Student Academic Showcase 2022 - Undergraduate by Cummings School of Architecture

2022 Student Academic Showcase + Honors Undergraduate

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.

Tableaux Vivant Assignment Students in AAH122 Art and Architectural History II: Renaissance to the Present are asked to create a Tableaux Vivant (literally translated as “living picture”). The practice of recreating works of art with contemporary bodies has a deep history and was especially popular in the 19th century. Sometimes this was even done live, on a stage.

The process of recreating a work in a Tableaux Vivant can vary from an attempt at close replication to a more creative re-interpretation of the image in contemporary terms. Images here reflect that spectrum, with some students choosing to recreate works using creative props in the time of COVID.

Original: Fuseli, The Nightmare, 1781 | Tableaux Vivant: Delia Maguire

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Original: Michelangelo, The Creation of Adam, Sistene Ceiling, 1508-12 | Tableaux Vivant: Abigail Mayer

Original: Zurbaran, St. Serapion, 1628 | Tableaux Vivant: Jack Ryan

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Original: Rigaud, Louis XIV | Tableaux Vivant: Kyle Clifton

Original: Vermeer, Woman Holding a Balance, 1662-63 | Tableaux Vivant: AJ Alessandrini

Original: Manet, The Spanish Singer, 1860 | Tableaux Vivant: Jacob Plasencia

Original: Vanni, The Virgin and Child Appearing to St. Francis, 1599 | Tableaux Vivant: Maryrose DiPiro

Original: Courbet, The Stone Breakers, 1849 | Tableaux Vivant: Abigail Sargent

Original: David, The Death of Marat, 1793 | Tableaux Vivant: Garett Doidge

Art and Architectural History II: Renaissance to the Present | FALL 2021 AAH 122

Tableaux Vivant

Work by: AAH 122 Students Above Professor: Randall K. Van Schepen

THE PAVILION The goal for the project was developing a restaurant with a design influenced by a specaility dish. My design focused on a folding motion similar to a wave that would create an enclosed volume. This fold is expressed through the curved wall element which makes a gradual transition between the floor and ceiling. This curved wall also creates a divider between the kitchen and seating. But between the indoor and outdoor seating is a floor to ceiling window. This is the main source of light and view into the resaurant. This was represenative of the open side of a fold. The building’s large window is faced south to allow for the sunlight to fill the interior of the building, Beyond the outdoor seating was space set aside for a garden to be used to grow the ingredients for the restaurant. Gradually transitoning the man made structure to the natural surroundings of the building.

Exterior Perspective

Exterior Aerial

Interior Perspective

Project Drawings

Exterior Perspective

Architectural Design Core Studio I | FALL 2021 ARCH.113.07

The Pavilion

Work by: Jason Cowell Professor: Tyrone Yang

ROOF PLAN 1/4”=1’/0” SCALE

CONCEPT

PROJECT GOAL

One key parti concept that was carried throughout my design was the “s” shape that was originally extracted from my model from part two of the project. A defining feature that is contained within the “s” shape is the central, horizontal axis that runs across the roof of the pavilion. Another key parti concept that was important was the idea of having different heights. The differing heights was first portrayed in my section drawings of the vessel. I eliminated the idea of having topography that was in my second model and instead I made the columns different heights within the final model. The differing heights led to the creation of an interesting sloping spiraled roof design. The spiraled roof is somewhat reminiscent of the plan view of an artichoke.

The goal of this project was aimed towards creating and designing a dining pavilion. Our pavilions needed to have speciﬁc program and other requirements, such as providing a minimum of three to ﬁve discernible spaces of varying sizes, clear spatial hierarchy, and to be “open air” but still provide shelter from the sun and rain.

MODEL When building the final model I used various sorts of materials such as wood for the columns, beams, and railings, bristol paper for the roof, cardboard for the decking and stairs, and a mesh-like material for the walls. In terms of space, there is a front porch that wraps around either side that connects it to the back deck, where outdoor dining would be. The interior spaces are open concept. There are two main “cells” of space that are circular in shape, and each circular unit have two different spaces, which are more semicircular in shape. There is a specific location for the kitchen, two different sized dining areas, a bar space, and an outdoor dining space.

SECTION CUT B 1/4”=1’/0” SCALE

PRECEDENT During the process of creating my ﬁnal model I did research on the Zumthor Chapel by Peter Zumthor. I found a lot of structural similarities between my project and this chapel. The relationship between the vertical columns and horizontal beams in his chapel design is similar to the structure of my pavilion. Each column has a beam that connects it to the column directly across from it, creating the roof.

SITE My pavilion is located at Currie Park at West Palm Beach. After creating the physical model I could really envision the pavilion in a more tropical and warm location. The location that I picked is right on the water, and the pavilion would be oriented towards the southwest. Because the pavilion is facing southwest, most of the sun would be hitting the front of the pavilion during the day, and provide shade on the back deck. Those in the pavilion would also get a great view of the sunset during the evening.

SECTION DRAWING OF VESSEL

EXTERIOR ELEVATION 1/4”=1’/0” SCALE

SECTION CUT A 1/4”=1’/0” SCALE

Architectural Design Core Studio I | FALL 2021 ARCH 113.03

PERSPECTIVE DRAWINGS

Dining Pavilion

Work by: Emma Gullen Professor: Aaron Brode

INTERIOR INTERSECTIONS The project uses the theme of intersection to create an immersive experience for the guests who come to dine. The project was inspired by the garlic bulb, the fruiting body which displays how all the interior cloves work with and around each other to create this very organic, natural flow. On the edge of a lake, a beautiful view from any area of the restaurant can be seen. Most clearly seen from the height of the second floor is where visitors can not only enjoy the water but also the entirety of the level itself. Moments of intersection happen visually through reflection, as the floor supporting the second level, is made of a transparent material. By making the floor material acrylic, the visitors can see the reflections of the overhead structure, the ascending and descending fins, and themselves. The two levels of the building are also intersected by ascending and descending fins, into which seating is integrated. These fins emerge from the ceiling of the first level, or the floor of the second level, and provide places to sit while generating movement and rhythm throughout the project. They invite guests to both see the intersecting planes of the structure and to be a part of the architecture as well.

First and Second Floorplans

Elevations

SECTION AA 1/8”=1’

Sections AA and BB

SECTION AA

SECTION CC

Site Plan and Section

Growth of the Garlic

Architectural Design Core Studio I | FALL 2021 ARCH 113

Interior Intersections Exploration Drawings

Work by: Jocelyn Pagliuca Professor: Sasha Azbel

Bell Pepper Abstraction, Pen and Ink

Bell Pepper Section Cuts

Bell Pepper Abstraction, Charcoal

Vessel Display Case, Worm’s Eye View

Bell Pepper Formal Analysis

Bell Pepper Abstraction, Collage

The Bell Pepper

Display Case Elevation

West Elevation View

Display Case Section

The project began with the observation of a vegetable, mine being a bell pepper. Beginning by observing the pepper, section cuts and formal analysis drawings were made. After describing the bell pepper, we moved on to creating a paper vessel intended to wrap and hold the vegetable. The next step was creating a display case to hold three of the vessels. A point of emphasis I focused on with the display model was creating obstructions to the view of the vessels. I wanted to relate the display to how these peppers would naturally be viewed when growing, with the leaves covering peppers and changing the view. From this display, I derived the central system, that being three structures coming from one central connecting structure. I took these ideas and applied them to a pavilion designed to provide dining and cooking space. I created a hexagonal shape with light filters alternating sides that come together to a central oculus. The oculus places emphasis on the space below it. Along with this space being in the center of the pavilion, the space’s characteristics make it the primary space of the pavilion. One of the requirement was to create different spaces for eating. Using differing heights and differing levels of privacy, I distinguished unique spaces. I chose to use materials similar to the display case, using rockite for the base and wood for the light fiters. The extreme difference between the materials (one being heavy and thick while the other is light and airy) allowed for a clear distinction between ground structure and ait structure. The cycle that was explored through these projects, going from a bell pepper to a pavilion serving a recipie involving them, allowed for a connection between the ideas involved in the different designs.

Vessel Prototype Progression

West Section Cut

South Elevation View

South Section Cut

Pavilion Top View

Sequential Vignettes, beginning at the southeast entrance, ending at the private dining space

Pavilion North Elevation View

Pavilion East Elevation View

Architectural Design Studio | FALL 2021 ARCH 113.01

Pavilion South Elevation View

Pavilion West Elevation View

The Bell Pepper

Work by: Lindsay Gaiser Professors: Ryan Ludwig

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.

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

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

North Section

Gateway Partis

A Primitive Journey

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View from Dock

Tangible Model

Grounded Bench

Narragansett Rowing Club Work by: Amy Kunzinger Professor: Andrea Adams

NARRAGANSETT BOAT CLUB

NARRAGANSETT BOAT CLUB IS A BOATHOUSE FIT FOR BOTH PUBLIC AND PRIVATE USE, SEPERATED PROGRAMATICALLY INTO THREE HEAVY TIMBER STRUCTURES WHICH SIT ATOP A CONCRETE BASE. FISSURES CUT THROUGH THE EARTH JUST AS OARS CUT THROUGH WATER, EMBRACING RISING TIDES AND ALLOWING THE RIVER TO FLOW UP AND INTO THE STRUCTURE. GLASS BREEZEWAYS PROVIDE CIRCULATION BETWEEN THE THREE MAIN STRUCTURES AND THE OUTDOOR DECK AREAS THAT LOOK DOWN INTO THE FISSURES AND OUT TOWARD THE RIVER.

Site Plan

Floor Plans KEY

A 1

TRAINING

OFFICE

STORAGE

MEETING

MECHANICAL

LOCKER 1

LOUNGE

LOCKER 2

BREEZEWAYS

BATHROOMS

FOOD PREP

2 3

11 D 4

SECOND FLOOR PLAN

Sections

6 6

10 C D C

KEY

SECTION C - D

PUBLIC BOAT STORAGE

STORAGE

OARS

WORKSHOP

PRIVATE BOAT STORAGE

B A

SECTION A - B

FIRST FLOOR PLAN

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A5 - Boathouse Work by: Maryrose DiPiro Professor: Ginette Castro

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

felt fit the function of each room in the facility. Each project had its respective subject matter, but the process of turning these subject matters into buildings is similar. Through a long process of researching and analyzing the subject matter, it allowed me to get a better understanding of the ideas I worked with. This was done by breaking down each characteristic in a way that created a clearer understanding of how its components coincide with themselves. I was then able to put these pieces back together to form my project, whether it be the first, second or third project. The PinkHouse: Concept Diagram

LightSource

The Heartbeat

LightSource

The PinkHouse Model

The PinkHouse

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The PinkHouse Model

The Progression Project Comparison Work by: Lisa Jagodzinski Professor: Kris Lawson

NARRAGANSETT ROWING CENTER MICHAEL CHMIEL

A1 - DIGGING & ASSEMBLING For the first project of the semester, we were given a rectangular block with a defined site. Our task was to dig away at the block to create subtractive spaces, and then use additive elements to further define and refine those spaces. There are three main areas in the project: an entry, and two spaces differing in quality and feeling, one dark and one light. As they transition from the entry to the dark and heavy space, the occupants are forced to move under a monolithic and oppressive volume. While in the darkness, there are areas of reprieve where light is able to seep in. The dark area below and the bright space above are linked by an overwhelming gash that cuts through both the block and the site. The angled form of the gash begins a secondary rotated grid, which is used to relate the entry void to the light space. The bright area contains built elements that feel light and airy, and almost float compared to the oppressive volume the dark space is located beneath. Digging at the volume to create the subtractive spaces gave me the confidence to make several decisions while designing the rowing center, such as using earth displaced by the building to create the community pathway that runs between the two volumes.

A2 - WAVEFORM SEATING

ROWING CENTER PARTI

For project two, we were asked to analyze an artifact from the Herreshoff Boat Museum, located in the town of Bristol. The artifact I chose was a horn from the top of a boat. The essence of the horn is the sound it creates, and how that sound is used to interact and communicate with other boats. The form of the horn itself mimics its essence, appearing like two sound waves rushing towards one another. When two waves come together, they create a wave interference pattern. At the point the waves interact, their amplitude is added together. Using the nodes created by the pattern, I created a seating device that is inspired by the form of the waves. The shape of the seating device takes the occupants and the human form into account. I also wanted the seating to be able to be used in the lounge space of the rowing center, so I wanted to create something that would be comfortable to sit in.

A3 - NARRAGANSETT ROWING CENTER The parti of the Narragansett Rowing Center was in some ways inspired by the Waveform Seating Project. I wanted to continue to explore the idea how the waves interacted, this time in the form of the wakes of two rowboats as they move past one another. The two sides of the waves created the two main spaces for programmatic elements, and the space in the center allowed for community integration into the boathouse itself. The path which already existed on the site was almost always being used by members of the community, so I wanted to make sure it remained an important part of the project. As the community, or the occupants of the Rowing Center, walk past the boathouse, the vertical louvers are intended to give the experience of the water itself. The forms undulate and naturally crest and fold over one another. The precise vertical rhythm is meant to counteract the random nature of the water with the order and precision of rowing. The louvers also provide shade for the interior of the boathouse from the eastern sun. The two distinct volumes are divided programmatically between people and boats. The upper element is intended for people, where the spaces are further organized from left to right as most-private, semi-private, and the public lounge at the end. The lounge opens up to the river, allowing for views in both directions. The waveforms found in the louvers along the facades also are translated into the landscape as hills that create found spaces. The path meanders along the riverside, mimicking the shapes of the structure while also undulating towards and away from the river to allow for better views. The path continues directly through the boathouse, integrating the community into the rowing center itself by providing space for community boat storage. The viewing deck is located above the boat storage, containing more found spaces and allowing for more views of the river below.

Architectural Design Core Studio III | FALL 2021 ARCH 213.01

Narragansett Rowing Center

Work by: Michael Chmiel Professor: Greg Laramie

Narragansett Rowing Center For the Boathouse project, I was assigned the task of designing a new Narragansett Boathouse on-site “C.” My Parti for this project is the literal Embedding and Stretching on the site. My precedent study, “The Spain Rowing Center,” influenced my design and the structure’s embedment into the terrain on the hill located on-site “C.” The pulling of the landscape achieves the stretching aspect of my Parti to create the three outdoor viewing areas, labeled as the lower, middle, and upper viewing spaces. What I wanted to achieve with the structure was to have it occupy the unusable space of the site. I also didn’t want the site to lose its natural beauty. My solution was to have the structure embedded into the hill, which is the steepest part of the site where people can not occupy. The loss of the natural hillside is addressed by the green space added to the roof of the structure to create a more usable space for the site and to help replace the land taken for the building. At the start of the project, I envisioned my structure to be a beacon. In the early morning darkness, when rowers typically go out for their practices, I wanted plenty of light for them to be able to situate themselves in their boats and to help later guide the rowers back to the docks.

ISOMETRIC PERSPECTIVE BOW CHOCK CLEAT

BOW CHOCK CLEAT PHOTO

Artifact In the Artifact project, I had to choose an object “part of a boat” and turn it into a seating device. I selected a “Bow Chock Cleat,” which holds the boat up against the dock by feeding a rope through it and tying it to the pier. Breaking down the cleat to its simplest of components and uses, I decided to use the “tension” aspect of the cleat as my theme for the seating device. I then broke up tension metaphorically and literally to create my seating device. I made Tensegrities for the chair legs for the literal use of tension. Then, the metaphorical use of tension comes in with both the intended use of the seating device and layout. The device is for “tense situations/conversations” such as divorce mediation or political discussion. The tall walls surrounding the space will ensure all the tension will remain inside for maximum

AXONS

MODEL INTERIOR PHOTOS

discomfort.

ISOMETRIC PERSPECTIVE SEATING DEVICE

SITE PLANS

FLOOR PLANS

MODEL TENSEGRITY LEGS

MODEL PHOTOS

Digging & Assembling

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

For the Digging & Assembling project, I carved away at a solid brick and then turned those voids into occupiable spaces. The main inspiration for my overall design comes from the forms of Tombs and Chasms. This structure separates into two main spaces, a lower Tomb level, and an upper Chasm area. The lower level, reminiscent of an Egyptian tomb, has a ruff carved-like entrance that leads into a smooth interior, with light wells to illuminate the space.

FORTH FLOOR

It then wraps around, opening to the outside where there are wooden supports that fade to the upper area of the structure, similar to archaeological scaffolding. The upper chasm represents the space where an Archaeologist is digging and carving away. The scaffolding frames the space and acts as a shading device to the sections that have been removed.

SECTION #1

SECTION #2

Architectural Design Core Studio III | FALL 2021 ARCH 213.01

SECTION

Work by: Joseph Membrino Professor: Greg Laramie

Narragansett Boat Club Sitting along the Seekonk River at the Northern edge of Providence, The site for the New Narragansett Boat House presented a heavily sloping landscape which contained a long and unobstructed pedestrian path. The task at hand was to create a boathouse which would not only serve the local rowing team, but also the community. From this, the structure needed to serve both home and away teams with appropriate facilities, as well including a semi-public social space for events and gatherings. The Boathouse design works to preserve the existing path and create a seamless flow for both boats and pedestrians along the landscape. To go with this, a stairway has been carved from the center of the structure in order to maintain the concept of an unobstructed path. This works in conjunction with the concept of entering the boathouse without ever stepping inside. Passerby’s are greeted with views of the elegant boats and are immersed within the boat storage itself as they cascade up or down the central stairway. Taken from a Precedent Study of the Bled Rowing Center, the idea of conforming to a curve of a landscape, in this case the riverfront, took hold as the driving concept for form. The subtle bend first took place on the ground floor to conform to the waters edge, but quickly started to inspire the form for other areas of the building, including the second floor. The idea of “peeling” came to light and slowly started to create the paths and overhangs seen on the Boathouse. This subtle peeling effect can be felt from the main pedestrian path as the building starts to overhang your journey and reach out to invite you into the structure.

Second Floor

Public path is continuous and always unobstructed

Ground Floor

STORAGE

FOOD PREP

BATHROOM

SHOWERS

LOCKERS

Mechanical

MECHANICAL

BATHROOM/CHANGING DN

BATHROOM LOCKER ROOM: AWAY

LOCKER ROOM: HOME

STORAGE

BATHROOM

TRAINING ROOM

SOCIAL ROOM

OFFICE FOOD PREP

LOCKERS SHOWERS SHOWERS

LOCKERS

Mechanical

BATHROOM/CHANGING

MEETING ROOM

MECHANICAL

BATHROOM/CHANGING DN

BATHROOM LOCKER ROOM: AWAY

LOCKER ROOM: HOME

TRAINING ROOM

SOCIAL ROOM

OFFICE

LOCKERS

SHOWERS

MEETING ROOM

BATHROOM/CHANGING

SECOND FLOOR PLAN

BOAT STORAGE

STORAGE

WORKSHOP

BOAT STORAGE

STORAGE WORKSHOP

GROUND FLOOR PLAN N

Architectural Design Core Studio III | FALL 2021 ARCH213.04

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

Narragansett Boat Club

Work by: Patrick Mountjoy Professor: Noel Clarke

THE NARRAGANSETT BOATHOUSE The Narragansett Boathouse acts as a summation of the semester’s major themes. The development of the parti, the additive and subtractive design process, the ground plane as a design element, how to address specific site issues, and much more were all necessary in the design process. All of these concepts help to develop an intentional design that connects to the site in a meaningful way. We were given a program outline of the necessary spaces to include to design for people and boats alike. SITE ISSUES: A primary concern is the flooding condition of the site. In a storm surge, water levels could reach up to 14’ above sea level, meaning the main program needed to be at this level. The other issue is the connection of the boathouse to the water. A road disconnects the site from the river, requiring a solution for boat access. To solve this, the pond existing on the site would be dredged down to sea level in order to create a calmer docking point, and create an unobtrusive means of access for the large row boats. CONCEPTS: There is a degree of importance to the entrance threshold of the site as well. With this in mind, the primary concept for my buildings is division, taking precedent from the WMS Boathouse in Chicago. I decided to separate the buildings to draw people into the site, as well as separate the internal programs. A steep hillside takes a majority of the site, which led me to embed one of the buildings, the field house, into the hill to better integrate with the exisiting site conditions. To create an intentional connection to the site, I embedded the Field House building in the hill. This way, visitors to the existing hilltop park have easy access to the building from the hill.

Roof Plan: 1/32” = 1’-0”

This connection gave way to a second design concept, a series views through terraces, including a rooftop viewing platform and lower viewing terrace that have unobstructed views of the site and river. These terraces create an external circuit for the general public, as well as an intentional connection between the two buildings. The terraces and their access points show which internal spaces are meant for the general public, separating visitors from the private boater spaces like locker rooms and boat storage. Since the building is embedded, the lower level spaces are kept private (i.e. locker rooms, offices, showers). The second floor is level with the terrace, implying public use spaces (i.e. the lounge, function spaces, etc.). The other structure, for boat storage, rests on the edge of the pond. By keeping the boat storage building separate from the main program in the field house, the difficulty of moving the 62’ long boats to the water would be unobstructed by the general public. The boat storage structure becomes more of an exhibit space for the public, and a functioning space for the boaters. The placement of the building along the pond also allowed for a meaningful connection to the river.

CIRCULATION People Boats

Site Plan

Flooding Diagram

Exterior Circuit

Second Floor: 1/32” = 1’-0”

Site Section

Division Parti

First Floor: 1/32” = 1’-0”

Renderings: Field House

Lounge View

Rooftop View

Divide

Architectural Design Core Studio | FALL 2021 ARCH 213.01

Boathouse Renderings

Garage Bays

Catwalk and Truss View

Narragansett Boat House

Work by: Ryan Spillane Professors: Greg Laramie

Between Land and Water The project location is along the Seekonk River in Providence, Rhode Island. The specific site had a few unique features, such as the hill and the pond, that made the site more challenging to work with. Because Rhode Island is famously known as the “Ocean State” the theme of this design is focused primarily on the connection between land and water, and how humans interact with it. The overarching idea presented within the design of this project was to understand how life itself interacts with and is connected to the water. The identity of both buildings is revealed upon the landscape they lie on; one being built above the water, and one being carved into the hill. The shape and identity of both buildings are simple and pure, avoiding any distraction from the focus which is put on the bridge. This “bridge” is the pinnacle of the design as it acts as the only physical connection between both buildings. The shape is derived from the motion of rowing, where humankind interacts with the water; it takes practice to achieve a perfect, balanced motion, just like it does to understand our connection with nature. This idea is further shown through the terracing, where only a small portion of the plants continue to extend down towards the water. The way humans interact with the architecture is also purposeful in illustrating this connection. There are sequences of experiences that people gain when exploring the architecture that evokes a sense of awe and better illustrate the connection humankind has with the landscape around them.

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Between Land and Water Work by: Ryan Wargo Professor: Ginette Castro

MEETING ROOM

OFFICE

TRAINING CENTER

BATHROOM STORAGE BATHROOM

KITCHEN

UPPER LOUNGE

Level 3

PROVIDENCE BOAT HOUSE MECHANICAL ROOM

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

LOCKER ROOM

The design focuses on using elevation as a way to differentiate between function. There are two main forms perpendicular to one another which are connected “lightly” This allows the spaces to be immediately connected but still appear as two separate spaces. The lower building is parallel to the river making it easier to bring the long boats into the storage portion of the structure. While the upper building is perpendicular to the river so it can interact with the existing hillside. The first floor is dedicated to boat storage and a workshop. It is almost completely only meant to be accessed by the team and staff except for the entrance place along the exterior walkway, which gives lower access to the upper building. On the second and third floors there are various spaces laid out seperating between more public oriented amenities and other private ones. For example on the second floor there is access to the roof of the lower structure creating a large viewing deck for visitors and spectators to watch the races and events. On the third floor there is both a training room and a portion of the public lounge space. Each of these is separated from one another and each as its own stairwell connecting to there matching counter parts. Such as the upper lounge with the lower lounge and the training center with the locker rooms. The final design sought to find the best way to separate functions while matching corresponding amenities with eachother to provide the best access and ease of use in the space.

LOCKER ROOM

LOWER LOUNGE

Site Plan

Section A

Boat Storage Entrance

Level 2

Section B

Walking/Bike Path Underneath Building WORKSHOP AND REPAIR

South Elevation

BOAT STORAGE

Walking/Bike Path Underneath Building

North Elevation

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Level 1

Green Loop

Work by: Andrew Gouveia Professor: Karen Hughes

PRECEDENT: BLED ROWING CENTRE Prior to designing a boathouse, we were assigned a precedent boathouse to study. The Bled Rowing Centre pictured above is uniquely placed in a mountianous landscape in a way that intertwines the built and natural environments. The project is aligned to mimic the natural waterline of the lake and is built with natural materials in attempt to blend into the landscape it interacts with.

PRECEDENT: WHALING PAINTING The painting above demonstrates whaling, a common practice that helped shape the culture of the Providence area, especially societies settled on bodies of water.

ABSTRACTION SKETCH Abstracting the painting yielded an identification of four main forms: the whale (grey), the triangular boat (brown), the waterline (blue), and the mast (green).

ITERATION ONE SKETCH

FINAL ITERATION SKETCH

Further abstraction led to a connection between form, program, and function. The mast, which controls the direction of the boat, became a means for circulation as a stair system. The waterline became symbolic of the sloped landscape. The triangular boat became the top forn with most programatic elements. The whale, which offered a connection between both the above and below-water environments, became a place for boat storage.

In further abstraction, an open integration of the landscape integrated into the lobby of the boathouse and surrounding the front staircase became a symbol for the mast, serving as an indication of circulation and the identity of a project with a strong natural connection. The triangular form of the boat became an exclusive lounge area, hierarchically highest above the other forms, as it is distinguishable by shape, size, and height above the other forms. Both the whale and waterline serve as connections between the landscape and the built environment.

Site Plan with Approach

Section Drawing

Front View of Model

Plan Drawings

Perspective Drawings

Architectural Design Core Studio III | FALL 2021 ARCH 213.07

Model Details

Riverscape

Work by Paloma Bellizzi Professor: Samantha Moscardelli

ELEVATIONS

SITE PLAN

NARRAGANSETT BOAT CLUB The Narragansett Boat Club boathouse proposal is set into a steep hillside rising above the Seekonk River in Providence, Rhode Island. Located on the same river is the historic Slater Mill, built in 1793 in Pawtucket, RI as the first water-powered textile mill in America. The boathouse pays homage to the history of its site by taking inspiration from the historically significant building and modernizing it to fit within the context of the 21st century and suit the needs for a modern-day rowing club.

SEEKONK RIVER SITE RELATIONSHIP

SLATER MILL PRECEDENT

BOATHOUSE FOOTPRINT

SLATER MILL AERIAL VIEW

BUILDING ORGANIZATION

FLOOR PLANS

SITE AND SKETCH MODEL

SECTIONS

SKETCHUP MODEL PHOTOS

Architectural Design Core Studio III | FALL 2021 ARCH 213.08

Narragansett Boat Club

Work by Carley Howe Professor Richard McBride

NARRAGANSETT ROWING CENTER MAS TER PLAN S

ELEVATIONS & SECTIONS

WESTERN ELEVATION 1/16”=1’

WEST ERN EL EVAT ION

FIRST FLOO R 1/16”=1’

SECT ION I 1 5 ’

WEST ERN EL EVAT ION SECT ION II 4 5 ’

EXPLO DED AXON A TR I U M SECT ION II 4 5 ’

SECT ION I 1 5 ’

TIMBER SCREEN GL ASS

SOUT H NORT H EAST

TI M B E R S C R E E N

WEST S E CO ND FL O O R 1/16”=1’

WOOD F RAM E

DIAGRAMS

BOAT STORAGE

LOWE R V I E WING

SECOND F L OOR ENVEL OPE

P LA TFOR M

B OA T R E P A I R LOBBY

F IRST F L OOR ENVEL OPE

FOOD P R EP B A TH R R OOM S

UPP MECHANICAL

V IE

W IN

LA G P

TF O

RM MEETING ROOM

LOUNGE

TR A I N I N G

M E N ’S

WOM E N’S

LOC K E R S

L OC K ERS

CLASSROOM OFFICE

SECOND F L OOR PL AN B A TH R R OOM S S H OWE R S SAUNA

FO UR P E RS O N S CUL L A ND S W E E P TW O P E RS O N S CUL L A ND S W E E P B O A TS O NE P E RS O N S W E E P B O A TS E I G HT P E RS O N S W E E P B O A TS LOBBY B O A T RE P A I R

GROUND PL AN

CIRCULATION P RI V A TE S P A CE P UB L I C S P A CE

Architectural Design Core Studio III | FALL 2021

ARCH 213.08

GUEST S M EM BERS SCALE 1”= 30’

NARAG ANSETT ROWI NG CE NTE R WORK BY : E M I LY SALVI PROFESSOR: RI C K M C BRI D E P ROP RO

Project 1 Model 1

Project 1 Model 2

Project 1 Model 4

Project 1 Model 3

Digging and Assembling The digging and assembling assignment began with a given solid that then needed to have voids taken out of it. The goal was to create a space of combination of spaces that could be viewed or explored. The second part of the assignment was to design additive parts to the solid void block that would improve or add more to the experience of the space. The final part of the assignment was to create a physical model that represents the design that was created. Above is the development of the model on Sketchup through four different points as the design evolved. At first, large sections of spaces were removed to create an overall shape and feel for the space. As the project progressed the changes became more minor and detailed and finally the additive portions were added.

Images of Winch

On the left is an image of the final model with all of the solids, voids, and additive portions together. This project was a great way to understand space as well as solids and voids. Going forward in the semester this project would be a great resource to look back on and use for ideas.

Artifact The second project was to take an artifact from the Herreshoff Marine Museum and develop the item into a functioning piece of furniture through three different steps. The first step is identifying what artifact to use. On the right, there are two images of a brass winch. This is the artifact that was used in this project. Below the images of the winch is an analysis of the movement that the winch goes through when it is being used. This would develop into a key element of the bench design. Project 1 Final Model

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

Project 2 Sections and Diagrams Winch Analysis

The Boat House The Boat House was the final project of this semester and used elements from most of the previous projects. The goal of this project was to research, visit, and design a boathouse for the sport crew. The first step was to research existing boathouses and understand the ins and outs of how they work. By looking at several precedents and comparing and contrasting it was clear to see what the important parts of a boat house were as well as how the the design can play a part in the overall building. After the precedents I had a good idea of what was important and not important for my boathouse. The next part of the project was visiting an existing boathouse as well as the site where we would be building our own boathouse. Being able to physically stand in a boat house and understand the scale of the rooms, as well as the boats, was a very important step to learning the needs of a boathouse. Being on the site was also very important because it allowed to first-hand see the space where the new building that I would be designing would go. Having the ability to physically visit and experience a site is a major benefit to the overall project.

Project 3 Second Floor Plan

After the site visit, what was left in the project was to design and create my design for a boathouse. When I was designing the boathouse I wanted to create a seperation from the inside where events would be taking place and the outside where the public would be passing by. To create this feeling within the space, I designed the buildings to wrap the inside deck. This wrapping effect also allowed the buildings to have windows and more clear views of the river where the events would take place. The design of wrapping the buildings created this feeling of a cove on the water. This developed the dock to create a cove of its own which then further developed into my overall idea of safe harbor. The idea is that the boats that were used for the sport could be docked on the inside of the dock, safe from the waves of the river. After designing the docks I went back and redesigned the deck space where the public would be so that it matched the feeling of the docks and the overall space I wanted to create. The design of the safe harbor also inspired the entrance to create a sense of wonder and question from the outside. This would draw the public into the space while also keeping seperation and privacy important. In conclusion, this project brought together all of the projects before it while teaching me how to design around a concept while also keeping a connection between all of the space. This projected bettered my skills overall and without the previous projects it would not have turned out the way it did.

Project 3 First Floor Plan

Project 3 Final Model

Project 3 View from the Street

Project 3 View from Inside

Project 3 View from the Deck

Project 3 View from Across the Street Project 3 Site Plan

Architectural Design Studio | FALL 2021 ARCH 213.02

Safe Harbor

Work by: Brennan Dunn Professors: Andrea Adams

Lorennah Granfors

Detail of Casting Joe DePaolo

Ethan Medeiros

Delia Maguire

Joe DePaolo

Ethan Medeiros

Delia Maguire

Zachary Laplant

Leah Whearty

Joe DePaolo

Angled View of Casting

Lorennah Granfors

rmwork

Angled Front View of Formwork

Rachel Borzone

Construction Materials and Assemblies I | FALL 2021 ARCH 231.01 & ARCH 231.02

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

Rose Walsh

Rachel Wronski

Delia Maguire

Ryan Desanctis

Sarah Smithline

Mason Lantz

Bodie Ibrahim

Anthony Paturzo

Ethan Medeiros

Evan Wenchell

Construction Materials and Assemblies I | FALL 2021 ARCH 231.01 & ARCH 231.02

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

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

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

Architectural Analysis I | FALL 2021 ARCH.281.01

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

A1.4, A3

Work by: Rachel Kane Professor: Ruben Alcolea

Geometric Study

Perspective Study With Colors

Perspective Study

Isometric

Military

Di-metric

Cavalier

Field Study: Burnside Memorial Hall Bristol, Rhode Island

Elevation of the Burnside Memorial Entrance

Section of the Burnside Memorial Entrance

Plan of the Burnside Memorial Entrance

Perspective of the Burnside Memorial Entrance

Axonimetric Drawing of the Burnside Memorial

Axonimetric Plan of the Burnside Memorial

Local Case Study: Linden Place by Russell Warren Bristol, Rhode Island

Third Floor

Linden Place Section

Second Floor

First Floor

Linden Place Front Elevation

Linden Place Floor Plans

Linden Place Side Elevation

Linden Place Perspective

International Case Study: Can Lis by Jørn Utzon Mallorca, Spain

Can Lis Floor Plan

Can Lis Front Elevation

Architectural Analysis I | FALL 2021 ARCH.281.04

Can Lis Sections

Can Lis Perspective

Architecture and Drawing Analysis Zulange Gonzalez Professor Dingliang Yang

INTERACTIONS WITH COLOR

Two colors which appear as one

One color which appears as two

The illusion of transparency

ANALYSIS OF THE BURNSIDE BUILDING- BRISTOL, 1883

Analysis of the Villa dall’Ava- Rem Koolhaas, 1991

Entryway Elevation

Entryway Section

Column Detail

The Villa dall’Ava, a landmark design by Rem Koolhaas, showcases the change in lifestyle and design as architecture would move into the 21st Century. The task at hand of analyzing and recreating the contemporary Paris home would be done through exercises in AutoCAD as well as Photoshop and other methods of hand diagramming. Altogether, the premise was to understand architectural intention and enhance knowledge pertaining to a landmark design. Reconstructed Plans

Analysis of Circulation

Ground Floor

Second Floor

Third Floor

DETAILED FRAGMENT:

Following the analysis of the structure and its composition, the task became recreating and applying texture to an outstanding or important element of the house. For this, the rooftop pool and deck area was selected due to its prevalence in the design and function of the structure. This area acts as a dividing method for the two living areas and provides a unique and exciting element for the occupants of the home.

30-60 Axonometric Exterior showcasing form and notable elements of the structure Plan View

Section Cut Facing North

East Elevation

South Elevation

Section Cut Facing South

Architectural Analysis I | FALL 2021 Arch281.01

Interior drawing of the kitchen area depicting quality of space and change of texture.

Analysis of the Villa dall’Ava and Selected Works

Work by: Patrick Mountjoy Professor: Rubén Alcolea

Case Study: Casa Turégano, Alberto Campo Baeza Madrid, 1988

10 X 10 meters

Casa Turégano

Perspective Construction

Reconstructed Plans

Reconstructed Elevations

Reconstructed Sections

Rooftop Detail: Plans/ Sections

Architectural Analysis I | FALL 2021 ARCH ARCH281.03 281.03

Axonometric Interior

Rooftop Detail: Elevations/ Sections

Case Study: Casa Turégano

Case Study:Work Casa Turégano by: Maryrose DiPiro

Work by: Maryrose DiPiro Professor: Roberto Viola Ochoa Professor: Roberto Viola Ochoa

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

THE SITE IS SURROUNDED BY TAILORED HEDGES TO CREATE AN IMPENETRABLE EFFECT. THE HEDGES SCREEN THE GROUND FLOOR AND GARDEN FROM THE STREET AND SIDEWALK. THE ENTRY GATES, THIN TRELLIS, AND CARPORT AROUND THE BUILDING ARE PAINTED GREEN TO SUGGEST POINTS OF ENTRANCE AND BECOME HIDDEN WITHIN THE LANDSCAPE. THERE ARE ALSO LARGE TREES BETWEEN THE NEIGHBORING HOMES TO CREATE PRIVACY AND AN OPEN GRASS AREA IN THE BACKYARD. THE HOME ITSELF SITS ON A WHITE 18 BY 18 METER PLATFORM MADE OF NATURAL STONE THAT MAKES IT SEEM LIKE IT WAS PLACED ON A TRAY. WHEN LOOKING AT THE HOME ON THE SITE IT CAN BE DIVIDED INTO THREE SECTIONS: THE LARGEST BEING THE BACKYARD, THE SECOND LARGEST BEING THE HOME ITSELF, AND THE SMALLEST BEING THE PAVED AREA IN THE FRONT.

HOUSE WITHOUT QUALITIES VS. MEDIEVAL CASTLE HIDDEN ROOMS

ANALYTICAL SKETCHES SPATIAL STRUCTURE/COMPOSITION

CIRCULATION

HIERARCHICAL STRUCTURE

PROGRAM ZONES

GEOMETRY

FIRST FLOOR PLAN

GROUND FLOOR PLAN

LONGITUDINAL SECTION

PLANS, SECTIONS & ELEVATIONS

LONGITUDINAL SECTION

MOST IMPORTANT

LEAST IMPORTANT

PRIVATE

SEMI-PRIVATE

PUBLIC

SERVICE

DETAIL 1 AXONOMETRICS STAIRS

DOUBLE-HEIGHT SPACE

DETAIL 2

PERSPECTIVE

Architectural Analysis I | Fall 2021 ARCH 281.02

House Without Qualities Work by: Rachel Borzone Professor: John O’Keefe

REPRESENTING CASE STUDIES AFTER PRACTICING AND DEVELOPING OUR ANALYTICAL AND TECHNICAL DRAWINGS SKILLS, OUR ABILITY TO REPRESENT REAL CASE STUDIES OF ARCHITECTURE SIGNIFICANTLY IMPROVED. WE FIRST BEGAN ANALYZING USING ANALYTICAL TRACING OF EXISTING FLOORPLANS. GRIDS WERE USED TO SHOW ALIGNMENTS OF WALLS AND ROOMS, AND FIND SYMMETRY. DEVELOPING ROOM SHAPES WAS DONE THROUGH DIAGRAMING GEOMETRY. HIERACHY COMPARED ROOM SIZES AND HOW THEY FIT WITH ONE ANOTHER TO CREATE LARGER SHAPES. OTHER SHAPES, SUCH AS CURVES AND CIRCLES, WERE USED TO DISCOVER DESIGN DECISIONS. USING DIAGRAMMING, WE WORKED BACKWARDS FROM A FLOORPLAN TO UNCOVER HOW THE ARCHITECT USED SHAPES TO CREATE THE DESIGN.

ANALYTICAL TRACING

WE LEARNED HOW TO CORRECTLY REPRESENT A VOLUME USING DIFFERENT AXONOMETRIC DRAWINGS. WE WERE TAUGHT THE CORRECT TECHNICAL ORIENTATIONS. THIS ALLOWED US TO COMPARE AND DECIDE IN OUR CASE STUDIES WHICH TYPE OF AXON COULD DISPLAY A STRUCTURE IN THE BEST WAY. WE THEN LEARNED HOW TO CORRECTLY SHOW A BUILDING USING PERSPECTIVE. ALTHOUGH BUILDINGS ARE DESIGNED IN PLAN AND ELEVATION, PERSPECTIVES ACCURATELY DEPICT HOW A PERSON WILL EXPERIENCE A BUILDING IN REAL LIFE, WHICH IS CRUCIAL TO DESIGN. WE LEARNED HOW TO REPRESENT VOLUMES IN ONE POINT AND TWO POINT PERSPECTIVE. THESE EARLY SKILLS ALLOWED US TO DEVELOP BASIC UNDERSTANDINGS OF ARCHITECTURE AND DESIGN THROUGH CAREFUL ANALYSIS. IT ALLOWED US TO MORE ACCURATELY REPRESENT BUILDINGS, SUCH AS THE CASE STUDIES BELOW. USING THESE SKILLS TO DIAGRAM AND COMPARE FLOORPLANS, CRAFTSMANSHIP, AND EXPERIENCE WITHIN PERSPECTIVE WERE KEY ABILITIES LEARNED AND DEVELOPED.

GRID

GEOMETRY

HIERARCHY

AXONOMETRIC DRAWINGS

CAVALIER AXON

FINAL OVERLAID PLAN

PERSPECTIVE DRAWINGS

DIMETRIC AXON

TRIMETRIC AXON

ONE POINT PERSPECTIVE

EGYPTIAN AXON

ISOMETRIC AXON

MILITARY AXON

RADIUS

TWO POINT PERSPECTIVE

DOCUMENTING AND SURVEYING: BRISTOL TOWN HALL, BRISTOL, RHODE ISLAND

PLAN

SECTION

FRONT ELEVATION

TWO POINT PERSPECTIVE

AXON DRAWING

INTERNATIONAL HOUSE CASE STUDY: TUREGANO HOUSE, MADRID, SPAIN

SECTION

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

FOURTH FLOOR

WHEN COMPARING THE TUREGANO HOUSE TO THE WARREN-BACHE HOUSE, THERE ARE KEY DIFFERENCES IN THE DESIGNS OF BOTH INTERIOR AND EXTERIOR. THE INTERNATIONAL HOUSE HAS MANY MORE ALIGNMENTS ON THE INSIDE WITH WALLS AND ROOMS, BOTH HORIZONTALLY ON A FLOOR AND VERTICALLY THROUGH ALL FOUR FLOORS. THE LOCAL HOUSE DOES NOT HAVE AS MANY “PERFECT” ALIGNMENTS HORIZONTALLY, BUT STILL MAINTAINS MANY OF THE SAME WALLS AND ROOMS FROM THE FIRST TO THE SECOND FLOOR.. THE WARREN-BACHE HOUSE FOCUSES MORE ON IT’S EXTERIOR ALIGNMENT AND SYMMETRY. ON THE FRONT FACADE, THE DOOR IS AT THE VERY CENTER, WITH A WINDOW ABOVE AND SMMETRICALLY PLACED WINDOWS AND COLUMNS BESIDE IT. ALL OF THE WINDOWS ON THE FRONT AND SIDES ARE THE SAME SHAPE AND SIZE AND PLACED THE SAME WIDTHS APART. ONLY ON THE BASEMENT WALLS AND BACK FACADE DO WE SEE DIFFERENCES IN WINDOW SIZES. THIS IS BECAUSE THE APPROACH VIEW AND VIEW FROM THE STREET WAS THE MAIN FOCUS WHEN DESIGNING. THE INTERNATIONAL HOUSE USES A WIDE VARIETY OF DIFFERENT WINDOW SIZES. WHILE MANY ALIGN ON THE FRONT, MANY ARE RANDOMLY PLACED ON THE SIDE AND BACK EXTERIOR. THE INTERNATIONAL HOUSE PAID MORE ATTENTION TO DETAILS AND ALIGNMENTS INSIDE, WHILE THE LOCAL HOUSE PAID MORE ATTENTION TO SYMMETRY AND DESIGN ON THE VISIBLE EXTERIOR.

AXON

LOCAL HOUSE CASE STUDY: WARREN-BACHE HOUSE, BRISTOL, RHODE ISLAND

FRONT ELEVATION

SECOND FLOOR

ARCH 281.04

TWO POINT PERSPECTIVE

BOTH HOUSES UTILIZE THE SLOPE OF THE LAND ARUND THEM. THE TUREGANO HOUSE CUTS INTO IT’S FIRST FLOOR WITH THE LAND, CREATING ENTRANCES ON THE SECOND FLOOR. THE WARREN-BACHE HOUSE USES THE SLOP TO CREATE A WALKOUT BASEMENT IN THE BACK WITH A DOOR AND MANY WINDOWS FOR NATURAL LIGHT

FIRST FLOOR

Architectural Analysis II | FALL 2021

AS FOR MATERIALITY, THE LOCAL HOUSE HAS MUCH MORE DEATILED CRAFTSMANSHIP AND MORE MATERIAL USE. THE INTERNATIONAL HOUSE USES ONLY THE WHITE CONCRETE AND GLASS, WHILE THE LOCAL HOUSE USES STONE, BRICK, GLASS, WOOD, AND COLUMNS. THERE IS MUCH MORE DETAIL IN THE WINDOWS AND DOORS AS WELL. THE DETAILED STONE QUOIN ON THE FRONT CORNERS. BOTH HOUSES ARE BASIC SHAPES, BEING A RECTANGLE AND A SQUARE. THE LOCAL HOUSE BREAKS UP THE RIGID RECTANGLE FORM WITH AN ARCHED ROOF, A FRONT ENTRANCE THAT STICKS OUT, AND HANDCRAFTED DETAIL ON THE EXTERIOR. THE INTERNATIONAL HOUSE RBEAKS UP THE RIGID SQUARE SHAPE USING A HALF CIRCLE ON IT’S FOURTH FLOOR. OVERALL, WHEN IT COMES TO MATERIALS AND CRAFTSMANSHIP, THERE SEEMS TO BE A LOSS OF THIS IN THE MODERN HOUSE COMPARED TO THE OLDER LOCAL HOME.

AXON

TWO POINT PERSPECTIVE

Representing Case Studies Work by: AJ Alessandrini Professor: Dingliang Yang

MAKE ONE COLOR LOOK LIKE TWO

MAKE TWO COLORS LOOK LIKE ONE

ILLUSION OF TRANSPARENCY

In the image above, it appears as though the orange box on the yellow background is a lighter shade of orange than the orange box on the magenta background color. However, this is just an illusion of color, and the two orange boxes are actually the same shade of orange. The orange boxes just appear to be different based on the background colors they are placed on.

If you place something between the two pink colors and stare at the center, the two pink colors appear as the same hue. With the darker shade of pink placed on the lighter shade of purple and the lighter shade of pink placed on the dark purple, your eyes are tricked into believing that the two pink colors are actually the same hue. This is another example of a color illusion.

In this image, it appears as though the yellow block of color is transparent. As you look through it, the pink color block below it appears orange (the blending of this hue of yellow and the hue of pink). However, this is another color illusion. The pink and yellow color blocks are actually both opaque. The orange color between them is actually the child color of pink and yellow (if the two colors were blended together, they would create this orange color) and is a separate piece from the yellow and pink color blocks. There are three pieces to this image: the yellow block that has been cut, the orange piece, and the pink piece. The three blocks of color were cut and placed together to create this illusion of transparency.

DESCRIPTION THROUGH DRAWING II: Documentation at Saint Michael’s Memorial Garden

Photos taken of the brickwork pattern of the walkway

Initial photos taken and front elevation drawing based on measurements taken on site

Erin LoMonaco Interactions with Color and Description Through Drawing II ARCH 281 - Architectural Analysis I - Viola Ochoa - Fall 2021

Plan Drawing based on measurements taken on site

Side elevation, section, and front elevation drawings based on measurements taken on site

Sculpture Pavillion by Aldo Van Eyck

Solo House by OFFICE

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Palazzo Farnese-Di Sangalo, Michelangelo

Palacio Carlos V-Alhambra

A5-PART 1: ANALYTICAL SKETCHES Palazzo Farnese-Di Sangalo, Michelangelo

Palacio Carlos V-Alhambra

A5-PART 1: ANALYTICAL SKETCHES

A1-PART 3: BASIC GEOMETRIC CONSTRUCTIONS

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

Trenton Bath by Louis Kahn Trenton Bath by Louis Kahn

The pink color is placed in two different colors. The lighter blue makes the pink appear darker while the darker hue of blue makes the pink appear brighter and lighter in color when in reality, they are the exact same color.

Forum in Pompeii

Can Lys in Mallorca by J. Utzon

A5-PART 1: ANALYTICAL SKETCHES

Solo House by Pezo and Von Solo Ellrichshausen House by Pezo and Von Ellrichshausen

A1-PART 2: ANALYTICAL A1-PARTTRACING 2: ANALYTICAL TRACING SPATIAL DEFINITION SPATIAL DEFINITION

A5-PART 2: APPLICATION A5-PART 2: APPLICATION

Richards LaboratorybyinL.Philadelphia by L. Kahn Richards Laboratory in Philadelphia Kahn

House the Horizon Girona by RCR Arquitectes House of the Horizon inof Girona by RCR in Arquitectes

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

A5-PART 1: ANALYTICAL SKETCHES A5-PART 1: ANALYTICAL SKETCHES

A5-PART 2: APPLICATION A5-PART 2: APPLICATION

Casa del Fauno-Pompeii

Sert House, Cambridge, J. Lluis Sert

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Fabrica Fino by Scamozzi

MG+FA Houston by Rafael Moneo

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Two blocks of colors are joined in the middle to create a balance third color. The use of two completely different colors create a perfect sense of balance so that no tone is being over powered. It can be seen in the blue and pink combination that the middle colors not overpowered byGEOMETRIC either CONSTRUCTIONS A1-PART 3: BASIC color. Same goes for the yellow and blue combination. There is not an overpowering sense of blue nor yellow, both are perfectly balanced. A1-PART 3: BASIC GEOMETRIC CONSTRUCTIONS

Nicole Grief Compositional Diagrams and Strategies ARCH.281.03-Architectural Analysis I-Viola-Ocha-Fall 2021

A1-PART 2: ANALYTICAL TRACI SPATIAL DEFINITION

ARCHITECTURAL REPRESENTATION ANALYTICAL DRAWINGS THE FOLLOWING COLLECTION OF PROJECTS WERE USED AS STUDIES TO LEARN AND PRACTICE EFFECTIVE ARCHITECTURAL REPRESENTATION THROUGH DRAWING. THIS PROCESS BEGAN WITH THE STUDYING OF EXISTING PRECEDENTS AND DEFINING THE CORE PRINCIPLES WITHIN THE PRECEDENT TO DEVELOP AND UNDERSTAND THE INTENT WITHIN THE DESIGN. THIS WAS COMPLETED BY BREAKING DOWN THE PRECEDENT INTO SIMPLER FORMS SUCH AS GRIDS AND GEOMETRIES TO IDENTIFY THE RELATIONSHIP BETWEEN ALL THE DIFFERENT ELEMENTS. AFTER STUDYING PRECEDENTS, WE BEGAN TO WORK ON OUR OWN DRAWINGS BY LEARNING TO ACCURATELY REPRESENT THE DIFFERENT TYPES OF AXONOMETRIC FORMS. THESE FORMS ARE AN INTEGRAL PART OF ARCHITECTURAL ANALYSIS THROUGH DRAWING AND BECAME A TOOL WHEN LOOKING AT OTHER CASE STUDIES AND DEVELOPING OUR OWN WORKS. ONCE WE HAD MASTERED THE AXONOMETRIC DRAWINGS, WE STUDIED THE PROPER WAY TO PRODUCE TECHNICAL PERSPECTIVES. THESE WERE DONE USING PROJECTIONS OF FLOOR PLANS AND ALLOW FOR A TRUE REPRESENTATION OF THE VISUAL EXPERIENCE OF A BUILDING. THIS BECOMES A NECESSARY TOOL FOR UNDERSTANDING HOW A STRUCTURE INFLUENCES THE HUMAN EXPERIENCE.

AXONOMETRIC DRAWINGS

PERSPECTIVE DRAWINGS

BURNSIDE MEMORIAL HALL

USING THIS UNDERSTANDING OF ARCHITECTURAL ANALYSIS AND THE WAYS WE CAN REPRESENT IT, WE BEGAN TO LOOK AT DIFFERENT CASE STUDIES WITHIN OUR LOCAL COMMUNITY AND THE WORLD ABROAD. WE WERE THEN ABLE TO COMPARE AND CONTRAST THE DIFFERENT STYLES AND SYSTEMS USED WITHIN EACH CASE STUDY AS WE DID WITH THE FIRST PROJECTS. BURNSIDE MEMORIAL HALL CONSTRUCTED IN 1883 BY STEPHEN C. EARLE, THE BURNSIDE MEMORIAL WAS THE FIRST CASE STUDY WE DID. WE FOCUSED ON THE ENTRANCE OF THE STRUCTURE WHICH HELD TWO, MATCHING ARCHES WITH A SET OF DECORATED COLUMNS. THE BUILDING HAS A HEAVY RELIANCE ON STONE AND BRICKWORK THAT PROVIDES ORANGE AND GREY COLORS TO THE FACES. THE CENTER OF THE STAIRS IS DIVIDED BY A HANDRAIL THAT PERFECTLY ALIGNS WITH THE FRONT DOOR THAT HAS AN OVERHEAD ARCH TO MATCH THE TWO IN FRONT. THE FORMS CREATED BY THOSE ARCHES FOLLOW THE WALLS OF THE BUILDING AND DIVIDE UP THE ELEVATION INTO DIFFERENT LEVELS. VILLA DALL’AVA DESIGNED BY REM KOOLHAAS IN FRANCE, THE VILLA DALL’AVA USES A UNIQUE FLOOR PLAN. THERE ARE THREE WINGS WITHIN THE BUILDING, TWO ON EACH END AND ONE THAT CROSSES BETWEEN AND BELOW THE OTHERS. THE SHAPE OF THE MAIN WING IS A STRETCHED TRAPEZOID THAT ACTS LIKE A FUNNEL TO THE LARGER SPACES WITHIN THE HOUSE. LARGE GLASS WINDOWS PROVIDE A VIEW OF THE SITE FROM ALL SIDES OF THE BUILDING AND BECAUSE OF THE SHAPE OF THE FLOOR PLAN, IT ACTUALLY POINTS TOWARDS THE EIFFEL TOWER. THE ROOF HOWEVER BECOMES AN INTEGRAL GATHERING SPACE WITH ITS BUILT IN POOL AND GREEN SPACES. THESE FEATURES ARE WHAT MAKE THE HOUSE STAND OUT FROM ANY OTHER. 92 STATE STREET DESIGNED BY RUSSELL WARREN IN BRISTOL, RHODE ISLAND, 92 STATE STREET FEATURES A COMPLEX FLOOR PLAN WITH A RELATIVELY STRAIGHTFORWARD ELEVATION. EVERY WINDOW FEATURES ORNATE FRAMING, BUT IS UNIFORM THROUGHOUT THE ENTIRE BUILDING. A MULTITUDE OF COLUMNS SUPPORT THE COVERED PORCH WHICH PROVIDES SEPARATION FROM THE SIDEWALK THAT IT SITS RIGHT AGAINST. TWO FIREPLACES MIRROR EACH OTHER ON EACH SIDE OF THE HIP ROOF AND A SPIRAL STAIRCASE PROVIDES A CHANGE FROM RECTILINEAR FORMS WITHIN A FEW OF THE ROOMS. WOODEN SIDING AND STONEWORK ARE THE MAIN MATERIALS USED WHICH ARE FAMILIAR WITHIN ITS REGION.

VILLA DALL’AVA

Architecture Analysis 1 | FALL 2021 ARCH 281.04

92 STATE STREET

ARCHITECTURAL REPRESENTATION

Work by: Cole Russell Professor: Dingliang Yang

3year rd

COMMUNITY PERFORMING ARTS CENTER || PROVIDENCE, RI

“CIRCLE OF FRIENDS”

INITIAL DIAGRAM

PROJECT STATEMENT Our youth is locked inside of their rooms watching videos on a phone screen as entertainment instead of exploring people and places outside of their immediate neighborhood. How can this performance center invite people, especially those of younger generations, to explore the world and themselves creatively? How can this performance space reintroduce cultural vitality to this amazing site? This performance center will be: A place that caters to the physical and social health of the citizens of Providence A place that promotes socially sustainable spaces for interactions within the community A place that enhances the local landscape A place that welcomes people of all ages to explore their creativity The inclusion of circles in the facade visually represents the playfulness and vitality of children. Using circles in plan has a more metaphorical meaning; a circular space is a community, and the people within it have created a circle of friends. The circular cut out on the corner of the building at the plaza is symbolic of the open circle, inviting people to come join the community they will find through art. The interior courtyard is a full circle space, demonstrating the joy you can only experience once you have decided to step outside your comfort zone and try something new.

PROGRAM 1. Scene Shop 13. Green Room 2. Pre-Function 14. Hair and Makeup 3. Stage 15. Dressing Room 4. 500 Seat Theater 16. Janitor’s Closets 5. Children’s Courtyard 17. Practice Rooms 6. Classroom 18. Mechanical 7. Lobby 19. Storage 8. Box Office 20. Laundry Room 9. Lavatories 21. Costume Shop 10. Black Box Theater 22. Control Rooms 11. Open Office 23. Sprinkler Room 12. Director’s Office 24. Electrical Room

FINAL DIAGRAM

5 4 3 2 1

Architectural Design Core Studio V | FALL 2021 ARCH 313.04

“Circle of Friends” Community Performing Arts Center Work by: Brooke Dutton Professor: Marthe Rowen

52nd Street

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

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

rived that could be used to create almost any piece of jewelry nd Street designs. This grid was then used as the basis T h e a t e r orforgridornamental the plans of the performance center. The forms within the lines were extracted as building masses and circulation h e a t e r 52nd Street paths. This kept jewelry as the heart of the project. grid was also kept and used for the design of the plaza. The T h e a52nd tThe e rStreet center of the grid holds a tree, alluding to how all ornamental 52nd 52nd Street Street forms essentially come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this 52nd Street Th Teforms ha e T t vegetation e ah treeaand rtseating e r were constructed that tree, for T h e a tyielded e rtwo main circulation paths. These paths were already

52nd Street Theater

for asite smooth flow of people Based upon the exploration of the costume jewelry industry in existent on the site, allowinging conditions. in touch with thewithin pre existProvidence’s History and ornament in general, a grid was de- though the plaza and keepingThe grid is seen the theater with the arrangement of rived that could be used to create almost any piece of jewelry ing site conditions. the seats and stage, as it is connected to the center point uponused the exploration jewelry industry in with existent on the site, allowing for a smooth flow of people Thecostume grid is seen within the theater the arrangement of or ornamental designs. This gridBased was then as the basisof the of the grid. However, when oneinsteps thepre middle History andthe ornament in general, a grid though the plaza and keeping touch onto with the exist- of the seats and stage, as was it is deconnected to the center point for the plans of the performance Providence’s center. The forms within thesteps stage, the grid switches and they become that center rived masses that could used to create almost piece of jewelry ing site conditions. of the grid.any However, when one onto the middle of grid lines were extracted as building andbe circulation point with allisthe seating andtheater aisleswith pointing towards them. or ornamental designs. This grid then the basis The grid seen within the arrangement of thewas stage, theused grid as switches and they become that centerthe paths. This kept jewelry as the heart of the project. existent on existent the site, existent allowing the site, on allowing for the athe smooth site, forallowing aflow smooth of for people flow a smooth of people flow of people Based upon Based the upon exploration Based thewith exploration upon of the costume exploration of the jewelry costume of the industry jewelry costume in industry jewelry in industry point allthe the seating andthe aisles pointing towards them. The grid was also kept and used for design the The forthe the plansofof theplaza. performance center. The forms within the seats and stage, as itin isonconnected to center point This creates focus and importance on the performer and though though plaza and though plaza keeping and thein keeping plaza touch and with inmiddle touch keeping the pre with touch the pre with existthe pre existProvidence’s Providence’s History Providence’s and History ornament and History ornament inand general, and in ornament ageneral, grid of was in athe grid degeneral, was dea gridthe was de-the This creates focus importance on the performer and center of the grid holds a tree, alluding to how all ornamental grid lines were extracted as building masses and circulation grid. However, when one steps onto the ofinexistthe The theater’s sound insulation existent on of the site, allowing forconditions. a smooth flow of peoplealso kept Based upon the rived exploration of that the costume jewelry industry into ing site conditions. ing site ing site conditions. that rived could could used rived to be that create used could to almost create be used any almost piece create any ofperformance. jewelry almost piece any jewelry piece of jewelry performance. The theater’s sound insulation also kept forms essentially come from nature andThis alsokept adding shade tothebethe paths. jewelry as heart of the project. the stage, the grid switches and they become that center the idea ofplaza the grid as geometric forms were abstracted though the and in touch with the pre existProvidence’s History andorornament in general, a This grid was The grid is The seen grid within is seen The the grid within theater is seen the with theater within the arrangement the withtheater the arrangement with of the arrangement of of or ornamental ornamental designs. or ornamental designs. This grid was designs. grid thendewas used Thisthen grid as the used was basis as then the used basis askeeping the basis the ideadesign of theofgrid as geometric formswith were abstracted the exterior space. Using the gridThe lines that protrude from this grid was also kept and used for the the plaza. The point all the seating and aisles pointing towards them. ing site conditions. rived that couldfor be the used to create almost any piece from the ceiling to create an and artificial skylight that seats the andseats stage, the asstage, it seats is connected as andit stage, is connected to as the it shines center is to connected the point center to point the center point plans for the of the plans performance forofthe the plans performance center. of of thejewelry performance The center. forms The within center. forms the within Thethe forms the within the from the ceiling to create an artificial skylight that shines tree, forms for vegetation and seating were constructed that center of the grid a tree, alluding toused how ornamental This creates focus and importance on the performer The grid ismasses seen within the theater with the grid. arrangement ofsteps or ornamental designs. grid was then asall the basis as of the grid. of the However, grid. of However, when the one when However, steps one onto when theand onto middle one theofmiddle onto the of middle of grid holds linesThis grid were lines extracted were grid extracted lines as building were as extracted building masses and masses building circulation and circulation and circulation the performer while they perform, again focusing thesteps onto the performer while theyonto perform, again focusing the yielded two main circulation paths. These paths were already forms essentially come from nature and also adding shade to the of performance. theater’s insulation also the seats and stage, as The itthe is connected to the center point for the plans of paths. the performance center. The forms the the performer. stage, the stage, grid switches the thesound grid stage, switches and thethey grid and become switches theykept that become andcenter they that become centerthat center This paths. keptThis jewelry paths. kept as jewelry This the heart kept as within the jewelry of the heart project. asofthe the heart project. the project. audience on the audience on the performer. the exterior space. Using the grid lines that protrude from this the idea ofpoint the grid asone geometric forms were abstracted of the grid. However, when steps onto the of towards grid lines were extracted as building masses and circulation with point all the with seating all point the and with seating aisles allmiddle the and pointing seating aisles pointing and aisles them. towards pointing them. towards them. The grid was The also grid kept was The also and grid used kept was and for also the used kept design for and the of used design the for plaza. of the the The design plaza. of The the plaza. The tree, forms forcenter vegetation and seating were constructed that from the ceiling toThis create an artificial skylight that shines the stage, the grid switches and they become that center paths. This kept jewelry the heart of the project. This creates focus creates and This focus importance creates and importance focus on the and performer importance on the performer and on the and performer and ofas center the grid ofholds the center grid a tree, holds of the alluding agrid tree, holds to alluding how a tree, allto ornamental alluding how all ornamental to how all ornamental yielded twoalso main circulation paths. These paths were already onto the performer while they perform, again focusing the point with all the seating and aisles pointing towards The grid was kept and usedessentially forcome the design of the plaza. The the performance. the performance. The the theater’s performance. The theater’s soundthem. The insulation sound theater’s insulation also sound keptalso insulation kept also kept forms essentially forms forms from essentially come nature from and come nature also from and adding nature alsoshade adding and toalso shade adding to shade to audience on the performer. This creates focus and importance on performer and center of the grid athe tree, alluding tothe how all ornamental thethis idea the of the idea ofthe as thethe geometric idea grid of asthe geometric forms grid as were forms geometric abstracted wereforms abstracted were abstracted theholds exterior space. exterior Using the space. exterior Using grid space. lines the grid that Using lines protrude thethat gridprotrude from lines this that from protrude from thisgrid 14 14 an 14ceiling the performance. Thethe theater’s sound insulation also kept forms essentially come from and7vegetation also shade to from ceiling the to create from the to ancreate artificial ceiling antoskylight artificial create that skylight artificial shines that skylight shinesthat shines 7tree, forms tree, fornature forms vegetation tree, for forms andadding seating for vegetation and were seating constructed and were constructed that werefrom constructed that that 7 seating 21 8 8 These the idea of 8the gridwere as geometric forms were abstracted the exterior space. Using the gridtwo lines thatcirculation protrude from this onto the performer onto the performer while onto the they while performer perform, they perform, again while they focusing again perform, focusing the again the focusing the yielded two yielded main circulation yielded main two paths. main circulation paths. paths These were paths. paths already These were paths already already 20 to createaudience anthe artificial skylight tree, 6forms for vegetation and6 seating were constructed6 that from the ceilingaudience on performer. onaudience the performer. onthat theshines performer. yielded two main circulation paths. These paths were already onto the performer while they perform, again focusing the audience on 12 the performer. 1211 11 12 11 13

First Floor and Plaza

Second Floor

Third Floor

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop8

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater 20- Control Room 21- Performer’s Lounge

7 8

6 8

12 8

8 13

11 14 14

4 4

15 4

14 14

4 1

1 1

2 2

20- Control Room 21- Performer’s Lounge

2 3

3 2

21 20

19 19

4 9

9 10

16 18

18 16 2

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY

The use of bricks helps to connect the building to the city The use of bricks to connect the building to the city and architecture of helps Providence. However, a perforated Providence. However, a perforated brick and wasarchitecture used as theofexterior to allow for some transbrick was used as the exterior to allow for some transparency into the interior of the building and to the plaza. parency into the interior of the building and to the plaza. In service areas and restrooms the facade becomes fully In service areas and restrooms the facade becomes fully brick brick to allow for privacy. However, ininareas acto allow for privacy. However, areasof of public public access, cess, glassglass blocks were placed in inbetween to blocks were placed betweenthe the bricks bricks to for interaction between interiorand andexterior. exterior. The allowallow for interaction between interior The shadows are created this perforationalso also allowed allowed shadows that that are created by by this perforation for a type of natural ornament the interiorof ofthe the buildbuildfor a type of natural ornament forfor the interior as well connecting buildingback backto to the the idea idea of ing asingwell connecting thethe building of jewelry and ornament. jewelry and ornament.

First Floor and FirstPlaza Floor and First PlazaFloor and Plaza

First Floor and Plaza

1- Lobby First Floor and Plaza1- Lobby 1- Lobby 2- Administration 2- Administration 2- Administration 1- Lobby 3- Box Office 3- Box Office 3- Box Office 1- Lobby 2- Administration 4- Practice Rooms 4- Practice Rooms 2- Administration 4- Practice Rooms 3- Box Office5- Classrooms 5- Classrooms 5- Classrooms 3- Box Office 4- Practice 6- Scene Shop 6- Scene Shop 6- Scene Shop 4- Practice Rooms Rooms 5- Classrooms 7- Storage 7- Storage 7- Storage 5-First Classrooms Floor and Plaza 6-Shop Scene Shop 8- Costume 8Shop Costume Shop 8- Costume Shop 6- Scene 7- Storage 7- Storage Lobby 8- Costume 8-1Costume Shop Shop

2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

Project #2 Providence Theater | FallProject 2021 Project #2 Providence Theater #2 Providence | Fall 2021 Theater | Fall 2021 ARCH 313.06 ARCH 313.06 ARCH 313.06

Second Floor

Third Floor

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater Third Floor 20- Control Room

Second Floor Second Floor Second Floor

Second Floor

9- Prefunction Space 9- Prefunction Space 9Prefunction Space 10- Concessions 10- Concessions 10- Concessions 9- Prefunction Space 9- Prefunction Space11- Theater 11- Theater 11- Theater 10- Concessions Dressing Room 12- Dressing12Room 12- Dressing Room 10- Concessions 11- Theater Make-up Room 13- Make-up13Room 13- Make-up Room 11- Theater 12- Dressing Room 14-Green Room14-Green Room 14-Green Room 12- Dressing Room 13- Make-up Room 13- Make-up Room Second Floor 14-Green Room 14-Green Room Second Floor

21- Performer’s Lounge

3 18

First Floor and Plaza

17 17 17

15- Prefunction 2 Space Floor 16-Third Concessions 17- Blackbox Theater Prefunction Space 18-15Greenroom Concessions 19-16Balcony Seating for Theater 17- Blackbox Theater 20-18Control Room Greenroom 21-19Performer’s Lounge Balcony Seating for Theater

20 21

The use of bricks helps to connect the building the city The use of bricksto helps to connect Thethe usebuilding of brickstohelps the city to connect the building to the city 12 and architecture of Providence. 11 a perforated andHowever, architecture architecture of Providence. However, a perforated 12 11 andHowever, 12 12 11 of Providence. 11 a perforated brick was used as the exteriorbrick to allow for some transwas used as the exteriorbrick to allow was for used some as the transexterior to allow for some transparency of theparency building andthe to interior the plaza. 13 into the interior 13 13 into of theparency buildinginto andthe to the interior plaza.of the building and to the plaza. 12 11fully 11 In service areas and restroomsInthe facade becomes service areas and restrooms In the service facadeareas becomes and restrooms fully the facade becomes fully brick to allow for privacy. However, in areas of public acbrick to allow for privacy. However, brickin toareas allowof forpublic privacy. ac-However, in areas of public ac19to cess, glass blocks were placedcess, in between the bricks to glass blocks were placed cess, in between glass blocks the bricks were to placed in between the bricks allow for interaction betweenallow interior exterior.between The for and interaction allow interior forand interaction exterior. between The interior and exterior. The 14 that are created by this shadows perforation alsocreated allowed shadows that are by this shadows perforation that also are created allowedby this perforation also allowed for a type of natural ornament for interior of theornament buildfor for the a type of natural forthe a type interior of natural of the ornament buildfor the interior of the building as well connecting the building back to the idea of ing as well connecting the building ing asback well to connecting the idea of the building back to the idea of jewelry and ornament. jewelry and ornament. jewelry and ornament.

Third Floor

19 MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY 21

1 3

existent on the site, allow though the plaza and kee ing site conditions. The grid is seen within th the seats and stage, as it of the grid. However, wh the stage, the grid switch point with all the seating This creates focus and im the performance. The the the idea of the grid as g from the ceiling to create onto the performer while audience on the performe

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was derived that could be used to create almost any piece of jewelry or ornamental designs. This grid was then used as the basis for the plans of the performance center. The forms within the grid lines were extracted as building masses and circulation paths. This kept jewelry as the heart of the project. The grid was also kept and used for the design of the plaza. The center of the grid holds a tree, alluding to how all ornamental forms essentially come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this tree, forms for vegetation and seating were constructed that yielded two main circulation paths. These paths were already

First Floor and Plaz

Third Floor Third Floor

Third Floor

15Prefunction Space 15- Prefunction Space 15- Prefunction Space

16- Concessions 16- Concessions 16- Concessions 15-Blackbox Prefunction Space Theater 17- Blackbox Theater 17Blackbox 17Theater 15- Prefunction Space 16-Greenroom Concessions 18- Greenroom18- Greenroom 1816- Concessions 17- Blackbox Theater 19- Balcony Seating for Theater Balcony Seating for Theater Seating for Theater 17- Blackbox Theater19- Balcony1918-Control Greenroom 20- Control Room 20Control Room 20Room 18- Greenroom 19-Theater Balcony 21Performer’s Lounge 21-Seating Performer’s Lounge Performer’s Loungefor Theater 19- Balcony Seating 21for Third Floor 20- Control Room 20- Control Room 21- Performer’s Lounge 21- Performer’s Lounge

15- Prefunction Space 9- Prefunction Space 16- Concessions 10- Concessions 17- Blackbox Theater 11- Theater 18- Greenroom 12- Dressing Room 19- Balcony Seating for Theater 13- Make-up Room 20- Control Room 14-Green Room The use of bricks helps to connect the building to the city 21- Performer’s Lounge and architecture of Providence. However, a perforated brick was used as the exterior to allow for some transparency into the interior of the buildingThe anduse to of the plaza. The bricks use of helps bricks Theto use connect helps of bricks tothe connect helps building the to connect to building the city the to building the city to the city In service areas and restrooms the facade and becomes architecture and fully architecture ofand Providence. architecture of Providence. However, of Providence. However, a perforated aHowever, perforated a perforated use of bricks helps to connect building to the brick to allow for privacy.The However, in areas of public acbrick was brick used was as the the used brick exterior as was theused to exterior allow ascity the to forexterior allow somefor transtosome allowtransfor some transThe use of bricks helps to connect the building to the city architecture of the Providence. However, a perforated cess, glass blocks were and placed in between bricks parency into parency theto interior into parency theof interior the into building the of the interior and building to of the the and plaza. building to the plaza. and to the plaza. and architecture of Providence. However, a perforated brick was used asservice the exterior to for some allow for interaction between interior and exterior. The In Inareas service andallow areas In restrooms service and restrooms areas the transfacade and the restrooms becomes facade the becomes fully facadefully becomes fully brick was used asallow the exterior tofor allow forinHowever, some transthe interior of the to the plaza. brick to allow brick for tobuilding privacy. brick forand to However, privacy. allow However, inprivacy. areas of public areas of acin public areasacof public acshadows that are createdparency by this into perforation also allowed Work by: Delia Maguire parency into the interior of the blocks building and tobricks theinplaza. Work Delia Maguire by: Delia In service areas andMaguire restrooms the facade becomes fully cess, glass cess, blocks glass were cess, blocks placed glass were in placed between were in between the placed the between to bricks to the bricks to for a type of by: natural ornament forWork the interior of the buildProfessor: Hanisha Thirth In service areas and restrooms the facade becomes fully andThe Hanisha Thirth Professor: Hanisha Thirth brick to allowback for privacy. However, in areas public acallow allow interaction interaction allow between forof interaction between interior and interior between exterior. andinterior exterior. The exterior. The ing asProfessor: well connecting the building to for the ideafor of brick to allow privacy. However, areas of this public ac-allowed were placed between the to perforation shadows shadows that for arein created that shadows areby created this thatbricks perforation are byin this created also by allowed perforation also also allowed jewelry and ornament. cess, glass blocks cess, were placed in between the to allow for interaction between interior exterior. The for a glass type for ofblocks natural a type ofornament for natural aand typeornament of fornatural the interior for ornament theof interior thebricks for buildthe of the interior buildof the buildforwell interaction between interior and exterior. The shadows that allow are byconnecting thiswell perforation also allowed ingcreated as ing as ing connecting the as well building connecting the building back tothe the back building idea to the of back ideatoofthe idea of for a type of natural ornament forand the interior of the build- to connect shadows that are created this perforation also allowed jewelry and jewelry ornament. jewelry ornament. and ornament. The use ofby bricks helps the building to the city ing as well connecting building back to the idea of for a type the of natural for the of the buildand ornament architecture ofinterior Providence. However, a perforated jewelry and ornament. ing as well connecting the building back to the idea of brick was used as the exterior to allow for some transjewelry and ornament.

MATERIALS AND TRANSPARENCY

MATERIALS MATERIALS MATERIALS AND TRANSPARENCY AND TRANSPARENCY AND TRANSPARENCY MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY

MATERIALS AND TRANSPARENCY

parency into the interior of the building and to the plaza. In service areas and restrooms the facade becomes fully brick to allow for privacy. However, in areas of public access, glass blocks were placed in between the bricks to allow for interaction between interior and exterior. The shadows that are created by this perforation also allowed for a type of natural ornament for the interior of the building as well connecting the building back to the idea of jewelry and ornament.

Work by: Delia Maguire Professor: Hanisha Thirth

ect #2 Providence Theater | Fall 2021 Project Project #2 Providence Project #2 Providence #2 Theater Providence Theater | Fall Theater |2021 Fall 2021 | Fall 2021 H 313.06 ARCH ARCH 313.06 313.06 ARCH 313.06 Project #2 Providence Theater | Fall 2021 Work by: Delia Maguire ARCH 313.06 Professor: Hanisha Thirth

Architectural Design Core Studio V | FALL 2021 Project #2 Providence ARCH 313.06Theater | Fall 2021 ARCH 313.06

Work by: Delia Maguire Project #2 Professor: Providence Theater | Fall 2021 Work by: Work Delia by: Maguire Delia WorkMaguire by: Delia Maguire Hanisha Thirth Professor: Professor: Hanisha Thirth Hanisha Professor: Thirth Hanisha Thirth ARCH 313.06 Work by: Delia Maguire

52nd Stree Theater

Professor: Hanisha Thirth

Work by: Delia Maguire Thirth

Work by: Delia Maguire Professor: Hanisha Professor: Hanisha Thirth

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

The conceptual design process began with the study of Indigenous and Native people of the region, the shrinking of the Providence River, climate change, and sea-level rise. Through this, the project developed the action of “reclaiming space” and broke away from rigidity. The Providence River flows through the site defining the central circulation axis. Through moments of overflow, the programmatic spaces are formed. This concept gained strength with the clients of the 52nd Street Project: a mentoring and educational theater program for youth in the city of Providence. The most powerful spaces for creative expression, such as the Black Box, main theater, practice spaces, and the scene shop, are designed to push out from the axis with great strength. Through this movement, openings for light and views into each space and out to the city of Providence are revealed. The design honors a holistic approach to a theater performance. Contributing elements such as costume and scene design, the educational, and practice operations are each highlighted to provide a thoughtful learning approach for the students of the 52nd Street Project.

THEATER SITE LINES

PROVIDENCE, RI

SECTION PERSPECTIVE A — A’

EQUINOX — 2 PM

PROVIDENCE RIVER PROVIDENCE RIVER 1891-1940

LOWEST POINT

MEZZANINE

LOWEST POINT

SECTION B — B’

MAIN FL.

A’

THEATER ACCESS / EGRESS

PUBLIC / PRIVATE

EAST ELEVATION

k l

m n o p

PRINTING JANITOR’S CLOSET STAFF STAIR FIRE STAIR

OPEN OFFICE DIRECTOR’S OFFICE

q r

LOBBY ADA THEATER ACCESS

B’

STAGE THEATER

e f

STORAGE LOADING DOCK SECURITY OFFICE STAFF RESTROOM

p d

g h i j

PUBLIC RESTROOM BOX OFFICE PUBLIC STAIR & ELEV. BACK STAGE

a b c d

SOUTH ELEVATION

CONCEPTUALIZING THE RIVER

MAIN FL. (ADA)

RECLAIMING SPACE

RECOGNIZE, RESIST, RECLAIM

PARTI

A’

B b a

a j

q i

p c e

A B’

g h

30 60 FT.

FIRST FLOOR PLAN

60 FT.

Architectural Design Core Studio V | FALL 2021 ARCH 313.02

52nd Street Project — A Children’s Performance Center

Work by: Grace Amoruso Professors : Julia Bernert

Mended Ground Cultural & Performance Center PROJECT NARRATIVE & PARTI

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

FLUID CIRCULATION THROUGH A SOLID

FRONT FACE RENDERING BR

LAUNDRY

DRESSING ROOM "A"

DRESSING ROOM "B"

COSTUME SHOP

GREEN ROOM

STORAGE

GREEN ROOM STAGE

GREEN ROOM

MAKEUP ROOM

STORAGE

BLACK BOX THEATER MAIN THEATER

LOBBY

MEZZANINE 1 MEZZANINE 2 LOADING DOCK

BOX OFFICE / SECURITY

J.CL

STUDENT LOUNGE

LOBBY

OPEN TO BELOW

J.CL

CONTROL ROOM

J.CL

STUDENT LOUNGE OPEN TO BELOW

OPEN TO BELOW

J.CL OPEN TO BELOW

OPEN TO BELOW

BR OPEN TO BELOW

PRE-FUNCT. 1 CLASSROOM "A"

VESTIBULE

PRE-FUNCT. 1

OPEN OFFICE

PRACTICE ROOM "A"

REFRESHMENTS BAR

1ST FLOOR & SUB-LEVEL

INTERIOR RENDERING OF “CANYON” SPACE

PRE-FUNCT. 2

PRACTICE ROOM "B"

SCENE SHOP

PAPER STG. DIRECT.'S OFFICE

CLASSROOM "B"

2ND FLOOR

3RD FLOOR

4TH FLOOR

5TH FLOOR

FLOOR PLANS 6TH FLOOR

MECHANICAL ROOM ROOF

5TH FLOOR

BLACK BOX CATWALK STUDENT LOUNGE

3RD FLOOR

MEZZANNINE 2 OFFICES SCENE SHOP

4TH FLOOR

BLACK BOX THEATER SCENE SHOP LOUNGE

2ND FLOOR

MEZZANNINE 1 PRACTICE ROOMS PRE-FUNCTION

1ST FLOOR

MAIN THEATER CLASSROOMS PRE-FUNCTION CAFE

NORTH AXONOMETRIC SECTION DRAWING

DIAGRAMATIC EXPLODED 3D-MODEL

STUDY MODELS

SOUTH FACADE RENDERING

SOUTH AXONOMETRIC SECTION DRAWING

Architecture Design Core Studio V | FALL 2021 ARCH 313.02

Mended Ground

Work by: Lorennah Granfors Professor: Julia Bernert

“THE PEARL” Community Performing Arts Center

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

Architectural Design Core Studio V | FALL 2021 ARCH 313.04

“THE PEARL” Community Performing Arts Center Work by: Joseph DePoalo Professor: Marthe Rowen

52nd Street Theater and Learning Center

Shakespeare once said “All the world’s a stage”. He meant that life is like a performance and everyday people are like actors. In the project, the black box theater is a glowing beacon that invites people to come together. People then circulate along a red staircase and are able to see each other through holes in the floor and through the transparent facade. When people see each other, they are observing the performance of life. In the project, the black box and prefunction are housed in the same space. The structure is on the outside and a glass wall is behind it. When a performance occurs, movable partition walls move down and make the space dark. When the space is used as a pre-function space, the dark walls move away and people are able to view the Providence river and other surroundings. The X bracing is used for lateral stability and the modern steel contrasts the historic brick of the student facade. Additionally, there is a public plaza. Outdoor performances occur underneath the black box. While people are watching the outdoor performance, they are able to see the glowing black box inviting them in the background. People then can circulate to the 500 person theater or to the Black Box theater. The school is designed to allow the students to feel a sense of Providence’s history. The brick facade of the school relates to the historic masonry buildings in the area. However, unlike the other masonry buildings, the windows are composed asymmetrically in order to show that it is a school for creative theater students. The students have a rooftop space where they can learn, play and perform. They also have a space where they can peer into the black box in order to learn from the professional performers.

Glass Curtain Wall Moveable Partition Wall X Bracing

Plaza Perspective

Black Box Structure Diagram

Student Entrance

Public Entrance

Student Circulation

Public Circulation

Stairs

Student Outdoor Space

Public Outdoor Space

Section AA

North West Perspective

Circulation Diagram

Floor Plan Level 3

Pre-function Perspective

Pro r

ive

l Bou oria

enc

vid

Mem

Post Office Alley

Theater Entry Perspective

leva

Custom

North Elevation House Stre

rd Street Crawfo

Delta Street

15’ 25’

Pin eS tre

Dyer Street

5’

Floor Plan Level 1

South East Axon

Architectural Design Core Studio V | Fall 2021 ARCH 313.05

South Elevation

52nd Street Theater and Learning Center

Work by: Joe Bucci Professor: Blair Shanklin

Connectivity A performing arts center, located in Providence, RI, designed to house various types of performances along with educating the young. A space that is designed to connect you with others and learn from them, listen to their stories, and enjoy the gathering of those around you. A special connection can be made in a theater and throughout a performance. As the performer is telling the audience a story, a relationship is being created. The audience has been emotionally invested into the performance resulting in the expansion of their imagination, vision, and creativity. This performer-audience connection is being made as they may inspire or influence new ideas and feelings. Similarly, a child’s mind is full of these imaginary and creative thoughts, as theater is something that allows them to express themselves and these hidden concepts. Spaces that influence connections between multiple people, such as the performers, audience, and students is an important role in this design. As one approaches the performing arts and educational center, they will be welcomed by the greenery and comfort of the plaza breaking up the busy city. As one circulates through the building, they will find themselves not only communicating on equal levels, but through multiple double high spaces and elevations. This is not only demonstrated on the interior of the building but also on the exterior, such as the front facade. Diving deeper into the design, materiality and color are used in a way that connects parts of the building to a more natural world and a more imaginary world, similar to a performance. The performers, audience, and students all can be inspired by the way they are connected. These connections allow for growth, knowledge, and new ideas.

Site Plan

Ground Floor Plan

Section Perspective

Pre-Function

Circulation Diagram

Massing Diagram

South Elevation

East Elevation

Architectural Design Core Studio V | FALL 2021 ARCH 313.05

Section AA

Section BB

A Cultural and Performance Center Work by: Matthew Carlson Professor: B.G. Shanklin

THE ECLIPSE THEATER The addition of a performance center in Providence, Rhode Island has the potential to enhance the community and its surrounding area. In order to accomplish this, the structure should cater to its adjacent neighborhoods. Creating a building that communicates with a variety of diverse individuals, all while paying homage to the city of Providence itself will drive the development and design decisions. Implementing historic elements will serve as an educational tool for the community, and for those who come interact with the performance center. Providing a vibrant and exciting environment for children and their families will allow them to have a memorable experience with each visit. Outdoor facades within the buildings courtyard will reflect the feeling of walking down the streets of Providence, offering colorful murals, areas to view outdoor performances, as well as an eye catching green spaces that enhances the exterior spaces.

East Elevation

Site Plan

LOUNGE

PRACT. A

Dyer Street

CLASS A

DRESS A

BR BR

MAKE UP A

GREEN ROOM

COSTUME

BR BR

PRACT B

LOUNGE

DRESS B

CLASS B

BALC.

MAKE UP B

ADMIN.

BALC. GREEN ROOM

LOBBY

BB BB

STORAGE

Ground Level

SCENE SHOP

MECH.

Second Level

Section B-B

Architectural Design Core Studio V | FALL 2021 ARCH 313.06

Third Level

Section A-A

The Eclipse Theater

Work by: Nathan Cormier Professor: Hanisha Thirth

MATERIALS

COLOR PALETTE

SHADE STUDY

SITE PLAN COURTYARD 1

3/21 12 PM

6/21 12 PM

12/21 12 PM

3/21 12 PM

6/21 12 PM

12/21 12 PM

3/21 12 PM

6/21 12 PM

12/21 12 PM

COURTYARD 2

COURTYARD 3

RIGHT ELEVATION

PUBLIC VS. PRIVATE PUBLIC PRIVATE

THE SUNFLOWER THEATRE The Sunflower Theatre is meant to celebrate community in Providence as well as Native American culture. I chose to look community within Indigenous architecture and transparency. The longhouse is the winter home of many Native American communities throughout history. These homes can house up to 20 families. The plan of the building is centered around a campfire and beds along the walls. The interior central circulation represents this in the form of the staircase and the surrounding balconies. The materiality of the building is meant to portray the same feelings. The exterior is likely to made of rough bark, light wood and curtain wall glass encapsulating the courtyards, and green walls. The Sunflower Garden in the front is a way to bring the importance the mural to the forefront of the site. The essence of the sunflower is represented on the interior and exterior materiality through color.

LEFT ELEVATION TRANSPARENCY AND CIRCULATION STAIRS TRANSPARENCY

An important aspect of the project is the courtyards strategically placed on the site to connect the urban fabric of the city to the site and promote a space for celebration and festivities. Providence is a place where outdoor festivals are important to the culture of the city. The courtyards will be surrounded by glass so the community inside the building can overlook the various activities happening. Each courtyard is accessible from the inside of the building as well. This promotes the importance of transparency from within and from the exterior. The essence of community is to be transparent with everyone and to include everyone. This is the essence of The Sunflower Theatre. FRONT ELEVATION

PLAZA DEVELOPMENT

DIAGRAMS

N 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

LOBBY PRE-FUNCTION 1 BOX OFFICE THEATRE STAGE BLACK BOX SPRINKLER ROOM PUBLIC RESTROOMS STAFF RESTROOMS CLASSROOM PRACTICE ROOM OFFICE OFFICE LOUNGE TERRACE

N 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

JANITOR'S CLOSET DRESSING ROOM GREEN/MAKEUP ROOM COSTUME SHOP SCENE SHOP LOADING DOCK CONTROL ROOM LAUNDRY ROOM ELEVATOR ELEVATOR ROOM MECHANICAL ROOM ELECTRICAL ROOM FIRE STAIR STORAGE

RENDERINGS

SECTION A-A

SECTION B-B AXON

Architecture Design Core Studio V | FALL 2021 ARCH 313.05

The Sunflower Threatre Work by: Emily Soares Professors: Hanisha Thirth

The Fall River Project OVERVIEW: Fall River, a greatly under-served community just 15 minutes from Bristol, RI, set the site for what would be a new and improved street for the citizens of the city. Specifically, the City Hall Building sitting atop an overpass for the I195 highway would serve as an anchoring point for a new shading device, landscape, and urban setting. SITE ANALYSIS: Downtown Fall River is a dense mid-rise city with a collection of business districts and neighborhoods mixed in with busy highways and industrial districts. The area where City Hall sits is between two busy areas of commerce in the city and stands as a connector over the highway tunnel. Parks in Fall River are space, especially in the area of center city. Vegetation on the site is minimal with a few young trees and shrubs dotting the sidewalk. Concrete retaining walls and the solid and dense feeling city hall building dominate the landscape. The feeling on the Southwest side is cold and hard. The under developed sidewalk adds little positives to the initial feeling given by the building and adjacent landscapes. The sidewalk also contains no shelter for either sun or rain nor does it provide ample seating for an area with such high traffic.

Fall River City Hall: Major Business Districts: Street/Grid Pattern: Major Highway:

OBJECTIVE: Through research and analysis of weather data, demographics, and precedent studies, the task at hand was to create a complete design for one street surrounding city hall. This meant first analyzing weather trends and shading angles to create a shading device as the main gathering point for the space. From here, a landscape was created with ADA accessible ramps and stairs to round out the sidewalk and increase storm water runoff for the site. Lastly, research was done into urban design trends to overhaul the existing street by allowing pedestrian traffic to take back control of the site. This including adding bike lanes, narrowing car lanes, and adding more vegetation. In conjunction with the shading device, organically flowing seating areas provide a more playful and inviting space for families and pedestrians. The overhaul of the space creates a safer, greener place to gather and explore.

Site Shading Study

Demographic Analysis Median Age

Median Family Income

Families Below Poverty Level

Population Density

Looking at median age in the Fall River Downtown area, we start to see some trends occurring in and around City Hall. The neighborhood directly surrounding City Hall has one of the highest median ages of any other region in the area. Directly next to this, we see neighborhoods with the youngest median age. It seems that the center of downtown might see more established families while the outer areas could house more young professionals. This divide in age could see neighborhoods splitting due to a lack of commonalities associated with age. Improving design in the area of City Hall could see a movement of younger populations closer to the area, thus blending the two populations and creating a more cohesive city.

Interestingly, the area of Fall River which has the highest median population, also has the lowest median income. With that, the neighborhood nearby with one of the lowest median ages, sees one of the higher median incomes. This in and of itself creates a different kind of divide between neighborhoods. In general, almost all of the neighborhoods touching Fall River City Hall have a median income of less than $30,000 per year. These neighborhoods, even ones with a higher median income, could benefit greatly from increased attention to urban design in the area. Changes like this are often unseen in lower income neighborhoods and could provide a more habitable and welcoming feeling to the streets of Fall River.

Directly relating to the previous map, the percentage of Fall River Residents living in poverty is quite even throughout the city. This percentage does increase in and around the area of City Hall though. The low income areas seen in the previous map which also have a low poverty level percentage are likely single or double person households. The areas which have a higher median income but still lay below the poverty level are likely areas where families and larger households reside. This means that families both young and old are likely quite void from the area of city hall. This could be because of safety, inclusion, or proximity to schools. Regardless, it could be beneficial to the City of Fall River to bring more families to the center city region.

The map of population density in Fall River tells an important story of where resources need to be allocated in the region. The population of this area mainly resides in the Southwest side of the city with another large population center in the West. The population density around City Hall is around average with high levels of density in the surrounding neighborhoods. This means that City Hall is seen as almost a crossing point in the downtown which connects the denser areas. This also could mean that the specific region of City Hall isn’t a stopping point. Good urban design could transform the surrounding streets and create more of a destination rather than a bridge.

Solar Study

9am

12pm

Month on 21st.

Time

Azimuth

Altitude

December

9am

41 Degrees

13 Degrees

December

12pm

0 Degrees

25 Degrees

December

3pm

41 Degrees

13 Degrees

September

9am

55 Degrees

32 Degrees

September

12pm

0 Degrees

48 Degrees

September

3pm

55 Degrees

32 Degrees

June

9am

80 Degrees

48 Degrees

June

12pm

0 Degrees

72 Degrees

June

3pm

80 Degrees

48 Degrees

Climate Study

Wind Rose Study

Yearly Temperature Range For Providence, RI

Wind Data: June- August

Seen Here on June 21st at 10am, sun trickles in within the morning hours but is shielded out in the afternoon by the angled louvers above. Existing planters are now used as seating areas and the shading device begins to open up to the walkway with larger openings and porous walls.

3pm

Shading Hours Needed: June 21st- Dec 21st

The newly developed site allows pedestrians to take back the street and for multiple modes of transport to safely share the road. The narrowed vehicle lanes and implemented median create a safer crossing and invite more widespread vegetation to cover the area.

Through the shadow analysis of sketchup and Photoshop I discovered some important and interesting ideas surrounding my site. I found that my site B, sitting on the Southwest side of the building, received natural morning shade from the city hall building which was most effective during the fall and spring equinox. The winter morning shade bypasses the site by a little and the summer shade covers around half the site. Interestingly, none of the 12pm shadows were able to reach or aid my site with cooling. This is especially prominent in the summer solstice where shadow cover is absent from my site. The 3pm sun also hits my site hard in the summer with adjacent building shadows just missing the site. The winter solstice and equinoxes see the afternoon shadows reach onto the site and begin to shade from what could be uncomfortable heat at times. From this, we might gather that a sun shading device for site B should have a few set characteristics pertaining to sun at different times during different seasons. The shading device may want to be more open for the sun coming from the east since this may be a colder time in the day as well as having a low connection with direct sunlight. The device may also want to be more hostile towards sun coming from the south since the site is completely unsheltered from light during this time. When the sun begins to head West we see a large amount of building shade in the spring, fall, and winter months, while the summer months see direct sunlight coming towards the site. Around 3pm the temperature is warmest during the day so direct sunlight may want to be avoided. A sun shading device could show ideas of allowing in the sun during colder months but blocking it during the hot summer afternoons.

Yearly Relative Humidity and Dry Bulb For Providence, RI

Wind Data: December- February

Dry bulb, or the ambient temperature without humidity factored in, generally is at its lowest point during the middle of the winter while humidity is at its lowest during the month of April. Despite humidity having its highs and lows it stays relatively stable throughout the year. Taking a look at the gray line of the comfort zone we can see that the months of June and September have the most data points in and around the zone. This likely means that these months would be most comfortable. With that, designers likely do not have to account for either of these weather factors.

During the summer months, winds primarily blow from the Southwest with some lighter winds coming from the Northeast. In the winter, a time when wind should be blocked using the shading device, we see stronger gusts coming from the Northwest. Due to this, the shading device should consider allowing in the soft breezes in the summer to cool down the space, while also blocking out the harsher winter winds. All this said, the shading device in conjunction with vegetation makes an attempt to allow warmth into the space in the winter while using surrounding buildings to block out less welcome winds.

Shading Hours Needed: Dec 21st- June 21st

The ideal sun angle of 45 degrees was chosen as this is the point where sun begins to penetrate spaces at all hours of sunlight. During peak summer the sun will often rise to 70 degrees of altitude which could be properly and easily shaded by some type of horizontal shading device. By the time mid September comes around, the sun becomes lower in the sky and will peak at an altitude of only around 45 degrees. As the weather gets colder, sun exposure is allowed by a horizontal shading device at all hours of sunlight. In all, during the summer when the sun rises above 45 degrees, the heat from the sun will be properly shaded. In the winter when that warm sun is needed, it will be allowed in to warm and light the space.

When considering humidity in the region, we can see that the helix like form hovers in and around the gray line of the comfort zone. A shading device cannot usually account for humidity, so it turned out to be most beneficial to ignore that data and instead focus on direct sun as well as wind.

Circulation from the entrance of the building to the adjacent footpath has been kept in tact while also creating a shaded, more enticing street. The protected bike lane encourages multiple modes of transport while added benches present as stopping point along the path.

Site & Environment | FALL 2021 ARCH 321.01

The Fall River Project

Work by: Patrick Mountjoy Professor: Leonard Yui

Overall perspective of the Fall River City Hall/ surrounding area which showcases the two-level public space on the site along with the adjacent park with a community garden.

The Fall River Project was broken up into three distinct parts, the first focusing on creating a space designed for thermal comfort which included a design for a shading device (top image). Following, we had to rethink the shading device while also adding ADA compliant ramp and stairs (middle images). We then focused on the street design for the site surrounding the Fall River City Hall.

Top four images: demographic maps showing household income along with statistics relating to work-time commute- 5th image: shading plan- 6th image: Ricardo Lara Park precedent- 7th image: streetscape section- 8th image: spine of main street

FALL RIVER PROJECT

View of the top floor of the public space

View from the city hall looking towards the west.

With the chance to create a public space on the Fall River city hall site, there were a few goals I wanted to accomplish with design, that of which being to create a space that adresses the problems of the community. The city of Fall River MA is poverty stricken that lacks a central space for congregation while also having food insecurity issues. With the design, I proposed a two level space that can accessed by all with the inclusion of ADA ramp and stairs. The space includes built in seating on the lower floor which is shaded by the floor above which also cantilevers over the bottom story. Following, The upper level utilizes more malleable seating arrangement along with a shading device to provide comfortable temperatures during the summer months. The two spaces are tied together with a central void that has a tree running up the center. This move is meant to be symbollic of a move towards nature for the initial site of the city hall/ I-195 rid of a waterfall of the Quequechan river. Adjacent from the site I decided to create a community garden to adress the food insecurity issues of the community, where it could actually be classified as a food desert. As the site of the city hall and park site above I-195, noise pollution is obviously a concern for the site, as a response I lined the western most side of the park with trees to dampen the noise from the highway. The park also includes a bus stop for better accessibility to the site along with a lane for food trucks along with seating. Across from the park, there is also an outdoor art exhibition that can be utilized by the public. The move to add food trucks along with an art exhibition is meant to draw people to the site.

The city of Fall River aims to strengthen the spine of North and South Main Street by supporting local buisnesses along with more resources for the community. My project aims to be part of said revitaliztion plan my furthering strengthening the spine of main street by providing a place the community can gather while also providing resources. I also found it interesting on the immense amount of people who live 10 minutes from work and still decide to drive and even walk to work over bike, so I also made it a mission to make the surrounding area more friendly to bikers. Firstly, I reduced the amount of lanes which should not have much impact on local traffic, but also allows for the inclusion of a larger central median, bus stop/ food truck lane, and bike lane. The inclusion of the bike lane along with a reduction of space made for cars will allow easier access for biker which will hopefully make for a more active/ lively community. The site also includes an increase of permeable surfaces and greenery while still respecting the current brutalist style of architecture. With the design of the public space and park I decided to create a cantiliever and shading device which matches the style of the city hall. Following, I included added trees and a greenwall seen on the railings of the ramp.

Perspective of the streetscape design while also showcasing the proposed public space on the city hall site.

Site & Environment l FALL 2021 ARCH 321.01/02

Fall River Project

Work By: Cole Calavano Professors: Nicole Gaenzler & Leonard Yui

FALL RIVER PROJECT The surrounding area of city hall in Fall River, Massachusetts is an undesired and undeveloped area that does not account for its atmospheric conditions. A thorough site analysis which included looking at the demographics, the sun path, climate analysis, and wind patterns were analyzed to design a more sustainable and vibrant community through urban design. When first looking at designing a shading device in fall river numerous climate conditions were looked at and taken into consideration. One of the site conditions was the sun path, specifically looking at what time the site would get the most sunlight and accounting for that. The site got the most sunlight between noon and 3 pm, so looking at the humidity and temperature in fall river it was apparent to shade that time of day. However, since the site is in New England it does get harsh winters, so it is necessary to allow for as much winter light in as possible to maximize thermal comfort. Therefore the shading structure was designed for maximum shading at noon and 3 pm in the summer. The design also accounted for the winter sun and the shading device was at a certain angle to optimize the afternoon sun in the winter. Another key aspect of the shading device was to have filtered light come through and not have it be completely shaded, but have it be filtered inorder to create a unique experience underneath the device to enhance the urban design. Another aspect looked at fall river was the accessibility for everyone with or without disabilities and making the site one cohesive design. A designed a ramp that allowed for gatherings and aided in a more sustainable effort through greenery. The stairs were integrated into the ramp and have two access points up to city hall to allow for traffic control on each side of the site. The design of the ramp was was a gradual slope down from city hall which created two terraces that are flush with the landings so everyone can access the green space. Having these gatherings space up above the street allowed them to frame a view looking towards the water. Having views of the water allowed me to tessellate my shading device accordingly to maximize the views.

SHADING PLAN

JUNE 12PM

DEMOGRAPHIC MAPS

In the winter the extreme low temperature is negative three and the extreme high is 92 degrees. In the summer it is typically hotter ranging from 69 to 75. In the winter it drops for an average between 25 and 35. The most uncomfortable ranges would be the average lows in january and february. These are the most uncomfortable because its below the freezing point. Designing in providence one should be weary of the rough winters and to deal with this they need to be extra cautious about an effective heating system. One might consider theraml mass as an effective way of

Between June and August the prevailing direction is northeast and the maximum speed is 26. The overall prevailing direction and average speed is east at 10 miles per hour. The average wind speed is 10 miles per hour which is pretty low especially in the summer. In the summer you want more wind to counteract the hot temperatures.

Between December and February the prevailing direction is northeast and the maximum speed is 43. The overall prevailing direction and average speed is east at 15 miles per hour. Between these months it has the highest wind average speed.

The highest humidity is in August which reaches around 85. April has the lowest humanity with reaching nearly 40. The high point for dry bulb is in July reaching to 81 and the the lowest it hits is in february reaching around 21. The most comfortable time is in September whereas the most uncomfortable is January. Natural ventaltion may be considered to cirruclaute the air and bring the hot air out and allow cool air to come in.

CLIMATE ANALYSIS

WIND ROSE

City Hall Restaurants and Food Stores Shopping/ Retail Buisnesses Underused spaces such as parking spots, abandon sites

SECTION PERSPECTIVE

Site and Environment | FALL 2021 ARCH 321.02

DECEMBER 3PM

Fall River Project

Work by: Sophia Bono Professors: Nicole Gaenzler and Leonard Yui

Fall River Project This Project aims to create a gathering space with connection to City Hall from new stairs and ramps and connection to the street with a newly designed street layout. The purpose is to provide a solution to the poorly designed landscape at City Hall in order to draw in more people to the area. In the process of designing this new landscape, climate, landscape design, and urban planning was considered to create the most comfortable environment for the people of Fall River. With the given site on the South end of City Hall, the shading device combats the hot sun shining on the area. Climate analysis such as shadow study, wind, seasonal temperatures, and passive design of the region was also taken into consideration in order to create the most comfortable environment for the people. Next, the design looks at accessiblility in creating ADA stairs and ramps. These accessibility additions work to form the gathering spaces and paths in the landscape as well as influencing the placement of greenspace to improve strormwater runoff in the area. The addition of permeable pavers for much of the gathering space also helps reduce stormwater runoff. Lastly, the design aims to connect the gathering space to both the street and the space on the other side of the street while taking into consideration some demographic maps of Fall River. The hand rails and plentiful seating respons to the older median age around City Hall and the added bus and bike lanes respond to the lower percentage of people driving vechicles in the area. Overall, the project design focuses on comfort, safety, and accessibility for all people.

Precedent- Barn at Falingwater: The way light shines through the wooden beams was a major influence on the design of the shading device.

Shadow Study: With most shadows falling in the morning for this site, it was necessary to provide shade to combat the afternoon sun during the warmer months.

Perspective Looking Through The Shading Device

Perspective of Shading Device, Showing Ample Shaded Area

Perspective Looking Towards The New City Hall Stairs

Perspective of The Gathering Space From Across The Street

Plan View of Stairs and Ramps: The proposed stair and ramp design follows ADA guidelines and aims to shape gathering spaces while starting close to one another and reaching the top in the same area.

The Complete Street: With City Hall to the left, there is now a large gathering space at its entrance. There is also an added bike lane and bus lane to accommodate people without cars. There is still a lane for parking which also acts as a barrier between the street and the bike lane. Across the street is added vegetaion and the bus stop for the new bus lane.

Site and Environment | FALL 2021 ARCH 321_03

Plan View With Stormwater Considerations: The addition of new greenspace not only helped shape pathways, but also helped with stormwater. Permeable pavers were also added to much of the gathering space to significantly lower the Q value for the area by over 100 gallons per minute.

Percentage of Workers over 16 driving Cars: The lower percentage of people drivng cars around City Hall made it necessary to add a bus lane and bike lane, ensuring access for all.

Median Age in Fall River: The older population around City Hall made it necesarry to create planty of seating and handrails to ensure safety for all ages.

Fall River City Hall

Work by: Josh McNamara Professor: Leonard Yui

Computers are Bad for Architecture

Course: ARCH 322.01 Theory of Architecture Work by: Abigail Arruda Professor: John Hendrix

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

Images left from Pinterest

Flexibility in Architecture

Course: ARCH 322.01 Theory of Architecture Work by: Cora McComiskey Professor: John Hendrix

Psychoanalysis and Architecture: How Mental Health Disorders Brought The World’s Greatest Architectural Works Course: ARCH 322.01 Theory of Architecture Work by: Jenna Salisbury Professor: John Hendrix

Theory of Architecture | FALL 2021 ARCH 332

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

ABSTRACT Architecture is an expression and reflection of the human psyche. In order to understand the role that architecture plays in changing concepts of cultural identity, it is helpful to understand the human psyche behind architectural works. In architecture (as in any language), vocabulary elements have certain symbolic, representative associations. Le Corbusier changed the architectural vernacular through his masterpieces that brought about modern architecture. What if he had autism? Individuals with autism struggle with social relations and visual overload or hyperarousal, obsessions and compulsions. He wrote that he preferred drawing to talking, and he could not look people in the eye. The Prairie Style comes from Frank Lloyd Wright’s need for family stability that he was missing in his life, and childhood trauma caused by emotional cruelty and physical violence. The prairie is symbolic of letting go of the past in an exploration of endless possibilities. The Prairie Style begins with the hearth at the center, symbolic of family. To Wright this was his way of making a home rooted and built around a strong and warm, loving family that he desired. Francesco Borromini suffered from melancholy and possibly schizophrenia. Depression can cause feelings of hopelessness and pessimism; his belief in God provided him with hope. He had a violent temper and a neurotic fear of human contact. His twisted architectural forms may be symptoms of psychical disorder. Looking back on my own studio projects, I can see my own psyche controlling my design concepts. Our first project this semester was to design a structure that performs. My design concept is the distortion of space. I created fractured reflections through position of structure, form, and organization (see image). The forms were organized to appear to be connecting and intersecting with one another in order to create the deception of broken reflection. The exterior is confusing, broken, and deceptive, but when a person sits inside, that is the only time they see the true reflections of themselves. The brokenness of the project comes from the depression that can come with post-traumatic stress disorder. The psyche has an interesting way of communicating in unseen ways. It is a great phenomenon that has birthed the best architectural works in history.

Architecture: A Physical Zeitgeist for the Era of Human Civilization

Course: ARCH 322.02 Theory of Architecture Work by: Jordan Peck Professor: John Hendrix

Syncretism and Eclecticism in Architecture

Course: ARCH 322.02 Theory of Architecture Work by: Alessandro Pinto Professor: John Hendrix

Bernini’s Baldacchino

Course: AAH 330.01 Baroque Art and Architecture Work by: Madeline Jarvis Professor: John Hendrix

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

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

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

Art and Architecture | FALL 2021 AAH 330 - Baroque Art and Architecture & ARCH 332 - Theory of Architecture

I. APPLE CANTILEVER — Partnered with Luke Strand Challenged to design and build an efficient, elegant structure to support an apple 16” off the table at a distance of 16” from any base elements.

THE COURSE: Introduces the fundamental concepts of structural form and behavior through a combination of lectures and studio exercises. Basic structural forms and their taxonomy will be studied in nature and through history, using visual presentations, readings, and handson experiments. Load paths and basic load tracing through common structural systems will be investigated. An introduction to vector-based force representation will also be covered as a continuation of topics covered in Physics. In addition, the students’ studio projects will be utilized for assignments. The development of a strong structural vocabulary will also be stressed.

Grace Amoruso September 2nd, 2021 Assignment 1 - Sketching and Reading arch335_01_21fa_a01_amorusog.pdf

PHYSICAL MODEL REPRESENTATION

PHYSICAL MODEL DESIGN

STRUCTURAL SKETCHES AND ANNOTATIONS

PHYSICAL MODEL DESIGN cont.

II. TAXONOMY — CYLINDRICAL SHELLS AND VAULTS — Partnered with Luke Strand Present structural attributes of the system and demonstrate its form and how it behaves.

THICKNESS

DEPTH

PHYSICAL MODEL DESIGN (KIMBELL ART MUSEUM)

CORRESPONDING STRUCTURAL DIAGRAMS

PHYSICAL MODEL REPRESENTATION

NECTIONS” CLOSE UP AXON VIEWS

VI. STRUCTURAL CASE STUDY — Partnered with Luke Strand To construct a scale model of the structural system (of the Thorncrown Chapel, E. Fay Jones) to demonstrate its load paths and structural behavior.

CORRESPONDING STRUCTURAL DIAGRAMS cont.

III. HORIZONTAL FRAMING SYSTEMS To understand components of steel, wood, and concrete horizontal framing systems and practice drawing structural systems of each. Connector made of sheet steel

ever Support Beam

Secondary Beam

Steel to Beam Column

Continuous Construction (Cast-in-place)

Angle Connector

FOLDED ROOF

UPPER TRUSSES SUPPORT ROOF

Welded Bolted to Plate

Primary Beam Primary Beam

Bolted to Column

PLANK AND BEAM SYSTEM DETAIL

OPEN-WEB STEEL JOISTS

LOWER TRUSSES CONNECT TO DEEP BEAMS

48 FEET TALL

TWO-WAY CONCRETE SLAB

IV. BEAM DESIGN CHALLENGE — Partnered with Luke Strand STEEL BEAM CONSTRUCTION PLANK AND BEAM SYSTEM Challenged to design, construct, and load test a 24” beam made from only chipboard and glue.

ONE-WAY CONCRETE SLAB

CROSS TENSION TRUSSES

2x WOODEN MEMBERS

LOWER TRUSSES CONNECT TO DEEP BEAMS

NOT AS IMPT. FOR TRIANGULATION TO CONTINUE AT POINTS FURTHEST FROM CONCENTRATED LAOD

PLAN CUT VIEW 3” = 1’ - 0” COMPRESSIVE ELEMENT TO KEEP FOLDED MATERIAL TOGETHER, RESIST OUTWARD THRUST

ADDITIONAL MATERIAL AND STRUTS WHERE MOST FORCE IS EXPECTED (CONCENTRATED LOAD)

THE BENT TRIANGULATION TAKES UP MORE SPACE IN CENTER OF BEAM WHILE USING MINIMAL MATERIAL

STRUTS WHERE FORCE IS EXPECTED ON ROLLERS

LOAD PATH DIAGRAM AND ANNOTATIONS

DIAMOND CONNECTION DETAIL

Flat Collector

AMORUSO, P. 7 BEAM SECTION 1:1

HEAVY STONE BASE

FOLDED MATERIAL IN THE CENTER IS EMBEDDED INTO CUT OUTS WITHIN 3 LAYERS OF CHIPBOARD TO STRONGLY ATTACH TO TOP AND BOTTOM PIECES 0.1250”

ELEVATION 3” = 1’ - 0”

0.2500”

STRUTS FOR FORCE FROM ROLLERS, THOUGH HOLLOW OPENING AS LESS MATERIAL IS NEEDED HERE (FURTHEST FROM THE CONCENTRATED LOAD)

FOCUSED ON PROVIDING SUPPORTS WHERE FORCES WERE EXPECTED TO OCCUR

0.3125”

0.7745”

TRUSS DETAIL

5.1875”

4.0000”

ISOMETRIC 3” = 1’ - 0”

STRUCTURAL SKETCHES AND ANNOTATIONS

LOAD TESTED BEAM

GRACE AMORUSO ASSIGNMENT 9 Beam Challenge

BEAM DESIGN AND SECTION

V. STRUCTURAL SKETCHES To create 28 different, original, annotated sketches, by hand while practicing analysis skills and developing a robust structural vocabulary. PHYSICAL MODEL REPRESENTATION cont.

ROOF FOR MUNICH OLYMPIC STADIUM BY FREI OTTO

L’OCEANOGRAFIC BY FELIX CANDELA

Structure, Form and Order | FALL 2021 ARCH 335.01

TANGLEWOOD HOUSE 2 BY SCHWARTZ / SILVER

Work by: Grace Amoruso Professor: Robert Dermody

Course Description Introduces the fundamental concepts of structural form and behavior through a combination of lectures and studio exercises. Basic structural forms and their taxonomy will be studied in nature and through history, using visual presentations, readings, and hands-on experiments. Load paths and basic load tracing through common structural systems will be investigated. An introduction to vector-based force representation will also be covered as a continuation of topics covered in Physics. In addition, the students’ studio projects will be utilized for assignments. The development of a strong structural vocabulary will also be stressed. Structure Form and Order is the first course in a three-course structures sequence within the technical systems realm of the architecture program. This course begins to explore the history, development, taxonomy, function, materials, behavior and design of structures. A continuation and expansion of basic vector concepts covered in physics will also be included in order to prepare students for the subsequent Design of Structures courses.

Learning Outcomes 1. Use a robust vocabulary of proper structural terms. 2. Identify, explain, and diagram basic structural forms/systems. 3. Identify, explain, and diagram relationship between structural form and behavior 4. Identify and explain significant structural developments through history. 5. Identify important historical structures and their designers. 6. Identify structural inspirations/connections to natural forms. 7. Identify how structure can organize and inspire architectural forms. 8. Identify and explain basic structural elements and structural materials. 9. Analyze / diagram behavior of basic structural systems using physical models and hand/digital drawings. 10. Identify and explain structural loads, load paths & load tracing in basic structures. 11. Use vector-based force representation to perform basic structural calculations. 12. Find, use, and properly attribute Open Educational Resources.

Structure, Form, and Order | FALL 2021 ARCH 335.01

Work by: Matthew Carlson and Noah Ellingwood Professor: Robert Dermody

4year th

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

B.1

AMERICA’S CUP HALL OF FAME

HERRESHOFF MARINE MUSEUM

VIDEO ROOM

DOWN

B.2

OPEN TO BELOW

R. CHASE HERRESHOFF LIBRARY

1 Burnside St, Bristol, Rhode Island, 41°39’ 48.816”. -71°16’ 22.2636” TECHNOLOGY & DESIGN EXHIBITION

B.1

FAMILY & CO. HISTORIC OVERVIEW

VIDEO ROOM

DOWN B.2

B.2

OPEN TO BELOW R. CHASE HERRESHOFF LIBRARY

MECH.

TECHNOLOGY & DESIGN EXHIBITION

The Herreshoff Marine Museum serves as a point of attraction and as a landmark for Bristol, Rhode Island. However, as the building currently exists, the historic artifacts are confined to the limitations of a warehouse with poor natural lighting and limited space. This proposal for the remodel attempts to mitigate these conditions while enhancing the craft and beauty of shipbuilding. OPEN TO BELOW

AMERICA’S CUP HALL OF FAME

CAPT. NAT. HERRESHOFF MODEL ROOM

GIFT SHOP

OPEN TO BELOW

This proposal for the remodel of the museum utilizes an overlay and modification of curvilinear forms derived from the analysis of various boats. The curvilinear forms continue in plan and elevation, culminating with the double curvature of the roof. The proposal also offers a better quality of natural lighting and an addition for more ample display and exhibition space.

FAMILY & CO. HISTORIC OVERVIEW

MECH.

CAPT. NAT. HERRESHOFF MODEL ROOM

GIFT SHOP

SAILING EXHIBITION

STAFF OFFICES

OPEN TO BELOW

DOWN

ROOF PLANE

SAILING EXHIBITION

OPEN TO BELOW

STAFF OFFICES

DOWN

SECOND LEVEL

MUSEUM

N 1ST FLOOR PLAN

2ND FLOOR PLAN

100 FT

SCALE 1/16” = 1’-0”

100 FT

SCALE 1/16” = 1’-0”

GROUND LEVEL

MUSEUM, OFFICES, RETAIL

T.O. ROOF (HIGHEST PEAK) 44’-4”

T.O. ROOF (INTERMEDIATE PEAK) 33’-0”

T.O. SECOND FLOOR 16’-6”

1ST FLOOR PLAN

100 FT

SCALE 1/16” = 1’-0”

2ND FLOOR PLAN

100 FT

SCALE 1/16” = 1’-0”

BUILDING CIRCULATION VISITORS TRANSVERSE SECTION

STAFF

5 FT

SCALE 1/4” = 1’-0”

N SITE PLAN

50 FT

SCALE 1/32” = 1’-0”

T.O. ROOF (HIGHEST PEAK) 44’-4”

T.O. ROOF (INTERMEDIATE PEAK) 33’-0”

T.O. SECOND FLOOR 16’-6”

TRANSVERSE SECTION

5 FT

SCALE 1/4” = 1’-0”

Advanced Architectural Design Studio | FALL 2021 ARCH 413.03

Herreshoff Marine Museum

Work by: Cora McComiskey and Max Burrell Professors: Dingliang Yang and Maxwell Nie

Sections

Building For Waste In being tasked to combine a waste-to-energy facility with a YMCA near a residential neighborhood, the main goal was finding a way to design a space that community members would want to use where municipal waste would be turned into the energy. This nine acre site is located in Providence, Rhode Island in an area where there are not a lot of greenspace for the community members to use. The site itself is in an industrial area and in need of some more natural, green elements to break up all the asphalt. Another design challenge was trying to figure out how to connect the residential neighborhood to the site itself as there is currently no easy access point since the neighborhood is about 30 ft higher than the designated site. For my design I create a large parkspace to cover the whole site. This would create more green/park space for the residence, create an access point to the site from the residential level, while also hiding some of the more undesired industrial programs being constructed near a residential area. Some of the programs that would be used more by community members, like the pool or gym, would be above the parkspace. The idea behind this was to create more natural views from the higher, residential level, and more structural views from the lower, industrial level the site is at. This also helps to guide visitors to the YMCA, as this is where community members would spend most of their time. There are a lot of different outdoor programs throughout the whole site in order to promote people to use the whole site instead of just the areas near the YMCA. A market space is in the center of the site and acts as a connection between the YMCA and the waste-to-energy facility. The market place is a place where community members can get local products and see where their waste goes. For instance any products they throw away at the market place is taken to the waste-to-energy facility and visitors can go to the visitor center and observation area of the waste-to-energy facility to see them and learn about the gasification process. The overall goal for this project was to take a very industrial style program and show that something undesirable near a residential neighborhood, but needed, can be reimaged into a greenspace for everyone to use.

Concept Diagrams

Floor Plan

Outdoor Exhibit

Site Plan

Playground

Outdoor Seating

Courtyard

Outdoor Event Space

Community Garden

Forest

Market Space

Interior Perspectives

Advanced Architectural Design Studio | FALL 2021 ARCH 413.02

Building For Waste

Work by: Laura Griffin Professors: Myoungkeun Kim

HARMONY STREET

Harmony Street was designed around the idea of the courtyard, a central mass dedicated to

SITE/ BUILDING DATA

gatherings, or catch up after a long week. To keep the courtyard undisturbed while allowing

Lot Zoning: R-10 Lot Square Footage: 100,000 sqft / 2 acres Historic House Studio Units: around 350 sqft Unit 1: 750 sqft + balcony Unit 2: 1800 sqft + roof deck Unit3: 1100 sqft + roof deck Unit4: 1400 sqft + roof deck

engaging the community that resides in the complex. Each unit is designed to be connected to this central space via patio spaces shared by two dwellings. Each point of access creates opportunities for interaction between occupants of all walks of life, a space to share a meal, host easy access to parking, a driveway wraps around the external edge of the site before emerging out onto Hope St., Separating the person from the vehicle. On the Hope St. side is the row of

1 3 2 3

Bedroom Bedroom + flex upper level Bedroom + flex upper level Bedroom

communal amenities including a daycare (run by occupants of the community),fitness center / community space, and the green house (helps them grow their own food sustainably). With the need for sustainable design being more pressing now the units on the east side have green roofs used to collect and filter water to be used in the adjacent units, with roofs accross the complex oriented north to maximize solar gain, and to point back to the historic house.

Parking: 2 spots per unit + overflow

All of

this attempts to bring the person back to their roots, living as a community surrounded by nature.

DIAGRAMS

SITE PLAN House Community space and studios 1 Bedroom 3 Bedroom 2 Bedroom 3 Bedroom Greenhouse

Gym + Community Space Daycare

Automobile Pedestrian

CIRCULATION

PROGRAM

SITE AND SURROUNDINGS South facing solar roof Green roof

A Affordable Median

PASSIVE STRATEGIES

AFFORDABLE VIEW FROM HISTORIC HOUSE PORCH (C)

VIEW FROM SOUTHERN UNITS (A)

SOUTH

EAST

HOUSE PLANS

VIEW FROM PATH (B)

EASTERN UNIT PLANS

Advanced Architectural Design Studio | FALL 2021 ARCH 413.01

SOUTHERN UNIT PLANS

Missing Middle Housing : Bristol RI Work by: Caroline Keller & Owen Law Professor: Edgar Adams

Hershoff Marine Museum

Our concept is the tension between the boats and the water. Therefore, this project focuses on these tensions with deep analysis and understanding of the most relevant boats. There is a clear need for a better organization of the boats while allowing the whole exposition to explore this concept.

DOWN

LIS

IUS

LIS

G HT YAC UILDIN N/B

SIG

MODEL ROOM

STEAM ENGINE ROOM

THEATER

IA AN

AMERICAS CUP

E LAT HOFF ES RR

H RC

DOWN

RLY FF EA HO ES RR HE

LOBBY

This project aims to renovate the existing building and give it a new interior organization and exterior face. We created 4 “bays” for boat exposition. These bays extend towards the water, suggesting elasticity from the existing condition while allowing views of the water linking the water and the boats. Also, exposing more light into the museum with a semi-transparent facade. Moreover, the circulation works as a weave guiding visitors to experience all expositions on the first and second floors. Another critical aspect of the boat’s “bays” is its multi-level view of the boats. The half floor provides views towards the bottom form of the boat, while the one and a half floor allows visitors access aboard the boats and space to contemplate the intricate details of the decks on the second floor. The main structure of the building is wooden posts supporting a glulam system above. The roof wraps this structure system, and the form suggests the tension of the existing building towards the water. Acting as if the roof is being pulled off the existing museum while also being affected by the reorganization of the boats and their tension to the water. The size of the boats also affect the conditions of the dry docks and the height of the roof, thus the larger the boat the more testion it has with the water.

CLA

ROO

1ST FLOOR PLAN

2ND FLOOR PLAN

100 FT

SCALE 1/16” = 1’-0”

OND SEC

FLO

N 2ND FLOOR PLAN

T FLO

100 FT

FIRS

SCALE 1/16” = 1’-0”

1ST FLOOR PLAN

100 FT

CLA

TOR

THA

NIA

BEL

ISAR

IUS

SCALE 1/16” = 1’-0”

CIRCULATION

N SITE PLAN

50 FT

SCALE 1/32” = 1’-0”

N SITE PLAN SCALE 1/32” = 1’-0”

100 FT

Advanced Architectural Design Studio | FALL 2021 ARCH 413.03

Herreshoff Marine Museum

Work by: Aidan Donaghey & Alessandro Pinto Professors: Dingliang Yang & Xuanyi Nie

INTEGRATING THE INORGANIC The Waste to Energy Facility equipment is hidden under these organic forms and disguised in a sea of green. The powerfully efficient, reusable, and sustainably produced energy is capable of achieving a net zero carbon footprint as well as the providing the YMCA to be as well. This project would engage the community by inspiring them to learn about sustainable energy. It would serve the community by providing the public with garbage disposal and sorting, which is then continued to give back in the form of an active recreational facility. There is a sense of fear and hesitation associated with the public knowledge of large industrial architectural projects. “Integrating the Inorganic” is an effort to eliminate this fear and turns the hesitation into a concept of exploring and excitement. It inspires the average person to meander through the nature, and eventually leads you to learn about the process and works of the WtE facility. The design consists of a series of covered pavilions nested in a site reclaimed by vegetation. The site would be filled in and planted with trees surrounding these pavilion program pieces, enabling a sense of wonder and discernment. The programs would be “spaces to find,” situated along meandering pathways through the trees. By pulling apart pieces of the gasifier program , more space is created for easier garbage truck circulation throughout the site. This meandering truck circulation is reflected in the meandering pedestrian pathways that lead to the YMCA as well as the additional program spaces. These include outdoor areas such as recreational fields, small outdoor gathering spaces, The forms are held together by power nucleus programs in which others surroundand sprawl out in a playful action. This creates spaces of activity and life. The project becomes a full CIRCLE OF ENERGY.

PERSPECTIVE 1 A

SITE PLAN FLOOR PLANS

T.O. PARAPET 34' 1"

FIN. SECOND FLOOR 32' 9"

PERSPECTIVE 2

GREEN ROOF ASSEMBLY 2" CONC. TWO WAY SLAB 2" RIGID INSULATION WATER PROOFING PROTECTION LAYER TOP SOIL GRASS

TYPICAL SLAB ON GRADE ASSEMBLY 6" CRUSHED STONE 2" RIGID INSULATION VAPOR BARRIER 6" CONC. TWO WAY SLAB TRIPLE INSULATED GLAZING RECYCLED STRUCTURAL GLASS

FIN. FIRST FLOOR 18' 6"

TYPICAL BELOW GRADE WALL ASSEMBLY 3 8" DRAIN BOARD 2" RIGID INSULATION WATERPROOFING MEMBRANE REINFORCED CONC. FDN. WALL 6" MIN. AGGREGATE COVER 4" DRAIN PIPE KEYWAY W/ BENTONITE

B.O. FOOTING 10' 0"

SECTION AA

PERSPECTIVE 3

WALL SECTION DETAIL SCALE: 1/4" = 1'-0"

SECTION BB

Advanced Architectural Design Studio | FALL 2021 ARCH 413.02

Integrating the Inorganic

Work by: Isabel Clancy Professor: Myoungkeun Kim

263 Lincoln Ave, Barrington : From Ranch to Duplex SITE/ BUILDING DATA Lot Zoning: R-25

Lot Square Footage: 11,000 sqft or .25 acres Building Footprint: Existing: 2246 sqft Proposed: 2875 sqft (a garage bay has been added)

Lot Coverage: Existing: 20% Proposed: 25% Unit 1: 3 Bedrooms, 1,800 sqft

BEFORE

AFTER

NARRATIVE With the constraints of the lot and set backs I decided to design a duplex that appeared like a single home. One unit is affordable while the other is more generous. Both offer the same program, with the same number of bedrooms, living spaces, and flex space. The goal was to create a home for two similar families that could co-exist side by side. The similar family dynamic would create an extended family feel, and give each family a support system. The backyard and patio spaces balance privacy with openness where all boundaries are soft and permeable. The warm facade is welcoming and open to the surrounding neighborhood. I have provided each unit with the luxuries of suburban life while essentially doubling the standard density in a way that doesn’t shock or stand out negatively.

DIAGRAMS

FOOTPRINT BEFORE vs AFTER

PASSIVE STRATEGIES

The front northern facade has large exposures to let in more ambient light. On the southern, back facade uses overhangs and shading devices to help block out direct summer sun. The roof also maximizes

STREET VIEW

ROOF CONNECTION

The garage roofline mimics the neighboring house to the left. The second story added to the house does not conflict with the neighborhood as the neighboring house already has two stories. The asymetrical gable roofline pulls the overall massing of the house down, giving it a less imposing feel.

PLANS

SECOND FLOOR

BACK OF AFFORDABLE UNIT

BACK OF FIRST UNIT

SITE PLAN

ELEVATION

Advanced Architectural Design Studio | FALL 2021 ARCH 413.01

Missing Middle Housing : Barrington RI

Work by: Caroline Keller Professor: Edgar Adams

Page 12

Course Description

6X6 HSS TRUSS STRUCTURE, GUSST PLATE ATTACHED

METAL HANDRAIL (3' TALL)

A numeric and graphical approach to the design and analysis of basic structural systems. Basic principles of mechanics: forces, equilibrium, geometric properties of

CUSTOM GUSSET PLATE CONNECTION, WELDED TO TRUSS STRUCTURE

building types will be emphasized. Projects requiring the design and analysis of simple funicular structures will be assigned. Learning Outcomes 1.) Use graphical methods to analyze and design basic structural systems/components. 2.) Interpret, explain, and diagram load paths and load tracings for framed structures. 3.) Use basic principles/concepts of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress and strain in the analysis and design of basic structural systems/components. Page 8

5.) Use a robust structural vocabulary in writing and verbally. 6.) Prepare professional quality technical documentation and presentations.

3/4" THROUGH BOLTS (DUE TO HSS)

GLULAM LVL (4.49"X11.8") @ 42" O.C.

Vectors represents load directions (VECTOR NOT TO SCALE)

TRUSS-LVL-STEEL CONNECTION DETAIL Scale: 1” = 1’ - 0” Drawn by Joselynn Lyford

SIMPSON STRONG-TIE RIGID CONNECTOR ANGLE

W6x20 STEEL GIRDER

METAL HANDRAIL (3' TALL)

6X6 HSS TRUSS STRUCTURE, GUSST PLATE ATTACHED

CUSTOM GUSSET PLATE CONNECTION, WELDED TO TRUSS STRUCTURE

2x8 WESTERN CEDAR DECKING (SPAN 42")

SIMPSON STRONG-TIE RIGID CONNECTOR ANGLE

Upward vectors are larger than downward vectors, because the two upward vectors have to equal the forces of the seven downward vectors

COLUMN LOOKS TO BE IN ROAD, BUT IT IS JUST THE VIEW OF THE SECTION (ROAD CURVES AND BRIDGE GOES OVER CURVE, BUT STRUCTURE IS NOT IN ROADWAY.)

Load Elevation Diagram: Structure (not arrows) Scale: = 1’ - 0” Pedestrian BridgeDrawing design project connecting RWU campus3/32” with property across Old Ferry Road Load diagram to depict direction of axial loads on the structure Project completed with Justin Britschge

TRUSS-LVL-STEEL CONNECTION SECTION Scale: 1” = 1’ - 0” Drawn by Joselynn Lyford

W6x20 STEEL GIRDER

GLULAM LVL (4.49"X11.8") @ 42" O.C.

Pedestrian Bridge design project connecting RWU campus with property across Old Ferry Road Connection details for Truss-LVL-Steel connection Project completed with Justin Britschge

Lateral Stability Diagrams - Shear Walls

Lateral System Axonometric

Pedestrian Bridge design project connecting RWU campus with property across Old Ferry Road Wooden model of structure made by Justin Britschge Project completed with Justin Britschge

Lateral System Plan

Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Lateral system diagram depicting shear walls for counteracting lateral loads Project completed with Jared McGowan

Secondary Beam Load Diagram & Calculations Dead Load: 35 PSF (Provided) Roof Dead Load: 5 PSF (Assumed) Snow Load: 40 PSF (Provided) Live Load: 20 PSF (Provided)

Secondary Beam Largest Tributary Width (Conservative for non typical edge shape) By assumption, acts as a rectangle. TW = 5 FT 4 IN (5.34 FT)

Dead + Roof + Snow + Live = Total Total Load: 100 PSF (Calculated)

Span of Secondary Beam L = 8 FT 8 IN (8.67 FT)

W = TW x TL W = 5.34 FT x 100 LB/FT^2

Material Qualities : Douglas Fir Wood Shear Fv = 95 PSI Bending Fb = 1,450 PSI Modulus Elasticity = 1,700 KSI Moment of Inertia = 230.84 IN^4 Chosen Lumber Dimensions: 4 x 10 Douglas Fir

Self Weight A x .252 32.38 IN^2 x .252 = 8.16 LB/FT

W = 534 LB/FT

TW = 5’ - 4”

(New Bending Moment) Madd = (W)L^2 / 8 Madd = (8.16 LB/FT) x (8.67 FT)^2 / 8

L = 8.67 FT

Madd = 76.67 IN^2 By Observation, Uniformly Loaded & Simply Supported R = Vmax = WL / 2 Vmax = (534 LB/FT) x (8.67 FT) / 2 Vmax = 2,314.89 LB

(New Section Modulus) Sadd = M / Fb Sadd = ((76.67 IN^2) x (12 IN/FT)) / 1,450 LB/IN^2 Sadd = .63 IN^3

Mmax = WL^2 / 8 Mmax = (534 LB/FT) x (8.67 FT)^2 / 8

Check S Snew = Sreq + Sadd Snew = 41.52 IN^3 + .63 IN^3

Mmax = 5,017.52 LBFT (Shear) Fv = 3V / 2A Areq = 3V / 2 Fv Douglas Fir wood: Fv = 95 LB/IN^2 Areq = 3 x (2,314.89 LB) / 2 x (95 LB/IN^2)

Snew = 42.15 IN^3 Snew < SProvided 42.15 IN^3 < 49.91 IN^3 O.K.

Areq = 36.55 IN^2 (Bending) Fb = M / S Sreq = M / Fb Douglas Fir wood: Fb = 1,450 LB/IN^2 Sreq = ((5,017.52 LBFT) x (12IN / FT)) / 1,450 LB/IN^2

Deflection = 5WL^4 / 384EI = 5 x ((534 LB/FT) / (12 IN/FT)) x ((8.67 FT) x (12 IN/FT))^4 384 x (1,700,000 LB/IN^2) x (230.84 IN^4) = .17 IN

Sreq = 41.52 IN^3

Deflection Limit < L / 180 .17 IN < (8.67 FT) x (12 IN/FT) / 180 .17 IN < .58 IN O.K.

Trial Wood Dimensions : 4 x 10 Provided Information A = 32.38 IN^2 S = 49.91 IN^3

Secondary Beam Load Tracing Diagram

Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Secondary beam calculations using shear, stress, and deflection to calculate beam size Project completed with Jared McGowan

Primary Beam Load Diagram & Calculations Dead Load: 35 PSF (Provided) Roof Dead Load: 5 PSF (Assumed) Snow Load: 40 PSF (Provided) Live Load: 20 PSF (Provided) Dead + Roof + Snow + Live = Total Total Load: 100 PSF (Calculated)

By assumption, acts as a rectangle. TW = 8 FT 8 IN (8.67 FT)

Chosen Lumber Dimensions:

Span of Primary Beam L = 24 FT 8 IN (24.67 FT)

W = TW x TL W = 8.67 FT x 100 LB/FT^2

Self Weight 2A x .252 356.5 IN^2 x .252 = 89.84 LB/FT

W = 867 LB/FT

L = 24.67 FT

Assumptions for this Member: 1. This beam governs the calculations. 2. The Point loads will be assumed as a uniformly distributed load based on the symmetrical loading pattern. 3. The members will be doubled for strength in spanning, this will double the values for area and the section modulus.

Material Qualities : Douglas Fir Wood Shear Fv = 85 PSI Bending Fb = 1,300 PSI Modulus Elasticity = 1,600 KSI Moment of Inertia = 3,568.7 IN^4

Primary Beam Typical Tributary Width (Beam with longest span and largest

Two Members bolted together for stiffness

(New Bending Moment) Madd = (W)L^2 / 8 Madd = (89.84 LB/FT) x (24.67 FT)^2 / 8 TW = 8’ - 8”

Madd = 6,834.68 IN^2 By Observation, Uniformly Loaded & Simply Supported R = Vmax = WL / 2 Vmax = (867 LB/FT) x (24.67 FT) / 2 Vmax = 10,694 LB

(New Section Modulus) Sadd = M / Fb Sadd = ((6,834.68 IN^2) x (12 IN/FT)) / 1,300 LB/IN^2 Sadd = 63.09 IN^3

Mmax = WL^2 / 8 Mmax = (867 LB/FT) x (24.67 FT)^2 / 8

Check S Snew = Sreq + Sadd Snew = 600.84 IN^3 + 63.09 IN^3

Mmax = 65,957.99 LBFT (Shear) Fv = 3V / 2A Areq = 3V / 2 Fv Douglas Fir wood: Fv = 85 LB/IN^2 Areq = 3 x (10,694 LB) / 2 x (85 LB/IN^2)

Snew = 663.93 IN^3 Snew < SProvided 663.93 IN^3 < 921 IN^3 O.K.

Areq = 188.72 IN^2 (Bending) Fb = M / S Sreq = M / Fb Douglas Fir wood: Fb = 1,300 LB/IN^2 Sreq = ((65,957.99 LBFT) x (12IN / FT)) / 1,300 LB/IN^2

Deflection = 5WL^4 / 384EI = 5 x ((867 LB/FT) / (12 IN/FT)) x ((24.67 FT) x (12 IN/FT))^4 384 x (1,600,000 LB/IN^2) x (3,568.7 IN^4)

Sreq = 600.84 IN^3 Trial Wood Dimensions : Provided Information A = 178.25 IN^2 S = 460.5 IN^3 2A = 356.5 IN^2 2S = 921 IN^3

Analysis of Thompson Exhibition Building in Mystic, CT

Design of Structures I | FALL 2021 ARCH 434.02

= 1.27 IN Deflection Limit < L / 180 1.27 IN < (24.67 FT) x (12 IN/FT) / 180 1.27 IN < 1.64 IN O.K.

Primary Beam Load Tracing Diagram

Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Primary beam calculations using shear, stress, and deflection to calculate beam size Project completed with Jared McGowan

Green Loop

Work by: Joselynn Erickson andby: Michael Donovan Work Joselynn Lyford Professors: Nate Dermody and Rich OlgaJames Mesa Professors: Robert

Wood Frame Research Poster

Course Description A numeric and graphical approach to the design and analysis of basic structural systems. Basic principles of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress strain relationships will be presented. The selection and configuration of efficient structural systems for common building types will be emphasized. Projects requiring the design and analysis of simple funicular structures will be assigned. Learning Outcomes Upon completion of this course students will be able to: 1. Use graphical methods to analyze and design basic structural systems/components. 2. Interpret, explain, and diagram load paths and load tracings for framed structures. 3. Use basic principles/concepts of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress and strain in the analysis and design of basic structural systems/ components. 4. Select and configure efficient structural systems/components for common building types. 5. Use a robust structural vocabulary in writing and verbally. 6. Prepare professional quality technical documentation and presentations.

Structure: Joseph Phelps Vineyards

The purpose of this project was to analyze a wood frame structure of our choosing to get a better understanding of the use of wood as a structural element. Through this analysis, a poster was created that displayed the wooden structural system of our selected building. The poster includes information about the building, sketches of structural components, diagrams of the structural system, and an explanation for gravity and lateral load systems. The building selected for this project was the Joseph Phelps Vineyards building constructed in 2015 by BVC Architects. The design uses a large wooden truss as a structural element in the Great Hall to create an open area in the center of the building. The project was a restoration and addition to the existing wine making facility from 1979. The wooden trellis was a design motif used in the original building and is used in the new project to help celebrate the past.

Load Tracing Diagram

Exploded Truss Detail

Truss Detail

Pedestrian Bridge Design Project

Exploded Axonometric Drawing of Wooden Truss

Wood Frame Design Project

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

Work By: Zachary Baker and Michael Cattaneo

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

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

Study Model

Site Plan

Force Polygon Section

Form Diagrams

Cable Connection Detail: Axonometric Bridge Plan

Schematic Plan

Cable Connection Detail: Side Cable Connection Detail: Plan

Design of Structures I | FALL 2021 ARCH 434.02

Cable Connection Detail: Front

Load Tracing: Wooden Screen

Load Tracing: Trusses

Load Tracing: Girders

Load Tracing: Posts

Semester Projects

Work by: Zachary Baker Professors: Robert Dermody and Rich James