Segment 1 Portfolio STEVE
HEBSCH
BACHELOR OF ARCHITECTURE
About Me My experiences at the BAC, coupled with my professional practice, has fostered my growth in many ways over the past few years. I feel as though each studio, as well as each project, has created progress in my journey. The concurrent format of the BAC encourages growth by creating challenges not typically seen in traditional architecture programs. My education and pracNHAIA Project, 2009
tice is a constant reminder of the importance of the interative process, and its ability to stimulate
GBCC Addition, 2014
In my current position, I have been involved in every step of the design process on several large jobs, from Conceptual, Space Planning Stages, all the way into 100% Construction Documents and Construction Administration. This has provided me with a variety of experiences, allowing PH WR VHH ZLGH FURVV VHFWLRQ RI ZKDW LV LQYROYHG ZLWKLQ D SURIHVVLRQDO ÂżUP ,Q DGGLWLRQ WR ZRUNing alongside principals, project managers, and project architects, I have been to multiple client PHHWLQJV KHOG SUHVHQWDWLRQV WR H[SODLQ WKH SURMHFW WR FOLHQWVÂś VWDĎ‘ DQG KDYH KDG FRPPXQLFDWLRQ with numerous vendors and general contractors. I hope to continue to have a long association ZLWK WKH ÂżUP WKDW , DP FXUUHQWO\ HPSOR\HG DW ,Q WKH QH[W VWHSV RI P\ SURIHVVLRQDO FDUHHU , DVSLUH WR WDNH WKH $ 5 ( H[DPV VKRUWO\ DIWHU JUDGXDWLQJ WR WDNH DGYDQWDJH RI WKH FRQFXUUHQW PRGHO that the BAC truly capitalizes on.
Charcoal, 2012
Construction is an extremely expensive, energy intensive process that requires PDQ\ GLϑHUHQW GLVFLSOLQHV +DYLQJ ZRUNHG LQ YDULRXV VL]HG RϒFHV KDV DOORZHG PH WKH DELOLW\ WR VHH RϒFH RI GLϑHUHQW FDSDFLWLHV IXQFWLRQ 1HDUO\ HYHU\ SURFHVV IURP 0DUNHWLQJ DQG &RQVWUXFWLRQ $GPLQLVWUDWLRQ WR &RQFHSWXDO 'HVLJQ LV KDQGOHG LQ D GLϑHUHQW ZD\ ,Q DGGLWLRQ HDFK ¿UP KDV D GLϑHUHQW VHW RI YDOXHV WKDW WKH\ LQFRUSRUDWH LQWR HDFK SURMHFW $V D GHVLJQHU , VWULYH WR FKDQQHO P\ HϑRUWV WZRDUGV SURMHFWV that are worth building.
PORTFOLIO CONTENTS Academic A1 STUDIO DREAMSPACE PAINTING EXPLORATION URBAN RETREAT
8-13 14-19 20-25
A2 STUDIO CHAIR PROJECT THE PASSAGE THE RITUAL
28-31 32-35 36-39
B1 STUDIO BARCELONA PAVILION MUSEUM STUDIES NORTH END & LOVEJOY WHARF
42-45 46-49 50-55
B2 STUDIO APPARATUS AND TECTONIC STUDIES PAVILION AT ARNOLD ARBORITUM
58-63 64-69
DESIGN PRINCIPLES
70-75
SKETCH PROBLEM 1 & 2
76-79
CHARCOAL
80-83
Professional STENBAK DESIGN ASSOCIATES FORD AUTOMOTIVE DEALERSHIP
86-91
JSA ARCHITECTS McCONNELL HALL, UNH GREAT BAY COMMUNITY COLLEGE
VILLENEUVE HOME
92-97 98-105
106-109
A1 STUDIO DREAMSPACE PAINTING EXPLORATION URBAN RETREAT
8-13 14-19 20-25
DREAM SPACE FALL 2011 A1 STUDIO 7KH REMHFWLYH RI WKLV SURMHFW ZDV WR FUHDWH DQ DEVWUDFW VSDFH WKDW ZH ZRXOG OLNH WR H[SORUH 7KLV DVVLJQPHQW ZDV P\ ÂżUVW H[SHULHQFH DW D WUXO\ GHVLJQ RULHQWDWHG VWXGLR VR P\ LQWHUSUHWDWLRQ RI WKH VROXWLRQ ZDV GLĎ‘HUHQW WKDQ ZKDW ZDV H[SHFWHG 0\ GHVLJQ LQWHQWLRQ was to create a space that combined a standalone residence, that could be within a city environment. In addition, I intended for the space to be extremely sustainable, allowing WKH RFFXSDQWV WR KDYH D FRPIRUWDEOH H[SHULHQFH NQRZLQJ WKDW WKHLU IRRWSULQW ZDV OHVV than what it would have been in a home of typical construction.
The Core Tower would serve as vertical movement throghout the building, as well as a mechanical chase. The Core is also designed as a space for the occupants to meet.
8
Connection to the outside of the building was very important. By creating visual access to the outside, occupants could enjoy seeing activity outside. In addition to occupant satisfaction, there ZRXOG EH D VLJQL多FDQW DGYDQWDJH IRU solar gain.
This was achieved by creating basically a double envelope, where the air space served as the insulation for the design, as well as creating an interior, outside space in between the exterior envelope, and interior envelope.
INSTRUCTOR: WESLEY SCHWARTZ
9
The height of the core could allow the space to be elevated, so that the occupants could enjoy the space under the residence, the roof garden on top, and the space within the residence, itself.
10
The Core Tower would serve as vertical movement throghout the building, as well as a mechanical chase. The Core is also designed as a space for the occupants to meet.
INSTRUCTOR: WESLEY SCHWARTZ
11
This was achieved by creating basically a double envelope, where the air space served as the insulation for the design, as well as creating an interior, outside space in between the exterior envelope, and interior envelope.
12
The conclusion of this project was extremely informative, because I was able to gain a stronger understanding of how to create design concepts, as well as how to create diaJUDPV WKDW HĎ‘HFWLYHO\ FRQYH\HG P\ GHVLJQ LGHDV
INSTRUCTOR: WESLEY SCHWARTZ
13
PAINTING EXPLORATION FALL 2011 A1 STUDIO The objective of this project was to analyze an abstract painting, and establish rules that allow for the painting to be explored in three dimensions. This piece is by Liubov Popova, a Russian avant-garde artist, and designer. Her DUW LQ SDUWLFXODU ZDV PRVW LQĂ€XHQFHG E\ the Russian development of Cubo-Futurism. The geometric nature of this painting heavily encoouraged me to explore what other forms these planes could be. Could they perhaps be a face of solid, rather than planes, as suggested by the painting?
7KH ÂżUVW UXOH WR EHJLQ WR XQGHUstand the solid nature of these planes was through direction. By establishing the sense of direction, I could establish the possible orientation of the solids, to further determine the volume of the shapes that I was intepreting.
14
The second Rule that helped futher establish my understanding of the solids vs. planes was WKH /D\HULQJ 5XOH 7KLV UXOH VHHNHG WR HVWDEOLVK ÀDW SODQHV RI WKH JHRPHWU\ LQ WKH LPDJHV DQG KRZ WKHVH LPDJHV FRXOG SRVVLEO\ EH VNHZHG YROXPHV UDWKHU WKDQ FRQWRUWHG SODQHV $IWHU WKH UXOHV ZHUH FOHDUO\ HVWDEOLVKHG , FUHDWHG D PRFN XS PRGHO WR KHOS FRPPXQLFDWH P\ LQWHQWLRQV 7KLV DOORZHG PH WR TXLFNO\ H[SORUH SODFHPHQW IRU WKH PRGHO ZKLFK ZDV WR EH EDVHG Rϑ D ODUJH triangle that would served as the base, seen in the diagram above and below as #9.
INSTRUCTOR: WESLEY SCHWARTZ
15
16
7KURXJK HϑHFWLYH GLDJUDPming, I was able to justify the Layering and Movement rules that allow me to iterperate the volumes that can be seen as planes in the painting. Each diagram references a surface in which WKH OLJKW FRXOG UHÀHFW Rϑ RI in order to create the illusion of the planes within the painting.
INSTRUCTOR: WESLEY SCHWARTZ
17
7KURXJK PXOWLSOH LWHUDWLRQV , ZDV DEOH WR LGHQWLI\ GLϑHUHQW VROLG IRUPV WKDW could have faces that are orientated in such a way, that with the proper lighting and vantage point, recreate Popovo’s painting.
18
Further investigation with the use of a shadow box, had proven that the geometric forms that were interpreted in Popova’s painting, could in fact have been of a, geometric object, rather than planar surfaces. This project providHG D EUHDN WKURXJK IRU PH LQ UHDJDUGV WR VSDWLDO WKLQNLQJ Before this, forms and volXPHV ZHUH QRW DV VLJQ¿FDQW Now I understand the gravity that they carry.
INSTRUCTOR: WESLEY SCHWARTZ
19
URBAN CULTURAL CENTER FALL 2011 A1 STUDIO The Urban Cultural Center is ORFDWHG RĎ‘ RI 1HZEXU\ 6WUHHW directly across from the BAC. The design intent was to create a space in which my client, a physicist, could feel partially removed from the city for study, as well as have the ability to invite colleagues to contemplate VFLHQWLÂżF WKHRULHV
VIEW LOOKING SOUTH FROM ALLEYWAY
&XUUHQWO\ WKH VLWH LV TXLWH ÀDW DQG VHUYHV DV D SDUNLQJ ORW IRU surrounding residents. Access to the site from Newbury street is currently met with a concrete stair. The site is also accessible with virtually no change in terrain from the EDFN HQG RI WKH VLWH )RU PXFK of the day, the site recieves a large amount of shade, helpLQJ WR NHHS WKH VLWH FRROHU LQJ WR NHHS WKH VLWH FRROHU
20
VIEW LOOKING NORTH FROM NEWBURY ST.
0\ LQWHQWLRQV IRU WKH VLWH DUH WR UHPRYH WKH SDUNLQJ ORW DQG FUHDWH D JUDGXDO WUDQVLWLRQ IURP Newbury St to the Public Alley, bordering the North end of the lot. The pavilion for the physLFLVW ZLOO OLNHO\ EH FORVHU WR WKH URDG LQ RUGHU WR QRW RQO\ SURYLGH DQ HDVH RI DFFHVV EXW WR create spaces along the sites gradual slope for private conversation, and opportunities for random iteraction among attendees.
INSTRUCTOR: WESLEY SCHWARTZ
21
As I began to further study the program, it became apparent that rather than have the spaces completely separated, I needed to have a physical association between the two. You can see this physical association on the green space, in the models and drawings.
22
Not only did the separation or association of the spaces begin to impact the buildings design, but the roof also became a point of contention. Whether or not to show a larger roof spanning the two, separated spaces, or if they were FRQMRLQHG PDGH D VLJQLÂżFDQW GLĎ‘HUHQW WR WKH EXLOGLQJV PDVVLQJ DQG KRZ , ZRXOG OLNH WR WDLORU WKH HQWU\ZD\
INSTRUCTOR: WESLEY SCHWARTZ
23
The site to the right was successful in creating separate spaces. However, it disconnected the Presentation Space, which is meant to be publicly accessible, from Newbury St. I felt as though this disconnect would be disadvantage. The site below is far more successful at welcoming in visitors, while maintaining privacy for the Private Study.
24
The project ultimately was succesful in demonstrating how a private, study space, could be located in close proximity, but still achieve privacy. In addition small meeting spaces were located along the passageway from the lower, North end of the site, to the Newbury st level.
INSTRUCTOR: WESLEY SCHWARTZ
25
A2 STUDIO CHAIR PROJECT THE PASSAGE THE RITUAL
28-31 32-35 36-39
CHAIR PROJECT SPRING 2012 A2 STUDIO Our study began with a series of explorations involving various chairs. The purpose of this initial investigation was to gain an understanding of how previous designers have created successful chairs that not only complimented ergonomics, but were aethestically successful.
Ergonomics became central to our study, as we went through numerous iterations of measurements to completely understand how a chair could compliment the human form.
28
Our intial investigation required the construction of various concepts, with various iterations, WKURXJK VNHWFK PRGHOV DQG GUDZings. We focused on how a chair could accomodate the human form for comfort, with an emphasis on the activity of lounging.
To gain a comphrehensive understanding of how chairs can successfully compliment comfort, we studied chairs that we designed by famous designers, such as the Eames, 5 point Chair.
INSTRUCTOR: KERRI FRICK
29
Once we created a smaller version of our chair, our next step in the process was to create a larger version, which would allow us to explore how scalable our joint design could be. This larger iteration would be a chaise lounge chair.
Ergonomics remained central to our study, as our design goals involved creating a comfortable, durable lounge chair. Assembly was also important, so that joints could be simply repaired.
30
7KH ¿QDO SURGXFW ZDV DEOH WR VXSSRUW D VXϒFLHQW DPRXQW RI ZHLJKW 7KH IUDPH which was constructed of hundreds of joints would prove to be strong, yet light and portable.
INSTRUCTOR: KERRI FRICK
31
THE PASSAGE SPRING 2012 A2 STUDIO Our study began with a series of explorations involving various types of theoretical cities. These various cities had numerous, and unique conditions. Utlimately, the goals of these exercises were to create typolgies, within a site, that created a clear relationship of structure and space.
The two cities in which I studied were the Trading City of Esmeralda and The Thin City of Isaura. Through these two studies, we were to create a hybrid city, which would embody features of each city. From these features, we would begin to apply these to a human scale.
32
By creating a collage, we began to understand how each cities features could start to interact with the site, and how they may apply to human scale.
Through the analysis of spatial models, we were able to develop an approach to KRZ ZH ZRXOG OLNH WR LQWHUDFW ZLWK WKH VLWH Layering, and Expansion/Compression were the two tectonics that were the most LQĂ€XHQWLDO ZLWKLQ P\ RZQ ZRUN
INSTRUCTOR: KERRI FRICK
33
The passage would allow for a series of private and public spaces for visitors to engage with. There are also numerous spaces in which visitors can interact one another. The site is also designed to allow for random opportunities of interaction among visitors.
34
7KH ¿QDO LWHUDWLRQ RI WKH 3DVVDJH RϑHUV WKH XVHU WR H[SHULHQFH WKH VLWH WKURXJK multiple vantage points. This is engaged through a series of transitions involving layering and thresholds of public and private spaces.
INSTRUCTOR: KERRI FRICK
35
THE RITUAL SPRING 2012 A2 STUDIO For this series of exercises, we were to choose a ritual in which to derive our tectonics from. I chose the ritual of stone cutting. With a history of being a mason in my family, myself includHG , ZDQWHG WR H[SORUH KRZ WKLV FUDIWVSHUVRQ VNLOO VHW FRXOG EH DQDO\]HG LQ WHUPV RI DUFKLWHFtural tectonics. My two tectonics became splitting and drilling. BOYLSTON ST.
LORD & TAYLOR PRUDENTIAL MALL
36
There were numerous iterations performed in order to more thoroughly understand the roles in which each tectonic would engage the project, and how components such as shelter and seating would respond.
INSTRUCTOR: KERRI FRICK
37
38
7KH 多QDO LWHUDWLRQ WXUQHG RXW WR EH D VXFFHVVIXO V\Qthesis of the drilling and splitting tectonics. The metal plates that were used not only oscillate to represent the splitting, but also bend in numerous, gradual positions WR HYRNH D GULOOLQJ PRWLRQ
INSTRUCTOR: KERRI FRICK
39
B1 STUDIO BARCELONA PAVILION MUSEUM STUDIES NORTH END & LOVEJOY WHARF
42-45 46-49 50-55
BARCELONA PAVILION FALL 2012 B1 STUDIO The objective of these exercises were to gain a more comprehensive understanding of building analysis. This was to prepare us for WKH FRPLQJ ZHHNV ZKLFK would involve diagramming D EXLOGLQJ HĎ‘HFWLYHO\ DV well as create comprehensive orthogonal drawings to represent what we are observing.
SITE PLAN
42
FLOOR PLAN
SECTION A-A
FRONT ELEVATION
INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
43
ENCLOSED VOLUME STUDY
VIEW FROM THE EAST, LOOKING WEST
44
WATER FEATURES IN RELATION TO SOCIAL SPACES
VIEW FROM THE SOUTHEAST, LOOKING NORTHWEST
INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
45
MUSEUM STUDIES FALL 2012 B1 STUDIO The objective of these exercises were to gain a more comprehensive understanding of building analysis. From the Barcelona Pavilion, we were assigned a more local, yet larger in scale, building. I had been assigned the Isabella Gardner Museum, on 280 Fenway, Boston. 7KLV 0XVHXP KDV VHHQ WZR GLĎ‘HUHQW instances of construction, and renovation/addition.
FIRST FLOOR PLAN
46
ART GALLERY, EXTERIOR VIEW
ART GALLERY, INTERIOR VIEW
Isabella Gardner was born in 1840. She was an American Art Collector, who had received a large inheritance from her father. After her husband’s death, she built the original museum. The original museum’s construction lasted from 1896 until 1903. She passed away in 1924. Today the museum hosts education programs, as well as Artists’ Residences. The New SECOND FLOOR PLAN
Addition by Renzo Piano was construced from 2009-2012, and cost $118 million.
INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
47
The art gallery was perhaps one of the most gracious spaces in the entire Renzo Piano Addition. The high ceilings, combined with ample natural daylight enhanced the space immensely.
GARDEN COVERED WALKWAY SECTION
ART GALLERY SECTION
THEATER SECTION
LONGITUDINAL SECTION
48
NEW MAIN ENTRANCE
GARDEN COVERED WALKWAY
THEATER THEATER
The Isabella Stewart Gardner Museum is a beautiful building composed of an existing structure, with a modern addition. The scale of each building compliments HDFK RWKHU ZHOO %RWK EXLOGLQJV KDYH D VHULHV RI WUXO\ HQKDQFHG VSDFHV WKDW HYRNH a true sense of place. INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
49
NORTH END & LOVEJOY WHARF FALL 2012 B1 STUDIO The objective of these exercises were to gain a more comprehensive understanding of site analysis, and how it could shape the architecture. The focus was on how the site can provide opportunities for views, pedestrian transportation, as well as water taxis access. Ultimately, the design ended up being a product of the site anaylsis, which in turn leads to a very connected pedesWULDQ ZD\ WKDW WDNHV DGYDQWDJH of the surrounding views.
WATER OPEN SPACE SITE BUILDING FOOTPRINTS
The Macro Site Analyses were provided in order to determine what the urban fabric around the Lovejoy Wharf was. Initially we analyzed the greenspaces, and then began to add in the buildings to show streets and urban density. From there, we anaylsed surronding amentities, including; museums, cafes, restaurants, and MBTA Stations, ZLWKLQ D PLQ ZDON DQG PLQ ZDON
50
WATER OPEN SPACE BLDG FTPRNTS SITE 5 & 10min WALK RESTAURANTS CAFES MUSEUMS MBTA STATION SITE ANALYSIS: SHADOW STUDY
SITE ANALYSIS: AGE DEMOGRAPHIC
Through these various observations, it was clear that regardless of the position of the sun, or the demographic, people were not really utilizing the site, as it was mostly a transitional site for nearly all who I witnessed coming through the area. INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
51
SITE ANALYSIS: SITE DIAGRAM
SITE ANALYSIS: SITE ACCESS
SITE ANALYSIS: SPACE PROGRAM
52
SITE ANALYSIS: SITE CONCEPT
MACRO SITE ANALYSIS: SURROUNDING CONTEXT
Through these various observations, it was clear that the site analyses would ultimately shape the outcome of the building, due to the transient nature of the occupants.
INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
53
These last iterations were directly impacted by the program, which was based on site anaylses, which LQFOXGHG +XEZD\ DFFHVV %LNH 5DFNV &DIHV DQG 7ZR :DWHU 7D[L 'RFNV 7KLV SURJUDP ZDV FDUHIXOO\ assessed so that it would meet not only the visitors using the site as a destination, but it would also allow for a transient individual to by-pass WATER TAXI ITERATION 1
the Water Taxi Services, and others, by either bicycle or on foot. The multi-tiered design was intended for this exact purpose. The shape of the building is meant to direct views, and provide ambundant sunlight.
CIRCULATION ITERATION 2
HUBWAY DETAIL
HYBRID ITERATION ENLARGED ‘DOCK’ PLAN
54
LONGITUDINAL SECTION
TRANSVERSE SECTION
PERSPECTIVE FROM
PERSPECTIVE FROM ZAKIM
CHARLESTOWN BRIDGE
BRIDGE
OVERALL PLAN
INSTRUCTORS: TODD SHAFER & MICHAEL CIMORELLI
55
B2 STUDIO APPARATUS AND TECTONIC STUDIES PAVILION AT ARNOLD ARBORITUM
58-63 64-69
APPARATUS AND TECTONIC STUDIES SPRING 2013 B2 STUDIO The objective of these exercises were to gain a more comprehensive understanding of tectonics. In addition to tectonics, we also focused on establishing a sense of scale. Through numerous iterations, we established an architectural language that focused less on the constructability, and more on the spatial relationships.
7KH 多UVW MRLQW WKDW ZDV H[SORUHG ZDV WKH FRQVWUXFtion joint. Out of the three details that were assigned, this detail had an intriguing set of tectonics.
THE BLUE AND RED MEMEBERS
THE GREEN AND ORANGE
ACT AS A WAY TO INTERLOCK
MEMBERS SEEM TO BE IN
THE GREEN AND ORANGE
TENSION AND ARE SLOTTED
MEMBERS EITHER THROUGH
TO RECEIVE THE BLUE AND
SLOTTING OR PENETRATRION
RED MEMEBERS
58
The slotting motion of the two planes, or as I interpretted, a plane and pin, could either be seen as a continous connection, or a connection that only occurs at one instance.
INSTRUCTOR: MICHAEL CREHAN
59
The second joint that was assigned was a cellular detail, consisting of a curved VWHP DQG VWUDQGV WKDW SHHOHG RĎ‘ RI the stem. The stem seemed to have a strong sense of directionality, while WKHVH VWUDQGV VHHPHG WR WHDULQJ RĎ‘ the main stem, suggesting there was a tension within the stem, which could have caused the fraying.
STEM
STRANDS
60
The third detail that was assigned was D VNHODWDO GHWDLO FRQVLVWLQJ RI D FXUYHG vertebrae or spine, and apendages that are pertruding from either sides. The ‘spine’ seems to have a series of joints that form the spine. The petruding members from the spine seem to be in tension with some sort of material stretched between them.
DETAIL SEEMS TO SHOW A DIFFERENCE IN SIZE BETWEEN BLUE AND TAN MEMBERS, WHICH COULD MEAN DIFFERENT USES
VOIDS SEEM TO HAVE SOME
AXIS: THE ‘SPINE’
SORT OF TENSIONED FABRIC OR SKIN WITHIN THEM
INSTRUCTOR: MICHAEL CREHAN
61
'XULQJ WKH ¿QDO ZHHN LW EHFDPH DSSDUHQW WKDW WKH VNHOHWDO WHFWRQLF ZRXOG GRPLQDWH RYHU WKH FRQVWUXFWLRQ WHFWRQLF GXH WR WKH FRQFHSW WKDW WKH VSLQH DQG ULEV ZRXOG PDNH XS D PDMRULW\ RI the project.
62
$V D ¿QDO UHVXOW WKH UHDGLQJ KXE EHFDPH D SURGXFW RI WKH VNHOHWDO WHFWRQLFV DORQJ the with construction tectonics.
FLOOR PLAN
SECTION VIEW
INSTRUCTOR: MICHAEL CREHAN
63
PAVILION AT ARNOLD ARBORETUM SPRING 2013 B2 STUDIO The site for The Pavilion was located within Boston’s Arnold Arboretum, near Peter’s Hill. Based on our DVVLJQHG VLWH ZH ZHUH WR WDNH RXU tectonic from the previous project and apply it to the terrain of the site. We would be performing site anaylses in order to gain a more holistic understanding of the site.
The site for The Pavilion was located within Boston’s Arnold Arboretum, near 3HWHUœV +LOO %DVHG RQ RXU DVVLJQHG VLWH ZH ZHUH WR WDNH RXU WHFWRQLF IURP WKH previous project and apply it to the terrain of the site. We would be performing site anaylses in order to gain a more holistic understanding of the site.
64
INSTRUCTOR: MICHAEL CREHAN
65
LOOKING FROM THE CRATER SITE UP
LOOKING FROM THE PATHWAY INTO THE
TOWARDS THE PATHWAY
‘CRATER’ SITE
Ultimately, I chose the crater site, rather than the gardual slope see the left of the section diagram on the previous page. The ‘Crater Site’ provided a more daunting challenge, due to the way in which the terrain is sloped. Ther diagram to the right shows two white arrows as paths WKDW , WRRN GXULQJ P\ VLWH investigation.
TREE GROWTH STUDY
66
Using similar principles to the construction joints WKDW ZHUH H[SORUHG D IHZ ZHHNV HDUOLHU ZH ZHUH challenged to devise a typology that would traverse the terrain, and hold consistent with the tectonic. Through numerous iterations, I devised a joint that has the similar characteristics as the construction joint, but has a more ‘slotting, pin motion’, rather than a tongue and groove joint.
TECTONIC STUDIES
INSTRUCTOR: MICHAEL CREHAN
67
TECTONIC STUDIES
PROGRAM STUDY
PAVILION TECTONIC
KEY BATHROOMS EXHIBIT ‘A’ OFFICE CORRIDOR EXHIBIT ‘B’ MEETING
COLORED FLOOR PLAN
68
OVERALL FLOOR PLAN
SITE PLAN
PICTURE FROM PATHWAY
PICTURE INTO CRATER FROM PATHWAY
Ultimately the ‘slotting, pin motion’, connection proved to handle the change in terrain quite well, as it can grow easily and slot together with other members as necesary. The covered structures would have transluscent roof systems, with wood clad walls. The space would feel warm, and sunlit, as the intention was to embrace the Arboretum, QRW NHHS LW RXW INSTRUCTOR: MICHAEL CREHAN
69
DESIGN PRINCIPLES 7KURXJK WKH LQYHVWLJDWLRQ RI GLÏ‘HUHQW SURMHFWV , KDYH WUXO\ EHHQ HQOLJKWHQHG RQ P\ SHUVSHFWLYH RI WKH ZRUNV RI RWKHU DUFKLWHFWV )URP WKH +HUPRVFRSLXP +RXVH WR WKH %RKHP .HPS 5HVLGHQFH , KDYH EHHQ H[SRVHG WR ZRUNV WKDW HYRNH FUHDWLYH DQDO\VLV DQG LQWULJXH
70
The Bohem-Kemp Residence was D RSHQ ÀRRU WKDW DOVR PDQDJHV WR FUHDWH LQWLPDWH HϒFHQW VSDFHV 7KH bedrooms provide a level of privacy, as well as access to the main living VSDFHV 7KH EDWKURRPV NLWFKHQ DQG FORVHW VSDFHV DUH HϒFLHQW DQG WXFNHG RXW RI WKH ZD\ 7KH ORQJ ‘naive’ style living allows for maximum, natural light, through a strip of clerestory windows. In conclusion, the residence serves as an excellent, HϑFLHQW YDFDWLRQ KRPH
INSTRUCTOR: RICHARD GRISWOLD
71
The Thorn Crown Chapel is a stunning piece of architecture. The initial reaction that I gained from this project was that the architect’s ambition to blur and blend the inside with the outside was very successful. The contruction of the roof seems to mesh with the canopy of the surrounding trees, giving the impression that architecture and forest are seemless.
72
The Villa Savoye by Le Corbusier LV DQ HQOLJKWHQLQJ H[DPSOH RI HĎ’cent design that boasts minimalism, aimed towards comfortable and leisure of the occupants. The combination of massing, use of columns, horizontal windows, and free design of the facade, allowed Le Corbusier to create a beautiful example of modern architecture.
INSTRUCTOR: RICHARD GRISWOLD
73
The Notre Dame du Haut is unquestionably organic, and gestural. However, out of this organic form, have emerged a dynamic choreography of spatial relationships, as well as a dynamic use of perforations in the exterior wall to allow light to percolate into the space.
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The Hermoscopium house was one of my favorite studies during this course. It showed DQ HĎ‘HFWLYH V\PELRWLF UHODtionship between the architecture, and structure, rather than compromising one or the other.
INSTRUCTOR: RICHARD GRISWOLD
75
SKETCH PROBLEM 1 6NHWFK 3UREOHP LV D G\QDPLF H[HUFLVH WKDW DOORZV VWXGHQWV WR ZRUN ZLWKLQ D FRPPXQLW\ RI SHHUV VR WKDW DQ LQGLYLGXDOÂśV SURFHVV LV LQIRUPHG E\ RWKHUV 7KH GHVLJQ LQWHQWLRQ RI WKLV VNHWFK proble was to create a stage for a wheelchair-bound musician, with impaired sight. All areas must be universally accessible.
Front View
Rear View
Due to the time constraint of 6NHWFK 3UREOHP VWXGHQWV DUH H[SHFWHG WR PDNH UHDOLVWLF GHsign choices, while delivering a high quality project that responds to the design criteria. Perspective from Above
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Client’s Perspective
7KH VSDFH DOORZV WKH PXVLFLDQ WR QDYLJDWH D VXQ ¿OOHG VSDFH ZLWK D JOD]HG URRI 7KH roof not only provides shelter, but the geometry also serves as a means of broadcasting WKH PXVLFLDQV ZRUN &RQVLGHUDWLRQV IRU WKH FOLHQWœV VDIHW\ LQFOXGH D WH[WXUHG ZDONZD\ to show a change in direction, or height, a partial height wall for safety. The last consideration was to engrave excerpts from the client’s favorite novel into the wall behind the performance stage, in braille.
INSTRUCTOR: IAN TABENER
77
SKETCH PROBLEM 2 6NHWFK 3UREOHP LV D G\QDPLF exercise that allows students WR ZRUN ZLWKLQ D FRPPXQLW\ RI peers, so that an individual’s process is informed by others. The design intention of this exercise was to create a single-story hostle in an urban environment. This submission could be done digitally, without the need for a physical model to be constructed.
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INSTRUCTOR: KERRI FRICK
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CHARCOAL
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Professional STENBAK DESIGN ASSOCIATES FORD AUTOMOTIVE DEALERSHIP
86-91
JSA ARCHITECTS McCONNELL HALL, UNH GREAT BAY COMMUNITY COLLEGE
VILLENEUVE HOME
92-97 98-105
106-109
FORD DEALERSHIP NAME OF FIRM: STENBAK DESIGN ASSOCIATES CLIENT: AUTOFAIR LOCATION: MANCHESTER, NH ROLE: ARCHITECTURAL DESIGNER The objective of this project was to evaluate the current condition of the dealership, as compared to the standards that have been developed by Ford’s in-house design team. The scope of this project involved removing existing cladding on 50% of the building, while the rest was to be re-treated with surface applied coatings. This renovation also involved adding an adGLWLRQ WR VTXDUH Rϑ D 1RUWK IDFLQJ ZDOO 7KLV ZRXOG DGG PRUH VSDFH WR WKH GHDOHUVKLS DQG bring the current exterior facade up to standards. Not only would we be creating an addition, EXW ZH ZRXOG DOVR EH SURYLGLQJ QHZ FDVHZRUN IRU WKH VKRZURRP DV ZHOO
ORIGINAL 7KH H[LVWLQJ IDFDGH ZDV SULPDULO\ PDGH XS RI WKUHH GLÏ‘HUHQW PDWHULDOV LQFOXGLQJ VFRUHG &08 EORFN PHWDO FRPSRVLWH SDQHOV DQG (,)6
86
DESIGN SKILLS: +DYLQJ SUHYLRXV H[SHULHQFH DV D VXEFRQWUDFWRU DQG DV D ÂżHOG WHFKQLFLDQ IRU D ODQG VXUYH\LQJ ÂżUP , KDYH KDG H[SHULHQFH RQ VLWH HVSHFLDOO\ LQ ÂżHOG PHDVXULQJ $V ZH VWDUWHG XWLOL]LQJ WKH existing drawings, we began to notice inconsistences, and began questioning the existing condition drawings. As a result, I spent several days photographing every single condition possible, to ensure there were no inconsistencies. This allowed me to learn how to create exWUHPHO\ DFFXUDWH H[LVWLQJ FRQGLWLRQV GUDZLQJV ZKLOH PHVKLQJ P\ VNLOOV LQ ÂżHOG PHDVXULQJ
87
The plans and rendering sent by Ford’s in-house team was quite simple, but did not solve the problems that the dealHUVKLS ZDV KDYLQJ ZLWK ODFN RI VSDFH Rather than simply meet the requirements of Ford, we chose to propose an addition being added on. This would DOORZ WKHP WR VWDϑ PRUH HPSOR\HHV IRU their growing location
FORD RENDERING
88
STENBAK RENDERING 7KH LPDJHV WKDW , JHQHUDWHG DV D UHVSRQVH WR )RUGœV UHQGHULQJ RSHQHG WKH ÀRRU IRU GLVFXVsion of the addition, not only for Ford’s approval, but for the clients approval as well. We went on to develop full Construction Documents, for the facades, as well as the interior portion of the dealership. The image above, and the following images were developed with PhoWRVKRS DQG WKH ÀRRU SODQV ZHUH FUHDWHG ZLWK $UFKL&$' &RQVXOWDQW GUDZLQJV ZHUH EURXJKW in from dwg format, and translated to pln.
89
EXISTING 7KH 6DOHV 0DQDJHU 'HVN ZDV just one example of the process that we underwent in order to renovate the existing conditions. Every employee was interviewed by myself in order to establish a general consensus of what their frustrations were with their current arrangement, and how we could start to rectify these issues, with a hope to boost productivity.
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CURRENT
PROPOSED
The project ultimately was a success, as it was on time and on budget. The client reports seeing employees being generally much happier with their renovated space, and especially ZLWK WKH QHZ FDVHZRUN WKH\ KDYH WR ZRUN ZLWK RQ D GDLO\ EDVLV :H ZHUH DEOH WR PHHW WKH criteria originally presented to us, and in a timely manner.
CURRENT 91
McConnell Hall NAME OF FIRM: JSA, Inc CLIENT: University of New Hampshire (UNH) LOCATION: DURHAM, NH ROLE: ARCHITECTURAL DESIGNER/INTERN The objective of this project was to renovate an existing campus building that was originally the Whittemore School of Business. UNH, during the previous summer, constructed Paul College, the new Business School, to accomodate the growing population of students. McConnell Hall would be the new home for the Psychology Department, with a renovation budget of P , HQWHUHG WKH SURMHFW GXULQJ VFKHPDWLF GHVLJQ ,Q WKH FRQFHSWXDO VWDJH 0DUN 0RHOOHU WKH GHVLJQ SULQFLSDO RQ WKLV SURMHFW KDG SURJUDPPHG WKH EXLOGLQJ ZLWK WKH WRS ÀRRU EHLQJ VWDϑ URRPV WKLUG DQG VHFRQG ÀRRU EHLQJ SULPDULO\ FODVVURRPV OHFWXUH VSDFHV DQG ¿UVW ÀRRU EHLQJ PL[HG XVH RI FODVVURRPV VWDϑ URRPV DQG WKH VWXGHQW ORXQJH 7KH VWXGHQW ORXQJH ZRXOG EH D collaborative space where students could interact, and access online resources.
ORIGINAL The existing building used to be a S.O.M. building from the 1960’s. The structural systems are primarily made of cast-in-place concrete, while WKH IDFDGH V\VWHP ZDV FDVW RĎ‘ VLWH DQG SODFHG LQ SODFH OLNH WHFWRQLF “legosâ€? by a crane.
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DESIGN SKILLS: :KHQ , ¿UVW VWDUWHG DW -6$ 0F&RQQHOO +DOO ZDV WKH ¿UVW SURMHFW WKDW , KDG H[SRVXUH ZLWK DV D QHZ KLUH ,Q DGGLWLRQ LW ZDV DOVR WKH ¿UVW SURMHFW WKDW , ZRXOG EH XVLQJ 5HYLW RQ 3UHYLRXVO\ DW P\ ODVW ¿UP , KDG XVHG $UFKL&$' ZKLFK LV *UDSKLVRIW¶V YHUVLRQ RI 5HYLW 7KH FRQFHSW RI % , 0 ZDV JHQHUDOO\ WKH VDPH UHTXLULQJ D PRUH DGYDQFHG NQRZOHGJH RI EXLOGLQJ FRQVWUXFWLRQ LQ RUGHU WR FUHDWH DQ DFFXUDWH % , 0 7KH SURMHFW DW ¿UVW KDG EHHQ EURXJKW XS WR VWDUW 6FKHPDWLF 'HVLJQ DQG , ZRXOG EH ZRUNLQJ FORVHO\ ZLWK WKH 3URMHFW 0DQDJHU WR EULQJ WKH SURMHFW into Construction Documents.
Existing Condition Field Measurements were a vital part of this exercise in bring the drawings from a conceptual stage, into schematic, and eventually into construction documents.
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%HWZHHQ 6FKHPDWLF 'HVLJQ DQG 'HVLJQ 'HYHORSPHQW , JHQHUDWHG QXPHURXV VNHWFKHV IRU IXUQLWXUH OD\RXWV DV ZHOO DV FDVHZRUN GHWDLOV WKDW ZRXOG HYHQWXDOO\ PDNH WKHLU way into our Final Set.
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The relationship with the contractor was design/build, something I was very used to, only this project was on a much larger scale. It was fascinating to watch the construction of WKLV SURMHFW XQIROG 7KH FRQWUDFWRU NHSW D YHU\ FOHDQ DQG VDIH VLWH DQG WKH SURMHFW ZDV RQ time and on budget.
FIELD REPORT 9.
Date:
January 10, 2014
Project:
UNH McConnell Hall Renovation
Attendees:
Chuck Acevedo, NBC Rich Rouleau, UNH North Sturtevant, JSA Steve Hebsch, JSA
Weather:
Light Snow, 30Âş F
Time:
12:45 pm
10. 4th Floor Office Looking towards Window Soffit
____________________________________________________________________ Work in progress: 1. - 4th Floor a. Window Sill Framing installed b. Duct Work in Progress c. Raceways are in, wiring not run d. Light gauge Framing Nearly Complete rd 2. – 3 Floor a. Light gauge Framing Nearly Complete b. Raceways are started 3. –2nd Floor a. Light gauge Framing in Progress 4. – 1st Floor a. Light gauge Framing in Progress i. *NOTE: Work is going in order from top to bottom, 1st Floor will be last to be completed.
4th Floor Office Looking towards Window Sill Light Gauge Framing
11.
It was noted to NBC that these conduits/pipes were too low, and NBC noted they were aware of this, and there were plans to correct their location.
Observations: 1. – Site is neat and orderly 2. Work is being performed from the 4th Floor down. Items to verify: 1. Construction of Sills – Light gauge framing seems well constructed. Information or Action required: 1. N/A Attachments: 1. None 01-10-2014
Report By: Steve Hebsch
UNH – McConnell Hall Renovation
Page 1 of 4
01-10-2014
UNH – McConnell Hall Renovation
Page 4 of 4
This project provided a very in-depth experience of construction administration. I atWHQGHG FRQVWUXFWLRQ PHHWLQJV VLWH YLVLWV ZURWH ÂżHOG UHSRUWV SXW WRJHWKHU DQG LVVXHG $6,ÂśV 5),ÂśV DQG UHVSRQGHG WR VXEPLWWDOV /HDUQLQJ WKLV YDOXDEOH WRROV DQG NHHSLQJ them organized became apart of a daily routine, as the project timeline proceeded.
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7KH PRVW VLJQL多FDQW WUDQVIRUPDWLRQ RI the project was by fair in the Academic Commons. This space originally was dubbed, the Reading Room by S.O.M. It has been transformed into a welcoming space that can be used by students for a large portion of the day. The Ren-
JSA RENDERING
dering was produced using Revit, and post-production with Photoshop CC.
DURING CONSTRUCTION
COMPLETE 96
2ND FLOOR LECTURE HALL Overall, the project was a great success, and students report the space to be warm, and inviting. Teachers have also reported to be enjoying their new classrooms. This project origLQDOO\ VWDUWHG RXW DV D \HDU Âż[ EXW HYROYHG LQWR D \HDU SODQ WR DGG YDOXH WR WKH existing building, that will see many more years of operation.
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Student Success Center NAME OF FIRM: JSA, Inc CLIENT: Great Bay Community College (CCSNH) LOCATION: PORTSMOUTH, NH ROLE: ARCHITECTURAL DESIGNER/INTERN The objective of this project was to renovate the main existing building on campus, to accommodate an addition for what Great Bay Community College called, a Student Success Center. The program involves a Gymnasium Space, Student Lounge, a Fitness Center, Conference 5RRPV 6WXGHQW /LIH 2Ď’FHV DQG DĎ’OLDWHG VXSSRUW VSDFHV ,QLWLDOO\ ZH ZHUH JLYHQ D EXGJHW of 5m. Unfortunately the budget became very dictating to what scope would be on this side of WKH EXLOGLQJ VR ZH KDG WR VKLIW RXU WKLQNLQJ IURP RQH VLGH RI WKH EXLOGLQJ WR WKH RWKHU
Above is an image generated early on of the Student Success Center on the west VLGH RI WKH EXLOGLQJ , ZRUNHG FORVHO\ ZLWK WKH 'HVLJQ 3ULQFLSDO RQ GHYHORSLQJ D 6NHWFK XS 0RGHO WR GHYHORS WKH PDVVLQJ
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After re-evaluating the best approach, we made the decision to change the sides of the building upon which the addition would be constructed. The other side of the building has less issues with site conditions, and would reduce the scope of the project in a variety, to create less tension on the budget. I was heavily involved with the reprogramming of the addition on the East Side.
7KHVH DUH D IHZ RI PDQ\ VNHWFKHV WKDW ZHUH GRQH LQ RUGHU WR HVWDEOLVK DQ HϒFLHQW ÀRRU SODQ WKDW ZRXOG UHVSRQG WR WKH FOLHQW¶V QHHGV , ZRUNHG YHU\ FORVHO\ ZLWK D 3URMHFW $Uchitect and Design Principal throughout this process.
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7KHUH ZHUH PDQ\ LWHUDWLRQV RI WKH ORFNHU URRPV DQG SXEOLF EDWKURRPV WKDW ZHUH HYDOXDWHG LQ order to meet proper capacity and ADA requirements.
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As the project progressed on, it was my responsibility to generate details for the project. The PDLQ GLĎ‘HUHQFH EHWZHHQ WKLV EXLOGLQJ DQG RWKHUV WKDW QRUPDOO\ FRPH WKURXJK -6$ÂśV RĎ’FH ZDV that instead of typical wood construction, or steel construction, we would be utilizing an exterior envelope that is composed of an insulated metal panel. This required many iterations, and research, to ensure that our details would be of the highest quality possible.
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This was a very detailed Revit Model. It not only had the architecture discipline, but also contained structural, and even some mechanical. We routinely exchanged our PRGHO ZLWK RXU 0HFKDQLFDO FRQVXOWDQWV WR PRUH ÀXLGO\ LQWHJUDWH 0(3 V\VWHPV
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During Design Development, and in the early stages of Construction Documents, we created elevation studies of the building use the insulated panel system. In order to TXLFNO\ FUHDWH PXOWLSOH LWHUDWLRQV ZH H[SRUWHG WKH 5HYLW 0RGHO DQG EURXJKW LW LQWR 6NHWFK XS ZKHUH ZH ZHUH DEOH TXLFNO\ FUHDWH PXOWLSOH LWHUDWLRQV
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As a result of researching thermal envelope, as well as numerous schematic iterations, we have been able to issue 100% Construction Documents. I will be participating in Construction Administration as support, assisting in creating ASI’s and responding to RFI’s, but not acting as the primary contact. Currently this project is under construcWLRQ , ZLOO EH DGGLQJ SKRWRJUDSKV DV ZRUN LV FRPSOHWHG
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1299
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CORRIDOR
14'-8 7/8"
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1203
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1204
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1213
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105
VILLENEUVE HOME CLIENT: VILLENEUVE FAMILY LOCATION: MURFREESBORO, TN ROLE: ARCHITECTURAL DESIGNER/INTERN The objective of this project was to design a home for a family of four. The home will need to EH DV ÀH[LEOH DV SRVVLEOH EXW WR UHPDLQ FRPIRUWDEOH $ YLVLW WR WKH VLWH LV QRW SRVVLEOH GXH to the location in Tennessee. This request for services initially came from my previous dept. KHDG DW 1+7, /LDTXDW .KDQ 7LP 9LOOHQHXYH DSSURDFKHG /LDTXDW DVNLQJ WR NQRZ LI WKHUH LV a competent that would be interested in provided drafting and design services. This was the ¿UVW SURMHFW WKDW , KDG GRQH ZLWK RQO\ DGYLFH IURP D PHQWRU RI PLQH 7KH SURMHFW ZDV YHU\ VXFFHVVIXO 7LP DQG , VWLOO NHHS DQ RSHQ OLQH RI FRPPXQLFDWLRQ VHH KRZ WKLQJV DUH SURJUHVVing for he and his family in TN.
Above is the NH home in which the family previously resided in. The home exterior LV EDVHG RÏ‘ D EDUQ WKDW WKH RZQHUV VDZ ZKHQ WKH\ ZHUH YLVLWLQJ LQ 0DLQH 7KH EDUQ frame was carefully dismantled and brought to Bedford, NH, and reassembled here. The interior is extremely comfortable and provides ample natural light.
106
During the early stage of the process, there was a possibility of staying in NH, but after numerous studies and iterations, it was decided that a move to Tennessee would be the best route for the family.
This decision was followed by an intense charette process that resulted in a home WKDW ZDV WDLORUHG WR WKH IDPLO\œV VHQVH RI FRPIRUW ZKLOH SURYLGLQJ WKHP ÀH[LELOLW\
107
In addition to Floor Plans and Elevations, I also generated a lumber list, to help establish pricing.
108
Pictures of the home above, showing construction progress.
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THANK YOU FOR YOUR TIME!