BAC Segment I Portfolio by Michelle Sloan

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A STUDIO- Project 1 

 Project Goals: - understanding depth and perception - developing a design idea - creating a visual balance

This was a progressive project that began using 2D compositions using planes, lines, & points. It ended with a 3D sculpture that I could imagine to be inhabited. The process started by using cut paper to create the illusion of transparency in two dimensions. To achieve the

affects of phenomenal transparency, I considered organization, spatial overlapping, depth, & contradiction.

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points, lines, and planes overlapping forms and spaces visual transparency objects slipping and sliding past, over, around, in front of, and behind each other - movement

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From the initial sketches, I did some further studies that looked deeper into the ideas of depth and perception. The ideas of overlapping, and transparency come to mind when seeing the different colors come

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Understanding depth and perception

together. The use of different shapes helped me further understand different ways this depth could be achieved.

From the sketchbook studies, I used cut paper and chipboard to display these same ideas. The exploration of visual oscillation, depth perception, and optical illusion continued to be studied.

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Planes

Spatial Overlapping

Lines

Visual Oscillation

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Through the use of different shapes, and the combining of points, lines, and planes, the creation of more dynamic compositions were formed. The dynamic qualities come from the movement in the composition, while there is also more to look at, and more for the eye to interpret.

Combination

Transparency

Depth Perception

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Points

Next, I chose one of my final 2D compositions to represent in three dimensions. It allowed deeper thinking into what these 2D shapes may look like if viewed from any direction. Which shapes are in front of each other, which are behind, how far do they extrude, do they extrude at all,

and which are just flat planes? I chose the one that combined all three elements: points, lines and planes because it had the greatest potential for finding and creating movement within the composition.

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Where do shapes sit in space?

What do we see beneath the surface?

Depth Perception

Extrusions

How are light and shadows created?

What does the box represent?

Solid & Void

A Slice Through Space

Box Unfolded 6

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The challenge for the “Composition on a Box” was to create equally “transparent” facades for each side of the box. Using three colors of cut paper, different shades were used to represent either depth, void, volume, or closeness to the facades. The white represents the

closeness to the face of the box, and the black begins to give the illusion of voids. Some shapes appear on all six sides to achieve the feel that it is floating in space, while other shapes extrude from one side to the other as if the edges of the box are a slice through space.

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Using this 3D model of my “Composition on a Box,” I used these same ideas of transparency, overlapping, and depth for the next iteration, which was a model. The sketches below were done as a first thought for what each side of the model might look like.

A semester goal: sketching to demonstrate thinking process, accumulation of work, and how projects were developed through sketching and model-making.

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From the sketches, some study models began to bring these new 2D ideas into 3D forms. This first pass at study models represents the beginning ideas of the transition from the box to the model. A variety of different techniques were tested such as different amounts of voids,

What is inside the "comp on a box"? MOVEMENT

solids, and planes for each model. Studying the way that objects sit in space was a focus of mine, and trying to achieve a movement throughout the piece presented another challenge.

This is the model I developed because it had the best balance of solids and voids on each side. It also brought in the idea of movement, especially where the curved piece slides all the way from one side to the other, implying that something could be moving through it. This is indicated by the arrow above. 9

Choosing this one study model to excel with, I studied each of its six facades. By annotating my sketches, I better visualized how to make the next iteration more successful. By more successful, I mean making each side just as exciting as the next. The excitement comes from

being able to see a balance of depths, solids, and voids from each facade. The excitement also comes from seeing this sense of movement throughout the model. In the sketches below, the arrows indicate where I see movement. Although not literal movement, it is implied.

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The last study model before the final, shown below (right), began to layering of planes, the variety of shapes, and the transparency of the take into account the feedback from my previous study models. Adding model. More specifically, how the shapes intersect with each other could more depth to each facade in order to create that transparent feel was indicate that one is sliding below another, implying movement. a main goal here. The sense of movement is achieved through the

2D to 3D transformation

Looking for depth

Looking for balance 11

The final model is a combination of everything learned from the previous assignments. The challenge going from the last iteration to the final model was to create a successful spatial reading on each facade. Another challenge was to balance out the composition so that

it utilized all corners of a 12”x12” “box”. Continuing to create a sense of movement was another goal. One strategy I used in order to achieve these goals was to cut away at some shapes so other shapes behind could become visible.

Solid & Void

A Slice Through Space

Transparency

Depth

Balance

Light & Shadow

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Through this process, I have continued to develop ideas about how objects sit in space. Moving into the 3D modeling, a goal was to create a balance between solid and void. The way I went through the process was by thinking about space, and how I could get an equal reading on

Adding people to the model started to give me a sense of scale. I thought about different ways that the space could potentially be used. This image above relates to my concept of movement by showing the gymnasts physically moving along the elements. They are using the structure to create their own type of movement with their bodies, using the extruded elements as their point of balance.

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Extrusions

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Points, Lines, Planes

each side. I would add a plane or volume to the model, look at it, and see where something was missing. Sketching in the process helped move ideas along.

A STUDIO- Project 2 

 Project Goals: - define “wall” and “inhabit” - create a space that can be occupied - design the wall so its intended use is known or implied to the user

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The site for our inhabitable walls was the gallery space of 320 Newbury Street. The photographs below indicate the views that will become important to my design. The top image shows the double height space with windows looking into a lounge area. The image below that is the

view of the window wall looking out toward Newbury Street. The 3rd image is looking toward the entrance, showing the double height space that has a platform looking over the gallery. This puts the relationship of these spaces into perspective.

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These sections and plans were completed during the site analysis process. From the sections and plans, diagramming was done, which showed me which would become most important to my inhabitable wall.

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This section shown above will become the most important section for my inhabitable wall. When at the top of my wall, inhabitants will be able to see into the second floor loft space, indicated by the windows in the center of the second level. When on the first level, my wall will be placed as a transition point between the entrance and the windows that look out toward Newbury St.

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Diagramming became an important tool in figuring out how the wall would and hanging, are the actions that will begin to inform my design. Below be used within the space. Diagramming also helped dictate where my are some sketches on how these actions might be performed. wall would be placed within the space, and why it would be placed there. Choosing two actions was the next step in the design process. Peeking

Proportions Sectional Views, showing available views from where wall will be placed

Horizontal Views

Spaces Differentiated, showing relationships between single and double height spaces

Circulation Level 1

Circulation Level 2

Overlapping Views, showing the space where my wall will be placed 17

Figuring out the initial movement within the wall helped to inform different reasons for how the wall took shape. How the users would interact with the wall, use it as a place to stop, explore, and see things differently than they normally would. With peeking beginning at the

edge of the wall, the user travels over and up the wall, ending at the top of the wall, and eventually hanging. As seen in the sketch below, there is a swooping motion of the human body that begins to show movement.

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Next, I determined what the minimum unit in the wall would be, which These units will help to drive the design as well. was where the fingers and toes connect with the wall in order to make it climbable. The maximum volume would be at the start of the wall where the user stands â&#x20AC;&#x153;insideâ&#x20AC;? the wall to perform the peeking action.

Using this swooping motion of how the body would travel through the wall (peeking transitioning to climbing), I began experimenting with different shapes and sketches. The first iteration of a model is shown to the right.

Sketches, showing initial ideas of a 3-part wall

Model, showing recessed space where peeking occurs 20

          

After the first iteration, I began experimenting with different dimensions, challenge was figuring out how to design a wall that would be obvious in and slightly different shapes through sketching. I worked with how to its intended use. relate the actions, how to incorporate both into the same wall, and how the wall could interact in the space in which it was designed. The next

Plan, showing thoughts of slivered openings in the wall

Sketch, showing an increasing wall height to mimic the swooping motion of the peeking to climbing transition

Sketches of tall portion of wall, showing â&#x20AC;&#x153;minimum

Sections, showing options of where wall may exist in

unitâ&#x20AC;? options, and space to hang from

the gallery space

Sketch, showing space through which peeking occurs

The small “peeking” hole became part of the recessed area since they approach the climbing section of the wall. However, once getting to peeking is a secretive action. As the user moves further along the wall, the end, the user must climb the wall to see through, which is indicated they are able to see more clearly to the other side. The small through this succession of openings. slivered openings continue to go along with the idea of peeking, as

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Here, I explored possibilities using different techniques, and how to bring out different qualities of the wall that would enhance how the user inhabits it. In one example, I looked at how a user would see through the wall to the other side. I thought about widening the view

in the â&#x20AC;&#x153;peekingâ&#x20AC;? area of the wall to enhance the experience for the peeker. I also studied the idea of creating an angled plane in the hanging space to create a potentially more comfortable spot for the person hanging out here.

In the plan, the slivered openings are becoming recessed to create a more direct view through the openings. The series of plans on the right side are cut at different heights, demonstrating the differences in solid and void throughout the height of the wall. The axons along the

bottom begin to look at the wall from different angles, in order to analyze and bring out different aspects. For example, the image on the left looks at the void spaces as solid, showing a clear resemblance of the swooping motion that was introduced at the beginning.

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Making the mold before pouring the concrete for the model helped me further understand how the wall was being made; where there are voids, where there are recesses, etc. It presented an interesting challenge, yet resulted in a better

thought-out final model as well as a better understanding of how it was put together.

As this next iteration was molded and built, my ideas became more clear. The peeking began with the recessed space in the left image. The next two images show the opposite side of the wall, displaying how light trickles through this “peeking” hole. The light intensity shows how

these slivered openings let only a small amount of light through. As the user approaches the climbing side of the wall, this initial swooping motion is mimicked by how light travels through the openings. It leads the eye upward, and causes the body to want to climb up.

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In the final model, slight changes were made to enhance the qualities of the inhabitable wall. As the user walks along the wall, light seeps through the openings. The three openings become taller as we move along the wall, slowly informing what is behind it, the views to

Newbury Street. Next, the raised section off the floor indicates that this is for climbing. As the user reaches the top and are standing on that last step, they can see into the second floor loft space. They can then hang over the opening to look down and take everything in.

In the final drawings, it is clear in the elevation how a person standing on the last step can see into the second level space. The axon, showing the facade that faces the windows looking out toward Newbury Street, explains how this side of the wall utilizes the space. The angled part of

the wall, angled to have a view to the street, contains a sitting nook, which could be used for relaxing, reading, people-watching, or just simply sitting. The plan shows where the wall sits in space, directly where all the views overlapped from an original diagram of the gallery, shown below.

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The image on the top left shows my wall’s relationship with the window wall facing Newbury Street. In the bottom left, the image is angled toward the entrance, indicating how the wall can be seen from a variety of spots within the space. In the image on the right, it is clear to see

the relationship the wall has with the loft space above, creating an interaction between the two levels. The wall’s location interacts with many different areas of the gallery space, explaining my choice for its position.

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A STUDIO- Project 3 

Project Goals: Charles River - design three gallery spaces - each gallery is specifically designed for the artwork inside it - form an opinion about the site and its relationship to the museum - design an outdoor element relating to museum and at least one gallery space e Driv

Riv

er E

spla

nad

Legend

St. con Bea

ough lbor Mar

Fisher College

Emerson College

St. ley Berke

rrow Sto

rles

First Lutheran Church

Boston Center for Adult Education

Public Garden

St.

t. ter S Exe

Emmanuel Church Commonwealth Day School

St. ield Fairf

Newman Preparatory School

Church of the Covenant

t. dS efor Her

t. ter S uces Glo

Arlington

St. bury New

e venu lth A wea mon Com

all ue M ven lth A wea mon m o C

ˇ Snowden High School Old South Church

500 Bolyston Street

Copley

Trinity Church

Boston Public Library

Westin Hotel

Massachusetts Communications College

St. ndon Clare

Lord & Taylor

Newbury College

New England Financial

John Hancock Tower Copley Plaza Hotel

t. th S tmou Dar

t. nS lsto Boy

St. art Stu

Hynes Convention Institute for Contemporary Art Center/ICA Hynes Convention Center

Back Bay/South End

Prudential Center Prudential Tower

Sheraton Hotel

111 Huntington Avenue

Ha rc ou rt St

Tent City Apartments

Co lum bu s

Belvid ere St.

Pa or tC So

Westla nd Av

District D-4 Police Station

Br ad do ck

Pa rk

Av. ren W ar

McKinley/ Mackey School

Boston Center for the Arts

250

500 feet

Back Bay



First, we were simply given a site map of the Back Bay to get an idea of what our site was surrounded by. Our site was in the middle of a busy city, in a parking lot on the corner of Dartmouth and Newbury Streets. This information would eventually help to drive the design decisions of our museums.

es hw

Ho lyo ke

St Bo to lph

rid

or Rd erly Edg

Christian Science The Mother Church, Plaza The First Church of Christ, Scientist

t eS renc Law

t nS leto App

t nS anto WC

Symphony Community Park Burbank St

r St ndle Cha

Hu nti ng to n

Hemenw ay St

Prudential

Norwa y St

Av .

Hilton Hotel

Copley Place

Av .

v. ts A uset sach Mas

Berklee College of Music St. Cecilia's Fenway Community Church Health Center

1 Family Residential 2 Family Residential 3 Family Residential Apartments/Condos Mixed Use (Res./Comm.) Commercial Institutional Industrial Open Space Surface Parking Main Streets District MBTA Stations MBTA Surface Subway Lines MBTA Underground Subway Lines Commuter Rail Below Ground Commuter Rail Water Transit Facilities Water Transit Routes Bus Routes

v. es A Jam St.

Copley Square Burdett School

Arlington Street Church

First Baptist Church

e venu lth A wea mon Com

Kingsley Montessori School

Boston Architectural Center

Back Bay

St. ton Arling

Cha

Back Bay

Church of the Advent

Emban kment Rd.



Hatch Shell

To begin, I did an initial site analysis. Observing the site with sketches and photographs helped to get my bearings on different surrounding elements, what elements should be brought out in my design, and what could be contrasted. I was particularly interested in both

contrasting and capturing different relationships that existed around the site.

 31

The choice of artwork for my museum would dictate and drive the my own design. How I approached the art in its current settings, and design because the spaces are created for these specific pieces of art. the atmosphere it which it currently existed was an important aspect in Sketches, photographs, research, and abstract models helped designing my own galleries. organize ideas about the art, and how best to put them on display in

 Original Work of Art This piece, “Split Second” by Tony Cragg is experienced in an open space, surrounded by excessive natural light. Often, Cragg’s work is displayed in outdoor settings. His works are typically large scale modern pieces of art that study movement and volume in space.

My Study Sketches and Abstract Model of the Original Work



By studying and experiencing the pieces of art in their current settings, it defined qualities that either worked or didn't work. Through these studies, it informed better ways of how I should design the gallery spaces for my own museum project. For example, this bench was

placed in the back corner of a gallery at the Museum of Fine Arts. It was not very visible unless one was specifically looking for it, as I was. I didn’t think that its placement in the gallery worked very well. Therefore, I will place it differently in my designed gallery space for this piece.

Original Work of Art “Bench with a Back” designed by Nakashima, is one of his many works relating to nature. He believed that each piece of wood cut from a tree had only one ideal use, and it was the job of the woodworker to use and shape the wood to realize its true potential.

My Study Sketches and Abstract Model of the Original Work

This beautiful piece of artwork is displayed in a large room, making it connect my site with nature and the outdoors. look insignificant and small. To experience this piece in a smaller space would add to its beauty. Each of the pieces of artwork I selected are somehow related to nature, explaining my reasoning for wanting to

 Original Work of Art “Seaform” by Dale Chihuly is a small glass-blown piece displayed in a large room. To experience this piece in a more intimate space with little distraction would truly enhance the beauty of its form.

My Study Sketches and Abstraction of the Original Work



I completed massing models to begin getting a sense of different shapes, sizes, ideas, and locations on the site. How the light would enter, which pieces of art would exist in which type of space, and general shape of a structure were a few things that I first started thinking about.

A narrow space leading up to a large, open area with light entering through the top

Pieces branching off, all at different heights

A succession of spaces, a hierarchy. One grounded piece, and others floating

Before studying the massing models further, I first did some sketches. This helped to lay out different thoughts and ideas about how the shapes of the plan could affect the visitors experience of the spaces. These thoughts could then relate to the experience of the actual

artwork within those spaces. Each sketched form translates into a different understanding of a space and building as a whole. These initial ideas are what guided me to the gestural models, and the idea boxed in red is the one that I ultimately moved forward with.

 Initial Design Ideas:

Series of corridors/each leads to different piece of art/biggest corridor has tallest height

Experience art in a specific order/Transition through all spaces/tree-like qualities

Biggest art gets biggest experience/all spaces congregate in middle

- experience nature while simultaneously being indoors - extruding spaces past site to interact with pedestrian traffic - large scale spaces raised above ground (views up/out - floating feel) - transition through small space that leads to larger, more open spaces

Initial Concept Statement:

Overlapping cantilevered levels/ interactive with street/variety of views

Climbing up/Representative of Nature/being high up

Overlapping floors/transition through stairs/see into other spaces

Orthogonal/overlapping/all floors experience all levels

Definite sequence/small to large, courtyard for gathering/can interact with interior from exterior



RELATE TO THE STILLNESS AND MOVEMENT OF YOUR SURROUNDINGS WHILE BECOMING EMBODIED BY INTERIOR SPATIAL QUALITIES.

Circular central congregation/ separate spaces for each artwork

The gestural models were a way to start thinking about the different shapes, placements, and qualities that I wanted my museum to embody. From here, I used this information in order to work through a series of ideas and sketches, allowing the design to begin emerging.

 37

Working from the sketches, gestural models, and initial concept ideas about the site, my first iteration of a museum was designed. The conceptual ideas begin to come out through architectural language such as a large floating space for the Cragg piece, a small intimate

space for the Chihuly bowl, and a smaller area for the bench to “find its real potential”.



 38

                    

Another iteration is developed as I move toward creating the desired glass that is introduced for the Chihuly gallery is a small intimate area, experience. The usable outdoor space below the Cragg gallery enables enhancing the colors of the glass piece, and creating a contrasting interaction with the site as well as the museum. By carving away at the backdrop, the public alley. ground, it gives a greater sense of a space floating above. The blue

 39

As the design continues to develop, changes are made to better relate to the revised concept: “Distinct spatial qualities both contrast and capture relationships.” The big floating glass piece works to capture a relationship with the exterior. A view I was particularly

interested in was the Hancock Building, and this is why this gallery space is purposely angled in that direction. While the tall glass gallery provides a small, intimate space to experience the Chihuly bowl, it also contrasts the surrounding brick architecture.



 40



I looked at transition spaces and how those relationships would relate to each other not only from exterior to interior, but transitions within the interior. The way that a user traveled through the museum and experienced these relationships were important to my design.

 41

The development of my plan was driven by annotated sketches, writing down ideas that would push my design further. How to create a better use of the space, how to create a unique experience for the Chihuly gallery, enhancing the experience of the Cragg space, and focusing

more on the development of the Nakashima gallery were all focuses of mine for the next iteration.





The entry pathway has become parallel to the edge of the building, allowing for a larger lobby space. The Chihuly gallery has moved to the back, in order to become more isolated for its own unique experience. The stairway leading up to the Cragg gallery has turned, creating

anticipation when climbing the stairs and awaiting the experience after turning the corner. The stairway leading up to the Nakashima gallery has also moved. This move enabled the creation of an overhead walkway that leads only to the Nakashima gallery, which heightens its importance.

 43

In elevation, I am starting to shown how spaces relate from the exterior, and it also allows me to see the depth of the building through the glass transparencies. The elevations show the exterior relationships of the three galleries. For example, we see that the Chihuly gallery is the

tallest and most narrow, the Nakashima gallery is the smallest and most hidden, and the Cragg gallery is the biggest, most open space. The reason for these shapes and sizes relate directly back to the research and experience on each of piece of art.





The Chihuly gallery is narrow and tall in order to create an intimate space for experiencing the glass bowl. The height of the space is to contrast the size of the bowl, enhancing the experience. The Nakashima gallery is the most hidden because the bench gives it a

more relaxed feel. The bench is meant to be sat on, with a view out to Newbury Street. The Cragg gallery is the most open because Cragg’s art is commonly seen outdoors. This large, transparent space creates the feeling of being outside.

 45

In the sections below, I am looking at scale, and how each of the different gallery spaces relates to the artwork chosen for it. I am also thinking about how the outdoor space can be enhanced to relate to the Cragg gallery above it. For that reason, on the left, I have different

annotated sketches for how this could be achieved.





In the sections below, the stairs leading to the Cragg space bring the user through a low-ceiling area in order to enhance the affect of entering into a huge glass gallery space.

 47

This site design was meant to give visitors a chance to walk around, and enjoy the exterior before making their way inside. The pathway that leads visitors through this exterior landscape design, connects to the path that leads the visitor into the museum. First, the visitor will

enter the exterior space, and follow the path that eventually leads them under the Cragg gallery into the museum.







Upon entering the museum, the visitor is faced with a decision. They will see two sets of stairs as well as a blue light coming from the Chihuly gallery. Contrasting the relationship from the landscape design where the visitor has a clear path to travel, on the interior it is unclear

where the user should go first.

 49

Final hand-drafted drawings shown below are the site plan at the top left, floor plan at the top right, and elevations below. Stone, glass, steel, and wood will be used as the exterior materials. Since the entire Cragg gallery is meant to be open and transparent, the glass is used

here. The stone, used at the entrance that is adjacent to this gallery, is a contrast, making the Cragg gallery stand out. Steel is used for the mullions, and wood is used as the exterior material on the Nakashima gallery because this relates to the wood material of the bench displayed here.





Similar interior materials are used. The second materiality image indicates the feeling that one might get when inside the Chihuly gallery. This is the type of experience I am trying to create, a very tall narrow space in relation to a small curved glass bowl. This contrast helps bring

out the qualities of the artwork. The brick used inside the Nakashima gallery is meant to give the visitor a feeling of being outside. Since many surrounding buildings are brick, this will help create a feeling as if they are sitting on a bench on the sidewalk.

Materiality

Different interior views indicate again, the way that the user experiences the different gallery spaces. The images are described below.



Interior view, showing the transition space between the lobby, and the Cragg gallery, allowing views out to Newbury Street.

Interior view, showing a perspective from

View, showing glowing light that

the top of the Cragg gallery.

comes from the Chihuly gallery.



Site model, showing the path connection between the exterior space and the museum

Exterior view, showing the more dark, intimate spaces in contrast with the large, open Cragg space.

B-1 STUDIO- Project 1 

PUBLIC VS. PRIVATE

TRANSPARENCY VIEWS Floor 1

Floor 2

Floor 3

The Smith House was designed by Richard Meier in 1965. It is located along the coast of the Long Island Sound in Darien, CT. It is a “lighthouse of transparent geometry.” A large concept in this house is the idea of separating the public vs. private. The minimal interiors create intersecting volumes, and double or even triple-height spaces. The exterior is all white and glass, which became one element that Meier would become known for. The designing of this house was a turning point in his career, as its ideas and concepts developed further into his other works in the future. 54

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The existing elevations of the Smith House are shown below. These are important to my project because I studied them throughout the semester, as well as proposed a potential way to transform the elevations that would change the experience of the house.

North Elevation

West Elevation

East Elevation

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South Elevation

The existing sections below are important because I will eventually diagram them and propose changes to them to enhance the experience of the house. The images are also crucial because it shows how the house exists in its current state. For example, we can see the

e multi-height extensive view out to the water in the image on the left, the space in the image in the middle, and the living space to the right. In ge, we see a double-height portion of the house. this image,

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The section below, shown on the site, reinforces the public and private public space in the house. concept of the house. On the left, the side that looks toward the water, the section shows an outdoor or sspace, space making it a public are area. rea. The op re open floor plates in the section also help to indicate that this is an open, n,

Site Plan

Through diagramming, I learned that the structure shows the basic separation of public and private, the double height space lives in the public part of the house, and that the circulation pattern travels mainly through the public portions of the house.

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Structure, showing major walls and columns that support the house

Layers, showing a double height space sitting above a single-height space

Structure

Layers & Boundaries

Circulation

Circulation, showing 3D pattern of how users travel through the space Circulation

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The public vs. private diagram is the one that I focused on the most since that is a major concept in the Smith House. In one example, I looked at where the public and private overlapped with each other. This study is shown in the”Public vs. Private & Undefined” diagrams.

These spaces are undefined because they are in between public and private, and should not be labeled as one or the other. The purple spaces indicate where public and private overlap, where they are not separated by any sort of wall or partition. Therefore, they are undefined.

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public private undefined views

Public vs. Private

Purblic vs. Private

Public vs. Private & Views

Public vs. Private & Undefined 59

In the human inhabitation diagrams, I looked at the scale of spaces in relation to the human body. The “views” diagrams show different ways that the inhabitants can see each other, how they see out from a public or private space, and where views overlap.

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Human Inhabitation

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The Spatial Qualities diagrams show the different shapes and sizes of each space, separated by public, private, and undefined. The Materiality diagram defines that there are only 2 exterior materials. The proportion diagram also shows the relationships between the sizes of the spaces.

The orange space was used as the building block since it is the smallest area, and we are able to see how many of this building block fits inside each of the other spaces in the section.

public private undefined

Spatial Qualities, showing how public spaces are larger and more open

Spatial Qualities, showing how private spaces are smaller and more enclosed

Materiality, showing that there are 2 exterior materials. Shows the larger windows on the public side, and smaller windows on the private side.

Proportion, showing orange as the building block, and how other spaces relate to this. Shows largest spaces as public and smallest as private

Three proposed transformations were made in an attempt to look further into the architecture and concept of the Smith House. In this first transformation, I shortened the dining room wall to create a different interaction between the kitchen and dining room. It allows the

spaces to mesh together, creating a new perspective of public/private. Meier attempted separating the public and private, yet there are still many spaces that public and private overlap, the undefined spaces.

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Undefi Unde Un defi de fined ned Sp Space Befo Be Before, fore re, show re showing owin ow ing in g where wh pu public public/private ic/private overl ic overlaps rlap rl aps in ap relation rela lation la on tto ki kitchen and dini dining ning ni

Showing existing location of kitchen and dining, and their public/private designation

Undefi Unde Un defi de fined ned Sp Spac Space acee Af Afte After, ter, r, sh showin showing ing in g

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how ho w undefined space growss after thee tr th transformation

The before and after diagrams are showing how the circulation pattern changes after the dining room wall is shortened. The perspective views give a better sense of how the dining space begins to open up to the kitchen, while before, the dining room was tucked around the corner.

This creates more of the undefined space, where public and private spaces overlap. More undefined space helps open up the kitchen to the dining room, creating a different relationship between these spaces.

undefined

Circulation Before, showing red as wall that will be shortened

Circulation After, showing red as wall that was shortened

Before, showing how the dining wall is blocked off from the kitchen

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private

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public

After, sh Afte showing in ho how th the dini dining room opens up to the kitchen 63

In this transformation, I made the living room smaller by pushing back the overlooking floor plate. This allows inhabitants to see each other from the 3rd floor all the way down to the 1st, which was not possible before this transformation. While the living room space was public,

this transformation could make it feel a little more private by pulling it into a smaller area. However, it could also make it feel even more public because of the interaction that might happen between users on the 3rd and 1st floors. Therefore, it becomes an undefined space.

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Living Size Before

Living Size After

Visual Connections Before

Visual Connections After

Views, showing how viewers from top

Views, showing how viewers from top 64

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The spatial qualities diagram explains how the triple height space now becomes larger while the viewing platform becomes a smaller, more intimate area. While the triple height space becomes larger, this shifts the overlap of public/private space in the living area. While

public/private again, is a major concept in this house, each transformation affects it. As shown in the public/private hybrid diagram, the living room is no longer seen upon entry, as it is now around the corner, making it more private.

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Spatial Qualities Before

Public/Private Hybrid Before

Spatial Qualities After

Public/Private Hybrid After

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private

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public

In this transformation, I switched around all the windows in the house in order to test how public/private would be affected. The north and south facades completely swapped windows, while the east and west facades’ windows were mirrored. By doing this, it changes the views that

inhabitants get, and makes the public area of the home a more quiet and private space. The red on the plans indicates where the new windows will be placed.

Transformed East Elevation

Transformed South Elevation

Transformed North Elevation

Transformed West Elevation 66

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Here, I am showing that the public and private spaces stay the same, while the window locations, and therefore views, differ from before to after. Before, the public had most of the views out. However, to keep the special views a more private feature of the home, this

transformation was tested.

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private undefined views views overlap

Public/Private Before

Views Before

Public/Private After

Views After

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public

By mirroring windows on all sides of the house, it completely switches the main views that visitors and residents get. The views to the water now become more private, more for the residents. It continues to play with the idea of public/private and how this can be achieved in different

ways. With this transformation, the backyard water feature would be better enjoyed by actually going outside rather than just enjoying the views out the window. This provides a more intimate experience with the outdoors.

Views to Water Before

Views to Water After 68

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These diagrams show that the water behind the house becomes a “private” feature, since it is now more difficult to see when in the main living areas. This allows those who live in the house to share this special area with people of their choosing, again changing the

perception of the house when it comes to public and private.

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Views Before

Views After 69

B-1 STUDIO- Project 2 

 Project Goals: - use site analysis to drive design - apply concept to entire design - consider current site usage when designing

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The maps below show my initial findings when visiting the site. Getting to the site from Newbury Street was just one point of entry. Immediately upon approaching this spot on the esplanade, I was interested in the idea of the Node, where multiple paths converged into

one spot. My design stemmed from this idea of the “node”. The trees on the site caught my attention from the beginning as well; the way they acted as barriers, stopping points, and thresholds. I architecturally incorporated these ideas into my boathouse, helping to drive my design.

MAPPING THE SITE

Experiencing the Approach,

The Node,

showing how we get from Newbury St. onto the esplanade

showing how different activities come together in one area

Site Circulation,

Tree’s interaction with the site,

showing how different circulation paths all converge in one area

showing how trees are used for different reasons

Throughout the project, a series of models were built. They show the progress and process of how one idea transformed into the next. The node on the site is a busy area, one that could gather and gain interest if designed in the right way. That was my challenge: How to design

and enhance this already successful space on the esplanade without interfering with current pedestrian usage.

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The “Node”, showing the basic concept of paths spiraling from a central location

Not disrupting existing path traffic is important since this is such a successful area of the esplanade. Since traffic in this area is heavy, it is a good spot for the boathouse because it will attract a lot of users.

Initial Concept Models

While the existing node on the esplanade in this location splits off horizontally, the paths that will be created in my design will split off both horizontally and vertically. The paths will reach out and extend, just as the paths in the esplanade do. Interaction between the existing pedestrian path and the boathouse

Abstract Site Map, used to study the Node in relation to the site

Bridge, documenting it as an area of interest on the site

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Incorporating the existing bridge into the boathouse design

With the introduction of the bridge to my design, it related to the concept of the node. It creates an interaction with the site while not disturbing the current circulation path. It allows paths to cross, and pedestrians to travel in multiple directions within the boathouse. This

Developing the Design

continuation of paths coming together is emphasized by incorporating a bridge in the boathouse.

Introducing new idea: bridge over bridge

My design expands on the idea of paths coming together from different directions, then splitting off. In the site, the use of trees acts as barriers, space creators, and framing devices for the site. Because of these qualities, humans begin to utilize these trees by helping them decide where to stop, sit, read, relax, stretch, etc. The creation of these â&#x20AC;&#x153;nodesâ&#x20AC;? brings interest to the site. In my design, this is not done through the use of literal trees, but it is done by using these ideas, and executing them architecturally, inspired by the trees around the site. The designed courtyard space at the entrance as well as spaces throughout the interior of the boathouse exemplify these qualities.

In the plan and section sketches below, I was thinking about the different program spaces, and how they would be best arranged. I thought about the entry area as the “node” that could be seen from multiple spaces. This would be the central location where other

activities would branch out from, just like the node on the site.

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Floor 2 Plan sketch, showing entry space as seen from above, with a separate smaller entry area, circulation, and spaces to stop and view, or stop and relax.

Study section, showing how spaces relate

Program adjacencies, showing how spaces

to one another. Showing the entry area as the central node, with program spaces surrounding it

relate to one another, as the entry area is the central node.

Floor 1 Plan sketch, showing entry area in the

Study section, showing a 2nd dock area, a

Adjacency diagram, showing two entries,

center, with storage areas as well as spaces to stop and view, or stop and relax

sheltered entry space, and access to the water, all in relation and adjacent to the entry node.

and access to water, which branches off from entry space.

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The plan development sketches show how the plan went from a small building with a central entry node to a larger, more spread-out building. In the final plan, the entry area is still the node space, yet it is executed in a different way. It provides access to both public and private areas of

Plan development

the building through connecting paths and a bridge extension. The concept sketches begin to indicate how the circulation through the boathouse relates back to the concept of the node, and how all program spaces eventually spiral back to this main space.

The Node, sketches showing its relationship to the plan

Proposed site circulation 75

In these plans, I further studied the idea of spiraling from one central point. The idea of spiraling is successful in the existing site, and this is why I incorporate it into my design. To better define what the spiraling circulation will mean, I begin to think about spiraling off into

public and private spaces. There will be a central node at the beginning that will spiral off one way to the public space and one way to the private space.

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Below are the final hand-drafted plans and sections of the boathouse. Overall, I learned how to apply a concept to the entire design while also maintaining a relationship with the site. While the node was mostly about how users circulate through the building, I was also able

to design spaces that related back to the idea of the existing trees on the site. For example, in the section looking north, I am creating framed views through the slivered windows. This is one example in which stopping points are created for users of the boathouse.

Second Floor Plan

First Floor Plan

Section, looking north

Section, looking west

Section, looking south

Section, looking west

Through diagramming, it helps to explain how the public and private spaces are separated, and how visitors travel through the space. The way that the circulation paths spiral into and out of each other mimics my original concept idea: The Node. While public is led in one

direction and private is led in the other direction, there is still a central location where public and private overlap, the node. The node is the only overlap space, where neither public nor private is defined.

DECKBRIDGE

ROOFMEETIDECKNG NODE

RO F

OVERLOOK

GYM

PRIVATE DOCK

Floor 2 Programming

ENTRY

CREWLOCKERS BOATSNODE

Floor 2 Public/Private

Floor 2 Circula!on

Floor 1 Public/Private

Floor 1 Circula!on

PUBLIC BOATING

Floor 1 Programming

Public/Private Circula!on Axon

public private Concept Diagram

node 78

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Similar to how the trees on the site can define stopping points for visitors, the users of my boathouse are informed by its design. While some paths are easily accessed, some are only seen through openings or glazing. Upon reaching the top of the stairs, public and private form

Entry node, showing users on public stair and private

a connection through a window, but not by direct access. Similarly, visitors on the public side can see legs traveling through the private areas, but canâ&#x20AC;&#x2122;t see their faces, shown in the bottom left image below. This is one way to let the public users know that this space is private.

stair

View into private space, showing window connection at public and private stair landing

Public stair, showing visual connection to user on

Private exercise room, showing userâ&#x20AC;&#x2122;s view out to

private stair. Also showing framed view of outdoor private roof terrace

private roof terrace

The exterior materiality helps to define the public and private spaces. The stone is used in the private spaces while the wood indicates the public spaces. These materials relate back to the node because at the entry point, the stone and wood overlap and then extend out in their

own directions, not overlapping again. Just like the entry node is the only overlap of public and private circulation, it is also the only overlap of public and private materiality.

North Facade Elevation

South Facade Elevation

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B-2 STUDIO- Project 0 

 Project Goals: - diagram/abstract relationships - study how elements come together - develop a logic

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The semester goal is to study the tectonic relationship between elements, how they connect, and how they relate to architecture. In these first diagrams, I took a detail drawing, shown on the left, and abstracted it through sketching and diagramming. There were two sets

of diagrams done for each detail. Shown below is the first set of diagramming. While these were good tools in learning how to abstractly diagram, these are not the specific diagrams that I moved forward with in Project 0.

DETAIL A: intersection and layering

DETAIL B: piercing and intersection

DETAIL C: enclosure and tangent 83

When looking at a more specific part of detail A, I saw something more than just intersection and layering. Where the elements all come together inside this red square, I saw sandwiching. I also saw the tectonic relationship of piercing, as there were smaller

pieces holding the sandwiched elements together.

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This model and diagrams were created from Detail A. In this model, I incorporated the tectonic relationships of sandwiching, piercing, and intersecting. The white material always intersects, the black material sandwiches, the wood pierces, and the brown material acts as planes that bring all of these tectonic relationships together. These images also show the iterative modeling process and is a generative model.

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In this detail, I saw the relationships of piercing, and axis. Multiple materials were connected through a third material by piercing. There was also a larger tectonic connection which combined all elements through a larger axial piercing.

This model and diagrams were done from Detail B. The pieces are all connected through a central axis, which pierces through all planes. There are then smaller axial pieces that hold together just some of the planes, but not all. This connection of axis gives the sense of having a central core that ties all elements together. In comparison with the previous model, this model does not relate to sandwiching because the planes are not touching each other. With more space between the layers, each plane needed more support to remain stable. This model reminded me of a simple building, connecting all floors by a central elevator or stair. This simplicity did not interest me, which is why I did not move forward with these ideas in my next models.

Looking at this detail, I immediately saw tangential touching, sliding, and a sense of movement. Within the materials that are touching, there is a second material that is inserted into the crevices where the first material branches off from itself. Below, this is diagrammed and

simplified into 2 colors, showing how the pieces are connected through touch and overlap.

This model was created from detail C. The images show the iterative process. First, there was a building block, representing the touching elements from the detail. By creating this building block multiple times in model, and then combining the elements together one at a time, I learned different ways that the building blocks could be connected. It is a generative model because more of the same building blocks could keep being added on, never coming to a real “end.”

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Choosing two of these first three models, I took tectonic ideas from the page shows different ways that a tangent can be thought of. The each, and simplified them even more. This allowed further thinking into ideas in this model come from Detail C. a single tectonic relationship. Moving forward, I took the ideas of tangential touch, and sandwiching. The diagramming to the left of

These images show the iterative modeling process for the tangential touch tectonic relationship. I began with the tangential touch building block, using different sizes and scales, and put the pieces together in a way that began to create spaces. The way that the pieces are connected also enables the model to be moved and twisted around in multiple directions, which therefore creates a variety of different configurations using the same model. This starts to look at how spaces can change through the movement of a wall or architectural element.

Through the diagramming to the left below, I looked at different ways that sandwiching could occur. It is when one material is surrounded by a second material on either side of it. The ideas in this model come from Detail A.

These images show the iterative modeling process for the sandwiching tectonic relationship. In this relationship, the same material never lies on itself. When one material, not always the same one, is surrounded on either side by a second material, this is where the sandwiching connection occurs.

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In the third set of diagrams, the two previous ideas are combined. Tangential touch and sandwiching each have their own building blocks. I looked at these building blocks to see how they could fit together to form a new tectonic relationship. Below are some

sketches showing how the two elements could begin to come together. Tectonic rule: Between every tangential touch, a second material will be sandwiched in. The same material will never touch itself.

This model combines the ideas of both tangential touch and sandwiching. The left three images show the different ways that the model could be moved and rearranged to create different spaces. Again, since the white material bends and forms a tangent connection

with the chipboard at the bending point, this allows movement in the model. The movement creates spaces that feel very different from one another. This is shown in the inhabited images, shown in the middle below.

Inhabited Model, showing the space at a “building” scale

Moveable model, creating different spaces through rearrangement of model elements

Inhabited Model, showing the space at a “room” scale

Diagrams, defining tangential touch and sandwiching

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For the next part of the project, I focused more on defining the “rules” of my tectonic relationships. The first study model has 4 rules, and 2 new rules were added for the second study model. These second 2 rules were added after realizing that they would better clarify and

define my tectonic connections. The rule diagrams are able to graphically represent the limitations of my connections. The rules will eventually begin to define the space that will be created through the use of these building blocks.

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Study Model 2 New Rules: 5. A foam piece always has a chipboard connection at its bending point. 6. Chipboard is always flush with at least one edge of foam.

Through the study models, I learned more about how my connections worked best together, and was able to figure out which rules were best to keep, get rid of, or add. Rules were taken out because they didn’t benefit the design. For example, the restriction of requiring a

connection at the bending point didn’t allow for many design variables. By taking away that rule, the design became more flexible. The inhabited models give a sense of scale for the spaces. They also begin to show how the spaces might be used and where this structure might be located.

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Inhabited images, showing how some areas are covered, some are open, some are for seating, and some are for viewing. I am also showing boundaries and thresholds, which are marked by vertical walls or overhead planes.

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Below is the plan and two sections of the final model. There is a section taken through each direction of the model, showing its length and width. The plan shows where there are walls for support. The two different sections show how looking from one direction gives a

completely different feel than experiencing the apparatus from the other direction. In the bottom right section, the walls look as if an enclosed space is being formed. However, the bottom left section gives a more open feel to the space.

The revised apparatus was done by first reviewing the current rules and thinking about how the elements could be used in new ways. I thought about how the use of different thicknesses would alter the design. I also made a conscious decision to work orthogonally instead

of with angles. I still used the same rules from the final model, just explored different ways that these rules could achieve an inhabitable spatial form.

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I explored different scales of the same space. I also looked at several ways that the revised apparatus could interact with the ground. My initial apparatus model was not as stable as I would have liked, and this is why I experimented with thicker pieces rather than only working

with planes. This test proved to work and create a more structurally stable model.

B-2 STUDIO- Project 1 

 Project Goals: - build upon previous concept - transform Project 0 apparatus to integrate with site - use concepts to inform site use - incorporate concept into use of slope

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Taking the ideas of sliding and bending from Project 0, I used these conceptual ideas to drive my design for â&#x20AC;&#x153;Apparatus on a Slope.â&#x20AC;? The diagrams below from Project 0 are what guided my ideas.

Site photos and documentation was the first step in getting to know the 3 site options for the apparatus. The 3 sites are located at Arnold Arboretum on St. Peter’s Hill in Boston, MA. I chose site 2 because it related most to my concept of bending and sliding. It’s path “slid”

away from the main pedestrian path, while also literally bending vertically and horizontally. Also through analysis, I began studying the idea of wrapping, and looked at how the pedestrian paths wrapped around the site, almost hugging its form and natural shape.

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Educational Pavilion Program Studies

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I studied how the apparatus might sit in the site in relation to bending and sliding, and how the site would affect the way that bending and sliding would be applied to the pavilion. The site analysis below shows where the site “bends” the most, indicated by green, and

Apparatus Study in Site

where it starts to flatten out indicated in red. Because of my bending concept, my focus was to design and build on the green portion of the site, where it bends the most.

Concept Sketches

Site Analysis “bending”

After site analysis, I began applying these ideas and concepts to an architectural space. I am using the ideas of bending, and showing how “touching” is beginning to transform into the idea of sliding. These four vignettes show the sequence through the program spaces,

starting to look at how my tectonic idea of bending and sliding begins to form inhabitable spaces.

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View at entry approach, showing glass material and

View into first display space, showing touching of

glimpse into interior display space.

materials sliding past one another

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Through the vignettes, I learned how I could improve these initial ideas. While only applying the concepts to select architectural elements, I was able to study these drawings to figure out where work still needed to be done. Moving forward, I thought about how to apply the concepts

of bending and sliding to every aspect of every space.

A step back, showing a view into connected display

View into staff area, showing bending of

spaces

material from wall to roof

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The following precedent studies helped me find existing examples of the type of materiality and conceptual ideas that I was aiming to achieve. In this example, materiality was used as the main element to define sliding and bending.

 Bergman Werntoft House Mossvägen, Ljunghusen, Sweden Designed by Johan Sundberg

Here, the material directionality is defining the different spaces. In my educational pavilion, I am using this same technique to define areas for different uses.

Here, the bending and sliding of materials are shown. The wood extrudes from the ground into a wall, then bends to become the roof structure, as my project does as well. This is indicated by the red. The blue arrows indicate sliding, where one material goes behind another material and either ends or slides through to the other side. The sliding also occurs from interior to exterior conditions, just like my educational pavilion.

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In this example, architectural gestures with form as well as materiality are helping to define the ideas of bending and sliding that I have been studying.

SRR House Valencia, Spain Designed by Silvestre Navarro Architects

Here, the floor plan comes sliding out from the structure and over the natural land. Here, sliding is evident. The wood â&#x20AC;&#x153;slidesâ&#x20AC;? behind the glass. In my project as well, we The wood material starts on the interior, slides behind the glass and out to the exterior. can see a material extruding past another plane, not always being terminated at a The glass bends around the corner. All of these tectonic strategies relate to my project. corner. This is what creates that sliding feel. Sliding in the vertical direction also occurs where the glass goes below the floor surface.

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In this example, more of a wrapping feel is created by the “bending” elements.

 Villa Storingavika Bergen, Norway Designed by Saunders Architecture

The blue indicates sliding, and the red bending. The blue on top indicates where one roof plane slides above another. The blue on bottom indicates a short wall extruding and “sliding” past the boundaries of the house. The red indicates bending and shows how the materials bend in different directions, allowing the eye to follow it around corners.

Here, we see the same sliding wall, extruding out from under the raised floor slab. The downward blue arrow indicates the wood material “sliding” behind another material and coming out the other end. The bending material flows through the facade of the house.

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Sketch models were a tool in studying where to place my pavilion on the material turning a corner either horizontally or vertically. site, and how to create a space that is architecturally inviting while also relating back to my concept. In these models, I am using the extension of planes to create the sliding feel. The bending comes from a single

Concept development model, showing roof planes sliding past each other, materials sliding over and behind each other, and materiality bending from floor to wall, and wall to roof surfaces.

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entryway, marked by the red arrow, that the site’s topography literally The site plan shows modified topography, to relate back to my concept of bending and sliding. The site bends around corners of the apparatus. slides into the building, also represented by the sketch to the right. It also slides out from underneath different apparatus spaces, giving the illusion that the site is an extension of the building. It is shown at the

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Interior View looking back at entrance, showing land sliding inside as an architectural gesture

Site Topography & Plan Development Sketches

Site Plan B

Site Section A

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Through developing the plan in sketch and model form, I studied how bending, wrapping, and sliding could be seen in all regards. Development using different methods helped me make sure I was applying the concept in all aspects of the project. I studied the ideas

at different scales by looking at roof planes and walls, materiality, and special details that would help to emphasize the concept. In one example, sliding a floor material underneath a wall while raising that wall off the ground represents sliding, shown in the sketch on the bottom left.

D Floor Plan Development

Sket Sk etch ch, showin ch showing ing wood Sketch, material sliding beneath wall

Building Section C

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In the section models, I looked more closely at how bending and sliding occurred. The top image in the middle shows bending where the wall on the left bends into the roof plane. That roof plane then slides and extends over the entryway, creating a sheltered outdoor space. Sliding

is also shown here by the wood wall that is raised off the ground (shown on the previous page in sketch form), allowing the interior material to visually and literally slide into the exterior. The lower image in the middle more clearly shows the idea of wrapping, indicated by the diagram.

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When studying the site, I changed the topography of the existing site where my building sat. The reason for this was to create a better relation to my concept. In changing the topography, I created a steep drop-off on the back side of my site. The back side faces a residential

street, so creating this separation resulted in a physical â&#x20AC;&#x153;bendâ&#x20AC;? in the earth. The sliding of topography happens as an extension of specific building elements, as the earth slides out from underneath them.

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B-2 STUDIO- Project 2 

 Project Goals: - build upon previous concepts - integrate marketplace into current cityscape - use concepts to inform site and building use - let concept inform design decisions at all scales

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I focused on the concept of sliding for Project 2, since that was the more successful part of Project 1. I completed some initial concept models, which described different ways that sliding could be thought about. I also incorporated sliding into my site analysis, looking

Concept model, showing glass sliding past edge to create potential entry sequence

Concept model, showing materials sliding past each other on facade

at different ways that sliding currently existed on and around the site. Eventually, I would create a mixed-use market, available for public and private use. Since there is such a wide variety of people in the area, a mixed-use market could satisfy many needs.

Showing the different areas of entry and directions of approach onto the site

Showing the wide variety of people and businesses in the area around the site

Showing heights of surrounding buildings and how their extensions create a sliding affect

Showing the grade angle at all edges of the site

Concept model, showing wall sliding through roof plane

Showing how the site slides through the existing trees on and around the site

Master Plan, showing all site analysis compiled into one diagram

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The architectural quality studies on the left are different ways that I thought about sliding and how I could incorporate these ideas into my marketplace. The sketches in the middle also indicate a variety of thoughts for how sliding might happen architecturally.

The images on the right are a precedent study of Oxbow Public Market in Napa, CA. Studying existing markets helped me to get a better sense of how they are organized spatially, and different architectural elements that could help define a space by bringing it down to human scale.



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   

Continuing with site analysis, I studied where public and private were located around the site. Red indicates private spaces and the private approach to the site. The blue indicates public and how to approach the site from the public side. The purple indicates public

transportation. This public transportation space indicates where people heading to either public or private destinations may overlap in their use of this space near the site. This study helped to inform my design, shown by some initial programming sketches below.

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Below are some more concept models, looking at what the marketplace may start to look like, informed by the site analysis. The plan iterations show the development of how I went from programming the spaces to the final architectural plans.

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

These final two plan studies truly informed my final ideas about sliding. The 3 concept diagrams at the top left indicate 3 of the major ideas that I incorporated into the final plans and model. The first diagram is at the human scale, showing sliding walls. The second diagram

Human Scale

Building Scale

indicates a mass sliding out from a second mass (building scale). In my design, the staircase becomes enclosed in a glass box that acts in the same way this diagram is showing. The last diagram brings sliding down to a detail scale, showing these sliding glass panels as a handrail.

Detail Scale

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Studying the design in section helped me think about sliding vertically and volumetrically. These studies got me thinking about what the design did in plan as well as helped me to design the roof planes. Studying the roof planes in section informed how they could be used

to hierarchically define spaces within the marketplace. I looked at sliding here by using flat roof planes that would slide over one another at different heights. This relates directly back to my site analysis of the surrounding building heights, shown below.

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

Continuing to develop the sections, I did several more iterations of studies. The sections that are boxed in red are the ones that I continued to study further, and moved forward with for the final design. The reason for this is because I felt as though they indicated

sliding the most successfully as well as helped to define the different areas of the plan. Sliding is indicated by elements that do not align, or planes that extend past edges, and these are the two study sections that did this the most successfully.

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Back to the concept sketches and models, these are what informed my design. I used all of these diagrammatic studies to think about different ways that sliding could occur at all different scales. The building scale, human scale, and detail scale. Thinking about sliding at all of these

different levels allowed my entire marketplace to “slide.”

 Concept Sketches & Models

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    

The final section model zooms into one area of the plan, and shows the details of how sliding works in the marketplace. The area the section model was made from is indicated by the red square on the plan diagram below. In the image on the top, the sliding glass railing

is shown. The brick wall, which is lifted up off the ground, extends through into the floor opening above, and acts as a handrail for this overlook into the double height space. The sliding walls and roof planes are visible in the image on the bottom.

Interior Perspectives, showing (left) the area on the second floor overlooking the storefront space on the first floor. The interior perspective below is a view from the cafe seating area, showing the roof planes sliding under and over one another. Also visible are the vendor walls sliding behind one another, as well as the glass sliding handrail that again, overlooks the double height space below.

Section Model Area, showing the space in the model (left) that best represents sliding.

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Incorporating my site analysis into the final plans, I created a mixeduse marketplace to accommodate all residents, businesses, and students in the surrounding area. The first floor is more of a gift shop while the second floor is a cafe with a seating area. There are 2 entrances,

one coming from the public side, and one from the private approach, indicated by the red arrows. The landscape slides from exterior to interior at the public entryway.

N Floor Plan Level 1

Floor Plan Level 2 120

               

me tS

tree

panels on either side of the stairwell give an abstracted view into this workshop. The elevation and section incorporate all of the ideas about sliding that I have previously discussed. All ideas have been taken from the completed sliding diagrams.

Calu

The images on the left show the final model of the marketplace. The second image down shows the stairway surrounded by sliding glass panels. This image is taken from inside the kitchen, and looks through the stairway into the photographerâ&#x20AC;&#x2122;s workshop space. The sliding glass

Calumet Street Elevation A

B B

Building Section A 121

The public/main entry facade, is shown at the top of the page. The compared to what they see when stepping inside. In both instances, section model and section cut, shown below, are taken behind this sliding is shown through extension of roof planes, unaligned walls, and entry wall facade. Seeing both the elevation and section together gives overlapping planes. the viewer a sense of what it is like to be standing outside the building

B B

A Ma in E ntry

Ele v

atio n

Calumet Street Main Entry Elevation

B B

Calumet Street



Building Section B

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The site model is a simple massing study of the marketplace and how the marketplace sits in relation to its surrounding buildings. The site sections indicate how the building sits within its surroundings. The different height roof planes relate back to my site analysis where I

compared all the heights of surrounding buildings, and showed how extensions of their roofs over the site would create a variety of different heights.

1 2

Site Section 1

Site Section 2

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SKETCH PROBLEM 1 

 Project Goals: - outdoor space for a blind musician - maximize natural light - follow standards

Diagrams, showing initial thoughts on space layouts

Process sketches, showing ideas about circulation, sun, and experience

Design sketches, showing final solutions about approach, layout, and orientation

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

This space, designed for a blind musician, has both a ramp and stair approach that provide similar experiences due to the 24â&#x20AC;&#x2122; travel distance up to the platform for each. The musician has a handrail to grab onto for climbing the ramp, and at the top this handrail turns into

a recess in the wall. This recess is meant to lead the musician to his destination. In this spot, the south facing wall, he can feel the warmth of the sun since it receives the most sunlight. Therefore, he knows this is the spot for his performance.

Final model, showing how light enters and interacts with the

Final drawings, drawings section and elevation, sh showing in ch changes in height and d vi views upon each h

different spaces and from different angles

method of approach

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SKETCH PROBLEM 2 

 Project Goals: - study site conditions - use information to define and place spaces - strategically program adjacencies - maximize sustainability by blocking summer sun, gaining winter sun - think thin th inkk ab in abou about outt ho how w ma mate materiality teri te rial ri al y af affe affects fect fe ctss de ct desi design sign si gn

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

In this project, I created a sustainable shelter that could comfortably be used in both winter and summer. Taking into account surrounding site issues as well as summer and winter sun and wind, different strategies helped to drive my design. Below are sketches showing

how I thought about the location of each programmed space based on my site analysis from the previous page. I am also considering strategies such as clerestory windows, masonry walls, angled walls, and trees when considering the strongest winter winds and hottest summer sun.

Programming adjacencies

Thinking in elevation & section

Developing the Plan 127

My final shelter takes into account the seasonal winds, sun, noise, etc. The entire south-facing facade has a cantilever in order to let in summer light yet keep out its heat. It also allows both winter light and heat in. The angled clerestory windows facing south in the library are

specifically angled and sized to take into account the sun’s glare. The partition walls behind the computer stations in the library also help to keep the glare off the screens, yet the windows still allow light into the space.



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

The final drawings below indicate other ways that I thought about sustainability. Using masonry walls in some areas will help to keep out the strongest winter winds, while also absorbing heat to be used on cold summer or winter nights. Trees placed at the outdoor gathering

space will create shade in the summer while opening up to allow for more light in the winter. Lastly, the angled walls on the facade facing the parking lot will allow for the most amount of light from sunrise to sunset.

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STRUCTURES I  Fanlike Cable-stay Pedestrian Bridge Design PLAN

MODEL

FORCE POLYGON FOR GRAPHICAL ANALYSIS

1” = 10K

1/16” = 1’-0”

BOWE’S NOTATION

ONNECTION DESIGN/DETAILS T CONNECTION

1/16” = 1’-0”

ELEVATION WITH DIMENSIONS

GRAPHICAL ANALYSIS- VALUES MEASURED/ SCALED FROM FORCE POLYGON LOAD-BEARING VS. AESTHETIC CABLE MEMBERS

Load-bearing

1/16” = 1’-0”

Member A1 H1 12 G2 23 F3 34 E4 45 D5 56 C6 67 B7 A7

Load 97K 97K 10K 105K 113K 105K 10K 97K 17K 80K 25K 55K 33K 22K 22K

Member Type Backstay Deck Cable Deck Mast Deck Cable Deck Cable Deck Cable Deck Cable Deck Cable

C or T T C T C C C T C T C T C T C T

OBSERVATIONS - Largest force: 113K - the mast - Largest deck force: 105K 7 G27and F3, the 2 members on either 8 side of the mast. - Largest cable force: 97K - A1, 8 the9 backstay. - Smallest deck force: 22K - B7, 8 member in the center of the 8 deck. 7 - Smallest cable force: 22K 1 A7,6 the longest load-bearing cable. 2 4 cable members are in ten- All 2 sion. 1 deck members and the - All 1 are in compression mast

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

STRUCTURES II  Framing Plans with Beam Sizes

Column Locations & Sizes

Bracing Elevations

In this project, I worked through a building design, and learned how to efficiently space columns as well as choose the lightest beam size for given loads and spans. During this process, I learned the difficulties one can come across such as uplift issues, requiring denser soil or more braces for lateral stability, or beams that are sufficient in strength but not in stiffness. Learning how to understand and solve these issues helped me gain a greater understanding in how structures remain stable. I also learned the importance of structure and how it could potentially help define a design. 131

PERSONAL 

Waitsfield, VT

Boston, MA

October Mountain, Lee, MA

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



Hallgrímskirkja, Reykjavik, Iceland

Harpa, Reykjavik, Iceland

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

Windowsill, Acrylic on Canvas, 21” x 15”

African Sunset, Acrylic on Canvas, 16” x 20”

Hot Chocolate, Acrylic on Canvas, 16” x 20”

Abstraction, Acrylic on Canvas, 8” x 10”

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



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PRACTICE  Practice Essay My Practice experience has informed my academic coursework in a number of different positive ways. Firstly, throughout my practice experience I have gained a number of skills and have become a more confident and professional individual. When first beginning my work at DiMella Shaffer, I was responsible for mostly administrative tasks. However, I quickly proved that I could handle much more than this, and was given a variety of opportunities to learn and grow from. It first started out with small project tasks such as rendering a section in Photoshop, creating furniture books and finish schedules, or picking up redlines. However, after proving my ability to learn quickly and efficiently, I was given more responsibility. My administrative tasks were cut in half, and I was able to start spending half of my time solely on project work. This was the first goal that I had set for myself when joining the team at DiMella Shaffer. I then began more consistently working on specific projects. The first main project I worked on was a historic renovation housing project. The project was done in Revit, which I had only used a little bit previously. It was a great opportunity to learn more about the program as well as work with others in a professional setting. I was able to form both professional and personal relationships with my teammates, which is something I view as very important. It is crucial to be able to separate these relationships, and I think this is something I have done successfully. Furthermore, this is also a skill I can take into the classroom. Being in a Master’s program, it is more professional than a typical undergraduate classroom setting. Again, because of my Practice experience, I have been able to more easily separate my personal and professional relationships with my teachers and peers. The next major project I worked on was the Chelsea Jewish Home Renovation project. During this project, my skill set truly grew as well as my confidence in being part of a team and not being afraid to ask questions. It was during this project that I started to become more confident in expressing my opinion about the design while I was given the chance to give suggestions and voice my opinion when working through design issues. I was given the opportunity to visit the site, meet with the client, as well as sit in on consultant meetings such as HVAC, lighting, and interior design. There were three of us on the team, and I was mainly responsible for drawing up kitchen elevations and creating different SketchUp models of major spaces in the building. This proved to be a crucial part of design meetings as it made it much easier for the client to visualize what the space would look like after construction. My professional goals I set for myself have continued to be met because of my self-motivation and dedication to the profession. My BAC experience so far has already affected me greatly as an emerging designer, and I am just getting started. Foundation A studio was a challenging one, as it was twice a week and very demanding. Although the workload was intense especially while working full time, I was still able to enjoy it greatly and grow as a designer. Assisting on projects at work while designing my own spaces in class, was a great balance which allowed me to develop intellectually. Being at the BAC has also challenged my time management skills, yet I have proved to be extremely successful in this area. Time management has always been one of my greatest strengths; however, I was still nervous about the situation. Although there is a less time than there was before for relaxation, I have successfully overcome this challenge and will continue to do so during my time at the BAC. I am very happy where I am both at work and at school, and am confident that this will continue through my time at the BAC as well as throughout my life. My computer skills, hand-drafting skills, confidence, and people skills have grown through a combination of both Practice and classroom, all of which are imperative in the design industry. I am excited to continue on my journey through the BAC, and am confident that my success here will benefit me professionally for the rest of my life.

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

 Michelle K. Ungar Address: 41 Gordon Street #3 Allston, MA 02134 508-479-1038 (cell) michelleungar@gmail.com SUMMARY:

OTHER EXPERIENCE: Jan ‘10-May ‘10:

Determined, motivated, independent individual with well-defined organizational skills Sept ‘07-May ‘10:

EDUCATION: Fall ’11-present

Fall ’06-Spring ‘10

SKILLS:

BOSTON ARCHITECTURAL COLLEGE- Boston, MA Master of Architecture Candidate Alumni Association Scholarship Recipient – Spring 2013 UNIVERSITY OF MASSACHUSETTS- Amherst, MA Bachelor of Fine Arts in Architecture & Design, Graduated May 2010 Cum Laude, Cumulative GPA 3.62 Major- Architecture & Design Deans List- Spring 2007, Fall 2007, Spring 2009, Fall 2009, Spring 2010 Adobe Photoshop, Google SketchUp, AutoCAD, Adobe Illustrator, Revit, Adobe InDesign, hand-drafting, model-making, MS Office Suite

PROFESSIONAL EXPERIENCE: Nov ’10-present: DIMELLA SHAFFER- Boston, MA Junior Designer Team member performing work on all phases of various architectural projects Aug ‘10-Nov ‘10: CLOSETS BY DESIGN- Shirley, MA Designer Worked closely with clients to design custom storage spaces that effectively met their needs and budget. Work included measuring, sketching, designing, detailing, pricing, discounting, and selling July ’10-Aug ’10: HABITAT FOR HUMANITY- Dorchester, MA Volunteer Learned about details of residential construction Caulked windows, applied nail plates, and applied primer on window casement Precisely measured and cut boards of wood using an electric saw Dec ’07-Jan ’08: CHRIS WALSH AND COMPANY ARCHITECTS- Framingham, MA Intern Created a stair design for a home renovation Learned CAD programs and Google SketchUp Attended informational and business meetings including topics on town planning and window treatments Accompanied and assisted workers in their daily travels and tasks.

June ‘05-Aug ‘09:

UMASS AMHERST- Amherst, MA Teaching Assistant for Sustainable Living Class Worked as part of a team of 13 peers and 1 professor to run the Sustainable Living lecture class of 300 students Helped facilitate class discussions, and managed computer and sound Graded homework assignments, with useful feedback in a timely manner HILLEL HOUSE- Amherst, MA Fundraising Supervisor (Sept ’09-May ’10) Supervised 15 workers, while managing and organizing all paperwork Worked closely with my co-supervisor Fundraiser (Sept ’07-May ’10) Used strong communication skills to make phone calls in order to raise money for the benefit of activities taking place at UMASS Amherst for Jewish students CAMP PEMBROKE- Pembroke, MA Counselor Trainer (June ‘09-Aug ‘09) One of six counselors that led a group of 110 CIT’s to Israel for 5 weeks Responsible for every aspect of the CIT’s well-being and safety Worked closely with team to complete evaluations of each camper Camp Counselor (June ‘05-Aug ’08) Supervised the lake as a certified lifeguard Instructed girls ages 8-15 in waterskiing and sailing Helped girls develop independence by preparing them to become role models for younger girls

VOLUNTEER EXPERIENCE: July ’12-Nov ‘12: CANSTRUCTION- Boston, MA SketchUp Modeler/Active Team Member Part of a volunteer competition to design and build a model made of canned foods that would then be donated to the Merrimack Valley Food Bank Responsible for creating the SketchUp model of our design Jan ’07-Dec ’09 SIGMA DELTA TAU- Amherst, MA Member of the General Board Jan ‘07-May ‘07 and Flash Jan ‘09-May ’09: In charge of organizing and taking photos of all significant sorority events Created scrapbooks in order to preserve memories and keep records of Sigma Delta Tau Jan ‘08- Dec ’09: Standards Board Position involving liability and confidentiality Negotiated consequences and arrived at agreements about specific issues. STRONG PERSONALITY TRAITS INCLUDE: Self-motivated, dependable, open-minded, honest, patient, determined, and responsible

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

- organized, labeled, and helped choose different options - learning issues that arise with clients - learning to work with clients

138





- annotating pictures for improvement proposals - use Photoshop to put existing pictures into presentation format - created board displaying options for interior finishes

139



- put together furniture book for Shillman House - learned organization strategies for how to best display all necessary information

140

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- laid out floor patterns and materials in Revit - helped redesign office space -- sketches shown (right) - added in furniture components

141

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- cleaned up existing CAD drawings - created presentation plans for marketing presentation - done in Photoshop 142





- sections edited in Revit and rendered in Photoshop - Photoshop sections completed for marketing competition - dozens of iterations- helped improve and learn new Photoshop skills 143

 - design and layout kitchens - draw CAD elevations - find kitchen appliances - create cut sheet document - figure out cabinet dimensions using standards - considered appliance sizes and need for filler - work through many options to discuss with project manager

144



 - worked from CAD plans of the building to draw these elevations. - collaborated with team members - learned new CAD skills by asking questions and figuring things out on my own... trial and error - one of first major project roles at DiMella Shaffer

145

 - built SketchUp models from scratch - helped client better visualize and understand scale of spaces - useful in client meetings - learned new SketchUp strategies

146





POTENTIAL ADDITION POTENTIAL GREENHOUSE ADDITION

NEW ADDITION EXISTING BUILDING

EXISTING BUILDING

NEW GARAGE

SITE PLAN OPTION

- planning studies for Chelsea Jewish Nursing Home - Photoshop/Illustrator used to produce drawings - learning new Illustrator skills (figuring out when Illustrator may be more efficient than Photoshop

147

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- make edits to RCP drawings in CAD - create/ edit detail drawings in Revit - first glimpse into how to draw details - details were done during the bidding process- learned about client relations and small details that need to be picked up 148

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- create sketches in Revit to be submitted during construction - learning new Newforma skills- checking and approving shop drawings

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KEY PLAN (1" = 60')

12'

20'

MAIN STREET EXTERIOR LIGHTING RENOVATIONS 101 MAIN ST. CANOPY ELEVATION

KEY PLAN (1" = 60')

12'

20'

MAIN STREET EXTERIOR LIGHTING RENOVATIONS ONE MAIN ST. CANOPY ELEVATION

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Fitness Center Pool

Salon/ Spa

Vitality 360 Lounge

HSL Wellness Group & Medical Center

Library Sales Office

Garden Dining Room

Commons Area

Pavillion Restaurant

Reception Desk

Stair to Pequot All-Day Dining

Front Entrance

1 COMMONS

157

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- renumbering rooms - diagram to show client where room numbers overlap

159

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164

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166

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167

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Existing Stair

Stair and Core

Exterior Offices

Circulation

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- presentation Drawings - preparation for interview - drawings done in CAD, Photoshop, & Illustrator 168

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Existing Conditions

New Floor Above

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- responsible for creating SketchUp model from scratch - used CAD plans for correct dimensions - studying different design options for pool space - comparing options to existing conditions - for project manager and client review 169

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172

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- hand-drafted elevation studies - using proportions from existing building to keep traditional feel - studying how to add a modern twist to this traditional campus building - comparing options to existing conditions - studies done in preparation for final schematic design package submission

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