STEPHANIE
ANNE
A
J A Z M I N E S Ya l e S c h o o l o f A r c h i t e c t u r e Masters of Architecture | Post- Professional 2015
C O N T E N T S STUDIO WORK 06 - 27 _ MASS AVE | An Urban Project in Cambridge, Massachussetts 28 - 57 _ REYKJAVÍKUFLUGVÖLLUR | A Domestic Airport in Reykjavík, Iceland
COMPUTATION & FABRICATION 60 - 61 _ ARMORDILLO | Unrolled Surface Structure 62 - 63 _ PIXELATED | Window Screen 64 - 65 _ STEPPING STAIRS | Threshhold Installation
INNER WORLDS: THE POLITICS OF AFFECT 69 - 73 _ PERSHING SQUARE | Phenomenology Case Study
SCULPTURE 76 - 83 _ EXPLORATIONS IN MATERIALITY
DRAWING PROJECTS 86 - 119 _ PORTRAITURE
S T U D I O Ya l e
S c h o o l
o f
W O R K A r c h i t e c t u r e
M ASS C a m b r i d g e ,
M A
AV E N U E |
Fa l l
2 0 1 3
Critics: Ed Mitchell & Aniket Shahane Partner: Adam Wagoner
Focusing on Massachusetts Avenue in Cambridge, MA, we were exploring the development of an urban scheme through the study of street typologies. Taking a very subtle approach to the project, we designed Mass Ave as a central connecting spine and worked to establish streets and blocks that would both feed into and out of it. Carefully studying the current state of the site, and the large number of landmarks and notable buildings within it, we focused on how to preserve the eclectic character of the existing avenue while also amplifying it. The introduction of a plaza and a parkway as book ends gives the community large open space and room to gather and grow. In conjunction with the streets and inner blocks, the whole scheme offers a diversity of public space, while still holding the Avenue as a main event.
1.ESTABLISH A REAL SQUARE: existing massing
1.ESTABLISH A REAL SQUARE: existing block structure
1.ESTABLISH A REAL SQUARE: proposed block structure T
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O PR
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WESTERN AVE.
RIVER
WESTERN AVE.
ST.
RIVER
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Z GA MA
2.CREATE A GATEWAY: existing block structure
2.CREATE A GATEWAY: proposed massing
CO
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2.CREATE A GATEWAY: proposed block structure
MAIN S
MAIN S
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3. INFILL RESIDENTIAL: proposed block structure
3. INFILL RESIDENTIAL: pedestrian street
200’ 200’ 200’ 200’
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IN
Z GA MA
3. INFILL RESIDENTIAL: proposed massing
. ST
1.ESTABLISH A REAL SQUARE: proposed massing
2.CREATE A GATEWAY: existing massing
1.ESTABLISH A REAL SQUARE: proposed program
CONVENTION CENTER/ HOTEL LIBRARY
PARKING
2.CREATE A GATEWAY: proposed program
3. INFILL RESIDENTIAL: existing massing
3. INFILL RESIDENTIAL: existing block structure
OFFICE BUILDINGS 325’
200’ 200’
COMMUNITY/ARTS CENTER
3. INFILL RESIDENTIAL: housing typologies
3. INFILL RESIDENTIAL: housing types
4 to 12 floors
4 to 12 floors
Retail first 2 floors
Retail first 2 floors
50’
Commercial Street Type yp
Commercial Street Type yp
4 to 6 floors
100’-200’
level of parking 1 level
Inner Block Type y
4 to 6 floors
4 to 6 floors
100’-200’
1 level of parking
65’
100’-200’
level of parking 1 level 65’
65’
Inner Block Type
2-4 story tall units
Inner Block Type y
2-4 story tall units
1 level of parking
Outer Block Type y
Retail first 2 floors 90’
50’
50’
Commercial Street Type
20’-30’’
4 to 12 floors
90’
90’
40-50’
3. INFILL RESIDENTIAL: housing typologies
2-4 story tall units
1 level of parking 20’-30’’
40-50’
Outer Block Type yp
1 level of parking 20’-30’’
40-50’
Outer Block Type
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DIAGRAM _ 1:100
FINAL MASSING: floor area ratio(FAR) data
FIGURE GROUND _ 1:100 Total Parcel Area Total Ground Floor Area
Total FAR
2.3
0.9
1,351,000sqft 58,954,000sqft
3.6
4.8
2.8
2.9 2.6
5.6 5.0
2.6 3.6 2.6
4.0
4.3 6.2 3.1 3.6
4.3
0.4
4.9
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THE PARKWAY On the east end of Mass Ave, we proposed a green parkway that would tie together the MIT University Green to the rest of the neighborhood to the north. Within this space, we located neighborhood amenities such as retail space and a community center facing the historic fire station. This would be the entry to Central Square from Boston proper.
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M ASS
AV E N U E
P R O C E S S
Because of the subtle approach of the the urban scheme, we went through a number of iterations. Each street was studied in terms of width, building setback, and height. The plan itself became very important in assessing appropriate street types.
S K E T C H
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P L A N
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S K E T C H
P L A N
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S E C T I O N
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T H R O U G H
S Q U A R E
S E C T I O N
T H R O U G H
PA R K WAY
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R E Y K J AV Í K U F L U G V Ö L L U R R e y k j a v i k ,
I c e l a n d
|
S p r i n g
2 0 1 3
Critic: Peggy Deamer A DVA N C E D
ST U D I O
The issue of the domestic airport located within the bounds of a city lends itself to a number of considerations. Within this studio, we addressed the project on three scales: urban, building, and detail. At the urban scale, I developed the landscape as a series of arc movements that both contain and connect. At the detail scale, much consideration was given to the particularly harsh climate of Reykjavik as well as the low angle of the sun. A double curtain wall allowed for continuous movement along the perimeter of the building. As for the building scale, the program was developed to make the airport not only an infrastructural element, but also a cultural center where the community could gather. The scheme was developed with the idea of a regional airport being a marker of regional identity. The occupiable roof reflects the history of Iceland’s turf houses.
1. BUILD UP HOSPITAL
EXISTING CONDITION
U R B A N 30
AS OUTLINED BY THE 2017 LANDSPITALI PLAN
D I A G R A M S
2. MOVE AIRPORT CLOSER TO HOSPITAL EXTEND PEDESTRIAN ACCESSIBILTY THROUGH LANDSCAPE
3. REMOVE E-W RUNWAY ENLARGE SMALLEST RUNWAY
4. CONNECT CITY N-S ESTABLISH BUFFER ZONE WITH LAND RECLAIMED FROM RUNWAY
5. BUILD UP URBAN FABRIC INTEGRATE INTO EXISTING PATH SYSTEM
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U R B A N 32
P L A N
S I T E
P L A N 33
+ 8 34
P L A N
+ 1 3
P L A N 35
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E L E VAT I O N S 37
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S E C T I O N S 39
T R A N S V E R S E 40
S E C T I O N
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R E Y K J AV Ă? K U F L U G V Ă– L L U R P R O C E S S
In beginning this project, we initially took Tweed Airport in New Haven, CT, as a case study in how to develop a regional airport and curtain wall. Many of the aesthetic and planning ideas taken from that exercise carried over into the regional airport in Iceland. Much of the desired pheonomenological affect of varying translucency and simple, elegant form was developed first from the Tweed exercise.
T W E E D 44
A I R P O R T
S T U D I E S
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U R B A N 46
D I A G R A M S
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R E Y K J AV I K
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M I D
T E R M
M A S S I N G
M O D E L 49
C O N C E P T 50
S K E T C H E S
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P L A N 54
C O N C E P T
S K E T C H E S
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FA B R I C AT I O N Ya l e S c h o o l o f A r c h i t e c t u r e | 1 0 6 2 a Instructor: John Eberhart
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ARMORDILLO FA L L
2 0 1 3
An introduction to using Rhino and unfolding surfaces, this exercise was used to explore an easily manipulated module. The module was based on a pentagon that would be able to nest, thereby allowing movement between the joints so the “armadillo� could curl up.
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24”
4”
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P I X E L AT E D Fa l l
2 0 1 3
Par tner : Julsci Futo
The prompt for this assignemt was to use multiple fabrication methods to create a window screen. Starting with the idea of a screen that looks opaque on one side and opens up on the other, we developed a simple construction module of rotate square sections. The piece is milled flat with a Grasshopper sampled image and then cut into rectangular parts. Each hole is lined with a colored vinyl, as a reference to the negative of the image’s original colors.
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DESIGN VISION
7TH FLOOR BACK PIT
JAPANESE STEPPING STONES
STEPPING STAIRS
DESIGN PARAMETERS
WIDTH & LENGTH
CUT TEMPLATE
.75” MDF
x3 64
NUMBER
SCALE MOCK-UP
CURVE
DISTRIBUTION
PLAN
FABRICATION
ST E P P I N G STA I R S R u d o l p h
H a l l
I n s t a l l a t i o n
|
Fa l l
2 0 1 3
Partners: Kate Lisi & Laurence Lumley
Prompted by the idea of “threshold,” we decided to translate that into an idea of “passage.” The space we decided on for the installation is usually one that people rush through, going down a set of stairs on one end and up a set on the other. We drew on the idea of Japanese stepping stones as a way to slow down that movement and allow for a time to enjoy the view towards East Rock. Rather than making stone-like objects, we used stairs with multiple determining variables to reflect the multi-level nature of Rudolph Hall.
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I N N E R
P O L I T I C S
W O R L D S O F
A F F E C T
Ya l e S c h o o l o f A r c h i t e c t u r e | 1 2 1 5 Instructor: Brennan Buck
ANGELS FLIGHT
LITTLE TOKYO
GAS CO. TOWER
BILTMORE HOTEL METRO STATION
PACIFIC CENTER
CITY NAT’L BANK
INT’L JEWELRY CENTER
L.A. ATHLETIC CLUB
JEWELRY DISTRICT
HISTORIC DOWNTOWN
GALLERY ROW
FINANCIAL DISTRICT
L.A. LIBRARY
PERSHING SQUARE C a s e
S t u d y
&
D e s i g n
|
Fa l l
2 0 1 3
After reading selected work from architectural phenomenologists, we worked to apply those concepts in a design exercise. I focused on redeveloping Pershing Square in downtown Los Angeles. The concept concentrated on exposing the olfactory sense as a primary means of experience. Virginia Woolf had said that one must “saturate every atom.� This project attempts to do that literally by using the very saturation of the air to program the space. As Pershing Square is currently an expanse of concrete in the middle of the city, I proposed to regreen the park and use the different perfume qualities of plants to structure the varying programmatic elements that are determined by the external needs of the city itself.
CURRENT PLAN
PLAYGROUND
LEISURE, STRESS RELIEF
CAREFREE, FAMILIAR
RETAIL AREA
SCULPTURE GARDEN
INDUCE CONSUMPTION (ARTIFICIAL)
VISUAL OVER OLFACTORY
GALLERIES
F L O W E R Y, SW E E T
HISTORIC
READING AREA
RETAIL AREA
ATHLETICS
CENTRAL LAWN
PLAYGROUND
RETAIL AREA
SCULPTURE GARDEN
TOURISM
OFFICES
JAPANESE GARDEN
EATING AREA
TRANSIT
CENTRAL LAWN
CLEANSING, ENERGIZING
HOTEL
JAPANESE GARDEN
LITTLE TOKYO
ATHLETICS
OFFICES
RETAIL AREA INDUCE CONSUMPTION (ARTIFICIAL)
LIBRARY
RETAIL
CLARIFYING, EDIFYING
RESIDENCES TOURISM
READING AREA
INDUCE HUNGER
HOTEL
TRANSIT
EATING AREA
ATHLETIC CLUB 70
LIBRARY
LITTLE TOKYO
RETAIL
OFFICES
OFFICES
RESIDENCES
ATHLETIC CLUB
GALLERIES
HISTORIC
Architecture phenomenology offered “the prospect that architects might employ their unique experiential and aesthetic means to investigate the intellectual content of history. [… it was] the testing ground for the new theoretical questions regarding the authenticity of the human experience of architecture and place and the stability of history as a grounding source of design. […] A r c h i t e c t u r e p h e n o m e n o l o g y ’s t u r n t o w a r d history was from the notion that a certain k i n d o f e x p e r i e n c e, a t o n c e o f t h e m o m e n t a n d timeless, was what was really at work driving architectural history.”
-Jorge Otero-Pailos “ A r c h i t e c t u r e’s H i s t o r i c a l Tu r n : P h e n o m e n o l o g y a n d t h e R i s e o f t h e P o s t M o d e r n” 71
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S C U L P T U R E Ya l e S c h o o l o f A r t | 1 1 0 Instructor: Michelle Lopez
A S S I G N M E N T N o. 1 : C L AY B U S T > XINYI \ 4” x 4.5” x 2.5” \ Fired Clay 76
ASSIGNMENT No. 2 : CARVED PLASTER BLOCK > OBESE LANDSCAPE \ 11” x 5” x 3” \ Plaster 77
ASSIGNMENT No. 3 : FORGERY > PISTOLETTO’S “QUADRO DA PRANZO” \ 6’-6” x 6’-8” \ Solid Fir 78
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ASSIGNMENT No. 4 : THE ARCHITECTURAL MODEL > A F R I E N D LY D I S P U T E \ 5 ’ x 3 ’ x 2 ’ \ S o l i d F i r & H e m p S t r i n g 80
ASSIGNMENT No. 6: FINAL PROJECT > M A I L- O R D E R E D \ 24 ” x 2 1 ” x 4 8 ” \ C a r d b o a r d , B u b b l e W r a p & P a c k i n g P e a n u t s 81
RICHARD SERRA S TA C K S ON
VIEW
1 1 . 2 0 . 1 3 | 1 0 : 3 0 A M TO 1 2 : 3 0 P M L I M I T E D
E N G A G E M E N T
YALE UNIVERSITY ART GALLERY Y O R K S T R E E T C O U R T YA R D
ASSIGNMENT No. 5 : I N S TA L L AT I O N > RICHARD SERRA, ON VIEW \ Posters & Ladder 82
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DRAWING PROJECTS Ya l e S c h o o l o f A r c h i t e c t u r e |
1227b
C r i t i c : Tu r n e r B ro o ks
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150 PORTRAITS S p r i n g
2 0 1 3
Addressing the class prompt of obsession, I chose to use the semester to delve more deeply into an ongoing obsession of mine: Portraits. Establishing my own parameters from week to week, I used this opportunity to work in different media and in different scales. Each portrait is drawn from life, taking anywhere from 30 seconds to 15 minutes. Within this collection of drawings is evidence of my own artistic interests in line quality, color, and economy of expression. Throughout this time, none of the subjects were aware that they were being visually recorded. Not all portraits are shown here.
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A L A N 116
K A R L A 117
P E G G Y 118
E D 119
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STEPHANIE
ANNE
A
J A Z M I N E S Ya l e S c h o o l o f A r c h i t e c t u r e Masters of Architecture | Post- Professional 2015
stephanie anne.jazmines@yale.edu _ 323 | 363 | 7671