration of housing and public assets at the site of Boston Fire Engine 3 in the South End.
5
+
/ THE ADAPTABLE HOME The single-family home, which was marketed for a demographic which no longer dominates American culture, also has the advantage of being able to adapt to change over time.
PLAY/TIME // SPRING 2020
THE ADAPTABLE APARTMENT A single panel with an integrated opening provides a solution at the scale of the apartment which allows units to be combined or re-partitioned over time.
7
FRAME
WALL
The 10’X48’ panel can become all architectural elements, beginning with a frame. Components: (12) 6” x 18” members, with gap to accommodate connector. (2) 18” x 48’-0” members provide bracing. (4) bracing elements.
Central two bays accommodate building services. Connector ships embedded in the panel. Two openings are allowed for interior combinations.
PLAY/TIME // SPRING 2020
FLOOR
ROOF
Panels are connected on-site with spanning connector.
One option among many. Stock panel elements are mitered to accommodate roof pitch.
9
ON-SITE ASSEMBLY
PLAY/TIME // SPRING 2020
Panels arrive on site and are craned into place.
11
HOUSING + PUBLIC ASSETS The project integrates Boston Fire Engine 3 and an adjacent basketball court into the fabric of the South End while providing a much-needed middle class housing option to merge extreme pricing conditions.
PLAY/TIME // SPRING 2020
CONTRIBUTING COMMUNITY The ground floor introduces a cafe (north) and an arts and activity after-school program, which complement the existing court and provide opportunities for police and firefighters to connect with residents and visitors.
13
COVERING THE COURT The existing basketball court is covered to extend its usable hours, while special panels are adapted to maintain the court’s connection to the street and the community.
PLAY/TIME // SPRING 2020
INTERIOR COURTYARD Between the arts and activity program, a courtyard provides spillover space for play and activities, or can be rented for seasonal markets + events.
15
WAREHAM ST. CAFE | SUMMER Cafe doors open between Engine 3 and Wareham Condos to extend the cafe to a patio area and connect with passersby.
PLAY/TIME // SPRING 2020
WAREHAM ST. CAFE | WINTER Infill door panels are closed in the winter, yielding a more intimate interior space.
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GENERIC INTERIORS 5 of the 6 panel bays are part of the apartment, while one apartment bay either provides an exterior balcony or contributes to a shared corridor.
PLAY/TIME // SPRING 2020
SHARED SPACES + AMENITIES A stack on the northeast side of the building accommodates an elevator core, while unit modules which are not in use can be installed as shared amenities. The shared corridor (below) offers an interior setting of socialization protected from the elements.
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24’-0” 20’-0”
BASE UNIT, CONFIGURATION 1
Exterior Balcony
960 SF
Mechanical Zone
48’-0”
Bath Module
Kitchen Module
Laundry Module
Closet/Storage Module
Entry
Adjustable Partition
Shared Corridor
UNIT CONFIGURATIONS | 5 of the 6 panel bays are part of the apartment, while one apartment bay either provides an exterior balcony or contributes to a shared corridor. PLAY/TIME // SPRING 2020
24’-0” 20’-0”
BASE UNIT, CONFIGURATION 2 800 SF
Mechanical Zone
48’-0”
Bath Module
Kitchen Module
Interior Shared Space
Laundry Module
Entry
Closet/Storage Module
Adjustable Partition Shared Corridor
CHANGE OVER TIME | The unit contains two measures of change over time: removable areas of the panel represent change over years, while operable doors at both ends show change over the days and seasons. 21
BASE UNIT
SxS 01A
SGL 01
SxS 02A
SGL 02
SxS 03A
UNIT TYPES, MAX 2 UNIT COMBINATION
PLAY/TIME // SPRING 2020
SxS 01B
DBL-HT 01
SxS 02B
DBL-HT 02
SxS 03B
DBL-HT 03
Panels form a square grid which allows diverse divisions of living and sleeping space.
23
WAREHAM ST. ELEVATION | Alignment of openings reveal moments and connections in the apartment.
PLAY/TIME // SPRING 2020
TRANSVERSE SECTION | Modular partitions allow units to alternate between configuations 1 and 2.
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PLAY/TIME // SPRING 2020
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S-BUILDING
BUCKHEAD TRIANGLE ATLANTA, GA AUG - NOV 2019 CRITIC // JOHN PEPONIS COURSE // M.ARCH D+R STUDIO I
A persistent metaphor in contemporary discourse on architecture insists that architecture provides a stage for life. This commonplace, perhaps unintentionally, suggests that buildings and rooms merely frame the actions of everyday life, thus remaining at arm’s length from the web of human relationships that they support and eluding the senses of touch or movement. S-Building reintegrates stage, prop, and action by reimagining the ordinary accommodations of domestic architecture to encourage unexpected interactions, curiosity, and play. Four architectural elements, singly or in conjunction, participate in the inhabitant’s movement, generating a visible ripple effect of relationships between the inhabitant and the element, the element and the apartment, and the apartment and to the building.
29
expectations
S-BUILDING // FALL 2019
surprises
texture + detail
the operation
An inverted window brings the outside in. One motion creates a virtual space which is everywhere and nowhere at the same time.
Reality meets virtual reality. “A Spoonful of Sugar” (1964)
What’s that noise? A soft whoosh reveals the source: laughter muffled in a fabric room.
An unexpected loss of agency. “A Spoonful of Sugar” (1964)
A convex drapery contains many mysteries. A concave room embraces and connects. A heavy curtain begs to become a cocoon..
Programmed fluidity. Forsythe, “Black Flags” (2014)
The everyday wraps around a dressing-room. From the inside, the nested hideaway sometimes provides a window to a window.
Hidden treasures. “My Favorite Things” (1965)
S-Building is most simply described in two extremes, open and closed. In reality, it transcends these states to include everything in between.
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narrative 01
diagram 01
We see the neighbors in moire. When a balcony door is open...
Secrets are hidden from view. When the window-room is open...
Rooms converse without boundary. When the curtain wall is open ...
Is anyone inside?
When the inner room is open ...
S-BUILDING // FALL 2019
narrative 02
diagram 02
We enter onto a balcony and see across.
... the screen is open. Anticipated audience. An American in Paris (1951)
A moving door reveals a window.
... the screen is closed. Occupancy and vacancy. An American in Paris (1951)
A curtain wall creates an enclave.
... the screen is open. Inhabiting layers. “My Favorite Things” (1965)
Secrets are hidden behind the everyday.
... the screen is closed.
Suspense and suspension. Forsythe, “The Fact of Matter” (2018)
33
FRONTS AND BACKS AND FRONTS S-Building obscures the distinction between front and back. Its sinusoidal shape maximizes frontage towards two prominent skylines: downtown Atlanta to the southwest, and Buckhead to the northeast. Proximity to adjacent towers and potential tower sites means that what a resident can see out is as important as what neighbors can see in.
S-BUILDING // FALL 2019
01
03
04
02
01
03
02
3 Bedroom Apartment | Operable Elements in Two States
Three Bedroom Apartment
04
10 ft
10 ft
Operable Elements in Two States
35
SCREEN // MORNING When the boundaries of inward-facing areas, specifically closets, are open, the screen is closed to conceal their occupation.
S-BUILDING // FALL 2019
SCREEN // EVENING When the boundaries of outward-facing areas - balconies and the living room - are open, the screen opens to reveal their occupation.
37
INSETS + OFFSETS Two inset balconies mirror the geometric language of the tower and generate internal tangential relationships between rooms.
S-BUILDING // FALL 2019
OSCILLATIONS A primary sinusoidal circulation loop encourages inhabitants and their guests to oscillate from front to back. Two apartment types, pictured above, share the same circulation loop entered from different directions.
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THE MASS OF TIMBER BUILDING THE CARBON-POSITIVE CITY
SOUTH BOSTON BOSTON, MA JAN - APR 2019 CRITIC // SONIT BAFNA COURSE // M.ARCH ADVANCED STUDIO II
The Mass of Timber behaves as an extension of the street in two ways, resulting in a building with two distinct parts. The urban marketplace on the lower levels acts as a physical extension of the urban realm, while the hotel mimics the pockets of activity that might be found along a streetscape through shared spaces that are carved out on each floor. Materially, I propose a challenge to the role of wood as a provisional, tectonic material by stacking cross-laminated timber (CLT) punch-outs that have been reclaimed from conventional CLT construction waste. This method results in a wood building with a stereotomic quality akin to that of masonry construction.
The building’s shared spaces gradually open to views of Downtown Boston as visitors move from South to North.
41
W. FOURTH STREET (ABOVE)
4 3 6 5
FOUNDRY STREET
FOUNDRY ST. LEVEL
THE MASS OF TIMBER // SPRING 2019
2
1
1 | Entry Plaza / Seasonal Vendors 2 | Farmer’s Market Stall, typ. 3 | Vendor Stall, typ.
4 | Backstock + Cold Storage 5 | Mechanical + Electrical 6 | Loading Area
16 ft
43
W. FOURTH STREET
1
4 5 2 3
FOUNDRY STREET
W. FOURTH ST. LEVEL
THE MASS OF TIMBER // SPRING 2019
6
1 | Drop-Off + Pick-Up Area 2 | Hotel Check-In 3 | Stair to Urban Marketplace
4 | Cafe 5 | Seating Area 6 | Outdoor Terrace
16 ft
45
SECTION A-A A grid of vertically oriented CLT panels regulates rooms and structures shared spaces.
FOUNDRY ST. ELEVATION Fenestration patterns subtly reveal the thickened wall stacks and embedded structure within the building.
THE MASS OF TIMBER // SPRING 2019
16 ft
16 ft
47
6
1
2
4 5
3
1
1 | Single-Occupancy Room 2 | Double-Occupancy Room 3 | Stair to Level 04
THE MASS OF TIMBER // SPRING 2019
4 | Stair from Level 03 5 | Shared Breakout Areas 6 | Stair Landing Above
THE MODULE In conventional CLT construction, material is purchased by the panel. Modular doors and windows are then removed, and the punchouts become waste material.
THE STACK 2’-0” x 7’-0” partial door panel + center piece from below
3’-0” x 7’-0” door panels, carved as shown
3’-0” x 7’-0” whole door panel
THE ROOM AS WALL Rather than serving as an element that merely partitions space, the wall is re-imagined as a mass that is carved to contain all functions for adjacent rooms within a single wall.
49
3
6 5
4
1
1 2 3 4
| | | |
Single-Occupancy Room Stair from Level 04 Stair to Level 06 Rentable Event Space
THE MASS OF TIMBER // SPRING 2019
2
5 | Storage Wall 6 | Outdoor Balcony
A balcony on Level 06 overlooks the event space on Level 05. Skylights visually extend the stacked wall systems.
Level 04 breakout space reveals contrast between corridor and shared spaces
51
5-ply CLT floor panel
Glulam beam Glulam joists 3/4� plywood drop ceiling
Expansion joint fill between stacks + ceiling, typ.
Dowels for vertical stability between stacked panels Clip angle to secure stacks to vertical CLT structure
9-ply CLT structural wall Reclaimed CLT stacks, ply varies between floors
INTERSECTION STUDY A stereotomic appearance is supported by post and beam construction to supplement the loading of horizontally stacked CLT panels.
THE MASS OF TIMBER // SPRING 2019
The upper levels offer private and semi-private spaces for guests to work or hold events and engage the experience of the material.
The urban marketplace levels provide extended, panoramic views to Downtown Boston that invite and engage the general public, while
WALL SECTION :
1 2 3 4
| | | |
Roofing membrane on rigid insulation Metal parapet cap w/ flashing Roofing membrane on exterior sheathing 1x charred wood tongue and groove siding, depths to match interior CLT stack height 5 | Wood spacers on vapor barrier on exterior sheathing 6 | Stud framing 7 | CLT roofing panels 8 | Glulam beams 9 | Exterior finish panel to match siding 10 | Curtain wall assembly w/ insulated glazing, structural silicone vertical joints 11 | Sill cap to match siding 12 | Stud framing w/ batt or wood fiber insulation 13 | Interior plywood sheathing 14 | 5 ply CLT flooring system 15 | Concrete foundation wall for CLT structure, beyond 16 | Concrete slab on grade 17 | Concrete foundation wall 18 | Rigid insulation, drainage mat, and vapor barrier 19 | Sidewalk slab on grade 20 | Foundation drain
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URBAN THRESHOLDS 1 2
Drop off area and outdoor terrace welcome pedestrian traffic along the W. Fourth Street bridge. The outdoor terrace becomes a canopy for a covered plaza and entry along Foundry Street.
THE MASS OF TIMBER // SPRING 2019
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WAITING ROOMS
MARIETTA STREET ARTERY AT MEANS STREET ATLANTA, GEORGIA
A train station along Georgia’s proposed Brain Train route connecting universities from Athens, GA to the planned Multimodal Transit Hub in downtown Atlanta.
SEPT. - NOV. 2018 CRITIC // BRIAN BELL COURSE // M.ARCH ADVANCED STUDIO I
A connection point for the Atlanta Beltline over the condemned Bankhead Avenue Bridge, now infamous as Atlanta’s “bridge to nowhere.” An attempt to realize principles of design starting from a formgenerative statement, as outlined in Valerio Olgiati and Markus Breitschmind’s Non-Referential Architecture [Simonett & Baer, 2018]. What captures our attention while we wait? A mass that expresses gravity, structured by a void that expresses weightlessness.
1
5
4
3
2
BRIDGE LEVEL PLAN 1 2 3 4 5
Ticketing Cafe Waiting Room (below) Platform Public Square
THE MASS + THE VOID 1 The mass as shown above grade (black) and below grade (red). 2 The void as a circulation system of two nested interior (red) and exterior (blue) loops.
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LOCATION PLAN
WAITING ROOMS // FALL 2018
The station differentiates itself from overpass conditions along the Marietta Street Artery by connecting directly into the street network from the Bankhead Avenue bridge.
KEY
EXISTING BELTLINE TRAIL
PROPOSED BELTLINE TRAIL EXTENSION
GEORGIA TECH
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6 5
4
KEY 1 2 3 4 5 6 7 8 9
Atlanta Contemporary Arts Center Carriage Works historic office retrofit Grinnell Warehouse North Avenue Research Area substation Carriage Works office area Student housing (under construction) Post Office Flatiron Building Office Building
LOCAL PLAN
WAITING ROOMS // FALL 2018
3
The station occupies the site in a way that reconnects and activates the Means Street corridor.
7 9
8
1
1
2a
2b 2c
61
1 2
7
3
8 5
4
6
GROUND FLOOR PLAN 1 Pick-up + drop-off area 2 Main entry + ticketing 3 Public square
WAITING WAITING ROOMS ROOMS // FALL // FALL 20182018
4 Cafe 5 Vertical access to waiting room 6 Reflecting pool
7 Platform entry + turnstiles 8 Platform
INTEGRATED BRIDGE CONNECTION The Bankhead Avenue bridge diffuses foot traffic into the public square as a way of connecting the bridge directly to the site.
63
Section axonometric cuts through circulation sequence from main entry and ticketing to the waiting room
WAITING ROOMS // FALL 2018
65
LOWER LEVEL PLAN 1 Access to entry + ticketing (above) 2 Interior ramp down to waiting room 3 Outdoor ramp down to waiting room
WAITING WAITING ROOMS ROOMS // FALL // FALL 20182018
4 Transitional room 5 Main waiting room
6 Ramp up to platform 7 Parking
PASSAGES + THRESHOLD 1 3
Stair between the transition room and the cafe Passage between the transition and waiting rooms
2 4
Curved wall flows from the ramp into the waiting room Ramp leading up to the platform
Ramps and waiting areas on the lower level create smooth transitions and an environment that celebrates a monumental slowness.
67
An acrylic-bottomed pool and ceiling structure provides strength, seamlessness, and transparency.
Thin granite fins introduce a material contradiction with their impression of transparency. A continuous reveal along the edge of the floor is filled with crushed stone, giving the wall the appearance of plunging into the earth.
WORM’S EYE
This detachment also allows the floor to appear as a floating plate.
BIRD’S EYE
Solid granite benches arrayed in a grid promote wandering and act as rooms within the room
VIEW 2
VIEW 1
WAITING ROOMS // FALL 2018
1
2 PARALLEL EXPERIENCES The transition room acts as a preview of the experience of the main waiting room. The main waiting room, situated beneath the reflecting pool, evokes feelings of weightlessness while you wait.
69
SECTION A-A Cuts parallel to the path of the ramps provide opportunities to bring in daylight and elongate the experience of slowness.
SECTION B-B Vertical connections at the waiting areas allow quicker access to the cafe and platform
WAITING ROOMS // FALL 2018
71
WEIGHT + COUNTERWEIGHT A NEW NEXUS FOR THE BELTLINE
NORTH AVENUE BRIDGE ATLANTA, GEORGIA AUG. - SEPT. 2018 CRITIC // BRIAN BELL COURSE // M.ARCH ADVANCED STUDIO I
This new nexus for the Beltline at North Avenue interweaves two distinct grounds – the paths that travel along North Avenue up to the Beltline, and the earthwork that encloses the Beltline’s main path. Two similar spaceframe structures carry and accentuate each ground as they form a loop, which is then connected through the surface of the bridge. The lower structure carries the ground from the street upwards and connects back to North Avenue. The upper structure furthers the continuity of the greenery along the Beltline circuit as it connects diagonally across the bridge surface. The suspension cables that link the two structures partitions the bridge to continue to provide space for viewing the skyline of downtown Atlanta while creating a new space for standing and seating on the east side of the bridge.
AT L
AN TA
BE
LT L
IN
E
E
NU
VE HA
RT
NO
SECTION AXON The stair from North Avenue and the Beltline greenery are starting points for two spaceframe structures that work in tandem. 73
CONNECT In addition to connecting two sides of the Beltline, the two structures of the bridge connect to one another with suspension cables.
WEIGHT + COUNTERWEIGHT // FALL 2018
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CONTENTS
M.ARCH, 2018 - 2020
004
PLAY/TIME Fabricated Homescapes 2020
028
S-BUILDING Home, Architecture, Agency
040
THE MASS OF TIMBER Building the Carbon-Positive City
056
WAITING ROOMS Testing Non-Referential Architecture
072
WEIGHT/COUNTERWEIGHT A New Nexus for the ATL Beltline
B.S. ARCH, 2012-2016
SELECTED COURSEWORK
078
ZERO GRAVITY A Responsive Light Instrument
112
KENT STATE CASE STUDY Construction Technology II
088
POBLENOU HOUSING Extended Stay Hotel
122
MATTAPAN SCHOOL WING Studies in Climate, Lighting, + Systems
104
ON THE EDGE The Dormer + the Definition of Space
134
ATLANTA Tragicomedy in Two Acts
142
GARDEN MUSEUM Representing Renovation
77
ZERO GRAVITY A RESPONSIVE LIGHT INSTRUMENT
KENNEDY SPACE CENTER VISITOR’S CENTER CAPE CANAVERAL, FLORIDA FEB. - APR. 2016 CRITIC // TRISTAN AL-HADDAD COURSE // ARCH 4012 TEAM // MICHELLE BUNCH JIANGPU MENG CAMERON BRADBERRY
Zero Gravity is a product of the Open Skies Studio, a collaboration between Georgia Tech’s Schools of Architecture and Mechanical Engineering to create a responsive architectural element for NASA’s Kennedy Space Center visitors complex. As the first phase of the $1.6 million project, the aim of the studio was to integrate a piezoelectric paver system to a spatial experience that would connect two disparate pieces of the Vapor Trail, the artery for visitor circulation. As the driving force of life on Earth, the sun serves as a timeless symbolic icon and an inspiration for innovative technologies. We proposed an interactive solar promenade composed of two canopies of telescoping tubes that will visually connect the two pieces of the Vapor Trail. The assembly of tubes reinterprets the oculus, and translates sunlight into a caustic ripple effect based on the movement of visitors underneath, emphasizing the connection between ground and sky. The two canopies are constructed of a field of connected tensegrity structures to appear as though they float in zero gravity.
SCHEMATIC UNITS Nine solar angles were chosen to test the field of tubes. For structural integrity, we propose packaging the tubes into 3 icosahedral tensegrity units, with a pair of tubes for each solar angle.
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14
17
16
15
12 8 4
9
10
13
5 11 6
3
7
2 1
CIRCULATION The Kennedy Space Center is an open loop between the vistor’s complex and offsite tours
SITE MAP 1 2 3 4 5 6
Information Entrance / Exit Heroes & Legends Rocket Garden Children’s Play Dome Nature + Technology
ZERO GRAVITY // SPRING 2016
7 Destination Mars 8 Journey to Mars 9 Open Canopy Area 10 Space Shop 11 Bus Tour Entry 12 Bus Tour Turnaround + Exit
13 14 15 16 17 18
Administrative Offices Space Shuttle Atlantis Orbit Cafe IMAX Theater Center for Space Education Astronaut Memorial
DENSITY MAPPING Showing the concentration of people per square foot, revealing pinch points and open areas
KEY BUS PATH WALKING PATH
SITE STRATEGY Two parallel solar canopies, extending the existing circulation path and creating a visual connection through the seating area
ZERO GRAVITY // SPRING 2016
D
C
B
A
A
PIEZOELECTRIC TILE Walking over the tile registers movement on the ground and creates a signal.
C
IRREGULAR GRID Tiles and units; concentrates movement in certain areas to pull visitors away from pinch points
B
SIGNAL Communicates movement to the corresponding set of tubes above
D
RIPPLE EFFECT The actuation of one set of tubes starts a ripple effect of actuation across the canopy
SINGLE ACTIVATION Tubes reach towards a single visitor and produce a ripple effect outwards
MULTIPLE ACTIVATIONS When multiple visitors activate the canopy, movement is concentrated in the areas of highest activity
ZERO GRAVITY // SPRING 2016
C
D
A
E
B
F
ABOVE
Prototype installation as independent units su
COMPONENTS A
HOUSING TUBE 4” diameter PVC tube lined with reflective film
B
TELESCOPING TUBE 3 / ” diameter PVC tube lined with reflective film
C
TENSEGRITY CAP 10 GA steel, welded, 2 caps per tube
ZERO GRAVITY // SPRING 2016
D
AIRCRAFT CABLE 3/16” thick coated cable, looped at cap and secured with ferrule at each end.
E
OPEN-BODY TURNBUCKLE Located on select cables to bring the unit into tension
F
STABILIZATION RING Acrylic ring with inset ball bearings to facilitate movement
C
uspended from structure of School of Architecture porch
C
D
F
POBLENOU HOUSING EXTENDED-STAY HOTEL
C / DE PALLARS + C/ D PERE IV BARCELONA, SPAIN OCT. - DEC. 2015 CRITIC // MARK COTTLE COURSE // ARCH 4011
This project from the Barcelona International Studio addresses the problem of the urban corner where Barcelona’s Eixample meets the pre-Eixample order of Carrer de Pere IV. The one hundred unit extended-stay hotel continues and echoes the urban archetypes of Pere IV and Poblenou - the perimeter block building as wall, and the warehouse structure as roof. At the intersection of the two archetypes, a third structure introduces the contained courtyard. The shared space of the central Eixample block courtyard is reinterpreted for the corner lot with a public entry plaza on grade, and controlled access to an open basement level below. In keeping with the three distinct structures, three room types respond to the focus of their respective locations.
PROVENCA DEL POBLE
EL CLOT
SAGRADA FAMILIA
EL PARC I LA LLACUNA DEL POBLENOU
FORT PIENC
LA VILLA OLIMPICA DEL POBLENOU SITE PLAN POBLENOU HOUSING // FALL 2015
The history of the development along C. de Pere IV continues to leave its mark through the order of the Eixample grid
ALS ENOU
DIAGONAL MAR
CARRER DE PERE IV The remnants of the historic road to France
EL POBLENOU
KEY
NEIGHBORHOOD BOUNDARY
LOTS INFLUENCED BY C. DE. PERE IV
SITES CONSIDERED
MASSING
ARCHETYPE 01: WALL Extension of the Eixample perimeter block.
01
02 ARCHETYPE 02: WAREHOUSE Continuation of the warehouse roof. Registers Carrer de Comptal & Pere IV.
ARCHETYPE 03: COURTYARD A third piece defies the archetype, acting as an open-air object at the intersection
POBLENOU HOUSING // FALL 2015
03
01 Parting wall suggests extension of the perimeter block
1936 The Eixample absorbs existing conditions along Pere IV
02 Carrer de Comptal retains its alignment to Pere IV
1903 Pre-Eixample industrial buildings front along Pere IV
03 Smokestack occupies an otherwise clean Eixample corner
2015 Negating the corner produces an inviting entry plaza
MAP SOURCE: MUHBA, Carta Historica de Barcelona. [www.cartahistorica.muhba.cat]
01
Open corner highlights the relationship between the three buildings and existing smokestack
02
Below-grade shared space vertically separates public space from private access areas
POBLENOU HOUSING // FALL 2015
CIRCULATION
01 - ENTRY A single point of controlled access from the object building
03 - VERTICAL Facilitates travel between basement and rooms
02 - DESCENT Open circulation connecting the three buildings
04 - HORIZONTAL Three distinct corridor types correspond to each building
A
1 B
7
3
2 4 5 6
A
GROUND FLOOR 1 2 3 4 5 6 7
Plaza Lobby Open to cafe below Secure access to building 2 Open-air walkway Room type 01 (ref. Fig. x) Room type 02 (ref. Fig. x)
POBLENOU HOUSING // FALL 2015
B
A
8
B
7 5 2
1 4 3
A
BASEMENT LEVEL 1 2 3 4 5 6 7 8
Check-in desk & concierge Cafe Lap pool Office Restrooms Housekeeping storage Laundry facilities Gym
6
B
SECTION A-A
SECTION B-B
POBLENOU HOUSING // FALL 2015
A
TYPE 02 SPLIT
B
B TYPE 03 LOFT
A
TYPE 01 COMPACT
TYPICAL FLOOR Each of the three buildings houses distinct circulation systems and room types. In the wall building, the emphasis is linear. In the warehouse, a split floor plan navigates between an atrium and outdoor space. In the third building, the emphasis is to the sky.
POBLENOU HOUSING // FALL 2015
PRIVATE Sleeping + Living
SERVICE Kitchen + Bathroom
TYPE 01 COMPACT
CORRIDOR Single-loaded
PRIVATE Sleeping + Living
SERVICE Bathroom + Dressing SOCIAL Kitchen + Dining CORRIDOR Single-loaded Perimeter TYPE 02 SPLIT
PRIVATE Shower + Patio SERVICE Bathroom + Dressing SOCIAL Kitchen + Dining
TYPE 03 LOFT
CORRIDOR Open-air patio
TYPE 01 COMPACT 18 m2 per unit 56 total
TYPE 02 SPLIT 18 m2 per unit 35 total
TYPE 03 LOFT 18 m2 per unit 5 total
POBLENOU HOUSING // FALL 2015
ON THE EDGE THE DORMER & THE DEFINITION OF SPACE
UNDERGROUND ATLANTA PARKING GARAGE ATLANTA, GEORGIA NOV. - DEC. 2013 CRITIC // JENNIFER BONNER COURSE // ARCH 2011
The final project of ARCH 2011 imagines the roof as a way to activate the upper levels of an existing parking garage, which will be renovated to incorporate a roller derby rink, performance areas, and public meeting space. The theoretical position of the studio is to challenge domestic roof types by deploying residential-scale parameters over a larger area. On the Edge challenges the role of the domestic dormer as solely an exterior surface protrusion. Domestic roof types, including gables, hips, and hybrid types, provide a clear distinction between interior and exterior, and dormers are meant to provide additional interior space. Each of these roof types is a combination of singular pitched surfaces, or shed roofs. When these roofs are deconstructed into singular surfaces with dormers, they can be reoriented and combined into an infinitely expandable fabric, so that dormers can protrude outside, inside, and even reach down to form walls and structural elements.
DORMER TYPOLOGIES:
EXTERIOR
INTERIOR
EXTERIOR + INTERIOR
EXTERIOR + WALL R YO PR ST.
K ML
JR
IVE
DR
CE R NT AL .
E AV
SCALE ADAPTATION New functions and a new roof language energizes the urban parking garage 105
THE DOMESTIC DORMER: Singular roof base with an exterior protrusion. 12
8 EXTRUSION
+
EXTRUSION
7
THE HYBRID DORMER: Variable pitch shed base. Protrusions fold up, down, or both.
8
10 SWEEP
+
9
FOLD
PLAN Balconies protrude to provide viewing platfor PROGRAM 1 2 3 4 5 6 7 8 9 10 11 12
5
6
5
9
Roller derby rink Ticket checkpoint Cafe + concessions Point of sales + prep area Stage Seating area Meeting rooms Flex work area Display area Viewing platforms Entry staircase from L6 Existing stairs + elevators B-B PINCH
SERIAL SECTIONS Roof undulations + dormers characterize diff
ON THE EDGE // FALL 2013
4
12
5
3 6 2 1
5
11
12
rms 3
6
5
C-C EXPAND + CONTRACT
ferent spaces
3
11
D-D SPOTLIGHT
12
1
E-E VAULT
WORK Dormers diffuse light around work areas and backlight display walls
VIEWING PLATFORM Directed towards the state capitol and downtown Atlanta
PRYOR ST.
LEVELS 1 - 6 Lower levels maintain their functionality as parking for the upper levels LONGITUDINAL SECTION (A-A) A fabric of shed roofs has been sculpted to define each of the three programmatic areas. Dormers reach up or fold down into each of these spaces to complement their functions by diffusing light, creating focal points, and directing views to the surrounding cityscape.
ON THE EDGE // FALL 2013
PERFORM Dormers selectively dif areas and highlight per
M ffuse at seating rformance areas
PLAY Interior dormers dramatize roller derby matches and direct light to the rink
LEVEL 6 Roller derby locker rooms lie below the rink on L6
CENTRAL AVE.
PERSPECTIVE Roof undulations dramatize views to the roller derby rink
CONTENTS
M.ARCH, 2018 - 2020
004
PLAY/TIME Fabricated Homescapes 2020
028
S-BUILDING Home, Architecture, Agency
040
THE MASS OF TIMBER Building the Carbon-Positive City
056
WAITING ROOMS Testing Non-Referential Architecture
072
WEIGHT/COUNTERWEIGHT A New Nexus for the ATL Beltline
B.S. ARCH, 2012-2016
SELECTED COURSEWORK
078
ZERO GRAVITY A Responsive Light Instrument
112
KENT STATE CASE STUDY Construction Technology II
088
POBLENOU HOUSING Extended Stay Hotel
122
MATTAPAN SCHOOL WING Studies in Climate, Lighting, + Systems
104
ON THE EDGE The Dormer + the Definition of Space
134
ATLANTA Tragicomedy in Two Acts
142
GARDEN MUSEUM Representing Renovation
KENT STATE CENTER FOR ARCHITECTURE AND ENVIRONMENTAL DESIGN
WEISS MANFREDI COLUMBUS, OHIO JAN - APR 2019 CRITIC // HOWARD WERTHEIMER COURSE // CONSTRUCTION TECH II TEAM // MICHELLE BUNCH KATHRYN FARRELL ROBERT VAIVODISS
The case study project for Construction Tech II prompted a Revit-based mimicry and mastery of construction techniques through the development of a mock-CD set of three-dimensional details. After developing shared project documentation and a shared structural framework model, each group member addressed a single corner of the project from foundation to parapet. The methodology also reveals potential futures in BIM-based 3D detailing. Despite a heavy reliance on the digital model as the future of practice, full 3D detailing is unsupported in standard BIM software. The following details are the result of an effort to achieve a non-native representation, thus illustrating a principle which would perhaps only lower costs with full reliance on prefabrication and digital fabrication.
LEVELS 3-4 : STUDIOS
LEVELS 1-2 : CAED LIBRARY
BASEMENT : FABRICATION SHOP
Overall Subject Area, Southwest Corner
5 ft
113
SUBJECT AREA, EXTERIOR
KENT STATE CASE STUDY // SPRING 2019
115
Condition 02-A // Curtain Wall
Condition 01-A // Foundations
KENT STATE CASE STUDY // SPRING 2019
Condition 02-B // Curtain Wall
Condition 01-B // Foundations
117
Condition 04-A // Brick at Parapet
Condition 03-A // Brick at Corner
KENT STATE CASE STUDY // SPRING 2019
Condition 04-B // Roof at Parapet
Condition 03-B // Interior Finishes
5 ft
119
Section through Operable Curtain Wall Segment
KENT STATE CASE STUDY // SPRING 2019
Curtain Wall // Head + Sill Details
121
MATTAPAN SCHOOL WING STUDIES IN CLIMATE, LIGHTING, + SYSTEMS
MATTAPAN BOSTON, MA FEB - APR 2020 CRITIC // TAREK RAKHA COURSE // ENVIRONMENTAL SYSTEMS II TEAM // MICHELLE BUNCH ANNA KININGHAM CLAY KININGHAM AMELIA MCLEAN CHRIS TROMP
The overall design concept makes use of the courtyard strategy to allow light in from all directions. Key elements include North facing windows, clerestories, skylights over corridors, and gallery walls along the south to protect against the Sun from the South. Daylighting and electric lighting are combined to achieve 300-500 lux throughout the space over the course of the school day and throughout the year. Together, theses systems allow visitors, students, and staff and faculty, of this Boston elementary school to comfortably perform various necessary tasks to support a healthy learning environment. Furthermore, HVAC system strategies during the summer and winter months offer thermal comfort, maintaining an interior temperature between 65-73 °F. Sustainable measures such as natural ventilation and dehumidification are elevated as critical components of each scheme.
123
SITE PLAN Schol wing site in Mattapan is currently a municipal parking lot with no surrounding tall buildings. Site Plan + Climate Analysis diagrams by Chris Tromp.
MATTAPAN SCHOOL WING // SPRING 2020
DRY BULB TEMPERATURE -1.6 C (29 F) to 23.3 C (74 F) monthly averages
RELATIVE HUMIDITY 56% - 76% monthly averages
WIND SPEED 8 mph to 12 mph monthly averages
CLIMATE ANALYSIS As shown by the clipping from the psychrometric chart, the site is only considered comfortable 13.4% of the year without any interventions. This is largely due to its typically cold temperature. To reach 100% comfort, heating would need to be used, thus design strategies, such as a small floor footprint, pitched
roofs, increased insulation, and reduction of infiltration are all options for consideration. Additionally, due to high humidity wind flow, dehumidification strategies must also be considered. Representation generated through Ladybug, Honeybee, and Climate Consultant
125
BUILDING PROPOSAL The proposed building forms two classroom wings and an oďŹƒce wing arranged in a U shape around a central courtyard. On site (right), the building orients itself to face classrooms to the northeast to provide even daylight and task lighting. In section (above), the proposal relies on large northfacing windows and clerestories to achieve natural light and ventilation, while incorporating a southfacing display wall to mitigate disturbing glare. Site Plan by Chris Tromp, program diagrams + section by Clay Kiningham.
MATTAPAN SCHOOL WING // SPRING 2020
127
87.5%
0.4%
SPATIAL DAYLIGHT AUTONOMY (SDA)
ANNUAL SOLAR EXPOSURE (ASE)
Green areas represent areas of the building which can rely on daylight for more than 50% of the year. In this case, 87.5% of the school wing can do so.
Gold areas represent areas of the building which get direct sunlight and solar radiation. This building receives 0.4% ASE, and in combination with SDA values receives 4 LEED credits.
MATTAPAN SCHOOL WING // SPRING 2020
7%
364 lux
DAYLIGHT GLARE PROBABILITY (DGP)
WORK PLANE ILLUMINANCE (WPI)
Red areas are view cones which have disturbing glare at least 5% of the time. Any disturbing glare occurs before the building’s occupied hours and can be avoided by looking away.
All desk surfaces meet target light levels (between 300 and 500 lux) with daylight on September 23 at 2:00pm, taken as an average case within the school year.
Design Case models, diagrams, and tables generated by Michelle Bunch using Solemna Climate Studio.
129
Lighting Schedule TAG MANUF.
DESCRIPTION
WATTS
LUMENS
COUNT
TOTAL WATTS
AREA
LPD
A
Philips Lighting
TLED 8ft T12
35W
4200 lm
88
3080W
--
--
B
Climate Studio
4ft Direct/Indirect Linear
29W
3850 lm
45
1305W
--
--
4385 W
642.7m2
6.8 W/m2
TOTAL
ELECTRIC LIGHTING The building uses two lighting fixtures to achieve an average of 464 lux at night or on cloudy days. These two lights achieve a Lighting Power Density of 6.8W/ m2, almost half of the code required Lighting Power Density for schools (12.9 W/m2)
MATTAPAN SCHOOL WING // SPRING 2020
In the classroom (top right), lighting fixtures which run parallel to the window are wired to allow instructors to turn on only the lights which are needed on cloudy days. RCP + Climate Studio analysis generated by Michelle Bunch.
131
4
3
2
1
HVAC STRATEGIES | SUMMER + WINTER All heating and cooling energy is generated on-site. Photovoltaic panels (4) power a geothermal heat pump (1) which then transfers a coolant to a radiant heating and cooling floor system (2).
MATTAPAN SCHOOL WING // SPRING 2020
The panels and geothermal system also power a small air system (3, diagrams at right) which provides dehumidification and supplements heating and cooling as needed. HVAC strategy diagrams by Michelle Bunch, EDSL TAS diagrams by Chris Tromp.
4
3
2
1
133
ATLANTA: TRAGICOMEDY IN TWO ACTS
JAN - APR 2019
CRITIC // GEORGE JOHNSTON COURSE // COLLAGE MAKING
“Atlanta: tragicomedy in two acts” reimagines Samuel Beckett’s 1951 absurdist play Waiting for Godot as if it were set in the city of Atlanta, an act in which the play that could be anywhere meets the city that could be anywhere. The characteristics of the city and its architecture as described in Rem Koolhaas’ 1991 essay on Atlanta become in-situ actors of the play’s events (or non-events). Six iconic scenes from the play interpreted in this manner yield a staging of paradoxes rather than men, revealing a narrative over time related to the centerless city, the landscape city, and the exportation and importation of an architecture that could exist anywhere.
135
ACT 1, SCENE 1:
WAIT BY THE TREE
ESTRAGON: Charming spot. (He turns,
ESTRAGON: (Despairingly). Ah! (Pause.) You’re
advances to front, halts facing auditorium.) Inspiring prospects. (He turns to Vladimir.) Let’s go. VLADIMIR: We can’t. ESTRAGON: Why not? VLADIMIR: We’re waiting for Godot.
ATLANTA // SPRING 2019
sure it was here? VLADIMIR: What? ESTRAGON: That we were to wait. VLADIMIR: He said by the tree. (They look at
the tree.) Do you see any others.
ACT 1, SCENE 2:
LUCKY THINKS
VLADIMIR: He thinks? POZZO: Certainly. Aloud. He even used to
ESTRAGON: I’d rather he’d dance, it’d be more
think very prettily once, I could listen to him for yours. Now… (he shudders). So much the worse for me. Well, would you like him to think something for us?
POZZO: Not necessarily. ESTRAGON: Wouldn’t it, Didi, be more
fun. fun? VLADIMIR: I’d like well to hear him think.
137
ACT 1, SCENE 3:
IN ANOTHER COMPARTMENT
ESTRAGON: I tell you we weren’t here
VLADIMIR: (Sure of himself). Good. We
yesterday. Another of your nightmares. VLADIMIR: And where were we yesterday according to you? ESTRAGON: How would I know? In another compartment. There’s no lack of void.
weren’t here yesterday evening. Now what did we do yesterday evening? ESTRAGON: Do? VLADIMIR: Try and remember. ESTRAGON: Do … I suppose we blathered.
ATLANTA // SPRING 2019
ACT 2, SCENE 1:
SWAPPING HATS
VLADIMIR: Hold that.
head. Vladimir puts on Estragon’s hat in place of Lucky’s which he hands to Estragon. Estragon takes Lucky’s hat. Vladimir adjusts Estragon’s hat on his head. Estragon puts on Lucky’s hat in place of Vladimir’s which he hands to Vladimir. Vladimir takes his hat …
Estragon takes Vladimir’s hat. Vladimir adjust Lucky’s hat on his head. Estragon puts on Vladimir’s hat in place of his own which he hands to Vladimir. Vladimir takes Estragon’s hat. Estragon adjusts Vladimir’s hat on his
139
ACT 2, SCENE 2:
VLADIMIR: We’re surrounded! (Estragon makes a rush towards back.) Imbecile! There’s no way out there. (He takes Estragon by the arm and drags him towards front. Gesture towards front.) There! Not a soul in sight! Off you go! Quick! (He pushes Estragon towards autditorium. Estragon recoils in horror.) You won’t? (He contemplates auditorium.) Well I can understand that. Wait till I see. (He reflects).
ATLANTA // SPRING 2019
BEHIND THE TREE
Your only hope left is to disappear. ESTRAGON: Where? VLADIMIR: Behind the tree. (Estragon hesitates.) Quick! Behind the tree. (Estragon goes and crouches behind the tree, realizes he is not hidden, comes out from behind the tree.) Decidedly this tree will not have been the slightest use to us.
ACT 2, SCENE 1:
DO YOU NOT RECOGNIZE ME?
VLADIMIR: … (He listens.) But habit is a great deadener. (He looks again at Estragon.) At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) I can’t go on! (Pause.) What have I said? He goes feverishly to and fro, halts finally at extreme left, broods. Enter Boy right. He halts. Silence. BOY: Mister … (Vladimir turns.) Mister Albert
… VLADIMIR: Off we go again. (Pause.) Do you not recognize me? BOY: No Sir. VLADIMIR: It wasn’t you came yesterday. BOY: No Sir VLADIMIR: This is your first time. BOY: Yes Sir. Silence.
141
GARDEN MUSEUM
DOW JONES ARCHITECTS LAMBETH, LONDON, ENGLAND JAN - APR 2020 CRITIC // RYAN ROARK COURSE // REPRESENTING RENOVATION TEAM // MICHELLE BUNCH RICHARD DEMPSEY
Representing Renovation is the first in a series of courses that aims to clarify and expand a dialogue on representational strategies for adaptive reuse projects to make them more accessible to studio courses. A comprehensive re-drawing of Dow Jones Architects’ renovation of the Garden Museum in historic St. Mary’s at Lambeth in served as a testing ground for such representational strategies. More conventional strategies, such as coloration to clearly differentiate project phases, manifest in plan, diagram, and detail, while more rhetorical perspectives and model-making reinforce the project narrative.
Rendering of proposed section model through church apse. Dow Jones additions shown as wood and stained wood.
1086 AD The Domesday Book records a parish curch dedicated to St. Mary at Lambeth dating from before the Norman Conquest.
1377 The church is rebuilt in stone, including the tower which survives to the present day.
1243 A version of the current church tower is built in wood.
1560 Agas Woodcut Map of London showing St. Mary’s at Lambeth and Lambeth Palace.
1972 The church is decommissioned and slated for demolition.
1977 A London couple repurposes the church as the Garden Museum in honor of John Tradescant, one of the church’s parishoners and a prominant English botanist.
1851
2008
The entire church except for the medieval tower is rebuilt following the existing foundations.
Dow Jones Architects wins a competition to expand the amount of display space for the museum. They propose a wood frame + CLT “building within a building.”
2017 Dow Jones Architects wins the Phase II competition to expand the interior and design an exterior addition. The bronze panels on the exterior allude to tree bark and are selected for weathering.
OVERLAYS + EXTRACTIONS Linework tracings of and partial selections from maps from 1796, 1843, 1851, and 2019 highlight change over time (drawing by Richard Dempsey)
Map linework to be etched onto stacked acrylic sheets for forthcoming exhibition. Shining a light through each sheet will offer physical interaction with the different states.
INSERTIONS + ADDITIONS Dow Jones imagined Phase 1 (dark red) as a “building within a building� which adds a second level for display space to the church interior.
Phase 2 (light red) maintains a low profile to preserve visibility to Lambeth Palace and wraps the exterior of the church. It also adds to the interior insertion from Phase I.
20ft
20ft
PLAN + DETAIL Church at the time of renovation shown above in black, while Phase I + II are shown in red. A section through the apse (right) captures all phases of the Dow Jones additions while highlighting minimal contact between existing and new.
It also captures a previously undiscovered crypt beneath the church, uncovered during the second phase of construction, which contained 30 coďŹƒns and 5 former Archbishops of Cantebury.
INTERIOR Interior perspective collages photograph, line drawing, and Phase I proposal (drawing by Richard Dempsey).
EXTERIOR Successive layered images over time highlight changing streetscape in terms of pedestrian interaction and the addition (drawn in white).
Exterior perspective layers to be printed and exhibited as individual layers on transparency paper.
MODELING OLD + NEW Proposed section model features Dow Jones additions in basswood and stained basswood for Phases I and II respectively. The styrofoam nave reveals the interior’s interaction with offset column bays, while layered acrylic apses permit the audience to view this interaction through etched stone textures.