RWU Architecture - Student Academic Showcase and Honors 2021 by Cummings School of Architecture

S T U D E N T AC A D E M I C SHOWCASE + HONORS 2021

FACULTY Full-time Faculty: Edgar Adams Julian Bonder Luis Carranza Patrick Charles Andrew Cohen Bob Dermody Nathan Fash Gail Fenske Nermin Kura Gregory Laramie Olga Mesa Eleftherios Pavlides Anne Proctor Jeffrey Staats Elaine Stiles Randall Van Schepen Roberto Viola Ochoa Ginette Wessel Stephen White Leonard Yui Part-time Faculty: Andrea Adams Aleksandra Azbel Timothy Bailey Mauricio Barreto Julia Bernert Shaelena Morley Bigelow Neal Bijlani Aaron Brode Eric Busch Erik Carver Ginette Castro Michael Chieffalo Paul Clark Noel Clarke Michael Decoulos Vincent Giambertone Yasaman Haji Esmaili Michelle Hartwell

Juiliana Haughon John Hendrix Karen Hughes Melissa Hutchinson Sarah Kennedy Myoung Kim Michael Kyes Stephen Lacker Michael Larsen Anastasia Laurenzi Kristopher Lawson Cynthia Murphy Bob Pavlik Rebeca Pena Reinoza Armando Plata Benjamin Rosenberg Marthe Rowen Christopher Ryan Graham Seward Blair G. Shanklin Adi Toledano Eric Weyant Dingliang Yang Tyrone Yang Teaching Firms: Kite Architects Albert Garcia Christine West LLB Architects Kathleen Bartels Chrisitian Ladds Adam Gross (Ayers Saint Cross) Schwartz/Silver Architects Peter Kleiner Warren Schwartz Jon Traficonte

1year st

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.

The Dreamtime

Place to sit to enter Dreamtime

This project was to design a dining area, a social space, and a resting area. The parti of this design was the Dreamtime that the Aboriginals believe in. They “believe that the entire world was made by their Ancestors [during] the Dreamtime” (Artlandish: Aboriginal Art Gallery). The concept of this design was a journey that an individual makes as they travel through the building (the material world) to the U-shaped room at the top of the building. First, they pass through the dining space where they prepare for the journey. Then, one must pass through the social space to reach the resting space where they will then enter into the Dreamtime.

Dreamtime Room

Resting Space (Third Floor) Little Dipper

By Marlene Young Nungurrayi

Concept Diagram

By George Ward Tjungurrayi

Big Dipper

Ceiling Plan of the star pattern in the ceiling

Social Space (Second Floor)

The big and little dipper point in different directions, which represents the strong bond between them. This is representative of the bond between the present world and the Dreamtime world. Entrance

Dining Space (First Floor)

Occupant can go up ladder at the end of the stairs to reach deck area.

Step off stairs to deck area to enter U-shaped room.

To ladder

Circulation Diagram Section A

Experiential Drawing by Erin LoMonaco In formulating the drawing above, I drew the experience a person is expected to have within the U Shape of the Dreamtime room (shown in the third floor plan and the cieling plan of the star pattern). They should mentally break through the walls and enter the Dreamtime, connecting back to nature. The U shape represents the mark a person leaves when they sit on the Earth to enter the Dreamtime (as shown in the drawing by Marlene Young Nungurrayi above). The stepped circles of the terrain refect the circle pattern the Aboriginals use in their art to identify their sacred sites (as shown in the drawing by Geroge Ward Tjungurrayi above). This is a dot drawing capturing the way the Aboriginals mainly document their stories. Each dot was drawn with a felt tip pen by hand. The animals portrayed were based on Aboriginal drawings.

Due to the nature of the Dreamtime, there is no North orientation for this building. The building itself is a gateway from the present world to the Dreamtime and therefore is not completely grounded in this world. Erin LoMonaco The Dreamtime ARCH 113 - Architectural Design Core Studio I - Shanklin - Fall 2020

Interior Space Defined explores the idea of exploration and how it might be communicated in a dwelling context. Retaining walls fall across a 90 degree plane, connecting interior spaces strewn across a mountainside. Angular turns in these outdoor walking spaces, along with extended retaining wall height, push the exploration parti by forcing the inhabitant to travel blindly. The living spaces are specifically designed for three dwelling activities: eating, sleeping, and living. Leading lines that carry from outdoor spaces to windows inside guide the visitor/ dweller down an intentional path of simultaneous adventure and peace.

Maryrose DiPiro Interior Space Defined ARCH 113 - Architectural Design Core Studio I - Lawson - Fall 2020

Juxtaposing Dark and Light The main concept that informed this project was the juxtaposition of darker and heavier materials with ones that are brighter and lighter. The spaces created by their interaction allowed for the natural development of the project’s necessary parts, such as circulation, control of light, and small scale applications (the seating area or the dining room table, for example).

Michael Chmiel Juxtaposing Dark and Light ARCH 114 - Architectural Design Core Studio I - Brode - Fall 2020

Camouflage Northeastern, United States

This pavilion campsite mixture fully integrates a quarry that has been taken back by nature and a man made dwelling. It recycles what is now a waste from humans. There are three distinct areas to this multilevel campground. Being able to sleep a moderately sized family, and being engraved into the middle of a quarry with no wifi, electricity or heating making it a perfect getaway location for a weekend. To complete this action, there is a living area along with a queen sized sleeping are on the first level. On the second level is an area for children to sleep. Finally on the third, a dining area along with a counter top for preparing food. A driving point behind the project was to give back to nature and make a space for people unplug and recycle a scar left on the Earth. Saying that, a few nessesities keep the area surrounding untouched, allowing for the beauty of nature speak for herself, and take every percaustion to not harm the Earth any more than what has already been done from the making of the quarry. There were sets of rules that the palionon had to follow. Blending into its surroundings, againg echoing the point of letting Nature speak for herself. Another being, aligning to a 2’x2’ grid for every void placed in the solid. Combing these rules and breaking them when nessasary added a solid design conocept and powerful accents.

Trevor Hughes Camouflage ARCH 113 - Architectural Design Core Studio I - Hutchinson - Fall 2020

Endless Relaxation: Pool House Inspiration When asking my family and friends what they would need to help them continue to stay at home during Covid-19, the answers came back in four main categories: a quiet space, a space for work, a space to be with nature and a space for exercise. To incorporate these four common needs along with what I personally feel is relaxing, I believed that the best solution to this was to introduce an endless pool and pool house into my house. This would combine the relaxation of water and nature with the exercise given by the pool which functions like a treadmill of water. The pool would also help make the space quite since the running water would act as white noise.

I wanted the design to be able to open and close similar to project one and two having an opening with spiraling motion to their entrances. I decided upon my parti being of a barnacle because it related to my past projects, since I used the barnacle for inspiration for those projects as well. The way a barnacle opens and closes and how it is a space for a small creature also linked to my project. I also liked the idea of how it is able to attach itself to a host, or an object or being that was already there. I thought that this would be a nice way to incorporate the history of my site with the new design feature.

Water shown through the glass in the ceiling

The oculus, looking up from below, is also made to mimic water. When underwater, if you were to look up you would see an abstracted sun and streams of light that come towards you from above. I took this experience of looking up from under the water and I incorporated that within the ceiling. From the oculus, thin triangles windows were put in to make it seem as if you were looking up under the water and had streams of light come by you. The oculus as well is able to open and close. Hinges on the glass allow it to collapse on itself and slide to the edges of the oculus. This not only creates a pentagonal pattern in the window but allows one to open the oculus in the summer to allow for climate control of the interior and fresh air, and then close it again in the winter so one can still use the pool.

Mystery through the Stairs

I incorporated steps that not only reminded me of the creature that lives within the barnacles and the way it pops out of the barnacle, but mimicked the double steps that were in my design for the marketplace pods. This allowed the person to walk down into the pool house since part of it was underground. Being partially underground served as a way to keep the temperature of the enclosure stable, muffle sounds from the outside, and allow for a greater interior space without the part visible from the outside being too monumental or large. The spiraling effect of the stairs also offers a sense of mystery, which was incorporated into the marketplace pods of Project Two.

The top of the enclosure also angles to an oculus type window. The angle of the ceiling allows the visitor’s eyes to travel upwards to the window from standing underneath. The shape of the oculus was made to mimic the opening in the Project one container.

The Oculus Design

I also added a sliver of light with a window between the connection of the top roof to the stone wall. This not only separated the new from the old and made the roof seem to be attached to the old stone wall like a barnacle, but allowed for light to stream in and down the stone wall illuminating the roughness of the stones.

Oculous shape seen in Project One Contianer.

MULTIVIEW interior

Delia Maguire Project #3 Endless Relaxation ARCH 114 - Architectural Design Core Studio II - Hutchinson - Spring 2020

MULTIVIEW exterior

2year nd

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.

INTERVENTION OF PATHS This multi-cultural dining hall was designed to create an eating space as well as a gathering and event space for students on campus that celebrates differences. The form of the building is created by the existing paths on the Shell Path. The edges of the building follow the paths to create three components that are divided by the trails. To connect them, an entry space was created on top of the paths between the buildings. On each walkway that leads to the building, there is a door to the entry space. This expresses the idea of the building being a multicultural center as the building draws people in from different places on the site and brings them together. Transparency is a recurring theme in the project as there is a lot of glass and open spaces that connect without closed doors. The use of transparency to connect spaces represents the recognition of other cultures as one can look into a space without being a part of it just as one would appreciate another culture from the outside.

SITE PLAN

SECOND (ENTRY) FLOOR PLAN

Danielle Ivey Intervention of Paths ARCH 213 - Architectural Design Core Studio III - Clarke - Fall 2020

FIRST FLOOR PLAN

THIRD FLOOR PLAN

Multicultural Dining Hall Students were tasked with developing a multicultural dining place that embraced the various ways different cultures dined and interacted, creating a place that welcomed all walks of life while designing architecture that addressed the conditions of their chosen site to create a well-functioning, flowing, ADA acces-sible, and enjoyable experience for the students of Roger Williams University. When examining the workplace and schools, a presence of nature, whether it be inside or just a view from an office window, has shown to increase serotonin levels and inspire the mind. This project is dedicated to addressing mental health and how many cultures view and approach it students’ ethnic backgrounds playing a significant part in how it is seen and “dealt with”. With biophilic architecture, this Multicultural Dining Hall is no longer just another educational building or a dining hall, but it transforms into a place for people to finally take a breath.

Program

1. University Room 2. Daily Dining Hall 3. Boardwalk 4. Private Dining Room 1 5. Private Dining Room 2 6. Restrooms 7. Elevator

Inspired by the High Line in NYC, the stair and ramp system within the University room allows handicapped people to safely descend and ascend between the upper and lower levels of the University Room where the lecturers stand by the tree, a symbolistic podium that pierces the ceiling and floor. Students can easily walk down the steps or ramp and find a seat before a lecture or demonstrative performance, where they can eat and socialize as well. The setup of the amphitheater-like seating wraps around the room where the speaker’s voice echoes. The students can be inspired by the massive tree in the hall or admire the nature outside as the fresh bay air seeps through the pivotal windows on the front face of the University Room.

When a student arrives, they can choose between going to the upper or lower floors- whether it be meeting their friends in the Daily Dining building with traditional Japanese style seating, or attending a lecture in the University Room. Students also have the choice of making their experience to the site and design more productive or relaxing, choosing between a study space atop the University Room’s roof or soak in the sun during a break with a friend on the Daily Dining building’s green rooftop. The use of glass for the majority of the walls on each of the buildings, as well as the skylights that are intentionally placed to mark a path of circulation on the boardwalk, and especially for the glass enclosure underneath the boardwalk that marks the circulation of the three buildings to their bottom levels emphasizes the integration of nature into architecture. The materiality makes people forget that they are walking through a building.

Lorennah Granfors Multicultural Dining Hall ARCH 213 - Architectural Core Design Studio III - Clarke - Fall 2020

8. Private Dining Room 3 9. Office 10. Utility Room 11. Kitchen/Food Prep. 12. Dish Washing 13. Storage 14. Food Storage

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Culture in Design A Multi-Cultural Dinning Hall

Front Elevation Oblique

Diagrams

Prior to beginning our final project of the semester I had to decide where on the Roger Williams University campus I wanted to Place my Dining hall. After reviewing the site analysis’s completed within project 3 I decide to place my structure on site 2, this is located directly behind the Global Campus Heritage Hall. By placing my structure on this site I was able to capture an unobstructed view of Mount Hope Bay. In addition, site 2 is centrally located on campus making it easily assessable to all students. In my design, there are both private and public spaces, the private areas being the university and private dining rooms. This is where more difficult discussions are likely to take place; these spaces are located on the upper level. The public spaces can be found on both the entry and basement levels, this includes both outdoor and indoor dining as well as the main entry space. Each space is designed to promote a different feeling, more defined and structured spaces are to be more formal. While in other spaces light is highlighted, promoting a wider range of uses and conversations. The individual dining spaces are extruded and protruded to be identified from the exterior of the structure. Open spaces are arranged throughout the structure, providing spaces for less formal conversations, as well as a place for a person to step away from a difficult conversation. This allows patrons to take a minute to recollect their thought before entering back into the more formal space where that difficult discussion would take place.

Site plan

Basement Level

Front

Site Model

Entry Level

Left

Lauren Patnaude Multi-Cultural Dinning Hall ARCH 213 - Architectural Design Core Studio III - Hughes - Fall 2020

Section

Top Level

Rear

Right

Multicultural Dining Hall Circles

Ramp Design

For this assignment we were asked to take a stand regarding social justice and equality as a factor in our design for a dining facility. Circles are a shape that allow for the most equality. As seen with the idea of Arthur’s round table, circles allow for discussion that can be heard by everyone in the party and equal contribution within that conversation. With this in mind, circles were a large part of the design of this dining facility.

The ramp was also a design solution to make the dining facility more inclusive. Many times in architecture, people who are unable to take the stairs are left out of the experience of the building. They must go to a separate space to take either the elevator or a ramp to get to different floors. This creates a whole different experience of the building than that of the people who are able to take the stairs. By having the only circulation as a ramp, it ensures that each person will have the same dining experience as another as someone, whether handicapped or not, can still get to everywhere via the same path.

Circles can be seen firstly in the overall design of the dining facility, as the building is in the shape of a circle. This allows inclusion to everyone who is inside the circle. In previous design ideas, circles made up the individual rooms. However, this gave a very disconnected feeling as many of the people were then separated from each other. Creating the entire building as a circle made it easier for people to be included in the building.

The program within the building also goes along with the idea of inclusion. The main dining area is located in the middle, as this is where the majority of people will be sitting. The ramp and private dining rooms then circulate around this middle dining area leading down to the bottom floor with the University room and the reception hall. The larger private dining rooms along the ramp are able to hold about 24 people in them, and the smaller ones are able to hold up to 3. This allows for large groups of friends, such as sports teams or clubs to eat together without taking up most of the seating in the main dining hall. The university room at the bottom of the ramp, is also curved to add to this idea of circles within the project and a ramp leads up to the stage, allowing everyone an equal opportunity to the stage. Outside there is also seating with the ability to look into the University room through the glass that surrounds the building. This allows for the people who were not invited to the lecture or event to still be able to participate. It also allows for overflow from the University room or can be used as just outdoor seating.

The circulation within the buildings are also completed in a circular motion. One has to bend their path to circle around the ramp and then curl into each of the private dining rooms or the main dining room. Extended walls protruding from the private dining rooms catch visitors as they descend the ramp, ushering them into the private dining rooms. This creates a sweeping motion as they curve to enter the rooms which are housed in the direction in which they came from. The reception area at the bottom of the ramp after the dish room also mandates a curved sweeping entrance, although it does not have a wall to push people into it. Its location along the side of the ramp forces people to do a 180 after exiting the ramp creating an arch in their path. Workers too curve into the dish room and hallway that leads to a private bathroom, mechanical room, and storage room. Section C

Section A

Section B

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Common Dining Food Prep Food Storage Office Restrooms Private Dining Small Private Dining

Section A 3

Section B

Section C

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University Room Reception Private Dining Dish Room Mechnaical Room Storage

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Angled Roof The angled roof is done so to capture the sun that comes from the south in the winter and block the hot sun in the summer. This allows for less heating and cooling of the building allowing for less pollution to the earth. 2 3

The roof is supported by a lining of vertical wooden beams around the main dining room. This allows for the connection of this space to that of the exterior of the building. These also create a divide between the main dining area and the ramp that continues down next to it without creating separation. These vertical beams are able to be looked through and talked through allowing for watching the people go down the ramp, and the ability to talk through the beams. This includes more people in the conversation.

Section C

Delia Maguire Multicultural Dining Hall ARCH 213 - Architectural Design Core Studio III - Clark - Fall 2020

The multicultural dining center is a place where different ideas, cultures, and opinions can COEXIST. To-day, many people are not open to listening to each others views and seeing things in a different perspec-tive. We all have a relationship with each other and the world around us. We should be able to not have to feel separated just because we don’t have the same views or cultures. The left side of the curve is mainly occupied by the staff. This is where the kitchen, food storage, office and all functional spaces are located. On the right side of the curve, the spaces are mainly occupied by students. This is where the daily dining, private din-ing, university room, and all other spaces that the students occupy are located. The curve cutting be-tween the two sides is intended to create this line of coexistence not only with the two sides but also with nature and the architecture.

The building is organized around the trees on the site. These spaces near the tree roots are intended to talk about the root of our problems and differences. These are spaces like the reception space, the University Room, and the private discussion rooms. On the ground floor the spaces have views of the tree tops. These spaces are intended for celebration and light conversation. Just like the branches, they are all separate but come together and appear unified.

Nicole Zebrowski Multi Cultural Dining Center ARCH 213 - Architectural Design Core Studio III - Hughes- Fall 2020

A NETWORK OF CONNECTIONS RWU Multicultural Dining Hall

The Multicultural Dining Hall is designed through layering to demonstrate a continuum. History is not erased, but rather, it is built upon as new changes and progress is made. The work towards understanding racial inequality and unlearning racist beliefs and microaggressions is a long and repetitive process. This awareness must go beyond the act of learning and must be practiced in daily conversations and connections. The process is constructed to begin in the University Hall, a space for education and self-reflection, then continues to reach the casual and private dining spaces which allow occupants to further their experience and immersion into different cultures. Each layer offers a valuable role in becoming better educated on being a greater ally to BIPOC (Black, Indigenous, People of Color) through applying the knowledge of social justice and diversity into real conversations with your peers on campus.

J C

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A: UNIVERSITY HALL B: CASUAL DINING C: PRIVATE DINING D: KITCHEN PREPARATION E: DISH ROOM & FOOD STORAGE F: KITCHEN PREPARATION FINAL G: RESTROOM H: RECEPTION SPACE I: ENTRY SPACE J: OFFICE K: MECHANICAL ROOM & STORAGE L: EXTERIOR COURTYARD

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STAIR: KITCHEN TO COURTYARD ROOFTOP RAMP LOWER RAMP KITCHEN PREP. PLATFORMS CHIMNEYS SKYLIGHT/VEGETATION CHAMBERS ROOFTOP PLATFORM COURTYARDS

The Multicultural Dining Hall is constructed with a pinwheel plan, centered around the hearth. From here, the kitchen floods out into each of the dining rooms through corresponding kitchen preparation platforms. The narrative works on redesigning the relationship between the “servant” and the “served”. The program within the hearth is raised, promoting visibility with glass paneling as it overlooks the dining spaces to recognize the importance of the culture of food in bringing a community together. A series of embedded courtyards within the hearth allow both groups to come together for a shared experience. Seated within each dining room, one may converse with the surrounding community, observe people circulating the ramping system throughout, have a view into the kitchen, and follow the path of the dining workers as they serve each table.

Grace Amoruso A Network of Connections ARCH 213 – Architectural Design Core Studio III – Castro – Fall 2020

The multicultural dining hall gives its occupants a sense of disconnect from the campus life, and will provide opportunities that allow people gather as well as share their time eating a meal together. Providing a level of isolation from the campus atmosphere is accomplished by the desirable naturesque location off of the existing shell path. The incorporation of natural wood elements in the design wrap the walls of the courtyard form a warm, protected space. Areas for peace appear from a reflection pond and gallery space. Multiple different dining spaces within the design provide clear sightlines, opening the opportunity to ensure every occupant feels connected with one another, themselves, and the beauty of the surrounding nature.

Nathan Cormier Multi-Cultural Dining Hall ARCH 213 - Architectural Design Core Studio III - Weyant - Fall 2020

“CONNECTIVITY” RWU MULTICULTURAL DINING HALL

The idea of “connectivity” came from the chain link fence that travels through Site One behind Cedar and Maple Hall. The Multicultural Dining hall embraces the interconnectivity between cultures, which is represented through the interlocking patterns of the fence. The fence embodies this sense of inclusivity seen in the meaning of multicultural and demonstrates how we are all connected. The overlapping forms created by the links in the fence were the inspiration for the project.

Circulation through the Dining Hall is limited to certain places. Where floors overlap, there is a point of intersection. This is where an elevator and set of stairs are placed for people and workers to travel through to each level of the structure. Highlighted in section with a white space are the moments where floors overlap, creating this idea of connectivity. The relationship between the chain link fence and how the inbetween spaces are a vital part to the circulation is shown in the photos to the right, showing these overlaps in each level with a blue box. A series of skylights are also used to emphasize the overlap even further, pointing out that this is where someone would travel along the middle floor to get to the bottom or top levels.

Helena Mott “Connectivity” RWU Multicultural Dining Hall ARCH 213 - Architectural Design Core Studio III - Castro - Fall 2020

Multicultural Dining Hall Located behind Global Heritage Hall, this site is close to all the major buildings on campus. The Marine and Natural Sciences building is just north of the site. It is also a short walk from the dorms on the south side of campus. This project starts with a volume around a courtyard which becomes distorted along the iterations of the design. Parts of the building become angled to take advantage of views and allow for circulation around the building. One side of the courtyard is lifted to allow for circulation into the courtyard without entering the building. From the entrance on the second floor, students can walk down the main staircase to the food prep area where they can grab their meals. The food storage and dish rooms are also accessible here. The main dining area is seperated by accordion doors that are left completely open when the space is in use. The space can also be opened to the terrace via sliding glass doors. This creates a connection with the surrounding nature. The service areas are reached by turning right at the bottom of the stairs and include the office, elevator, bathrooms, storage space, and mechanical room. On the second floor is the main entrance space where students can choose to go down the main staircase or take the elevator. People can also choose to walk onto the patio to the left, where the private dining spaces are located, or enter the reception space and University Room to the right.

EAST ELEVATION

SOUTH ELEVATION

SITE SECTION

Naomi Cruz Multicultural Dining Hall ARCH 213 - Architectural Design Core Studio III - Weyant - Fall 2020

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UNIT TYPE C PRODUCED BY AN AUTODESK STUDENT VERSION

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After Hurricane Katrina, areas in New Orleans were left destroyed, houses were flooded and unlivable, communities were in shambles. Rich historic, cultural areas were stripped of their sense of importance to the city. Areas started to lose their identity, and people were forced to move from their homes that had been destroyed into other areas inside and outside of the city. For my design, I wanted to address this issue, and create a living environment that brings back this loss of community for the people affected by Katrina. I wanted to design a place rich in culture, life, and color, where people of all ages can live together as a community, and be reminded of their life before the hurricane. I wanted my design to essentially act as a city within a city, a true New Orleans experience without the abundant tourism. I wanted the main public spaces to act as a community spaces where people can meet for social, educational, and recreational activities true to New Orleans culture. These dining and outdoor spaces would allow the small community to develop, and allow for families to come together and experience what they lost from the impact of the hurricane. Parents and grandparents could cook meals for their neighbors while the kids play together and listen to live music being played. Special events could be held and holidays celebrated. I want the housing units to feel as though they resemble a typical New Orleans block, each with its own identity, but each being open to its neighbor. I want there to be smaller shared spaces within these units as well: a kitchen, a balcony, a garden space. I want the families living here to form real relationships with their neighbors, and for this small community to mean something larger to these families as well as help bring back the experiences they lost after Katrina.

Ian MacFarlane Project 3: Place and Dwelling With Others ARCH 214 - Architectural Design Core Studio IV - Clarke - Spring 2020

How do you design knowing things will change?

The purpose of a multi-generational dwelling is to not just cut back on cost of living, but to have a more enriching home life where the young and old grow and learn from one another. This process of living with one’s family can allow for: the young to be around nurturing environments of several generations. Lets the relationships grow not just between one family but across a board of several families. Allows for people to interact with others their own age group, no matter how old. But it can get very stressful as the younger get more independent. A successful design requires several aspects to keep the home life positive while allowing families the space to grow. My goal in this project is to find a way to minimize the stress in a growing/changing family, while allowing for neighbors to interact with one another while simultaneously having their own space. Certain spaces are required to fulfill these special requirements. The programs I plan to incorporate are several exterior locations focusing on group activities.

Proposed shared spaces: • Play ground • Gym • Event Space • Entertainment space/ bar • Ground floor store

4th Floor Plan

3rd Floor Plan

2nd Floor Plan Sectional Perspective

Exploded Axon

1st Floor Plan

Unit Type 1 Plan

Nathan Fehrs Multi-Generational Housing Complex ARCH 214 - Architectural Core Design Studio IV - Mesa - Spring 2020

Unit Type 2 Plan

Unit Type 3 Plan

3year rd

RHYTHM OF UNITS Providence Journal Headquarters

For the Providence Journal Headquarters design, I wanted to create spaces that related orthogonal geometries and circular geometries due to their presence in my base design. For this objective, I used the different geometrical relationships between shapes to achieve a cohesive organization and flow of spaces. Also, I wanted to create open office spaces by using the already existing structural grid and floating walls in my base design. The structural grid and the floating walls defined and organized the interior spaces. For my plaza and facade designs, I looked at the buildings in Downtown Providence and how a vast majority uses some type of masonry unit for the facades. Due to this use of a unit, I wanted to create my own type of unit that appears in the plaza as well as in the facade. With these units, I wanted to create a rhythm to highlight important spaces in the plaza, such as seating areaas and entrances to the building, and a rhythm to delineate public and private floors in the facade.

GROUND FLOOR PLAN

PERSPECTIVES

SECTION

FLOOR PLANS

NORTH ELEVATION

SOUTH ELEVATION

EAST ELEVATION

FACADE DIAGRAMS

SYMMETRY

Camila Uriona Gamboa Providence Journal Headquarters: Rhythm of Units ARCH 313 - Architectural Design Core Studio V - Barreto - Fall 2020

BASE DESIGN

GRID

PROPORTIONS

India Point Bike Center

PRODUCED BY AN

My concept was the study of movement, I studied different shapes fabrics make when flying in the wind and how fabric takes the shape of solid objects when it comes into contact with them. I wanted to convey this both in an organic plan as well as in the facade of my building. The base facade conveying this concept is the fabric in the wind as it is free and the top facade conveys the concept of what happens when the fabric eventually comes in contact with the building. The organic shape of the plans was created through the abstraction of fabric shapes studied. As the building goes up programmatically the programs go from more individual experiences to shared experiences. For instance the locker room and bathrooms are underground and the community space is at the top. The rest of the facade is a metal siding with a wave texture to give the sense of movement as someone walks by it and as the sun hits the building.

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Diagrams and Site Study

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Underground Level

Second Floor

ground Level

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Fourth Floor

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North Elevation

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Bridge Level

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Longitudinal Section

PRODUCED BY AN AUTODESK STUDENT VERSION

Fifth Floor

Sixth Floor

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK PRODUCED STUDENT VERSION BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Physical Model Laura Griffin India Point Bike Center ARCH 313 - Architectural Design Core Studio V - Barreto - Fall 2020

Perspective Render

India Point Bike Center The project location is near the park at the Fox Point neighborhood of Providence, and at the confluence of the Seekonk River and Providence River. The park takes its name from the maritime activity connecting Providence with the East and West Indies. This Bike Center project has a goal to provide engagement of the spaces between the cyclists and non-bikers visitors. The main concept is the repetition of circular motion developed by ramps and providing potential views towards the bay and other surroundings. The ramps also provide interior spaces that can be experienced by its visitors while reaching the top surface of the building. Ramps function as circulation, providing spaces as a tectonic system. The tower provides center circulation with an elevator and a staircase.

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0123456ÿ8

Alessandro Pinto India Point Bike Center ARCH 313 - Architectural Core Design Studio V - Bernert - Fall 2020

PRODUCED BY AN AUTODESK STUDENT VERSION

Storage

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

TYP Floor Plan

PRODUCED BY AN AUTODESK STUDENT VERSION

Office Storage

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

TYP Floor Plan with Push-Pull

PRODUCED BY AN AUTODESK STUDENT VERSION

Office

Exterior Perspective

Storage

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

Auditorium

PRODUCED BY AN AUTODESK STUDENT VERSION

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

Office

PRODUCED BY AN AUTODESK STUDENT VERSION

Third Floor

PRODUCED BY AN AUTODESK STUDENT VERSION

East Elevation

Conference Room

North Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

Auditorium

Conference Room GreenRoom

Conference Room

PRODUCED BY AN AUTODESK STUDENT VERSION

Following the main concepts of the base design, which were a push and pull of the east facade and central circulation around the courtyard, I wanted to develop a design that celebrated these concepts. To do this I continued the push pull on all three facades that do not share a wall with another building (North, East and South), and made sure to maintain the central circulation on every floor. In creating a push pull on allthree sides, I was able to put emphasis on the entrance as the facade from east to north gradually flows upward to meet the corner where the entrance is. In creating a gradual down of the push pull from south to east, I am also able to put emphasis on the bookstore entrance as well without overpowering the Main entrance to the

PRODUCED BY AN AUTODESK STUDENT VERSION

Pre-Function Space

PRODUCED BY AN AUTODESK STUDENT VERSION

Storage

PRODUCED BY AN AUTODESK STUDENT VERSION

Second Floor

PRODUCED BY AN AUTODESK STUDENT VERSION

AV Room

Elevation with Auditorium

PRODUCED BY AN AUTODESK STUDENT VERSION

Lobby

U U

PRODUCED BY AN AUTODESK STUDENT VERSION

Cafe

Base Design Ground Floor, Typ. Floor and Section

Book Store U

Ground Floor

Central Circulation Diagram

Push Pull Diagram

Public vs Private Diagram

Open Office Space Layout

Piazza Design Concept

PRODUCED BY AN AUTODESK STUDENT VERSION

Lobby

Open Office Space

Exterior Cafe Space

Laura Griffin Providence Newspaper Headquarters ARCH 313 - Architectural Design Core Studio V - Barreto - Fall 2020

Pre Function Space

Conference Room

Auditorium

Bookstore

Private Office Space

Providence Journal Headquarters “Abstracted Edge” During the peak of the industrial revolution in Providence, RI the Providence River played a huge role in the economy of the city. Over the years the edge of the river has transformed along side the city. There have numerous ongoing re-construction projects attempting to redesign the fabric of the city to better fit today’s society. Prior to the reconstruction project the river had rectangular cutouts for ships to dock and unload goods. The focus of the facade is to remember the history of the city and its once booming port activity. The docks are translated by rectangular cutouts in the metal mesh facade that highlight the prominent exterior circulation of the building. The vertical wooden elements represent the mast of the ships that were once docked at these ports. The wooden louvers compliment the buildings aesthetic, provide an extra layer of sun protection, and connect back to the roots of the city.

Second & Typical Floor Plans

Ground Floor Plan

East Elevation

CUSTOM HOUSE STREET

Perspective

North Elevation

Piazza Perspective

Matthew Fernandes Providence Journal Headquarters ARCH 313 - Architectural Design Studio V - Bernert - Fall 2020

Exploded Axon

Section

4year th

Advanced Architectural Design Studios offer students 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.

“The Orbit Building” acts as the central point of interest for creativity and culture in the seaport. The “O”, representing unity between the artistic community and community of Greater Boston aims to merge the existing artistic culture around the Institute of Contemporary Art and the surrounding community. The design aims to create an iconic architecture that responds to the context of the city while also incorporating elements that draw users into its architectural counterpart, the ICA. The design attempts to bring the scale down to the users level by putting a great deal of emphasis on the lower building massing and creating a clear distinction between public and private. Public and private is achieved through the use of two different forms; one more rectilinear in response to traditional architecture of the city and one more cylindrical and sculpted to create an iconic architectural element complimenting the ICA.

SECTION A-A

PEDESTRIAN BOARDWALK

10’

5’

MICRO UNIT PLAN

TAKEN FROM ICA LOOKING AT ROAD LEADING FROM SITE TO ICA

PEDESTRIAN BOARDWALK LEADING TOWARDS SITE AND ICA

Ferry Terminal

ICA PEDESTRIAN PATH LEADING FROM MAIN ROAD TO BOARDWALK 5’

20’

80’

10’

VEHICULAR CIRCULATION

40’

SECTION A-A

BIKE LANE PEDESTRIAN CIRCULATION SECTION A-A PARKING

SITE

SITE ANALYSIS

PRIVATE

PUBLIC 5’ SITE

PROCESS WORK - MASSING PLAN AND MODEL

SITE

SURROUNDING VIEWS STUDY

GRID ANALYSIS

PARTI DIAGRAMS

SECTION B-B

20’ 10’

80’ 40’

RENDERING

MICRO UNITS

ROOFTOP MECHANICAL UNITS

MECHANICAL ROOM

9TH FLOOR PLAN

9TH FLOOR STRUCTURAL PLAN A

GALLERY A

RESTAURANT

RESIDENTIAL ROOFTOP TERRACE

RETAIL

STUDIO

CLASSROOM

STUDIO

CLASSROOM

4TH FLOOR PLAN

4TH FLOOR STRUCTURAL PLAN A

VIEWING DECK B

SITE PLAN WITH GROUND PERSPECTIVES

LARGE EXPRESSION CHAMBER

FREIGHT ELEVATOR

OFFICES PRINT AREA ADMINISTRATIVE SEATING AREA

OFFICES

3RD FLOOR STRUCTURAL PLAN

3RD FLOOR PLAN A

STAGE OFFICES REHEARSAL ROOMS B

GREEN ROOM

PRO SHOP GREEN ROOM

DRESSING ROOMS FREIGHT ELEVATOR STORAGE

SMALL EXPRESSION CHAMBER

2ND FLOOR STRUCTURAL PLAN

2ND FLOOR PLAN

80’

BOX OFFICE LARGE EXPRESSION CHAMBER LOBBY B

GALLERY

MICRO UNIT ENTRANCE RESTAURANT

40’

FREIGHT ELEVATOR

RETAIL 20’

SMALL EXPRESSION CHAMBER & CLASSROOMS/STUDIOS LOBBY

10’

5’

GROUND FLOOR PLAN NIGHT RENDERING

Evamarie Alessandroni The Orbit Building ARCH 413 - Advanced Architectural Design Studio - Giambertone - Fall 2020

GROUND FLOOR STRUCTURAL PLAN A

Live-Work Cooperative Downtown Providence, Rhode Island has a remarkable arts presence. Programs around the city - including AS220 and Down City Design encourage experimentation and collaboration. Therefore, it seems ideal to incorporate a design intervention into this site in the west end of Providence in order to cater to those individuals.

The over arching design strategy that is implemented is as follows:

1. In order to create as many activated, public spaces as possible, the overall site is extruded.

3 5

2. This extrusion also gives way to an upper green space level that provides users an escape from the hustling and bustling of the area.

3. Maneuvering through the site to the streets and to the bank building is pertinent. Therefore, various arteries were carved into this extruded massing.

Key

1. Communal Prep Kitchen 2. Communal Eating Room 3. Shopping / Retail 4. Interior Circulation on Cranston St. 5. Lobby on Cranston St. 6. Cafe / Lounge 7. Bank Building Performance Spaces 8. Restaurant 9. Parking 10. Lobby on Westminster St. 11. Coffee Shop

4. Finally, the housing units are placed around these massings in order to give residents views of the complex, the neighborhood and the greater providence area.

EXTRUDE

Ground Floor Plan

Main Circulation Artery

Sculpture Garden

POSITION

Stacked Townhomes

Jeremy Thorn Live - Work Cooperative ARCH 413 - Advanced Architectural Design Studio - Adams - Fall 2020

Site Location

CARVE

Concept Massing Diagrams

The existing site has been home to the well-known Citizens Bank Building in Providence’s west end. Based on the surrounding context, a mixed-use housing complex that incorporates housing, and activated public spaces in the area seemed imperative. The purpose of this complex is to promote the arts while nurturing social interaction between individuals who live in this complex and those who live in the neighborhood. By integrating live-work apartments throughout the site, pedestrians and residents alike can engage more intimately with this locality. Plainly put, this village is a cooperative where people live and work together in order to form relationships and express their creativity.

Live-work units

WEST END GATEWAY COMMUNITY REVITALIZATION THROUGH REGENERATIVE HOUSING In the West End neighborhood of Providence, this project aims to bring life to the community. A central green path, pocket park, and community center lie at the core of the site, linking Westminster and Cranston Streets. This is flanked by two blocks of housing with retail on the ground floor, as well as private courtyards for active use, cultivation, and rest. To address the well-known housing crisis in Providence, multiple types of housing are featured to accommodate low-income needs, family units, and live-work spaces, making up 110 units. Environmental justice is crucial to community development and housing equity, and thus this project uses the Living Building Challenge as its guidepost. Using regenerative solutions like storm and rainwater management, productive landscapes, passive and active solar systems, and natural ventilation, this design works to become net positive, as well as a healthy living environment for its residents.

STACK EFFECT STALE/WARM AIR EXITS OUT OF HIGHER POINT IN NEGATIVE PRESSURE ZONE

TYPE

UNIT COUNT

DUPLEX

ROW HOUSE

STUDIO

1 BEDROOM

2 BEDROOM

3 BEDROOM

LIVE WORK

TOTAL

110

PREVAILING WESTERN WINDS

SUN PATH

WEST WIND ENTERS THROUGH POSTIIVE PRESSURE ZONE ON CANTED WALL

PHOTOVOLTAIC ARRAY OPTIMIZED FOR SOUTHERN LIGHT

SOUTHERN DRAINAGE TOWARDS POCKET PARK SWALE

HIGHLIGHTS: - TREES - PIAZZA FOR PRIVATE/PUBLIC USE IN FRONT OF COMMUNITY CENTER - PRODUCTIVE LANDSCAPES - STORMWATER MANAGEMENT - PRIVATE COMMUNITY COURTYARD AND BACKYARDS - AGRICULTURE FOR GREEN GROCERS

PHOTOVOLATIC ARRAY

NORTH ELEVATION ON WESTMINSTER WESTERN WIND : NATURAL VENTILATION

EVAPOTRANSPIRATION

SOUTH ELEVATION ON CRANSTON

IMPERVIOUS PERVIOUS BLACKWATER DRAINAGE

BIOSWALE FOR INFILTRATION INFILTRATION

EAST ELEVATION THROUGH CENTRAL PATH RAINWATER FILTRATION FOR AGRICULTURE

Shannon DeFranza West End Gateway: Community Revitalization through Regenerative Housing ARCH 413 - Advanced Architectural Design Studio - Adams - Fall 2020

Johnathan Rego

This project takes a look at the existing Providence RI Train station and its surrounding area, to take a new approach that focuses on ease of usage, functionality, and feel of the created spaces. The new proposal expands on either side of the existing structure on a path that follows the railway below giving the station a wing-like curvature. This form was segmented into modular elements that were rotated to create a twisted atrium space in the center of the building. The roofline then extenuates the spirality of the twist that brings the whole structure together. Columns are placed along the exterior which not only frame the modules but lighten the load of the slimmer columns used in the interior. The facade is constructed with reflective glass and concrete columns encased in a textured metal. Interiorly, the materials are kept with a mix of gray metals, concretes, and glass. The ceiling material is a more reflective metal that makes the space feel larger.

EXTEN

Vegetation is a strong element used throughout the interior as well to add life and color to the gray tones. Each floor slab contains large punch-outs that allow for a passenger to see between all floors simultaneously, making it easier to navigate. Each platform below contains two sets of elevators and staircases to pass to the ground floor. The ground floor contains entrances from three directions, the parking garage below, the drop off area at the front, and the side for those that walk over from the nearby mall. For those that have a longer wait time for their train there are lounges on the ground and second floor along with shops, restaurants and cafes. The lounge on the second floor is elevated separating the space from the hussle and bussle of traveling and has a view of the tracks for new arriving trains. Along the same vein, there is an outdoor space on the second floor that takes advantage of the area created by the spiral. Due to the glass facade, and a view of the capital is kept constant.

CURVE

ROTAT E

100 ft

Johnathan Rego Twisting Railway ARCH 413 - Advanced Architectural Design Studio - Yang - Fall 2020

Fountain

Washington

West End Gateway: Regenerative Housing

Westminster

Mason Calise Site: Westminister st./Cranston st. lot - Providence, RI This project aims to create regenerative housing and retail in a growing area of Providence. The project focuses on creating a sense of community using urban agriculture, public spaces, and artistic performances. The design was a product of the communities interest in using the lot to connect the two main n

25'

SCALES

PROVIDENCE_WEST END

75'

50'

150'

250'

Bro

streets in a creative way, as well as maximizing the number of units while creating a nice place for families to grow in the city.

100'

300'

500'

site plan 1/64" = 1'-0"

bed 3

bed 2

bed bed 3 2 bath

bed 3 bath

24'bed 3

bed 2

A admin/front desk

bed bed 3 2

floors plans 1/64" = 1'-0"

24'bed 3

bed 2 bed 2

cafe

PVD_WEST END

24'

18'

floors plans 1/64" = 1'-0"

18'

END PVD_WEST ENDPVD_WEST floors plans 1/64" = 1'-0"

18'

admin/front desk

Restaurant

bed 3

w/d bath

45'

w/d

45'

storage

bath

45'

storage

45'

bath

bed 2

45'

bed 3

storage

45'

bed 2

storage

bath B

45'

w/d

cafe

45'

w/d

lofts

Second Floor Plan

study/flexible spacestudy/flexible space

Fourth Floor Plan

flats

green space

study/flexible spacestudy/flexible space

15'

15' 15'

15'

cafe

45' bed 1 kitchen/dining/livingkitchen/dining/living

bed 1 bath

study/flexible space

bath

45'

w/d

flats

community

retail

First Floor Plan retail

Third Floor Plan

green space

third floor plan

27'

lofts

first floor plan

master suite

kitchen/dining/livingkitchen/dining/living bath

15'

bath

terrace

15'

storage

w/d

bath storage

master bath

w/d

Daycare

first floor plan bath

w/d

terrace

master bath

Restaurant

green space

bed 3

bed 1

15'

storage

w/d

admin/front desk

fourth floor plan

retail

24'

bed 2

27'

18'

bed 2

study/flexible space

w/d

cafe

green space

stairs 7:11

storage

24' bed 1

storage

master bed

master bath kitchen/dining/livingkitchen/dining/living

24'

bath

kitchen/dining/livingkitchen/dining/living

master bed master bath

24'

admin/front desk

community

bed 3

27'

bed 2

flats

stairs 7:11

master bed

terrace

lofts

second floor plan

retail

master bed

15'

15' 15'

15' A

terrace

18'

36'

unit plans 3/32" = 1'-0"

36'

terrace

Unit 2- Floor Two

PVD_WEST END

36'

15'

terrace

Unit 1 - Floor Two

terrace

27'

unit plans 3/32" = 1'-0"

PVD_WEST END

terrace

15'

terrace

15'

study/flexible spacestudy/flexible space

Daycare

community

floors plans 1/64" = 1'-0"

PVD_WEST END

retail

PVD_WEST END

community

second floor 3/32" = 1'-0"

Unit 1- Floor One

36'

second floor 3/32" = 1'-0"

Unit 2 - Floor One

lofts

community retail green space

PROVIDENCE_WEST PROVIDENCE_WEST END END

Parking Garage

24'

bed 1

kitchen/dining/living

community

27'

master bed

flats

27'

lofts

second floor 3/32" = 1'-0"

18'

27'

kitchen/dining/living bath

storage

retail green space

bath

master bath

w/d

first floor 3/32" = 1'-0"

site plan site 1/32" plan 1/32" = 1'-0" = 1'-0" PROVIDENCE_WEST PROVIDENCE_WEST END END site plan site 1/32" plan 1/32" = 1'-0" = 1'-0"

Mason Calise West End Gateway ARCH 413 - Advanced Architectural Design Studio - Adams - Fall 2020

Underpass (connecting through way to existing housing development)

Community Garden Performance Stage

Amphitheater Steps

Community Garden

Private Terrace Gardens

ter

ins

stm

Hoyle Quarters - Providence, RI Hoyle Square, once a busy urban area in Providence, RI, has lost its identity and become an inactive part of the city. A new regenerative urban housing complex, Hoyle Quarters, is a proposal for how the square can once again come back to life. The proposal offers retail, housing, parking, and community space for the community and its new residents. With an emphasis on materiality, water management, energy, and health and happiness, Hoyle Quarters will use several petals of the Living Building Challenge to improve its environment for generations to come.

Site Conditions Diagram

Concept Diagram

Westminster Street Elevation Flat

Flat Row House

Flat Interlock Units

10 2

6 5

Citizens Bank 7

9 8

Courtyard Garage

Retail

Garage Upton Residents Terraced Green Space

12. North Elevation 13. Exploded Axonometric 14. South Elevation

Green Grocery

Exploded Program Axon

Ground Floor Plan

Cranston Street Elevation

Cranston Street Render

Matt Hart Hoyle Quarters ARCH 413 - Advanced Architectural Design Studio - Adams - Fall 2020

Ground Floor Plan 1. Green space 2. Retail 3. Small amphitheater 4. Community room 5. Open green space 6. Agricultural planters 7. Laundry 8. Storage 9. Laundry 10. Courtyard 11. Citizens Bank Building

Interior Courtyard Render

This project is about establishing a relationship to its surroundings through its use of material and the placement of the program. The materials on the facade of the project begin to create a dialogue between the boardwalk and the building; while also helping to define the programmatic elements and to create a division between private and public spaces. This building serves to create a relationship to the park, ICA, water, and the surrounding context, rooting this building to the site. All these elements work simultaneously to highlight the building within its context. Creating a destination along the harbor walk, interconnecting this project to the broader city.

09-19 MICROUNITS DN UP

UP DN

08 OFFICE UP

05-07 CLASSROOM UP

04 CLASSROOM

UP DN

UP DN UP DN UP

UP UP DN

02 LARGE EXPRESSION CHAMBER

01 GROUND FLOOR

Emma Meier Dovetail ARCH 413 - Advanced Architectural Design Studio - Giambertone - Fall 2020

03 SMALL EXPRESSION CHAMBER

The purpose of The Bridge is to connect the communities through the use of biophilic design. The project is constructed of two identical buildings with a connecting fifth floor with roof gardens and PV systems. This creates a protected central courtyard that connects the current buildings on the site. The layout is composed of five different room styles totaling up to ninetyfive units. The ground floor of the residence is open for commercial and local shops. The building is constructed out of glue-laminated timber to form with the natural curve of the layout and ensure overall lower the carbon footprint of the building. Each section of the builds has interior courtyards which bring in natural light to the hallways and allow for residents to be exposed to anature throughout their day. The building’s facade is developed based on its solar orientation creating two distinct facade types. Through the use of PV systems on the roof, rainwater harvesting system, and natural materials the complex reduces its waste and energy consumption.

FLOOR PLAN - 1

FLOOR PLAN - 2

FLOOR PLAN - 3

Based on the solar orientation, the south facing exterior is constructed with a double glass facade. The space between the double facade is designed for occupants to grow indoor gardens in their apartments. The exterior glass is angled SECTION - A at seventy-one degrees, this decreases the amount of direct solar radiation but allows for ambient lighting. The remainder of the facade is wrapped in metal corten panels. The north facade is enclosed and well insulated to prevent heat loss. This facade is constructed out of wood panels. Bay windows were designed to allow residents a better view of Providence SECTION - B and allow more sunlight into their living areas.

SOUTH ELEVATION

Michael Donovan The Bridge ARCH 413 - Advanced Architectural Design Studio - Adams - Fall 2020

FLOOR PLAN - 4

DETAILED SECTION

FLOOR PLAN - 5

NORTH ELEVATION

PROVIDENCE PINION STATION Conceptual Diagram

FRAMEWORK

SECOND FLOOR

GROUND FLOOR

RAIL PLATFORM

CIRCULATION

STATE HOUS WALKWAY

THEATER

BATHROOM

PUBLIC SPACE

LOUNGE

BATHROOM BATHROOM T FOOD COUR

BATHROOM

SEATING LOUNGE

ATRIUM EXHIBITION

TICKET OFFICE

PLAZA

EXISTING PLAZA

OUTDOOR SEATING

PUBLIC SPACEFOOD STANDS + SHOPS

PIAZZA+ THEATER

ATRIUM

EXHIBITION SPACE

PLATFORM

VIEWING DECK SEATING + TICKET BOOTH

STATION DECK

RAILWAY

AMTRAK

Scale: 1/32” = 1’ - 0”

Georgios Pissanidis Providence Pinion Station ARCH 413 - Advanced Architectural Design Studio - Yang - Fall 2020

STATION DECK

CENTER OF CULTURE, CREATION, AND EXPRESSION

JUSTINE AHO

When approaching this project, the intent was to create a Center of Art and Expression that connects with the neighboring ICA and Waterfront Park. I also wanted to attract vistors with a design that offers different experiences when approached during the day versus at night, and by creating an immersive art experience in both the plaza and building design.

Justine Aho Center of Culture, Creation, and Expression ARCH 413 - Advanced Architectural Design Studio - Giambertone - Fall 2020

ADAPTATION WITHOUT LOSS: 49 POPLAR STREET

Newport’s historic Point neighborhood is at critical risk of flood damage from rising sea levels. This poses an especially serious threat to the many historically significant and protected properties. As part of the collaborative revitalization studio at Roger Williams, I developed a scheme for a new construction home at 49 Poplar Street that reconciles the need to respect the historic character of the neighborhood with the modern needs of chronic sea level rise and subsequent FEMA flood guidelines. The house needed to be uniquely modern and yet respectful of the historic streetscape. To achieve this, more modern and contemporary materials and methods were deployed, such as a standing-seam steel roof and board-and-batten siding. Additionally, zoning variances and local code requirements had to be considered and argued for in order to create a house that is respectfully modern and responsive to an uncertain future.

Scott Toth NEW CONSTRUCTION ARCH 416/517 - Collaborative Revitalization Studio - White + Laramie - Spring 2020

In this studio, we focused on the Point neighborhood in Newport, RI, which is in grave danger of being destroyed by rising sea levels. This project proposes the primary living space be relocated to the second floor only and that the first floor be abandoned in the event of a neighborhood wide storm surge. In order for this to be acheived, a steel frame will need to be inserted into the house. As a result the house would gain a new interior and a carefully restored chimney with modern and orginal materials. This proposal retains the historic frontage of the neighborhood while offering a beautifully renovated interior. With this project there are no variance requests or landscape changes, and preservation of the original historic entrance. It renovates the house into a one bedroom home with a loft, as well as a wet-proofed storage space on the first floor. The house sits at elevation 5’. In the event of a flood, residents will be safely above the Base Flood Elevation of 15’ above sea level. THIRD ST

ADAPTATION WITHOUT LOSS: 59 BRIDGE STREET

NEW CHIMNEY ASSEMBLY - 1.5” TERRA COTTA FLUE - CMU STRUCTURE - RE-LAID ORIGINAL BRICK FACING

59 Bridge St - Plat #16 Lot #57 Proposed Street Elevation and Flood Elevation

ASH DUMP

Not To Scale

1/2” = 1’

BRIDGE ST

1” = 1’

NEW CHIMNEY ASSEMBLY - 1.5” TERRA COTTA FLUE - CMU STRUCTURE - RE-LAID ORIGINAL BRICK FACING

ASH DUMP

1/2” = 1’

1” = 1’

8” BEAM SUPPORTING SECOND FLOOR 6” JOIST HANGERS

STEEL COLUMN TIES ATTACHED TO EXISTING STRUCTURE (SEE PLAN DETAIL)

FIRST FLOOR INSULATION REMOVED FOR WETPROOFING

Christopher Belmonte CONTRIBUTING BUILDING ARCH 416/517 - Collaborative Revitalization Studio - White + Laramie - Spring 2020

ADAPTATION WITHOUT LOSS: 23 ELM STREET

The lot at 23 Elm Street sits at roughly five feet above sea level - anything built in this location will have to sustain chronic sea level rise. As such, an elevation of nine feet and two inches is incorporated into this newconstruction home in order to mitigate the impacts of climate change. The proposed structure at 23 Elm Street takes into account what is appropriate for life in the Point nieghborhood. This proposal reconciles the challenges found with elevating homes, primarily through making use of a front garden in order to soften the height of the structure. The front garden and terrace provides access to the entry as well as a space in which to engage the neighborhood. In doing so it serves a dual purpose - softening the impact dealt by taller structures and bringing the street and house together. The Elm Street house respects the historic character of the neighborhood while sustainably responding to the threat sea level rise and worsening strom surges.

50’

SITE PLAN 1/4" = 1'-0"

23 ELM STREET PROPOSAL

ARCH 517

COLLABORATIVE REVITALIZATION STUDIO

ARCH 517

COLLABORATIVE REVITALIZATION STUDIO

ARCH 517

COLLABORATIVE REVITALIZATION STUDIO

SCALE :

AS NOTED

DATE :

04/06/2020

A1.7

3 A1.7

1 A1.7

LOWER LEVEL PLAN 1/4" = 1'-0"

4 A1.7

23 ELM STREET PROPOSAL

FREEBOARD DIMENSION

SCALE :

AS NOTED

DATE :

04/06/2020

SCALE :

AS NOTED

DATE :

04/06/2020

A1.8

1'-10"

FIRST FLOOR LEVEL SILL LEVEL

14'-2"

9'-2"

A1.7

EXISTING GRADE

5'-0"

1 A1.7

SEA LEVEL

EAST ELEVATION

1/4" = 1'-0"

23 ELM STREET PROPOSAL

COLLABORATIVE REVITALIZATION STUDIO

SCALE :

AS NOTED

DATE :

04/06/2020

A1.5

FIRST FLOOR PLAN 1/4" = 1'-0"

2'-25 8"

ARCH 517

23 ELM STREET PROPOSAL

SECTION BREAK

INTEGRATED SCREENED SOFFIT VENTS CUT INTO SOFFIT

1" 2'-22

INTEGRATED SCREENED SOFFIT VENTS CUT INTO SOFFIT TYP. WALL ASSEMBLY WOOD CLAPBOARDS APPLIED 4" TO WEATHER "ZIP-R" SHEATHING SYSTEM 6" STUDS @ 16" O.C FIBERGLASS BATTING 3/8" GYPSUM WALL BOARD

3/4" WESTERN RED CEDAR BEADED SHIPLAP UNDERLAY

DRIP EDGE INSTALLED TO TOP EDGE OF KICKBOARD

GUTTER DETAIL

CIRCULAR METAL 4" DRAIN PIPE TO BE ATTACHED TO CLAPBOARDS

3'-0"

1" = 1'-0"

GUTTER DETAIL 1" = 1'-0"

SECTION BREAK

1" 2'-22

CIRCULAR METAL 4" DRAIN PIPE TO BE ATTACHED TO CLAPBOARDS

SECTION BREAK SECTION BREAK

TYP. WALL ASSEMBLY WOOD CLAPBOARDS APPLIED 4" TO WEATHER "ZIP-R" SHEATHING SYSTEM 6" STUDS @ 16" O.C FIBERGLASS BATTING 3/8" GYPSUM WALL BOARD

EAVES FACED WITH 3/4" WOOD BOARDS

8'-0"

1/8" METAL FLASHING

16" O.C. EAVE BLOCKING

1" 1'-92

EAVES FACED WITH GUTTER FORMED FROM 3/4" WOOD BOARDS

8'-0"

SECTION BREAK

8'-0"

16" O.C. EAVE BLOCKING

1" 1'-92

TYP. ROOF ASSEMBLY DEBRIS SCREEN GAF ASPHALT SHINGLES GUTTER FORMED FROM WATER BARRIER METAL FLASHING "ZIP-R" ROOF1/8" SHEATHING SYSTEM 10" RAFTERS @ 16" O.C

DEBRIS SCREEN

3/4" WESTERN RED CEDAR BEADED SHIPLAP UNDERLAY

GARAGE DOOR/ENTRY DOOR DETAIL

3'-0"

3/4" WESTERN RED CEDAR OVERLAY

9'-0"

DRIP EDGE INSTALLED TO TOP EDGE OF KICKBOARD 3

3/4" WESTERN RED CEDAR OVERLAY

9'-0"

SECOND FLOOR PLAN 1/4" = 1'-0"

1" = 1'-0" 23 ELM STREET PROPOSAL

GARAGE DOOR/ENTRY DOOR DETAIL

SQUARE-CUT CYPRESS CAP

Ben Converse 2 1" = 1'-0" NEW CONSTRUCTION ARCH 416/517 - Collaborative Revitalization Studio - White + Laramie - Spring 2020 2 21"SLATE FLAG CHIMNEY TOPPER

3" SLATE FLAG SURFACE CAP

CONCRETE MORTAR LAYER

3/4" CLAY FLUE LINER

SQUARE-CUT CYPRESS CAP

TOPPER 2 21"SLATE FLAG CHIMNEY 4"x14" CLAY FLUE BREACHING STACKED IN CMU CHIMNEY

ROUGH CUT BLUESTONE STACKED WALL, TAPERED OUT TOWARDS BOTTOM

HARDENED STEEL T - FLANGE 2" SLATE FLAG SURFACE PERFORATED FOR BOLTS

3/4" CLAY FLUE LINER

4"x14" CLAY FLUE BREACHING

A1.9

SECTION BREAK

1" 1'-92

8'-0"

1" 1'-92

TYP. ROOF ASSEMBLY GAF ASPHALT SHINGLES WATER BARRIER "ZIP-R" ROOF SHEATHING SYSTEM 10" RAFTERS @ 16" O.C

J- BOLT FASTENERS IN CONCRETE

3" SLATE FLAG SURFACE CAP

CONCRETE MORTAR LAYER

ROUGH CUT BLUESTONE STACKED WALL, TAPERED OUT TOWARDS BOTTOM

ARCH 517

COLLABORATIVE REVITALIZATION STUDIO

SCALE :

AS NOTED

DATE :

04/06/2020

A1.10

ADAPTATION WITHOUT LOSS: 78 BRIDGE STREET

ARCH.517 COLLABORATIVE REVITALIZATION STUDIO ELINE HILGERSOM

ROGER WILLIAMS UNIVERSITY

ADAPTATION WITHOUT LOSS 78 BRIDGE STREET NEWPORT, RI, USA DATE: May 1, 2020 Street Washington

SCALE: 1/50 - 1’-0” CONTEXT:

et Second Stre NOTES:

EXISTING

DISTRICT PLAN

Eline Hilgersom CONTRIBUTING BUILDING ARCH 416/517 - Collaborative Revitalization Studio - White + Laramie - Spring 2020

78 Bridge Street was built in 1750 as a colonial style residence. The proposal for raising the building is 12’ as per FEMA guidlines since existing grade elevation is 4’. The building has been recently renovated, which includes window replacement and some reworking of the original floor plan. In this scheme, the frint staircase could not be overlooked. In this proposal the house has been raised to a relocated 9’-10” foundation height to create space for the front stair as well as allow for pedestrian utilization of the sidewalk. The relocation of the building will not affect the neighboring buildings. The house will have a new pier foundation, compsedd of heavy timber members, that is enclosed with a break-away louvre system that allows the water to flow underneath the building when a flood or storm surge would occur.

ADAPTATION WITHOUT LOSS: 56 BRIDGE STREET

56 Bridge Street has long been seen as the gateway to Newport’s historic Point neighborhood, being one of the first houses seen when entering. An imposing, hunkered-down gambrel roof makes the 18th century house iconic. The existing property has an elevation of only 4’0” above sea level, making it uniquely vulnerable to rising sea levels. To adhere to FEMA guidelines, the proposed changes elevate the building 16’0” above sea level. Such a drastic elevating of the building requires that it be set back on a generous terrace in order to soften the impact had by raising the structure. Landscaping and stone landscape walls are proposed as part of this approach, generating greenspaces that respond to the streetscape. Elevating the house 16’-0” above grade permitted the space below to be used for parking, something that is at a serious premium in the Point neighborhood and is ideal given the building’s commercial use. Because of this, an elevator lift was also integrated within the footprint of the building in order to satisfy the accessibility requirement seen with non-residential structures.

Francesca Maddalone NON-CONTRIBUTING HOUSE ARCH 416/517 - Collaborative Revitalization Studio - White + Laramie - Spring 2020

OUTDOOR CLASSROOM WOOD FRAME DESIGN Bring ing outd oor c la ssroom sp a c e to Rog er Willia m s University w ould offer stud ents a m ore eng a g ing lea rning environm ent a nd w ould d em onstra te the resilienc y of the sc hool to a d a p t d uring the c urrent g lob a l p a nd em ic . The outd oor c la ssroom is loc a ted a t the hea rt of c a m p us, situa ted on the la w n b etw een the Ga b elli Sc hool of Business, the Colleg e of Arts a nd Sc ienc es a nd Ma p le Ha ll. The sp a c e w ould a c c om m od a te 30 soc ia lly d ista nc ed stud ents, ea c h w ith 6’ b etw een them a nd a p rofessor loc a ted a t the front of the c la ss. The p a vilion is a sim p le struc ture of Doug la s Fir, c onsisting of a series of c olum ns - four b a ys a c ross a nd 2 b a ys d eep , w ith b ea m s a nd joists a b ove tha t to p rovid e the roof struc ture. The p osts a re c onnec ted to the b ea m s w ith a p ostc a p c onnec tion a nd then the ra fters rest on top of the b ea m s joined via ra fter a nc hors. The slop e of the roof is m ea nt to d irec t stud ents’ foc us tow a rd s the front of the outd oor c la ssroom , w here the p rofessor w ould b e tea c hing . Ad d itiona lly the up w a rd form is m ea nt to b e up lifting a nd im p rove sp irits.

GHH

Gabelli School of Business

Site Location

Maple Hall

College of Arts and Sciences

DRAWINGS SCHEMATIC FRAMING PLAN

CONNECTION DETAILS

LATERAL BRACING DIAGRAMS

DETAIL SECTION

DETAIL PERSPECTIVE

Rafters spaced @ 16" O.C.

3'-0"

Posts

RAFTER

6" Slab on Grade

Edge of Roof

12”

Knee bracing for lateral resistance

Students spaced for social distancing RAFTER ANCHOR

Beam for lateral resistance

3'-0"

1 1/ 2”

BEAM

Whiteboard / Screen

POST CAP

5'-0"

1 1/ 2”

Whiteboard / Screen

14”

Beams

12”

Posts

BOLTS

Podium

DETAIL SECTION

DETAIL PERSPECTIVE SCALE 1½” = 1’

3'-0"

24'

RAFTER ANCHOR BEAM

12'-2"

3'-0"

18'

POST CAP

1 1/ 2”

5'-0"

12”

18'

6”

RAFTER

12”

3'-0"

14”

42'-2"

1 1/ 2”

36'

3'-0"

42'

BOLTS 12'

1'-4" 48' 53'-4"

3/ 16” =1’ 0

2’

12'

4’

6’

48' 53'-4" SCALE 1½” = 1’

6”

Meghan Rodenhiser and Callie Krekorian Outdoor Classroom Wood Frame Design ARCH 434 - Design of Structures I - Dermody - Fall 2020

1’

Common Classroom Niki Tritt and Carleigh Procyk

Centrally located between Commons, the Architecture Building, and the Library, the proposed Common Classroom provides students with a common place to gather safely. Common Classroom offers a socially distanced outdoor learning experience for students and faculty to share and enjoy. When starting this project, our main design goal was to create an open learning space, while also providing a social distance seating arrangement. An open space is one of our design objectives because we believe that clear, unobstructive views towards the instructor is a necessity for every student. The students will also be able to learn, even during the time of COVID-19 in our socially distanced outdoor classroom. After researching precedents of wood pavilions, we came across the Roswell North Elementary School outdoor classroom. From the precedent, we decided to use the idea of angled roofs and the drainage system in our design. The drainage system is a crucial addition to the Common Classroom because of how often it rains in Bristol, RI. Due to the sloping of the roofs towards the center, a way to remove the water from the roof was needed. We added another structural aspect that supports the pavilion laterally. The cross bracing is a minimal, but aesthetically pleasing way to provide the needed lateral stability. Our structure is located in the commons area with close proximity to surrounding university buildings such as; the architecture building, library, and the common building. SIte Plan

Lateral Stability Diagram

South Elevation

Architectural Plan

Calculations

Section Facing East

Framing Plan

Niki Tritt and Carleigh Procyk Wood Frame Design Project ARCH 434 - Design of Structures I - Dermody - Fall 2020

Detail - Axon

Detail - Section

Detail - Elevation

Detail - Plan

5year th

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.

01. | Diagrams

Facade Composition

Facade Hierarchy

Public / Private Zoning

HEADLINE | The Providence Journal Facade Design

The Providence Journal is America’s oldest daily-published newspaper still in continuation. When creating a new headquarters for this paper, I wanted to pay homage to the most iconic part of the newspaper: the front page. Breaking the front page down to its essential elements: the pictures, headlines, and body text, hinted to using these elements as a way of expressing space through shading. The pictures lent to solid paneling, headlines as solid glass, and body text having louvers to shade from the sun.

02. | Plans

03. | Section

Ground Floor Plan

Section AA

Amanda Thisdale Headline - The Providence Journal Facade Design ARCH 512 - Graduate Core Architectural Design Studio II - Bernert - Fall 2020

Second Floor Plan

Typical Floor Plan

NOTES

OF HISTORY I

n 2019, an international architectural idea competition for the National Concert Hall of Lithuania was launched to be located in the Capital city of Lithuania, Vilnius. According to the city mayor, Remigijus Šimašius, “The national concert hall ‘The Home of Nation’ is planned to be one of the most important cultural objects in Vilnius. I invite and encourage international, world-famous architectural teams to design a modern space in Vilnius which would contain a hall suitable for symphony concerts, for entertainment activities and leisure time activities. Architecture of the building should become a new symbol of the city which would inspire and liberate the city from a narrow viewpoint and would reflect modern times.”The site chosen for this competition was Taurus Hill, a key spot in the city that has been the site of the old derelict Trades Union building that was demolished for this new program. This studio takes the essence and site of this completion, but reduces it to suit a smaller amount of program. However, this project will still be able to provide Vilnius with they symbolic importance and cultural experience.

PRODUCED BY AN AUTOD

NARRATIVE FOR STRUCTURAL HYBRID SYSTEM Historically, buildings build in Lithuania are constructed primarily out of wood, with concrete being introduced during the Soviet Occupation. The concert hall is constructed so that interior rooms are constructed out of concrete bearing walls and slabs. This is synonymous with the idea that the Lithuanians are taking over their country back from the Soviets.

This project is to reinvent the Lithuania National Concert Hall Competition. Currently, the city lacks the cultural epicenter for the philharmonic to perform as well as a symbolic civic cultural building. The concept for the concert hall is to rejuvenate the role of cultural and civic spaces with the city of Vilnius and to reactivate the position of Tauras Hill as a key node in the city. By positioning the building on top of the hill, it becomes capable of acting as a loci for locals and tourists to center themselves upon. To achieve this, both buildings are located at the top of the hill, in line with the former axis of the site that links it to Lukiškės Square beyond. There is an additional axis that is oriented towards the Old Town. Both axises work to acknowledge the Lithuanian’s History and how they have been pulled apart for centuries but still manage to prevail as a united people. The building is meant to act more monumental by having solid and transparent qualities so that it remains connected with its location, but is able to be seen throughout the city without disturbing the local typology. It is monumental in its scale and presence on the site, but still remains subdued to its use of natural materials and preservation of the land around it.

The timber construction will use 16 inch square columns and Glue-laminated beams every 25 feet. Additional beams will be used for additional support and to provide a rhythmic feel to the space. CLT panels will be used along the exterior walls and for the flooring. The Emmanuel Church in Cologne, Germany, was used as inspiration for the interior. The heavy timber framing can be can in a rhythmic modulation. The modulation can be done along a 25' x 25' grid can adjust to suit the necessary spans and program. By having it be a 25'x25' grid, a large part of the concert hall can remain open. With the program being a concert hall large areas are needed. Where the grid needs to shift, deeper beams can be utilized.

PRODUCED BY AN AUTODESK STUDENT VERSION

The scheme of the building is organized so that the service spaces are more integrated with the served spaces, acting like a buffer separating different programs. To achieve this the characteristics of the Stone House and the House Without Qualities were considered. The plan, hierarchically, considers the hall to be of the most importance, and limits pedestrian access to that area of the building as well as the lobby. Service spaces for the audience separates the public from the private functions, such as the management area and backstage/ practice locations. These larger regions are also separated by the service areas within themselves. The lowest floor is reserved for the most private activities such as the manufacturing and mechanical areas, and well as loading for the building.The building is also organized so that the lower levels are more compact, while the top levels are meant to provide an open feeling bringing prominence to the concert hall itself and the views beyond.

Viewing/ Performance Circulation

CONCRETE

PRODUCED BY AN AUTODESK STUDENT VERSION

General Circulation

Material Concept

BASEMEN

Scale: 3/32"=1'

PRODUC

ED BY

AN AUTODE

T FLOO

SK STUDENT

VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

VILNIUS CONCERT HALL VILNIUS CONCERT HALL

1 ROOF ASSEMBLY - BED OF GRAVEL - THREE-LAYER BITUMINOUS ROOF SEAL - 4” EPS INSULATION SLOPED - VAPOR BARRIER - 12” 9 LAYER CROSS LAMINATED TIMBER BOARDING, WHITE WAXED

1 1.3

T.O. PARAPET

70' 10 1/16" VILNIUS LITHUANIA T.O. ROOF 69' 06 11/16" EUROPE

T.O. ROOF 69' 06 11/16"

STUDENT NAME

ANNE QUEALLY

STUDENT NAME

ANNE QUEALLY

2 WALL ASSEMBLY - 5/8” FIBERGLASS CONCRETE PANELS - 2 1/2” 1/16” Z CLIP - FACADE MEMBRANE - 1.5” OSB PLYWOOD SHEATHING - 2” X 8” TIMBER POSTS - 8” MINERAL WOOL INSULATION - VAPOR BARRIER - 7” 5 LAYER CROSS LAMINATED TIMBER BOARDING, WHITE WAXED

T.O. FINISHED FLOOR 92' 3/4"

A001

PARKING

ARCH 513

INTEGRATED PROJECT ARCH 513 DESIGN STUDIO INTEGRATED PROJECT DESIGN STUDIO

T.O. FINISHED FLOOR 65 5"

A007

A002

T.O. FINISHED FLOOR 36' 11"

FURNITURE AND PROP STORAGE

OFFICE A003

SECURITY

STAFF ENTRANCE A004

ROOM A005

TRASH

BAY

STORAGE A006

DELIVERY

T.O. FINISHED FLOOR 55' 9"

T.O. FINISHED FLOOR 40' 5"

3 FLOOR ASSEMBLY - 2 1/2” EXPOSED SCREED CONCRETE WITH WHITE-CEMENT, GROUND SMOOTH - SEPARATING LAYER - SOUND REDUCTION BOARD - 12” 9 LAYER CROSS LAMINATED TIMBER BOARDING, WHITE WAXED

T.O. FINISHED FLOOR 45' 0 5/6"

T.O. FINISHED FLOOR 22' 8"" T.O. FINISHED FLOOR 18' 0 5/16"

WORKSHOP

GRADE 0' 0"

GRADE UP 0' 0"

DN JANIOTR'S UP

PRODUC

A015

ED BY

ROOM

SK STUDENT

AN AUTODE

PRODUCED BY AN AUTODESK STUDENT VERSION

T.O. FINISHED FLOOR 18' 00"

1.1

PRODUCED BY AN AUTODESK STUDENT VERSION

CROSS SECTION THROUGH CONCERT HALL

PRODUCED BY AN AUTODESK STUDENT VERSION

VERSION

4 WALL ASSEMBLY - 2” RIGID-FOAM THERMAL INSULATION - SEALING LAYER - 18” REINFORCED CONCRETE WALL WITH 3 1/2’ WIDE CONCRETE FOOTING

L ROOM

Scale: 3/32"=1'

STORAGE

PRODUCED BY AN AUTODESK STUDENT VERSION

A016

A014

SECTION C-C

BREAKROO

MECHANICA

A013

OFFICE

SECTION A-A Scale: 3/32"=1'

IT ROOM

AND WAREHOUS E A011

SK STUDENT

PREP ROOM

A010

WORKSHOP

A009

WORKSHOP

OFFICE A012

STORAGE A008

T.O. FINISHED FLOOR T.O. FINISHED FLOOR -18' 0" -18' 0"

2.1

T.O. FINISHED FLOOR 18' 00"

REVISIONS REVISIONS

VERSION

GRADE 0' 0"

6 PARAPET CAP FLASHING T.O. PARAPET

A016

7 9” LAMINATED TIMBER

L ROOM

MECHANICA

70' 10 1/16"

8 5 1/2” X 24” LAMINATED TIMBER CROSSBOARDING, WHITE WAXED RAFTER

9 16” X 24” LAMINATED TIMBER CROSS-BOARDING, WHITE WAXED COLUMN

T.O. FINISHED FLOOR 45' 0 5/6" 5

T.O. FINISHED FLOOR -18' 00"

10 2 1/2” WOODEN MULLION WITH METAL EXTERIOR CAP

T.O. FINISHED FLOOR 26' 8"" UP

11 GLAZING

FINAL B.O. FOOTING -25' 00"

GRADE 0' 0"

B.O. FOOTING -25' 00"

FINAL

12 TINTED SPANDREL GLAZING

DATE : DECEMBER 13, 2020 SCALE : AS NOTED

14 5” EXPOSED SCREED CONCRETE WITH WHITE-CEMENT, GROUND SMOOTH 2

SECTIONS

REVISIO

SECTIONS

Scale: 3/32"=1'

NAME

PRODUCED BY AN AUTODESK STUDENT VERSION

LLY

VILNIUS CONCER HALL T

VILNIUS LITHUA NIA EUROP E

STUDENT

ANNE QUEA

ARCH 513

INTEGRATED PROJE DESIGN CT STUDIO

SECTION B-B

PRODUCED BY AN AUTODESK STUDENT VERSION

PLAN

13 6” X 9” WOODEN LOUVERS

9 : DECEMBER 13, 2020 DATE

T.O. FINISHED FLOOR -18' 0"

2020

BASEM ENT FLOOR

SCALE : AS NOTED

FINAL

SCALE : AS NOTED DATE : DECEMB ER 13,

A1.01

STRUCTURAL EXPLODED AXON

5 FLOOR ASSEMBLY - 2 1/2” EXPOSED SCREED CONCRETE WITH WHITE-CEMENT, GROUND SMOOTH - SEPARATING LAYER - 1 1/4” UNDERFLOOR HEATING LAYER WITH 16 MM HEATING TUBES - 2” RIGID-FOAM THERMAL INSULATION - SEALING LAYER - 8” REINFORCED CONCRETE FLOORING - 2 1/2” EXTRUDED POLYSTYRENE INSULATION - 4” GRAVEL BLINDING LAYER

GRADE 0' 0"

TIMBER STRUCTURE 16x16 Columns

2.3

T.O. PARAPET 70' 10 1/16"

6 7

VILNIUS LITHUANIA EUROPE

ESK STUDENT VERSION

R PLAN

PRODUCED BY AN AUTODESK STUDENT VERSION

T.O. PARAPET 119' 2 1/2"

T.O. PARAPET T.O. PARAPET 70' 10 1/16" 70' 10 1/16"

AN AUTODE

WOOD

OLD TOWN

Conceptually, the building is laid out so that when one enters the building to see a performance they are guided on a journey through the views that they see. As one circulates up to the hall, they are first directed to view the Old Town for the upper lobby on the second level, they can also see this view prior to the show from the restaurant. After viewing the performance, as the audience is leaving one can see the New Town across the river from the viewing platform outside the concert hall. The view placement is distinct and allows the concert hall to act as a transition point between Lithuanians past and future and allows the audience to first look and acknowledge their past with the hope of looking towards the future following the performance.

ED BY

CONCRET

New Town View

Historically, buildings built in Lithuania are constructed primarily out of wood, with concrete being introduced during the Soviet Occupation. This concept works to unite those two materials but has vertical wood sheathing being the primary exterior envelope material to illustrate that the Lithuanians are still a united whole. The structure of the building utilizes concrete in the lower basement level and to enclose the concert hall and room cores, however Cross-Laminated Timber is used to support the exterior of the building above ground level. These beams and rafters would be exposed to create a rhythmic presence when circulating through the space. The walls are also composed of Cross Laminated Timber Panels to create a light natural effect in the building connecting it to the natural landscape surrounding the building. Large punched windows are utilized to enable natural light to enter the space and these utilize wooden mullions on the interior so as to not disturb the natural rhythmic feel. Additional wooden posts are extruded from the building on the exterior to extend the rhythmic feel to the exterior of the building. The Rupert Center for the Arts in Vilnius, Lithuania was used as inspiration for the exterior of the building and the Emmanuel Church in Cologne, Germany, was used as inspiration for the interior.

CONCRETE Foundation, Walls, 18x18 Columns, Slabs

WOOD

Lukiškės Square

This design works to combine both means with a focus in the traditional Lithuanian architectural identity. This building utilizes wood siding and a heavy timber structure that surround the concrete cores of the building as a link to the Lithuanian identity. The concrete is used in the interior for its acoustical qualities and to illustrate how the Lithuanians (the wood) and overcome the Soviets (the concrete) but it will still be a part of their identity that they live with but have had the strength to grow past. This plays out with the main circulation spaces being constructed of heavy timber surrounding the concrete masses in the center of the building.

PRODUC

The concrete walls will vary from 6 inches thick to 18 inches thick around the theater for sound proofing needs. The concrete structure will then be surrounded by a heavy timber frame to provide a more natural feel to the public and to reference the natural landscape that this site once held.

Old Town View

The building’s design is intended to embrace the history of Lithuania as well as the traditions of its people and vernacular architecture. Traditionally, buildings in Lithuania are constructed from lumber found in the area with slightly pitch roofs. Most of these buildings have punched windows, are wood sided and allowed to fade with time . In the twentieth century buildings began to be constructed out of concrete due to Soviet traditions.

ROOF PLATES

ROOF

A3.01 A3.02

SECTION THROUGH CONCERT HALL

WALL ASSEMBLY

ED BY

PRODUC

SK STUDENT

VERSION

AN AUTODE

FIRST FLOOR PLAN Scale: 3/32"=1' PRODUCED BY AN AUTODESK STUDENT VERSION

Anne Queally The Melody of Space: Notes of History Melody of Space: Notes of History ARCH 513 - Intergrated ProjectDesign DesignStudio Studio- -Viola Professor Viola Ochoa - Fall 2020 Integrated Project OchoaRoberto - Fall 2020

BLURRED BOUNDARIES newport school of crafts and technology newport, rhode island

The proposed building is located on the south end of Goat Island in Newport, Rhode Island. This area is currently private and only open to residents, however, with the new construction of a school and a sculpture garden, this site will become public to occupants. When proposing a volume within this large site, it is necessary to consider how the building will impact the landscape and the surrounding spaces. A precedent that inspired the geometric form is the Rural House in Spain. Overall, the massing allows for a linear circulation hub that connects each module, providing views throughout the school. The modules are 32’-0” wide and 110’-0” long, situated along with the circulation hub, creating outdoor gathering spaces and framed views. The programmatic areas are differentiated through the structure and envelope. The five modules are pre-cast concrete, and circulation is enclosed in a glass frame. The height of the primary spaces are 23’-0”, whereas the circulation and service spaces are lower by 5’-0”. Also, in instances where circulation intersects the modules, the roof will be lass rater than hollow core concrete slabs. These gestures will define the different spaces as well as provide a different feeling for the occupants. 1. Design discovery with the craft of making 2. Technological tradition and innovation 3. Many diverse skills in a collaborative environment 4. Learners of all ages 5. Core educated visiting scholars 6. Short-term and long-term engagements 7. Public and private 8. Built environment with the natural environment 9. In-person and virtual design spaces 10. Allied schools and institutions sharing resources The proposed school is a school of arts and technology, which focuses in on the trades. From providing hands on classes, as well as classes focusing in on vegetation culinary, and computer derived activities. The goal is to intertwine the 10 elements listed above, and the unique programmatic spaces that are required in this building. The structure, envelope and interaction with the surrounding site work consecutively to represent the above elements.

public public

service service

primary circulation primary circulation

gathering spaces Gathering spaces

cast in place concrete 1’-6” thick

HSS 4 x 4 x 1/8

PARAPET AND ROOF ASSEMBLY ALUMINUM ROOF CAP CANT STRIP PVC ROOF MEMBRANE PROTECTION BOARD 4" RIGID INSULATION WATER / VAPOR BARRIER 2" CONCRETE TOPPING 8" HOLLOW CORE SLAB

T.O. PARAPET EL = 38'-0"

TYPICAL SKYLIGHT ASSEMBLY

*CAST IN PLACE CONCRETE USED AS OTHER ROOFING SYSTEM*

3'-0"

pre-cast concrete walls 1’-6” - 3’-0” thick x 20’-0” high hollow core concrete slab 8” thick

4'-0"

T.O. ROOF

Roof Slope 1 / 4" per 1'-0"

1'-6" PRE CAST CONCRETE STEEL ANCHORS 4" RIGID INSULATION 1'6" DEEP REINFORCED CONCRETE BEAM POCKET FOR SKYLIGHT WATER / VAPOR BARRIER PRESSURE TREATED SLEEPERS ALUMINUM FLASHING DOUBLE GLAZED WINDOW POLYCARBONATE ROOF PANEL

TYPICAL WALL ASSEMBLY

EL = 35'-0"

3'-0" PRE-CAST CONCRETE LOAD BEARING WALL 4" RIGID INSULATION WOOD BATTENS 5 8" GYPSUM WALL BOARD INTERIOR WOOD CLADDING

pile foundation 20'-0"

hollow core concrete slab 8” thick concrete beams and columns 2’-0” x 2’-0”

Corridor

15'-0"

private private

slab on grade with a strip footing TYPICAL FLOOR ASSEMBLY INTERIOR WOOD FLOORING 3 4" SUB FLOOR 4" RIGID INSULATION WATERPROOF COATING 2" CONCRETE TOPPING ELECTROMETRIC MEMBRANE

8" HOLLOW CORE SLAB

FIN. FIRST FLOOR EL = 15'-0" 2'-0" DEEP CONCRETE BEAM

EARTH INFILL ABOVE GRADE

15'-0"

SOIL INFILL 2" DRAINAGE BOARD DAMP-PROOFING 2" RIGID INSULATION WATER / VAPOR BARRIER 1' - 6" CONCRETE FOUNDATION WALL CONCRETE WALL TO REMAIN EXPOSED

Parking

10’-0” sea level rise

5’-0” sea level rise

SLAB ON GRADE ASSEMBLY 2" PAVING 1 12" LAYING COURSE 2" SUB-BASE LAYER DRAINAGE SYSTEM SLIP AND PROTECTION SHEET WATERPROOFING MEMBRANE 3" CONCRETE SLAB CRUSHED STONE

FIN. GRADE EL = 0'-0" B.O. FOOTING EL = -5'-0"

BELOW GRADE ASSEMBLY STRIP FOOTING CRUSHED STONE 4" DRAIN PIPE EXISTING EARTH

5'-0"

3’-0” sea level rise

The proposed building will be sitting on an elevated landscape. This notion is inspired by the issue of sea-level rise and the precedent of the Rural House. The diagrams above represent the impact of sea-level rise over time compared to the proposed structure, which sites 15’-0” above grade. Elevating the landscape hides the parking and allows the landscape to really feel like part of the sculpture park. The landscape will integrate bioretention Basins -- which are landscape depressions or shallow basins used to slow and treat on-site stormwater. The stormwater is directed to the basin and distributed through a system back out to the water. This will also allow for flood water to be distributed elsewhere. The use of various forms of vegetation throughout the site also provides passive strategies, which could benefit the site and the building.

MEP Digital Fabrication Lab

Wood Working Studio

Virtual Reality Room Air Handling Unit

Corridor

Storage

Corridor

Restoration Studio

Metals Studio

Corridor

Glass Studio

Corridor

Exhibit Hall

Retail

Corridor

Air Handling Unit

Parking Air Handling Unit

Francesca Maddalone Blurred Boundaries ARCH 513 - Integrated Project Design Studio - Kyes - Fall 2020

Corridor

Cafeteria

Corridor

Kitchen Classrooms

Design

The architectural intentions was based off the form of the of the creek house where there is a singular module representing as the center gathering space with all other programs and rooms branching off. This makes valuable corner spaces where people can gravitate to and experience. The overall program was also an influence in design choices being a school for the arts and technology. The internal program that stood out the most and became the center piece was the exhibit hall where the rest of the programs branch from. And since differing in hierarchy the material choice differs from the modules that branch off. The heights of the massings also mirror the heights of the existing architecture. Tall floor to ceiling height windows are incorporated for not only passive strategies but for valuable views in and around the island.

201 - Fab Lab 202 - Computer Room 203 - Flex Space 204 - Pottery Studio 205 - Textile Studio 206 - Metals Shop

202

207 - Glass Studio 208 - Flex Space 209 - Custodians Closet/ Storage 210 - Stone Studio 211 - Wood Shop

210

201

211

Structure

The idea for this concept is to eliminate as many vertical elements as possible that could interfere with the spaces. By keeping the space as open as possible and keeping a majority of the ceilings exposed as possible than there can be many opportunities in which to express the creative mind. Doing this one can hang elements from the ceiling, build as wide as they want, and don’t have to worry about columns and vertical elements in the way. A steel frame structure is the ideal system to construct this concept to keep the areas light and airy. The space with the longest span, which also is the center area which want to attract the most users will incorporate the structure into its design greatly by extending a floor to ceiling truss that is visible from the outside and the interior of the space.

209

208 204

203 207

205

206

101 - Newport Sailing School 102 - Fab Lab/ Virtual Reality 103 - Lobby/ Retail 104 - Exhibit Hall 105 - Greenhouse

Channel Glass Double Glazing

101 Concrete Slab Heating/ Cooling Coils Metal Decking Wire Hanger Metal Channel Furring Channels GWB

107

102

108

106

Concrete Slab Heating/ Cooling Coils Rigid Insulation Concrete Slab 103

104

Julia Collopy Newport School of Crafts and Technology ARCH 513 - Integrated Project Design Studio - Kyes - Fall 2020

105

106 - Custodians Closet/ Storage 107 - Container Farm 108 - Cafeteria 109 - Kitchens 110 - Restaurant

109

110

FORMING CONNECTIONS THE TIDAL FLOW CRAFT/ TECHNOLOGY SCHOOL ENCOURAGES COLLABORATION AND PARTNERSHIP BETWEEN DIFFERENT CREATIVE DISCIPLINES TO ENHANCE THE STUDENT’S EDUCATIONAL EXPERIENCE BEYOND THEIR SPECIFIC FOCUSES. NEWPORT’S DEEP HISTORY IS ROOTED WITH A PRIDE IN QUALITY OF CRAFTSMANSHIP AND AUTHORSHIP. BRINGING THIS CRAFT AND TECHNOLOGY SCHOOL TO GOAT ISLAND, NEWPORT FURTHER EMPHASIZES THESE ROOTS WHILE ATTEMPTING TO CONNECT WITH THE NEW LOCAL CULTURE THROUGH PROGRAM ELEMENTS THAT DRAW THE PUBLIC TO THIS ISLAND AND SCHOOL. GOAT ISLAND, CURRENTLY BEING A MIX BETWEEN A SORT OF LOCALS HAVEN AND SEMI-TOURIST DESTINATION, LENDS ITSELF TO BEING A PRIME LOCATION FOR THE TIDAL FLOW SCHOOL. HERE, THE SCHOOL CAN DRAW IN THE LOCALS AND THE OUT-OF-TOWNERS TO A PLACE WHERE THE ROOTS OF NEWPORT ARE GIVEN NEW LIFE AND WHERE THE INHABITANTS AND VISITORS CAN COME TOGETHER AROUND THIS SENSE. HAVING A PRIME GEOGRAPHIC LOCATION IN THE BAY, THE SCHOOL EXTENDS ITS VISUAL REACH TO THE HISTORIC SEAPORT/ WHARFS OF NEWPORT TO THE EAST AND OUT WEST INTO THE BAY; TAKING INFLUENCE FROM THE PAST BUT LOOKING ONWARDS TO THE HORIZON. FORM GENERATION DIAGRAMS

SITE PLAN

STACK

SHIFT

DEFINE ATRIUM AND ENTRIES

TERRACE

FUNNEL LIGHT & MOVEMENT

EXTRUDE LAND MASS TO CONNECT

9a T.O. PARAPET 39' 6"

A2.02

2" BLOCKING BEHIND SHADOW BOX W/ REFLECTIVE ALUM. PANEL STEEL ANGLE STAND CONNECTED TO CEILING

T.O. ROOF 38' 0"

SECTION A

TYPICAL PARAPET/ GREEN ROOF ASSEMBLY ALUM. FLASHING VAPOR RETARDER RIGID INS. MTL. HORIZONTAL STUD MOUNTED ATOP CONC. PARAPET EDGE 4" MTL. DECKING W/ 5" CONCRETE SLAB ROOF VAPOR BARRIER 2 21" DRAINAGE LAYER FILTRATION LAYER BONDED TO DRAINAGE 1 2" WATER RETENTION LAYER INTENSIVE GROWING MEDIA SOIL (ENG.)

B.O. SECOND FLOOR CEILING 32' 0"

2' X 2' X 58" HSS GIRDER W14X90 STEEL LATTICE SYSTEM

TYP. DROP CEILING

CONTINUOUS TRIPLE GLAZING

106 -

T.O. FINISHED SECOND FLOOR 22' 0"

WELDED DOUBLE STEEL ANGLE PLATES BASE KICK-BOARD SHADOWBOX W/ RIGID INS. REFLECTIVE ALUM. PANEL

FLOOR SLAB ASSEMBLY 4" MTL. DECKING W/ 5" CONCRETE SLAB 2' X 2' X 58" HSS GIRDER W14X90 STEEL LATTICE SYSTEM TYP. DROP CEILING

CURTAIN WALL ASSEMBLY TRIPLE GLAZING SYSTEM 3" ALUM. MULLIONS 6" MTL. STUDS SEMI-OPAQUE INTERIOR WALL MATERIAL

B.O. FIRST FLOOR CEILING 16' 0"

102

SECTION B

A2.02

TYPICAL SLAB ON GRADE ASSEMBLY 2" RIGID INSULATION MOISTURE BARRIER CONCRETE GROUND SLAB FINISHED FLOORING FINISH

CURTAIN WALL MEETS SLAB/ GROUND ASSEMBLY ALUM. FLASHING MOISTURE BARRIER RIGID INS. SECONDARY VAPOR BARRIER NEOPRENE/ CAULKING SEAL

FINISHED GROUND FLOOR 0' 0"

BELOW GRADE WALL ASSEMBLY WATER RESISTANT SURFACE TREATMENT 2" RIGID INSULATION AIR/ MOISTURE BARRIER CONCRETE FOUNDATION WALL

TYPICAL BELOW GRADE WALL ASSEMBLY - 2" DRAINAGE BOARD - RIGID INSULATION - AIR/ MOISTURE BARRIER - CONCRETE FOUNDATION WALL - FOOTING KEY AND BENTONITE

WALL SECTION 1/2" = 1'-0"

ELEVATION

PLAN DETAIL

1/2" = 1'-0"

STRUCTURAL SEQUENCE

TIDAL FLOW SCHOOL

LMV

1 2" = 1'

EAST WALL DETAIL

Loukas Varas Newport School of Crafts & Technology ARCH 513 - Integrated Project Design Studio - Kyes - Fall 2020

Goat Island

Newport, Rhode Island

ROGER WILLIAMS UNIVERSITY ARCH 513: INTEGRATED STUDIO

HARMONY’S BRIDGE NATIONAL CONCERT HALL VILNIUS, LITHUANIA

Music has always been an integral part of Lithuanian culture. Vilnius, the capital, is at the heart of this rich heritage. Sitting at the peak of the city, overlooking the surrounding area is Taurus Hill. The elevated site is the ideal location for the new National Concert Hall of Vilnius as it not only serves as a civic landmark, but also unites the surrounding cultural and historic sites creating a musical epicenter. The intention of this project design is to reclaim the green space that was interrupted by the Trade Union Palace that once sat at the top of the hill. Elevating the building off the ground prioritized the landscape in the design and encourages users to appreciate the natural environment. On a larger scale, this connects the overall mission that Vilnius has of preserving green parks within the city system. The courtyards allow nature to flow through the building with ease as the users can interact with this nature in various ways. The interior quality is enhanced by this integration of nature though the connection to the sky, natural light, ventilation, and vegetation. The concrete base of the concert hall grounds the building, relating it to the earth and surrounding park. In contrast, the polycarbonate panels above reflect the city on the facade, directly relating the concert hall to the surrounding city. This design allows the building to appear as it is floating on the landscaped acting as a lantern-like landmark at the top of Taurus Hill.

VIEWS FROM TAURUS HILL

CITY GREEN BELT

SITE SECTION A

SITE SECTION B

T.O. PARAPET 72'0"

T.O. GREEN ROOF 68'0"

TYPICAL PARAPET ASSEMBLY - ALUMINUM ROOF PLATE - GUTTER SYSTEM WITH AIR VENTS - RIGID STEEL CONNECTION WITH GRATE - ALUMINUM CAP - RIGID INSULATION - VAPOR BARRIER - REINFORCED CONCRETE

NATURAL LIGHT TYPICAL ROOF ASSEMBLY - SOIL OR GROWING MEDIUM - FILTER LAYER - AGGREGATE - DRAINAGE MAT - ROOT BARRIER - WATERPROOF MEMBRANE - INSULATION - MOISTURE BARRIER - REINFORCED WAFFLE SLAB

POLYCARBONATE PANELS TONGUE AND GROOVE CONNECTIONSECTION

FIN. THIRD FLOOR 45' 0"

TYPICAL WINDOW ASSEMBLY - INSULATED TRIPLE GLAZING - ALUMINUM WINDOW FRAME - FLASHING AND DRIP - INSULATION - VAPOR BARRIER - RIGID CONNECTION TO REINFORCED CONCRETE WALL

TYPICAL FLOOR ASSEMBLY - FINISHED FLOOR - 2" RIGID INSULATION / ACOUSTIC FLOOR INSULATION - 18" REINFORCED CONCRETE WAFFLE SLAB - OPTIONAL METAL BRACKETS FOR FINISHED CEILING

ELEVATION

NATURAL VENTILATION

INSULATED TRIPLE-PANE GLAZING

FIN. SECOND FLOOR 26' 0"

TYPICAL WALL ASSEMBLY - 1.5" POLYCARBONATE PANEL - 8" AIR GAP - ALUMINUM SUB-FRAME SUPPORT BRACKET WITH GRATE - 2" RIGID INSULATION - VAPOR BARRIER - REINFORCED CONCRETE WALL - FIXED CONNECTION TO SLAB WITH STEEL ANGLES

TYPICAL SLAB ON GRADE ASSEMBLY - FINISHED FLOOR - 2" RIGID INSULATION - VAPOR BARRIER - 2" RIGID INSULATION - 1'6" REINFORCED CONCRETE SLAB

CONCRETE PANELS RIGID CONNECTION TO STRUCTURE

REINFORCED CONCRETE COLUMNS

TYPICAL GROUND FLOOR WALL - 1" CONCRETE PANEL - SUB-FRAME SUPPORT BRACKET - 2" RIGID INSULATION - VAPOR BARRIER - REINFORCED CONCRETE WALL

FIN. FIRST FLOOR 1'6" GROUND 0' 0"

Victoria Thomson Melody of Space - Vilnius National Concert Hall ARCH 513 - Integrated Project Design Studio - Viola Ochoa - Fall 2020 1'-0"

2'-3"

1'-0"

2'-3"

1'-0"

9'-0"

1'-0"

9'-0"

1'-0"

9'-0"

1'-0"

9'-0"

1'-0"

The Canyon of Research formed by its Waves

The creation of the Goat Island Water Research Center began with the exploration of overlapping ink studies. The fluid contours in these paintings were then lifted off of the page to create the contours of numerous three dimensional forms. Without much manipulation, these contours created two contrasting forms resulting in the Visitor Center and Water Research center. While the exterior shell of the Visitor Center represents the waves within the ocean and the fluid nature of water, the Water Research Center represents the canyons and quarry that are eroded over time by the ocean water flowing onto the site. In contrast to the Visitor Center, this building has a rigid, heavy exterior representing the heavy mass of the island, with a light and airy interior that was carved away by the invasive water. The fourth floor breaks this rule and forms a beacon on the building, having curves on the exterior and being shifted from the rest of the massing. Although this beacon is opaque during the day, the thin cut stone glows at night. The ink contours also gave insight to the simple landscape, creating broken up organic spaces to this once cold and barren site.

The Exploratory Wave

The creation of the Goat Island Visitor Center began with the exploration of overlapping ink studies. The fluid contours in these paintings were lifted off of the page to create the contours of three dimensional forms. Without much manipulation, these forms created beautiful organic spaces, representative of the waves and shells of the ocean. This creation of an organic landmark that dives into the ocean will draw the attention of visitors from land and sea. Two interactive forms consistently flow back and forth from one another, creating a harmony of continuous tension. Contrasting the Water Research Center, this building has fluid curves on both the exterior and interior. This gives insight to what visitors will explore in the Water Research Center across the street.

Amanda Mueller Goat Island Water Research Center & Visitor Center ARCH 515 - Graduate Architectural Design Studio - Schwartz Silver, Teaching Firm in Residence - Fall 2020

KOMOREBI

projected onto the skin outward or vice versa, changes that occur outside animate the interior spaces.

“Sunlight streaming through the trees” memory.

entering the building and heat it up. The glass also makes the building opaque, making forms in the inside disappear.

木漏れ日

Sean Flannery and Johnny Dye Komorebi ARCH 515 - Graduate Architectural Design Studio - Fash + Mesa - Fall 2020

as well as on the roof. This allows the building to expel heat from the top. The glass panels slide behind each other when open, causing thefacade’s opacity at the overlap to increase

In order to make the exterior facade zone occupyable during the winter, the glass facade is turned oﬀ, allowing direct sunlight to enter into the building and heat up the thermal mass walls

At night, the thermal mass walls are surrounded by cold enough air to allow them to release their heat. This helps to keep the exterior zone warm even when the outside temperature is low (40 degrees) and there is no sun.

Cameron Germond and Daniel Cusmano Greenland Climate Campus ARCH 515 - Graduate Architectural Design Studio - Fash + Mesa - Fall 2020

GOAT ISLAND MARINA

.4878° N, 71.3279° W 41 / // D AN ISL E OD RH /// NEWPORT,

A THREE RS JOURNEY INTO ARATES THE USE AREA ITOR PAVILION SEP NOTABLE TO THE VIS S RS THI PIE T, AND POR KS TO MIMIC DOC RORS UPWARD OF DOWNTOWN NEW UCTURE INTENDS THE CENTER MIR IN STR T OFF THE COAST E ILE JUS LIK WH R , AND PIE ISL UND T . THE H GRO LOCATED ON GOA THE LAND AND SEA INTERSECTING WIT E ELEVATED OVER REPEATS TWICE PART EXPERIENC RDS. THE MASSING THE RULE OF THI WHILE FOLLOWING

ING IN ALL OCCUPANT, RESULT GLAZING ON ELEVATING THE DRAPED OVER THE NGE RELIES HEAVILY RIC CHA FAB TE TAL MA ME CLI E A RESULT OF A CURTAIN LIK INED TO FLOOD AS E COLUMNS WITH LIK ERM R DET PIE PRE LAR E SIT EGU . DESIGNING FOR A N ELEVATED ON IRR G SELECTED VIEWS D WHILE CREATIN M AND CIRCULATIO PRIMARY PROGRA DRIFTS IN THE WIN UGH THE BUILDING THO AS ING EAR APP

AN D EX PE NE W PO RT W AT ER RE SE AR CH

RI EN TI AL GA LL ER IE S

THE SKETCH TO THE LEFT WAS THE STARTING POINT FOR THIS PROJECT, CREATING AN UNDERSTOOD ELEVATED GROUND PLANE THAT TILTS UPWARD WHILE LIGHTLY TOUCHING THE GROUND IN SELECTED LOCATIONS. THIS CENTER FOR WATER RESEARCH ENGAGES BOTH RESEARCHER AND PUBLIC IN A SEMI INTERACTIVE EXPERIENCE WHILE FOLLOWING A PRESCRIBED PATH THAT RESULTS IN AN OBSERVATION DECK CANTILEVERED OVER THE NARRAGANSETT BAY. THE STEEL SUPERSTRUCTURE IS CLADDED IN CUT CORTEN STEEL ALLOWING FOR SELECT VIEWS AND LIGHT.

Jonathan Bailey-Francois NEWPORT [water research and experiential gallery] ARCH 515 - Graduate Architectural Design Studio - Schwartz Silver, Teaching Firm in Residence - Fall 2020

NE W PO RT VI SI TO R PA VI LI ON

RIAD P²

INVENTION OF EVAPORATIVE COOLING + PASSIVE HEATING OPERABLE LOUVERS +IRRIGATION SYSTEM

PEACOCK

POROUS WALL SYSTEM

COOL BRICK

EVAPORATIVE PROCESS

COOL MOIST AIR

O P E N

HOT DRY AIR

CLOSED

TYPICAL RIAD COURTYARD, ARCHITECTURE, TEXTURES, PATTERNS, COLORS

SITE PLAN - PREVAILING WIND FROM NORTH + NORTH EAST

Rachel Kelly & Michael Montano RIAD P² ARCH 515 - Graduate Architectural Design Studio - Mesa + Fash - Fall 2020

OPEN

S E M I O P E N

C L O S E D

WINDOW/DETAIL

QUABBIN RESERVOIR VISITOR CENTER MASSACHUSETTS

1. TRIPLE GLAZED LAMINATED INSULATED GLASS 2. EXTRUDED ALUMINUM SKYLIGHT PROFILE 3. EXTRUDED ALUMINUM T-SECTION WITH COUNTER SUNK BOLT & NUTS 4. PERFORATED INSECT SCREEN 5. REMOVAL EXTRUDED ALUMINUM PROFILE TO HOLD PLANT GROWING MEDIUM (ROCKWOOL) 6. WEEP HOLE 7. 10” GROWING MEDIUM (ROCKWOOL) 8. LANDSCAPE SPRINKLE 9. GROWING MEDIUM (LIGHT WEIGHT SOIL)

23 9

7 8 6

5 4

10. STAINLESS STEEL GUTTER (CUSTOM FABRICATED IN SHOP) 11. 3X3 HSS @ 36” O.C 12. NON-WOVEN GEO-TEXTILE 13. MOISTURE RETENSION DRAINAGE BOARD (WITH DIMPLES) 14. 10” INSULATION (R-60) 15. ROOT BARRIER (15 MIL POLYETHYLENE) 16. PROTECTION BOARD (1/4” GLASS MAT FACED GYPSUM 17. ROOF MEMBRANE (GPDM) 18. 1/4” EMBEDDED STEEL PLATE 19. 12” TWO WAY SLAB 20. LIQUID APPLIED WATERPROOF MEMBRANE 21. STAINLESS STEEL DRAIN PIPE 22. SPRAY INSULATION 23. GUARD RAIL

10 2

12 13

15 16 17

20 18 19

LOCATION & SITUATION

BELCHERTOWN

SITE PHOTOGRAPHY: BEAUTIFUL YEAR ROUND

summer

spring

winter

RESERVOIR

HARDWICK

In the past decade, society's relationship to nature has become distant due to technological advancement. The buildings in our cities do not relate to nature and only abuse what the natural environment has to offer. This proposal aims to heal the lost bond between society and nature by creating a space where both humans and the natural environment can coexist. The projects framework is based upon a series of mounds that blend into the exiting fabric of the site. This fusion of landscapes creates a seamless blend in which compliments the existing natural and historic conditions. This marriage between the existing and proposed conditions hopes to re-spark society connection with the natural environment.

HISTORIC IDENTITY The Quabbin Reservoir has been around since the 1940’s but the at that time there was no formal visitor services staff to answer questions and teach groups about the Quabbin. The visitor center did not come into existence until the 1980’s when the Quabbin began to get its recognition for its picturesque views of water and landscape.

BELOW GRADE THEATRE SPACE

fall

DN DN

22 03

60’

30’

120’

GRAPHIC SCALE 1:60

02 DN

LOOKING EAST

DROP OFF

20 UT

EXISITNG LOT RO

AR Y

23 16

SECONDARY ACCESS ROUTE

BELOW GRADE 0

10’

20’

40’

60’

GRAPHIC SCALE 1:60

Mitchell Dasilva Landscape Fusion ARCH 515 - Graduate Architectural Design Studio - Kim - Fall 2020

EXISITNG LOT

PROPOSED LOT

GRAPHIC SCALE 1:60

40’

60’

Greenland Farms: Solar & Wind Energy Harvesting Finding new ways of harvesting energy is more important than ever. By harvesting energy from both the sun and wind, Greenland Farms is a place where energy is directly used to grow fresh produce for the community. Through the use of a façade covered in fins that capture energy through photovoltaic panels and piezoelectric technology that will capture energy from the wind, Greenland Farms creates a facility that will serve the community while creating its own power. Derived from the traditional Greenlandic turf hut, the massing of this structure is peeled from the ground, generating a sloped roof that allows the public to use this space for winter recreation. Paired with the vertical farming greenhouse, Greenland Farms also provides a market in which fresh fruits and vegetables are brought in directly from the facility for public purchase, reducing the amount needed from import. Applying this technology to architecture can be an immense step in the advancement of creating new, sustainable energy.

Site Plan

Tapered Solar Panel

Climate Analysis Diagram

Concept Diagram

Populated Site Diagram

Section Axonometric Render

Benjamin Pizza and Noah Scavetta Performance2 - Greenland Farms: Solar & Wind Energy Harvesting ARCH 515 - Graduate Architectural Design Studio - Fash + Mesa - Fall 2020

The Vitra Campus has long been known as a field for architectural exploration and experimentation. In recent years, The Vitra has taken on the additional mission of developing a relationship between the architecture they commission and the nature which surrounds them. It was with this mission in mind that typology of the landscape building was chosen, blending the building so that it not only interacts with, but becomes a part of the landscape. The design of the archive was derived largely from the form of an iceberg, in which only small parts of the building are visible above the ground. The more invested a visitor is in learning about Barragan and his impact on modern architecture, the more of the building they will discover. As the various light cannons, which bring light to the spaces buried below, push above the surface, they create a folly which people can freely move through and interact with. These monolithic structures also create a dialogue between the archive and the adjacent Vitrahaus. The dark charcoal finish echoes the exterior of the building by Herzog and De Meuron To visitors, it will appear as if parts of the archive were cut down and used to construct the Vitrahaus. Moving through the space, visitors will begin to take notice of several themes that shaped the project including light, garden, and enclosure. Light is likely the theme most visitors will notice right away, thanks to the light cannons towering above them. It was important, when designing each space, to consider how we wanted each person to experience the room and how light can be used to enhance that experience. In the exhibition hall, light guides visitors through the space, while also softly illuminating the works on display, creating an open, airy, and calming quality. Light towers and other devices overhead were used to manipulate light, creating spatial qualities ranging from soft, warm, and studious in the research areas, to bright, open, and social in the residences. Barragan was a champion of the garden and saw it as a place of serenity, solitude, peace, reflection, and shelter. In the areas of the archive, only available to scholars, small, private courtyards have been carved out of the ground. The courtyard gardens are where scholars can go to take a break, recharge, and connect with nature, away from the crowds above. They become sanctuaires for those who enter with the added benefit of bringing daylight into the underground spaces.

Jessica Raccio and Meghan Rodenhiser Project for the Archive for Luis Barragan ARCH 515 - Graduate Architectural Design Studio - Carranza - Fall 2020

PRESSURE + PULL

Sean Smith Quabbin Reservoir Visitor Center ARCH 515 - Graduate Architectural Design Studio - Kim - Fall 2020

Amtrak “The National Network”

Evaluating Gaps in the US Passenger Rail Network Based on Population Growth and Density by County from 2013-2019

Amtrak was created in the early 1970s to unify a broken system of passenger rail routes into one interconnected network. Since then, it has slowly evolved and adjusted the system to the point it is at today, having had its highest year of ridership on record in 2019. The goal of this analysis was to investigate whether Amtrak truly does serve the whole nation and what areas of the country may be experiencing a boost in population growth, but do PLAN 4, 2 Evaluating Gaps the USpassenger Passenger Network Based on Population andlooking Density byeffectiveness County from 2013-2019 not have access to in adequate rail Rail service? It is important to note that this Growth study is not at the of the existing service,December but insteadwas using population growth andtodensity from the of USpassenger Census Bureau to into look one for cities areas that betwelve candidates forhave future expansion. Thisorstudy found thatshould there are cities that qualities in place that wou Amtrak created in the early 1970s unify a data broken system rail routes

Amtrak "The National Network"

these is having growth of over 15% between 2013 and 2019. Since some rural a interconnected network. Since then it has slowly evolved and adjusted the system to the point it is at today, This study found that there are twelve cities that have qualities in place that would make them candidates for passenger rail service. One of these is having growth population density was also studied and used to narrow down the selections. Th having had its highest year of ridership on record in 2019. The goal of this analysis was to investigate whether of overtruly 15%does between 2013 and nation 2019. and Since some areas havemay alsobe seen this growth, but in may be wayrate toolisted small, population density was also studied andpeople used for squ at the above but had population densities above 1,000 a boost Amtrak serve the whole what areasrural of the country experiencing to narrow down the selections. This also found two additional cities that may not be growing at the rate passenger listed above but had This population densities 1,000 without rail service. all connects to the above graph on the right an population growth, but do not have access to adequate passenger rail service? It is important to note that this people forlooking square making them of the largest inusing the nation without all connects thenotright and Amtrak’s includingThis Covid-19 (the datatointhe the graph chart ison also a partial total), Amtrak wil study is not at mile, the effectiveness of thetwo existing service, butcities instead population growthpassenger and densityrail service. goalfrom to increase ridership. Ignoring 2020ordata Covid-19 (the for data in the chart is however a complete fiscal Amtrak willthat need all these citiesamount to routes and feed into theyear), Northeast Corridor is seeing the largest of g data the US Census Bureau to look for cities areasincluding that should be candidates future expansion.

help improve the State Supported routes and feed into the Northeast Corridor that is seeing the largest amount of growth making it a stronger National Network.

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including Covid-19 (the data in the chart is also not a partial total), Amtrak will need all these cities to help improve the State Supported ead using population growth and density Population Growth from 2013-2019 with Density and Amtrak Route Overlay, by County Population Growth from 2013-2019 with Density and Amtrak Overlay, by County routes and feed into the Northeast CorridorRoute that is seeing the largest amount of growth making it a stronger National Network. be candidates for future expansion.

Candidate Cities

Millions

Amtrak Ridership by Sector

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by Population Density (Inhabitants per Square Mile) Franklin County Columbus, OH Jefferson County Louisville, KY Potential Candidate Cities

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Amtrak Ridership by Sector

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Lucas Hartman 35 Density by County from 2013-2019 Amtrak “The National Network”: Evaluating Gaps in the US Passenger Rail Network Based on Population Growth and . Nashville Sources PLAN 581 - GIS Plan, Design, Conservation - Wessel - Fall 2020 30 !

520 Miles

. Wilmington Amtrak Ridership Data from Amtrak and National Passenger Rail Association Performance Reports !

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44% 25% 24% 23% 21% 20% 19% 17%

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Millions

by Population Growth (% Change from 2013-2019) Trousdale County Nashville, TN Dallas County Des Moines, IA Brunswick County Wilmington, NC Lincoln County Sioux City, SD Gallatin County Bozeman, MT Deschutes County Bend, OR Valley County Boise, ID Lee County Fort Myers, FL

2,186 1,801

520 Miles

So Am Ra Po Sh

6year th

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.

Sara Rajaeian Embracing Expressions of Persian Culture ARCH 613 - Graduate Thesis Design Studio - Bonder - Fall 2020

PROGRAMEDIATION Project Statement The public isn’t interested in thirty years, they’re interested in thirty months [from now]. Maurice Cox Brownfield sites are numerous, as have been remediation projects in the past 25 years. While the most visible and substantial tend to be formerly private industrial sites, they are often joined by community buildings and areas of dwelling that offer the opportunity to explore public space and forums, where communities who have abandoned areas are invited back to characterize them once again. These are our schools, our places of worship, where we gather for sporting events and once manufacture(d) goods: Brownfields and blight do not discriminate, though their patterns of growth can be measured and predicted. The question quickly becomes, why not demolish? This is a bad habit, practiced in simpler times. Often, the architectural profession has aimed to be specific in rigid directions:

All architecture exists physically, stationary, in a constantly changing landscape. In situations where there is positive growth, new projects represent success and prosperity. In decline, architecture faces unique adaptive challenges. If the building cannot change, it is left to ruin. But, when institution becomes edifice, program remains. A school is now an auditorium, office space, a gymnasium, a cafeteria, a swimming pool and a library. A church is now a community gathering place: an amphitheater, a concert hall, the neighborhood forum. The parking garage becomes a drive-in movie theatre on Fridays after 7PM.

In the case of brownfield sites, and indeed large scale remediation projects, the aim should instead be:

Life can once again exist and evolve in these places. They do not need to be one entity - they may exist as several, with a shared connective tissue. Together they share the burden of the building, upon the shoulders of an entire community rather than a sole proprietor.

program-follows-people.

This approach is PROGRAMEDIATION.

form-follows-function.

The proposed location for this project is the 1933 Roosevelt Park Annex, first used as the Detroit Post Office and later used as the Detroit Public Schools Book Depository. The building has been abandoned since a devastating fire in 1987 that left the supplies as mulch, and all but the structure as scrap. Over time, the building became an impromptu home for the homeless, a hockey rink for those brave enough to enter the flooded basement, and a regular stomping ground for urban explorers. This site has since been collected by Ford in an effort to open their Corktown Campus, which aims to improve the community, but does not promise the presence of public program that is desperately needed by the community. My approach has been used to create a compromise where Ford’s goals might still be accomplished while maintaining The Annex’s storied history of Public Service. A community center and maker space will play host to an art collective, with particular attention paid to the basement as a public realm, and the surrounding neighborhood as a negotiation of responsibility and enterprise. WAITING ROOM, MICHIGAN CENTRAL RAILROAD DEPOT, 1973-2010

020

Site Identification

DETROIT 1:50mi

REMOVED SNF DISTRICTS

REMOVED CIRCULATION SITES

REMOVED GREENWAY SITES TWO OPTIONS

SUBTRACTIVE

PUBLIC WORKS OPTIONS

20 MINUTE WALKABILITY

SELECTED SNF DISTRICTS RIVERWALK GREENWAYS

Detroit has experienced a population loss of roughly 60% between 1950 and 2019.

VARIABLE PUBLIC WORKS

DETROIT FOOTPRINT

The Motor City’s publicly owned land numbers at 131 mi2, greater than the land area of Manhattan.

ADDITIVE

It was the start of “white flight,” where an economically empowered and soFrom that point forward, the story of cially mobile black middle class left the Michigan became one of industry, resil- inner city for neighborhoods that until a ience, and innovation amongst a predom- few years’ prior had been closed off to inantly black population known for their them. White families, fearing integration courage and pursuit of wholly American began leaving for the suburbs in droves, lifestyles. This identity was driven by leading to a decrease in enrollment. the advent of the Automotive Industry, With the further development of the introduced by Ford in 1898. Detroit was Interstate Highway System following well positioned to take advantage of the World War II that shifted the tax base emergence of automobile manufacturing out of the city, and the eventual onset at the start of the 20th century. A num- of urban decay, among other common ber of visionary entrepreneurs designed causes. automobiles that appealed to ordinary Americans, resulting in automobiles be- The reasons are varied as ever, but inexcoming a mass market. plicably delivered Detroit to her proverbial rock-bottom: 2013. The city was geographically advantageous, connected centrally in the United Chapter 9 Bankruptcy. States by the transcontinental railroad, and already featured a trained workforce 130mi2 of blighted public property. that could easily transition into factory work. This promoted the movement of A city of over two million, now inhabitfamilies into Detroit for work opportuni- ed by no more than 692,000. ties, safe suburbs, and a culturally significant downtown sector. As a result, the greatest concentration of automobile manufacturing in America has consistently been in Detroit, at once holding the headquarters of Ford, Chrystler, and GenContinued on following spread. eral Motors.

MAJOR CIRCULATION ROUTES

MICHIGAN, USA 1:200mi

By the 1960’s, and the Civil Rights Movement had gained traction, and the city began to desegregate its many institutions. Detroit Public Schools especially felt the effects of this process, as some of its top learning institutions that previously had allowed very few non-white students now shifted towards more even demographics.

CLOSED SCHOOL BUILDINGS

Detroit is a storied city within the United States, beginning its legacy as one of our great urban centers in 1701 as a French settlement. By 1760, she had been claimed by the British, and by 1791 was firmly in American hands, beginning her tenure as an important Michigan foothold permanently by 1815. Detroit remained largely a commercial center for surrounding agricultural land until the 1870s, when manufacturing began to dominate.

DETROIT 1:10mi

Design Protocol

THE ANNEX

3.2 General Site Concerns The Annex was a widely celebrated project during its construction, promising many jobs to workers in Corktown and signaling the increasing growth of Detroit as a city. When the Post Office left, it became the home of public school supplies, another job that carried a high degree of importance. While the building itself became more invisible to the public eye, despite standing adjacent to one of Detroit’s most influential buildings, it continued its role as a public support system until its fire, at which point the Michigan Central Railroad Depot was alreayd approaching the end of its function, and the area was suffering from declining population.

PARK CONNECTIONS

EXISTING INFRASTRUCTURE

On its own, The Annex utilized a staging area for trucks on its north face, which became an empty lot with time. Ironically, the neglect became a boon for the many empty lots that today represent opportunities for the public. There remains a collection of islands that currently and previously saw little use around the MCRRD. The original intent of the islands perpendicular to the train station were to frame a grand entrance by way of car, while the islands simply featured mowed grass. Today, this node between Corktown and Mexicantown who both lay claim to The Annex is various conflicting documentation needs a stronger unifying connection, and as redevelopment remains slow, smooth growth parks are the solution. The existing infrastructure to support this is a series of roads that have been maintained and will be redesigned by Ford. With this in mind, the proposal of a major public program like a civic park needs to be proposed preemptively, before roads become committed to dividing the space. A series of links can be made between the existing dog park and playground by way of farm plots, a park with an amphitheater or series of flexible field conditions, and a thin string of unproductive sites. Renovation of these locations can be accomplished at low expense, in tandem with changes to roads that have already been discussed by the DPC. The Annex has an opportunity in this arrangement to be the crown jewel of the coming public program.

Public Courtyard

Maker Space

Basement

First Floor

The Basement has been conceptualized as an extension to the future public park greenbelt, serving as a courtyard destination for winter activities, art, and public gatherings in a semi-public setting. Annex users will be able to interact with passersby at the center of the void on multiple levels.

The First floor hosts the maker spaces, with the mezzanine above holding offices and auxiliary program. This space is meant to be the main interface between Ford and the community, where professionals and students can interact and trade knowledge. Utilizing Ford employees and services may improve

Community Center

Art Collective

Second Floor

Third Floor

The Second floor holds the community center program, with offices dedicated to community health services and government services. Classrooms, conference rooms and larger event locations are left open for public use.

The Third floor is home to the art collective who will now live and continue to use the building as a living art piece for the city of Detroit. Rather than shying away from local graffiti culture, The Annex will embrace the spray-can artisans and local talent. They will in turn help densify the neighborhood and improve further local ruins.

Professionals and students / locals will be able to seek help and improve themselves here.

Notes on Iteration This process ultimately still is not finished. But from the very beginning, it was clear that this building needed desperately to have room for exploration - that was its most recent role in Detroit. The explorations I have provided are a few of many meant to discover the things that I had not noticed originally. I believe that through the process of iteration free of expectations, it is possible to discover all of the things that would not work. While I would have loved to have tested a thousand more options, what I was left with became sufficient to act upon.

Notes on Courtyard The courtyard originated out of the legacy of the Birch trees that grew through the ashes of Detroit Public School’s burnt supplies. The trees could nearly be seen from the ground at their highest, and became an iconic point of reference for urban explorers. Bringing that void in the roof through to the ground became a focal point for the design, planting new birch trees at the base. These trees, like the building program and the people that will use it, have the capacity to grow well over the height of the roof - expanding to fill the space over time.

Notes on Terraforma The design of the landscape on site was deliberately connected to the experience of The Annex. At surface level, this change allows for the addition of over 70,000 square feet of public space with program tied to the day to day functions of the building. From an architectural level, the change is crucial to the connection of The Annex to the new park and community. A direct axis of entrance aligns with the proposed placement of a public transit plaza, and its function as an amphitheater promotes exploration and active participation. This small gesture entirely breaks the perception of the former shipping bays and concrete island into a distinct plaza, and aligns further breaks with new axes of movement significant to the proposed campus.

Skyler Moncada PROGRAMEDIATION ARCH 613 - Graduate Thesis Design Studio - Bonder - Fall 2020

Thriving on the coast Resilient architecture

Extreme weather events and failure to adapt to climate change impacts are threats to society; it is no longer some far-off problem — it is here; it is happening now. Climate change is causing sea levels to rise in various ways. As temperature increases, so will sea level; yet how much it will increase will rely on the rate of carbon dioxide emissions and how fast it depends on the glacier melting. Projections indicate that by 2300 sea level will rise 26 feet. Higher water levels also result in destructive storm surges and frequent high-tide flooding, accompanied by high wind speeds. “In the past two decades, the world’s worst floods have done more than 165 billion dollars’ worth of damage and driven more than a billion people from their home.” Rising seas threaten infrastructures along coastlines that are necessary for everyday life.

Thesis statement It is vital to explore how the design of coasts can adapt to evolving environmental issues. Coastal communities need to coexist with nature by meeting the needs of the present without compromising the future's ability. In the past, the extent of resilience covered the response-driven manner of saving lives, providing emergency relief and resources for restoration and reconstruction. However, there needs to be more of a holistic, proactive approach that addresses pre-event vulnerabilities. As a result, sustainable and hazard-resilient communities can cope and learn from hazard events, allowing them to adapt to surprise and changing circumstances. Resilient design; in this case of elevating buildings, communities or regions; in response to vulnerabilities to disaster and disruption of normal life.

site / staten island, new york

101.32

66.42

total buildable area 120,682 467.68

nelson avenue

123.46

13.44

458.92

clevel and avenue

fitzgerald avenue

68 6. 00

te n n ys

iv e on dr

seaside wildlife nature park

The current site is located zone C3A which permits waterfront recreational activities, primarily boating and fishing, in areas along the waterfront that are usually adjacent to residential districts. C3A districts also permit residences and community facilities. In this district, residential development is governed by R3A regulations which permit single and two family detached residences and zero lot line buildings. This district has FAR of 0.5. The current lot is vacant, sitting within the mixed used neighborhood of Great Kills It neighbors the Seaside Wildlife Nature Parks, which is home to waterfront splendor, idyllic wildlife, and one of New York City’s most inventive playgrounds. The playground is surrounded by 20 acres of wilderness, with pathways that will lead you through acres of native seaside and salt marsh plants that are hardly waterfront survivors, as well as nearby trees, shrubs, and local wildlife. North of the site is Mansion Avenue, which houses multiple restaurants, a yacht club, and marinas. The owner of the lot Tora Development LLC, located out of Connecticut; was working with Rampulla Architects located in Staten Island, New York, to construct a 55 and older development. Tora obtained a variance in 2012 before Hurricane Sandy impacted the area, in order to build a four-story, 100 unit apartment building. Some of the community members were indifferent to the proposal, while some approved of it and felt that it is needed for the coast of Great Kills.

themes/architectural intentions sea-level rise Sustainability Climate change coastal flooding structural elements elevated architecture designing for future environments historic shoreline loss 1924-2013 Projected shoreline loss 2014-2114 sandy inundation

zone ve El: 14’-0” zone ae El: 11’-0” .2% annual chance flood hazard

9’ 100 year flood zone 6’ 3’ 0’

community

program

RESILIENCY

Elevating shared spaces housing cafe single family apartment style lounge market post + postal fitness center co-working space outdoor gathering spaces

proposed EXISTING

wave height

EXISTING

2’0” + BFE BFE 13’-0” 6’-0” above sea level

LANDSCAPE NATIVE SHRUBS DUNES MEADOWS wetland seed mixes

staten island’s resiliency project The SCAPE team has developed a science-driven methodology that pairs layerd eco-infrasturcutural systems sited for risk-reduction with social and educational networks, rebuilding water based infrastructures in tandem with surrounding communities. New York faces a high degree of potential risk. Rather than cut communities off from the water with a levee or wall, SCAPE is proposing to embrace the water and its economic and recreational opportunities, using shallow water landscapes to stabilize the shore. The approach is layers is depicted in the diagram below, in which there are multiple lines of defense that will not fail. The strategies mitigate the impacts of flooding with eliminating communities altogether. The goal is to re-focus on the ecological driven improvements that makes flooding slower, cleaner, and safer.

Precedents F.R.E.D Ennead lab’s design entry for Farroc / queens, new york

urby / staten island, new york

RESILIENT ROCKAWAYS / queens, new york

This proposed project discusses how we can begin to build smarter along the waters edge. F.R.E.D (Fostering Resilient Ecological Development) proposes elevated communities surrounded by a system of dunes and meadows. This technique protects the neighborhood from storm surges, while protecting the residents from floods. This precedent supports similar concepts that I want my coastal community to embody -- being the elevation of home typologies, communal gathering spaces, and an in-depth analysis of landscape.

Urby apartment complex is located in Stapelton, SI; just a few blocks from the train station and right on the water. This project embodies the idea of community and sustainability. The apartments overlook a courtyard farm, as well as various outdoor gathering spaces. The interior houses apartments ranging from studios to three bedrooms. In addition to a cafe, spaces for residents to work, and a fitness center. The complex provides residents with necessary programmatic needs as well as various housing arrangements.

Dattner Architects submitted a project for a Resilient Rockaway competition, in which the team explored best practices and innovative strategies for the planning, design and construction of resilient and sustainable developments in waterfront areas. The reason for this study is because it is located in a FEMA Special Flood Hazard Area Zone A section of the Rockaways, which experienced significant storm surges during Hurricane Sandy. The design is composed of two residential neighborhoods that integrate architecture, infrastructure and landscape to create a resilient environment. The homes are raised on “land piers” and pile-supported platforms, which elevated a variety of residential types, creating a diverse community.

Francesca Maddalone Thriving on the Coast ARCH 641 - Graduate Thesis Research Seminar - Cohen - Fall 2020

THE

URBAN C A M P U S

Lucas Hartman Graduate Thesis Research Seminar Proposal

PRECEDENT STUDIES

PROJECT STATEMENT One of the most important elements of architecture is research. Not necessarily research about the discipline itself, but the research that goes into each and every project to better understand the needs of the people who will ultimately utilize and occupy the space. A key component of this is ethnographic studies. Through immersion in the environment that the users currently occupy, these studies allow designers and architects to best understand the day-to-day operations and expectations of a space. Looking at anthropological ethnographers, they often live among those people, often for a year or more, to best learn about them. As a graduate student with six years of living among college students on campuses across the country, the art of the campus is one that I have experienced firsthand. One key element of what makes a campus is the power of placemaking. All of these institutional facilities form the backdrop of memories and experiences for millions of students each and every year. Without this emphasis on the importance of place, some of the magic of the campus is lost.

Roger Williams University Bristol, RI

Bowling Green State University Bowling Green, OH

On a college campus, placemaking occurs at many levels due to the countless interactions between people and spaces that occur and collections of small pieces coming together to make a large whole. Here the buildings are delegated the role of ‘thing’, with the collections of ‘things’ to make the campus as we know it, or the place. Placemaking is a challenging, yet extremely important aspect of architectural design. With what seems to be ever increasing celebration of thingmaking, it is important to find a way to study this intangible concept of place and to engage it in new architectural works. The heart of this study will be to investigate placemaking by removing the “campus” from its native wide-open field found throughout almost all American campuses and placing it in an urban context, where the traditional university green is not possible, and the relationship between town and gown takes on a stronger meaning. The value of places over things and spaces will be explored through experimentation with the effects of translating and scaling the campus fabric to the scale of a singular urban building. It is not just about the classrooms and the university services, or the solid, but instead the void, the spaces leftover that create opportunities to gather and make memories, or to be alone and to focus and concentrate. “For the college campus, ‘place’ should mean much more than geography and physical setting. It represents the sum of the experiences, activities, events, and memories that occur within the campus boundaries.” -M. PERRY CHAPMAN, AMERICAN PLACES

Singapore School for the Arts, WOHA This building is a high school with a specialization in the arts in Singapore. Due to the tight nature of the site, the program had to be developed with an emphasis on the vertical. This involved creating an elevated space for the students to interact and has strong placemaking qualities. Since the building requires many performing arts spaces, the area beneath this elevated quad serves as a connection between the city and the school.

UUnniviveerrssitityyooffVCiragm inbiaridCharlottesville ge UK

RHoagrevraW ersity Bristol rdilUlianm ivesrUsintyivCambridge

Johnson and Wales University

JYoahlnesUonivaenrdsiW les UHaven niversity Providence tyaNew

Relationship of Town to Gown Cambridge University Roger Williams University

UUnniviveerrssitityyooffVCiragm inbiaridCharlottesville ge UK

RHoagrevraW ersity Bristol rdilUlianm ivesrUsintyivCambridge

Johnson and Wales University

JYoahlnesUonivaenrdsiW les UHaven niversity Providence tyaNew

PROGRAM OUTLINE CCaam mppuussPPrrooggrraam mm miinngg

Campus Campus“Green” “Green”

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Town Townand andGown Gown

One of the major components of this project is the programmatic exploration of how best to arrange and layout an urban college campus. An urban campus has to retain many of the same functions and spaces as a traditional rural campus. One of the central components of this project however is how those standard spaces can be connected together through circulation spaces and paths that take on a more urban character. This will likely be done by creating a large open space, either interior or exterior, for students, faculty, and staff to use to get around from their classes and offices. All of the college areas will be connected to this space, just as all the buildings on a traditional college campus connect out to a campus green. This space will be separated from the city however, allowing visual connections to be preserved, but physical connections limited. The building however must also interact with the neighborhood it inhabits, and will need to have street level amenities. Restaurants, retail shops, recreation spaces, performance halls, and even meeting spaces all have the ability to serve people within the community as well as the college. Connections with the Campus Fabric Potential Paths 1 - The Creation of a New College Stronger Emphasis on The Exploration of the Urban Campus 2 - The Moving of An Existing College Downtown Difficult to Find a Candidate 3 - A Partnership of Multiple Colleges into One Satellite Downtown Campus Kent State, Case Western, Baldwin Wallace...

SITE SELECTION

Connections with the Urban Fabric Potential Paths 1 - Sustainable Paint and Applicator Research and Development Center Site is Currently Owned by Sherwin Williams for Headquarters and R&D Center 2 - Performing Arts Spaces Connections to Playhouse Square 3 - Mixed Use Lower Level with Retail and Restaurants Support both Students and Surrounding Community

Cleveland, Ohio

Vagelos Education Center, Columbia University, Diller Scofidio + Renfro Located in the heart of New York City, this building had to deal with the constraints of a dense urban campus. The public spaces of the would be campus are turned on their sides and move vertically up the front of the building. More public spaces such as the cafe, or theaters are located near the bottom with connections to the city. Academic sectors are grouped into “neighborhoods” similar to how buildings are grouped on a campus.

Campus Fabric

Urban Fabric Relationship between the City and the School List of Potential Spaces Lecture Halls Classrooms Faculty Offices Administrative Offices Student Services Recreation Facilities Dining Options Informal Study Space Formal Study Space

Research Labs Collaboration Spaces Meeting Rooms Rentable Conference Space Potential Limited Housing Transit Connections Performance Halls Retail Shops and Offices Business Partner Offices

Roger Williams University Entrance | John Jay College Entrance This project started as the idea that the elements that make places can be ultimately be scaled and translated into different forms while still retaining their ability to be placemakers. This was an initial example, looking at the entrance to RWU and John Jay College of Criminal Justice in NYC. They both center around a strong circulation path, one vehicular and one pedestrian. Off to the side for both is a space to get information. The trees at RWU have been exchanged with white overhanging elements, almost replicating the feeling of cover and shade underneath.

Downtown | West of Public Square | Warehouse District | Existing Surface Parking

Located right in the heart of Cleveland Ohio, the development of this three block site to the west of Public Square has become an important goal of the city for many years. Located in the Warehouse District, this site, along with many that surround it, was filled with large masonry and terra cotta warehouse buildings before being torn down in the 1960s to make way for surface parking. This area has excellent connectivity to the Rapid Transit network as well as bus service, leaving little need for all this parking so close to downtown. The site currently leaves a hole in the urban fabric that needs to be filled and is currently zoned as an Urban Core District, meaning that 90% of the site has to be covered by building, so to help densify the core of downtown. The property is currently owned by Sherwin Williams as they investigate the possibilities of moving their headquarters here from a block to the south. This project has the ability to bring life to a part of the city currently disconnected and empty.

Site Map

Surface Parking Lots

Lucas Hartman The Urban Campus ARCH 641 - Graduate Thesis Research Seminar - Cohen - Fall 2020

Hole within the Urban Fabric

Map of Cleveland