Design Sheets 2012

Page 1

boston performing arts center. pa r s a kamali . harvard graduate school of design. third semester core studio. critic: maryann thompson.


boston performing arts center. This project stems from a belief that Boston Government Center’s lack of life is due to the homogeneous nature of the area; covered with monumental concrete buildings, the coarse and grey environment offers nothing of interest to city’s inhabitants. A single ribbon of a building whose immense scale is incapable of being grasped within a single glance, Paul Rudolph’s Government Service Center represents the epitome of a government center building. This project therefore injects the Rudolph building and government center with dissonance by juxtaposing the concepts of the so-called “high” and “low” arts, under the pretense that functioning, harmonious systems are dependent on some sort of antagonist, on disharmony.

PUBLIC PERFORM

BACK OF HOUSE

THEATER

LOBBY

PUBLIC PERFORM

parsa kamali_harvard gsd


boston performing arts center. To create spaces where this dissonant relationship can exist, where low art can take place on top of, next to and around the high, the building is embedded in the ground, inviting people to gather and perform while engulfing the performances inside. The building is dissonantly related to the Rudolph and the rest of government center by dissolving the ideas of monumentally, verticality and homogeneity that exist throughout the site. The building is embedded into the ground in such a way to have the least visual impact on the site. It avoids appearing as a single mass of a building; rather, the constructed landscape appears to have been sheared open to create spaces for spontaneous performance and gathering.

plan 1

office

office black box

artist / staff entrance reception

office

office

costume shop stage auditorium

sound / light lock

offices

restroom

restroom restaurant

kitchen

bar`

parsa kamali_harvard gsd


thermal baths. p a rs a k a m a l i . harvard graduate school of design. second semester core studio. critic: elizabeth whittaker.


thermal baths. in contemplating contemporary architecture as a product of technology, this project takes a stand against the notion that people are no longer willing to engage with architecture on a level beyond the surface, this lack of engagement being a result of the exponentially increasing rate of information and media consumption. this has resulted in an architectural culture where design emphasis has shifted to surface complexity that often serves the purpose of nothing more than to grab attention or make a visual statement, rather than to physically engage the inhabitant. this building takes on the roll of a heideggerian “thing” (those items characterized by our use and interaction with them, our “nearness” to them), rather than “object” (items which are pretentious and separated from the human and have no use). one cannot know the building without physically engaging with it, experiencing it, feeling it, hearing it.

FOURTH

massage baths and rooms

ground. lockers_cafe_yoga lockers_cafe_yoga_sound and sound and outdoor baths outdoor baths

GROUND

FIFTH east facing

section

specatating baths_cafe

second. ice and cold baths ice and cold private vacating baths_private vacating

SECOND

north SIXTH salt bath_steam_cleansing rooms

THIRD

third. flower baths_mud room

flower baths_mud room

f a c i SEVENTH ng section

parsa kamali_harvard gsd hot bath_steam_sauna


thermal baths.

model interior

steel facade detail


hidden room. p a rs a k a m a l i . harvard graduate school of design. first semester core studio. critic: ingeborg rocker.


hidden room. asked to rethink and redefine what it means to create and occupy a “hidden” room, this proposal presents itself as a monolithic cube whose exterior withholds any hint of its interior functionings. upon entrance, one is greeted with a staircase whose purpose is ostensibly to grant access to the building’s spaces. rather, the staircase and stairwell serve one function: to take the unfamiliar observant directly through and out of the building, placing them in an “exit hall” which displays them to those who already know the way the building functions. to circulate through the spaces, one must do what the building tells them not to do: circumvent the entrance.

two systems

ground

second

third

fourth

parsa kamali_harvard gsd


hidden room.


charles

river

lock bldg. boston

harbor

p a rs a k a m a l i . harvard graduate school of design. first semester core studio. critic: ingeborg rocker.


charles

river

lock bldg. boston

harbor

as a study on the kinetics of architecture and geometrical inscriptions of actions and states, the only precedent for this project was one of eleven given mechanisms to be studied and applied to a site located on the locks controlling the water level between the charles river and the boston harbor. choosing the “vane pump” as my mechanism, i began to study the mechanism’s inherently “elastic” qualities. the apparent symmetry in the housing of the pills is constantly altered when the device is in motion; the distance between the pills is changing with each degree of rotation. therefore, rather than manifest the mechanism in my design, i decided to exploit this malleable quality in the mechanism.

charles

state_1 most squished

vane pump

state_1 closed_open

state_2 less squished

state_2 open

state_3 least squished

state_3 closed_open

river

boston

harbor

parsa kamali_harvard gsd


charles

river

lock bldg. boston

parsa kamali_harvard gsd

harbor

upper bar / patio 1

lounge 1.1

open to below

lounge 1.2

open to below

vip entrance / lounge 1

open to below

dj booth

upper bar / patio 2

lounge 2

open to below

vip entrance / lounge 2

shifting nightclub plan

bristol, museum board inset mechanism: plexiglass


contact

parsa kamali 8 1 8 . 8 0 7. 68 70

pkamali@gsd. h arvard. e du kamali. parsa@gmail. co m www. parsakamali. co m


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