BAC Segment 1 Portfolio by Mikkel Stromstad

PORTFOLIO MIKKEL DAHL STRØMSTAD

Thrrough my joint experience at the BAC I feel that I ha ave learne ned more than I would have lea arned at a tra aditional architecture schoo ol. The practtice experien nce has allowed me to wider use the skills that I have learned through the ac cademic pro ogram at the he same ti time it as tough me skills that I perhaps would not have learned aftter several years in scho hool. Coming from a engineerring backgrround where e it is mos ostly focus s on the academic it is a nice and d sought after â&#x20AC;&#x153;freedomâ&#x20AC;? to be able to combine the two elements.. One of the reasons s why I actual ally chose to go in a slightl tly different direction wa was becau use I felt that I did not nurture my creative e side enough. Through the e competitio ons and tea amwork I have bee en able to attend I fee eel that I have e got to nurture this even mo ore than I pe perhaps wou uld have been able le to with just an aca ademic prog gram. Even though, I hav ve some pro oblems find ding a fullll-time job b, not done easier sin ince I am forreign, I have not gotten an inte ernship thro ough the sup upervisor from the e first competition I attended. I fe eel very proud that he has wantted to contin inue to work rk with me and an nother person form the team; an nd hoping it will lead to a full-tim me position down the ro road. Growing up in n an archite ect firm, botth my parrents are e architects; I have always been n fascinated by the e built environm ment. We ne ever went to the be each on vacations; we went see classica al architecture, mu useums, gallerie es, exhibitio ons, and new ew interes sting build lding. It is these exp periences an nd my background d from studyin ng several different pla aces tha at I try to bring into my every yday design.. In addition to lea arning a lot from th he program m I know tha at I will le earn a lo ot from my peers du ue to the culltural differences, as I hope I can n give them m something g back, th his is my y reason for wanting g to study an and live abroad.

Mikkel Dahl StrĂ¸msttad

portfolio | M.Arc ch | July

MIKKEL DAHL STROMSTAD Current address: 289 Newbury Street Boston, 02115 MA Tel: 617-510-6647

Permanent address: Prinsessealléen 17 0276 Oslo, Norway D.O.B. 5/27/84, Norwegian

EDUCATION Master of Architecture Boston Architectural College, Boston, MA. • Student Representative, Atelier, Student Government

Jan ‘09 –

Certificate of Advanced Business English Boston University, Boston, MA

Sep ‘08 – Des ‘08

Bachelor of Civil Engineering Oslo University College, Oslo Norway • European Project Semester at Kiel University of Applied Science, Kiel, Germany • Vice representative, Class of 08

Aug 05 – June 08

Graphic Design Campus Christiania, Oslo, Norway

Sep ‘03 – May ‘04

High-School Diploma Oslo Economic High-School, Oslo, Norway • President, Class of 2003 • Director of ﬁnance, school show 2002

Aug ‘00 – June ‘03

EXPERIENCE Internship Eric Nelson Architects, 123 Wildwood Street Winchester, MA 01890 Contact: Eric Neslon

April ‘10 –

Gardner Rikshospitalet University Hospital, Oslo, Norway, tlf. +47 23 07 00 00 Contact: Erik Hertaas

May ’09 – Aug ‘09 & June ‘10 – Aug ‘10

Head Coach and Referee, Floorball Bygdoy Monolitten IL, Oslo Norway, tlf. +47 918 23 478 Contact: Erik Dissen • Head Coach for Boys 95, 93, and 90-91 • Active player, 1st team, 2nd division in Norway

Aug ‘00 – Feb ‘08

Intern, Engineer AF Gruppen, Oslo, Norway, tlf. +47 951 90 197 Contact: Mikael Eide

June ‘07 – Nov ‘07

Construction worker, summer assistant AF Gruppen, Oslo, Norway, tlf. +47 22 89 11 01 Contact: Roger Lyse

June ‘06

Gardner Rikshospitalet University Hospital, Oslo, Norway, tlf. +47 23 07 00 00 Contact: Erik Hertaas

May ’05 – July ‘05

PUBLIC SERVICE Leader Association for Norwegian Students Abroad New England

Aug ‘09 –

Elected Representative Ullern District Council, Oslo, Norway • Representing the Conservative Party (Hoyre)

Aug ‘07 to Aug ‘09

Member Ullern Standing Committee on Transport, Com. and Urban Development, Oslo, Norway • Representing the Conservative Party (Hoyre)

Nov ‘05 Aug ‘09

STUDIO

PORTFOLIO

Masters A t 1IFOPNJOBM 5SBOTQBSFODZ t *OIBCJUBCMF 8BMM t &YIJCJUJPO 4QBDF

# 4UVEJP t #VJMEJOH "OBMZTJT t #PBU )PVTF

# 4UVEJP t 1SPKFDU 5FDUPOJD 4USBUFHJFT t 1SPKFDU 5FDUPOJD 4ZTUFN t 1SPKFDU "SUFSZ $VMUVSBM $FOUFS

PRACTICE "' (SVQQFO #ZHH 0TMP

"*"4 .JBNJ .PEVMBS )PUFM <$PNQFUJTJPO>

&DPUPQJBO 1SPKFDU

5SBWFMJOH

1IPUPHSBQIZ

(SBQIJD %FTJHO

PERSONAL

PROJECT I: PHENOMENAL TRANSPARENCY Masters A

Fall 2009 Instructors: John Mucciarone & David West Duration: 4 weeks

CONCEPT OF PLACEMENT, FIGURE-GROUND, & PHENOMENAL TRANSPARENCY During this project students will develop and reﬁne abstract thinking skills as they explore: •

• • • •

The deﬁnition and use of basic compositional elements: point, line and plane, to create spatial ambiguity and visual oscillation The elements of composition: those in 2D and their counterpart in 3D (architectural) design Figure/Ground and Positive/Negative Phenomental Transparency: the ambiguity of spatial belonging, and the legibility of concept or physical organization The transformation of 2D design into 3D; students will form an understanding of 2D as being representational of inhabitable space, and the complexity achieved in 2D will be developed into a richness of architectural form

PHENOMENAL PARENCY

TRANS-

The first assignment for the project was to design four 2D compositions; one made out of points, one of lines, one of planes, and one that was a combination of all of them. By focusing on the elements of composition, figure/ground, and phenomenal transparency (from the reading by Colin Rowe) I created the first three compositions out of the basic elements (points, lines, and planes) and the fourth as a combination of the three preceding designs. From this stage I continued to alter the design of the fourth composition and created a new version following some of the feedback from both my instructors and fellow students. After settling on the design I started to create several 3D versions of the composition, adding to its complexity and lifting it up from a representation to a demonstration. Again after receiving I change the design to create the final 3D model for the project.

Right: Series of initial sketches exploring elements of compositional, figure-ground and phenomenal transparency 10

Master A

Points: Using only point I created this composition to explore the ambiguity of spatial belonging, to make it unsure what was the background and what was the foreground of the picture.

Lines: By layering the lines diagonal together I wanted to create a weaving effect, a tartan, which connected the two opposite corners.

Planes: The black area is lifted up in the frame to prevent a “heavy” feel. The composition is created so that it visually changes from extruding outward to falling inward in the picture, creating a balance within the composition that is further strengthen by the use of the golden ratio.

Combination of points, lines, and planes: In this fourth composition I wanted to combine all of the effects that I used in the three other compositions to create a ﬁnal one, one that could be further altered and developed.

Above: The four first iterations exploring elements of composition, figure/ground, and phenomenal transparency with points, lines, plane, and a mix. (18”x18”) Phenomenal Transparency

After feedback from fellow students and my instructors I made a re-interpretation of the fourth collage from the ﬁrst week, focusing on phenomenal transparency and shared space

Left: Initial collages Middle: second re-interpretation Right: first translations of 2D figure/ground compositions into 3D forms (9”x9”x3”) 12

Masters A

Final model showing the complete transformation from 2D to 3D. In this ﬁnal model I tried to be cautious of carving out to create negative space and to extrude outward to create enclosure for space. With this in mind, I aimed to make a model without an obvious central core or datum. Shown with yellow is the column of light which penetrates through the model adding light to the more enclosed spaces. Left: Three axonometric guidance drawings Middle and right: Final model with yellow light through the opening on the top (9”x9”x9”)

Phenomenal Transparency

After the ﬁnal model I made a section model of a habitable space to link in the human scale and how humans would interact with the new structure. This last iteration functioned as a great transition into the next project, project II.

Above left: Design process through project I. Top right: Additional iteration of 2D composition, transformation from circle to hexagon Bellow right: Section model of habitable space in the final model (9”x9”x3”) 14

Masters A

INVISIBLE CITIES by Italo Covino

Parallel to the composition collages we read parts of Invisible Cities by Italo Covino, a book made out of several travel experiences from ﬁctional and real cities. By ﬁrst reading and then making visual images and drawings we got to practice how to communicate our mental pictures.

Cities & Signs - Tamara

Cities of Trade

Cities & Desire - Anastasia

Cities on Pillars

Top left: Cities & Signs – Tamara, collage showing the cluster screams of the signs that are peculiar with Tamara Top Right: Cities & Desire – Anastasia, collage depicting the greed that spooks the city of Anastasia Bottom left: Perspective drawing, City of trade, a harbor where the traders meet to do their business Bottom right: Perspective drawing: City on pillars, a city where all the houses are built on pillars Phenomenal Transparency

PROJECT II: INHABITABLE WALL Masters A

Fall 2009 Instructors: John Mucciarone & David West Duration: 4 weeks

INHABITABLE WALL - HUMAN PRESENCE, SCALE AND PROPORTION Building on skills learnd in project i, students will create an architectural form that utilizes research and observation of: • Human scale and proportion • The relationship between the body and the built environment Architectural form will be developed relative to speciﬁc use (program), with emphasis placed on scale, material, and meaning. Students will further their understanding of concept by using iterative design (sketching and model-making).

HUMAN SCALE AND PROPORTIONS The goal for this project was to explore the “human scale and proportion and its influence on the built environment”. The assignment was to design a habitable space, no bigger than 4’x8’x10’, for quiet reflection and inspiration. Additionally we were to choose two critical senses that appealed particularly to us to highlight the design of the space. But first we were sent out in the field to create our own measuring system and to measure up a given site in Boston, I choose Chinatown Park to see how a urban space was transformed from being designed for vehicles to humans.

Right: Parts of my sketchbook, pictures from Chinatown Park showing the site and the measuring system, the height of little finger = 3 forearms 18

Masters A

Above: Site plan of Chinatown Park in scale height of little finger = 3 forearms Inhabitable Wall

When I got the assignment to design a space for quiet reflection and inspiration I started to mentally revisit places and experiences where I had felt just that. Some of these experiences laid down the path for this design and functioned as precedent studies. At the age of five I had my first encounter with the Ball chair by Eero Aarnio at the Finnish Culture Center in Oslo, I remember climbing into it and being astonish by its characteristic shape. Later, I saw, its sibling, the bubble chair being used in a wide open public space in a large office building; its shape created an enclosed secure space for the user, a feeling I wanted to implement in my design. Another trace from my background was that of the beach chairs from Kiel, Germany, where I studied the semester before coming to Boston. They are design to hold nature out so that the summer season lasts a bit longer. The overhanging roof creates a nice reading shade in the summer while allowing sunlight in when the sun sits lower on the sky. These where all elements that I wanted to implement into my design in addition to the senses; seeing and hearing. Top Left: Ball Chair by Eero Aarnio Top Right: Traditional Beach Chair from Kiel Under: Template of body measurements in critical positions, taken from Neufert’s Architects’ Data 20

Masters A

By using body measurements from Neufert’s Architects’ Data I created a template for the different critical heights of the space. I chose to have the sitting position to be a traditional lounge chair for most comfort.

Left: Series of sketches exploring ideal sunlight angles, sitting positions and general shape Top right: Rendering from AutoCad 3D class Bottom right: chipboard model 4”x8”x10” Inhabitable Wall

ADAPTING TO A SPECIFIC CLIENT After the first design we were given a “client”, in my case I had to design for a chef of my choice. I chose Jaime Oliver aka “The Naked Chef” after seeing many of his cooking shows on television and appreciated his drive for healthier food in the schools. Jamie Oliver has a rather energetic personality but I remember from one of his first shows where he talked about the quiet and relaxing backyard of his parents’ pub “The Cricketers” in Clavering, Essex, England, and how he enjoyed sitting there just thinking. From this, I wanted to design a space for him where he could take a time-out from his hectic everyday life to relax and plan new adventures. This also fitted into my initial ideas of this space so it was a seamless transition and continuation of the design process. I remember it was a rustic feel to the backyard so I wanted to experiment with the walls to make them depict a bundle of old boards and branches.

Top: Page from sketchbook showing key features and drawing of the “The Naked Chef” Bottom: Series of experimental sketches 22

Masters A

Top left: Hard-line drawing, plan and two sections Top right: Light study, with or without solid roof Bottom left: Series of experimental sketches Bottom right :Basswood model, 6”x12”x15” Inhabitable Wall

To further develop the “habitable wall” we were told to place the 4’x8’x10’ module into a larger space of 8’x16’x10’ and to think critical about the orientation and thresholds created between the two spaces. In the beginning I wanted to add the “habitable wall” into an urban or built setting with a view so that Jamie Oliver had his rural retreat nearby. However, after some thought and exploration I realized that it would not represent the true feeling I was searching, so I ended up placing it under a sheltered tree overlooking a picturesque British landscape. In addition I added a small steep ramp leading up to the roof, so that his energetic character could “explode” up on the roof to lay there if wanted, just to “mix it up a bit”.

Right: Series of sketches exploring the relationship between the smaller module with the larger space. 24

Masters A

Left: Final drawing, plan and two sections, originally in ½” = 1’0” Top right: Final model (8’x16’x10’) Middle right: Sketch model and in-process picture Bottom right: precedent study of site and view Inhabitable Wall

MAGNEY HOUSE by Glenn Murcutt

Parallel to both project II and III we were given a house and architect to document and analyze. I was given the Magney House by Glenn Murcutt a building and architect I had not heard about before. After researching Murcutt I found some of his principles quite fascination, the notion that his architecture should “touch the earth lightly” is a phrase Murcutt borrows from the native aborigines but describes his architecture well. From the diagrams on the opposite page (blue and red diagrams) one can see the basic elements that is repeated in many of Murcutt’s buildings.

Top left: Section A-A Top right: Elevation Bottom: Plan of the Magney House, Australia 26

Masters A

Left: Series of diagrams of the Magney House Top right: Series of diagrams of several of Glenn Murcuttâ&#x20AC;&#x2122;s buildings Bottom right: Sketch model, diagramming datum Inhabitable Wall

PROJECT III: EXHIBITION SPACE Masters A

Fall 2009 Instructors: John Mucciarone & David West Duration: 8 weeks

FROM MUSIC TO BUILT ENVIRONMENT Compositional, spatial, and scalar design skills will be incorporated into the ﬁnal project, which emphasizes concept as a generator and guidepost for design development. Students will create spaces for art (2D, 3D, music) as a culmination of: • A concept statement • Site response • Programming/Space Planning • The Development of movement through a building/series of spaces

MUSIC ANALYSIS For this ﬁnal project we were to ﬁrst analyze two songs based on the ordering principles, of Ching, used and explored in the previous project and now adapted to a different art form. • “Rain on Tin” by Sonic Youth • “Sweet Love for Planet Earth” by F___ Buttons

Above: “Cover page” from sketchbook, information about the artists Right: First analysis of the songs, some text, configurations, feelings, and notes 30

Masters A

After doing the ﬁrst initial analysis of the songs I decieded to continue with “Sweet Love for Planet Earth” by F___ Buttons, not because I liked it the best but because its “force”, at the end of the song, invoked the most feelings and discomfort. I felt that these strong feeling I had towards this song could help strengthen and determine my concept and drive for the project.

Right: Series of diagram sketches exploring the different ordering principles in the songs Exhibition Space

Diagram model I: Exploring hierarchy by depicting the continuing elements of the song (parallel lines) broken off by the power of the noise (chaotic lines)

Masters A

Diagram model II: Exploring transformation by depicting the change from enclosed to open and showing datum by the central â&#x20AC;&#x153;shaft of lightâ&#x20AC;?

Diagram model III: Exploring repetition, the rhythm, of the music and the central axis that ties it all together.

Diagram model IV: Exploring movement through spaces within the song, ending in a larger more powerful (bigger) space at the end.

Detail of Diagram model IV: Depicting, â&#x20AC;&#x153;hell on earthâ&#x20AC;?, noisy part at the end of the song. I get the feeling that the whole world is turning in on me when I hear that part of the song.

Diagram model V: Exploring thresholds between spaces created by movement through the song

Exhibition Space

After analyzing the song we were given a speciﬁc site, across the street from the school. The urban context of Newbury Street is a quite unique; it has its established conservative part close to the garden and changes into an urban mixing pot around Mass Ave where the street is ﬁlled with Berklee students playing music creating a pulsating urban environment. The site is built into the local fabric, “the brownstones”, of the Back Bay and this would later lead to one of the key factors of the concept. My analysis and sketching lead me to my concept statement –The Force has driven through the Fabric creating the Path. The music represented by the Force, the site represented by the Fabric, and the connection represented by the Path, the path of light and force.

Hereford st

SITE ANALYSIS

Newbury st

Site

Right: Series of initial sketches exploring figure-ground and phenomenal transparency 34

Masters A

Existing buildings

Top left: Site diagrams showing the height difference and narrowness Bottom left: Street view of opposite side of Newbury St Right: Pictures of local characters and students playing Frisbee on the site Exhibition Space

After analyzing the site I started to look at how movement and circulation would fit into my interpretation of the song and site. I wanted the entrance to drag people into the space while concealing the exit to create a clear path of movement. Entering through the performance space into the listening space people are drawn in by the horizontal wooden lamellas. The listening room is meant to give the visitor a strong impression so that when the person leaves and passes the creative space he or she can stop and get a change to process the feelings. The creative space is designed specifically so that the visitor has the experience of listening to the song behind his or hers back with a view out over Newbury Street, the “normal world”, so that one can reflect upon the experience and create music.

Left: Sketches and sketch models exploring circulation Right: Series of sketches exploring sharp edged shapes fitting the music 36

Masters A

In the Exhibition Space we were told to program a • XL space to listen to music • M space to perform music • S space to create music I placed the performing space at street level in the front to accommodate street musicians and focused the inner center of the core to the listening space. The creative space I lifted up a bit to make it a bit less accessible, not everyone that passes needs to use this space. Left: Series of sketches exploring the exhibition space. Bottom left: Precedent study, Antelope Valley Bottom right: The Force carving out the Fabric Right: Perspective overlay, first iteration of the exhibition space Exhibition Space

The spiked room seen in the model on the opposite page helps clearer represent the “ture terror” in the end of the song “Sweet Love for Planet Earth”. The hallway seen in the inserted picture is the exit out of the Listening space, it leads up to behind the stair going up to the Writting space, seen better in the perspective drawing to the right.

Perspective, seen from BAC library 38

Masters A

Sketch models and final model Exhibition Space

Section Y - Y

Site Plan

Elevation

Section X - X Perspective, from the BAC loft

Masters A

Listening space Writting space

Performance space

Above: Final model Exhibition Space

BUILDING ANALYSIS B-1 Studio

Fall 2009 Instructors: Christopher Munroe Duration: 7 weeks

We were to choose a residential building by a famous architect and document, analyze, and transform the house in relationship with the â&#x20AC;?flawsâ&#x20AC;? we found in the analysis. I chose to analyze the Experimental House by Alvar Alto, his summer house in Finland

DOCUMENTING

Plan

First I created hard-line drawings of the Experimental house, a house Alto designed for himself as his summer house.

North Elevation

West Elevation

B-B

A-A

B-1 Studio

Right: Pictures of the building. Copyrights unknown Building Analysis

ANALYSIS After documentation the building we started to analyze it. Looking into readings, interviews, and articles I started to get a good sense of the house. What I found was a well adapted building that was unique for that particular site and function. Alto found the site while working on the nearby town hall Saynatsalo, and Alvar used the leftover bricks in the interior walls of the courtyard.

Right: Analysis sketches 46

B-1 Studio

Looking at the plan of the house there was something with the shape that looked familiar, the Big Dipper. After doing some research I found out that Alto’s father was the chef land surveyor in Finland and that Alto often joined him out in the ﬁeld. Knowing that they did not have GMS-systems at the time they were reliant on using the stars to ﬁnd out precisely where they were.

Alvar Alto was rather fond of classical architecture and took several study trips down to Mediterranean countries. I ﬁnd it interesting how he have adapted the central Greco-Roman courtyard to the Scandinavian environment and created his own special ruin in the north

After studying several of Alto’s building one might start to notice that he often uses a mathematical grid and the experimental house is not an exception. Here we see a clear grid in the central core of the building, just broken by some later outhouses.

Above: Three analysis of the experimental house Building Analysis

TRANSFORMATION After analyzing the building we were to transform and change the building related to the “ﬂaws” we had found. I wanted to move the building a bit further out on the cape it was located to make it a bit more open towards the nearby lake. This meant that I had to reorganize the basic elements the building was made up by. To adapt to the slope I rearranged the levels making it a terrace house. This opened up the house more towards the lake and allowed every room in the building to the lake. The central courtyard was lifted up from ground level to function as a protector from the murky corners of the woods in the long dark winters in Finland. The enclosed courtyard is turned inside out and lifted up to make another interpretation of the separated space. The interior wings are rotated and shifted to create a new form that focuses the view out over the lake

Right: Series of sketches exploring how to break up the grid and reassemble it 48

B-1 Studio

Top row: Transformation diagram Under: Final transformation Building Analysis

BOAT HOUSE B-1 Studio

Fall 2009 Instructors: Christopher Munroe Duration: 9 weeks

In the Boat House Project we were first given a site, the Charles River Esplanade. The site and the function of the boat house were to direct our design and development of the project.

SITE ANALYSIS The Esplanade is a manmade park area that now mostly is used by joggers and some picnickers, during the summer. The main reason that the Esplanade is not used as the Commen or Com. Ave. is due to Storrow Drive, a highly trafﬁcated road that completely shuts of the connection between the urban Back Bay and the “freedom of nature” at the Esplanade. On the other side however, the park opens up towards Charles River and Cambridge on the other riverbank. This allows the park to extend out on the river, among the sailboats, and make the Esplanade into somewhat more than the long green arm it actually are. Covering over Storrow Dr will allow people to move freely between Back Bay and the Esplanade resulting in a wider use of the park.

Right: Site pictures Bottom right: Row of boat houses in Philadelphia 52

B-1 Studio

Above: Series of site diagrams Boat House

By covering over Storrow Dr, the new paths then created (shown in orange on the opposite page) then forms the pattern later seen in the boat house. The shape of the boat house takes inspiration from the speedy rowboats, hence the horizontal movement of the shape. The two angled gables, seen in elevation, that makes up the front of the building, where the boats are held, represents both the Viking ships on Longfellow bridge and two competing rowboats as seen in the Olympics. After going down to Philadelphia to look at the traditional row of boathouses there I learned that boat houses mostly are very private. I therefore, created a private â&#x20AC;&#x153;boxâ&#x20AC;? for all the programming related to the rowing while I added a separate wing for the public parts (bar, gift shop and restaurant). This wing breaks off from the main core in the pattern of the new footpaths created instead of Storrow Dr.

Right: Series of initial sketches exploring with shapes Bottom right: Another direction abandon due to technical construction problems, need of 3D priner 54

B-1 Studio

SITE ANALYSIS The Esplanade, Back Bay, Boston, MA

Stereographic Diagram Location: Boston, MA Sun Position: -175.1˚, 51.7˚ © Weather Tool

The Esplanade is a manmade park area that now mostly are used by jogers and some piknikers, during the summer. The main reason that the Esplanade is not used as the Commen or Com. Ave. is due to Storrow Drive, a highly trafficated road that completely shuts of the connection between the urban Back Bay and the “freedom of nature” at the Esplanade. On the other side however, the park opens up towards Charles river and Cambridge on the other riverbank. This allowes the park to extend out on the river, among the sailboats, and make the Esplanade into somewhat more than the long green arm it actually are. Prevailing Winds

Wind Frequency (Hrs) Location: Boston, MA (42.3˚ , -71.0˚) Date: 1st January - 31st December Time: 00.00 - 24.00 © Weather Tool

Weekly Summary Direct Solar Radiation (W/m2)

Weekly Summary Average Temperature (˚C)

Spring

Summer

Autumn

Winter

Weekly Summary

Average Wind Speed (km/h) Location: Boston, MA

Above: Presentation board Boat House

Above: Final drawings 56

B-1 Studio

Top left: Final model, from Back Bay Middle left: Final model, from Cambridge Bottom left: Final model, from floating dock Right: Exploded floor plans Boat House

PROJECT 0: TECTONIC STRATEGIES B-2 Studio

Spring 2010 Instructor: Anne Brockleman Duration: 4 weeks

TECTONIC RELATIONSHIPS Students will analyze and interpret given subjects to arrive at a Tectonic Idea: a concept based on key relationships between parts and/or spaces. This concept will serve as a basis for iterative design explorations in Project 1 and 2

TECTONIC RELATIONSHIPS & ABSTRACTION We were given three details that we were to abstract and diagram with focus on the tectonic relationship. By making several interpretations I was able to explore different aspects of the same detail. I was fascinated by two analyses in particular: Interlocking and Sliding, alt 4. and 6. on the opposite page. I chose to emphasize on how the forces in the connection transferred and how this affected the relationships in the detail. Been an engineer it was a bit of a challenge for me to try to abstract the detail instead of trying to ďŹ gure out its true function and placement in a building.

Left from the top: Alt 1. holding, Alt 2. embedding, Alt 3. balancing 60

B-2 Studio

Left: from top, Alt 4. interlock, Alt 5. sliding, Alt 6. squeezing Top right: sketch models, interlocking and squeezing Bottom right: sketch model, sliding Project 0

ASSEMBLT & SPATIAL TRANSLATION Combining the concepts of interlocking and sliding I created my tectonic statement: Sliding in and interlock, this statement created the next step in the design process. By creating the kit-of parts, the multi angled frame and the plates; I had produced a system assembly. The plate elements could slide in and interlock within the frame system to create numerous of shapes and turn corners.

Top: Sketch model exploring sliding. Middle: two composite assembly models Bottom right: Sketches exploring the joint and human scale and relationship. 62

B-2 Studio

Top left: sketches exploring thresholds between interior and exterior Bottom left: sketches exploring human scale and relation. Right: Architectural apparatus, model and axonometric drawing Project 0

PROJECT 1: TECTONIC SYSTEM - APPARATUS ON A SLOPE B-2 Studio

Spring 2010 Instructor: Anne Brockelman Duration: 5 weeks

AN EDUCATIONAL PAVILION AT THE ARNOLD ARBORETUM The conceptual tectonic idea defined in Project 0 is explored and deployed to develop a basic architectural language (kit of parts) and a parti to engage a sloped rural site with a simple program. Strong emphasis is placed on sectional relationships between parts and spaces, and between project and site.

13-

3 3) /4

"1&

/. .%

3 8 &,& 1+ &

" $ '

"$ %" " $ "

)

! " $

. 0!

999 0&6% '20

) ( '"

## %# $$# #$ $ %#

$) ) ' #%

$ '

" # $ "

Prevailing Winds Wind Frequency (Hrs) Location: Boston, MA (42.3Ë&#x161; , -71.0Ë&#x161;) Date: 1st January - 31st December Time: 00.00 - 24.00 ÂŠ Weather Tool

Spring

Summer

Weekly Summary Average Wind Speed (km/h) Location: Boston, MA

Winter

Weekly Summary Average Temperature (Ë&#x161;C)

*2$ (**

24. 24. 24. 24.

'" &!$#% +%!1% 1%% /.12%$ 0%'3+!2).-1 "%#!31% 2(%6 4!06 &0., /!0* 2. /!0* - ,.12 .& 2(% /!0*1 $.'1 ,312 "% .- +%!1(

4%1./-1 %4. 412/( 4&24)670 21/;

.*$ 1

)

" 5570-1+ 64%8)/ *420 4/-1+621 64))6 629%4(5 4%1./-1 %4.

'( %'' 3$

) $ )%

+ !' '$

'!)

* !-*) .

'&+ $$'

$ /

!.!, ,'!2

)# ) !

)%$ -"( %

1 (,

1 &3& 7

45; 2 ( & '

55 )43% ; 8 %5)

/6 &1 3

*&,

3 1

23& $&

3 418 3&1#

B-2 Studio

*1' "

)

Weekly Summary Direct Solar Radiation (W/m2)

Autumn

Left: Map over Boston, bing.com Top: Emerald Necklace Middle: Site map Bottom: Site facts, from Ecotech

Franklin Park Walking Loop: 2.5 miles

) ( () ) + ")

Arnold Arboretum, Hunnewell Bldg. 13 to Peterâ&#x20AC;&#x2122;s Hill Summit 10 : roundtrip 3.5 miles

1& &

)

! " $

, %$

/( *'

Jamaica Pond Circumference: 1.5 miles

% '/1

,& %! 1 .

5,-1 +62 1 6

Location: Boston, MA Sun Position: -175.1Ë&#x161;, 51.7Ë&#x161; ÂŠ Weather Tool

" ( %") " ##

Leverett Pond Loop (Good for families with small children): roundtrip .7 mile

)

' *

,*' .

Stereographic Diagram

8) 75

*()6"8

-&1*$". &(*/.

70&

" ( % ")

## %

; 92=

, /1-

4 9 42 624 )5 % %0

!! #

*;. 94.:0

% # $$% #! $

)0)19

-1+62 1 6

29 ,<2

! " & # )

Riverway Loop (Fenway T Station to Netherlands Road): roundtrip 1.5 miles

!2%

8) ")56/%1(

"%5,

!2/5 1

"$ #$ " % & "# $)

Back Bay Fens Loop (Endpoints: Boylston Bridge 31 & Ave Louis Pasteur): roundtrip 1.6 miles

0+%1'

' "

# "

+ &'# #

" # $ #

,1$/

!& $ #

6 1 "'2 &

Public Garden, at Charles St., to Charlesgate East: roundtrip 2.5 miles

' )

) #

$% &#

' !& $ & # ' ) ! "

& , &

8) " /6, 8) 6, 9)%/

9)%

WALKING AND RUNNING DISTANCES If you would like to add physical activity to your daily life, the Emerald Necklace offers beautiful paths that are convenient to different neighborhoods. Here are a few suggestions. Distances are approximate

% $ "& " #

021

! (!!

! #

!2409 25 " -

% $ $

" "

20 021 20

(** 1

=*9 #;

parks

% $

$ " #

% $

$$ !

EMERALD N E C K L AC E

%# ) $ !

% 2

%-20

The Arnold Arboretum is a part of the Emerald Necklace, a 7-mile-long network of parks and parkways that civic visionary Frederick Law Olmsted laid out for the Boston Parks Department between 1878 and 1896.

" !" # " ! "

( "

" " !

& "

! !

" $

!" !"

INHABITING THE SITE; SITE ANALYSIS

& % !!

) "

)16 4) 6

",3

% " #! $

%$ 1 1-,

5*0

Map conceived and produced by the Emerald Necklace Conservancy with its Park Overseers and with the National Park Service (Challenge Cost Share Program)

Site slopes towards north-east and has a view from the higher parts of the site.

Site slopes steeply away from the footpath towards north-east and is the steediest of all the three sites

Chosen Site: The site is shapes as a volcano and has a little creek. Some tall trees protects from the cold winter winds from north-west while it is open for the nice summer winds. Since there is a natural dam, the site function as a cold pit therefore, it is important that the building is lifted above the lower part of the site. The trees create a courtyard around the pit, a natural center/core of the house.

Above: Site analysis diagrams Bottom left: Sun analysis of site Project 1

TRANSLATING THE APPARATUS By using the joint (male & female) I wanted to create unique thresholds between nature and built environment. Through adapting the tectonic statement into the interior and exterior itself the building was able to extrude into nature and vice versa. However, this “technique” could also be used in interior relationship within the building itself. I made a grid out of the kit-of-parts and created a set of roles to guide the direction of the development of design: When nature extrude into the building the grid is broken however, when the building extrudes out into nature the grid is kept as guidance. And nature can only push into the building not through (ergo just in one direction, but not all the way through). Program: 24-hour public entrance area Educational exhibition Staff ofﬁces (Café)

Top right: Sketches exploring relationship between the building and nature Bottow: Sketches exploring program 68

B-2 Studio

Above: Series of sketches exploring programming and relationships Project 1

MATERIALS Wood Panels The Wood Panels made up by sandwich lamination gives a warm contrast to the concrete and steel frame. Steel Frame System Advantages * Light weight * Affordable * Profils * Modular

Above: Material study 70

B-2 Studio

Steel Frame

BubbleDeck

The Steel Frame is a strong grid that functions as the loadbearing system that supports the concrete panels and the hole structure. It allows the structure to be supported just by the two ends of the structure that are inbedded in the ground.

BubbleDeckâ&#x20AC;&#x2122;s advanced technology eliminates nonstructural concrete. So you can have up to fifty per cent longer spans between columns. And no beams.

Steel Frame System Advantages

BubbleDeck System Advantages * Plastic bubbles replace non-structural concrete * Flat soffit with no obstructing beams * Create long cantilevers and open facades * Reduces concrete and water use * Considerable cost savings * Saves structural height * Cuts floor cycle time * Allows longer spans between columns * Creates extra lettable area * Flexible system allows for dramatic and exciting designs

* Light weight * Affordable * Profils * Modular

INTERMEDIATE

CORNER

3-WAY

END

Top row: Sketch models Under: Section Model Project 1

STAFF

EXHIBITION SPACE

24-HOUR AREA

SITE ANALYSIS

CORNER DEITAIL

“SLINDING” THRESHOLDS Nature pushes into the building

Building pushes out into Nature

Prevailing Winds

Wind Frequency (Hrs) Location: Boston, MA (42.3˚ , -71.0˚) Date: 1st January - 31st December Time: 00.00 - 24.00 © Weather Tool

Spring

Autumn

Nature pushes up into the building, but still with roof. View down to pond.

MATERIALS

Summer

Winter

Steel Frame

BubbleDeck

Wood Panels

BubbleDeck’s advanced technology eliminates non-structural concrete. So you can have up to fifty per cent longer spans between columns. And no beams.

The vertical panels are of wood, more precisely Siberian Larch. It is natural treated and does not require a lot of maintenance. The panel will lie horizontal in accordance with transitional building traditions in wet costal climates. In cost is a bit more but the lifetime cost will be less. (Under; the Sami Parlament, Kárášjohka, Norway)

BubbleDeck System Advantages Steel Frame System Advantages * Plastic bubbles replace non-structural concrete * Flat soffit with no obstructing beams * Create long cantilevers and open facades * Reduces concrete and water use * Considerable cost savings * Saves structural height * Cuts floor cycle time * Allows longer spans between columns * Creates extra lettable area * Flexible system allows for dramatic and exciting designs

* Light weight * Affordable * Profils * Modular

Stereographic Diagram Location: Boston, MA Sun Position: -175.1˚, 51.7˚ © Weather Tool

INTERMEDIATE

CORNER

3-WAY

END

Water Circulation Sites Vegetation Evergreens

B-2 Studio

BUILDING SECTION SCALE 1/8”

A-A

BUILDING SECTION SCALE 1/8”

B-B

SITE SECTION X - X SCALE 1/16”

SITE SECTION Y - Y SCALE 1/16”

Project 1

At the entrance (lower right corner in the plan) a tree helps the building forming the female joint where nature pushes into the building creating a secure transition space, a threshold. In the 24-hour lobby the pond rises up into the room at the left to create a glass bay allowing visitors to easier view down into the interesting ecosystem in the pond. Further into the space, the lobby itself extrudes into the main exhibition space to allow people a feeling of entering into the space even though it is, perhaps, closed, this is strengthen by different height levels so that the visitors look down into the exhibition space. In the corner core one ﬁnds the staff areas, and to separate this area from the main exhibition area also here there is a height difference to clarify the division. In the main exhibition space two trees pushes into the room; this creates a “natural” barrier to break up the space and to allow nature and building to merge together. On the “back side” of the exhibition space, away from the “courtyard” facing the creek coming down into the pond there is both a bay and a balcony to allow visitors to see the source of the water. At the far end of the exhibition space there is a balcony that helps enclose the courtyard, and acts as an transitional element between the building and the trees.

Right: Final drawings 74

B-2 Studio

Above: Final model Project 1

PROJECT 2: ARTERY CULTURAL CENTER B-2 Studio

Spring 2010 Instructor: Anne Brockelman Duration: 7 weeks

SPATIAL DESIGN AND DETAIL WITH SITE CONTEXT AND PROGRAM The project builds upon the ideas generated in project 0 and 1: to translate, refine or further transform those conceptual and tectonic explorations. A more complex program in an urban site context is introduced, and a higher degree of completion and physical detail is expected

SITE ANALYSIS The site for the Artery cultural center is between surface Rd and Hudson St on the border of Chinatown and the leather district. On the other site of the air vent, from the tunnel underneath, there is the Chinatown gate and Chinatown park. Since this newly developed public area just stops in the air vent I want to continue the park to make a u-turn at the site (see diagram on the opposite page). In addition I ďŹ ll that Hudson St is more or less as an alley and therefore not that suited to represent the new cultural center. Hence, is the focus directed towards Surface Rd because, it is a lot more open and refreshing even though it is much more crowded (see diagram on the opposite page).

Right: Site pictures 78

B-2 Studio

SOLAR PATH, 1 YEAR

9 AM

Noon

4 PM

December

March

June

September

Site S

ectio n

X-X

SITE DIAGRAM

U-TURN CIRCULATION

Site

Secti

on Y

BARRIER -Y

SITE DIAGRAM

OPEN & LIGHT TOWARDS JFK SURFACE DR

Site Section Y - Y

CLUSTERED & ALLEY-LIKE TOWARDS HUDSON ST

RESULT: OPEN BUILDING TOWARDS LIGHT & OPEN SPACE Site Section X - X

Left: Site plan and sections Right: Site diagrams Project 2

In these ﬁrst design iterations I was trying to work out how to adapt and transform the tectonic statement into the new site. I wanted to have a courtyard to secure exterior interior and create a nice relaxing “lunge” in the center of the city, a place where the Asian board game players could play their games. This courtyard would also function as the u-turn coming from Chinatown park.

Right: Series of initial sketches 80

B-2 Studio

Above: Sketch models Project 2

For this project I used SketchUp for some of my sketching, a way of sketching I have not done a lot. I felt it gave me a couple of advantages, but I do not think I will work in that manor again. Nonetheless, I wanted to use the performance space as a barrier to emphasize the u-turn effect I wanted to create. By moving this large part of the programming next to the parti-wall I opened up and freed most of the rest of the site to the lobby and central courtyard.

Right: Series of initial sketches exploring figure-ground and phenomenal transparency 82

B-2 Studio

SECTION X -X

Z-Z

Y-Y

X -X

SECTION Y -Y

SECTION Z -Z

Left: Process sections Top rigght: Process floor plan Bottom right: SketchUp floor plan Project 2

FURTHER RESEARCH After doing some initial sketching I felt trapped and had problems getting to the next level. I therefore went back to do some more research regarding relationships and joints and realized that I had been focusing too much on the joint itself and not some much about the general relationship between the objects. This research opened my eyes to new dialog between spaces and I was able to go from a more 2D design, project 1 to a 3D design, my project 2.

Right: Series of initial sketches exploring figure-ground and phenomenal transparency 84

B-2 Studio

Above: Perspectives and sketch models Project 2

Dgn

Above: Final drawings, plan, sections and exterior/interior wall detail 86

Studio Name

PROGRAM DIAGRAM

STUDIO LOFT

OFFICES & CONFERANCE

PERFORMANCE SPACE

PUBLIC LOBBY

Left: Final models Top right: Design process through B-2 Studio Bottom right: Programming diagram Project Name

AF GRUPPEN, BYGG OSLO Årvollskogen trinn III

Engineer - (Property management, Operation management, and Maintenance)-documentation June 2007 - November 2007 Supervisor: Mikael Eide

With an idyllic location at the edge of the forest at Ærvoll, AF Bygg Oslo has built a total of 320 flats in blocks and terraces. The dwellings have a total gross area of 26,000 sp. m. In addition, garage and parking facilities have been built for the complex as well as a preschool. Project type: Timespan: Costomer: Project address: Contract size: Contract practice: Contractor: Volume:

Houseing March 2004 - Dec. 2007 Årvollskogen Limited Partnership Årvollveien 90. 0590 Oslo nok 467 MILLION, excl. VAT Turnkey contract AF Bygg Oslo Residences 26,000 sp.m. Garage 10,000 sp. m. Parking 10,000 sp. m. Preschool

[Housing]

Housing project, urban plan - Årvollskogen Oslo; Norway 2007

Throughout the time in the job I worked with several different matters. In the two rst weeks I worked as a construction worker where I got a good sense of how a construction site functions and how important good design solutions are to streamline the production.

based upon the assumption that such diver-

development with around 330 apartments

sity will have a positive effect on the social

on a plot previously planned for industrial

life of the area. The project is financed by

not know.

purposes.

private investors. One sad architectural expe-

Client: ÅKS Developers Project architects JSA: Jan Olav

We placed the apartments around the perim-

rience we have had from this project is that

Jensen (pl), Børre Skodvin (pl), Torunn Golberg, Anne Lise Bjer-

eter of the site, thus being able to achieve a

the profit margins expected by the investors,

kan, Torstein Koch, Siri Moseng, Kaja Poulsen, Joachim Dahle,

larger than normal continuous outdoor area

who hire the contractors, are an impediment

Thomas Knigge, Thomas Liu, Minna Riska Landscape architect:

for the inhabitants. One of the architectural

to any proposals that are off the beaten track

Jensen & Skodvin Static consultant: A.L. Høyer /Contiga AS

aims of the project has been to create as

and not a standard solution. Our experience

Year Planned: 2000 – 2006 Year Built: 2003 – 2007 Status:

many different apartment types as possible,

is that most of the companies dealing with

In progress Area: 43.000 m2 Cost: 50 Million Euro

Right. The park of the interior is shared by all inhabitants.

Below. Site plan. The shape of the perimeter follows the legal boundaries of the plot.

After the rst weeks I was given more managing jobs, now directing and leading those I had been working under the rst weeks. This taught me a lot about leadership and how to communicate with different people. However, I spent the most time working with researching zoning codes, updating architect drawings (controlling existing and order new if needed), completion inspections , and gathering (property management, operation, maintenance)-documentation. I was set to research zoning codes because I actually was the only one there who had a zoning course. In addition to my regular tasks I also help a couple of EHS-meetings and EHS-inspectio

Right: Pictures of the project 92

Practice

housing in Oslo are utterly conventional, con-

The project is a large urban housing

processed geometries

servative and unwilling to try solutions they do

FDV-dokumentasjon Leca blokker Gjelder fra: 10.12.2008

Prosjektinformasjon

Vegger av Leca Blokker

Identifikasjon av vegg(er): Vegg i akse:

Entreprenør / utførende:

Tegningsnummer/revisjon:

Prosjekt / adresse:

Produkt- og materialinformasjon Leca blokker:

Mørtel *) til muring og pussing:

Standard 100 150 200 250 300

Murmørtel: M5 KC 35/65 Annet:………………...

Finblokk

125 150 200 250

Puss inne: KC 35/65 KC 50/50 Fiberpuss

Isoblokk

250 300 350 Fasadeblokk

Puss ute: Slemmemørtel Fiberpuss Annet:……

Lydblokk 175 250

Annet:…………..

Kommentar:………………………………………………

Leca blokker

Informasjon om produkter og anbefalt utførelse finnes på www.maxit.no og i våre brosjyrer Leca Byggebok, Leca Teknisk Håndbok og Leca Fasadeblokk.

Mur- og pussmørtel:

Informasjon finnes på www.maxit.no og i våre brosjyrer, først og fremst maxit mørtelguide og i våre produktdatablader. Mur- og pussmørtler er merkepliktige, og sikkerhetsdatablad (tidligere kalt HMS datablad) finnes på www.maxit.no

Pussing av Leca:

Alle Leca blokker brukt utendørs må påføres puss og overflatebehandling dersom veggen skal være slagregntett. maxit Serpo 261 Fiberpuss med tilhørende sluttbehandling er maxits eneste anbefalte pussløsning for alle Leca blokker utvendig over bakken. Dersom andre sluttbehandlinger er brukt, må vedlikehold avklares i henhold til leverandørens anvisninger. Se utførlig beskrivelse om maxit Fiberpuss – system på www.maxit.no

Maling av Leca:

Generelt anbefales kun bruk av diffusjonsåpne malinger, først og fremst silikatmaling. Malinger basert på akryl, lateks eller pliolite anbefales generelt ikke på Leca murverk. Mer informasjon finnes i maxit mørtelguide og på www.maxit.no

Anvisninger for drift og vedlikehold Innfesting i Leca vegger

Til feste i Leca vegger anbefales spesielle festeplugger. Kontakt din forhandler for mer informasjon. Aktuelle leverandører av festemidler er: Motek www.motek.no Christiania Spigerverk www.spigerverket.no Würth www.wuerth.no Tingstad www.tingstad.no Emhart Sjong www.emhart.com Gunnebo-Anja www.gunneboanja.no Essve Norge www.essve.no

Reparasjon av Leca blokker

Mindre skader på Leca blokker kan repareres med maxit murmørtel M5. Reparasjon av større skader bør vurderes av fagfolk i hvert enkelt tilfelle.

Reparasjon av puss maxit as Brobekkveien 84, 0582 Oslo Postboks 216 Alnabru 0614 Oslo Norway

Skader i puss repareres generelt med pusstyper tilsvarende den som er brukt opprinnelig. For mer informasjon se www.maxit.no Telefon Telefax

+47 22 88 77 00 +47 22 64 54 54

info@maxit.no www.maxit.no

Left: Example of collected documentation Årvollskogen

MIAMI BEACH HOTEL

Competition: AIAS/Modulate Building Institute December 2009 - Febuary 1st 2010 + on-going intership Supervisor: Eric Nelson Team: Thomas M. Boessel, Nway Oo, Robert R. Ortiz, and Mikkel D. Stromstad

Moho Miami AIAS/Modulate Building Institute: Miami Beach Hotel

Moho is a new concept in the long-standing tradition of world-class Miami hotel design. Its dynamic form expresses the grand sense of luxury and theatricality that popularized Miami hotels in a kit-of-parts assembly that efficiently responds to contextual, programmatic and environmental variables. In this way, the ability to adapt and respondâ&#x20AC;&#x201D;to cater to each guestâ&#x20AC;&#x201D;is articulated as its primary function. The hotel floats eighty rooms made of one hundred eighty re-purposed shipping containers above a plinth of stepped landscape and public function areas. The rooms are arranged in two bars backing onto an open atrium. The front, urban bar develops a strong relationship with its Collins Avenue neighbors and frames Western views to Biscayne Bay and downtown. Unique features of the facility including elegant restaurant and retail areas, the projecting event room and seventh floor glass spa are dramatically expressed to the surrounding community. The rear ocean bar sweeps in a series of cascading levels from the eleventh floor to the pool area. Generous terraces with stunning ocean views define a strong sense of connection to the pool and shoreline below. Central to the complex, the canted atrium dramatically features a braced tubular steel frame and series of asymmetrical bridges linking the open corridors of the Ocean and Urban guest bars. Guest and staff elevator towers define the southern and northern edges of the glass roofed Lobby below. Moho intentionally blends an attitude of sheltered luxury and outreach to the community. The massing of the facility presents a wall of private rooms punctured with public functions and open spaces. This architectonic element simultaneously shelters guest rooms above Collins Avenue and reestablishes the urban street wall while the community is encouraged to view and participate in various functions below. Color tinted glass is expressed against the white painted shipping container (guest room) walls and limestone circulation towers to create drama at night and attract pedestrians. The ground floor area, largely devoted to parking and back-of-house functions, includes a small, convenient retail space and open atrium Lobby. Guests and public patrons are dramatically drawn into the facility entry below the large projecting spaces of the upper Lobby. Restaurant, bar and a variety of public and private meeting areas are woven around this pivotal space and finally, access to the cascading landscape and ocean beyond is provided through a series of pivoting glass panels. 96

Practice

Top row: initial site research Bellow: Spacing up the required programming MOHO

In the design process I first worked with local zoning codes and calculations to figure how much of the site we were allowed to use. Later on, my assignment changed into programming of the lower floors, public and service areas, before moving on to the technical elements after we had figured out the general arrangements in the two lowest floors. At the end of the project I made the layout for the boards and the diagrams. After the competition was done, the architect asked two of us to continue with the project for his own portfolio. And from about mid May we have been working approximately 15-20 hour a week on the project, which we hope to submit in other competitions as well. 08:00

January

March

June

September

Top: Site information, Ecotech Under: Shodow diagram 98

Practice

09:00

10:00

11:00

12:00

13:00

14:00

15:00

16:00

17:00

18:00

Top left: Precedent study of waste water.Top Top right: Exploration of window set back Under left: Containers to be used as rooms Under right: 3D Massing, by Bossel MOHO

AIAS/Modulate Building Institute: Miami Beach Hotel

MOHO MOH HO H O Miami Mia M ami

AI AIAS, Mi M Miami iam mii Bea Beach cch h Hotel

Moh Moho ho is a new ne n ew concept co once ep pt in in the tth he h e long-standing long g-stand standin din d ng tradition traadition n of o world-class wor w worl orlld o d-cla d Miami Mia am mi hotel hote ell design. design esig esign ig gn. gn n. Its Its dynamic d dynam micc form form expresses the sense luxury exp xpre prre esses tth he grand d sse sen ense nsse n se of of llu uxu u ury and u d theatricality popularized Miami thea th h aattricalitttyy that pop pulla larized aarrrize arized izzed zed dM Miam Mia ia hotels assembly hote els in a kkit-of-parts e it-of-par t of par p rts assembl aassem ss m mblly that t efficiently responds effic ccie ently rre esponds to co contextual, ontext o xttua programmatic environmental prog grramm g matic and e m nvvvironme viro onme o en nt variables. way, vari iaab bles. In n this wa way y, tthe e ab abilit abi aability ty to adapt cater each guest—is and rrespond—to espon nd n d—to d—t —tto cat ter er tto ea articulated primary artic articu ccu ulated ted ed d aass its tss p pr pri prim rim mary function.

100

Practice

PLANS

The hotel floats eighty rooms made of one hundred eighty re-purposed shipping containers above a plinth of stepped landscape and public function areas. The rooms are arranged in two bars backing onto an open atrium. The front, urban bar develops a strong relationship with its Collins Avenue neighbors and frames Western views to Biscayne Bay and downtown.

Unique features of the facility including elegant restaurant and retail areas, the projecting event room and seventh floor glass spa are dramatically expressed to the surrounding community. The rear ocean bar sweeps in a series of cascading levels from the eleventh floor to the pool area. Generous terraces with stunning ocean views define a strong sense of

SECOND LEVEL 02 A B C D E F G H I J K

Lower Lobby Upper Lobby Event / Restaurant nt Restaurant S deck / Lounge Lo ounge Sun P Pool S ac Bar Snack Re R strooms ms Restrooms K Kittchen Kitchen Office Green Pergola

el.6

GROUND LEVEL 01 A B C D E F G H I J K

SECOND LEVEL 02

Lower Lobby Retail Store Mechanical Room Laundry Loading / Storage Janitorial Office Security Luggage Storage Utility

GROUND LEVEL 01 N

MOHO

101

A B C D E F G

Modular Unit (Shipping Container) Modular Array Modular Structure Service Structure Hot Water Supply Green Roof Kitchen Garden Office

D C

MODULARITY

UPPER FLOORS 03

102

Practice

connection to the pool and shoreline below. Central to the complex, the canted atrium dramatically features a braced tubular steel frame and series of asymmetrical bridges linking the open corridors of the Ocean and Urban guest bars. Guest and staff elevator towers define

FLOORPLAN 04

the southern and northern edges of the glass roofed Lobby below. Moho intentionally blends an attitude of sheltered luxury and outreach to the community. The massing of the facility presents a wall of private rooms punctured with public functions and open spaces. This

architectonic element simultaneously shelters guest rooms above Collins Avenue and reestablishes the urban street wall while the community is encouraged to view and participate in various functions below. Color tinted glass is expressed against the white painted

Sec

SUSTAINABILITY

circulation towers to create drama at night and attract pedestrians. The ground floor area, largely devoted to parking and back-of-house functions, includes a small,

tion

Cut

convenient retail space and open atrium Lobby. Guests and public patrons are dramatically drawn into the facility entry below the large projecting event room where they ascend an open atrium stair into the dramatic spaces of the upper

Lobby. Restaurant, bar and a variety of public and private meeting areas are woven around this pivotal space and finally, access to the cascading landscape and ocean beyond is provided through a series of pivoting glass panels.

Prevailing Winds

NORTH

Wind Frequency (Hrs)

50 km/h

Location: Miami, Florida - USA (25.8Ă&#x203A; Ă&#x203A;) Date: 1st January-31st December Time: 00:00-24:00

hrs 150+ 134

40 km/h

120 104 90 30 km/h

20 km/h

60 45

Hot Water 10 km/h

Rain Water WEST

EAST

Filtered Water Kitchen Garden Sun Energy Prevailing Winds

SOUTH

3V\FKURPHWULF &KDUW Location: Miami, Florida - USA Frequency: 1st June to 1st September Weekday Times: 00:00-24:00 Hrs Weekend Times: 00:00-24:00 Hrs Barometric Pressure: 101.36 kPe

COMFORT: Natural Ventilation

&RPIRUW =RQHV Natural Environment

Natural Ventilation

'%7 Ă&#x203A;&

MOHO

103

104

SODA - SUSTAINABLE ORIENTED DESIGN ASSOSIATION Ecotopian Project

Spring 2010 Instructor: Babe Bergeron Team: Nik Kennedy, Kim Smith, Seth Peichert, and Mikkel Stromstad

We were to design an affordable house for a post-homeless organization at Cape Cod, the HAC. They have bought the Curio House, the BAC and Tufts solar decathlon house, to start to build up their â&#x20AC;&#x153;community Greenâ&#x20AC;? which is going to help post-homeless people to a re-education. This building in particular is going to be habited by one of the facilitating families working in the community. We wanted to focus on low-tech and affordable solutions to build a sustainable and maintenance free building, and through our research from our local background (one team member from Kenya and I from Norway) we ended up with a building embedded a bit into the ground and built up by rammed earth excavated from the site itself. This meant that the building costs would stay at a minimum while the labor would come from the community as a teambuilding exercise.

105

Top left: Site plan, red circle shows the Curio House. This house is going to be built next to the green field Top right: Precedent studies from Norway Middle right: North west elevation, by Kennedy Under right: South elevation, by Kennedy 106

Practice

CONCEPT

Shells: Both Closed and Open Core

Barn Raising: Community, Collective Effort

Presedent Study: Dominus Winery, Napa, CA

President Study: Rammed Earth. Low Cost, Intensive Untechnical Labor

Beach Glass: Reusing Glass

President Study: Old Prison Wall Repurposed Through in Modern Restaurant. Oslo, Norway

Concept Sketch: Sketch Problem Consensus Design. Rock Wall Defines Spaces. Materials: A Reflection of the Earth

Rammed Earth

Benefits of Rammed Earth Construction • • • • • • • • • • • • • •

Uses local materials for walls High insulation rating (R33) No maintenance High sound resistance - inside and outside Thermal mass - stabilizes air temperature Lowers cost of heating Uses subsoil (not topsoil) Sustainable for 1000+ years Free of fungicides and pesticides Thickness of walls gives a solid feeling to the building Cost comparable to conventional construction Indoor air quality Fire proof Green building for health of future generations

Insulation

Footing

Rammed Earth: Axonometric Section

INTERSTINAL

PUBLIC

Lobster Traps: Reclaimed Formwork for On-Site Rocks

President Study: Malcolm Wells - Underground Architecture

pneumatic backfill tamper visible layers of compacted earth

reinforced plywood frame

PRIVATE

moist earth mixture of sand, gravel, clay, and concrete

Step 2 Step 1 the layer of moist framework is built and a layer of moist earth is compressed earth is filled in

Step 3 next layer of moist earth is added

Step 4 successive layers of moist earth are added and compressed

Step 5 framework is removed leaving the rammed earth wall

Left: Midterm concept board Top right: soil samples form site Under right: model of rammed earth, showing the color variations in the soil. Ecotopian

107

108

PERSONAL Traveling Photography Graphic Design

109

Above: sketches from French Quarter, Nolly. warndown building and W Hotel Top middle: Prism Gallery, Sunset Bvd in LA Top right: New Orleans, French Quarter Bottom right: Highline and the Hudson Hotel, New York City 110

Personal

Travel

111

PHOTOGRAPHY

Above: Series of 4x5 in studio Top right: Self portrait 112

Personal

Photography

113

GRAPHIC DESIGN

Above: Pasta packaging 114

Personal

MASTER OF ARCHITECTURE SEGMENT II

Above: Various experimenting Graphic Design

115

MIKKEL DAHL STRØMSTAD 289 Newbury Street, apt. 5 Boston MA 02115 617-510-6647