Yale Graduate Portfolio 2016 Elizabeth LeBlanc

ELIZABETH

LeBLANC

YALE UNIVERSITY M. ARCH I _ DESIGN PORTFOLIO

CONTENT

YALE M. ARCH I

BUILDING WATER 3 - 14 Vienna Advanced Studio | Wolf Prix

KIELDER OBSERVATORY 15 - 26 Scotland Advanced Studio | Sunil Bald

PENN DESIGN 27 - 34 University of Pennsylvania | Martin Fino

VLOCK BUILDING PROJECT Micro Home + Group Work | Peter DeBretteville

35 - 44

BRIDGEPORT, CT 45 - 52 Urban Studio | Ed Mitchell

ELI WHITNEY PAVILION Water Workshop | Ben Pell

53 - 56

RUDOLF INSTALLATION 57 - 58 Group Work | John Eberhart

FORMAL ANALYSIS 59 - 60 Plan Studies | Peter Eisenman

DIGITAL PHOTOGRAPHY 61 - 62 Final Project | Ka-Man Tse

ROME SEMINAR 63 - 64 Sketching | Alec Purves

CONTENT_2

BUILDING WATER

VIENNA ADVANCED STUDIO | WOLF PRIX The project utilizes a field condition, planes of water, and programmatic volumes to create a series of interactions between spaces and the public. The field and translucent planes of water begin to obscure and blend the volumes occupied by program, moving activity uninterrupted from inside to outside. The building and field condition work together to create a scaffolding on which the water is exhibited and experienced by people.

The project is a facility to raise awareness of world issues associated with water. The architectural components originated as a way of representing the scarcity experienced by many in the field and the abundance amplified by the planes of water.

S_2016 Instructor _ Wolf Prix

WATER_4

SITE The project is located in Lyon, France where the Saone and Rhone rivers converge. The site was originally a man made landscape between the two rivers. I removed the land and allowed the water to become the ground plane on which the volumes were suspended above.

The temporary exhibitions are located to the East in smaller volumes

and the permanent

exhibitions are located in the main building which housing additional programmatic requirements.

The architecture is embedded within the field which passes from the water to building.

S_2016 Instructor _ Wolf Prix

1 _ ARCHITECTURAL STRUCTURE

2 _ STEEL FIELD

3 _ PLANES OF WATER

4_ TEMPORARY EXHIBITIONS

5_ FLOODED SITE

WATER_6

1.

2.

1.

STEEL I - BEAM SQUARE STRUCTURAL STEEL POST CONCRETE BASE + FOOTING

S_2016 Instructor _ Wolf Prix

2.

INDUSTRIAL WATER PUMP STEEL TUBE COPPER INNER PIPE STEEL I - BEAMS CONCRETE FLOOR PLATE - HOLLOW CORE GLASS BEAM GLASS ROOF

3.

LUMEN LED LIGHT BAR STEEL MESH SQUARE STEEL CAP CONCRETE BASE + FOOTING

4.

SQUARE STEEL POST CONCRETE BASE + FOOTING

3.

4.

FIELD CONDITION

FUNCTION DIAGRAM

The field is constructed by four types of members. Each of the types has a specific function

serving

the

larger

architectural

concept in addition to creating the field.

WATER_6

RESTAURANT

SHOP

GROUP RECEPTION RECEPTION

S_2016 Instructor _ Wolf Prix

18M ROOF 14M FLR 3 TEMP. EXHIBITION

10M MEZZ. 8M FLR 2 TEMP. EXHIBITION

4M FLR 1 0M WTR

1:250 SECTION A

WATER_10

RESTAURANT

SHOP

GROUP RECEPTION RECEPTION

STUDIO

TEMP. EXHIBITION

STUDIO PRIX

FIELD OF REMEMBRANCE

S_2016 Instructor _ Wolf Prix

ELIZABETH LEBLANC 05/06/2016

STUDIO

O PRIX

18M ROOF 14M FLR 3 TEMP. EXHIBITION

10M MEZZ. 8M FLR 2 TEMP. EXHIBITION

4M FLR 1 0M WTR

1:250 SECTION A

20M ROOF

GROUP RECEPTION

14M FLR 3

PERMANENT EXHIBITION

10M MEZZ. 8M FLR 2

PERMANENT EXHIBITION

4M FLR 1 0M WTR

1:250 SECTION B

1:250 SECTION B

WATER_12

S_2016 Instructor _ Wolf Prix

WATER_14

KIELDER OBSERVATORY

SCOTLAND ADVANCED STUDIO | SUNIL BALD Three light conditions influence our ability to see: white light, red light, and darkness. White light contracts the pupils making it difficult to discern details in the dark, therefore the design restricts white light to a small area and provides fire light, for all areas of activity and gathering prior to observation. Where observation occurs there is only darkness. The architecture carefully considers one’s ability to visually receive information at night, a fundamental part of a functional observatory.

F_2015 Instructor _ Sunil Bald

OBSERVATORY_16

SITE

EXISTING BUILDING

The project is located in northern England in what is known as a protected dark sky area. This means the amount and type of light is regulated in order to preserve the dark sky for observation. The existing observatory to the East is the only building on the site. The site slopes to the south and opens up to a view of a lake below.

The project’s northern edge is built within the existing topography allowing the architecture to become a subtle feature within the landscape.

The architectural design does not overpower the modest existing structure and frames the view to the south.

EXISTING ROAD

F_2015 Instructor _ Sunil Bald

LIGHT CONCEPT Program is gathered together based on types of light. White light contracts the pupils making it impossible to view stars. Therefore, the white light of the cars is segregated by the architecture in order to limit exposure.

Red light or fire light functions to both provide heat and acceptable viewing light. The fire light does not cause the eyes to contract and provides visibility for activity and gathering.

WHITE LIGHT _ CAR

RED LIGHT _ HEARTH

DARKNESS _ OBSERVATION

Car Entry _ Parking

Darkness is directly above viewing platforms and the observatory.

Check In _ Cafe _ Hearth _ Teaching Space _ Showers

Observatory _ Individual Viewing Platforms _ Bunks

LANDSCAPE CONCEPT The landscape strategy was to reduce the structure by embedding the building within the sloping topography and allowing the architecture to create space beyond the enclosed structure out into the landscape.

OBSERVATORY _18

FIRST FLOOR ENTRY

The entry is directly inline with the hearth and check-in. The main gathering spaces are adjacent to the entry area and are lit by fire light providing warmth and visibility.

SECTION A

FIRST FLOOR PLAN 1._ hearth

2._ check-in 3._ cafe 4_ teaching area 5_ individual observation deck

F_2015 Instructor _ Sunil Bald

PERSPECTIVE B

OBSERVATORY _20

LOWER FLOOR OBSERVATION

Program requiring minimal to no light is located on the lower level. The sleeping area, observatory, and planetarium are the main programmatic elements located on this floor.

SECTION B

LOWER FLOOR PLAN 1._ hearth 2._ check-in 3._ cafe 4_ showers & bathrooms 5_ bunks 6_ planetarium 7_ observatory

F_2015 Instructor _ Sunil Bald

PERSPECTIVE B

OBSERVATORY_22

F_2015 Instructor _ Sunil Bald

SECTION A FACING EAST

SECTION B

FACING NORTH

OBSERVATORY_24

F_2015 Instructor _ Sunil Bald

OBSERVATORY_26

PENN DESIGN

UNIVERSITY OF PENNSYLVANIA | MARTIN FINIO Throughout the creative process, people tend to endure high levels of stress due to the demands of attending a university level design program. By providing areas of refresh for those within creative fields, individuals are better able to perform at a high level. These areas provide for a change in work environment, opportunities to interact with others in the creative community, or simply grab a moment away.

F_2014 Instructor _ Martin Finio

PENN DESIGN _28

SITE The project is located on a prominent corner, 34th and Walnut, with high pedestrian traffic along a diagonal path called Woodland Walk linking the city and campus. Guests, lectures, and faculty typically arrive from the city or train station located northeast of the site and students arrive from the southwestern campus side.

The site slopes up ten feet from street level to the campus level. In order to maintain clarity the design has two entrances each responding to its specific location.

FLEXIBLE SPACE [REFRESH] The flexible spaces are highlighted in the diagrams below. These spaces are carved from more fixed program in order to create a cohesive community through uninterrupted view and shared access.

SECTION A _ diagram

SECTION B _ diagram

CAFE

LOBBY

FIRST FLOOR

CITY ENTRY

The city entry faces the 30th street train station and on campus parking therefore the entry is optimal for visiting

LOWER MAIN CRITIC SPACE

critics, commuting faculty, guests, and guest lectures. The entry is adjacent to the main critic area and directly below the main lecture hall for guests to conveniently locate their

LOWER CRITIC OBSERVATION

place within the building..

1 _ street level entry 2 _ cafe 3 _ lobby 4 _ review space 5 _ exterior oberservation area

FIRST FLOOR

SECTION A

1/16” = 1’

NORTH

SECTION B 34TH ST.

UPPER MAIN CRITIC SPACE MAIN AUDITORIUM UPPER CRITIC OBSERVATION

SECOND FLOOR CAMPUS ENTRY

The student entry is located on the edge of the campus commons. The campus entry is 10 ft above street level and enters directly overlooking the main review space. Elevators and the main open stair leading to studios, offices, and classrooms are presented to students and faculty who enter from the campus entrance.

PENN DESIGN_30

THE FIXED SPACE

1_ 2_ 3_ 4_ 5_ 6_

1_ STUDIO

2_ CLASSROOMS & STUDIO SUPPORT

3_ SEMINAR ROOMS

4_ MAIN AUDITORIUM

5_ ADMINISTRATION

6_ FACULTY OFFICES

F_2014 Instructor _ Martin Finio

SECTION A EAST

OPEN

STUDIO

OPEN

DEAN

FACULTY OFFICES

ASSOCIATE DEAN CONFERENCE SEMINAR UPPER MAIN CRITIC

CAFE LOWER MAIN CRITIC

LOWER OBSERVATION

FACULTY

SECTION A

DEAN’S OFFICE

CLASSROOMS

STUDIO SUPPORT ADMINISTRATION

FIFTH FLOOR

MIXED PROGRAM The fifth floor has a richness of occupant overlap. Students use the northwestern stair, which connects directly to the upper studio space, to access support areas which include laser cutters, printers, and 3D printers. There is a buffer zone of classrooms and then faculty offices arrayed along the southeastern perimeter.

PENN DESIGN_32

A thickened wall surrounding the studio filters light, creates a sense of destination, and contains individual lockable storage freeing the desks

of weight so they can be

movable elements within the space. The studio areas are directly connected to the open multipurpose spaces .

SECTION B

EAST

STUDIOS

STUDIO OPEN SPACE OPEN MAIN CONNECTING STAIR

STUDIO SUPPORT

ADMINISTRATION

AUDITORIUM

CAMPUS ENTRY

CITY ENTRY

INFORMAL CRITIC SPACE

ARCH. STUDIO

1

SEMINAR ROOM

STUDIO OPEN SPACE

SECTION B

LANDSCAPE STUDIO

DESIGN & VISUAL STUDIES STUDIO

EIGHT FLOOR STUDIO

A thickened wall surrounding the studio filters light, creates a sense of ownership, and contains individual lockable storage freeing the desks of weight so they can be movable elements within the space.

PENN DESIGN_34

VLOCK BUILDING PROJECT

MICRO HOME | PETER DeBRETTEVILLE The residence accommodates an owner and tenant unit within a micro home square footage. The design utilizes level changes instead of walls in order to distinguish space without compartmentalizing areas. The continuous space and north/ south facing glazing allow occupants to look through each interior space conceptually extending the space outward.

CONCEPT SKETCH

S_2014 Instructor _ Peter deBretteville

VLOCK BP_36

SITING Privacy of both the owner and tenant was preserved by offsetting the position of the house behind the neighboring windows line of sight and primarily glazing the house to the north and south.

S_2014 Instructor _ Peter deBretteville

ENTRY

OWNER [BLUE] _ TENANT [GREY]

LIVING ROOM

KITCHEN

KITCHEN

LIVING ROOM

LEVEL 0

OWNER ENTRY

LEVEL 1

TENANT ENTRY

VLOCK BP_38

SECTION A

LEVEL 3

OWNER BEDROOM

S_2014 Instructor _ Peter deBretteville

LEVEL 4

TENANT BEDROOM

DIVISION OF SPACE

OWNER [BLUE] _ TENANT [GREY] The sectional relationship between the owner and tenant is articulated by overlapping programs creating both expansive and intimate spatial conditions. For instance the tenants bedroom acts as a light well, reflecting light into the owners bedroom from above..

LOFT BEDROOM LIVING ROOM KITCHEN

BEDROOM

LIVING ROOM KITCHEN / BACK ENTRY

TENANT LOFT BEDROOM

OWNER BEDROOM

LIVING ROOM

KITCHEN

SECTION A

NORTH

VLOCK BP_40

VLOCK BUILDING PROJECT MICRO HOME | GROUP WORK

I along with six fellow classmates worked to develop a student’s micro home design. The process involved design development, construction documents, and accurately transferring the project into Revit. The work I have chosen to include, I was directly involved in fabricating. In particular the drawings were created by my hand and aesthetic sensibility.

S_2014 Instructor _ Group Work

STREET ELEVATION VLOCK BP_42

LEVEL 1

TENANT/OWNER S_2014 Instructor _ Group Work

LEVEL 2

OWNER

VLOCK BP_44

BRIDGEPORT, CT

URBAN STUDIO | ED MITCHELL Two positive aspects of Bridgeport are its unique industrial reputation and the highly marketable beach front located at The South End. Our proposal embraced both conditions as the basis for change in Bridgeport. The Industry is the backdrop of development, creating a unique aesthetic. Currently, the Marina is neighboring these industrial entities north of The South End. We developed this area as a recreational based wetland which would work to filter the runoff from these industrial sites and act as a buffer between the existing industry and marina. Additionally we incorporated a new housing development and a network of walking/biking paths to encourage a connection between the neighboring community and the marina.

The second major design initiative we focused on was developing the beach front located on The South End directly adjacent to the existing marina. Bridgeport has quality beach front that if developed correctly can create a market viable environment in years to come.

The design seeks to connect the higher income neighborhood Black Rock and surrounding neighborhoods located to East of our site with the beach and expanded marina developments.

The bridge connecting Black Rock to the South End is for both car and foot traffic. Embedded within the landscape is a surface parking area. The walking/bike path splits as soon as it hits the South End one direction connects to the marina extension and the other direction connects to the beach terminating in a public salt pool. The three structures we are building on The South End are a bathroom/shower pavilion facing the beach, a small boat house, and a restaurant overlooking the marina. Both the northern and The South End developments are connected by a hike and bike trail circuit. The circuit encourages people to occupy and engage the marina, recreational amenities, and beach.

RESCO

WATER TREATMENT PLANT

FAIRFIELD AVE.

SEA BRIGHT BEACH

GROVERS AVE.

BLACK ROCK NEIGHBORHOOD

ST. MARY’S BY THE SEA S_2015 Instructor _ Ed Mitchell

BATTERY POINT

MARINA

FARMER’S MARKET

BRIDGEPORT_46

CONTEXT The two main routes onto the site were Fairfield Avenue and Grovers Avenue. Fairfield links the site to downtown Bridgeport and Grovers links the site the surrounding neighborhoods Where these two roads intersect is where we have created a recreational loop which links to both the site to the North a more industrial intervention in line with Bridgeport’s main commerce and the public beach intervention to the East.. The existing marina, farmer’s market, and running trail are directly linked to our intervention and serve as important contextual elements which support a recreational design.

S_2015 Instructor _ Ed Mitchell

PROTECTED EDGE

EXISTING SITE VS. FLOOR PROTECTION DESIGN

The design of these areas addresses the need for storm surge and flooding protection. The system we created utilizes elevated landscape, a hike and bike berm, marshland, and infrastructure to protect both the existing and the proposed built environment. The red line designates the protected edge prior to our intervention and after. We are able to protect a larger area of existing neighborhood, the industrial sector, and the recreational intervention.

BRIDGEPORT_48

PROTECTED EDGE RECREATIONAL LOOP

In order to reclaim the edge and bring people to Bridgeport’s beach front the design creates smaller interventions within the landscape to encourage public occupation. The manipulation of the landscape creates a series of barriers which provide protection during storm surges and create areas of recreation.

S_2015 Instructor _ Ed Mitchell

BRIDGEPORT_50

RINA _ 1

S_2015 Instructor _ Ed Mitchell

BRIDGEPORT_52

ELI WHITNEY PAVILION

WATER WORKSHOP | BEN PELL Eli Whitney Museum owns the site we are designing on and conducts educational summer programs for young students, in particular water associated workshops utilizing the Mill River and adjacent dam. Three elements the design focuses on are a physical connection to The Eli Whitney Museum, a visual connection to the Northern dam, and the historic bridge which crosses Mill River. The Pavilion supplements the water focused program by connecting directly to the Mill River located to the East of the site. Students may interact with the river or choose to play in fresh water fountains incorporated into the design.

F_2013 Instructor _ Ben Pell

PAVILION _ 54

F_2013 Instructor _ Ben Pell

PAVILION _ 56

RUDOLPH HALL INSTALLATION GROUP WORK | JOHN EBERHART

The project was designed to draw people into the main entry stair and provided an facaded canopy for them to occupy. The form was created in Rhino and each sheet of paper was cut using the Die Cutter Machine. Over 300 sheets were assembled and the finished form measured two feet wide by eighteen feet long.

The installation project was design, fabricated, and assembled in a team.

28

INSTALLATION _ 58

FORMAL ANALYSIS

PLAN STUDIES | PETER EISENMAN Formal Analysis gave students the opportunity to evaluate design through analytical diagrammatic drawings. of past architecture.

Below is a comparison of the spatial design of Sta. Maria dei Miracoli and Sta. Maria de Montesanto. In creating Sta. Maria dei Miacoli Rainaldi curated a plan which employed key elements found in Bernini’s Sta. Maria de Montesanto and through expansion designed the plan displayed below.

F_2013 Instructor _ Peter Eisenman

FORMAL ANALYSIS _ 60

DIGITAL PHOTOGRAPHY FINAL PROJECT | KA-MAN TSE

My palette consists of light, body, and water. The location and the subjects are not important. Each drop falling onto the body reforms itself and in turn, reforms the body. Light brings each drop to life, as the water grasps at the body before falling into darkness. Time is the final component of each photograph. The suspension of time is reflected as the drops are suspended in the air.

When we are alone, water flows to cover our bodies like a translucent blanket. We are warm, comfortable, and completely bare. Removed from the surrounding stresses and happiness of the world to face only ourselves. The sadness, the pride, the regret, the joy, and all the emotions we only share when we are alone.

The idea of water, body, and light came to me when I was alone.

Bare, with my arms wrapped around my legs, my head resting on my knees, and the water scurrying across my skin, I saw the idea. I wanted to stop the moment, hold onto what my eyes were seeing and see it again.

I have found the most beautiful things are within the common everyday moments we encounter. Merely takes a moment to notice they have been there all along. Photographs slow time, they give people the chance to lengthen a moment and react to all the subtleties lost by the inevitable change

S _ 2015 Instructor _ Ka-Man Tse

PHOTOGRAPHY _ 62

ROME SEMINAR

SKETCHING | ALEC PURVES The Rome sketching seminar was a four week intensive sketching trip. Everyday was spent walking around the city and sketching significant architecture. A final drawing was required to be presented. Each student was able to select the building they wished to examine.

The final drawing represents Hadrian’s Villa Scenic Triclinium. The Villa is currently in ruins but after four days on site I was able to measure and recreate the architecture through drawing. For me, the architecture became clearer with every line. The drawings are all done free hand.

SM _ 2015 Instructor _ Alec Purves

ROME _ 64