2014 Portfolio by Dami Olufowoshe

M. Arch I _

Graduate Portfolio

Dami Olufowoshe S e l e c t e d W o r k s

cross section

elevation

cross section

2D tangential vs. interior discontinuity isometric

plan

elevation

cross section

Profile curves extruded and trimmed

Intersection Manipulation

plan

cross section

isometric

elevation

“Crazy” Vault

subractive vs. additive poche circle tangent to line

isometric

plan

isometric

splitting the gap

cross section

isometric

ri or

Ex te

Ex te ri

in te

ri or

isometric

Graduate Work

plan

balcony

canopy

porch

412

411

12'-0"

11'-0"

In te

ri or

plan

elevation

cross section

geodetic/geodesic

4'-0"

2'-0"

3'-0"

2'-0"

Threshold Zones

loggia

brise soleil

corridor

cross section

elevation

plan

413

isometric

DETAILS 3” = 1’-0” Surface Separation and Intersection Manipulation

Surface Re-alignment

Crazier Vault

Precedent: Project:

Lincoln Cathedral

Formal Misalignment

06 14

Precedent: Meiso no Mori Project: Creative Forest nts

Embedded Steel Outrigger 1” Stainless Steel Plate Protruding Steel “Nub” Connection Oak Vertical Frame Member Bent Oak Branching Laths Oak Slab bracket 8” Concrete Slab Woven Steel Cable Horizontal Louver 3” Cedar deck joists Slanted Cedar Sleeper Aluminum “H” Clips for single Pane Glazing Tempered Single Panel Glazing Continuous Strip Flashing Aluminum Channel Drain Grate Tempered Glass Door Frame Stainless Steel Cap Concrete Footing

08 16

Precedent: Meiso no Mori Project: Creative Forest

10 18

Contents Extra Work

4410

Exhibit Design

Companty: ExhibitPro Inc.

3420

Attraction Studio Project: Ascent Hotel

Italy Study Abroad

Project: Electric Lantern

First Year: Precedent Studies

AUD 411

Cenroid Locations

Lincoln Cathedral unknown Architect

Fall

The varying vaults within the cathedral are said to be both original and experimental.The vaults especially, clearly define the experimental aspect seen at Lin- coln. There are several different kinds of vaults that differ between the nave, aisles, choir, and chapels of the cathedral. Along the North Aisle there is a continuous ridge rib with a regular arcade that ignores the bays. Meanwhile, on the South Aisle there is a discontinuous ridge rib that puts an emphasis on each separate bay. Saint Hughâ&#x20AC;&#x2122;s Choir exhibits extremely unusual vaults. It is a series of asymmetrical vaults that appear to almost be a diagonal line created by two ribs on one side translating into only a single rib on the other side of the vault. St. Hughâ&#x20AC;&#x2122;s Choir

Asymmetic Vault Generation

xII

xIII

bII

RESET

VAULT TYPE b TRANSFORMATION

VAULT TYPE a BUFFER

VAULT TYPE x TRANSFORMATION

RESET

VAULT TYPE b TRANSFORMATION

INITIATION

WIDTH OF VAULT UNIT

Fall QUarter 2013

Bay Width Variation

6.60

8.26

6.86

6.60

6.54

6.60

8.57

6.60

8.45

6.60

8.39

6.60

8.48

6.60

9.02

6.60

6.75

6.60

5.90

6.60

6.37

6.60

7.64

6.60

7.75

6.60

7.44

6.60

7.11

6.60

7.09

7.40

Actual vs Ideal Bay Rhythm

Lincoln Cathedral

AUD 412

Western Elevation

Meiso No mori

Toyo Ito + Mutsuro Sasaki

WINTER

The roof of the â&#x20AC;&#x153;Meiso no moriâ&#x20AC;? (forest of meditation) crematorium seems to float above the ground with a quality of lightness not necessarily associated with reinforced concrete. Built in the park-like cemetery at Kakamigahara, a town of 150,000 inhabitants in the prefecture of Gifu, the building nestles between wooded hills on the south and a small artificial lake on the north side. As the old crematorium on this site was to be demolished, Toyo Ito was free to realise his idea of a funeral hall not constrained by religious content. The architect wanted to create a place for quiet reflection, a space whose organic language of forms would suggest a closeness to nature. The 20 cm thin roof, made up of concave and convex forms, flows into twelve tapered columns; its weight is also borne on the two-storey core.

Roof Geometry Evolution

Winter QUarter 2014

East-West Section

Exploded Axonometric

Meiso No Mori

AUD 413

scale 64:1 scale 64:1

c c

scale 32:1 scale 32:1

cladding + roof gridshell

Downland Frame

Downland Envelope

cladding + roof

gridshell

Downland Gridshell Edward Cullinan Architects

Spring

Final Form Geometry Cantilevered End Arches

Flexible Roofkrete Clerestory Ribbon

Double Layer GridShell

The Weald and Downland Gridshell Building was the first major timber gridshell to be built in Britain for the Weald and Downland Open Air Museum. The Green Oak Carpentry Company director Andrew Holloway came up with the idea of the “node clamp” which then became the subject of a UK patent. Downland Gridshell The end Gridshell walls incorporate traditional timber frame carpentry and curved glulam arches fabricated off site. The end walls n Edward Architects Cullinan Architects incorporate traditional timber frame carpentry and curved rvices Buro Hapold Services glulam arches ssek, Chichester, UK Sussek, UK fabricated off site. An undulating ‘ribbon roof’ 1998 was - 2002then constructed following the contours of the Weald and ownland Gridshell Gridshell Downland Gridshell building. The cladding was cut from locally jamie kleine sourcedArchitects Western Red Cedar weather boarding sourced nearby. n Edward Architects Cullinan

Triangulation Bands

Downland Gridshell rvices Buro Hapold Services ssek, Chichester, UK Sussek, UK Edward Cullinan Architects 1998 - 2002

Frame Isolation

Buro Hapold Services Chichester, Sussek, UK 1998 - 2002

jamie kleine

if ray, jamie kleine

a d

b d

scale 64:1

scale 32:1

scale 64:1

Spring Quarter 2014

Downland Elevation

Roofkrete Ribbon Roof

Flexible Poly-carbonate Clerestory Glazing

Envelope Layers

Composite Envelope

Curved Double Layered Gridmat

Triangulation Laths Cladding Connection

Layer 01

Close Boarded Red Cedar Board with Machined Slots

Layer 02

Red Cedar Board Centered over Joints of previous Layer

Layer 03

Downland Gridshell

First Year: Core Studios

AUD 411

Model Photos

Formal Misalignment

Fall

Critic: Erin Besler

Although Gothic Theorist Paul Frankl described the vaults within the Lincoln Cathedral as “crazy” due to its asymmetric rib system, my partner and I set out to prove that this so called lunacy was governed by the same four square operational logic that generated the crossing vault. Moreover, various formal misalignments at different scales surfaced as a result of displacements from established reference points. The generative move that led to the asymmetrical vault was a minor intersection misalignment that had major formal implications, resulting in the development of the third rib/ tierceron. In moving away from the precedent, I was inspired by the generative capacity of minor misalignments and became interested in how to use them in collaboration with intersection manipulations to generate a new form. More specifically, I focused on how a point that previously had no distinguishing signifcance was aligned with the center of a four square to yield a misaligned vault. After exploring the repercussions in the choir from a range of different re-alignments, I chose to isolate the “not-so-crazy” vault in order to focus my attention on how a single manipulation affects the reading of this object. In order to visualy measure this displacement, the top and bottom surfaces were separated and the bottom was left un-changed, acting as the control, while I perfomed the intersection misalignment on the top surface. However, where prweviously the points where the ribs meet column had been fixed, I chose to do the reverse and fix the points where the ribs meet. The resulting form was an autonomous agglomeration of surfaces that produced a haptic, tangible solid.

Intersection Manipulation via Square

The discussion for me then became less about generating form, and more about visually describing this form and its underlying misalignments through graphic techniques of overlapping linework, specific rendering types and photography; with each technique aiming at defamiliarization through representation. This intentional blurring allows for the speculation of form that may or may not tangibly exist. Through maniplation of light and shadow, line weights and densities, I’ve been able to establish a new reference point, the “new crazy” vault, and generate drawings that serve as displacements from said reference. Lincoln Vault Manipulation Profile curves extruded and trimmed

Intersection Manipulation

“Crazy” Vault

Fall QUarter 2013

Unrolled Elevation

Profile curves extruded and trimmed

Intersection Manipulation

â&#x20AC;&#x153;Crazyâ&#x20AC;? Vault

Serial Sections

UNderlying Geometry

Surface Separation and Intersection Manipulation

Surface Re-alignment

Crazier Vault

Formal Misalignment

AUD 412

Sporatic Sections

Creative Forest

WINTER Critic: Neil Denari

One of the deep similarities between the natural and artificial worlds, of which architecture is firmly rooted in the latter, is a profound reliance on structural systems. As such, the Building Design Studio focuses on the relation of structure to architectural design and examines different techniques of expression and form finding through the development of a multi-level, contemporary office building in Los Angeles. The design problem for this quarter was set up in order to increase the knowledge of the discipline and emphasize transformational techniques within the regime of an architectural system responsive to structure. After analyzing the site in terms of topography, plan profile, access for cars and pedestrians, context massing, landscaping, and solar orientation, grids and patterns related to material and construction methods were explored as potential schemes for the site and program configurations. Using a combination of digital and physical tools and in 2D and 3D while working seamlessly back and forth, led to an investication in the ways in which structural logic (span, depth, repetition) can be used to actually derive a formal and aesthetic premise for the project. Specifically for this scheme, after the structural module was derived, Variation was introduced by one dimensionally scaling the module to generate different spatial conditions relative the the programmatic requirements. This 1D scaling results in modules defined as “Studio Trees” where the module itself is inhabitable with a spiral circulation core leading up to mezzanine working spaces with each supporting a small private patio space. These modules then became the perimeter elements to define the proximity limits of the project, housing the offices, Studios, and smaller auxilliary aspects, leaving the central void for the open office space.

Grid GridManipulations Manipulation Grid Manipulation 60’ 60’ 45’ 45’ 30’ 30’ 15’ 15’ 0’ 0’

50’ 50’ 40’ 40’ 30’ 30’ 20’ 20’ 10’ 10’

Grid Module Module Variations Variations Grid

Module Generation

Since this space was so formally distinguished from the perimeter structural system, The roof of the space was figuratively lightened by incorporating structural ETFE pillows. This contrast generates a warm and vibrantly bright space for the workers to fiddle away on various tasks while being naturally lit.

Studio Tree Elevations

Winter QUarter 2014

First Floor First Plan Floor Plan Scale: 1/32” Scale:=1/32” 1‘ = 1‘

Ground Floor Ground Plan Floor Plan Scale: 1/32” Scale:=1/32” 1‘ = 1‘

Supporting ETFE Pillow Structure

4" Diameter Steel Tube

Exterior 8" Deep Steel Rim Beam

Filigree Roof Structure

Interior 8" Deep Steel Rim Beam

10" Diameter Steel Tube Roof Supports

10" Diameter Steel Tube Bracing

orts

Faceted Rockpanel Chameleon Panels

3" Diameter Steel Tube

Studio Mezzanine

Elevated Courtyard

Suspended Spiral Staircase

Studio Core Floor

Double Pane Insulated Glass

10" Diameter Steel Tube

Double Pane Insulated Glass

Aluminum Glass Retaining Clip

Aluminum Stand-Off

Studio StudioFloor Floor Studio Plan PlanFloor Plan Scale: Scale:1/32” 1/32” Scale: ==1‘ 1/32” 1‘ = 1‘

First FirstFloor FloorFirst Plan PlanFloor Plan Scale: Scale:1/32” 1/32” Scale: ==1‘ 1/32” 1‘ = 1‘

Ground GroundFloor Floor Ground Plan PlanFloor Plan Scale: Scale:1/32” 1/32” Scale: ==1‘ 1/32” 1‘ = 1‘

Studio Tree Elevations

East-West East-WestEast-West Section Section Section Scale: Scale:3/32” 3/32” Scale: ==1‘ 3/32” 1‘ = 1‘

Faceted Rockpanel Chameleon Panels

(1 of 2) Elevator Cores

3" Diameter Steel Tube

8" Diameter Steel Tube FloorPlate Supports

Studio Mezzanine

3" Thick Metal Railing

6" Thick Reinforced Concrete Slab

Exploded Axonometric Scale: 3/32" = 1'

Exploded Axonometric North-South North-South North-South Section Section Section 3/32" = 1' Scale: Scale:3/32” 3/32” Scale: ==1‘ 3/32” 1‘ Scale: = 1‘

Elevated Courtyard Suspended Spiral Staircase Studio Core Floor Double Pane Insulated Glass

4" Diameter Steel Canopy Tubes

10" Diameter Steel Tube Double Pane Insulated Glass 10" Diameter Steel Trunk Tubes

Aluminum Glass Retaining Clip Aluminum Stand-Off

Double Pane Glazing

Structural Axonometric Partially Covered Shared Courtyard

Studio Tree Detail Studio Tree Detail

Section Perspective

Creative Forest (1 of 2) Elevator Cores

elevation

cross section

isometric

ri o

r te

Ex te r

precedent: Downland Gridshell

nt In

INfiligree

ri or

splitting the gap

plan

subractive vs. additive poche circle tangent to line

isometric

plan

isometric

plan

elevation

cross section

Ex t

cross section

scale 1:32

AUD 413

elevation

r plan

or ri

isometric

splitting the gap

INfiligree architect: structural engineer: location: cross date:

Edward Cullinan Architects Buro Hapold Services Chichester, Sussek, UK section elevation 1998 - 2002 cross section

cross section

precedent: Downland Gridshell elevation

cross section

11'-0"

io r

Ex te r

io r

Ex te r

er io r

in te r

porch

12'-0"

canopy

In te

ri or

11'-0"

r e

Ex t

Ex te r

ri or

io r

t In

or ri

plan

isometric

11'-0"

in te r

ri or

isometric

plan

ri or

isometric

plan

Ex t

we’ve explored how the cross-sectional relationship instructor: mohamed sharif between a continuous curvilinear frame and its rigid, David Gray, casing Jamie Kleine, fragmented reveals Dami a gapolufowoshe between the layers that suggests a process of exfoliation and potential for an interstitial spatial opportunity as threshold. We are interested in what can be found between the layers of Upon examining the Downland Gridshell as a case-study frame and envelope by delaminating the section in a single we’ve explored how the cross-sectional relationship plane that then splits and branches to reconnect to between a continuous curvilinear frame and its rigid, plan adjacent frame profiles moving into a three-dimensional fragmented casing reveals a gap between the layers that volume. That volumetric threshold contains a series of suggests a process of exfoliation and potential for an interior/exterior typologies that are outlined here, and interstitial spatial opportunity as threshold. We are at every scale from the overall elevation, to wall section interested in what can be found between the layers of to detail, we are making legible, that threshold as a frame and envelope by delaminating the section in a single ecology of assembly that is distinct from the primary plane that then splits and branches to reconnect to structure of the building. adjacent frame profiles moving into a three-dimensional volume. That volumetric threshold contains a series of interior/exterior typologies that are outlined here, andn r at every scale from the overall elevation, to wall section to detail, we are making legible, that thresholdr as a e ecology of assembly that is distinct from the tprimary E structure of the building.

geodetic/geodesic

elevation

instructor: mohamed sharif David Gray, Jamie Kleine, Edward Dami olufowoshe architect: Cullinan Architects

structural engineer: Buro Hapold Services location: Chichester, Sussek, UK date: 1998Gridshell - 2002 as a case-study Upon examining the Downland

cony

4'-0"

porch

12'-0"

canopy

2'-0"

3'-0"

Threshold Zones

2'-0"

elevation

balcony

4'-0"

2'-0"

3'-0"

2'-0"

elevation

12'-0"

Threshold Zones

4'-0"

2'-0"

3'-0"

2'-0"

Threshold Zones

elevation

loggia

5 ft

STRUCTURE AXON 3/8” = 1’ 1

gia

TAILS = 1’-0”

elevation

cross section

etic/geodesic

brise soleil

5 ft

STRUCTURE AXON 3/8” = 1’

corridor

brise soleil

cross section

plan

isometric

cross section

corridor

Spatial Typologies

Geometric Studies

DETAILS 3” = 1’-0”

cross section

plan

Woven Loggia Collaborators: David Gray + Jamie Kleine

isometric

Spring

Critic: Mohamed Sharif

Drawing on the formal nature of Edward Cullinan’s Downland Gridshell we became interested in how the geometric assembly and material tectonics of a grid plane can be transformed into a three dimensional doubly curved form using flexible continuous laths and loose fitting node connections; here the exterior facade is defined by planes and solids and the interior by points and lines. This visual diffusion of material results in a woven character reminiscent of Gottfried Sempers distinctions outlined in his Four Elements of Architecture: describing the weave as the progenitor of the enclosure, the most basic form of spatial divider. nts

3 ft

Plan 3/4” = 1’-0” 1

3 ft

On a macro geometry scale, we analyzed the gridshell’s trints global form and considered operations that would alter its sensibility. Zooming into a material scale, we found that the abundantly expressive and assembled envelope is a collapsed system of dense layers that takes on a distinct character as a figural skin. The resulting involution as an edge condition becomes a question of how to address threshold and its spatial implications when exfoliating a system of layers. Our ambition was to exploit the spatial and material potential found in the gap between the continuous curvilinear frame and the discontinuous rigid cladding. By projecting a cross-sectional profile into three-dimensions, we established new tangential relationships and connection points for distinctive assemblies. This allows the section that exists in a two dimensional plane to delaminate, with branchingEmbedded elements that connect frame to frame so that the Steel Outrigger space created evolves from Steel being 1” Stainless Plateone about 2D profiles to one about Steel “Nub” Connection 3d volumetric voids.Protruding Multiplying and separating the secondary framOak Vertical Frame Member produces a heterarchical volumeting logic of the building envelope, Bent Oak Branching Laths ric threshold that contains a series of interior/exterior typologies Oak Slab bracket that are outlined here. From elevation to wall section to detail, we 8” Concrete Slab are making legible that threshold as an ecology of assembly, distinct Woven Steel Cable from the primary structure of the building. Our interest is producing Horizontal Louver a threshold that isn’t simply about modulating primary to outside 3” Cedar deck joists but is about establishing its own figural and spatial qualities that Slanted Cedar Sleeper exist independently in between these Aluminum “H” Clips for single Pane Glazing two adjacencies. Plan 3/4” = 1’-0”

Balcony Plan

Tempered Single Panel Glazing

Volume andContinuous surface then implied through the series of Strip are Flashing Channel Drain connections that lieAluminum between the Grate branching members: a woven system Tempered Glass Door Frame interior/exterior typologies more of louvers that aim to define those Stainless Steel Cap specifically. The clip on envelope contains the spatial zones loggia, Concrete Footing canopy, porch and corridor with brise soleil as the system undulates gently and in the rhetoric of this ecology, the shaped wooden pieces conceal the technical steel members that serve as structural support, connections, and caps. Unlike the Gridshell’s resolutions for threshold and connection, we weakened the reading of the primary structure by an abundance of secondary and tertiary “frames.” 0

3 ft

ELEVATION 3/4” = 1’-0”

18 Embedded Steel Outrigger

3 ft

plan

isometric

i r Ex te ri or

io r

isometric

Ex te r

in te r

io r

ri o n

nts

er io r

ri or

Ex t

plan

DETAILS 3” = 1’-0”

DETAILS 3” = 1’-0” brise soleil

11'-0"

loggia

plan

isometric

Spring Quarter 2014

12'-0"

porch

cross section

corridor

DETAILS 3” = 1’-0”

4'-0"

2'-0"

3'-0"

2'-0"

elevation

Threshold Zones

nts

cross section

corridor

nts

plan

isometric

nts

Structural Details

Embedded Steel Outrigger

1” Stainless Steel Plate

Protrudingisometric Steel “Nub” Connection

Protruding Steel “Nub” Connection

Oak Vertical Frame Member

Bent Oak Branching Laths

Oak Slab bracket

8” Concrete Slab

Woven Steel Cable Embedded Steel Outrigger

Woven Steel Cable Horizontal Louver

Horizontal Louver

1” Stainless Steel Plate

3” Cedar deck joists

CedarOutrigger deck joists Embedded3”Steel Slanted Cedar Sleeper Slanted Cedar Sleeper 1” Stainless Steel Plate Aluminum “H” Clips for single Pane Glazing Aluminum “H” Clips for single Pane Glazing Protruding Steel “Nub” Connection Tempered Single Panel Glazing Tempered Single Panel Glazing Oak Vertical Frame Member Continuous Strip Flashing Continuous Strip Flashing Bent Oak Branching Laths Aluminum Channel Drain Grate Aluminum Channel Drain Grate Oak Slab bracket Tempered Glass Door Frame Tempered Glass Door Frame 8” Concrete Slab Stainless Steel Cap Stainless Steel Cap Woven Steel Cable Concrete Footing Concrete Footing Horizontal Louver

Embedded Steel Outrigger

Woven Steel Cable Horizontal Louver

1” Stainless Steel Plate

3” Cedar deck joists

Slanted Cedar Sleeper

Protruding Steel “Nub” Connection

Aluminum “H” Clips for single Pane Glazing Tempered Single Panel Glazing

Oak Vertical Frame Member

Oak Vertical Frame MemberContinuous Strip Flashing

Bent Oak Branching Laths

Aluminum Channel Drain Grate

Bent Oak Branching Laths

Tempered Glass Door Frame

Oak Slab bracket

Concrete Footing

Oak Slab bracket

Stainless Steel Cap

8” Concrete Slab

3” Cedar deck joists

8” Concrete Slab

Woven Steel Cable

Slanted Cedar Sleeper

Aluminum “H” Clips for single Pane Glazing

Horizontal Louver

Woven Steel Cable

Tempered Single Panel Glazing

3” Cedar deck joists

Continuous Strip Flashing

Horizontal Louver

Aluminum Channel Drain Grate

Slanted Cedar Sleeper

Tempered Glass Door Frame

3” Cedar deck joists

Stainless Steel Cap

Aluminum “H” Clips for single Pane Glazing

Concrete Footing

Slanted Cedar Sleeper

Tempered Single Panel Glazing

Continuous Strip Flashing Aluminum “H” Clips for single Pane Glazing

Tempered Single Panel Glazing

Aluminum Channel Drain Grate Tempered Glass Door Frame

Continuous Strip Flashing Aluminum Channel Drain Grate Tempered Glass Door Frame

Stainless Steel Cap Concrete Footing

3 ft

SECTION 1.5” = 1’-0”

3 ft

SECTION 1.5” = 1’-0”

Woven Loggia 0 SECTION 1.5” = 1’-0”

3 ft

Extra Work:

Exhibit Designs & Undergraduate work

ExhibitPro Client: Allied Machine Design: Product display case options

48“

20“

54 54Ó 48”

20“

24“

12“ Fillet Radius

11“

24“

20“

11“

20“

24“

12“ Fillet Radius

14“

24“

14“

18”

21“

21“ 12“

12“

21“

22“ Fillet Radius

9”

12”

9”

36“

36“ 1/4“ Glass

42”

22“ Fillet Radius

36“

9Ó 9”

36“

1/4“ Glass

24“

12“

24“

12“

96“

48“

45“

48” 41”

18“ 48“

11”

18“

21“ 32“

48“

11”

54Ó 54

Exhibit Designs

17“ 21“ 32“

18“

25“

42“

54Ó 54

Summer

During two consecutive summer internships at ExhibitPro, a full service exhibit house in columbus OH, I was responsible for the different stages of design from initial concept development, 3D renderings, and graphic design to mounting, production application and also met with clients to discuss design proposals.

Client: Cardinal Health Design: Corporate environment Interactive Monolith

Stationary Position

Rotated Position

17“

25“

29”

42“

60”

Summer 2013/2014 Client: Rowmark: GoVivid division Design: Complete 20’ x 30’ Island 30'0"

20'0"

4'2"

12'5-1/2" 18'0"

175 Sq. Ft.

13'8-3/4"

9'9-1/4" 7'2" 3'4"

Client: Glass Apps Design: Complete 20’ x 20’ Island

GlassSpecifications Display A Design 37”

66”

Glass Display B 3.5”

47”

49”

Welcome Kiosk

58”

15”

30”

27”

15”

Exhibit Design

KSA 4410

0 level plan

Ascent Hotel

Collaborator: Michael Gregg

+5 level plan

Fall

Critic: Beth Blostein

From the Ancient Roman circus attraction, to the 19th century side-show attraction, to contemporary installments, attractions thrill us with riskiness, extremity, or simply curious oddity. This studio explored thexv slippery boundary between attraction as gimmick/side-show/one-liner and Attraction as a serious endeavor to break new ground in creating space. The mission was to design a hotel with all this in mind to generate an architectural spectacle at the end of the High Line in the Chelsey district of Manhattan. We chose to adopt the project mantra, â&#x20AC;&#x153;viewing objects in light is in well and good but the new architectural phenomenon is the sense of smell!â&#x20AC;? Thus, our Ascent Hotel attracts New Yorkans and provides the opportunity to escape the melancholic scents of the urban world and experience a range of pleasant space relative aromas. Visitors to Ascent Hotel are given the freedom to decide what scent of cluster they would like to stay in. Each cluster is composed of 5 individual suites that share a common lounge space. Depending on what scents the patrons choose, their common room could potentially be a melting pot of each or remains aroma neutral. There are community gardens running up the south side of the building, growing fruits, vegetables and other edibles for the restaurant located under the pool by the entry and also the restaurant atop the clandestine tube structure that protrudes through the building skin to allow for fantastic views of the New York Skyline. Within the open air of structurally stacked clusters, the multi-level event space lies at the heart of the Hotel with mood changing lights and scent activators in order to customize the space for the various intended uses. All parts work together to create a breathing attraction that liberates individuals from typical urban fragrances and encourages them to enjoy the Ascent.

Hotel Section

Fall 2012

+11 level plan

Isolated Cluster

Room Orientations

Room Cluster Plan Room Section

Room Cluster Section

Ascent Axonometric

Ascent Hotel

KSA 3420

W/C Theater W/C

Library/Bookshop

Giftshop

Cafe

Second Entry/ Plaza

Dark Exhibition Rooms

Lobby/ Ticketing

Lowest Gallery Space

0 level plan B

Electric Lantern

6 Week Studio Abroad in Rome, Italy

Collaborators: Mary Lange + michael Gregg

Spring Critic: Kay Bea Jones

Private Workshop

Theater

During our studies abroad, the focus was on how to recycle previously unused spaced around Italy and the project began with a 2 week intensive workshop with students at the Scuola di Architettura + Design in Ascoli Piceno, a small town in southern Italy. The products of which served as a basis for ourBarresulting studio project which aimed to recycle the space left by Luigi Cosenza behind the Galleria Nazionale dâ&#x20AC;&#x2122;Arte Moderna in Rome. The Lantern was designed to be a contemporary arts gallery, performance theatre, studio workspace, including housing for topical artists. Currently, Luigi Cosenzaâ&#x20AC;&#x2122;s building exists in the shadow of the GNAM but the idea for the Lantern was to recycle this space by creating a beacon that announces its presence. Main Entry

Ticketing Lobby

Public Workshop

Office

Small Gallery

Dark Gallery High Gallery Space Mid Gallery Space

As the spaces grow and shrink to acoomodate various program elements, it wraps around the existing Cosenza space, treating it as a ruin with a preservative attitude. This ruin space is then transformed into a sectionally varying public garden and exhibition space. The wrapping nature of the Lantern resituates the museum and allows for welcoming views into the now protected garden area.

Dormitories

Common Space

Section A

Highest Gallery Space

Observation Area

Spring 2012

Private Workshop

Theater Public Workshop

Office

Small Gallery

Bar

Dark Gallery Main Entry

Ticketing Lobby

High Gallery Space Mid Gallery Space

+1 level plan B

Dormitories

Common Space

Observation Area

Highest Gallery Space

SP Structural Axonometric

Section B

Electric Electric Lantern Lantern