design portfolio sandy bole
princeton university school of architecture
This document attempts to illustrate my design work so far at the School of Architecture of Princeton University. I am a junior undergraduate with interests in sustainability, urbanism, interior design, yacht design, industrial design, and architecture. While I have only been using design software for a year, I am a technology enthusiast and am constantly trying to learn new digital skills. The contents of this portfolio were edited to match my current technological competence. I hope it will give you better insight into who I am and what I am capable of. — Sandy
CONTENTS
CURRICULUM VITAE
FRIST GALLERY
1-6
PASSIVE RESIDENCE
7 - 12
CUPCYCLE
13 - 20
ELASTIC CHAIR
21 - 28
WATER WALLS
29 - 40
LOUNGE BENCH
41 - 46
SANDY BOLE +1 415 699 8154 +33 6 42 54 38 99 sbole@princeton.edu
EDUCATION
Princeton University, Princeton, NJ A.B. in Architecture Certificate in Environmental Studies Certificate in Urban Studies
Redwood High School, Larkspur, CA
WORK
Cloister Inn, Princeton, NJ
June 2016 GPA: 3.6
June 2011 Feb 2014 - Present
Sustainability Chair • Analyze current uses of the club house and run surveys of member experience • Research ways of being more environment-friendly and less wasteful • Re-design the club house organization to stimulate sustainable behaviors
Terasu LLC, San Francisco, CA
June - Oct 2014
Managing Editor, Head of French Operations • Review all written articles • Publish articles with photos or videos on the website • Translate official documents to French • Coordinate meetings with potential French collaborators
Princeton University Reunions, Princeton, NJ Class of 1979 Crew Member • Arrange reunion environment with furniture • Provide food, beverages, and transportation to alumni • Organize special events such as speeches or music bands
June 2014
CAMPUS LIFE
Princeton Men’s Varsity Swim Team
• Compete at conference and national level in NCAA Division I • Compete nationally in France
Princeton Entrepreneurship Club Designer
• Design logos and posters for the various departments of the club
AdThis Marketing Board Member
• Design posters and advertise club-organized networking events across campus
PUBLISHED PROJECTS
Turning Trash into Treasure: Upcycling Cups on Campus
HONORS
Princeton University
• Sophomore Spring Architecture Studio • http://sustain.princeton.edu/news/cupcycle
NCAA Division I Academic All-American Diploma for excellence in athletics and academics John Alan Swabey Trophy for spirit, sportsmanship, and improvement in swimming
2013-2015 2013
France Swimming Junior National Team Member 2011 & 2012
SKILLS
Fluent Advanced Proficient Beginner
French and English Rhinoceros - Photoshop - Illustrator - InDesign - CNC milling Laser cutting - Arduino - Processing Grasshopper - AutoCAD - 3D printing
2011-2012
FRIST GALLERY SPRING 2014 PROF. ALEJANDRO ZAERA-POLO
ergonomics
relaxation
48
quick snack
58
74
107
table height
seat width 50
38
120
uncomfortable close to standing up
comfortable close to laying down
24
41
46
74
seat depth
seat height 43
active short term
3
51
90
130
passive long term
The Frist Campus Center was designed by Venturi, Scott Brown & Associates in 2001. The studio assignment called for the reconfiguration of the lower level of Frist, which contains a cafeteria and seating space for snacking and studying.
I discovered links between the size of chairs and the comfort of their implied seating position. Through my observations I also noticed that comfort influenced time spent in certain positions.
time-function of each space, from shortterm snacking to long-term relaxation.
The designed furniture of the Frist Campus Center is color coded to indicate the level of comfort of the space. LightI then observed the flow of people through er blues are assigned to busier, more I began by closely analyzing the di- the designated space to organize it into disruptive paths, while darker blues inmensions of existing furniture on cam- areas ranging from distracting to se- dicate more isolated zones, where pus and at surrounding cafĂŠs. Doing so, rene. This activity mapping defines the tranquility and comfort may be found.
4
5
6
PASSIVE RESIDENCE SPRING 2014 COLLAB. J. EDGREN PROF. ALEJANDRO ZAERA-POLO
6500 sq ft
5000 sq ft
4000 sq ft
zoning code
max coverage - 30%
min. lot area - 6000 sq.ft.
clearance - unattached
clearance - attached
car parking clearance
FAR - 45%
roof height - 35 ft
pitched roof 9
non-uniform roof only
roof height - 35 ft
multi-level roof
This massing project addresses the manipulation of zoning codes. Our goal was to maximize livable space while abiding by the zoning code of the Princeton neighborhood where the three prescribed vacant lots are located. The page to the left illustrates the neighborhood restrictions that guided our design choices. Interestingly, two of the three lots are actually smaller than the minimum permitted residential lot area in the district. In order to respect the present regulations and work around the lots’ illigitimacies, we decided to produce three independent, flat-roofed, attached houses that would maximize area and volume while meeting obligations on car parking and clearance.
10
11
12
1 2
10
3
9 4
8 7
6
5
DECEMBER 21 sunrise
sunset
The foundational vision for the three residences is to deliver comfort by creating large spaces and applying principles of passive heating and cooling. The blocks are positioned to cast shadows on each other as much as possible on hot summer afternoons while allowing as much light in as possible during cold winter days. The clock diagram above simulates sunlight on December 21st, the shortest day of the year when the sun is at its lowest in the sky. Residences enjoy direct sunlight for the majority of the day, taking advantage of the few hours of natural daylight and heating. The diagram on the right page illustrates the homes on June 21st, the longest day of the year when the sun is at its highest. By 2 pm, when the day is hottest, the majority of the building’s facade is shaded. The residences can therefore enjoy morning daylight while staying cool during the afternoon. 11
11
12
1 2
10
3
9 4
8 7
6
5
JUNE 21 sunrise
sunset
12
CUPCYCLE SPRING 2014 COLLAB. J. EDGREN PROF. ALEJANDRO ZAERA-POLO
cUpcycle was designed as a campus intervention to raise awareness about wasteful college partying habits through the making of surprising and visually appealing home appliances. We collected thousands of beer cups used over a single weekend and assembled them using a hot glue gun and fishing wire. The final products were displayed on campus for Earth Day, and were on exhibition in the architecture school for a month. We printed catalogs to hand out to interested visitors, and the project was eventually covered by the Office of Sustainability of Princeton University. The philosophy of upcycling is powerful and can be used as sustainable development in countries or organizations with low budgets. Upcycling involves turning a low-value product or material into an object of higher value. The cups we picked up had close to no value left, as they were destined for a landfill. By changing their appearance and purpose, we demonstrated that trash has a potential value and materials should not be discarded thoughtlessly. Trash has the potential to become an economic generator in the future should recycling and upcycling fully integrate into a regenerative design approach.
USED CUPS FROM THE STREET
CLEANING DETERGENT
WATER
CLEAN HAPPY CUP
15
Disinfecting the reclaimed beer cups in detergent
Thousands of sanitized used cups stored under studio desks
Painting the cup rims
Assembling the cups using a hot glue gun
Punching holes to suspend the cups with fishing wire
The finished product exhibited at an Earth Day event at Princeton
16
MISSION PICK UP AS MANY USED CUPS AS POSSIBLE FROM EATING CLUBS DURING ONE WEEKEND RE-PURPOSE CUPS AS FUNCTIONAL FURNITURE INSTALLATIONS FROM FOUR CLUBS WE PICKED UP 5000 CUPS WHICH IS ABOUT 110 POUNDS OF PLASTIC pick up
UPCYCLE assemble
17
clean
The Chandelier hangs from ceiling and contains two lightbulbs 200 cups 28” x 28” x 28”
The Tower free-standing floor lamp with inner light 112 cups 16” x 16” x 43”
18
The Sconce affixes to wall and contains two lightbulbs 50 cups 28” x 14” x 14”
The Dome snugly fits against any flat surface great as a ceiling lamp 100 cups 28” x 28” x 14”
19
The Wave flowing patterns of cups hangs under a row of lights 175 cups 18”x 88” x 12”
The Chair and Coffee Table two chairs and four convenient cup holders 170 cups Chair: 17” x 17“ x 17” Coffee Table: 20” x 7” x 15”
20
ELASTIC CHAIR FALL 2014 COLLAB. JACKIE LI PROF. JESSE REISER
posture analysis The chair is traditionally defined as a structure that provides support for a predefined seating position. But what if the chair was autonomous and adapted to the posture of its user? This experiment attempts to reverse the roles of chair and human by having the body define the appearance of the chair rather than the chair dictating the position of the human.
We traced positions defined as comfortable. We then combined them at specific points — the neck, upper back, hips, knees, and feet.
23
+
The prototype design emerged by combining two forms — one pinched at the upper back and the other at the knees. The fusion formed a multifaceted “topographic chair� adaptable to multiple seating and lounging positions.
24
Eggcrate chair The topographic surface is created by integrating multiple seating postures together. The dips suggest locked positions although the piece is largely fluid, abstract, and versatile in its relationship to the body.
Bead chair The plastic blocks are connected to each other with elastic string. They lock into position by pushing against each other when weight is applied. The chair morphs in appearance as it is loaded and unloaded.
Spring chair The face of the chair is composed of a single piece of metal that varies in diameter to allow for combinations of stiff and flexible areas, which provide various degrees of comfort. The structure is also the skin, and dictates how the chair is used depending on how obtrusive the cable is.
25
Bungee chair
26
27
S T R U C T U R E
The structure was inspired by children’s playground toys. Springs provide flexibility that give the chair a playful character. Wooden boards were cut using a CNC mill and assembled with metal rods to form the base and back of the chair. The two units are connected by a single metal rod that intersects all four wood slabs and acts as the axis of rotation for the incliner.
S K I N
Similar to BMW’s GINA, the skin is made of a stretchy spandex and flows over the structure to hide the inner tectonic system. The fabric’s flexibility allows it to expand as the surface adapts to the sitting person. This veil gives an illusion that the chaise is a living organism responding to human contact. The fabric is fixed at the end of the metal rods and provides no support for the body.
S U P P O R T
The bungee cords have varying diameters. Thinner strings are less flexible and therefore more stable. Thicker ropes are more comfortable and stretchier. Bungees are denser in areas expected to bear more weight. This concept was inspired by the Nike Flyknit, which is made with a stretchy fabric that adapts to the foot.
28
WATER WALLS FALL 2014 PROF. AXEL KILLIAN
phase 1 The Floating Pavilion
This interactive pavilion was designed to be in continuous motion. The power of ocean waves is used as the driver of the mechanical system. Wooden planks lock into each other in a manner that allows them to move a set vertical distance independently of each other. The floor can therefore move at a rate similar to that of the waves crashing on the beach. The amplitude of wave motion is dampened to comfortable levels as the wooden planks can only move a certain distance from each other before triggering a chain reaction. This structure was intended to host social events and offer an intimate atmosphere while still being open air. The frames incorporate a dichotomy of exclusion and inclusion: the pavilion appears confining from the outside while the inside offers far-reaching, open views of the ocean. I originally intended to use a tarp as a canopy that would move with the motion of the sea. However, the wooden casings provide some of this movement while being sturdier. As the visitor walks through, the frames display the sea as a meditative work of art.
31
32
phase 2 The Hull Observatory
original boat diagram
This iteration utilizes the wave as a design element. The top of the structure conforms to standard lines and ratios of boat hulls and is intended to split waves. The pavilion is anchored to the seabed and its crest breaks the water surface. The facade is made of triangular glass panels so visitors can admire the waves crashing on the roof of this partially-submerged structure.
The model below was produced to test the accuracy of the shape and its ability to split waves. It was covered in plaster to give it a smooth surface that effectively slashed the simulated waves. modeled top structure
physical model
33
34
phase 3 Water architecture The previous iterations led to the idea of water as architecture. Taking inspiration from the Boscombe artificial wave in England, the pavilion is submerged entirely and is sloped in a way that compresses ocean waves and forces them to break over its structure. These breaking waves become the only visible hint that the pavilion exists underwater. The pavilion is now a tool that manipulates the form of water; it transforms water from a natural element to a programmed architecture.
35
phase 4 The Rain House The concept of water as architecture gave way to the final pavilion, which involves designing an architecture of water, where liquid instead of solid partitions delineate space. Water also creates acoustic environments. Rainfall curtains overpower all adjacent sounds and immerse the visitor within an intimate atmosphere. Finally, the incidental overlapping of liquid partitions alters the user’s understanding of the pavilion’s depth and scale.
Water flow halts when someone approaches a water curtain to allow movement through the various chambers.
36
test 1 A punctured plastic compartment was filled with water and attached to a rotary servo, which in turn linked to an arduino board and an ultrasonic sensor . As one approaches the dripping water compartment, the sensor registers a presence and tells the servo to rotate 90 degrees. The water in the compartment is shifted to the edge that is not punctured, causing the dripping to cease.
37
PVC pipes were used to construct the model and to direct the plan of the pavilion. Each segment is as wide as a standard door to facilitate passage. Two to three segments are added together to create water gates. The gates’ joints are angled at either 45 or 90 degrees, which corresponds to common PVC fixtures. Gates do not touch in order to reveal the vestibules beyond. The small gaps block circulation while guiding the user to experience the rest of the pavilion. Not all water curtains open, and the ones that do only open one way. The system imposes certain paths upon the users and forces them to walk along the water partitions in order to find which ones will open. On the diagram, arrows show the trajectory required for a gate to open. Red defines which gates are constantly streaming water while blue areas model the gates that respond to approaching people. The curvy lines represent intended paths.
38
test 2
This full-scale prototype represents one segment of a gate. The model used an ultrasonic sensor, a solenoid valve, and a 2-inch-diameter PVC pipe. Water ran from a faucet and rained down through the drilled holes of the pipe.. If a person came within 8 inches of the water curtain, the sensor would signal the arduino board which in turn closed the solenoid valve for the individual to walk through. The valve only closed if the person came from one particular direction, so the water curtain acted as a one-way gate that forced students to deviate from their habitual paths. 39
Water flow diagrams VALVE OPEN
pump
VALVE CLOSED
pump
40
LOUNGE BENCH FALL 2014 PROF. OPPENHEIMER
2 in thickness
PLAN
32 in
32 in
80 in
42 in 43
15 in
70 in
The bench is part concrete, part wood. The 2000 lbs concrete form provides rigidity while the wood planes shape the backrest of the bench. The wooden sections were originally supposed to intersect the concrete, but I instead decided to fit them on the block to avoid rotting, which required adding small wood spacers to hold them together. The computer model had to be evaluated and modified throughout the building process to accommodate for human error and to monitor the construction in progress.
44
concrete curing in its wooden mold
milling the wooden pieces
organizing the components
dry-setting the pieces on the concrete
assembling the wood segments
setting the last pieces on site
45
46
SANDY BOLE +1 415 699 8154 +33 6 42 54 38 99 sbole@princeton.edu