Patrick Beals Landscape Architecture + Architecture Portfolio 2016

LANDSCAPE ARCHITECTURE + ARCHITECTURE PORTFOLIO OF

PATRICK T BEALS RHODE ISLAND SCHOOL OF DESIGN MLA I CANDIDATE 2017

LANDSCAPE ARCHITECTURE: I N T E R N AT I O N A L SRI LANKA: NORTHERN VISIONS

LANDSCAPE ARCHITECTURE: DOMESTIC SOUTH BOSTON GATEWAY EMPOWER PAWTUCKET TILLINGHAST FARM PROJECT TILLINGHAST DIAGRAMS + PHENOMENA STUDIES

ARCHITECTURE ENVISION ELGIN PROJECT SACRED SPACE ACUPUNCTURE CLINIC

FINE ARTS STUDY ABROAD + FINE ARTS WORKS OF CRAFT LOGO BRANDING

LANDSCAPE ARCHITECTURE + ARCHITECTURE PORTFOLIO RHODE IS;AND SCHOOL OF DESIGN MLA I CANDIDATE 2017

LANDSCAPE ARCHITECTURE: I N T E R N AT I O N A L

SRI LANKA: NORTHERN VISIONS RHODE ISLAND SCHOOL OF DESIGN INTERCULTURAL TRAVEL STUDIO

It has been nearly a lifelong goal of mine to break the barrier of American studies and work/study internationally, specifically in areas in which people are in true need of design assistance. Through much hands on and side by side work with our Sri Lankan counterparts, we were able to study, test, and reactivate design process within the Batticaloa area. However, before working on future curriculum for the proposed design school, we prepared for future work by studying advanced local construction techniques in order to construct the school.

Initially entering Asia our studio stopped in Auroville, India to undergo a CSEB [concrete stabilized earth block] intensive workshop. Learning structural masonry theories and techniques was our first undertaking before getting our hands dirty. Hands on learning was the key to field construction; with measuring, mixing, and compressing taking place in real time by our team.

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SRI LANKA: NORTHERN VISIONS RHODE ISLAND SCHOOL OF DESIGN INTERCULTURAL TRAVEL STUDIO

The focus of our studio was work in Batticaloa, Sri Lanka, specifically curriculum testing for the future school focusing in design, language and critical practice. Our goal was to re-introduce design in a transdisciplinary fashion, cross-pollinating between multiple translations and fields of craft. This is crutial to Batticaloa, as Sri Lanka has very recently been relieved of a 26 year civil war. This war stifled design, design education, supply routes, and expression of the arts, which is still evident today.

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Banyan Grove

WORKSHOPS Centre for Design, Language and Cri2cal Prac2ces

:: batik with Kuleraj

“The initiative - the establishment of a Centre for Design, Language, and Critical Practices, is one step toward ensuring the people of the eastern part of the country have a voice and agency in deciding the future of the region, and in continuing to define their unique identity and community.� -Dr. Elizabeth D. Hermann: Professor, RISD This agency spoken of will be key in giving a voice, an image, and vernacular to the local villagers of the Batticaloa area amidst an industrial and tourist boom spreading to the eastern coast of Sri Lanka. It is our goal to assist in that voice.

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SRI LANKA: NORTHERN VISIONS RHODE ISLAND SCHOOL OF DESIGN INTERCULTURAL TRAVEL STUDIO

Firstly we held workshops in which we partnered with students and artists from around Sri Lanka, with the idea of everyone being teachers as well as students. Best said by Thomas Ockerse: Professor, RISD, “To merely train or inform means to teach efficiency and conformity, and such proficiency can never lead to completeness. Moreover, to cultivate these aspects without understanding life can never bring creative understanding. Self-discovery is much more than merely having a perception of self because understanding ourselves means also to understand our neighbors, our society, our world.”

The workshops started with an ice breaker; a translation on many levels. We asked our Sri Lankan friends what they found special about the natural environment surrounding them. We then took those sentences, translated them to English, broke them down into two or three word phrases, such as “Sinking Ground”, “Shade as Teacher”, and “Dancing Rain”. These phrases were then translated into dances which were recorded in mark-making by other teams. Translated once more, the marks were carried through multiple mediums of local crafts, such as Batik, Shiboori, weaving, and ultimately collaborative furniture pieces. All of these pieces, of the entire process, are now being displayed in an exhibition space on the existing techinical school campus, in order to promote the Design Centre.

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WORKSHOPS

:: memory+word+dance

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LANDSCAPE ARCHITECTURE: DOMESTIC

SOUTH BOSTON GATEWAY RHODE ISLAND SCHOOL OF DESIGN CONSTRUCTED LANDSCAPE STUDIO

Upon visiting the South Boston site, it was very apparent to me that it was a series of spaces separated by large and busy intersections, which were not at all inviting or easily traversed by pedestrians. It was immediately my goal to design a safe and quiet intervention into this current environment. Instead of simply erecting walls, I was interested more in placing a fluid, yet strong series of landforms that could visually tell a story of this intervention. After researching the pure form of force- as water or wind may affect sand or other moldable materials, it was apparent that these forms must operate in the action of diffracting the noise over and around. Affording the site with quieter inhabitable spaces allows it to be a gateway of gathering.

As seen in the techinical section above, there is a deeper theory rooted in the placement of the landforms used to diffract the sound. The lower section, supporting the upper section, is made of infrared sound waves overlaid by vector landforms to validate their placement, therefore acting as the true reflection of one another.

These sound waves were produced by walking the section line by foot and recording atmospheric sounds [specifically vehicular acceleration noise] at a pace at which I encountered every area at its maximum volume.

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Site

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BOSTON D ifSOUTH f rac tGATEWAY ion - P ro cess RHODE ISLAND SCHOOL OF DESIGN CONSTRUCTED LANDSCAPE STUDIO

Diffraction - Process

Diffraction - Process Initially, multiple studies and tests were done on malleable materials manipulated by pneamatic forces, such as plaster.

This process was sought to mimic the pure form of force in nature. These studies were then serialized and deployed throughout the site, focused upon the areas of heightened decibals of vehicular acceleration.

These areas of acceleration targeted were stop lights at roadway intersections. Seen to the right are the landforms which were deployed throughout the site.

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Dif f rac

Diagrams

SOUTH BOSTON GATEWAY RHODE ISLAND SCHOOL OF DESIGN CONSTRUCTED LANDSCAPE STUDIO

Absor

Ref lec

Zones of Vehicular Acceleration [noise]

With a more technical look, the arcs in the diagram above delineated the location, scale, and direction of these landforms. On ground level, vegetation would be playing a crutial role in sound dispersion and even sound distraction. This would take form in three different attitudes toward curation.

Types of sound curation:: Diffract:: -Angled earth forms, either occupiable [grass 2-4”] or unoccupiable [10-36”] Absorb:: -Modular inward-angled armature [multifaceted plantings arrayed on large greenwall on existing building] Reflect:: -Angled panels on backside of earthforms [precast concrete panels]

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ite Diagram

Dif f ract

Diagrams

Dif f ract

Absorb

Absorb

Ref lect

ams

Dif f ract

Zones of Vehicular Acceleration [noise]

Absorb

Ref lect

ular Acceleration [noise]

Ref lect

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EMPOWER PAWTUCKET - A MASTER PLAN RHODE ISLAND SCHOOL OF DESIGN URBAN SYSTEMS STUDIO

Pawtucket, Rhode Island is the birthplace of the American Industrial Revolution. It is now suffering from an impoverished population and an empty city centre. Our aim is to focus and activate what is already in the city’s toolset, proposed through empowering people of all ages and talents to have the agency to revitalize their area. Done through mentorship and apprenticeship, this process starts at the very ground level of the lives and cultures of the city. Education and training content is broken into three zones: ARTS, TECH, and COMMUNITY.

ARTS: studio arts, landscape architecture, art education TECHNOLOGICAL: urban hydrology, environmental research, farming technologies COMMUNITY: business startup strategies, financial stability training, nursing/homecare training Empowered by authorship and agency through accessibility and utilization of education, Pawtucket’s people and cultures are invited to embark on a new vision of the area. Although this process is a longtrajectory revitalization, it will be crafted, owned, and stewarded by the very people who live there. New local businesses, technologies, and relationships will soon be part of the cultures and fabrics of the city here.

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ARTS Macro Campus studio arts landscape architecture art education

COMMUNITY Macro Campus business startup strategies financial stability training nursing/homecare training

TECH Macro Campus urban hydrology environmental research faming technologies

CULTIVATING

HARVESTING

CONSUMING

NATURAL ENERGY

HEALTH

MARKET AGRICULTURE

ECONOMIC

CULTURE

EDUCATION

SCIENCE

ART ELEMENTARY EDUCATION

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TILLINGHAST FARM PROJECT [BARRINGTON, RI] RHODE ISLAND SCHOOL OF DESIGN LANDSCAPE ARCHITECTURE

This project was an exploration and study of a coastal site owned by RISD, and the goal was to propose an intervention of a new threshold on the site. This threshold enhances users’ experience by balancing the overall rythym of compression/ release, therefore creating a more cohesive site. The terraced landforms filter circulation into a more viscous form and better pronounce the entrance to the farm, while enhancing east-west movement in a currently north-south dominant experience. Upon circulating to the highpoint of the site, one is given framed previews of the entire site, which shift as they move southward toward the ocean. When passing through the line of trees, one steps from a shade room to an option of either straight out onto a sun-filled terrace or shifting and slipping down between the compressive landforms.

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TILLINGHAST DIAGRAMS + PHENOMENA STUDIES RHODE ISLAND SCHOOL OF DESIGN LANDSCAPE ARCHITECTURE

Shown here is research backing my decisions in my Tillinghast threshold intervention. Above are diagrams as follows from top-left to bottom-right: existing circulation, proposed concept, proposed topography, proposed compression, spacial sequence/sun and shade, and proposed viewsheds.

To the right is a diagram showing the three major zones of existing compression on the site.

Shown on the opposing page is a study and depiction of the phenomenon of wind on the existing [upper], and the proposed [lower]. The proposed shows the advantages of landform as a technique to divert wind energy in normally a wind-heavy zone.

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ARCHITECTURE

ENVISION ELGIN PROJECT [ELGIN, ILLINOIS] JUDSON UNIVERSITY ARCHITECTURE

VEHICULAR CIRCULATION

Elgin is the “city in the suburbs”, a large town to the west of Chicago that has left its mark in the pages of history. It is a town of ingenuity, evident by the amount of inventions birthed here. This project is one to revitalize the downtown area of Elgin. It is a mixed-use building, with 5000sf of retail, a world-class restaurant, seven stories of office space, topped with seventeen stories of residential spaces -from micro units up to luxurious two bedroom units.

This structure is to replace a large parking lot, and add elements of human scale. As can be seen above, an interior mall space brings people into the core of the building. Above, right, is the layout per floor of the residential units, with the two-bedrooms occupying the high retail spaces areas on the corners. The facade of the building speaks to the context it sits within, calling out certain features and materials of the surrounding buildings.

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PEDESTRIAN CIRCULATION

WIND CIRCULATION

POST - DEGREE

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ENVISION ELGIN PROJECT [ELGIN, ILLINOIS] RESIDENTIAL FLOORPLATES LEVELS 13-24

The residential levels [floorplates 13-24] utlize numerous sustainable design strategies. Upon studying the wind rose and climate for the site, four main strategies were formed: 1. External wind turbines spearheading the oncoming wind, harnessing the eddys formed via Bernoull’s Principle.

2. A west-facing louvered curtain wall that blocks intense western sun, yet allows vistas up and down the river.

3. A series of 88 photovoltaic panels, creating an arched, sloping roof atop the penthouse tower.

4. An extensive greenroof rolling over the retail and conference floors, covering 15,580 square feet and adding greenery to look upon from the floors above.

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POST - DEGREE

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SACRED SPACE PROJECT [UMA] UNIVERSITY OF MAINE AT AUGUSTA ARCHITECTURE

The Sacred Space project was to provide an inspiring place of reflection and solitude on the University of Maine campus at Augusta. The focus was to have a series of spaces progressing to the culminating space of reflection. This structure resulting from the design is to be both a work of architecture and a work of art.

A series of sweeping elements break the rigidity of the structural elements of the building. They assist in the vertical movement to the space of solitude at the top. These elements are key in balancing the formality of the symmetrical main stairs. Other elements are in place to help enclose the space and protect the people dwelling there from the natural elements.

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ACUPUNCTURE CLINIC PROJECT [DR. ZHAO WEI] UNIVERSITY OF MAINE AT AUGUSTA ARCHITECTURE

The acupuncture clinic project utlized a site in Freeport, Maine.

It is a tranquil site, nestled in a valley between major roads.

The goal of the project was to produce an experience that was conscientious of the patients and physicians utilizing the facility. Also important, was to ensure a relaxing and freeing place of treatment. Upon studying the ancient treatment of acupuncture, I also studied Japanese architecture, which helped inform the movement and placement of spaces.

In the plan view above it can be seen that the experince at this clinic is to be a series of steps and movement from space to space. This also offers pauses along the path of movment and directed views outisde. The sections here, and the elevations on the next page, show how the horizontal gestures help tie the building to the site, having a strong and humble connection to the natural environment it abides in. This also speaks to the nature of the treatment within the facility.

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UNDERGRADUATE

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FINE ARTS

STUDY ABROAD + FINE ARTS JUDSON UNIVERSITY + UNIVERSITY OF MAINE GRAPHITE, INK+WASH, OIL PAINT

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POST - DEGREE

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STUDY ABROAD + FINE ARTS JUDSON UNIVERSITY + UNIVERSITY OF MAINE GRAPHITE, INK+WASH, OIL PAINT

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POST - DEGREE

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WORKS OF CRAFT

RHODE ISLAND SCHOOL OF DESIGN DESIGN PRINCIPLES COURSE

Craft is a main element in the work of a person training in architecture. The convenience of a laser cutter or architectural supplies are not always garaunteed, so a spirit of ingenuity is personally fundamental to me. Whether it be simply cardboard, strips of paper, or even coffee stir sticks... design must go on. This ingenuity taught me that a vast array of materials can be used to present a case in design in architecture and landscape architecture.

The projects I have chosen to show in this section are mostly from Design Principles course at RISD. As students, we were to use materials and methods beyond their mundane and arbitrary looks. Above is a structural group of tarps demarcating the extension of space in the manner of an outdoor room. Opposite are two abstract soil profile models from the DP course, as well as a folding cardboard chair from my third year in architecture school.

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LOGO BRANDING [THE BAND APOLLO] CLIENT: JONATHAN JOHNSTON -AUGUSTA, MAINE GRAPHIC DESIGN

Working personally with The Band Apollo, I assisted them by designing a number of graphics and merchandise, including their latest album. The Band Apollo is a current nominee at the New England Music Awards, and is under a popular record label. Their goal was to create a logo that could be utilized in numerous ways and to have a bold new image that could match their powerful lyrics and melodies. This set of graphics makes them now a marketable band.

Seen above is the band’s new logo aside the visual of the cd for their new album. The adjacent page shows the new album cover and bind, as well as a preview of the booklet insert accompanying the album. In addition, some merchandise graphics can be seen. These were birthed from the stories and underlying idea of the band’s name origin and the lyrics from their latest songs. Working one on one with such musically artistic and creatively talented clients was a great learning experience.

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PROFESSIONAL

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