2021/22 Cummings School Student Academic Showcase

Student Academic Showcase + Honors

Roger Williams University Student Academic Showcase (SASH)

Cummings School of Architecture

Each year, Roger Williams University convenes Student Academic Showcase and Honors (SASH) events in April, to share outstanding work by undergraduate and graduate students in presentations, panel discussions and exhibitions. SASH represents our collective intellectual accomplishments as a University during the academic year.

The Cummings School of Architecture has sought to make the most of this event and opportunity, and has created a school-wide exhibition of outstanding work from all courses and levels of study, which is then exhibited in the School’s atrium spaces over the year. This year and going forward, SASH work is also collected into a print and online and print booklet.

The work collected demonstrates the character of teaching and learning here at the School, and is the product of interactive relationships between students, faculty and external partners in classroom and field courses, design studios and course workshops.

Particular thanks to Professors Nathan Fash and Olga Mesa for organizing the collecting the work, and for working collaboratively with Heather Wilson, the Cummings School’s Portfolio and Documentation Specialist.

Sincerely

Stephen White, AIA, Dean

Cummings School of Architecture Program Directors

Architecture Nathan Fash, AIA, Associate Professor Olga Mesa, Associate Professor

Art & Architectural History Randall Van Schepen, Ph.D., Associate Professor

Preservation Studies/ Elaine Stiles, Ph.D., Assistant Professor

Preservation Practices

Urban and Regional Planning

Ginette Wessel, Ph.D., Assistant Professor

Portfolio and Documentation Specialist Heather Wilson

Associate Dean Gregory Laramie, AIA

Dean Stephen White, AIA

F A C U L T Y

Andrea Adams

Edgar Adams

Aleksandra Azbel

Rubén Alcolea

Timothy Bailey

Steven Banak

Mauricio Barreto

Julia Bernert

Julian Bonder

Aaron Brode

Eric Busch

Ginette Castro Noel Clarke

Bilge Celik

Anthony Corr

Andrew Cohen

Nicole Cuff

Michael Decoulos

Bob Dermody Keith Doucot

Nathan Fash Gail Fenske

Nicole Gaenzler

Vincent Giambertone John Hendrix

Karen Hughes Melissa Hutchinson

Rich James Sarah Kennedy

Myoung Kim

Nermin Kura

Gregory Laramie Kristopher Lawson

Alyssa Lozupone

Ryan Ludwig Richard McBride

Olga Mesa

Samantha Moscardelli

James Moses Cynthia Murphy Xuanyi (Maxwell) Nie

John O’Keefe

Eleftherios Pavlides

Robert Pavlik

Anne Proctor

Marthe Rowen Christopher Ryan

Blair G. Shanklin Kellan Simpson Elaine Stiles Randall Van Schepen Hanisha Thirth Bennabhaktula John Tschirch Roberto Viola Ochoa Kristen Weigel Ginette Wessel Melanie Weston Stephen White Junko Yamamoto Dingliang Yang Tyrone Yang Leonard Yui

Fall 2021 Teaching Firms: Schwartz/Silver Architects

Peter Kleiner, AIA

Warren Schwartz, FAIA

Jon Traficonte, AIA VARI Design

Dingliang Yang, Principal Xuanyi (Maxwell) Nie

Spring 2022 Teaching Firms: Maryann Thompson Architects

Maryann Thompson, FAIA Jeff Vogel Hacin + Associates

David Hacin, FAIA Matthew Manke

Joshua Lentz (M.Arch’12)

1styear

The Core Design Studios introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

by: Jason Cowell

Tyrone Yang

CONCEPT

PROJECT GOAL

PRECEDENT

MODEL

SITE

Emma Gullen

Aaron Brode

INTERIOR INTERSECTIONS

The project uses the theme of intersection to create an immersive experience for the guests who come to dine. The project was inspired by the garlic bulb, the fruiting body which displays how all the interior cloves work with and around each other to create this very organic, natural flow.

On the edge of a lake, a beautiful view from any area of the restaurant can be seen. Most clearly seen from the height of the second floor is where visitors can not only enjoy the water but also the entirety of the level itself. Moments of intersection happen visually through reflection, as the floor supporting the second level, is made of a transparent material. By making the floor material acrylic, the visitors can see the reflections of the overhead structure, the ascending and descending fins, and themselves.

The two levels of the building are also intersected by ascending and descending fins, into which seating is integrated. These fins emerge from the ceiling of the first level, or the floor of the second level, and provide places to sit while generating movement and rhythm throughout the project. They invite guests to both see the intersecting planes of the structure and to be a part of the architecture as well.

Site Plan and Section

First and Second Floorplans

Growth

Garlic

Interior

by: Jocelyn Pagliuca

Sasha Azbel

The Bell Pepper

Bell Pepper Abstraction, Collage

Bell Pepper Abstraction, Charcoal

Bell

The Series of Three

It can seem di cult to relate vegetables to architecture, however, these items o er glimpses to magni cent structure and geometry. rough analysis and abstraction of a red cabbage one can recognize the inner con gurations that are formed through the layering growth process of the vegetable. Triangulation becomes evident in interconnections of the exterior nodes of the vegetable. When these triangles are placed together they roughly form the shape of a hexagon. As the cabbage develops, its leaves layer over one another. In section, these layers further divide the triangles into more complex geometric shapes. ese observations of the cabbage inspired the geometrical and layered architectural language of the pavilion.

It can seem difficult to relate vegetables to architecture, however, these items offer glimpses to magnificent struc ture and geometry. Through analysis and abstraction of a red cabbage one can recognize the inner configurations that are formed through the layering growth process of the vegetable. Triangulation becomes evident in interconnections of the ex terior nodes of the vegetable. When these triangles are placed together they roughly form the shape of a hexagon. As the cabbage develops, its leaves layer over one another. In section, these layers further divide the triangles into more complex geometric shapes. These observations of the cabbage inspired the geometrical and layered architectural language of the pavil ion.

As visitors approach “The Series of Three” restaurant they are met with a three tiered landscape, rising above a dense forest to gain a view of the surrounding mountain range. Each level is embellished with rose bushes to captivate the viewer’s attention, until they find themselves in front of the structure itself.

As visitors approach “ e Series of ree” restaurant they are met with a three tiered landscape, rising above a dense forest to gain a view of the surrounding mountain range. Each level is embellished with rose bushes to captivate the viewer’s attention, until they nd themselves in front of the structure itself.

The form of “The Series of Three” consists of the same geometries as the red cabbage itself. The entire structure is composed of three hexagonal pods: with one large pod for formal dining, a slightly smaller pod for bar style seating and a small pod for the food preparation area. The exterior of the building features slender, operable panels that lay over the walls of the structure and form an airy canopy. Views of the entire surroundings are possible through these layers, while providing protection from the elements. The interior composition of each pod is made up of two hexagonal prisms that are supported by a series of trusses.

e form of “ e Series of ree” consists of the same geometries as the red cabbage itself. e entire structure is composed of three hexagonal pods: with one large pod for formal dining, a slightly smaller pod for bar style seating and a small pod for the food preparation area. e exterior of the building features slender, operable panels that lay over the walls of the structure and form an airy canopy. Views of the entire surroundings are possible through these layers, while providing protection from the elements. e interior composition of each pod is made up of two hexagonal prisms that are supported by a series of trusses.

In the center of each pod the ceiling inverts itself into a suspended chandelier, transforming the space underneath it into a focal point. While in the dining pod this hanging structure channels water onto an interior rose garden, in the kitchen pod it functions as a ventilation system. The casual dining pod features seating along the exterior walls and a central bar underneath this pod’s chandelier that also functions for glass storage. The food preparation area, where chefs work underneath the chandelier as the range located directly below.

In the center of each pod the ceiling inverts itself into a suspended chandelier, transforming the space underneath it into a focal point. While in the dining pod this hanging structure channels water onto an interior rose garden, in the kitchen pod it functions as a ventilation system. e casual dining pod features seating along the exterior walls and a central bar underneath this pod’s chandelier that also functions for glass storage. e food preparation area, where chefs work underneath the chandelier as the range located directly below.

“The Series of Three” is intended to delight the visitor through its combination of structure and geometry. Allow ing individuals to be enveloped by the site and landscape, yet nestled in a delicate canopy.

“ e Series of ree” is intended to delight the visitor through its combination of structure and geometry. Allowing individuals to be enveloped by the site and landscape, yet nestled in a delicate canopy.

The Series of Three Work by: Jenna Ferrandino

Work

of the elements discovered in Project 1 and 2, while also including the elements native to the banana. The location for the pavilion in project 3 was based off where bananas grow. It was placed in a tropical location. With the tropical theme, the pavilion was designed to be a wedding pavilion to give the structure a purpose.

The circular roof structure of project 2 was converted into elipses and dubbed “father and mother surfboards,” because of their shape. Furthering this, the support structures for the roof and the wedding arch also followed this eliptical idea.The actual roof surface and surface in the railing was maid out of a mesh like material intended to have a pattern like the banana flower. The enterance to the wedding pavilion was designed to resemble a wave-like structure.

Countinuing the tropical and curve-linear theme throughout the pavilion was important, so the tables inside continued the surfboard theme and the kitchen counter was also curved. The kitchen area had a staircase to the farthest right, which was for utility and a restroom, while directly next to it was the bar counter. The main counter to the left was for food and had a step up for guests to custom order food to be cooked on the flattop grills. Also while serving as a divide between the public space, the semi-private space(cooking space), and private space(dish room and storage room). While having easy access for the employees between the slits in the counter and hallway along the side of the kitchen. The kitchen also included skylights for light and ventilation and has palm trees surrounding the back to hide the structure from guests.

MOUNTAINSIDE DINING PAVILION

This project is located on the westface of a mountain. It is designed so that the majority of the views look to the west. The intended use of the space is for a family or other group to be able to gather, cook, eat and congregate together. The inspiration for the pavilion came from the star fruit. In the abstractions that preceded this design, the pentagon was the dominant geometry derived from the fruit. The supporting elements of the landscape utilize the same angle contained in the pentagon. Upon arrival at the pavilion the guest is presented with the choice between going to the upper or lower area of the structure. The lower area has been carved into the landscape creating a cave-like space. Its purpose is to afford the guest an area to take in the view from a unique perspective with the walls angled out from the ground giving the occupant the sense that they are suspended off the side of the mountain. The upper portion of the structure includes a cooking space with a large island and a covered dining area. On the outside of the pavilion there is another large table allowing flexibility between indoor and outdoor dining.

McDonald

Melissa

Mountainside

Division Of Space

Sun Path

Site Section A Site Section B

A B

Site Plan

DINING PAVILION

This project focuses mainly on the concept of the structure of carrots. The design is heavily inspired by the carrot itself, while also including details from the recipe. The root vegetable is one that develops underground, so I wanted to create an experience where the main visuals would develop as guests would go down lower into the main underground space.

Above ground, a carrot has a leafy green stem that acts as a hint to the main body that is underground. To replicate this idea, I created a glass skylight that has multiple purposes. One of those purposes is the above-ground “hint” of the structure below. The skylight also acts as a chandelier-like structure, which hangs down in the center of the dining area, and provides light to the space. On top of the skylight acting as a light source, it also provides a water source by acting as a fountain, where the water falls from above ground into the underground space.

I designed the space to be open and large so visitors wouldn’t feel cramped. A few additional concept details I included were the tapered walls, which were inspired not only by the carrot but by aloe as well, which is from our recipe. Another detail decided on including was the spiral staircases. These were originally going to be linear staircases, however, decided to change them to curved staircases to not only give contrast to the space but also because carrot stems/roots aren’t pin-straight, which is what I took inspiration from.

Dining Pavilion

Work by: Kayla Morel Professor: Tyrone Yang

Amplified

The

First,

Space

In

House of Senses

draw when the body moved in a specific way was designed. This particular apparatus attaches the the hands in order to excentuate and record the small gestures made while typing. From this, the act of typing, which usally produces a purely digital record of itself, also leaves an analog trace. In this way, the drawings this apparatus creates are like abstract versions of the text that is typed while using it.

The structure is a linear sequence along one of the island’s cuts, starting at a dock, moving past a pool and grotto, up into a living and kitchen area, into a sleeping area, and culminating at an outdoor observatory.

The building’s structure mimics Delaunay’s painting, continuing the layered diagonal and orthagonal system

the island

views

landscape

Gullen

Rubén Alcolea

2ndyear

A continuation of the Core Design Studios which introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

Narragansett Rowing Club

The Narragansett Rowing Club is a community center located on the Seekonk River. The lack of South facing windows in the storage facilities ensures the team’s and community’s boats stored here will not be damaged by the sun. A separate team space allows for privacy from the visiting team and spectators during regattas. Ample viewing deck space and additional stepped seating allows the community to gather and enjoy rowing events and other public activities.

The narrow site forced the design to be split into two parts, creating a gateway that leads to a piazza that celebrates the natural environment, the riverfront, and the community. The community and athletic zones are unified by the central piazza creating harmony throughout the design.

North

Work by: Amy Kunzinger

Andrea Adams

At first glance, these three projects seem to have nothing in common, but after evaluating their processes is where a similarity begins to emerge. The Heartbeat was based on analyzing the characteristics of the line produced by a heart rate monitor. These were then implemented into every aspect of the structure. Light Source was composed based on a polar planimeter’s range of motion. After breaking the motions down and overlaying them on one another, I was given the forms in which the lamp was constructed. The PinkHouse came about from a plan of Site A. By analyzing the sequence of thresholds within the landscape, I was able to pick out six different forms that I felt fit the function of each room in the facility.

Each project had its respective subject matter, but the process of turning these subject matters into buildings is similar.

Through a long process of researching and analyzing the subject matter, it allowed me to get a better understanding of the ideas I worked with. This was done by breaking down each characteristic in a way that created a clearer understanding of how its components coincide with themselves. I was then able to put these pieces back together to form my project, whether it be the first, second or third project.

by: Lisa Jagodzinski

Kris Lawson

LightSource: Concept Diagram

LightSource

LightSource

The PinkHouse: Concept Diagram

The

The PinkHouse Model

A2 - WAVEFORM SEATING

by the form of the waves. The shape of the seating device takes the occupants and the human form into account. I also wanted the seating to be able to be used in the lounge space of the rowing center, so wanted to create something that would be comfortable to sit in.

A3 - NARRAGANSETT ROWING CENTER

The parti of the Narragansett Rowing Center was in some ways inspired by the Waveform Seating Project. I wanted to continue to explore the idea how the waves interacted, this time in the form of the wakes of two rowboats as they move past one another. The two sides of the waves created the two main spaces for programmatic elements, and the space in the center allowed for community integration into the boathouse itself. The path which already existed on the site was almost always being used by members of the community, so I wanted to make sure it remained an important part of the project.

As the community, or the occupants of the Rowing Center, walk past the boathouse, the vertical louvers are intended to give the experience of the water itself. The forms undulate and naturally crest and fold over one another. The precise vertical rhythm is meant to counteract the random nature of the water with the order and precision of rowing. The louvers also provide shade for the interior of the boathouse from the eastern sun.

The two distinct volumes are divided programmatically between people and boats.

The upper element is intended for people, where the spaces are further organized from left to right as most-private, semi-private, and the public lounge at the end. The lounge opens up to the river, allowing for views in both directions.

The waveforms found in the louvers along the facades also are ranslated into the landscape as hills that create found spaces. The path meanders along the riverside, mimicking the shapes of the structure while also undulating towards and away from the river to allow for better views. The path continues directly through the boathouse, integrating the community into the rowing center itself by providing space for community boat storage. The viewing deck is located above the boat storage, containing more found spaces and allowing for more views of the river below.

-

Narragansett Rowing Center

For the Boathouse project, was assigned the task of designing a new Narragansett Boathouse on-site “C.” My Parti for this project is the literal Embedding and Stretching on

Then,

with

Digging & Assembling

Narragansett Boat Club

Sitting along the Seekonk River at the Northern edge of Providence, The site for the New Narragansett Boat House presented a heavily sloping landscape which contained a long and unobstructed pedestrian path. The task at hand was to create a boathouse which would not only serve the local rowing team, but also the community. From this, the structure needed to serve both home and away teams with appropriate facilities, as well including a semi-public social space for events and gatherings.

The Boathouse design works to preserve the existing path and create a seamless flow for both boats and pedestrians along the landscape. To go with this, a stairway has been carved from the center of the struc ture in order to maintain the concept of an unobstruct ed path. This works in conjunction with the concept of entering the boathouse without ever stepping in side. Passerby’s are greeted with views of the elegant boats and are immersed within the boat storage it self as they cascade up or down the central stairway.

Taken from a Precedent Study of the Bled Rowing Center, the idea of conforming to a curve of a landscape, in this case the riverfront, took hold as the driving concept for form. The subtle bend first took place on the ground floor to conform to the waters edge, but quickly started to in spire the form for other areas of the building, including the second floor. The idea of “peeling” came to light and slow ly started to create the paths and overhangs seen on the Boathouse. This subtle peeling effect can be felt from the main pedestrian path as the building starts to overhang your journey and reach out to invite you into the structure.

The end product of the boathouse is a low-profile structure which allows for both the seamless movement of boats and people around the building. Boats can enter and exit the lower level storage from each end and be easily transferred to the water. Pedestrians are encouraged to journey both above and through the boat storage with ease as well as admire the views presented by the upper viewing deck. The new Narragansett Boathouse provides the local rowers and people of the greater Providence area with a destination which is calming, inviting, and akin to all many realms of recreation. Home and away rowing teams are provided with locker rooms, showers, and bathrooms which all connect into a training room to open up to the view of the river and the focal points of the factory and bridge which sit across the water.

Patrick Mountjoy

Noel Clarke

THE NARRAGANSETT BOATHOUSE

Between Land and Water

The

The

of

being

the

and

of the

shown through the

the

as

where only a small portion of the plants continue to extend down towards the water. The way humans interact with the

is also purposeful in illustrating this connection.

There are sequences of experiences that people gain when exploring the architecture that evokes a sense of awe and better illustrate the connection humankind has with the landscape around them.

Between Land and Water

Work by: Ryan Wargo Professor: Ginette Castro

PROVIDENCE BOAT HOUSE

The existing site consisted of a singular road closed to traffic for pedestrians use along the waterfront. The site also has some interesting elevation change. On the south side of the site the slopes gradual, it is where most of the water run off from storms can be expected to go. As you move across towards the north side of the site the slope begins to become more vertical. This creates an interesting site condition to take advantage of in the design of the boat house.

The design focuses on using elevation as a way to differentiate between function. There are two main forms perpendicular to one another which are connected “lightly” This allows the spaces to be immediately connected but still appear as two separate spaces. The lower building is parallel to the river making it easier to bring the long boats into the storage portion of the structure. While the upper building is perpendicular to the river so it can interact with the existing hillside.

The first floor is dedicated to boat storage and a workshop. It is almost completely only meant to be accessed by the team and staff except for the entrance place along the exterior walkway, which gives lower access to the upper building. On the second and third floors there are various spaces laid out seperating between more public oriented amenities and other private ones.

For example on the second floor there is access to the roof of the lower structure creating a large viewing deck for visitors and spectators to watch the races and events. On the third floor there is both a training room and a portion of the public lounge space. Each of these is separated from one another and each as its own stairwell connecting to there matching counter parts. Such as the upper lounge with the lower lounge and the training center with the locker rooms.

The final design sought to find the best way to separate functions while matching corresponding amenities with eachother to provide the best access and ease of use in the space.

Work by: Andrew Gouveia

Karen Hughes

ABSTRACTION SKETCH

ITERATION ONE SKETCH

Paloma Bellizzi

Samantha Moscardelli

PRECEDENT:

PRECEDENT:

FINAL ITERATION SKETCH

Digging and Assembling

The digging and

the

Above

On

Artifact

The

identifying what artifact to use. On the right there are two images of a brass winch. This is the artifact that was used in this project. Below the images of the winch is an analysis of the movement that the winch goes through when it is being used. This would develop into a key element of the bench design.

To the far right is are several drawings that represent the final design and function of the bench. The axon shows the hinge feature within the bench that explains how the movement of the bench functions. This project was a great experience in learning how the analysis of an object can inspire a design.

The Boat House

The Boat House was the final project of this semester and used elements from most of the previous projects. The goal of this project was to research, visit, and design a boathouse for the sport crew. The first step was to research existing boathouses and understand the ins and outs of how they work. By looking at several precedents and comparing and contrasting it was clear to see what the important parts of a boat house were as well as how the the design can play a part in the overall building. After the precedents had a good idea of what was important and not important for my boathouse.

The next part of the project was visiting an existing boathouse as well as the site where we would be building our own boathouse. Being able to physically stand in a boat house and understand the scale of the rooms, as well as the boats, was a very important step to learning the needs of a boathouse. Being on the site was also very important because it allowed to first-hand see the space where the new building that would be designing would go. Having the ability to physically visit and experience a site is a major benefit to the overall project.

After the site visit, what was left in the project was to design and create my design for a boathouse. When I was designing the boathouse I wanted to create a seperation from the inside where events would be taking place and the outside where the public would be passing by. To create this feeling within the space, designed the buildings to wrap the inside deck. This wrapping effect also allowed the buildings to have windows and more clear views of the river where the events would take place.

The design of wrapping the buildings created this feeling of a cove on the water. This developed the dock to create a cove of its own which then further developed into my overall idea of safe harbor. The idea is that the boats that were used for the sport could be docked on the inside of the dock, safe from the waves of the river.

After designing the docks went back and redesigned the deck space where the public would be so that it matched the feeling of the docks and the overall space I wanted to create. The design of the safe harbor also inspired the entrance to create a sense of wonder and question from the outside. This would draw the public into the space while also keeping seperation and privacy important.

In conclusion, this project brought together all of the projects before it while teaching me how to design around a concept while also keeping a connection between all of the space. This projected bettered my skills overall and without the previous projects it would not have turned out the way it did.

Images

Multi-Generational Housing

Community Terracing

Located in the Historic French Quarter of New Orleans, this multi-generational housing complex allows for the mingling and engagement of varying age groups while providing ample ADA access and entertainment spaces. The lively and exciting street scape of New Orleans has been curated and constructed within the central courtyard to provide and foster a greater sense of community and interaction. The structure begins to step back as it rises, thus creating a series of terraces to open up the central space and incorporate a greater sense of integration

Composed of 17 units, retail space, a gallery, library, and restaurant, the structure invites both the residents and the public to mingle in a common area while providing exciting opportunities to merge and intersect. Balconies and terraces produce planted spaces, communal areas, recreation sectors, and nodes of interaction in which those of all generations can share stories, ideas, and dialogues.

COMFORT AMONG CHAOS

Society demands a lot and as the world has evolved we have adapted into the “go go go” motto. Within this ideology we are forced to find comfort among the chaos, this model represents the never ending demands of so ciety. Having to find a place to sleep but yet when found still hearing the lasting sounds of the commotion above. There inlies never tru ly getting away from the impending demands that make up our lives. This model may em

Comfort Among Chaos

Work by: Sophia Bono Professors: Ginette Castro

TENSION WITHIN

A pilot is constantly in motion living the fast paced life style on the go while a ceramist has a laid back go with the flow life mentality. The pilot is constantly suspend ed in a high altitudes’ and the ceramist’s craft calls for building up clay into definite forms. These two different lifestyles calls for a space unique to each individual as they are never on the same page. This is represented through the varying floor levels between the two. The pilot’s dwelling grows in a horizontal manner, imitating the way a plane gradually uplifts. The ceramist’s side is growing upwards vertically representing the motion of throwing clay on a pottery wheel. The grooves in their artwork are magnified on the exterior facades on the first, second, and third floor toggling back and forth at each level. Though these two forms create tension, it is what allows for a unique living space for individuals with vastly different lifestyles.

Bono

Ginette Castro

Bono

REFLECTED

SECTION MODEL 1/2”=1’

MODEL

The Painter and the Cellist Work by: Rachel Kane Professor: Ginette Castro

Work by: Lorennah Granfors, Delia Maguire, Alicia Vincelli, Joseph Depaolo, Zachary Laplant, Rachel Borzone, Ethan Medeiros, Nicole Casler, Leah Whearty, Professors: Nathan Fash and Chris Ryan

Work by: Rose Walsh, Rachel Wronski, Delia Maguire, Ryan Desanctis, Sarah Smithline, Mason Lantz, Bodie Ibrahim, Anthony Paturzo, Ethan Medeiros, Evan Wenchell Professors: Nathan Fash and Chris Ryan

Gerrit Rietveld’s Schroder House was built in 1924 for a recently widowed wom an, Truus Schroder, and her three kids. Rietveld was a fur niture designer and was un conventional in his design of the house; It is known for its unusual layout and forms. Its dynamic elements allow for spaces to become dynamic and interchangeable.intro duced sliding partitions that could be moved in order to create privacy or openness on the first floor. He also uses the same techniques to create fluid transitions between the exterior and interior spaces. Following the De Stijl move ment, the house features ver tical lines and planes,

contrasted with horizontals, and accented with primary colors which were placed on structur al elements. It is balanced, and asymmetrical in composition allowing no single element to dominate the design. By means of protruding, relieving, hid ing, and exposing specific com ponents, Rietveld creates an abstract design that becomes machine-like. The building is configured with a staircase at its core creating a centralized plan. The staircase thus influences the circulation which spirals inward on the ground floor and then outward once at the first floor.

Detail drawing of the corner window of Rietvled’s Schroder House showing how the windows can be seen as an effortless transition between the exterior and the interior.

Zulange Gonzalez Professor Dingliang Yang

FRAGMENT:

Work by: Patrick Mountjoy

Rubén Alcolea

Analysis

Case Study: Casa Turégano

Maryrose

QUALITIES

OSWALD MATHIAS UNGERS

UNGERS’ “HOUSE WITHOUT QUALITIES” WAS DESIGNED TO EXPERIMENT WITH THE REDUCTION OF ARCHITECTURAL ELEMENTS AND QUESTION THE NECESSARY QUALITIES OF A HOME. BASED ON CLASSICAL ARCHITECTURE, UNGERS FOCUSES ON CREATING AN ORDERED STRUCTURE THAT STEMS FROM GEOMETRY AND PURITY. THE RECTANGULAR PLANS AND SEEMINGLY SIMPLE DESIGN OF THE HOME PLAY WITH THE IDEAS OF PUBLIC AND PRIVATE SPACES THROUGH DOUBLE HEIGHT SPACES, BALCONIES, AND HIDDEN ROOMS. THESE HIDDEN ROOMS REFER TO THE PRIVATE FUNCTIONS AND CIRCULATION ROUTES OF THE HOME, SUCH AS BATHROOMS, CLOSETS, STAIRCASES, AND AN ELEVATOR, ALL OF WHICH ARE UNDISCLOSED INSIDE OF THE WALLS. UNGERS’ DESIGN REFLECTS THAT OF MEDIEVAL CASTLES WHERE PRIVATE CHANNELS AND SERVICE FUNCTIONS ARE SEPARATED FROM PUBLIC SPACES, KEEPING MATERIALS OR ROOMS UNEXPOSED. THE CLEAR ORGANIZATION AND PURPOSE OF UNGERS’ DESIGN CAN BE SEEN IN ALL ELEMENTS OF THE HOME, EXPRESSING HIS INTENTIONS OF GEOMETRY, PURITY, AND LACK OF TRADITIONAL RESIDENTIAL FEATURES.

THE SITE IS SURROUNDED BY TAILORED HEDGES TO CREATE AN IMPENETRABLE EFFECT. THE HEDGES SCREEN THE GROUND

Work by: Rachel Borzone

John O’Keefe

GARDEN FROM THE STREET

SIDEWALK.

ENTRY GATES,

TRELLIS,

CARPORT

PAINTED

ANALYTICAL

HOUSE WITHOUT QUALITIES VS. MEDIEVAL CASTLE HIDDEN ROOMS

ILLUSION OF TRANSPARENCY

The green color is placed in the middle of two colors that help manipulate the green color to look like the other one. The green square on the left has more blue under tones com pared to the green on the right which was more yellow under tones, overall contrasting with its background.

The pink color is placed

two different colors. The light er blue makes the pink appear darker

the darker

of blue makes the

Two blocks of colors are joined in the middle to create a balance third color. The use of two completely different colors create a perfect sense of balance so that no tone is being over powered. It can be seen in the blue and pink combination that the middle colors not overpowered by either color. Same goes for the yellow and blue combination. There is not an over powering sense of blue nor yellow, both are perfectly balanced.

Simple lines and shades were created to help dis tinct circulation, hierarchy, geometry, and symmetry. The combination creates art within itself as well as identifying its key components. The shapes from di agramming create patterns and play off each other to create rhythm and movement.

AXONOMETRIC

BURNSIDE

VILLA DALL’AVA

92 STATE STREET

Los Manantiales by Felix Candela

Concrete became an increasingly popular building material during the Spanish Civil War. This was due to the fact that it represented modernization and efficiency. During the mid- 1950s Joaquin and Ferdanadp Ordonez proposed to Candela to design a restaurant for the Centro Asturiano en Calzada de Tlalpan.

The structure created a replacement for another wooden restaurant that had burned down previously. He decided to start creating full scale experiments through engineered thin shell structures.

The citizens in the city of Xochimilco refer to the structure as “La Flor” (the flower). The system of the building is hormonally sound between the outer shell and the surrounding floating garden. It is also formed by interesting hypars with a thin roof structure that creates a dramatic open space for the dining area

The shape of each of the petals is considered a Hypar Vault; together, they form groined vaults. In this shape, forces from the weight of the form travel to the groins. These groins take the forces, and redirect them towards the supports in a similar way a standard arch would. This force acting on the support is at an angle, and therefore generates a horizontal and vertical force.

Candella performed and validated his calculations with the 3 hinged arch model, alongside ‘membrane theory for hypars’ (which he developed). after a computer analysis (which takes into account all possible forces and reactions), that the x component of the resultant forces is less than previously estimated. The reason is because of the form. The overhangs create forces that act in the opposite direction to the other horizontal forces, cancelling some force out making the resultant less magnitude. For these reasons, Candella was able to produce a wildly fluid form out of concrete, with an extraordinarily thin shell.

Work by: Cole Calavano, Zack Wieners, Niccola Zona Professor: Olga Mesa

3rdyear

A continuation of the Core Design Studios which introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

3 4 5

by: Brooke Dutton

Marthe Rowen

“Circle of Friends”

existent on the site, allowing for a smooth flow of people though the plaza and keeping in touch with the pre exist ing site conditions.

existent on the site, allowing for a smooth flow of people though the plaza and keeping in touch with the pre exist ing site conditions.

The grid is seen within the theater with the arrangement of the seats and stage, as it is connected to the center point of the grid. However, when one steps onto the middle of the stage, the grid switches and they become that center point with all the seating and aisles pointing towards them.

was also

Street Theater

and used for the

Based

come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this tree, forms for vegetation and seating were constructed that yielded two main circulation paths. These paths were already

of the

The center of the

The grid is seen within the theater with the arrangement of the seats and stage, as it is connected to the center point of the grid. However, when one steps onto the middle of the stage, the grid switches and they become that center point with all the seating and aisles pointing towards them.

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was

holds a tree, alluding to how all ornamental forms essentially come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this tree, forms for vegetation and seating were constructed that yielded two main circulation paths. These paths were already

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was de rived that could be used to create almost any piece of jewelry or ornamental

and circulation paths. This kept jewelry as the heart of the project.

MATERIALS AND TRANSPARENCY

MATERIALS AND TRANSPARENCY

The use of bricks helps to connect the building to the city and architecture of Providence. However, a perforated brick was used as the exterior to allow for some trans parency into the interior of the building and to the plaza. In service areas and restrooms the facade becomes fully brick to allow for privacy. However, in areas of public ac cess, glass blocks were placed in between the bricks to allow for interaction between interior and exterior. The shadows that are created by this perforation also allowed for a type of natural ornament for the interior of the build ing as well connecting the building back to the idea of jewelry and ornament.

The use of bricks helps to connect the building to the city and architecture of Providence. However, a perforated brick was used as the exterior to allow for some trans parency into the interior of the building and to the plaza. In service areas and restrooms the facade becomes fully brick to allow for privacy. However, in areas of public ac cess, glass blocks were placed in between the bricks to allow for interaction between interior and exterior. The shadows that are created by this perforation also allowed for a type of natural ornament for the interior of the build ing as well connecting the building back to the idea of jewelry and ornament.

also

existent on the site, allowing for a smooth flow of people though the plaza and keeping in touch with the pre exist ing site conditions.

This creates focus and importance on the performer and the performance. The theater’s sound insulation also kept the idea of the grid as geometric forms were abstracted from the ceiling to create an artificial skylight that shines onto the performer while they perform, again focusing the

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was de rived that could be used to create almost any piece of jewelry or ornamental designs. This grid was then used as the basis for the plans of the performance center. The forms within the grid lines were extracted as building masses and circulation paths. This kept jewelry as the heart of the project.

The grid is seen within the theater

the

the

The grid was also kept and used for the design of the plaza. The center of the grid holds a tree, alluding to how all ornamental forms essentially come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this tree, forms for vegetation and seating were constructed that yielded two main circulation paths. These paths were already

aisles pointing towards them.

This focus and importance on the performer and the performance. The theater’s sound insulation also kept the idea of the grid as geometric forms were abstracted from the ceiling to create an artificial skylight that shines onto the performer while they perform, again focusing the audience on the performer.

the

The grid was also kept and used for the design of the plaza. The center of the grid holds a tree, alluding to how all ornamental forms essentially come from nature and also adding shade to the

This creates focus and importance on the performer and the performance. The theater’s sound insulation also kept the idea of the grid as geometric forms were abstracted from the ceiling to create an artificial skylight that shines onto the performer while they perform, again focusing the audience on the performer.

the

performer while they perform, again focusing the

on the performer.

MATERIALS AND TRANSPARENCY

MATERIALS AND TRANSPARENCY

MATERIALS AND TRANSPARENCY

MATERIALS AND

The use of bricks helps to connect the building to the city and architecture of Providence. However, a perforated brick was used as the exterior to allow for some trans parency into the interior of the

MATERIALS AND TRANSPARENCY

theater per formance. Contributing elements such as costume and scene design, the educational, and practice operations are each highlighted to provide a thoughtful learning approach for the students of the 52nd Street Project.

SECTION

THEATER

Work by: Grace Amoruso

Mended Ground Cultural & Performance Center

PROJECT NARRATIVE & PARTI

The purpose of this building and 52nd Street Project is to create a safe, grounding, but transparent space for chil dren to learn and theatrically flourish The project reflects both the fracturing & mending reconnection the flow and energy the people of Providence, especially children, bring to a space. As seen in the parti diagram to the right, it is ap parent that the ghosts of people’s circulation through the site, before placing the building, are honored and remain alive, respecting their natural paths taken through the city. The sidewalks of the plaza reflect the circulation on the inte rior of the project, extending the natural diagonal lines of the paths to the outside, drawing people into the “canyon”.

FRONT

DIAGRAMATIC

STUDY MODELS

Work by: Lorennah Granfors

Professor: Julia Bernert

“THE PEARL”

Community Performing Arts Center

My performance center focuses on designing playful spaces that are engaging for kids and adults as well. The performance spaces are like a hidden pearl, cradled by the support spaces and public areas by acting as the shell. It functions as the core of the project and the object of fascination for children to discover. Creating a clear division between support spaces, public, and performance areas will demonstrate my parti. Lastly, the exterior plaza is included to provide a space for kids to release their youthful energy.

Joseph DePoalo

Marthe Rowen

Community

Connectivity

A performing arts center, located in Providence, RI, designed to house various types of performances along with educating the young. A space that is designed to connect you with others and learn from them, listen to their stories, and enjoy the gathering of those around you.

A special connection can be made in a theater and throughout a performance. As the performer is telling the audience a story, a relationship is being created. The audience has been emotionally invested into the performance resulting in the expansion of their imagination, vision, and creativity.

This performer-audience connection is being made as they may inspire or influence new ideas and feelings. Similarly, a child’s mind is full of these imaginary and creative thoughts, as theater is something that allows them to express themselves and these hidden concepts. Spaces that influence connections between multiple people, such as the performers, audience, and students is an important role in this design.

As one approaches the performing arts and educational center, they will be welcomed by the greenery and comfort of the plaza breaking up the busy city. As one circulates through the building, they will find themselves not only communicating on equal levels, but through multiple double high spaces and elevations. This is not only demonstrated on the interior of the building but also on the exterior, such as the front facade. Diving deeper into the design, materiality and color are used in a way that connects parts of the building to a more natural world and a more imaginary world, similar to a performance.

The performers, audience, and students all can be inspired by the way they are connected. These connections allow for growth, knowledge, and new ideas.

by: Matthew Carlson

B.G. Shanklin

Work by: Nathan Cormier

Hanisha Thirth

Fall River

OVERVIEW:

Fall River, a greatly under-served community just 15 minutes from Bristol, RI, set the site for what would be a new and improved street for the citizens of the city. Specifically, the City Hall Building sitting atop an overpass for the I195 highway would serve as an anchoring point for a new shading device, land scape, and urban setting.

SITE ANALYSIS:

Downtown Fall River is a dense mid-rise city with a collection of business districts and neighborhoods mixed in with busy highways and industrial dis tricts. The area where City Hall sits is between two busy areas of commerce in the city and stands as a connector over the highway tunnel. Parks in Fall River are space, especially in the area of center city. Vegetation on the site is minimal with a few young trees and shrubs dotting the sidewalk. Concrete retaining walls and the solid and dense feeling city hall building dominate the landscape. The feeling on the Southwest side is cold and hard. The under de veloped sidewalk adds little positives to the initial feeling given by the building and adjacent landscapes. The sidewalk also contains no shelter for either sun or rain nor does it provide ample seating for an area with such high traffic.

OBJECTIVE:

Through research and analysis of weather data, demographics, and prece dent studies, the task at hand was to create a complete design for one street surrounding city hall. This meant first analyzing weather trends and shading angles to create a shading device as the main gathering point for the space. From here, a landscape was created with ADA accessible ramps and stairs to round out the sidewalk and increase storm water runoff for the site. Lastly, research was done into urban design trends to overhaul the existing street by allowing pedestrian traffic to take back control of the site. This including add ing bike lanes, narrowing car lanes, and adding more vegetation.

Work by: Patrick Mountjoy Professor: Leonard Yui

Wind

FALL RIVER PROJECT

With the chance to create a public space on the Fall River city hall site, there were a few goals I wanted to accomplish with design, that of which being to create a space that adresses the problems of the community. The city of Fall River MA is poverty stricken that lacks a central space for congregation while also having food insecurity issues. With the design, I proposed a two level space that can accessed by all with the inclusion of ADA ramp and stairs. The space includes built in seating on the lower floor which is shaded by the floor above which also cantilevers over the bottom story. Following, The upper level utilizes more malleable seating arrangement along with a shading device to provide comfortable temperatures during the summer months. The two spaces are tied together with a central void that has a tree running up the center. This move is meant to be symbollic of a move towards nature for the initial site of the city hall/ I-195 rid of a waterfall of the Quequechan river.

Adjacent from the site decided to create a community garden to adress the food insecurity issues of the community, where it could actually be classified as a food desert. As the site of the city hall and park site above I-195, noise pollution is obviously a concern for the site, as a response I lined the western most side of the park with trees to dampen the noise from the highway. The park also includes a bus stop for better accessibility to the site along with a lane for food trucks along with seating. Across from the park, there is also an outdoor art exhibition that can be utilized by the public. The move to add food trucks along with an art exhibition is meant to draw people to the site.

city of

while also providing

I also found it interesting on the immense amount of people who live 10 minutes from work and still decide to drive and even walk to work over bike, so also made it a mission to make the surrounding area more friendly to bikers. Firstly, I reduced the amount of lanes which should not have much impact on local traffic, but also allows for the inclusion of a larger central median, bus stop/ food truck lane, and bike lane. The inclusion of the bike lane along with a reduction of space made for cars will allow easier access for biker which will hopefully make for a more active/ lively community.

The site also includes an increase of permeable surfaces and greenery while still respecting the current brutalist style of architecture. With the design of the public space and park I decided to create a cantiliever and shading device which matches the style of the city hall. Following, I included added trees and a greenwall seen on the railings of the ramp.

The

is an

and

area that does not account for its atmospheric conditions. A thorough site analysis which included looking at the demographics, the sun path, climate analysis, and wind patterns were analyzed to design a more sustainable and vibrant community through urban design.

When first looking at designing a shading device in fall river numerous climate conditions were looked at and taken into consideration. One of the site conditions was the sun path, specifically looking at what time the site would get the most sunlight and accounting for that. The site got the most sunlight between noon and 3 pm, so looking at the humidity and temperature in fall river it was apparent to shade that time of day. However, since the site is in New England it does get harsh winters, so it is necessary to allow for as much winter light in as possible to maximize thermal comfort. Therefore the shading structure was designed for maximum shading at noon and 3 pm in the summer. The design also accounted for the winter sun and the shading device was at a certain angle to optimize the afternoon sun in the winter. Another key aspect of the shading device was to have filtered light come through and not have it be completely shaded, but have it be filtered inorder to create a unique experience underneath the device to enhance the urban design.

Another aspect looked at fall river was the accessibility for everyone with or without disabilities and making the site one cohesive design. A designed a ramp that allowed for gatherings and aided in a more sustainable effort through greenery. The stairs were integrated into the ramp and have two access points up to city hall to allow for traffic control on each side of the site. The design of the ramp was was a gradual slope down from city hall which created two terraces that are flush with the landings so everyone can access the green space. Having these gatherings space up above the street allowed them to frame a view looking towards the water. Having views of the water allowed me to tessellate my shading device accordingly to maximize the views.

Work by: Sophia Bono

Professors: Nicole Gaenzler and Leonard Yui

FALL

Fall River Project

This Project aims to create a gathering space with connection to City Hall from new stairs and ramps and connection to the street with a newly designed street layout. The purpose is to provide a solution to the poorly designed landscape at City Hall in order to draw in more people to the area. In the process of designing this new landscape, climate, landscape design, and urban planning was considered to create the most comfortable environment for the people of Fall River.

With the given site on the South end of City Hall, the shading device combats the hot sun shining on the area. Climate analysis such as shadow study, wind, seasonal temperatures, and passive design of the region was also taken into consideration in order to create the most comfortable environment for the people.

Next, the design looks at accessiblility in creating ADA stairs and ramps. These accessibility additions work to form the gathering spaces and paths in the landscape as well as influencing the placement of greenspace to improve strormwater runoff in the area. The addition of permeable pavers for much of the gathering space also helps reduce stormwater runoff. Lastly, the design aims to connect the gathering space to both the street and the space on the other side of the street while taking into consideration some demographic maps of Fall River.

The hand rails and plentiful seating respons to the older median age around City Hall and the added bus and bike lanes respond to the lower percentage of people driving vechicles in the area. Overall, the project design focuses on comfort, safety, and accessibility for all people.

Work by: Josh McNamara Professor: Leonard Yui

Perspective

Perspective

Plan

Precedent-

Shadow

Perspective Looking Through The Shading Device

Perspective of Shading Device, Showing Ample Shaded Area

Work

Cole Russell

John

The Religion of Louis Kahn and the Jonas Salk Institute

Born

as Charles-Edouard Jeanneret-Gris, Le Corbusier has solidified his position as the most recognized architect of the 20th century through an extensive portfolio of globally-studied, highly-referenced works. Throughout his long career, beginning at just twenty-five years old, Le Corbusier’s work played a crucial role in the spread of modernism across the globe. The ideas and principles he introduced to modernism, from his five points of architecture to his view of homes as machines for living, inspired generations of architects to view the built environment in accordance with his politics and principles. Despite the widespread influence of his most iconic works, however, even Le Corbusier himself could never be completely satisfied with his architectural doctrine. In 1929, the architectural work of Le Corbusier underwent a radical change in form, function, materiality, and principle. His abandonment of the machine, replaced quickly with goals of lyricism and undulation, was met with shock and confusion across the greater architectural community. The potential causes of his complete shift in trajectory vary greatly and include the great stock market crash, the atrocities committed during World War I, and personal beliefs toward life, religion, and culture. Although Le Corbusier’s exact intentions remain unknown to this day, it is clear that sociopolitical factors, as opposed to aesthetic considerations, largely contributed to his abandonment of purism and adoption of critical regionalism.

to

Jeanneret,

Fonds

began

It was during a trip through the Mediterranean called the Voyage d’Orient that Jeanneret penned a letter regarding the supposed “Universal Qualities” of primary geometries such as cubes, spheres, pyramids, cones, and cylinders in response to studying Rome’s greatest ruins. Jeanneret believed that the seemingly permanent existence of these geometries implied permanent value. He viewed architecture and design as a black and white issue - a question of right or wrong. Works either contained perfect, universal geometry, or they did not - and this measure of quality directly determined their merit as architecture. By 1917, Jeanerret had begun expressing these ideas about form and order in a magazine co written with Amédée Ozenfant called Aprés La Cubismé. The two referred to themselves as purists, considering themselves to have taken up the duty of reshaping art in the wake of cubism. They considered cubism, an avant-garde movement that warped reality through geometry, to be an impure, fragmented interpretation of art. As purists, Jeanneret and Ozenfant intended on returning art to a state of perfect, correct geometry. They regarded mass-production - the machine - to be a tool with incredible potential to enforce the “basic laws’’ of perception, and studied the proportions of machine-built objects. In a still life painting entitled “Nature morte a la pile d’assiettes,” (Figure 1) Jeanneret depicted objects commonly utilized in cubism - plates, pipes, a book, etc. as perfect, idealized forms, each matching the rest in shape, size, and proportion. He believed that only through pure machine forms could society reach a perfect socialist utopia, in which equal proportions would inevitably lead to equal opportunities and fair outcomes.

Jeanneret, who adopted the name Le Corbusier in 1920, ultimately intended on developing a socialist utopia by way of his urban planning concepts. In Vers Une Architecture (Towards an Architecture), Le Corbusier depicts a new architecture; one that would both “express the spirit of the age and face the problems of a centralized, modern metropolis.” He defined architecture as the “correct play” of volumes - insinuating that other methodologies were, so-to-speak, incorrect. The mission of this new architecture, according to Le Corbusier, was to facilitate the functioning of a new, machine-based society. Long before he wrote Vers Une Architecture, he had already developed several concepts in regards to the application of machines in creating a perfect, socialist society. Maison Domino (Figure 2), a modular housing unit made up of three slabs, six piloti and an attached stair, was his proposal for a France-wide social housing system. Each household across France would receive the

His work throughout the 1940s contained themes of surrealism and mythology. Several of the once-rigid five points of architecture became fluid and subject to change. The free plan, once essential, appeared rarely post-war. The role of piloti in lifting structures away from the ground became less important, replaced by walls which continued downward. In his 1945 apartment complex Unite Habitacion (Figure 4), Le Corbusier reexpressed his socialist ideals with an entirely new palette. Painted-plywood, purposefully flat to appear machine-built, was replaced by bêton brut, concrete intentionally textured by formwork. Shading devices - brise soleil -directed sunlight into apartments, prioritizing the human experience over the simplification of an exterior façade. Rather than encourage separate, mass-produced living, as expressed through Maison Domino, the complex facilitated more communal, communist conditions, in which all necessities were capable of existing within the self-sufficient structure. A shopping mall provided inhabitants with stores and markets crucial to everyday life. A rooftop terrace, left behind from the original five points, diverted the paths of previous gardens by featuring organic, surrealistic shapes for children to play and dream amongst.

Perhaps most telling of Le Corbusier’s hanging design principles was his 1950 chapel Notre Dame at Ronchamp (Figure 5). Those familiar with Corbusier’s work met the structure with skepticism and apprehension. The church, though rumored to have been organized with a modular system, appeared entirely irrational, organic, and surrealistic. The heavy curved roof had been engineered by Iannis Xenakis specifically to appear irrational. The very technologies that Le Corbusier had once appreciated as tools for purism had now become tools for abstraction. In addition to its reinterpretation of the function of machine technology, Notre Dame at Ronchamp showcased the very beginnings of critical regionalism, in which architecture of the international style is adapted to reference location. A myriad of influences, such as the material vernacular of the mediterranean and the shape of a typical Hebrew temple, mingled with one another to create a form with no semblance of machine purity.

Throughout his career, Le Corbusier continued to prioritize his socialist ideals, some which could be considered “more cultural than political.” Although he continued to express the same desires - developing a utopian society for the benefit of humankind the methodologies he held and utilized in order to attempt to realize those ideals shifted greatly within the span of a few decades. Le Corbusier witnessed the means required to achieve the end goals of purity and perfection in the wake of the second world war.

The insurance of idealized proportion, when applied practically, requires the removal or elimination of geometries considered impure. Whether Le Corbusier realized the relationship between his ideologies and the atrocities committed during the war remains unclear. Scholars are also in disagreement as to whether, given the opportunity, Le Corbusier would have continued his quest for perfection, should facism have won the war.

Regardless of such hypotheticals, the connection between Le Corbusier’s early admiration for machines and his eventual abandonment of the subject lies next to the connection between the built environment and society at large, and the question of which influences the other. Le Corbusier’s stance on this relationship is clear: “It is a question of building which is at the root of the social

Corbusier: Life and Death of the Machine

Maryrose DiPiro

John Hendrix

Computers are Bad for Architecture

Course: ARCH 322.01 Theory of Architecture

Work by: Abigail Arruda

Professor: John Hendrix

ABSTRACT

Use of computer programs distances us from the link from our hands to our minds, and asks little of us. The speed of the computer eliminates the processes of exploration and decision-making in design. Computers do not allow enough time for a design to be thoroughly thought out. They do not allow for the pleasurable process of design development connecting the hand, eye and brain. The computer does not reveal potential flaws in the design. Buildings designed on the computer can be inappropriate for their site, functionally inefficient, difficult to construct, over budget, or ugly. Unfortunately the computer serves the current image-dominated approach to architecture made necessary by media. In this screen capture of Instagram, seven of the fifteen images were created on a computer. Often the computergenerated image is not accurate to the architecture. Computers can be detrimental to designs and the design process, but architecture in the twenty-first century requires reliance on the computer. It is unavoidable in the higher education curricula of architecture programs to use a computer for architectural drawings or renderings. As technology advances and the modern world continues to change daily, computers are more and more involved in our lives. The question about the advantages and disadvantages of computers continues every day in our society.

Images left from Pinterest

Flexibility in Architecture

Course: ARCH 322.01 Theory of Architecture

Work by: Cora McComiskey

Professor: John Hendrix

ABSTRACT

As students, we are to present deep analyses of site conditions and environmental studies as a prelude to the design process. I have spent many hours researching urban contexts and analyzing surrounding buildings, traffic patterns, and census data (as in the image). This information is important, but basing a design solely on the conditions from the current point in time– or really any point in time preceding the present– creates an architecture of staticity. In a period of six months, the neighboring businesses may be leased. In five years, there s the potential for a new infrastructural system. In twenty years, there is a possibility that the entire context has changed or, in an extreme case, no longer exists. And yet, if the design conforms to the conditions of the present, it fails to meet the conditions of the future. This possibility of rapid change is not theoretical, but has been actualized in many instances in the past. Instead of designing for the present– for the conditions that we know and understand at the current point in time– we should design in anticipation of the future. The change is not limited to external context. The occupant turnover in certain types of buildings–mainly commercial or residential– tends to be high in relation to the building’s lifespan. Environmental-based responsive architecture should not be confused with sustainable architecture. Storing rainwater, fixed solar panels, and recycling greywater are methods of sustainable architecture, and these methods are fixed, static. Environmentally responsive architecture tends to include stimuli-based sensory technology that influences the positions of mobile elements. While its impact on the human is unmatched, the flexibility of responsive architecture is crucially important when it comes to the environment. Responsive architecture is the “new” sustainable architecture, but instead of being tied to a singular condition, responsive architecture has the ability to learn and to adapt.

Psychoanalysis and Architecture: How Mental Health Disorders Brought The World’s Greatest Architectural Works

Course: ARCH 322.01 Theory of Architecture

Work by: Jenna Salisbury Professor: John Hendrix

ABSTRACT

Architecture is an expression and reflection of the human psyche

In order to understand the role that architecture plays in changing concepts of cultural identity, it is helpful to understand the human psyche behind architectural works. In architecture (as in any language), vocabulary elements have certain symbolic, representative associations. Le Corbusier changed the architectural vernacular through his masterpieces that brought about modern architecture. What if he had autism? Individuals with autism struggle with social relations and visual overload or hyperarousal, obsessions and compulsions. He wrote that he preferred drawing to talking, and he could not look people in the eye. The Prairie Style comes from Frank Lloyd Wright’s need for family stability that he was missing in his ife, and childhood trauma caused by emotional cruelty and physical violence.

The prairie is symbolic of letting go of the past in an exploration of endless possibilities. The Prairie Style begins with the hearth at the center, symbolic of family. To Wright this was his way of making a home rooted and built around a strong and warm, loving family that he desired. Francesco Borromini suffered from melancholy and possibly schizophrenia. Depression can cause feelings of hopelessness and pessimism; his belief in God provided him with hope. He had a violent temper and a neurotic fear of human contact. His twisted architectural forms may be symptoms of psychical disorder. Looking back on my own studio projects, I can see my own psyche controlling my design concepts. Our first project this semester was to design a structure that performs. My design concept is the distortion of space. I created fractured reflections through position of structure, orm, and organization (see image). The forms were organized to appear to be connecting and intersecting with one another in order to create the deception of broken reflection. The exterior is confusing, broken, and deceptive, but when a person sits inside, that is the only time they see the true reflections of themselves. The brokenness of the project comes from the depression that can come with post-traumatic stress disorder. The psyche has an interesting way of communicating in unseen ways. It is a great phenomenon that has birthed the best architectural works in history.

Work by: Olivia Cromer, Laura Griffin, & Nicole Casler Professor: Cynthia Murphy

Architecture: A Physical Zeitgeist for the Era of Human Civilization

Course: ARCH 322.02 Theory of Architecture

Work by: Jordan Peck Professor: John Hendrix

ABSTRACT

Historically, architecture has told us a great deal about humanity, from the Great Wall of China to Robert Venturi’s manifesto Learning from Las Vegas, which illustrated the architecture of signage that helps to give relevance to the destinations that surround us. Architecture has always had a defining trait in its imitation of nature’s shapes, mathematical formulas, and geometries, embodied in a range of earthly materials and their interaction with physics. Architecture’s journey through time is made up of a mixture of two things: the art and culture of the period, and a term called flotsam. Flotsam is the floating remnants of the past to remind us of what human life used to be, and the world that we have built is one big palimpsest, or layers of traces of the past, of the architectural ideas we believed would add something more to our lives. Architecture is a man-made reflection of the zeitgeist of the present era: what human life is and needs during that place in time. The universe is always morphing and changing and architecture’s goal has always been to last and to overcome these changing conditions, or at least adapt to them. Bioconstructivism is a concept revolving around different forms that nature creates and are shown through the use of technology. Epigenetic surfaces, which consist of the forms of clouds, waves, and dunes, and other fluctuating morphologies of buildings, all respond to natura naturans, meaning, “all forms should respond to nature.” use these geometries in my own designs as a way to give them purpose. I make the building flow with patterns of circulation, program, and the site surrounding it. One design (see image) responds to Chicago’s windy climate and how the use of Chicago’s famous winds can dictate the undulating form of the exterior of this housing complex. I created the program to focus on that and the circulation and living conditions of the building.

Syncretism and Eclecticism in Architecture

Course: ARCH 322.02 Theory of Architecture

Work by: Alessandro Pinto

Professor: John Hendrix

ABSTRACT

Syncretism in architecture occurs through the mixing of foreign architectural forms and elements with the local architectural forms and elements. Eclecticism is a nineteenth and twentieth-century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something that is new and original. One example is the Basilica of the Sagrada Família in Barcelona, designed by Antonio Gaudí. La Sagrada Familia utilizes three-dimensional forms of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. Another example is the NeoGothic Church of St. Clare in Horodkivka (see image). This architecture is unusual for Central Ukraine – an intertwining of Romanesque and Gothic styles with a combination of natural stone with red brick. The Church of St. Clare was constructed by Polish builders, together with inhabitants of the village and the neighboring village of Zherdeli. It was constructed in an eclectic style with elements of neo-Gothic and modern twentieth-century architecture. For architects, there are often requests to do the seemingly impossible task of creating a cohesive design that incorporates two or more different design aesthetics. When mixing architectural styles, an easy strategy could be to make one style the primary aesthetic and the other a supporting one. In terms of the Pareto principle, also known as the 80/20 rule mixing styles, this strategy makes the primary style represent 80% of the design while the other style represents 20%. The need to blend two design styles elegantly is most apparent when renovating a house or creating a home addition. Another great strategy to blend architectural styles is to follow the “less is more” approach. Pare down the design styles to their most basic principles and make a design with those principles in mind. More than likely, the two styles are considered to have innate similarities. Find those similarities and turn them into the project theme.

Bernini’s Baldacchino ABSTRACT

Course: AAH 330.01 Baroque Art and Architecture

Work by: Madeline Jarvis Professor: John Hendrix

When Gianlorenzo Bernini began to study architecture, he noted that good architects understood how to combine the beautiful with the necessary, and that the best architects could turn the necessary elements into beautiful things. Because of such a comprehensive understanding of architecture and the quality of work he produced, he was appointed as chief architect of Saint Peter’s in 1629 when Carlo Maderno died. As part of the renovations, Pope Urban VIII wanted a Baldacchino built over Saint Peter’s tomb. Bernini used spiraling columns as Maderno had originally designed. However, he added his own mark on them. He formed them on a colossal scale and ornamented them with gilded vegetal motifs. He also cast the columns in bronze, created bronze lappets with tassels, and added crossed ribs. Later, he designed angels to hold the canopy apart from the columns. Francesco Borromini, Bernini’s assistant, suggested that the ribs of the superstructure would be attached to the columns, and the angels holding the canopy would help to aid in the visual ambiguity of the baldachin’s support system. Not only was this a great solution between the two architects, but it also showed the collaboration and partnership that was present during this time period. The bronze columns that Bernini constructed sit on marble pedestals that bear the Barberini bees on the outer faces. The presence of the papal escutcheons was highly representative of the ideas of patronage in this time. Bernini also emphasized the power of the pope by implementing the crossed keys of Saint Peter and the papal tiara as draped with a decorative cord. Such a design intertwines the pope with Christ, creating a substantial statement of power on behalf of the pope. The Baldacchino’s imposing structure reinforced the ideas of the Counter Reformation, and the Barberini bees established the power of the pope, both on a familial and institutional level. With its ornate detail, massive scale, and Christian messaging, it is unsurprising that this was one of the great works of the Baroque.

THE COURSE:

Introduces the fundamental con cepts of structural form and behavior through a combination of lectures and studio exercises. Basic structural forms and their taxonomy will be studied in nature and through history, using visu al presentations, readings, and handson experiments. Load paths and basic load tracing through common structural systems will be investigated. An intro duction to vector-based force represen tation will also be covered as a contin uation of topics covered in Physics. In addition, the students’ studio projects will be utilized for assignments. The de velopment of a strong structural vocab ulary will also be stressed.

VI.STRUCTURAL

PHYSICAL

by: Matthew Carlson and Noah Ellingwood

Robert Dermody

This research explores Islamic calligraphy and its relation to Zaha Hadid’s work. As an architect born in the Middle East in Iraq, Hadid’s artistic training as a painter and calligrapher provided great inspiration for her designs. Some of the foundational principles of Islamic art, such as geometry, and the art of penmanship, both engaging linear and spatial dynamics, are prominent visual characteristics of Zaha Hadid’s signature style. Through the analysis, of a number of case studies, this paper discusses how particular letters from the Arabic alphabet, and various styles of Arabic script have been translated into architectural form, in Zaha Hadid’s buildings.

Case Studies Related to Caligraphic Letters

Steps For Transforming Calligraphy to Architectural Forms

Queen of the Curve; Islamic Calligraphy Influence Lindsey Hansen and Dominick Stanco

4thyear

Advanced Architectural Design Studios offer student a number of thematically focused directed studios that range in subject matter based on the interest of the faculty. Topics vary semester to semester, and include such issues as housing, sustainable design, contemporary technologies, interior architecture and preservation architecture.

Work by: Cora McComiskey and Max Burrell

Dingliang Yang and Maxwell Nie

Building For Waste

VIEW FROM HISTORIC HOUSE PORCH (C)

Hershoff Marine Museum

Aidan Donaghey & Alessandro Pinto

Dingliang Yang

Xuanyi

263 Lincoln Ave, Barrington : From Ranch to Duplex

SITE/ BUILDING

With the constraints of the lot and set backs I decided to design a duplex that appeared like a single home. One unit is affordable while the oth er is more generous. Both offer the same program, with the same num ber of bedrooms, living spaces, and

space. The goal was to create a home for two similar families that could co-exist side by

The similar family dynamic would create an extended family feel, and give each fami ly a support system. The backyard and patio spaces balance privacy with openness where all boundaries are

and

The warm facade is welcoming and

have

The

The front

Work by: Caroline Keller Professor: Edgar Adams

Missing Middle Housing : Barrington RI

BACK

BACK

A Midcentury re-urbanization of historic Weybosset Hill destroyed the mixed-use nature of Ca thedral Square and replaced it with housing and commercial super blocks. Interstate 95’s construction further created a disconnection with the West End of the city. These factors have steadily forced the Ca thedral Sq. area into decline. The streets are unsafe, it’s not ADA accessible, infrastructure is in disrepair, and no one visits. There is, however, an opportunity to fix these issues.

This Master Plan uses a healthier lifestyle focus to reactivate Cathedral Square. Citizens who have a healthy relationship to their urban spaces and activities are more empowered to ensure that improve ments are made within the community, therefore new programs are brought to the site to promote this healthy and equitable relationship with the public. A wellness center, green market, spaces for cooking classes, and a public greenhouse are combined in a new commercial and community focus. The rede signed Cathedral Plaza also contains nodes of interaction centered around wellness and community. These new nodes have flexible activity such as indoor/outdoor seating, a garden greenspace, an open-air performance stage, a market space, and options for movies in the square, that has the potential to be a new stable for the western side of the city much like Water Fire. A new Diocese Chancery building will adhere to the goal of keeping current program at the site, and the current housing buildings will remain, avoiding displacing current residents.

Two existing L- shaped buildings on the East side of the Square will be adaptively reused to create additional housing and retail frontage. The insertion of LED lit membranes within these buildings cre ates a new visual energy for the site and a safe and equitable community habitation. Public programs also include new restaurants as well as art spaces; all have transparency to the street to provide learning capabilities as one passes by, sparking interest. The Cathedral itself is also used as a sculptural monu ment. Views to the stained-glass rosettes and facade details are maintained and emphasized, attracting people to the site with additional help from a new art walk and direct pathways, celebrating the pedes trian. Overall, this proposal will re connects the two sides of the city, creating a healthy active relation ship for residents and visitors with new programs, dynamic architecture, and active public urban spaces.

Ryan A. DeSanctis

Julia Bernert

Adaptive

Cathedral

Weybosset St. Section

Cathedral Sq. Master Plan

Community

Roof Greenhouse

Narrative

The main concepts of my Cathedral Square Masterplan Proposal are to reunite the two ends of the city that were divided, to create a new hub of cultural connection and expression, and to decrease the scale of the square to feel more inviting and approachable.

My proposal removes the existing chancery building and relocates it to the southernmost part of the site to enable a visual connection between the West End and Westminster St, reconnecting the West End to Downcity. Vehicular traffic is reintroduced by a two-way road that enters the square from the West End, arrives at the Cathedral for drop-offs and pick-ups, and exits the square to the north, allowing vehicles to be brought back into the square while favoring pedestrian traffic between the West End and Downcity.

The new cultural center contains a medium-sized performance arts theater, a cultural center, galleries and studio spaces for artists, as well as artist housing. Providence is the cultural hub of New England, so creating a center of cultural expression acts to restitch a divided city. Using the new cultural center as a heart, many other elements of cultural expression are linked together between the West End and Downcity, creating a cultural network. The two sides of the city that were split have developed their own identities, and a new cultural center is a place for them to come back together and share their ways after half a century of being divided. The city itself is also a mix of many different cultures from many different origins, and the cultural center would act as a place for them to be expressed.

This proposal also deconstructs the “superblock”. The existing square

is divided into three different districts. The first is the residential district at the north corner of the Cathedral Square site, containing a community center as well as housing, which addresses the already existing housing issue in Providence. This district is a neighborhood, where various types of housing mix together to create a less homogenous group of residents. This housing district also features a community center, containing spaces for physical activity, learning, and leading an active lifestyle. Secondly, the eastern side of the site are existing conditions. In this unit, not much is being changed except for the addition of housing units to the end of one of the L-shaped apartment buildings, and the adaptive re-use of the ground floors as retail spaces. Lastly, the cultural district is located in the southernmost portion of the site. In this zone are the cultural center, the

Cathedral itself, and the chancery offices. All three districts are organized around the square at the center.

Along with the creation of the districts, the master plan also decreases the scale of the elements of the square, restoring the feeling of smaller and more private spaces throughout the overall public square. There is a heterogeneous mixture of volumes and voids, creating a variation in the size and scale of urban spaces. Some of them, like the main square, would be completely public, while others such as the outdoor space at the center of the housing district would be more private, as well as intimate parklets and small gardens. Creating these smaller spaces makes people feel as though they’re a part of a neighborhood, rather than just being in a monumental square.

SITE ORGANIZATION

FIGURE GROUND OVER TIME

SITE GEOMETRY

SITE MASSING

GARDENS

Nakanojo

Lateral Stability Diagrams - Shear Walls

Secondary Beam Load Diagram & Calculations

Primary Beam Load Diagram

Work by: Joselynn Lyford Professors: Robert Dermody Rich James

Wood Frame Research Poster

Pedestrian Bridge Design Project

Work By: Zachary Baker, Michael Cattaneo, and Harrison Knight

With the newly acquired land across the street from RWU, this proposal for a pedestrian bridge would connect the existing campus to an area intended for future campus development. The creation of this project considers the interrelationship between design and analysis by using graphic methods to form a structurally sufficient bridge. The proposed bridge was required to sustain the calculated live, dead, and snow loads while utilizing a structural system that could be proven through graphic static solutions. These calculations were then be used to determine the sizing of structural members. In addition to the conceptual design of the bridge, a detailed analysis of a critical connection point was required to further understand the construction of a bridge. The type of structure used in this proposal is a tied arch.

A tied arch has characteristics of both a cable stayed bridge and an arch bridge. By combining these two methods through graphic statics equations, we are able to size te members and determine the feasibility of this project.

The

Wood Frame Design Project Work By: Zachary Baker and Michael Cattaneo

As the current pandemic remains a factor of everyday life, this wood frame structure acts as an outdoor classroom allowing for social distancing and a safer environment for education. Through the development of the structure, this project aims to celebrate wood construction while exploring the specific conditions that relate to this type of material. The design and analysis process included the consideration of the sizing of members based on the loads that would be applied to the structure. Load tracing calculations for the primary and secondary structural systems were required to accurately size their members. Shear and moment equations were used to determine the deflection of the members and verify their ability to endure the required loads. A series of trusses were used in this structure because of their ability to span long distances and create unobstructed spaces. Cross-bracing is used as a form of lateral stability to account for wind loads and seismic loads.

Work by: Zachary Baker

Robert Dermody and Rich James

LIPPIT HILL

University Heights is historically known and remembered as Lippitt Hill to all those who were displaced or grew near the area. In the 1950’s the cities throughout the country undertook a process of Urban Renewal that was intended to revitalize urban areas and rid our cities of blighted neighborhoods. Through the “Urban Renewal” of Lippitt Hill, homes, family shops, roads, and trolley transportation were removed to reveal wide asphalt roadways, highways, large commercial spaces, and a residential zone that became an isolated island in the middle of the Mt. Hope community. The destruction of the lives of those who lived there displaced them and forced them to move to somewhere more affordable. Through the understanding of the site’s history, the goal is to knit the fabric back together to promote lower to middle-income families, diverse transportation connections, and local shops that support those who will live and once lived there.

The design was structured around the RIPTA 2040 plan of having a light rail system through N. Main St. This would enforce the idea of having a Transit Oriented Development (TOD), which would make Lippitt Hill a gateway for Providence. The strategies implemented are a linear park along the Moshassuck River, to allow for a safe pedestrian and cyclist connection from Mt. Hope to downtown, added pedestrian safety by redesigning dangerous intersections while providing a designated lane for bicyclists, and increased program density throughout Randall Square and Lippitt Hill. To reknit the urban fabric there are a series of limited access shared streets or woonerfs that flow through the existing University Heights housing.

On the precinct level, the plan was to redesign the existing shopping mall to increase pedestrian access and social activity. Surface parking was removed and shifted to the north and south ends, burying two-level parking garages behind retail spaces. Then the shopping mall was divided into smaller masses and pushed to the street edge in order to activate N. Main St. as well as to create a protected pedestrian zone within the mall. The program includes a grand staircase that

Section

Work by: Naomi Cruz and Jacob Plasencia Professor: Edgar Adams

The massing of the new site will create a defined square that derives its geometry from the existing superblock and the former intersection of Westminster and Weybosset in front of the cathedral. The convergence of these angles along the cross-axis amplifies the facade of the cathedral and further celebrates ts

presence on the site. The significance of the cathedral and the Westminster axis in this proposed urban renewal is carried through in the formation of the I-95 crossing. Dave Gavitt Way is moved closer to the cathedral and new buildings are placed next to the highway. This row acts as a buffer between the interstate and the cathedral while also

ANBYPRODUCED

Work by: Zachary Baker

Julia Bernert

Adaptive Reuse at Cathedral Square

Rooftop

STUDENT

PRODUCEDBYAN AUTODESK STUDENT VERSION

PRODUCEDBYAN

AUTODESK STUDENT VERSION

Cathedral Square Urban Design

5thyear

Working closely with individual faculty members, including the Teaching Firms in Residence, students are asked to address any number of current issues and themes resulting in a wide range of projects. Topics in recent semesters have included contemporary interventions in historic cities, innovation incubator facilities, speculative affordable housing, adaptive reuse, college campus design, tourism and habitat regeneration, ecological design, exploration of the legacies of slavery and the slave trade, and an interfaith community chapel. Topics are selected by faculty and vary from semester to semester.

With an intention to create a project that is perfectly integrated into the landscape of Rome, this project began with in-depth research about the City of Rome. All from how the city came to be, how it is as of now, and a more detailed look into the site in which this project will be located. With all this research then came the important question of what is this project trying to accomplish / what are the inten tions of the project? What could this project add to the Accademia? What are the main questions that need to be asked? There is no one simple answer to these questions, so a study of buildings and how and why they were built took place. Showing how a project can be thought of and how it can function. taking these studies into our own project was the beginning of our projects. This project ulti mately came down to five categories: Place, Context, Scale Space, Character, Atmosphere, Identity / Organization, Articulation Tectonics, Materiality, Detail, Hapicity Environmental Stewardship. These became the backbone of how the design progressed throughout the semester.

This project in particular was centered around the idea of enhancing what was already existing on the site and making the Accademia more welcoming to the public. This will be done by setting the project at the back of the site with three main divisions. One for the public which will be the portion of the project that is in line with the street. Two of which are tilted and contain the main hall, a perfor mance space for the Accademia. Three would be the long rectangular portion that is located toward the back of the site which would be used for the students within the Accademia. All of these masses are used to create direct relationships with their functions. this is done by the public plaza that will be created because of the setback nature of the project. The tilt brings people into the garden, as well as starting to define a backyard concert space that has already been established by the Accademia. All moments and materials that are used within this project were chosen to create a design that is integrated into the city in structural systems, de sign, and economic ideas.

Work

Carlye Cording and Rebecca Thompson

Nate Fash and Olga Mesa

The Urban Forest

The ORB at Goat Island

It is situated on the site where the “landing site” of the concrete box is located. There is a pool of water that the box sits in when landed, the water is meant to be a flood mitigation strategy as well as a reflective surface. The pentagon shaped perimeter of the pool it sits in was designed to direct movement through the site and to the viewing spot at the end of the existing pier.

The orb, not having too much acoustical value on the interior, was then fitted with an independent structure and interior shape that works well acoustically. This independent interior is then carved with holes to allow the visitors to see the orb from inside it, and allow for some sound to exit and reverberate in the space between, creating a fuller sound.

The Orb is a performance hall meant to evoke a sense of curiosity within the visitors. Conceptually, the orb (performance hall) is trying to break free from the concrete box that it has been housed in. This creates openings, or fissures in the concrete where you can see the orb within.

Work by: Olivia Mora

Peter Kleiner, Warren Schwartz, and Jon Trafficonte

Professors: Peter Kleiner, Warren Schwartz, and Jon Trafficonte

Green Loop

By Delana Erickson and Michael Donovan

Work by: Delana Erickson and Michael Donovan Professors: Nate Fash and Olga Mesa

Kylee Simpson

Warren Schartz, Peter Kleiner, Jon Traficonte

THE HUB ON PERRY

THE SOUTH END

The Hub on Perry St, located in the South End of Boston, aims to weave the different cultures of the south end together in one community oriented space. More directly, the site provides for the adjacent park, as well as the proposed townhouses, apartments, and hotel. The building is organized with an open first floor plan full of public space, as well as two bookend buildings that serve the community.

The bookend buildings feature a modern glassy facade. These more sculptural buildings speak to the community and illustrate their welcoming program. Raised in the center are townhouses with a more solid facade relating to the classic south end townhouse typology. The townhouses in my design are upscale single family dwellings, each with 3 bedrooms. These are designed to help pay for the community program. Facing the park is an expansive market and restaurant building. Under the townhouses is a mix of the market and art space with an artisan market for differen artists, chefs, and bakers. Facing SOWA is a large gallery building to strengthen the arts district.

The facade treatment and structure attempt to accomplish an array of tasks. The arched structure recalls the docks that filled the area before the South End was filled in. These symbolize a connection or bridging of cultures. The openness and warmth they provide on the ground floor creates a welcoming facade. The sculptural fins aim the views from the bookend buildings, while reflecting light inside, and back down into the woonerf and laconia path. The light brick treatment of the townhouses references the brick townhouses of the area while still introducing an airy ambiance.

VIEW

Samboende:Cohousing

DRAWING

Effects of the Modernizing World: Finding a Modern Japanese Architectural Style

Course: ARCH 576 Theoretical Origins of Modern Architecture

Work by: Sean Smith

Professor: Gail Fenske

Louis Kahn’s Expression of Community Through Architecture: The Trenton Bath House

Course: ARCH 576 Theoretical Origins of Modernism

Work by: Delena Erickson

Professor: Gail Fenske

ABSTRACT

Past research suggests that Louis Kahn’s Jewish and immigrant background separated his work from others, as he took a more respectable stance within an increasingly diverse American era. My research focuses specifically on his mid-20th century creation – Trenton Bath House –whereby we can establish a relationship between the architectural techniques employed by Kahn and the significance o community in the post-war era. It is in Kahn’s 5,000 square foot bath house that he provokes sensations of freedom, connectedness, and purpose through his open-air layout, and expresses lightness and airiness through the manipulation of the roofs and walls. This paper further explores the architectural elements that Kahn applies to “the room” and the subsequent impact that it had on society. The intention of building community within this space was deemed timeless a decade later when information on the Holocaust was brought forth. To his day, the bath house serves as a memory to the Holocaust and as an architectural landmark to the Jewish community within Trenton.

The Ames Building: A Reflection of Style in the Late 19th Century

Course: ARCH 577 Skyscrapers

Work by: Meghan Rodenhiser

Professor: Gail Fenske

ABSTRACT

The Ames Building was once the tallest in the city of Boston, sitting prominently at the corner of Court and Washington Streets, in the heart of the financial district. Constructed in 1893, it is known for being Boston’s first skyscraper and is the second tallest masonry building in the United States, surpassed only by Chicago’s Monadnock Building. The designers of the Ames Building were Shepley, Rutan & Coolidge; the preeminent architecture firm in the city at that time, and former associates of Henry Hobson Richardson. Richardson was not only the designer of such well-known Boston buildings as Trinity Church and Sever Hall, but was a major influence to the Chicago architects who would push the skyscraper to new heights. When Richardson passed away in 1886, Shepley, Rutan, and Coolidge took over his practice and began to produce architecture across the city. The design of the Ames Building is a reflection of both Richardson’s influence over the young architects and the emerging styles of the time.

Work by: Doug Brown, Noah Scavetta and Felicia Timpano Professor: Olga Mesa

Tête

Design a chair to Think, Rest, Play or Study

Coincidentia Opposito rum Chair. The Unity of the Opposites

Design by Alessandro Pinto & Luigini Luc and fabricated in collaboration with Sam Nasby & Chelsy Luis Professor: Olga Mesa

Riverside

easy transportation to the picturesque waterfront retreat. Although some had sought recreation in Riverside prior to the railroad, either camping or staying in modest summer cottages, the mid-nineteenth century saw the burgeoning of a veritable industry of resorts, hotels, and shore dinner halls. The first of the Riverside resorts was Vue de l'Eau in 1860, but the decades that followed saw the construction of Silver Spring, What Cheer House, Riverside Hotel, Ponham House, East Providence Hotel, and half a dozen others. Due to stiff competition, many of these recreational retreats failed as others prospered; for instance, the What Cheer House changed owners and names several times and the Riverside Hotel was dismantled and shipped to Nantucket.

Many shore hall dinners also emerged alongside these resorts, he most prestigious of them being the Squantum Club. The Club was established on the shoreline north of Riverside in 1871 and quickly became one of the most prestigious eating establishments in East Providence. Alongside the development of Riverside's shore dinner halls arose an opportunity for the locals to harvest clams to sell either as a profession or to supplement their income.

The popularity of Riverside as a vacation destination began to spur land developers to invest in planned residential plats rather than the resorts and ad hoc cottages of previous decades. In 1871 General Lysander Flagg and a group of businessmen from Pawtucket formed the Riverside Land Company, buying several farms located in the area around the train station.

The Company's first platted community in Riverside was Cedar Grove, after the many trees that graced the landscape. Cedar Grove laid upon a unique curved streetscape that earned the neighborhood the moniker of the maze.

Flagg's company completed the platting of all its land, in a more regular pattern by 1873, and the entire village soon became known as Riverside, after the neighborhood adjacent to Cedar Grove dubbed Riverside Villa. The next three decades saw the area develop into a bustling resort town, accompanied by many growing pains of a small fishing community now accommodating thousands of excursionists each summer and a growing number of rear-round residents.

The most extravagant recreation areas in Riverside were Crescent Park, Boyden Heights, and Vanity Fair amusement parks, leading Riverside to be promoted as the Coney Island of New England. The longest-lived and most noteworthy of these was Crescent Park, first founded in 1886 by George Boyden. After a successful start, Boyden sold the park and it was eventually leased to Charles I. D. Looff, who brought the park into its own. Looff was a German immigrant who came to the US in 1870. A furniture maker by trade, Looff began constructing a carousel for Coney Island in the late 1870s. Looff began making carousels fulltime by 1880 and opened up a small factory. Looff manufactured several carousels for East Providence parks, including one at Crescent Park in the 1890's, and moved his business there in 1894.

The Crescent Park Carousel became his showpiece, with many figures being of unique design as examples of what patrons could request for their own carousels. In addition to the carousel, Loof added an impressive dance hall, dinner halls, bathing facilities, and concert venues, making Crescent Park the crown jewel of Riverside.

Riverside as a resort district reached its highwater mark around the turn of the twentieth century, with the closure of both the massive but short lived Vanity Fair and Boyden Heights in 1910 signalling the end of an era. The new mode of transportation in the automobile allowed vacationers to seek out other resorts further south, cutting into the once considerable visitorship of Riverside. Without the mainstay of summer economic activity the village entered into an era of relative decline. The numerous resorts and hotels, now aging and falling into disrepair, were either abandoned or became dens of ill repute. The everpresent anti-liquor sentiment, culminating in the outright banning of liquor sales with prohibition in the 1920s, meant that the hotels began to operate as illegal speakeasies. The purchase of the Vanity Fair grounds by Standard Oil for a refinery and storage tanks, as well as growing pollution in the waters of Narragansett Bay, changed the character of Riverside's once attractive shoreline. The Great Depression in the 1930s worsened the economic downturn for Riverside's resorts, and the hurricane of 1938 destroyed most of what remained.

During the late nineteenth and early twentieth century, Riverside shifted from a vacation district into a year-round residential neighborhood, culminating with the closure of the resort era. This began with the conversion of some of the more solidly-built vacation cottages into permanent stock and the infill of houses into Flagg's neighborhood plats. Local businessmen formed the Riverside Improvement Society in 1878 and started working to bring infrastructure improvements and civil institutions to the village to keep up with the ballooning population and hordes of summer visitors. The 1880s and 90s brought the first school, church, library, fire department, and police station to Riverside, and thriving businesses built up around the train depot. The advent of automobiles, while putting an end to Riverside's resorts, also allowed a new class of suburban commuters to relocate to Riverside by the 1920s. Like most places in the US, Riverside was deeply affected by the Great Depression, and the destruction caused by the 1938 hurricane worsened the economic condition, rendering the neighborhood largely stagnant until the post-war years.

rail

interstate

and the

experienced

The construction of Interstate-95

proved a

made the

in

for northern East Providence, but

area of historic Riverside Square

of shopping centers on the outskirts of the city and in Seekonk in the later part of the century. The Providence, Warren and Bristol Railway, which had discontinued commuter services after the 1938 hurricane, went bankrupt and was sold, and the rail line through Riverside was completely abandoned by the 1970s. In 1979 Crescent Park, the only remaining vestige of Riverside's glittering resort history, closed its doors for the last time.

In the late twentieth century, two developments helped to bring visitors back to Riverside, the rehabilitation of the Looff Carousel and the establishment of the East Bay Bike Path. In 1983 Gail Durfee established Save our Carousel in response to a development project looking to dismantle the Looff Carousel. Mrs. Durfee became one of the fierce local leaders in a grass roots preservation effort to save the carousel. Eventually the City of East Providence created the Carousel Park Commission that oversaw the rehabilitation of the carousel; Mrs. Durfee served as its chairwoman. In 1985 the Rhode Island general assembly declared the carousel as the State Jewel of American Folk Art, and the Looff Carousel was listed as a National Historic Landmark in 1987 for its national significance, the highest level of designation in the United States. Between 1987 and 1992, the state converted the old rail bed of the Providence, Warren and Bristol Railroad into the East Bay Bike Path. The bike path is recognized nationally and once again serves to bring those seeking recreation through Riverside Square.

Riverside has a unique and dynamic history as a center of recreation that spurred its development during the nineteenth century. Since the close of the resort era, the character of Riverside has shifted into a solidly residential dynamic, and changes in transportation modes throughout the twentieth century meant that the core of historic Riverside, Riverside Square, has languished economically. By not suffering the destruction of major infrastructure projects during the twentieth century, however, Riverside has managed to retain a number of its historic resources, most notably the Looff Carousel. While many of Riverside's historic resources are covered in non-historic materials that hide their historic character, they may yet reveal themselves. Leveraging the East Bay Bike Path as a way to bring in visitors, just as the railway on which it lies once did, represents an opportunity for Riverside to recapture some of its former glory.

Historic Properties Potentially Eligible for the National Register of Historic Places

Riverside Depot The passenger depot, formerly of the Providence, Warren and Bristol Railroad, at 250 Bullocks Point Avenue appears eligible for the National Register under Criterion A for its association with the early development of Riverside's recreation activities and local commerce, the transition of the community into a residential trolley suburb in the early twentieth century, and the wider development of the railroad system in Rhode Island. Officially put into operation circa 1860, the depot served as the transportation hub for visitors and residents for 80 years, with trolley service ending after the 1938 hurricane. The rail line was abandoned altogether in the 1970s, but the depot continues to be a central fixture of Riverside Square as a commercial building. The depot is also potentially eligible under Criterion C as an example of small-scale rail associated architecture that was once widespread but is now relatively rare.

Riverside Post Office The Post Office at 10 Lincoln Avenue, built circa 1909, appears to be eligible for the National Register under Criterion A for its association with the transition of Riverside from an recreation district to a residential, trolley suburb in the first decades of twentieth century. The building was constructed to house the first branch of the Riverside post office in response to the high demands of mail service during the summer season and the increasing number of full-time residents moving into Riverside during the first decade of the twentieth century. The modest brick building served admirably until a larger post office building was constructed across Riverside Square in 1946. Despite finding commercial use since its closure, the post office maintains much of its historic character and integrity, and is one of the earliest examples of civic institutional architecture remaining in Riverside Square.

Saint Brendan's Church Complex Saint Brendan's Church complex appears eligible for the Nationa Register under Criterion A for its association with the growth and development of Riverside and the accompanying civic and religious institutions during the late 1800s and very early 1900s. Saint Brendan's parish was founded in 1909 in response to the need for Catholic service in Riverside during the summer vacation season but became firmly established and grew alongside Riverside's transition into a residential neighborhood.

At the time Saint Brendan's mission was built, which predated the formal establishment of the Parish, it was the only Roman Catholic parish of East Providence. The original church building burned in the 1950s, but the complex exhibits a continuity of religious and associated buildings that show Saint Brendan's development during the mid-twentieth century. The main church building also appears individually eligible under Criterion C due to being an example of Modern architecture in Catholic church construction, coinciding with reforms in the Roman Catholic liturgy and allowable design aesthetic.

Recommendations

Riverside has a fascinating and unique history that is currently not being recognized or utilized fully. While many historic buildings remain in and around Riverside, the historic character of the village is not evident due to the use of non-historic materials that cover these resources. Unfortunately, there

is a gap between

significant resources

Most funding streams and incentives related to historic

places.

require a prerequisite of recognition on one of these lists.

East Providence has taken major steps in their policies related to historic preservation, including enacting a historic preservation ordinance, being recognized as a Certified Local Government by the National Park Service, and working to establish National Register and local historic districts. The following recommendations support these historic preservation policies and further private efforts for historic preservation in Riverside.

1. Investigate and nominate properties potentially eligible for the national register. The City of East Providence has been working since the 1970's o identify historic properties that may be eligible for the National Register. Most of these efforts have been concentrated in other areas of East Providence and have not focused on Riverside. Additionally, since the last comprehensive survey was almost fifty years ago, many properties may have aged in past the fifty-year window required to be considered historic. East Providence should work to scope an inquiry into the historic properties in Riverside and then hire consultants to research and prepare nominations for the National Register.

2. Nominate the Riverside Passenger Depot to the National Register of Historic Places.

The Riverside Passenger Depot is the most likely candidate for eligibility to the National Register for local significance. The depot has a key place in the historical development of Riverside through allowing cheap and convenient transportation for the village's use as a recreation area, setting the stage for the growth of Riverside's hotels and resorts. It also represents an era in the development of Rhode Island's rail system. Both of these considerations may qualify the depot for listing under Criterion A for association with significant events. The depot also represents a type of building, the small rail depot, that was once widespread but is now relatively rare, potentially making it eligible under Criterion C for embodying the distinct characteristics of this type of construction. The restoration already undertaken has helped restore the historical integrity of the structure despite it being overlooked in past survey efforts. The City of East Providence could hire a consultant to fully research and prepare a nomination for the Riverside Passenger Depot so that this gem of Riverside history can be fully recognized.

3. Fully operationalize the East Providence Historic Preservation Ordinance. East Providence passed their local historic preservation ordinance in 2009, using it to create a local historic district in Rumford and a historic district commission to address issues in historic preservation. Most local historic districts carry substantive powers to review the design of buildings within the district including alterations, demolition, and new construction. Currently, the historic district commission serves only as an advisory body. The city council should hold a vote to fully enact design review in the Rumford Historic District, which could in turn revitalize the commission and lead to the creation of additional local historic districts.

4. Fully staff the existing Historic District Commission, Crescent Park Commission, and Ancient Little Neck Cemetery Commission.

The historic district commission has only one member out of seven positions currently filled and cannot conduct business without the nomination of at least two more members. The Ancient Little Neck Cemetery Commission currently has no members. The Crescent Park Carousel Commission only has four active members out of 20. The mayor should fill these vacant positions by nominating credentialed community members to these commissions.

5. Investigate the feasibility of city ordinances and policies to provide funding to restore the historic integrity of houses and set the stage for further preservation activities.

Many of the residents in Riverside value historic preservation and understand its potential benefits. There is a gap, however, in resident's ability to fund rehabilitation projects to remove non-historic materials like vinyl siding and restore the historic character of their neighborhood. To meet his gap, the City of East Providence should create incentive programs to fund private historic preservation activities. The city may work within current funding programs such as the Certified Local Government program and Community Development Block Grants or enact city ordinances to take advantage of state enabling laws for the Historic Residence Tax Relief, Property Tax Relief Act, or the Historic Homeownership Assistance Act.

6. Restore the Crescent Park Carousel to operational status.

The Crescent Park Carousel is currently out of operation. While there are ongoing efforts to get the carousel up and running, once completed, the city should plan events to reintroduce the carousel as an active attraction in Riverside.

7. Create architectural design guidelines focused on historic character in the community.

Creating an architectural conservation district, guided by architecture exhibited in historic photographs, will help re-incorporate Riverside's historic character into future developments of the village. This effort could include bringing the Riverside Clock back to the Square and incorporating light posts similarly styled to those around the carousel to bring historical continuity between the two areas.

8. Continue the historical use of Crescent Park and Sabin Point Park as a place for leisure and recreation. Introducing public amenities and events, such as power stations, water bottle filling stations, and pop-up food truck events (to address food deserts and create economic and leisure opportunities), to the area may help to preserve the cultural and historical integrity of the parks as a place for leisure and recreation.

Jonathan Ames, Brianna Jordan, Jonathan Stark-Sachs Professor: Ginette Wessel, Ph.D.

RIVERSIDE SQUARE

Limited Scope Cultural Resource Survey

This fall, students in PRES 341/541 Building Documentation and Research Methods conducted a limited-scope cultural resource survey of commercial, civic, and institutional buildings in and around Riverside Square in East Providence, RI. The purpose of the survey was to identify and evaluate properties in Riverside Square that may be eligible for the State and National Registers of Historic Places. The survey also considered the potential for a historic district in the square. The survey was conducted in collaboration with Dr. Ginette Wessel’s Interdisciplinary Planning Workshop course, which undertook a broader Riverside Downtown Revitalization Planning Project.

The survey included completion of twenty-nine Rhode Island Historical Preservation and Heritage Commission Property Data Forms for properties in and around Riverside Square. Tasks included photography; collecting basic building information; archival research utilizing historic maps and photographs, census records, city directories, and title research; and secondary sources. The survey also collected information on potentially historic properties from community members at the open house event organized by PLAN 511 students at the Riverside Congregational Church.

several historic contexts

significantly

by: Alyssa Bailey, Tayla Burns, Avery Corcoran, Kayla Hansen, Brianna Jordan, Xuanzi Li, Christina Sewall, Jonathon Stark-Sachs, Malcolm Wells

Elaine

Stiles

RIVERSIDE SQUARE

Manifesto: A Tax on Demolition

Historic Preservation is a public good. In its statement of purpose, the NHPA declares that historic buildings give us “a sense of orientation,” provide a “vital legacy,” an “irreplaceable heritage.” Yet, we put greater value the ability of a private property owner to demolish this heritage. We as a society increasingly recognize that the harm to other shared public resources, clean air, clean water, and a livable environment, ought to be compensated. Why not for the loss of “vital” and “irreplaceable” historic character?

In 1920 the economist Arthur Pigou observed that market activity often produces societal costs, what he termed negative externalities, not borne by the market producer itself. The classic example of this is environmental pollution: smog, noise, or chemical runoff that the firm itself does not bear the burden of remediating, with the costs and negative effects instead being passed to the public. In order to restore the equilibrium, Pigou theorized, these costs must be artificially imposed upon the firms that produce them. This concept was aptly named a Pigouvian tax. Although this tool has yet to be realized by environmental activists, similar taxes already exist on tobacco products and sugary drinks to recoup the healthcare costs placed upon society

In local historic preservation laws today, the strongest stopgap to protect historic buildings not specifically regulated is a demolition delay. Developers often have the ability to simply wait out these delays and move forward with their project anyway. If we are unwillingly to place an outright moratorium on demolition of many historic resources, we may still do something. My proposal is this: impose a tax on the demolition of historic buildings to provide some semblance of compensation for their loss.

In this proposal, there are many variables to account for such as how the lost character will be valued and what the revenue be used for. While I am not smart enough to answer the former, it is clear that the answer to the latter is that the revenue must be used for historic preservation activities and not put into the general treasury. This could take the form of a locally administered revolving fund or even an in-kind rehabilitation mandate on the developer.

Many preservationists, I think, would be shocked at his proposal; after all is this not tantamount to admitting defeat? That some buildings must be sacrificed? The sad truth is that not all buildings can be saved, and that preservation almost inevitably suffers more losses than triumphs. I say: let us fight and fight hard; but in the end let us not walk away with nothing

Jonathan Stark-Sachs

Elaine Stiles

Manifesto: A Tax on Demolition

Manifesto: Landscape Heritage vs. the Growth Machine

Landmarks of Memory

keeps the landmarks of our

back to a place in our past, or

Lessons Learned (Maybe)

Sometimes

are

more

The National Trust for Historic Preservation’s “Preservation for People: A Vision for the Future” (2017) recognizes the need for preservation efforts to “create and nurture a more equitable, healthy, vibrant, and sustainable community”. Rural landscapes are an important part of this type of community in many parts of the U.S. Urban renewal destroyed many vibrant communities in the 60’s and 70’s. Preservation laws and initiatives have been put in place in response to these losses. Have we learned from our mistakes?

Threats to Rural Landscapes

An often subtle and insidious type of destruction has been gathering momentum as “growth and progress” radiates out from urban centers. Suburban sprawl threatens to permanently alter the landscape, creating a homogeneous country of strip malls, housing developments, McMansions, and big box stores.

Intangible Heritage

To go beyond the built environment, to make preservation for the people, we need to broaden the scope of what we choose to pro-tect to include heritage not traditionally within the realm of “Historic Preservation”. These include festivals, foodways, legacy businesses, and elements of rural life that have been not been considered an important asset to the community.

Do we need more economic growth here, or should we place equal importance on preserving the land which was likely an import-ant seasonal camp for native people?

Preservation Versus the “Growth Machine”

It’s time for to protect our rural heritage before it’s too late. What can be done?

Sewall

Stiles

The

relationship among countries.

Sustainable development is one of the most important issues the UN is trying to improve. The UN defines sustainable development as a "blueprint to achieve a better and more sustainable future for all." Gender inequality is a topic that is holding many countries back in ensuring a sustainable developmental design. The Gender Inequality Index (GII) is measured by health, empowerment, education, political representation and economic status. When there is a higher GII value, the more disparities between females and males and the more loss to human development in a country.

The goal of this study is to determine if there is a relationship between countries in the world that have a relatively higher gender inequality index and whether they are educating and achieving a sustainable development plan.

The map creates the conclusion that the lower the GII, the more likely a country is to have a sustainable development plan. The sustainable development plan that the United Nations recog nizes can be different to all countries and their standards, however the GII is a fixed number based on a unified scale. The numbers cannot be exactly compared but the idea of their steps towards achieving sustainable action can.

The regions with the lowest inequality rate have countries with sustainable development plans. European countries have the lowest GII compared to other parts of the world. Almost all the Euro pean countries recorded have a Sustainable plan in place, with Stockholm, Sweden being named the “greenest city in the world.” Australia, Canada, The United States, and China are among the countries with a relatively low GII and an action plan in place

Many Central American countries, along with Southeast Asian countries, have a sustainable development plan in place but do not have a low GII. The map can infer that these countries take a priority in the sustainable consumption and production issues facing the world today

On average, the Southern hemisphere had the highest GII with the lowest amount of sus tainable development plans. Yemen is one of the countries with the highest GII, 0.83. However, Yemen is a country that has a national plan in place. The results are not all direct correlations however based on the results found and analyzed, there is a correlation between Gender In equality in a country or region and the Sustainable Development initiative that country is taking.

The education percentage of females in a country is a factor used to measure GII. Educa tion is one of the many variables used, so extracting that specific data has allowed there to be analysis between education and whether a country has sustainable development. Education is an important part of sustainable development because education is how the future generations will continue to view the world and live within it. The education of sustainable plans and future development will ensure the sustainable goals are continuing to be reached and improved for the continuous future.

The countries with the lowest female population that are educated are located in Africa and South America. These regions do not have as many sustainable development plans or a rel atively high GII in comparison to the European countries and the North and Central American regions.

In conclusion, this map shows a direct correlation between a sustainable development plan in a country with the education of females and the gender inequality of that country. The more educated and socially equal a country is, the more likely it is to have a network of sustainable action to ensure the future development of sustainable action plans.

Long and Short Roads: Viewing Farm Driveways

ABSTRACT

Differentiating itself from town and city examples, the farm driveway is a long ribbon of gravel extending from a rural road to a farmstead. Not a place for leisure activities such as sidewalk chalk, summer car washes, and rummage sales offered by its urban cousins, the farm driveway is an essential utilitarian element of the rural workplace. Investigation into the evolution of the farm driveway over the past few decades produces a bittersweet picture of the future of agriculture in the United States - one with positive elements such as the broadening of identities, increased recognition of farms as businesses, and less seclusion, but also one with negative elements and the specter of impending abandonment. Using case studies from South Dakota, this paper examines the regional spread of changes in farm driveways and their meanings across the Midwest as the farm industry continues to evolve and consolidate and its cultural landscape shifts.

Bristol Rubber Factory Complex

ABSTRACT

First established in 1864, the rubber factory on the east side of Wood Street in Bristol, Rhode Island was a center of industry for the town over the next century. Filling an economic void left by the diminishing merchant sea trade around the same time, the factory employed significant portions of the populace until its closure in 1977. During its period of operation, the factory complex grew to an impressive size, eventually comprising forty-six buildings. Considering its size and economic importance, it is only natural that the factory had outsized impacts on the economic and physical development of Bristol from the mid-nineteenth century into the twentieth. Furthermore, the layout of the factory itself sits in a unique context within the development of industrial landscapes. Overall, the rubber factory complex as a cultural landscape reveals a great deal about the history and development of Bristol and the town’s place in the greater context of industry and trade in the United States.

The Soldiers’ Home: Unmoved but Not Unchanged

ABSTRACT

Populated by neighborhoods, gas stations and strip malls, Metacom Avenue is now the main thoroughfare through the Town of Bristol, a status cemented by the construction of the Mount Hope bridge in 1929. However, it was once a pastoral setting dominated by farmland, and valued for its separation from the industry and crowds of downtown Bristol. In the late nineteenth and early twentieth centuries, the avenue was home to “outlying institutions” including several asylums, hospitals, a poor farm, and the lone survivor from this era, the RI Soldiers’ Home. In the 1950s, shifting economic and social needs meant that suburban development and industry began to infringe on the “outlying institutions” and pastoral setting of the avenue. This paper examines the landscape change on Metacom Avenue between 1880-2022, and how its longest surviving institution, the Soldiers’ Home, changed along with it. These shifts in Bristol’s culture demonstrate of how the town’s social and civic priorities changed over time and the impacts of those priorities on the landscape.

Analyzing The Cultural Landscape of Green Mountain Valley School

ABSTRACT

Studying a cultural landscape reveals the interaction between a social group and the space to which they belong. While being an indicator of the values and beliefs of a social group, a cultural landscape has a significant impact on the formation of a group member’s identity. At Green Mountain Valley School (GMVS), the cultural landscape is defined by a dominant project. Since its founding in 1973, the institution has established itself as a college preparatory high school that produces world-class ski racing athletes. Almost all aspects of life at the academy revolve around ski racing and show how it takes precedence over other activities. The athletic-centered direction of the school is apparent in its strategic location, the spatial organization of the campus, and the social structure of the community. Social stratification and cultural capital play major roles in the different categories that define its members.Through the analysis of the cultural landscape at Green Mountain Valley School, the dominant project can be seen influencing multiple physical and social aspects of the community.

Work by: Zachary Baker

Work by: Mariel Bloom

Work by: Jonathan Stark-Sachs

Work by: Wilhelmina Giese

6thyear

The Graduate Thesis Design Studio offers students an opportunity to speculate propositions of their own interests about what architecture should be.

As the concluding studio in their formal education, students will demonstrate a competency at integrating building systems and materials, social, formal and urbanistic concerns into the design of a building.

NATURAL HEALING

Providing the

with more than the

should be a priority of every

and every

everyone has a

are currently 1,055

more on the

may seem small or

what,

No

to

PERSON MATTERS. I chose to focus my final thesis project on creating an all-inclusive environment to help the homeless population in Rhode Island. The goal was to create a center to help the homeless with not only housing, but health care and social needs. After spending countless hours researching all of the previous information seen in this book, have learned a great deal about mental and physical health in relation to homelessness.

One of the most heart ranching facts I discovered was how closely related fatal health conditions are related to people effected by homelessness. On the next page the image on the right illustrates the upstream and downstream causes of fatal health conditions. Most importantly, providing people with a home is not enough to help prevent these health issues. In order to make real change, housing, medical homes, case management, income assistance, mental health support, and harm reduction are all important to helping people get back on their feet and stay away from these dangerous health conditions. This is why each person living at my proposed center will have access to a clinic, social services, and mental health services in the same building they will be living in. The building itself focuses on natural healing elements to make the building even more of a healthy environment for residents and visitors. There is a total of five indoor courtyards bringing nature and light inside each area of the facility. Playing with the materials and the light, the entire design encourages healing through nature and light.

Overall, the center promotes WELLNESS, INTEGRETY and a sense of DIGNITY for everyone living and working at the center.

Social Architecture in a Virtual World

It would be futile to argue that human nature has not been drastically changed by the hand of technological advancement. The common method of interaction, in physical space, has evolved into something that is unfamiliar to human history.

With this adoption of the virtual world, essential components of meaningful person to person relationships are debatably lost. This impact of the virtual world* must be recognized with regard to architecture and the built environment. Much is lost in society and the physical world, if relationships are reduced to emotionless text blurbs or low-resolution video calls. This was demonstrated during the quarantine of COVID-19. As soon as people could, they were reuniting with family and friends in physical space.

Many people, in this moment, recognized the deep need for physical interaction. Nevertheless, the virtual world holds with a steady grip, and it must be accepted that it is here to stay. Ultimately, the virtual world has introduced a certain idea of convenience. Social medias allow people to “interact” without leaving their comfort zone, and thus one can avoid the external world if they so please. In this lies the essential issue: people miss the benefits of interaction in physical space because the virtual world has provided them with tools to circumvent the process; therefore, physical collectives dwindle and a sense of community is near lost. It is essential, now more than ever, to reconsider how architectural elements can encourage interaction and rebuild collective/community value.

CLIENT & USERS

The populations most heavily impacted by and integrated with the virtual world are children and young adults. These younger generations have grown up in the virtual world, alongside it as it has progressed and evolved, knowing little about what hu man interaction was before the existence of texting and social media.

ARCHITECTURAL THEME

Social spaces should be dynamic in their layout, leveling, and layering. It is es sential to understand hierarchical strate gies. It is critical to observe where visu al connections are created in and across a space. Spaces must also be dynamically fur nished and operable. When people can shape a space to their desire, or collaborate to move objects for a collective purpose, a sense of place and community is defined. In this way, the identity of a space can be concrete, defined by an architectural structure, but the interior and façade have the potential to reflect the changes of so ciety and social structure.

PROGRAM

All of Hertzberger’s projects are defined by a specific

PARTI

*The virtual world is defined by social media, the internet, and virtual/augmented reality.

HERMAN HERTZBERGER - MOSAICI

by: Brenna Whitney

Julian Bonder

early iteration of concept

This will be our home

Sankofa National Wildlife Refuge & Rehabilitation Center

In cities like New Orleans, the solution to the issue of sea-level rise has little to do with being resilient. Massive vertical walls of earth and concrete are being built and the city is spending an extreme amount of money to raise the city. These systems do not last forever. I believe that it is because of human’s egocentric ideas, which include the previously listed solutions, that got us to this point in the first place.

The Universe, let alone just Earth, is a delicate place. Looking out into the Universe shows us the conditions required for life to be sustained are extremely specific. If we are to have any hope of continuing to sustain ourselves on Earth we need to do everything we can to make sure the system is running as smoothly as possible. Therefore, I believe the solution to the problem of sea-level rise is not to try and bend the Universe to our will.

From a conceptual standpoint, these giant concrete retaining walls alienate and wage war against the natural world; a war we would be so arrogant to think

we could ever have even the slightest chance of winning. We must make peace with the natural world and integrate it into our urban ecosystem. This can be done by reintroducing systems within nature that already work, but are being destroyed at a massive rate. The system which I am referring to is the wetland.

Engineering wetlands is not only a way to stop sea-level rise but also a way to provide habitat to many species whose homes are being destroyed. These new wetlands could also serve as a ground for teaching people about the value of the natural world by blurring the lines between architecture (the habitat of people) with nature (the habitat of other species) rather than separating them. We are one with Earth, not separate. Flood mitigation does not always have to be high tech. You don't always need giant levees and dam systems in order to mitigate flooding.

Wetlands are capable of absorbing, and do absorb, tons of water. Another benefit of this is that instead of releasing all of the water they store very rapidly, which can cause erosion, they release the water very slowly. The

second intent behind the use of wetland is to restore habitats within the city boundary for animals that experience more and more habitat loss outside of the city walls of New Orleans. Over 75% of all protected areas around Lake Pontchartrain will be lost with as little as 1’ of sea-level rise, so it is crucial that a safe environment for their inhabitants to have a place to live.

Lastly, it will be important to allow people to come and visit this site.

Allowing visitors to come and experience the wetland will allow people to learn about the environment, and hopefully want to protect it.

Work by: Sean Flannery Professor: Andrew Cohen