Architecture & Design Work Sample - Olivia Champagne by olivia_champagne

OLIVIA CHAMPAGNE architecture & design work sample

TABLE OF CONTENTS 04 BOSTON PUBLIC LIBRARY library precedent abstraction boston public library rest stop boston public library chinatown branch

24 DOUBLE HOUSE 28 PLAYABILITY IN THE CITY 30 ADDITIONAL DESIGN WORK graphic design typography

library precedent abstraction site, space, and program | prof. ang li | fall 2022 The first few weeks of second-year studio began with a precedent library analysis for which I chose Idea Store Whitechapel, a London library designed by Adjaye Associates in 2005. After studying its spatial and formal components, I was tasked with using at least one of these aspects for my own design. I was immediately drawn to the glass facade of the library, and my initial abstraction model revolved around recreating the facade’s frame structure in wooden dowels. My second model maintained the same scale and shape, but I took the opposite approach in terms of materials and used a planar system of foam core with very few aperatures. My final, large-scale model combined these two study models into one, and I offset the two quadrilaterals to create inhabitable spaces between them. The most interesting part of this study was using figures to view the design at four different scales and observing its effect on the overlap of the frame and aperatures. I continued to explore this idea in my library design.

photographs of my final model, an intersection of the two concepts I explored in previous study models

diagram analyzing the Idea Store’s facade pattern and its relationship to the site context

the inner layer was offset from the outer layer so that each side would not align perfectly, which created an opportunity for these unusual, but occupiable spaces

it was interesting to see how the relationship between the openings in the foam core and the outer frame were impacted by changes in scale

boston public library rest stop Main path to the rest stop

site, space, and program | prof. ang li | fall 2022

Inspired by a public installation next to the site that doubled as ordinary seating and a performance space, I decided that my additional program would be imbedded seating similar to an ampitheater that faces a space carved into the wall of the structure that can act as a backdrop or stage. I wanted the space to provide more seating for people passing by just as much as I also wanted it to function for gatherings. I made use of irregular pentagons for the seating, main structure, and the pergola-like structure made up of wood and a trellis that partially covers the two. A key element of my design was accessibility, with a variety of ways to approach and enter the restrooms and seating area, but also the angles of the different elements and how they created different spaces.

Frame side parallel to Hudson St.

The ampitheater-like style and shapes of the seating here allows for a variety of uses

Hudson St.

The objective of this project was to design a seasonal pavilion in the center of Boston’s Chinatown that would house a public restroom and an additional program providing public space fitting of the needs of the community. The restrooms had to be fully enclosed, but the rest of the space could be covered by some form of overhead shelter that was still left open to the elements.

Additional entrance to the site from back

Additional standing room available

open, central area

Stage

Intended exit from the rest stop, sending people back to the seating area past fountains

Three angled walls that create a funnel of sorts to welcome and direct people into the rest stop

Alternative exit for when events occur

Alternative entry for those approaching from the other direction and during events

Wall angle creates a welcoming entrance approaching from the right of the site

for those

plan diagram analyzing circulation and spatial relationships within the site

plan diagram studying the measurements and circulation paths around an existing public public pavillion

”

3’ 10

16’ 5”

”

10’ 10

3’ 2” 3’ 4” 3’ 0” 1’ 0” 1’ 0” 3’ 4”

Olivia Champagne Site, Space, & Program Patterns of Use Diagram Community Pavillion’

section drawing depicting that space in use for a public gathering, which highlights its variety of seating heights

my final plan drawing marked a shift to a rest stop structure made up of four separate volumes and outdoor hallways, as well as framing and seating structures designed with more care to the way they interact with one another

these photographs of my final 1/4” = 1’ model highlight the interaction between the three volumes that make up my design, particularly how they are positioned to define different exterior spaces

the section drawing highlights overhangs and seating that are carved out of the thickened exterior walls, along with the various level changes that are key to the public seating

exploded axonometric drawing highlighting the space contained within the frame and the stage in use for a public gathering

these perspective views of my model express my public seating design in use, both on its own and in conjunction with the stage across from it

boston public library chinatown branch site, space, and program | prof. ang li | fall 2022 This was the largest project I have worked on to date, and the goal was to design a building for the Chinatown Branch of the Boston Public Library. My analysis of the chosen site, a parking lot surrounded by very different settings on each side, focused primarily on circulation, studying foot traffic and what people might observe as they pass by. I wanted the building to be accessible from all sides through the permeable outer frame, however I focused the outdoor living space on the southern end of the site which is quieter and close to a popular greenspace and apartment building. Similar to my previous projects of the semester I used polygons with precise angles to provide functional in-between spaces. My design needed to house a number of library collections and reading spaces amongst other functions for employees and the community alike. I used a layering strategy, organizing my plan around an innermost core containing the auditorium and main reading space, with a different wall material and width to distinguish each one. The middle layer became a circulatory path from which any other room could be viewed or accessed with the use of aperatures, while still maintaining their own area. early design massing models experimenting with overlapping, nesting, and framing strategies

circulation study looking at the movement of people on each side of the site and how the facade responds with the parti diagram

axonometric diagram with the roof exploded, revealing the overall layout of the library as well as points of access for different approaches to the site

exploded axonometric program diagram, designating the general areas meant for different library functions

model photographs of a 1/8” = 1’ model of the library

basement

semi-furnished floor plans of each level of the library that demonstrating the space in use and its nesting strategy

ground floor, situated on site

first floor

second floor

roof plan

section perspective of the library that cuts across all four layers, highlighting the wall material differences as well as the implementation of double height spaces and aperatures throughout

perspective view at ground level from within the public living room, directly outside of the entrance to the library so it also provides a view into the inner layers of the library

this view from inside the staff offices on the second floor providing an idea of what the space might look like when inhabited and its view down to the main reading room.

double house fundamental architectural design | prof. matt okazaki | spring 2022 The culmination of my first year architecture studio was to design a structure on an assigned site that serves as a house for two families, with a separate entry point for each. I had to take a design from one of my previous projects and double it, however, my chosen design was centered around a courtyard. I found it made more sense to double the square footage, rooms, and layout while still maintaining a single central courtyard. This courtyard acts as the entry point for both families and the main space in which the two can interact, in addition to the windows that see into the courtyard and the large balcony. With the sun coming in from the south I employed the use of floor-to-ceiling windows along that side, providing even more light. The spaces allotted to each family were determined in a spiral, rotating up each of the three floors so each family is not confined to just one side of the house. I kept stairs out in the courtyard rather than inside, inspired by apartment buildings that apply a similar courtyard strategy.

plan oblique drawing that illustrates the part of the house designated for each family, which rotates on each floor

family 1

family 2

Olivia Champagne Double House Design Plan Oblique

section a

these section drawings reveal a spatial arrangement similar to that of my thick thin design, while also highlighting the central courtyard containing the staircases

section b

when photographing this model I wanted to be sure to choose angles that draw attention to the numerous windows of the southern facade, but also that provide a view into the courtyard that is central to the design

there are moments like this one where the aperatures provide a view through part, if not all, of the house

first floor

second floor

third floor

these plan drawings paint a clearer picture of how the designed spaces can function, and are divided to serve each family

design interventions for increased playability advanced architectural communication | prof. judith rodriguez | spring 2023 My section of this course explored playability and its effect upon communities, with a sepecial focus on the city of Boston through mapping and site visists. Continuing to work with my neighborhood from previous projects, I was tasked with selecting one park to focus on and suggest interventions for. Although I considered Christopher Columbus Park to be the most playable of those I studied, I found that there were still improvements to be made and its large scale allowed for the greatest flexibility in plan. After careful site analysis, I noted that there should be more of an interaction between the playground and the waterfront, and that the playground did not need to be confined to such a small portion of the site. I chose to add some soft rubber ground covering beneath all of the new playground equipment, as well as a sand play area and some paved space for basketball. Leaving open grass was still very important for my design to allow for running around, but I also wanted to facilitate more organized play and provide seating around the park.

this axonometric rendering depicts all of the new equipment and ground coverings, while also suggesting materiality and uses

these two renderings are part of a series that build upon photographs of Christopher Columbus Park to envision what the space might look like after my intended changes, and the many new ways for the park to be utilized for play

graphic design graphic design 1 | prof. margarita barrios ponce | spring 2023 My graphic design course last spring was centered around three major projects: a poster series for three U.S. National Parks, a book featuring forty word-a-day postcards, and a object translation that would be turned into an advertisement for that object. I consider iteration to have been the most important theme of the class as I worked through designs from early sketches to final design files across the entirety of the semester. I found it to be a bit of a challenge to start, adapting to using Adobe software in new ways, however I learned a lot about working in series and starting to develop my own style. I really enjoyed the variety of projects and found that they helped me train my eye to pick up on finer details that carried over into other courses.

For my advertisement, I digitally recreated my camera using lines of a variety of weights to convey light and shadows. I wanted the audience to view the camera as if they are having their picture taken, emphasized by the word “SMILE” in the background. I played around a lot with where the camera would fall in the composition, but ultimately decided to place it in front of the letter “M” and have the camera’s flash stretch across the rest of the text using another line pattern.

This semester long project followed Merriam Webster’s word-a-day definitions to develop a book of 40 postcards that graphically represent the meanings of each word. I developed a color palette and system across all of my postcards that involved a central circle on the front that would contain my simplified illustrations.

These three posters make up my final poster series, all containing an image-traced background photo, similar type hierarchy, and illustrated symbols that represent three of the activities featured within each park.

typography

Sou Fujimoto: Ideology and Philosophy Ritu Gosavi Sou Fujimoto an architect from Japan is famous for his revolutionary and breathtaking designs. His ability and design philosophies are astonishing. His collaboration of architectural spaces with the human body is remarkable. The Japanese-born architect on August 4, 1971, completed his education at the University of Tokyo. Soon after that, he established his firm by the name Sou Fujimoto Architects in Tokyo. Since childhood, Sou Fujimoto had a preference for nature and the environment.

typography 1 | prof. sofie hodara | fall 2022

Modernistic design blended with traditional aura is his specialty. More known for his poetic attribute Sou Fujimoto always challenges limits in modern design style.

Surrealism Sou Fujimoto deals with design with the subconscious presence of outer spaces and internal. The essence of the ideology is it is destructive but it arises from created things. Surrealism is astonishing and thought-provoking. It challenges your vision and limitations. Sou Fujimoto follows rationalistic and rigid philosophies.

Repetition A rhythm is always observed in Sou Fujimoto’s designs and structure. The rhythm of repetition. One thing is always repeated in his projects. Such as vertical or horizontal lines or colour patterns are being repeated. A perfect analogy of internal and external connection. Internal spaces are highly connected to the external spaces.

Insider Out

typography 2 | prof. sarah friedman | spring 2023

His design speaks well between scale and proportion. He knows how to blend nature with the building. Because Sou Fujimoto has spent most of his childhood living on the Island. His designed spaces are flexible to behave with natural airflow.

I never really thought in depth about the finer details of type before enrolling in typography courses at Northeastern. Through projects that resulted in visual compositions, cards, and publications alike, I explored different typefaces and how elements like type hierarchy and legibility can shape a design. My class this past spring also introduced me to differences in choosing type for print and for digital media. I used Figma for the first time to develop prototypes for interactive mobile and desktop websites for an upcoming exhibition at the MFA called “Art in Bloom.”

Feather Touch design, Sou Fujimoto imagines architecture between arising and weightlessly. Opacity, confinement, formalism, transparency is the style offered by him. Natural elements include leaves and branches blending of both personas. This is how Sou Fujimoto brings places and human-scale design attributes. Japanese architects are famous for developing nature and spaces. Hence Sou Fujimoto never disappoints to deliver phenomenal spaces. The balance between public and private spaces is perfectly balanced. Innumerable values of transition internal spaces are contrasting. The synthetic product of nature and architecture. A man-made sense of order is depicted clearly. Sou Fujimoto designs spaces that respond to nature. Cloud-like and formal in its composition. Interconnection between internal and external spaces is something that creates a heavenly design. And heavenly designs are only seen through Sou Fujimoto’s perspective.

When a person visits structures or spaces designed by Sou Fujimoto they always feel as if they are connected to nature. A connection to the environment is a Sou Fujimoto specialty. He has an eye for the best natural attribute. The outside world is brought inside and the inside world is connected to the outer. Spaces are emphasized with climbing trees and landscapes.

Simplicity A key consideration of the outer world and user experience. Simplicity is an element that brings higher value in its minimal style, Sou Fujimoto allows his design and spaces to be minimal and simple. Because it brings a new definition to the entire space. Maintaining a surreal and sophisticated connection.

Designing with Nature

Sou Fujimoto’s Style: Conventional Architecture

Awards and Recognition

Sou Fujimoto introduced conventional architecture through his style. In other words, Sou’s design and spaces have conventional architectural characteristics. In this type of style, functionalism is given priority. Functionalism can be seen in terms of internal planning or spaces. A balance between nature and architecture, interiority and exteriority. Subtleness between architecture and urbanism, private and public spaces. Sou Fujimoto also blends streets and houses hierarchy into his spaces.

Sou Fujimoto received the JIA New Face Award in 2004. Along with this, he grabbed the first prize in the International Design Competition for the Environmental Art Forum. The wallpaper Prize for Architecture is named after Sou Fujimoto. He also received the Japanese Institute of Architecture Grand Prize in 2008. Kenneth F. Brown Architecture Design Awards is allotted to Sou Fujimoto Firm.

A mixture of two is the prime concept of Sou Fujimoto. He blends two contrast things. Elements and spaces are perfectly blended. Sou Fujimoto has specific colour schemes in his design. White to the black colour scheme which volumes between one and zero. Systemized with external attributes and internal spaces. The colour scheme ranges from zero to one. Conventional architecture is perfectly seen in Sou Fujimoto. Transparency and opacity are seen in the design spaces. Japanese architects are primal in delivering this.

Here are some famous projects by Sou Fujimoto: 1. Garden in a Box Shenzhen’s New Exhibition A magnificent large-scale exhibition complex by Sou Fujimoto is a remarkable design. Located in the Futian District this exhibition hall adopts characteristics of contemporary design style. A total 90,000 sqm project is the urban core of Shenzhen. It was the winning design proposal of an international competition in Futian. The main attribute behind this project is to display and publicize the achievement of reform and opening-up. It will be an institution that collects evidence and research. The opacity and transparency are perfectly seen in this Exhibition hall.

Garden in a box as the name suggests offers openness and transparency. It helps translate reform and opening up of the internal spaces. A sense of Conventional architecture is being observed in this design. This garden box has a large void internally which is covered by a shading perforated pergola. Semi-enclosed spaces offer numerous trees and seating spaces. Pale white and synchronized colour schemes like the blend of white welcome and reflect a monochromatic scheme of colour variant. Internally spaces are connected by bridges and staircases. Curvilinear passages bring linearity inside the spaces.

One of the famous structures, Garden in the Box, is also the winning entry of an international competition. Sou Fujimoto also received the Architectural Review Award Grand Prize in 2006. The popularity of Sou Fujimoto is beyond Japan.

2 . House of Hungarian Music Yet another resilient project by Sou Fujimoto is located in Budapest’s City Park. This entire structure is designed with a distinctive roof and construction work is going on. Magnificent interior and exclusive music hall is something which will catch your attention. Horizontally placed glass volumes create massive internal features. Perforated roofs welcome natural light to penetrate all levels of the building.

It includes house classrooms, a library, office spaces, performance venues, administrative spaces. Large concert halls, exhibition spaces are given. This entire structure has 100 holes with different hierarchies. Allows trees and creepers to lightweight internal spaces and bring serene beauty. Harmonious internal spaces will smooth out visitors’ minds. Just like a meditation center.

Sou Fujimoto is known for bringing the natural environment into the building. The spiral staircase connecting two overground levels. The House of Hungarian Music uses renewable energy sources.

Sou Fujimoto is master in achieving explicit environmental spaces. Visitors can never encounter spaces as normal; they will only feel as if they are inside an Amazon serene jungle. A perfect blend of nature and human scale. Sou Fujimoto offers a touch between imagination and reality.

Designing with Nature

2013 Serpentine Pavilion, London

In his design for the annual installation in London’s Kensington Gardens, Fujimoto rejected some of the more traditional elements of a building (formal walls and a roof) in favor of more fluid, interactive modules that open the structure to the natural landscape. “This was an experimental project where I asked the questions, What are the elements of architecture? What are the elements of landscape?” said Fujimoto. “I wanted to redefine space in a new way.” The result was a combination of furniture and architecture, where visitors could choose to interact with the pavilion in a variety of ways: climbing on it, sitting on it, walking through it, or simply observing it, to name a few. “It went beyond the normal function of a building, allowing much more potential because [visitors] have more choice.”

In this project I was tasked with designing a poster series for a designer and a work of their choice, drawing inspiration from the work itself and visualizing where the posters might be displayed.

Souk Mirage Though never realized, Fujimoto’s entry to a competition to create a massive complex in the Middle East is a marvel. The design uses modular structures similar to the Serpentine Pavilion but enlarged to gargantuan size to house retail and office space, a cultural center, and plenty of public plazas shaded from the sun. “It was a nice challenge to expand concepts to huge scales. In the Middle East, anything is possible, so we could propose anything we’d like. We could expand imagination more than I expected!” said Fujimoto. “I still love the project, and I’m still looking for a client. That’s why I’m here tonight!” he joked.

Musashino Art University Museum & Library, Tokyo “A library is a systematic space, but you should be able to wander, discover new books or ideas,” said Fujimoto. Taking this to heart, the architect sought to create a forest of books at the Musashino Art University, designing meandering rows of wood shelves. “It’s like a book heaven! But if you don’t like books, it’s a terrible space,” he laughed.

L’Arbre Blanc, Montpellier, France For this residential project in the South of France, Fujimoto capitalized on the region’s excellent climate by extending the living spaces outdoors onto massive balconies. Though construction is in a very early phase, the units are completely sold out. “Even me, I can’t get one!” he said.

House of Hungarian Music, Liget Budapest, Budapest Fujimoto was one of three architects selected to construct part of a museum complex in Budapest’s City Park. “It’s a 100-year-old park. What’s the ideal situation to play music [in it]?” asked Fujimoto. “At first, the forest itself is perfect, but we had to translate this into architecture.” The result is a transparent, airy space that blurs the lines between indoors and out.

Public Toilet, Ichihara, Japan “A public toilet is an interesting thing for architects. It’s extremely public on the outside but extremely private on the inside,” said Fujimoto. He challenged all perceptions with this unique lavatory in Ichihara, Japan, in which the toilet sits in a glass room to offer the user unobstructed views of a garden. But don’t worry—privacy is offered by a black wall on the perimeter of the garden. When a nearby art fair brought hordes of tourists to the site, long queues formed to use the toilet. “The city government decided to put portable toilets along the wall,” said Fujimoto. “It’s the first time in history they built toilets for a toilet!” 14

Mille Arbres, Paris Collaborating with Manal Rachdi Oxo Architectes, Fujimoto has designed a floating green village that will rise in Paris’s 17th arrondissement. The mixed-use project would see the growth of hundreds, if not a thousand trees (hence its name) just above the standard level of Parisian rooftops. “I think this could be the first Paris landmark to be made by nature,” said Fujimoto.

Designing with Nature

My final Typography 1 project from the fall was a publication titled “Designing with Nature,” featuring articles about architect Sou Fujimoto. The spreads I designed use both typograpic and visual systems to convey the nature of some of his notable designs, which were very organic and full of geometric forms.

This specimen card I designed in Typography 2 is for the typeface Mrs. Eaves, exploring some of its unique features and characteristics. The typeface is feminine and used for many book covers, so I tried to keep that in mind while also highlighting the beautiful ligatures and flexibility offered by different fonts. Emigre 1996 This typeface was named after Sarah Eaves, a live-in housekeeper for Baskerville whom he later married in 1764. - Mrs Eaves OT Roman, 12pt

MRS. EAVES

Licko focused on the printed, letterpress qualities of Baskerville, which had more character based on the paper and inkspread. - Mrs Eaves OT Bold, 14pt

She tried to keep the lightness and openness of Baskerville, making the lowercase characters a wider proportion while reducing contrast. - Mrs Eaves OT Italic, 15pt

In lowercase, Mrs Eaves appears as if it was set a point smaller than the average typeface. - Mrs Eaves OT Bold Italic, 18pt

The typeface includes a wide range of 213 ligatures, some of which are made fancier through intertwined and swash designs.

This best-selling transitional serif typeface inspired by Baskerville features petite caps and a lowered x-height.

- Mrs Eaves Roman All Petite Caps, 12pt

Zuzana Licko

Mrs Eaves is not fit for larger bodies of text due to the loose spacing, but is good for shorter lines of text and display contexts like headings. The typeface is commonly used for literary purposes, such as for book covers and short bodies of text on dust cover flaps and backs.

I wanted my website design for this floral exhibition to have the same colorful, eye-catching feel as the museum displays themselves. After establishing a display typeface for the name of the exhibit, I pulled colors out from the flowers and overlayed those over photographs taken of the exhibition in a way that scrolling between each page would also change the color and image. I explored the use of hover buttons and dropdown menus alongside a simple white serif type as to not draw too much attention away from the beautiful florals.

I maintained a similar system for both my mobile and desktop versions, mainly just choosing to included more icons on desktop that would allow one to click through the pages rather than scroll.