P O R T F O L I O r ac h e l 2
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l e f e v r e 2
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r ac h e l n i c o l e l e f e v r e 5246 Glenwood Creek, Clarkston, MI
1 . 248 . 872 . 4319
rachel.lefevre@yale.edu rachel-lefevre.squarespace.com
education ya le un iv e r s i t y Yale School of Architecture, Master of Architecture Candidate, Spring 2020.
washington university in st. louis Sam Fox School of Design, Bachelor of Science in Architecture, Summa Cum Laude 2017. work experience
a rc hite c tu r a l i n t e r n
su 2018 Patterhn Ives Llc.
St. Louis, Missouri Projects: Washington University in St. Louis McKelvey Hall, Weygandt Pool House, various CD sets and DD documentation, AIA design award submissions and presentation drawings for Kol Rinah Synagogue, Ellis Hall Renovation, & Portal House.
su 2019 Somatic Collaborative, Anthony Acciavatti
New Haven, Connecticut Project: Exhibition design, construction drawings, and exhibit artifact fabrication for the 2019 Seoul Biennale: Collective City, Ganges exhibit.
2019/2020
Teaching Fellow Yale University Environmental Design, Professor Anna Dyson Core III Urbanism Studio, Professor Anthony Acciavatti
distinctions h. i. f e ldm an p r i ze n om i n e e Fall 2019 with Page Comeaux for Las Flores Community Waste Brokers. Spring 2020 for Galeria Synodica.
ya le re t ro s p e c ta Spring 2017, Fall 2018, Spring 2018, Fall 2019
e liz a b e th s . s c h m e r l i n g e n d ow e d s c h ol a r s h i p WashU Architecture Class of 2017 recipient. skills dig ita l pro g r a m s Revit (1.5 yr. experience), AutoCAD, Rhino, Grasshopper, DIVA/environmental simulation software, ESRI GIS / ArcMap; Rendering: VRay, Maxwell.
fa b ric atio n
Experience with 3d Printing, 3-axis milling, Kuka Robotics 6-axis mill used for weaving, carbon fiber fabrication, woodshop fabrication techniques. organizations a lpha rho c h i p h i lon c h a p t e r Spring 2016 fundraising chair. Member 2014-present.
references
Anthony Acciavatti
Anna Dyson
Anna Ives
anthony.acciavatti@yale.edu
anna.dyson@yale.edu
aives@patterhn-ives.com
contents. public
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Res torative Ju s ti ce Cente r
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G al eri a S ynod i ca sp2020 Feldman No mi nee
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L as Fl ore s Was te B rokers f l 2019 Feldman No mi nee
private
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Renoi r A rchive
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g rou nd [ W O R K ]
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CoHab D u pl ex
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4 3 B u tton S t reet J i m Vlo ck Bui ldi ng Pr o ject, 2019 selected desi g n.
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professional
Os k j u vatn S eed Vau l t
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N or m an Fos ter Fou nd ati on x El Matad eto
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Com pos i te Carbon Fi ber
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Prof es s i onal Work Patterhn Ives llc.
PUBLIC
R E S T O R A T I V E A building that is different when you leave than when you enter. It is a J U S T I C E C E N T E R hard to achieve feat of dynamism for an architecture typically static and choreographed dynamism
enduring. Yet, this is the aspiration for this resorative justice center in Middletown, CT.
project details: Site: Middletown, CT Client: Middletown Youth Ser vices Bur eau 15000 sqft.
A new typology, the restorative justice center is to be a community resource where youth and disadvantaged peoples are diverted away from the typical justice center and instead encouraged to engage in circle process: a highly orchestrated meeting between those who are harmed and those who do harm within the community. Instead of focusing on punishment, the focus is on restoring trust and justice to the community, acknowledging the inequities and needs of those who commit harms. This new type of justice has very specific needs which vary depending on the severity of harms being discussed. Multiple entrances, multiple ways to access light and create privacy in circle rooms as well as multiple support rooms for people to retreat into are necessary for this project. In order to produce organized yet adaptable variety, this project focuses on a single domestic scale element: a door. This takes something familiar and accessible and transforms it into an architecture which is novel yet accessible to the community. This justice center uses grade change and variety to produce other community facilities like a skatepark to familiarize people with the space before being brought into it against their will.
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r est o r at i v e j u st i c e c en t er
Each session at the restorative justice center is a highly choreographed and personalized experience which depends greatly upon the circumstances of the offense being considered. As such, the variability afforded by a floorplan made solely of doors allows for the creation of a series of different scenarios which can keep parties apart or intimately together. Here, the doors act as conditionals and signals for how the building is being used at one time or another.
Code Red
Code Yellow
Code Blue
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co n ce p t
Shared door as binary conditional: open / closed.
Door conditional as signal: in use / not in use.
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r est o r at i v e j u st i c e c en t er
Binary for 7. Restorative Justice room prepared for a meeting.
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pl a n / s ecti o n
Section / S: 1” = 64’
Plan (6’) / S: 1” = 64’
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r est o r at i v e j u st i c e c en t er
The elevation of the building was designed so that the functions of the interior could be expressed on the exterior, opening up the building to the public in order to de-mystify the interior spaces and the proceedings of the restorative justice center which are more transparent and community oriented.
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el eva ti o n
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r est o r at i v e j u st i c e c en t er
Alone in the bowl. A skateboarder drops-in solo.
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d eta i l
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1. Footing 2. Slab on grade 3. Reinforcement 4. D-2 Door
5. W 10 x 12 6. W 10 x 12 7. C - 2 Door 8. Angle Truss
9. Louver Screen 10. W 6 x 17.5
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r est o r at i v e j u st i c e c en t er
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m o d el
Site. Middletown, CT. The model shows how the building integrates into the existinglandscape, augmenting its characteristics to make way for a skate park extension to make a berming strategy culturally productive.
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G A L E R I A S Y N O D I C A This project seeks to challenge masculine paradigms of destruction and lunar women’s museum project details: S i t e : Pa r q u e M e t Santiago, Chile 600 sqm
exploitation of land by developing a proposal for a Women’s Museum of the 21st Century in Santiago, Chile’s Parque Metropolitano, a dramatic landscape which extends into the city from the Andean foothills. The project seeks to provide an alternate path forward by looking to the maternal past as we confront novel climactic and political challenges. More than a collection of objects celebrating women’s lives, the studio and museum aim to bring architecture into harmony with the land—formally, conceptually, and temporally—embodying femininity rather than merely containing it. Traditionally, indigenous peoples connected cycles of the moon to fertility, productivity, and the land itself; In this vein, the proposed women’s museum is a synodic gallery, a building which is simultaneously a tool for measuring seasonal moon events and organizing activities according to them: while the exterior of the building frames specific views of the moon, the interior of the building houses program for the Parque-Met’s nascent forestry program, containing a seed vault, exchange and harvesting program, as well as a space for the germination and propagation of tree clippings. Formally, as the building extends toward true North from the contours of the Andean hillside, the roof forms an agora space for public debate. The mass of the building below is carved away by the geometry of the moon – measurements for lunar standstill moon rise and moonset, creating void spaces which frame views of the moon on the horizon. □
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ga l e r i a sy n o d i c a
The inca and other indiginous societies measured the passage of time with the moon, using monoliths to chart specific lunar angles such as standstill moonrise and moonset. Buildings were not just symbols but tools whose form literally aligned with lunar cycles and corresponding social functions such as agriculture, harvest, and even construction.This project seeks to physically and programmatically manifest these related phenomena, the building being used to measure lunar phenomena as well as use them in the practice of forestry.
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l u nar a l i g n m en ts
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ga l e r i a sy n o d i c a
6.
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5.
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3.
2.
8.
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Plan (4’) / S: 1” = 32’ 1. 2. 3. 4.
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Seed Vault Forestry Office Seed Exchange Forestry Classroom
5. 6. 7. 8.
Public Bathroom Seedling Propagation Moonrise Portals Moonset Portals
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LIM IT :
3. 2.
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Site Plan / S: 1” = 64’ 1. 2. 3. 4.
Existing Path Northern Agora Ramp / path Existing Parking
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ga l e r i a sy n o d i c a
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tempor a l s ca ff o l d to p er m a n en t s p a ce
t=3 Scaffold covered in local thatch, changed yearly.
t=2 Adapted Scaffold to line viewing portal.
t=1 Wooden scaffold used to construct masonry.
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ga l e r i a sy n o d i c a
Major Moonrise
Minor Moonrise
ff
Minor Moonrise
Major Moonrise
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Minor Moonrise
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pl a n, s ecti o n , el eva ti o n
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ga l e r i a sy n o d i c a
Section cc 1/8” = 1’
Section bb
Section aa
1/8” = 1’
1/8” = 1’
cc bb
Section cc Seed Exchange
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Section bb Office / Kitchen
Section aa Seed Vault
cr o s s s ecti o n s
Section ee
Section Section ff 1/8” ff = 1’
Section dd
1/8” = 1’
1/8” = 1’
1/8” = 1’
ff ee dd
Section ff Propagation Center
Section ee Public Restrooms
Section dd Forestry Classroom
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ga l e r i a sy n o d i c a
September - November
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boo k o f h o u r s
December - February
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ga l e r i a sy n o d i c a
March - May
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boo k o f h o u r s
June - August
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In Baja California, the Tijuana River flows from South to North. PassL A S F L O R E S C O M M U N I T Y ing through informal settlements which house refugees, the river acts as a W A S T E B R O K E R S singular municipal service - providing waste disposal for the under-served anticipatory infrastructure project details: Las Laur eles Canyon, Tijuana, MX Team: Page Comeaux Client: Las Flor es Community Board Tijuana National Ri ver Estuarine Reser ve
community. Thus, sediment and waste flows across the border, eventually draining into the Tijuana River Estuary in San Diego, one of the most important wildlife reserves on the West Coast. This project seeks to provide an anticipatory infrastructure which counteracts the canal rich runs through Rancho Las Flores, Tijuana, which only serves to speed up the movement of water, erosion, and waste spread. The project proposes both a series of dispersed infrastructural interventions and a temporal, economic framework through which the system might be implemented. Together, the spatial interventions and the economic model we are proposing constitute the institution of the Las Flores Community Waste Broker. A series of open-air bridges placed throughout the site increase pedestrian accessibility and formalize waste management practices, while providing additional space for classrooms, workshops, and businesses. A network of performative structures managed by Community Waste Brokers, community members focused on materially and economically productive waste exchange at material depots, serve the dual function of sorting multiple streams of waste and recouping their values for the benefit of the neighborhoods that they serve.
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Water
Pick-up
Dump
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Wate Solid
Organic
Waste
Baffe
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lowi ng
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Programmatic Inputs
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rati on Sort Hub atio al Pe n Fa dest cilit rian y Cro ssin g Taxi Info Pi rmal ck-u p Po Pede int stria nC ross ing
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Linear array of interventions along pre-existing, hardscape canal infrastructure.
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01 Exchange: physical exchange of bottles for social credits 02 Trust: dispensation of social credits, trust of money recouped from sold recycled materials. 03 Depot: Raw materials sold for goods.
Programmatic arrangement of circular economy facilities which intervene along the canal.
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la s f l o r es C W B
Exchange Canal filter, waste exchange, taxi pick-up.
Section/Elevation S: 1” = 32’
Plan (3’) S: 1” = 32’
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i nter ven ti o n s i te
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la s f l o r es C W B
Today is Tuesday, which means that while waste is pulled up from the canal and sorted, nearby residents begin to drop off their trash, as the garbage truck will be by the next day to collect.
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exch a n g e
As she crossed, she saw the Sorting Station far in the distance, already springing into action to collect from the previous week’s deluge. Sediment and waste have accumulated at the base of the bridge, and it will soon be sorted and packaged in its undercarriage.
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la s f l o r es C W B
Community Trust Community Waste Broker Residency.
Section/Elevation S: 1” = 32’
Plan (3’) S: 1” = 32’
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i nter ven ti o n s i te
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la s f l o r es C W B
At midday Don Angel has convened a meeting of community organizers to discuss moving forward on more canal projects. They meet at the Community Waste Broker Station over lunch prepared by Senora Rebecca and the women at the Divina Providencia Community Station, who are also in attendance at the meeting.
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com mu n i ty tr u s t
Construction on the concrete channel was halted in favor of a geo-textile system put in place by Don Angel, the first Community Waste Broker. As the system begins to emanate from the source, new opportunities arise for crossing the canal, like this one, just south of the Community Waste Broker’s residence.
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la s f l o r es C W B
Deposito Depot with workshops and storage.
Section/Elevation S: 1” = 32’
Plan (3’) S: 1” = 32’
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i nter ven ti o n s i te
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la s f l o r es C W B
A local artist finishes painting the new signage for Pasaje Las Flores, not only a safe passage over the canal and along a busy street, but by day a lively, public space with a bodega, workshops, and a convenience store.
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d e p o s i to
By evening Don Jorge and a crew of residents have finished demolishing a recently acquired mobile home fron San Diego, stocking its raw materials in the Deposito to be exchanged later on with a family looking to build a home in Rancho Las Flores.
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la s f l o r es C W B
Work in the sediment yard has stopped for the evening, but in the glow of the deposito play continues, the yard productive by day and active as a futsal court by night.
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d a i l y n a r r a tive
B07 8:00 p.m.
B05 5:30 p.m.
B07
B06
B05
B04 1:00 p.m.
B04
B02 8:00 a.m. B03
B02
B01 7:30 a.m. B01
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la s f l o r es C W B
Site Plan S: 1:20,000
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s i te p l a n
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RENOIR ARCHIVE
The goal of the project was to create an archive of the cinematic works of Jean
cinematic qualities of the urban mise-en-scene
Renoir while simultaneously creating a public space which sets of up views of and activates the urban mise en scene. Specifically, the project takes advantage of its relationship to the bus stop, a non-stop source of cinematic entourage which enters
project details: Site: New Ha ven, CT Clien t: Yale Librar y
and leaves the frame of the site on precise schedule. Juxtaposing the transient nature of the site, the public space promotes stasis, creating a new subterranean bus stop from which people can watch the public stage of the urban fabric. Inside, a similar phenomenon occurs, the space presenting itself as a series of frames which hold program within them -- obscuring views of activity at first but eventually revealing them in full from the back of the archive itself. These enfiladed spaces contain programs with smaller footprints and more specific programming intended for more specialized and individualized use. Throughout the course of traversing past these hidden spaces, tertiary views set up their own frames and own views of exhibitions and films on display. In essence, the project seeks to fill the void in the urban fabric by creating sets capable of orchestrating and capturing the everyday pleasantries of urban miseen-scene: the collection of items, characters and spaces staged within a frame of reference. The building, here, provides the frame of reference currently lacking in the historic Ninth Square of Downtown New Haven.
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r en o i r a r c hi v e
The plan of the building is designed to evoke the sensations of on-screen and off-screen space. Upon entering, visitors are given views of the concrete frames with no openings. As the circumnavigate the building, they turn around to see that walls that once appeared solid actually open on to interior spaces which they are now privy to experienceing. 56
off -s cr een s p a ce
Section a / S: 1” = 24’
Plan (-12’) / S: 1” = 24’
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r en o i r a r c hi v e
6.
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7. 8. 1.
4.
2. 3.
Plan (-12’) / S: 1” = 24’ 1. 2. 3. 4.
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Entrance View Point One Study Rooms Tertiary Galleries
5. 6. 7. 8.
View Point Two Stairs Conference Exit to Garage
plans
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8. 1. 8. 2.
Plan (-20’) / S: 1” = 24’ 1. 2. 3. 4.
Archive Storage Restrooms Backstage Elevator
5. 6. 7. 8.
Study Space Archive Desk Gallery Offices
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r en o i r a r c hi v e
Isometric Section A S: 1” = 100’
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r oof a s p a r k / th ea tr e
The roofscape is designed to create a new park space within the city. This park space is organized along striations which separate plantings and programming. In addition, it creates a theatre like piazza space with covered edges where patrons can wait for the bus.
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r en o i r a r c hi v e
Tertiary spaces provide side galleries and house programming like meeting and study rooms.
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s ecti on a l co n n ectiv i t y
Isometric Section A S: 1” = 128’
Isometric Section B S: 1” = 128’
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G R O U N D [ W O R K ] east harlem intermodal hub project details: Site: Marx Bros. Playground. 2nd & 96th Street Team: Max OuelletteHowitz
In 1760, East Harlem above 80th street was comprised of a series of tidal islands, salt marshes, and creeks which fed into the East River. In 1860, as the Commissioners’ Plan of 1811 was put into action, the creeks and islands remained. Indeed, as 1st-6th Avenues were laid, they were laid not as roads but as bridges that spanned across an uneasy, fluctuating tidal landscape. In these times East Harlem had a completely different relationship to the water, modeled on the past urban structures of its Dutch settlers. Roads and Land Plots were run perpendicular to creeks. Boats were used to travel along the shore and connect across the East River below Hell’s Gate. This past is unique to East Harlem and unique to the site of the Marx Brother’s Playground - the protagonist of this studio project. In envisioning a new future for the Marx Brother’s site, this project proposes re-connecting it to its water-borne past, building a physical connection between the new 2nd Ave. Q subway and a new Canal which would host an extension of the NYC Ferry System, providing new access to play spaces on Randalls Island and creating new linkages to Queens, where many of the adjacent hospital employees live. This canal would be accompanied with a series of play ‘islands’ which work to undermine an understanding of the Marx Brother’s Site as tabula rasa and provide a base structure for future development.
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ground [work]
During the period between 1770 and 1860, some of the creeks and shallow waters that ran through Harlem began to be filled in and channelized. Simultaneously, the coast line was extended further into the East River, creating new but low lying land which could be developped on. The character also changed, from low density agricultural land to urbanized medium density housing. 66
g eo-his to r i ca l co n tex t
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ground [work]
We propose re-introducing both the water and islands to Harlem in service of producing an intermodal hub and preserving open space while granting development rights. A canal will be cut from the East River into the site. “Islands� which line its edges will be city owned structural nodes which developers will buy rights to instead of the land. These islands will act as pilotis, lifting the buildings up off the ground creating public space. 68
co n ce p t
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ground [work]
Plan at 10 ft.
Along the canal, ‘islands’ of infrastructure are built as park spaces which double as structural nodes which can be leased by developers.
Plan at -12 ft.
An intermodal hub is designed formalize the connection between subway and ferry stop
Plan at -20 ft.
As the subway rises from below, a canal for expanded ferry service is excavated to meet it.
Plan at -30 ft.
The project begins below grade, at the newly laid Q subway under 2nd ave.
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g r ou nd a s p u b l i c g o o d
View from the canal. 3:00 pm.
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ground [work]
Plan at 100 ft.
Buildings further toward the water are allowed higher FARs to bring in more revenue which can finance the intermodal hub.
Plan at 40 ft.
Privately owned bridge buildings rise to an FAR of 8.
Plan at 20 ft.
The groundworks which constitute parks serve as the structure for bridge buildings which can span above.
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bu i l di n g a s b r i d g e
On the ferry, headed to Queens.
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ground [work]
Section A, facing West.
Section B
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cr o s s s ecti o n s
Section C
Section D
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ground [work]
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mo d el p h o to s
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PRIVATE
C O H A B
D U P L E X
studio apartment within a family apartment
The project centers around the widespread under-utilization of small lots throughout urban areas. Once filled by lower density row houses, these lots are not able to be developed into large developments and are too small to adhere to normally zoned apartment construction. This
project details: Site: New Ha ven, CT 1200 sqft. 2 w eek pr oject
project creates two separate units, a studio and family apartment, within the space of a 12 ft by 30 ft lot in between two existing street facing buildings within New Haven. Spatially, the project operates by proposing a volume within a volume: the studio apartment is nestled inside the two bedroom unit’s separate circulation system. This generates a spatial complexity that allows for the spaces within to be both interesting and functional. Overlapping systems allow for plumbing and shared fixtures within the building to the be utilized efficiently without having to be directly shared. Sectional variation creates smaller nested spaces which can be used for smaller and more specialized day to day activities: reading nooks, small desks, and storage space. These sectional variations and the production of smaller spaces allows the floor plan and separation of living spaces allows the space to feel luxurious while being efficient as opposed to seeming minimal and anemic. These variations also occur in cross section, working to bring natural light all the way down through each of the project’s five levels through skylights and light wells that wash interior faces with daylight.
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Isometric Section / S: 1” = 24’ 1. 2. 3. 4.
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Shared Stair Studio Apt. Stair Studio Apt. Foyer Studio Bedroom
5. 6. 7. 8.
Family Kitchen Family Stair Landing Landing II Nook Upstairs Hallway
s chem a ti c d es i g n
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Isometric Section / S: 1” = 24’ 1. 2. 3. 4. 5.
Shared Stair Studio Living Area Studio Apt. Foyer Studio Bedroom Family Island
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Family Stair Landing Landing II Family Kid’s Bedroom Family Bathroom Family Master Bedroom
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c o ha b
Perspective Section / S: 1” = 8’
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l aye r ed l iv i n g
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43 BUTTON STREET
In every multi-family home, there exists a seam between the units within.
2018 Jim Vlock Building Project Winning Design
This division is unseen and unflet in most cases. However, this is the underlying structure of the spatial and structural organization of the homes. The Team G proposal for a house at 43 Button Street explores this idea
project details: New Ha ven, CT Team: Emily Cass, Thomas Mahon, Christine Pan, Lisette Valenzuela, Paul Wu. Client: Columbus House 1500 sqft.
conceptually, creating a robust physical manifestation of the seam working to creat division and carefully choreographed moments of interaction within a two family home. This spatial strategy is coupled with a structural strategy. In 2018, the school received a donation of Cross Laminated Timber (CLT) which was to be used in the house. Here, the concept of the seam allowed for us to employ the CLT as a stand alone structural system which was free to move unfettered within a simplistic rainscreen envelop of the house. This played to the monolithic strengths of CLT and protected it from its weaknesses: it’s inability to be exposed on the exterior. This approach also allowed for the maintenance of a contextual facade within the neighborhood. While sleek and modern, the facades and scalar elements of the dormer and porch allow for he house to situate itself within the neighborhood nicely. The landscaping in the front, a heightened retaining wall, allows the house to make a generous gesture towards the neighborhood, creating an extended porch which can be used as a space for social gathering.
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BP 2 0 1 8
43 Button Street. The Hill, New Haven, CT. View from the street.
90
pl a n s / s ecti o n s
L1
L2
S1
North
plan / section / elevation S: 1” = 24’
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BP 2 0 1 8
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co n s tr u cti o n
CLT panels awaiting sanding and final finishes at West Campus.
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BP 2 0 1 8
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mo d el p h o to s
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O S K J U V A T N The seed vault project focuses on creating a climactic, three dimensional S E E D V A U L T periodic table of sorts for seed collection within the climactically diverse t h e r m a l
ex p e r i e n c e
project details: Viti Crater, Oskjuvatn, Iceland
setting of Oskjuvatn, Iceland. Set atop the Viti Crater, the seed vault pulls geothermal energy from below and cold air from above to create an array of temperatures and humidities. Seeds are stored inside small hexagonal pods which are inserted into a wall which varies in thickness as it stretches across the climactic gradient inside -- acting as an insulator and conductor as its thermal mass changes. The design leverages the dichotomous climactic conditions of Iceland to not only generate formal and technical juxtapositions but also make them productive. Circulation through the building, which takes on the saddle geometry of the edge of the crater, takes visitors down two curving ramps along the seed-lined walls down into a theatre overlooking the crater and to a class room submerged into the earth. As people pass along the ramps, they are confronted with the array of storage laid plain before their eyes. This experience is augmented by the climactic changes sensed through changes in radiant heat felt on the skin. This takes what are sometimes purely technical phenomena and makes them experiential through their formalization and architectural expression.
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Winter forest, Nova Scotia, Canada.
Tropical Forest, Amazonia, Brazil.
Climate Containers
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seed va u l t
Unrolled Section, Thermal Array S: 1” = 32’
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co n ce p t
100%
1a. kelp 1b. hyacinth 1c. red maple 1d. eastern white pine 1e. spruce
2a. rubber tree 2b. redwood 2c. burr oak 2d. red oak 2e. fir
3a. azalea 3b. river birch 3c. magnolia 3d. cypress 3e. joshua tree
4a. palm 4b. white mangrove 4c. kapok 4d. plumeria 4e. cactus
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seed va u l t
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f r om r o o m to s i te
Site. Viti Crater. Oskjuvatn, Iceland. A geothermal hotspot with a naturally wide range of temperatures and humidity.
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seed va u l t
On the Ground. Viti Crater. Oskjuvatn, Iceland. The building nestles into an exiisting saddle geometry at the top of the crater
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s chem a ti c d es i g n
Plan (3’) / S: 1” = 128’
Plan (-15) / S: 1” = 128’
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seed va u l t
South Section Perspective S: 1” = 4’
North Section Perspective S: 1” = 4’
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ther m a l ex p er i en ce
quiet night in the lab. Viti Crater. Oskjuvatn, Iceland. Western cold zone with heat lamp in the dead of a winter night.
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INSTALLATION
NORMAN F O S T E R Exhibition Proposal: [Tech]stile: weaving and subversion of the hi-tech in the architecF O U N D A T I O N ture of Norman Foster. X E L M A T A D E R O Weaving and the architecture of Norman F o s t e r, e x h i b i t i o n . project details: Location: Madrid, Spain Client: Nor man Foster Foundatoin
In March of 2018, The Sainsbury Centre hosted an exhibition entitled
Superstructures: The New Architecture 1960-1990, an homage to the “hitech.” The focal point of the exhibition, rather than being an object held within, was to be the Sainsbury Centre itself, which celebrated its 40th Year in March of 2018. The Sainsbury Centre, like much of Foster’s work, is celebrated as the pinnacle of the ‘hi-tech’ in architectural criticism and practice alike. Yet, this hi-tech narrative, being one which the Foster Foundation also seeks to cultivate, is a myopic one, backed by easily made observations of discrete pieces rather than holistic thinking. Rather than accept this hitech narrative, Tech-stile, a theoretical exhibition of the work of Norman Foster, seeks to re-examine the archive in relation to representations of 1900s British textile manufacturing practices in order to re-consider Foster’s connection to the hi-tech. The pairing of Foster drawings with illustrations from well-known textile and basket making manuals -- A Practical Treatise on Weaving and Designing Textile Fabrics by Thos Ashenhurst and How to Make Baskets by Mary White -- writes a new narrative, one which subverts notions of the hi-tech through understandings of the low-tech and provides a new lens through which to view the work of Norman Foster.
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pl a n / r en d e r i n g
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pr o j ec t t i t l e
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ex hi b i ti o n co n s tr u c -
Isometric S: 1” = 8’
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APPLICATIONS IN C A R B O N F I B E R
How can advancements in robotics allow for buildings to be continuously
pre-woven components
begin as malleable and soft be stretched, pulled, arranged and chemically
project details: Team: Nathan Gar cia, Ja m e s B r a d l e y, A r m a a n S h a h , Pa u l Wu Prototype phase Client: Le Monde Carbon Fiber
woven rather than artifacts of additive processes? How can materials that altered to become not only self-supporting but also structural compents which can support an entire building. This project showcases an experiemental prototype completed with sponsorship from Le Monde Carbon Fiber for a robotically woven unit which performs like a masonry unit in compression but better than steel in tension. The concept is to create complex, structural curvature not through initial complexity but by weaving carbon fiber into flat packed steel frames. These frames are then locked into place at the corners, producing a shercks surface. This module can then be used to produce self supporting screens and roofs. Beyond that, the unit can be aggregated together through triangulated edge conditions to produce columns or create an enclosure where another structural system could be hung or embedded within it. For example, a column which can recieve more readily available connections could be embedded within the void spaces between structural surfaces, requiring no foundation of its own.
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ca r b on f i b er m o d u l e
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cons tr u cti o n d i a g r a m s
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ca r b on f i b er m o d u l e
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a g g r eg a ti o n tech n i q u e
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A D D E N D U M : s m a l l
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p r o j e c t s
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PAT T E R H N I V E S L L C . p r o f e s s i o n a l
w o r k
Featured: Left Page: Presentation drawings done for the St. Louis AIA awards - of which Patterhn Ives won six, including these projects. Right: Home extension concept renderings, schematic design, and design development.
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Consultants Kristin Hawkins Aaron Martin Ed Stanley
ion
drew Kim Bridgeport Restorative Justice Center
3/4” = 1’-0”
Systems Integration
1 1/2” = 1’-0” Wall Section
1 1/2” = 1’-0”
SYSTEMS INTEGRATION t i m b e r
r e v i t
w o r k
This systems integration project, based of the original building designed by Andrew Kim, focused on fusing the practices of restorative justice with regenerative building techniques. Primarily, the focus was on creating a a building with unique experiences and sectional qualities using a regularized framework of glulam and cross laminated timber panels. Team: Max Ouellette Howitz and Christine Pan
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Section Perspective
Partial Plan D
Bridgeport Restorative Justice Center
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RB 1
W21X44 10 W 10 x1 0X49
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Systems Integration
10 X49
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W21X44
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8 Steel Truss 4'-6" Deep
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Rachel LeFevre Max Ouellette-Howitz Christine Pan
20' - 0"
Steel Truss 4'-6" Deep
Team Q
Kristin Hawkins Aaron Martin Ed Stanley
20' - 0"
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Kristin Hawkins Aaron Martin Ed Stanley
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8 x 12
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Systems Integration
Bridgeport Restorative Justice Center
T.O. SLAB 5' - 0"
W21X44
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Team Q
Steel Truss 4'-6" Deep
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Rachel LeFevre Max Ouellette-Howitz Christine Pan
Steel Truss 4'-6" Deep
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Long Section
Level 1 Framing Plan
A301 1
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Bridgeport Restorative Justice Center
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Kristin Hawkins Aaron Martin Ed Stanley
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7 ply 10' x 30' Cross Laminated Timber Panel Floor System, TYPICAL
10.5x22
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Team Q
10 X49
Rachel LeFevre Max Ouellette-Howitz Christine Pan
RB 1
W18X35
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Team Q
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Level 3 17' - 0"
10.5x22
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Level 5 45' - 0"
Level 4 31' - 0"
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T.O. SLAB 17' - 0"
10 x1 0
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Kristin Hawkins Aaron Martin Ed Stanley
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1/16" = 1'-0"
Project number 001
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Longitudinal Section 1/16" = 1'-0"
10 X49
Scale
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Rachel LeFevre Max Ouellette-Howitz Christine Pan
Level 2 5' - 0" Level 1 0' - 0" Level B1 -13' - 0" Level B2 -18' - 0" 1
Section 5 1/16" = 1'-0"
Cross Section 30' - 0"
30' - 0"
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Scale
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Bridgeport Restorative Justice Center
Bridgeport Restorative Justice Center
Systems Integration
Systems Integration
Kristin Hawkins Aaron Martin Ed Stanley
G
3
Project number 001
S103 1/16" = 1'-0"
Kristin Hawkins Aaron Martin Ed Stanley
1 A304 2 A304
Level 5 45' - 0"
Level 4 31' - 0"
Team Q
Team Q
Rachel LeFevre Max Ouellette-Howitz Christine Pan
Rachel LeFevre Max Ouellette-Howitz Christine Pan
Level 3 17' - 0" Level 2 5' - 0" Level 1 0' - 0" Level B1 -13' - 0" Level B2 -18' - 0" 1
Section 6 1/16" = 1'-0"
Cross Section 1
A303 Scale
Structural Axon
Structural Axonometric
S106 1/16" = 1'-0"
Scale
Project number 001
Project number 001
Drawn by
Drawn by
Author
Author
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