NICHOLAS J DARIN PORTFOLIO Nicholas J Darin
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CONTENTS ACADEMIC AEDIFICIUM MEMORIARUM, AEDES MORTIS HOUSING THE HOMELESS RESPECTING ANTIQUITY INTERPRETATION OF MASTERS
PERSONAL PEACE OF MIND SKETCHES & PHOTOGRAPHY BRUNELLESCHI’S DOME FURNITURE 2
PHILOSOPHY “Architecture starts when you carefully put two bricks together. There it begins.” -Ludwig Mies Van Der Rohe “A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable.” -Louis I. Kahn “The conclusion I have reached after having thought about materials in various forms is simple. Material is not a finish. Period...... What is important is that we distance ourselves from the twofold division of structure (concrete) and material (finish).” -Kengo Kuma The beauty of architecture lies not only in the thoughtful arrangement of spaces, but moreover in the art of construction and exploitation of physical realities. Nicholas J Darin
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AEDES MORTIS HOUSE OF THE DEAD
The premise for this project was to design two structures at the Congressional Cemetery in Washington D.C., the Aedificium Memoriarum, a multipurpose building primarily for cemetery operations; and the Aedes Mortis, a pavilion to house funeral services. Both structures were designed with human comfort being the foremost concern. This was dealt with using material as the driving force. For example, how certain materials affect the human mood, control lighting and atmosphere, and lend themselves to creating grand and intimate spaces.
Nestled in the Earth Built of The Earth A place that commemorates the end of one’s time on Earth 4
“Till you return to the ground, because from it you were taken; for you are dust, and unto dust you shall return.” -Genesis 3:19
Project done in group with Robert Shuman, Nicole Guzman, and Chris Derks, I was responsible for project design and physical models.
AEDIFICIUM MEMORIARUM HOUSE OF MEMORY
The Aedificium Memoriarum, is a building for the living dedicated to the memory of the deceased. It contains a large hall for funeral and wedding receptions, a small gallery and operation space for the cemetery. The 330’ structure sits along the rear edge of the cemetery. The rear of the structure houses service zones while the front side is highly transparent and opens up to the cemetery in which it sits. The architecture is respectful of the delicate and sacred ground upon which it sits and serves as a tool to uplift the spirits of its inhabitants.
\Material . Scale . Light . Craft 5 Project done in group with Robert Shuman, Nicole Guzman, and Chris Derks, I was responsible for project design, digital models, and renderings.
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HOUSING THE HOMELESS
GIVING THE HOMELESS A HAND-UP, NOT A HAND-OUT The premise for this project was to design a space for the homeless on an infill lot in the heart of Washington D.C.’s Chinatown. Working under the guidance of guest critic CLAUDIO SILVESTRIN I developed an aphorism regarding my stance on the issue of homelessness, “Cold on the outside I look in to try and see, even though it’s right in front of me.” This aphorism aims to inform the homeless that they are the solution to their own problem. The project incorporates spaces for career and skills training as well as counseling and attempts to inspire the homeless to do great things for themselves.
Photo Credit: TOM GRALLISH
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RESPECTING ANTIQUITY A MULTI-USE FOREIGN STUDIES CENTER
The premise of this project was to design a new multi-use foreign studies center for a university in front of San Pietro in Vincoli in Rome, Italy. The challenge for the project was building a new building in the historic and delicate urban fabric of Rome. The design incorporates a modern interpretation of classical architecture recalling the structure of an aqueduct which once terminated on the site. The material selection and heaviness of the project also respects the place in which it is.
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INTERPRETATION OF MASTERS A Miesian Inspired Fire-Station
The premise of this project was to design a new firehouse for Engine Co. 20 in the Tenleytown Neighborhood of Northwest Washington, D.C. This project was a THEORETICAL INVESTIGATION on the design principles of the great 20th century master, Ludwig Mies Van Der Rohe. Amidst this investigation the challenge was to decipher the logic and genius that is Ludwig Mies Van Der Rohe, and apply it to the task at hand of designing a functioning firehouse in one of America’s busiest cities. The first phase of the project included an in depth precedent study of Mies’ ESSO STATION in Montreal, Canada. This included drafting the structure by hand in both orthographic and oblique projection. This as well as studying Mies via books lead me to some conclusions on what architecture was to Mies and why he did things the way he did.
Photo Credit: STEVE MONTPETIT
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After this investigation, it was time to start applying these methodologies to the challenge of designing a 21st century firehouse. This was done through a rigorous series of geometrical and theoretical drawings in both orthographic and oblique projection. The project found strength in simplicity and conviction. The experimental drawings and precedent studies had lead me to create a simple structure of 8 columns. The entire mass of the building being the result of a geometrical study relating to the dimensions of the site.
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The building’s true purpose is to house fire-trucks and fire-fighters. Without fire-trucks, the fire-house is no more than a club-house. The essence of this building revolves around the fire truck. The buildings design intentionally revolves around the fire-truck. The spaces for the fire fighters are contained on the second story while the first floor remains open to allow views of the trucks. The fire-trucks sit atop a plinth between 8 columns which were dimensioned and spaced specifically as a result of the trucks. There is a band of water that runs atop the plinth on both sides of the central bay where the trucks sit. This ensures that the view to the trucks is unimpeded and demarcates the importance of this area.
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PEACE OF MIND
A MODERN DAY DWELLING FOR HENRY DAVID THOREAU
-Thoreau
Thoreau’s Original Concord Cabin
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“it is the life of the inhabitants whose shells they are,”
Mr. Henry David Thoreau was a famous American writer, poet, and philosopher. He is well known for being a key player in the Transcendentalism movement in America. The inspiration for the project came after wondering what would be Thoreau’s dream home. Since he was a simple man, I couldn’t see him wanting more than a place to sleep, and a ton of books. Nestle it in the foothills of the Catskill Mountains overlooking a beautiful ninemile reservoir, and you’ve got Thoreau’s dream home.
Thoreau’s Dream Book Collection
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Thoreau’s Dream Home and Book Vault
“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.� -Thoreau
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SKETCHES AND PHOTOGRAPHY THE ARCHITECT’S DOCUMENTATION TOOLS
The way an architect sees, interprets, and records the physical world. All drawings: free-hand on graphite. All photos: shot with a Nikon D-3100, unedited.
BATHS OF CARACALLA Taken in Rome, Italy
ST. PETER’S BASILICA Taken in Rome, Italy 18
ROMAN FORUM Rome, Italy
THE PANTHEON Rome, Italy
THERME VALS Taken in Vals, Switzerland
AMALFI COAST Taken in Vietri Sul Mare, Italy Nicholas J Darin
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BRUNELLESCHI’S DOME
MAKING SENSE OF A MEDIEVAL MASTERPIECE OUTER SHELL TIMBER/ STONE RING PREVENTS HOOP FORCE FROM DOWNWARD THRUST OF THE DOME
Anyone who visits the city of Florence, Italy has seen the Cathedral of Santa Maria Del Fiore, better known as the “Duomo”. Most all have been inspired by its sheer size, splendor, and beauty; not to mention the fact that it was built in Medieval Florence long before the advent of modern tools and technology. This series of drawings was an attempt to better understand how this structure was built, how the structure works, and how it is still standing today, over 600 years later. The most bizarre part, that the man who designed and lead the construction of the dome was a goldsmith!
HORIZONTAL AND VERTICAL RIBS
INVERTED ARCH
FORCES WEIGHT OF DOME DOWN TOWARDS BASE TO RESIST DOME FROM OVERTURNING INWARDS
SPINA PESCE
INNER SHELL
“SPINE OF THE FISH”: PATTERN USED TO HOLD MASONRY IN PLACE WITHOUT CENTERING WHILE COMPARTMENTALIZING PLANES OF WEAKNESS IN THE MASONRY
BASE OF DOME
TIMBER/ STONE RING PREVENTS HOOP FORCE FROM DOWNWARD THRUST OF THE DOME
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All drawings, graphite on 70lb paper
FURNITURE
THE ACT OF MAKING In modern society, architect’s are viewed as “pencil pushers”, i.e. it is a white collar profession. However, architect’s in older times were often times trained as stone-masons, blacksmiths, and carpenters. I strongly believe that architecture as an art is only capable of affecting people through what is built, not through ideas that are not executed. Therefore it seems paramount that all architects immerse themselves in the building arts and learn how to physically grapple with materials and their individual properties. In doing so the architect can truly become “the master builder”.
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