T E R E S A
M A R I E M A R B O E teresa.marboe@gmail.com 814.777.7603
D E S I G N 05 constructing community navigating the void syracuse post-standard wall as interface didactic monument
06 12 18 22 26
A N A L Y S I S 31 rotch library 32 urban artery 36 models 40 P E R S O N A L 45 field studies 46 slocum re 48 street painting 50
C O N T E N T S
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D E S I G N
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This project is situated in the small town of Incisa Val d’Arno, outside of Florence, Italy, on the site of an old cement factory. Addressing the need for a centralized education complex that could function as both a school and a community center, educational and public zones are formed of two opposing topographies, which merge and fold to become the school building. The remnants of the site walls of the concrete factory form a protected play area and a dividing wall within the school, and, aided by an imposed cut in the landscape, also serve to direct public movement and activities throughout the site.
site plan and concept diagram; AutoCAD and Illustrator
exploded axonometric; AutoCAD and Illustrator
C O N S T R U C T I N G C O M M U N I T Y T H R O U G H T O P O G R A P H Y incisa val d’arno, italy education complex
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Tension within Site from existing retaining walls
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Alteration of Topography to build on tension within landscape
CLASSROOMS (floors 1,2) LABORATORIES (floor 0) FLEXIBLE LEARNING SPACE LIBRARY / ARCHIVE AUDITORIUM ENTRY ADMINISTRATION SERVICE PLAY SPACE ATHLETICS
Massing of School Building folding of two different topographies
Program
GARDEN
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1 2
1. concept diagrams; AutoCAD, Illustrator 2. perspective rendering; Revit, Illustrator
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1
2 3
1. site axonometric; AutoCAD, Illustrator 2. model, building in site; museum board, foam 3. longitudinal section; AutoCAD, Illustrator
exploded axonometric; AutoCAD and Illustrator
The community center is located on a narrow site with existing playing fields, within sight of the school building. The design focuses on the relationship between two opposing spatial landscapes: the fluid ground plane and the floating box. The constructed landscape with a pool and athletic fields is easily accessible to neighborhood residents, while the “floating� box contains mostly open plan floor space for a library, daycare center and meeting rooms. A cafe and convenience store, on the east and west sides of the site respectively, are the only ground-level spaces found within the complex and serve as anchors of the landscapes to the site.
CONVENIENCE STORE
PLAYGROUND
N A V I G A T I N G
CAFE
T H E
V O I D
near westside, syracuse, ny community center
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CONVENIENCE STORE
CAFE
TIOG
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PL AY GR
CE NT ER
OU ND
RE
AD
IN
G
RO
OM
CI T
Y
E RAC TER ARY ER ORN ET C
E STR
LIBR
CH ILD REN ’S T ERR AC E NE
IGH
BO
RH
OO
SC H
OO
L
D
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1
3 2
1. diagram, anchoring the corners; AutoCAD and Illustrator 2. sectional axonometric; AutoCAD and Illustrator 3. diagram, placement of voids; AutoCAD and Illustrator
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1
3
2
1. first floor plan; AutoCAD and Illustrator 2. second floor plan; AutoCAD and Illustrator 3. unfolded elevations; AutoCAD and Illustrator
interior renderings; Revit, Photoshop (produced by T. Marboe)
A disconnect currently exists between the public realm (Clinton Square, Syracuse NY) and the private company (the Post Standard newspaper) that serves it. Clinton Square, a civic space, is enclosed by commercial enterprises, which strengthen the divide between public and private. The plaza is only active during business hours, and is under-utilized at other times of day. When viewed from Clinton Square, the renovated Post Standard building exists as a two-dimensional collage of public and private spaces, advertising the array of activities that occur simultaneously within the building and inviting the inhabitants of Clinton Square to become participants. Upon entering the building, the occupants discover that the building operates as a sequence of permeable layers, which establish thresholds between outside and inside, public and private, community and business.
P O S T - S T A N D A R D
N E W S P A P E R
B U I L D I N G clinton square, syracuse, ny office renovation design collaboration with c. haneman
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1
2
1. facade section; AutoCAD, Illustrator (produced in collaboration) 2. facade rendering; AutoCAD, Illustrator (produced by T. Marboe)
wall concept and detailing; AutoCAD and Illustrator
The library is composed of a series of interactions between three primary walls: a book wall, a transparent wall, and a media wall. It establishes minimal contact with the ground plane, with the three walls directing movement through the site and building. Overlapping of the increasingly-fractured floor plates generates moments of density and intensity of activity, which contrast brief direct views of the collective acquisition of knowledge provided by the three distinctive vertical surfaces. The walls both regulate access between program areas and guide interactions between spaces. Each wall contains a different set of components, which provide the necessary equipment for library activities.
W A L L
A S
I N T E R F A C E syracuse, ny library
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1 2
3
4
1. 2. 3. 4.
third floor plan; pencil and Illustrator east elevation; pencil and Illustrator west elevation; pencil and Illustrator section perspective; pencil and Photoshop
The Jerry Rescue monument, situated on the edge of Clinton Square, the largest urban plaza in Syracuse, NY, commemorates the involvement of Syracuse as a key city along the Freedom trail. Located directly across the street, this Underground Railroad Museum design acknowledges its significant placement within the city by functioning within two separate typologies: the museum and the monument.
final model within site
Thick, angled exterior walls contain all the exhibits housed at the museum, allowing the museum to act within the civic infrastructure of Clinton Square. The museum is intended to be utilized by the passer-by as much as the visitor, with exhibition spaces that are linked to the plaza through a separate circulation path and can be accessed at all times of day. Essential museum program, such as an archive, lounge, cafe, and administrative offices, are housed within a block that follows the geometry of the existing Amos building, which provides the only enclosure to the street corner site.
M U S E U M
A S
D I D A C T I C
M O N U M E N T underground railroad museum syracuse, ny
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4
3
4 2
1
1. 2. 3. 4.
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Cafe Lobby Auditorium Service
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1
2
3
1. exploded circulation axonometric; Rhino, Illustrator 2. first floor plan; AutoCAD, Illustrator 3. transverse section; AutoCAD, Illustrator
A N A L Y S I S
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diagram of all systems; Revit and Photoshop (produced by T. Marboe)
Selected diagrams from an Advanced Building Systems class project analyze the interaction of systems in the 1991 addition to MIT’s Rotch Library of Architecture and Planning.
R O T C H
L I B R A R Y
A D D I T I O N
massachusetts institute of technology, cambridge, ma building systems analysis in collaboration with A. Kolosky, C. Haneman, S. Shah (Revit model and all included diagrams by T. Marboe)
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1. Structural System
2. Mechanical System
3. Plumbing System
4. Facade System
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1
2
1. building systems axon series; Revit, Photoshop (produced by T. Marboe) 2. sectional axon and structural details; Revit (produced by T. Marboe)
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2d and 3d diagrams; Rhino, AutoCAD, Illustrator
This analysis project on the city of Florence focuses specifically on the Via dei Calzaiuoli as a historical linking mechanism between Florence’s primary public spaces. The series of diagrams traces the development of the Via dei Calzaiuoli from Roman times to the present day, providing a visual representation of the growth of Florence as a city.
U R B A N
A R T E R Y
via dei calzaiuoli, florence, italy urban analysis in collaboration with P. Upatising (all included diagrams by T. Marboe)
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Castrum
Forum
Castrum
Forum vetus
Mercato e t regis Forum r vetus
Cimitero
Mercato Vecchio
Piazza del Duomo
Forum
Placia communis
Piazza del Granduca
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1st CENTURY The Roman City
2nd CENTURY The Expanded Roman City
11th CENTURY The Medieval City
13th CENTURY The Medieval City
Mercato Vecchio
Piazza del Duomo
Piazza del Granduca
Mercato Vecchio
Piazza del Duomo
Piazza della Signoria
Piazza del Duomo
Piazza della Repubblica
Piazza della Signoria
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16th CENTURY The Ducal City
19th CENTURY The Capital City
21st CENTURY The Modern City
M O D E L S
1 2
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1,2. villa in constructed landscape; wood, museum board, cork 3. forgery drawing of Juan Gris’ “Breakfast;” colored pencil and collage (basis for models) 4,5. physical representation of “Breakfast;” museum board
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1
2 3 4
1. building within site; chipboard,museum board, cork 2,3,4. building as object (circulation model); wood
P E R S O N A L
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46 Santo Spirito
San Miniato al Monte
Santi Apostoli
This series of sketches is an axonometric study of the basilica typology in Florence, focusing on the similarities of the interior proportions of 3 different churches, which exist at very different scales within the city.
F I E L D
S T U D I E S
study abroad: florence, italy free-hand sketching
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SlocumRE
CYCLE USE TURN
PROPOSAL :
A HIGHLY MOBILE AND COMPACT RECYCLING UNIT WHICH CAN BE EASILY STORED AT THE BOUNDARIES OF THE ACTIVE STUDIO SPACE
A MATERIAL RECYCLING CENTER FOR THE ARCHITECTURE STUDIOS
EFFICIENCY:
NEEDED:
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unit can be stored flat against the wall when not in use
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compact enough that 1st year studios could each have their own unit (as material usage is often specific to a studio)
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a simplified, smaller version could be constructed for use in studios with very limited space
A center for recycling studio materials that...
A
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is efficient, compact, and portable
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provides sufficient space for storing materials
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can be easily moved around the open studio space and through aisles, ugh the aisles as well as moved to other studios within the building as needed
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ABOVE ALL, does not interfere with the day-to-day space requirements of the studio (i.e. pin-up space, working space)
B
C Small Container Storage Shelf Roll Storage (for discarded plots)
(To store almost empty bottles of glue, paint, and gesso, or possibly the current sharps and battery containers)
General Paper Recycling
Flat Storage ( for large pieces of material)
D
- door pulls out to allow easy access and paper removal
- divider boards are notched in and can be removed for easier access to the materials - the width of flat storage spaces can be adjusted as needed by moving the divider board to a different slot
Bin Storage (for small scraps of material) - materials can be identified through the plexiglass that partially covers the bin opening
PLAN | 1.5” = 1’-0”
SERIAL SECTIONS:
PORTABILITY: -
unit can easily be wheeled through doorways or aisles (width of unit = 2.5 ft)
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could be temporarily moved to a desk or work table to collect material scraps, making it more convenient for a student to recycle material rather than throwing it out
TRANSITION FROM THE UNIT AS POCHE TO THE UNIT AS A PLANAR CONSTRUCT (primarily using 0.5” sheets of plywood, similar to studio desk boxes)
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SECTION D | 1.5” = 1’-0”
SECTION A | 1.5” = 1’-0”
SECTION B | 1.5” = 1’-0”
SECTION C | 1.5” = 1’-0”
presentation board; AutoCAD, Rhino, Photoshop
In Fall 2010, the first project of the inaugeral chapter of Freedom by Design (an AIAS design-build program) at SU was to design a materials recycling cart to place in the first year studios. I was one of 6 project leaders for the recycling cart project. Working with Taryn McGann, this was our first proposal for the carts.
S L O C U M
R E
materials recycling cart proposal freedom by design in collaboration with T. McGann (2d drawings and rhino renderings by T. Marboe)
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Left: Chalk on pavement, 2006. Photo by L. Osgood-Jacobs. (in collaboration with L. Osgood-Jacobs) Right: Chalk on pavement, 2005. Claude Monet’s The Regatta at Argenteuil. (in collaboration with L. Osgood-Jacobs)
Left: Chalk on pavement, 2008. Salvador Dali’s Exploding Clocks. (in collaboration with E. Marden) Right: The painting, as witnessed from the street.
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Lower Left: Chalk on pavement, 2006. Pierre Auguste Renoir’s Boating on the Seine. (in collaboration with K. Bingham)
Chalk on tar paper, 2006. Winter Craft Fair. The Guardian.
For four years, I participated in the Italian Street Painting Festival at the Central Pennsylvania Festival of the Arts. The street paintings, generally 4 ft by 6 ft, were created by applying chalk directly on pavement during the 4 day festival, most often with the help of a fellow artist. In keeping with the historical tradition of street painting, we selected well-known artists or works of art to reproduce.
I T A L I A N
S T R E E T
P A I N T I N G
central pennsylvania festival of the arts state college, pa 2005-2008
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