1
2
3
4
5
6
7
8
p. 2
Index
3-22
1
Mixed Use Housing
Academic
23-38
2
Museum of the Senses
Academic
39-46
3
Micro House Design
Academic
47-54
4
Community Center Design
Academic
55-58
5
New England Conservatory Design
Academic
59-64
6
Nexus World Housing
Academic
65-70
7
Fogg Art Museum
Academic
71-80
8
Professional Works
Professional
p. 4
1
Transformative Housing Studio 4
Summer 2015
Aaron Weinert
Transformative Housing gives the user an experience of varying scales in coordination with the type of unit. The site the building is located on is directly on the Orange Line T stop in Boston, Mass. This location is in the middle of two very different scales, which becomes very apparent while passing through the site. This is when the transformation from one scale to the next becomes the most apparent. This concept is the driving force of my design. As the units proceed upward throughout the building they change in form and scale. The studio, one, two, and three bedroom all are at their appropriate scales on the bottom level. Once the units proceed to the next level they take on a transformation form of one and a half level units. This level acts as the site does within the city, which is why the level is home to public rooftop gardens, as well as a public cafe. The last level of units transform into scales opposite of the original at the bottom level of the building. Each level has a completely different experience for each user.
V6 2016 Published Wentworth Architecture Review
PUBLIC
URBAN SETTING DIAGRAM
URBAN SETTING DIAGRAM
UN
SITE PLAN DIAGRAM
SITE PLAN DIAGRAM
FORM ITERATION DIAGRAM
Form Progression FORM STUDIO ITERATION DIAGRAM
INVERSE
STUDIO
INVERSE
1 BEDROOM
Studio
GR
TRANSFORMATION
2 BEDROOM 1 BEDROOM
One Bedroom TRANSFORMATION 3 BEDROOM
NORMAL
2 BEDROOM
Two Bedroom UNIT TRANSFORMATION DIAGRAM
3 BEDROOM
Three Bedroom UNIT TRANSFORMATION DIAGRAM
NORMAL
Unit Transformation
NIT TRANSFORMATION DIAGRAM
p. 6
TRANSFORMATION TRANSFORMATION
Green/Public Space Diagram NORMAL NORMAL
REEN/PUBLIC SPACE DIAGRAM
GREEN ROOF SYSTEM DIAGRAM
Green Roof System Diagram GREEN ROOF SYSTEM DIAGRAM GREEN ROOF SYSTEM DIAGRAM
Structure, Support Insulation, Moisture Barrier Filter Layer Capilary Layer Growing Media
1
Building Units
SB
Parking Garage
Circulation Diagrams SCALE: NO SCALE
W
S Circulation and Program
SCALE: NO SCALE
SB p. 8
S
Green Roof
Public Space/Cafe
1
S
Western View W
B
ESTCODE
DW
BIKE STORAGE
2 BEDROOM #1 LEVEL 1
STUDIO #1 ADA
1 BEDROOM #1 ADA
A
3 BEDROOM #1 LEVEL 1
Floor Plan Level 1 B ESTCODE
1 BEDROOM #3 LEVEL 1
2 BEDROOM #2 LEVEL 2
ESTCODE
3 BEDROOM #2 LEVEL 2
PUBLIC SPACE ROOF TOP GARDEN
A STUDIO #2 LEVEL 2
1 BEDROOM #2 LEVEL 1
Floor Plan Level 3
B
p. 10
1
2 BEDROOM #1 LEVEL 2
OPEN TO BELOW
2 BEDROOM #2 LEVEL 1
OPEN TO BELOW 3 BEDROOM #2 LEVEL 1
A
3 BEDROOM #1 LEVEL 2
STUDIO #2 LEVEL 1
Floor Plan Level 2 B
2 BEDROOM #3 ADA 1 BEDROOM #3 LEVEL 2 STUDIO #3 LEVEL 1 ESTCODE
OPEN TO BELOW
A 1 BEDROOM #2 LEVEL 2
ROOF TOP TERRACE
Floor Plan Level 4
1
1
SB
HOLD DOWN OCCURENCE W/ ANCHOR BOLT METAL DECKING TYP. SPIDER CLAMP STRUCTURAL CABEL 12" WRAPPED STRUCTURAL BEAM
Detail Section Drawings
HOLD DOWN OCCURENCE W/ ANCHOR BOLT
DOUBLE PANE GLASS W/NGARGON FILLING METAL DECKI TYP. SPIDER CLAMP
2
STRUCTURAL CABEL
SCALE: 1/4” = 1’-0”
12" WRAPPED STRUCTURAL BEAM
SCALE: 3/4” = 1’-0”
DOUBLE PANE GLASS W/ ARGON FILLING
HOLD DOWN OCCURENCE W/ ANCHOR BOLT 1/2" SUB FLOOR
2
3" RIGID INSULATION SLAB PAD TYP. PERFORATED CLAY HOLDDRAIN DOWN
OCCURENCE W/ ANCHOR BOLT
1/2" SUB FLOOR
1
3" RIGID INSULATION
3
SLAB PAD TYP.
WOOD BALUSTRADE PERFORATED
3
CLAY DRAIN
BALUSTRADE BOLTED CONNECTION ALUMINUM TRIM 12" WRAPPED STRUCTURAL BEAM 4" WOODEN CLADDING CLADDING MOUNTING LAYER SPRAY FOAM INSULATION WOOD BALUSTRADE
4
BALUSTRADE BOLTED CONNECTION ALUMINUM TRIM 12" WRAPPED STRUCTURAL BEAM
ALUMINUM TRIM 4" WOODEN ROOF DECK STAIRS
CLADDING
CLADDING MOUNTING LAYER
WOODEN HANDRAIL SPRAY
FOAM INSULATION
BRIDGE STAIR TO FACADE CONNECTION
STAIRS OFF OF BRIDGE
4 ALUMINUM TRIM
5
WOOD CLADDING WINDOW PANE
ROOF DECK STAIRS WOODEN HANDRAIL
GREEN ROOF TRUSS SYSTEM
2
BRIDGE THROUGH STAIR TO FACADE CONNECTION TRUSS CONNECTION FACADE
12" WRAPPED BEAM BOLTED TO BRACKET STAIRS OFF OF BRIDGE
DETAILED SECTION A
Detail Section A 5
WOOD CLADDING
SPRAY FOAM INSULATION
4
p. 12
1
ALUMINUM TRIM
ROOF DECK STAIRS WOODEN HANDRAIL
2
BRIDGE STAIR TO FACADE CONNECTION
DETAILED SECTION A
STAIRS OFF OF BRIDGE
5
WOOD CLADDING WINDOW PANE
GREEN ROOF TRUSS SYSTEM TRUSS CONNECTION THROUGH FACADE 12" WRAPPED BEAM BOLTED TO BRACKET
5
4
DETAILED SECTION B
Detail Section B
3
1
5
5
2
3
1 7
Wood Cladding
2
Aluminum Trim
6
1
3 6 4
6
5 5 7
Structural Mounting/Weatherproofing 5
2
5
Steel Framing Structure 1
7
5
5
5
1
7
1
Curtain Wall Structure
3 1
2 5 6 7
Interior Wall Structure
7
Steel Truss Structure
1 1 15
4
4
1
7 4
3
4
5 4
3
2 1
3 2 3
3
1
1
2 2
1
2 1 Structural Exploded Axon
1
p. 14
1 7
4
5
Northwest View
Studio Type 1 Rendering
Studio Type 2 Rendering
p. 16
1
Studio Type 3 Rendering
Site Section Perspective
p. 18
1
Site Section Perspective
p. 20
1
p. 22
1
p. 24
2
Museum of the Senses Studio 5
Fall 2015
Troy Peters
The Museum of the Senses project is located in Boston on Bolyston Street and sits above the overpass of route 95. It is also on the edge of the dense prudential center of boston, and an open section of Boston that is comprised of smaller apartments. The site was much more compelling and easier to understand once I was on top of the garage you see in the rendering. That third person perespective vs the first person perspective of walking on the site is the focus of my design. That relationship is how my building functions. The two cores of my building gesture towards the places that you can view onto the site, and those act as supports for the third person experience of my design. There are walkways at midfloor plate that cut through the sensory spaces, and pass outside of the building to get a further understanding of the building and it’s spaces. The sensory spaces are eperienced initially without a sense, giving the user an incomplete first experience, until that third person experience.
FIRST TO THIRD SENSORY EXPERIENC
DIAGRAMMING: NT
FIRST TO THIRD SENSORY EXPERIENCE DIAGRAMMING: NTS
URBAN DIAGRAM Urban SiteSITE Plan
ET TS
AV E
URBAN SITE DIAGRAM
BO
TO N
ST
ER
RA
IL
IA
YLS
DA
TO N
TS
A
C
SA
CH
ST
US
IA M
UT
ER
E
IK
RA
P
ST
T
MM
S
S
CO
IL
IA CIL
St
S A
IA
R
M
B
MA S
(+)
(-)
(-)
(+)
(+)
LT ON
BO
OT
ET
SC
CE
ST
St
St
ST
CIL
CE St
E IK P
UT
T
AV E
MM
S
S
CO
S
IA
MA
R
A M
B
M
SS
A
C
AC
HU S
YLS
DA
ST
LT ON
IA OT
SC
FORM PROGRESSION DIAGRAM
FORM PROGRESSION DIAGRAM
Form Progression
(-)
(+) (-)
(+)
(+)
TIA ST
IA OT SC
O SC
ST
DA LT DA ON LT S ON
St
FORM PROGRESSION DIAGRAM FORM PROGRESSION DIAGRAM
p. 26
CE
2
TS
First to AXIS Third Perspective Diagrams CORE AXIS ORIGIN DIAGRAM CORE ORIGIN DIAGRAM
FIRST THIRD BUILDING DIAGRAM FIRST TOTO THIRD BUILDING DIAGRAM
Building Diagrams
FIRST THIRD SENSORY DIAGRAM FIRST TOTO THIRD SENSORY DIAGRAM
CIRCULATION DIAGRAM CIRCULATION DIAGRAM
FIRST TO THIRD SENSORY EXPERIENCE PLANS: 1/8”=1’-0” DETAIL SECTION: 3/16”=1’-0”, 3/4”=1’-0” A
A B
B
LECTURE HALL EXTERIOR SENSORY SPACE CAFE
C
C
OFFICE STORAGE ENTRY LOBBY
MECH RM.
SOUNDLESS SENSORY SPACE
A
SIGHTLESS SENSORY SPACE
A
B
FirstLEVEL Floor1 FLOOR PLAN
C
GALLERY SPACE
B
Plan
FLOOR PLAN LEVEL 2 Second Floor Plan C
C A C EXTERIOR SENSORY SPACE
B A
B
EXTERIOR SENSORY SPACE B
A GALLERY SPACE A
B
FEEL SENSORY SPACE
Third Floor Plan C
1
ROOF PLAN
FLOOR PLAN LEVEL 3
C
Roof Plan
EXTERIOR SENSORY SPACE GALLERY SPACE
A
1
2
p. 28
B
2
B
FLOOR PLAN LEVEL 3
ROOF PLAN FIBERGLASS INSULATION
1/2" SUB FLOOR
HOLD DOWN W/ ANCHOR BOLT METAL DECKING TYP. 12" WRAPPED BEAM
3" RIGID INSULATION
C
SLAB PAD TYP. PERFORATED CLAY DRAIN
FIBERGLASS INSULATION HOLD DOWN W/ ANCHOR BOLT
1
METAL DECKING TYP. 12" WRAPPED BEAM
2
1/2" SUB FLOOR 3" RIGID INSULATION SLAB PAD TYP. PERFORATED CLAY DRAIN 1/2" SUB FLOOR 3" RIGID INSULATION SLAB PAD TYP. PERFORATED CLAY DRAIN
2 DETAIL SECTION A
Detail Section A
3
5
4
MULLION
CLAMP FIRST TO THIRD SENSORY EXPERIENCE HANDRAIL GLASS FACADE
STAIR TO GLASS
ROD TO BEAM CONNECTION 12” WRAPPED BEAM DETAIL WEB TRUSS MEMBER
HANDRAIL
STRUCTURAL ROD
STAIR TREAD
HANDRAIL STAIR TREAD MULLION BOLTED STAIR TO GLASS
W 12 X 24 BEAM WEB TRUSS MEMBER STRUCTURAL ROD CONNECTOR
HANDRAIL CONNECTION GLASS FACADE
Detail Section B
SPIDER CLAMP CONNECTION PANE OF GLASS
3 4
SECTIONS 1/4”=1’-0”, 3/4”=1’-0”
SPIDER CLAMP PANE OF GLASS
6A
6B 6B p. 30
HANDRAIL CONNECTION GLASS FACADE SPIDER CLAMP CONNECTION PANE OF GLASS
TRIPLE PANE ARGON GLASS
TRIPLE PANE ARGON GLASS
MARBLE PANEL
NEOPRENE SPACERS
ALUMINUM HONEYCOMB STRUCTURAL PANEL
MULLION CONNECTION
FACADE CLIPPING SYSTEM
2
BOLTED TRANSOM BAR JOINT
DETAIL SECTION B
TRIPLE PANE ARGON GLASS MARBLE PANEL ALUMINUM HONEYCOMB STRUCTURAL PANEL FACADE CLIPPING SYSTEM
5 6A/B
TRIPLE PANE ARGON GLASS
PRENE SPACERS
ION CONNECTION
ED TRANSOM JOINT
Detail SectionCC DETAIL SECTION
FIRST TO THIRD SENSORY EXPERIENCE
SUSTAINABILITY AXON: NTS STRUCTURE AXON: NTS
FIRST TO THIRD SENSORY EXPERIENCE
SUSTAINABILITY AXON: NTS STRUCTURE AXON: NTS
Sustainability Axon
1 SUSTAINABILITY AXON
1: STRUCTURAL CLIP 1
1:1 OPERABLE LOUVER SHADING DEVICES
OperableLOUVER LouverSHADING Shading Device 1: OPERABLE DEVICES
2: STRUCTURAL CLIP 2
p. 32
Structural Clip 1CLIP 1 1: STRUCTURAL
2
2: STRUCTURAL Structural Clip 2 CLIP 2 INTERIOR WALL STRUCTURE
Interior Wall Structure
Honeycomb Aluminum PanelPANEL 3: HONEYCOMB ALUMINUM Marble Panel 4: MARBLE PANEL Expansion Joint 5: EXPANSION JOINTS
MOUNTED GLASS FACADE
Mounted Glass Facade
1 2
3 4 5
STRUCTURAL EXPLODED AXON
Structural Exploded Axon
Interior Sensory Renderings
p. 34
2
p. 36
2
p. 38
2
p. 40
3
Micro House Design Studio 4
Summer 2015
Aaron Weinert
This project was a 12 day intensive project in which we had to design a micro-house for any site in the world. We defined our site and were given a maximum size limit. The concept behind my design revolves around my interpretation of what a microhouse is. Micro houses always seem very open and yet have many hidden components to the design. This design process fascinates me because of how space saving everything actually is. This compact nature of design gives a preconception of a compact building, but that is not the case. Most designs are very open, which brought me to the concept of exposure. Designing an open floor plan design, but showing the structure to the user. This structure supports the whole design, and I want to show that as a part of the architecture. That is why the structure of my building supports the building from the outside and is the only piece of the design that touches the ground. This allows the structure to be part of the architecture.
V6 2016 Published Wentworth Architecture Review
1
ENTRY
LIVING SPACE
KITCHEN
DESK
2 COLLECTION BATHROOM
N
Floor Plan Level 1 FLOOR PLAN - LEVEL 1
1
Sustainability Sections
2
1 p. 42
3
ROOF
2
SLEEPING SPACE
2
2
N
FLOOR PLAN - LEVEL Floor Plan Level 2 2
1
Form Progression
Structure and Form Progression
Structure Option 1
Structure Option 2
4 p. 44
3
SECONDARY STEEL BEAM
SteelSTRUCTURE Structure STEEL (SECONDARY) (Secondary)
BOLTED CONNECTION
4 3
3
SHEARED CONNECTION BOLTED CONNECTION CROSS BEAM WIDE FLANGES
2
2
STEEL SteelSTRUCTURE Structure (PRIMARY) (Primary)
WIDE FLANGES SHEARED CONNECTION
1 BOLTED CONNECTION CLADDING CONNECTION
1
VERTICAL WOOD PANEL BOLTED CONNECTION PANEL TO FRAME CONNECTION WALL SYSTEM
Wood Framing WOOD FRAMING
p. 46
3
p. 48
4
Community Center Design Studio 3
Fall 2014
Paul Fowler
The community center design project takes place on the Stony Brook T stop on the orange line in Jamaica Plain of Boston. The site is located in a very rich cultural area on the outskirts of Boston. This area has many people of different cultural, social, and economic backgrounds. The site is directly over the T stop so there are even more influxes of people then the ones that live there. These different types of people are sectioned off from one another in their own neighborhoods that act as boundaries for areas that are deemed safe or not safe. These social habits of staying boundaried off to your cultural background is broken down by things such as the city or the T. The T stop acts as a boundary breaker, and that is what a community center is meant to do. Breaking down those boundaries is the function of my design. The gathering spaces of my design are meant to be operable and open up to the rest of the design. Floors and walls move to bring together the people in the design.
Moving Floor Detail
Progression
Key Plan - Hydrolic Detail
Progressional Section
Before
Detail
Structural Detail Section
Transition
After
Structural Detail Section
Detail Section - Moving Floor Detail
Hydrolic Detail Key Plan - Hydrolic Detail
Progressional Section
Detail
Structural Detail Section
Before
Progression
Structural Detail Section Detail Section - Hydrolic
Detail
Transition
After
p. 50
4
Form Derivation Diagram
Form Derivation
Facade Design Diagram
Facade Derivation
p. 52
4
p. 54
4
p. 56
5
New England Conservatory Design Studio 2
Spring 2014
James P. Allen
The New England Conservatory is a school located on Huntington Avenue in Boston. The project was to design onto an existing building. The school is a music school that has a history of sending students into the field of music. Their staple of the school is their theatre (Jordan Hall) in which they perform. The building is made out of a heavy stone that has a distinct rhythm to it. To me that speaks to the rhythm of music, and how grounded the teachings of music are. I made this building the contextual focus of my design. The rhythm of my design was taken directly from Jordan Hall. The materiality of my design is mainly glass that uses this rhythm of Jordan Hall to provide a grid in which I shift. This shift in rhythm allows spaces for musical collaboration spaces. These shifts in rhythm gives a moment to reflect on the structure and grid of Jordan Hall while being in a new musical teaching space. This to see where the school comes from and use that to better the teachings of today.
p. 58
5
p. 60
6
Nexus World Housing Precedent Studio 4
Summer 2015
Aaron Weinert
This project was a precedent study for Nexus World Housing done by Rem Koolhaas. The project was an intensive 7 day project that required a group of four to do a 1/2” = 1’-0” scale section model as well as a presentation board with multiple diagrams explaining the design from our research. Our goal was to study this project in order understand more unique way of designing a housing building. The problem about gathering research is that it is in Fukuoka, Japan and has no concrete documentation with the exception of a study done by other students from a different school. The project is the staple of prototyping. The building has concrete structure and black preformed concrete for the facade. So we actually cast concrete by making molds. Then I CNCed a piece of wood and vacuum formed black plastic in order to represent the black preformed concrete facade of the real design. This was the first that machine was used for a studio project.
V6 2016 Published Wentworth Architecture Review
a
a
d
B
b
c c
A
b
d
b
Unit Type Organizaton
b
a b
a b
a
d c
c
d
Unit type form diagram
Roof Form
open and green space
D C
Living Space Building Facade
Bathroom programmatic relationships residential
fenestration and light
circulation commercial
Unit Types
Building Structure
Unit A Exploded Axon
tectonic origins
tectonic relationships
connection
Interior Walls
micro
urban
Building Exploded Axon
nexus housing development
Bedroom
p. 62
6
Vertical Physical Unit Connection
Green Space Open Above Terraces
Green and Open Space
Residential Circulation Commercial Programmatic Relationships
p. 64
6
p. 66
7
Fogg Art Museum Precedent Studio 5
Fall 2015
Troy Peters
This precedent study project was the study of the Fogg Art Museum by Renzo Piano. Our goal of the project was to study a museum and how it can be about more than displaying art. This project was another intensive 7 day project in a group of 2. The requirements were a presentation board with multiple diagrams explaining the building and a 1/8” = 1’-0” scale section model. This model was enhanced by digital fabrication and the tools in our architecture fabrication lab. I modeled the vaulted archway using rhino and 3D printing to make the model more accurate and realistic. Most of the construction was done with CAD modeling and laser cutters. The other half of the building was done all by hand and going off of existing floor plan, photos, and on site measurements. What we took away from the project is how a museum can also be used to reflect on the existing architecture of the site. Making the museum just as much about the public who inhabit the site rather than just the users of the museum.
V6 2016 Published Wentworth Architecture Review
1
2
3
Track
4
5
6
Cladding Connection Glass Roof
Structure
Wooden Cladding
Roof Connection
Insulation
Curved Ceiling Panel Ductwork Track Lighting Gallery Lighting Structure
Gallery Lighting
Wooden Cladding
Insulation
Operable Panel
Structure
Mid-Wall Connection
Public
Floor Plate Wooden Cladding Intermediate Cladding Concrete Footing
Gallery
Base Connection
Courtyard Lighting
Employee
Programmatic Exploded Axon
Structural Exploded Axon
p. 68
7
Operable Panel Rendering
p. 70
7
p. 72
8
Professional Works ADD Inc. (Now With Stantec) Fabrication Work
This final section of my portfolio focuses on some of my professional works as well as some of my extra projects. These first three renderings are from my internship working at ADD Inc. (Now with Stantec). This project was making market renderings from Revit to represent the spaces being displayed on a mixed use housing project near South Station in Boston. The second set of three images are from a installation project I did with a professor at Wentworth. It was for his company to create an exhibit in the Illuminance event near Fenway Park in Boston. Illuminance is an event that brings together artists and designers to create an interactive installation that utilizes some sort of light. This project focused on the movement and interaction of people using sensors to display certain images on these fabric lamp shapes. The last set of three images is a project I did outside of classes. I used the CNC and woodshop to fabricate an electric guitar in order to learn more about the instrument and the making process.
In Collaboration With LiFang
p. 74
8
p. 76
8
p. 78
8
Instrument Project Build
p. 80
8
Illumination Installation - Rob Trumbour