UNIVERSITY OF MARYLAND SCHOOL OF ARCHITECTURE, PLANNING, AND PRESERVATION
UNDERGRADUATE DESIGN PORTFOLIO FOR ADMISSION TO M.ARCH PROGRAM FALL 2014
THOMAS MASINO
UNIVERSITY OF MARYLAND
MAY 2014
THE FRONT AND BACK COVER IMAGES ARE ABSTRACTED, STYLIZED ELEVATIONS OF THE PANTHEON AND PARTHENON, RESPECTIVELY. THEY ARE DRAWN USING ONE CONTINUOUS LINE THAT BEGINS IN THE BOTTOM LEFT CORNER AND CONTINUES WITHOUT CROSSING OVER ITSELF OR DOUBLING-BACK ON ITSELF TO ITS END, AT THE RIGHT END OF THE OCULUS OR THE LEFT END OF THE PEDIMENTAL SCULPTURE, RESPECTIVELY.
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“MY PASSION AND GREAT ENJOYMENT FOR ARCHITECTURE AND THE REASON THE OLDER I GET THE MORE I ENJOY IT, IS BECAUSE I BELIEVE WE - ARCHITECTS - CAN AFFECT THE QUALITY OF LIFE OF THE PEOPLE.”
- RICHARD ROGERS
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Résumé
THOMAS MASINO
BACHELOR OF SCIENCE, ARCHITECTURE; BACHELOR OF ARTS, ART HISTORY UNIVERSITY OF MARYLAND, COLLEGE PARK, MD UNIVERSITY OF MARYLAND HONORS COLLEGE CITATION - UNIVERSITY HONORS
LEED GREEN ASSOCIATE
WORK EXPERIENCE LEAD WATER SAFETY INSTRUCTOR
AUGUST 2012 - PRESENT
UNIVERSITY OF MARYLAND CAMPUS RECREATION SERVICES
HEAD LIFEGUARD
JUNE 2012 - PRESENT UNIVERSITY OF MARYLAND CAMPUS RECREATION SERVICES
RESIDENT ASSISTANT
APRIL 2012 - PRESENT
UNIVERSITY OF MARYLAND DEPARTMENT OF RESIDENT LIFE
AUGUST 2011 - PRESENT
POOL OPERATOR UNIVERSITY OF MARYLAND CAMPUS RECREATION SERVICES
TEACHING EXPERIENCE LIFEGUARD INSTRUCTOR
MAY 2012 - PRESENT
UNIVERSITY OF MARYLAND CAMPUS RECREATION SERVICES
TEACHING AP ART HISTORY BOWIE HIGH SCHOOL, BOWIE, MD
NOVEMBER 2011, APRIL 2012
EXTRACURRICULARS
- Vice President, USGBC April 2013 - present - Founding Member, Alpha Rho Chi Academic Fraternity September 2012 – present - Philanthropy Chair - Alumni Relations Chair, Beta Theta Pi Social Fraternity February 2011 – August 2012
SKILLS
Hand drawing and drafting; Model-making, both physically by hand and aided with a laser cutter and/or 3D printer; drafting with AutoCAD and AutoCAD Architecture; modeling and rendering with Autodesk 3DS Max and Mental Ray, Google SketchUp and Podium, Rhinocerous and V-Ray; Adobe Creative Suite; and Microsoft Office.
- Freshman Representative, American Institute of Architecture Students September 2010 – May 2011 - Member, American Institute of Architecture Students September 2010 – present - Marketing Assistant August 2013 - present
Contact information: Address: 4310 Knox Road, Apt. 4506A College Park, MD 20740 Phone: 301-832-0315 (cell); 301-226-3426 (home) Email: tmasino@terpmail.umd.edu
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COMMUNAL PRODUCTION
FALL 2013
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THRESHOLD INTERPRETATION
FALL 2013
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RESIDENTIAL INTERACTION
FALL 2013
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PROGRAMMATIC EXPLORATION
SPRING 2013
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PRECEDENT SPECULATION
SPRING 2013
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OPEN-AIR COMPOSITION
FALL 2012
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ARTISTIC INTEGRATION
FALL 2012
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ADDITIONAL WORKS
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COMMUNAL PRODUCTION ARCH402 - DESIGN STUDIO III FALL 2013 PROFESSOR AND CRITIC: LUIS QUIROS TIME: SIX WEEKS OBJECTIVE: TO STUDY THE WAY IN WHICH ARCHITECTURE CAN SUPPORT THE PROCESS OF INNOVATION AS A CULTURAL CONSTRUCT THAT BOTH DEVELOPS AND COMMUNICATES NEW IDEAS AND METHODS TO THE COMMUNITY. TO UNDERSTAND THE IDEA OF PROMENADE AS IT LINKS THE PUBLIC AND PRIAVTE REALMS WHERE DISCOVERIES AND THEIR PRESENTATION IN THE PUBLIC REALM BECOMES AN ACT OF “OPEN SOURCE” URBANISM. TO EXPLORE THE VERTICAL COMPOSITIONS AND SURFACES AS BOTH THE ESTABLISHMENT OF THRESHOLD CONDITIONS AND THE FORMAL EXPRESSION OF CULTURE AND EVENT. I conceived of the parti of this building as a continuation of the public realm into a large, multi-story, light-filled atrium into which volumes of the think/make space would be inserted. The volumes of think/make spaces were divided into two, with the auditorium and children’s space facing 14th Street and the hacking, collaborative, and fabrication spaces facing the alley. Visitors enter the building from the west and enter the lobby with views into the eating space and large performance/exhibition space. A staircase allows visitors to ascend on axis halfway, then the landing reorients visitors about 180 degrees, where they finish the ascent to the auditorium. Staircases with similar forms lead to the floors above, ending with a rooftop terrace facing 14th Street. Wood panels cover the walls of the atrium, appearing warm and glowing in the light. The wood directs visitors
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COMMUNAL PRODUCTION up the staircase. Smaller beige tiles of a similar scale cover the walls of the auditorium and children’s’ space while larger, metal plates cover the walls of the hacking, collaborative, and fabrications spaces. A series of steel trusses contained within figural concrete supports the floor and roof slabs. Smaller steel beams frame into the trusses, supporting the concrete slabs and decking. Steel columns placed at twenty foot intervals originating from the corners of the thirty foot by thirty foot atrium support the trusses. I zoned the plans of the building to place all servant spaces (the fire stairs, elevators, storage spaces, and bathrooms) against the north party wall. The two volumes of think/make spaces are contained by multi-story height glass walls, punctured by floor slabs and circulation spaces. Think/make spaces interact across the atrium space using communal lounges placed against the south party wall. The west elevation projects the zoned plans with the servant spaces contained by concrete walls. The volume of the auditorium projects from a glass wall, covered in wood panels. Spaces along the west side of the building are shaded with louvers and overhangs.
SITE PLAN
WEST ELEVATION IN CONTEXT GROUND FLOOR PLAN
SECOND FLOOR PLAN
THOMAS MASINO
ARCH402 - PROJECT B - COLLABORATIVE C
MAY 2014 8
THOMAS MASINO UNIVERSITY OF MARYLAND
LONGITUDINAL SECTION THIRD FLOOR PLAN
ATIVE CIVIC CENTER
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FOURTH FLOOR PLAN
CRITIC: LUIS QUIROS
SCALE: SECTION A 1/4” = 1’
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COMMUNAL PRODUCTION
THE SITE MODEL WAS MADE COLLABORATIVELY WITH 12 OTHER STUDNETS.
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CONTINUATION OF THE PUBLIC REALM INTO THE LOBBY, ATRIUM, AND PERFORMANCE SPACE
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THRESHOLD INTERPRETATION ARCH402 - DESIGN STUDIO III FALL 2013 PROFESSOR AND CRITIC: LUIS QUIROS TIME: ONE WEEK
THESE PLANS WERE SCANNED OUT OF A BOOK ON ERNO GOLDFINGER.
HALL
ENTRY & EXIT
BEDROOM SPACE
LIVING SPACE
Analyzing Erno Goldfinger’s home at Willow Road revealed a number of thresholds that separate different spaces, each with their own use. The front door serves to separate the outdoor public space and the entry hall while compressing visitors into the enclosed, indoor space. The entry hall functions to gather visitors and lead them to the stairwell. Floor planes separate the relatively unified interior and a continuous, vertical circulation space links the three floors together. The living space is where the guests gather to socialize and the hosts entertain from. The sleeping space holds the more private functions of the house. Transparent planes separate the living and sleeping spaces from the rear outdoor space, where visitors gain an expansive feeling into the greenery. Goldfinger seems to use light to guide visitors to the more public spaces. He also utilizes a rhythm of expansive and compressive spaces to guide visitors through the house. After this analysis, I attempted to utilize these ideas and principles in my designs of the residential housing project and the communal co-lab project.
STAIRWELL
OBJECTIVE: TO EXAMINE AND ANALYZE HOW THE PERCEPTION OF THRESHOLDS COMMUNICATES DIFFERENT CULTURAL ISSUES. TO DEEPEN UNDERSTANDING OF THE RELATIONSHIPS BETWEEN FORM, CULTURE, AND POLITICS. TO SPECUTLATE HOW A SERIES OF SPACES MIGHT INFORM BEHAVIORAL CONSTRCUTS AND NEGOTIATE BETWEEN THE SELF AND THE COMMUNITY.
PRIVATE SEMI-PRIVATE
SEMI-PRIVATE SEMI-PRIVATE
PUBLIC
SPACE IS ENCLOSED AND COMPARTMENTALIZ SPACE CAN BE COMPLETELY OPEN OR COMPAR
SPACE IS ENCLOSED FROM THE OUTSIDE BUT OPEN T CONNECTOR.
SPACE IS BOUNDED UP, DOWN, LEFT, AND RIGHT; OPEN T
SPACE IS COMPRESSED FROM THE SIDES OR ABOVE AND BELOW TO TRA OUTSIDE TO INSIDE TO OUTSIDE AGAIN.
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DOORWAYS SEPARATE AND LEAD FROM THE ENTRY TO THE HALL AND TO THE STAIRWELL. FLOOR PLANES SEPARATE THE LIVING AND BEDROOM SPACES, WHICH CONNECT VIA THE STAIRWELL.
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INTERIOR LIGHT A LARGE TRANSPARENT PLANE SEPARATES THE LIVING SPACE FROM THE EXPANSIVE EXIT
TALIZED; DISCRETE WINDOWS ALLOW VIEWS OUT.
PARTMENTALIZED; CONTINUOUS WINDOWS.
PEN TO THE INTERIOR FLOORS; STRONG VERTICAL
EN TO ENTRY AND STAIRWELL.
SLEEPING. SOCIAL; ENTERTAINING GUESTS; STUDY. FUNCTIONAL; MOVING BETWEEN FLOORS.
FUNCTIONAL; WELCOMING GUESTS; LEADS TO MAIDS’ ROOMS.
TRANSITION FROM EXPANSION AND COMPRESSION
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ARCH402 - DESIGN STUDIO III FALL 2013 PROFESSOR AND CRITIC: LUIS QUIROS
GENERATION OF FORM
RESIDENTIAL INTERACTION
TIME: SIX WEEKS OBJECTIVE: TO EXPLORE THE SEPARATION OF THE PUBLIC AND PRIVATE REALMS. TO DEVELOP AN ADDITIONAL PROGRAMMATIC USE WITHIN THE HOUSING COMPLEX AND EXPLORING THE RELATIONSHIPS BETWEEN THE DIFFERENT PROGRAMS. With this project, I attempted to unify the three programmatic uses of a health/fitness center, a communal eating space, and a series of apartments of varying sizes. The section was utilized to link these three spaces in which the public has views into the eating spaces, which in turn has views down to the health/fitness center and an overlook connection to the residential apartments above. The plan places the entrance to the apartments closer to the more residential area of Swann Street. The communal eating space separates the private residential entrance from the public entrance to the health/fitness center, placed on the more public 14th Street. The communal eating space has moving partitions to allow for flexible use between the residents and the public. The overall form is derived from the angle of the shadow cast of the adjacent building during the autumnal equinox. The walls angle back, attempting to create more solar access for the apartments. Terracotta tiles cover the residential volume, appearing in a module of six inches by eighteen. Windows of modular sizes punch through the terracotta; their size depending on the use of the room: bedroom, master bedroom, or living room. An accessible green space exists elevated above the street, creating a more private outdoor space for the residents, and a green roof exists on top of the residential
GROUND FLOOR PLAN IN CONTEXT SOUTH ELEVATION IN CONTEXT
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TYPICAL RESIDENTIAL FLOOR SECOND FLOOR PLAN
DIAGRAMMATIC SECTION PERSPECTIVE
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TRANSVERSE SECTION EAST ELEVATION IN CONTEXT
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RESIDENTIAL INTERACTION volume. The residential volume is composed of five floors, each with one three-bedroom unit, two two-bedroom units, and one one-bedroom unit. These floor are linked by a large, five-story, communal atrium space. The atrium is curvilinear in form, to distinguish it from the linearity of the units. Curved staircases lead from one floor to the next.
PERSPECTIVE LOOKING NORTHWEST THE SITE MODEL WAS MADE COLLABORATIVELY WITH 12 OTHER STUDNETS.
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PROGRAMMATIC EXPLORATION ARCH401 - DESIGN STUDIO II SPRING 2013 PROFESSOR: MICHAEL AMBROSE CRITIC: HOOMAN KOLIJI TIME: FOUR WEEKS OBJECTIVE: DEVELOP THE PROGRAM FOR THE PROJECT INFORMED BY THE SPECIFICATIONS OF ACTION, EVENT, AND IDEA OF FABRICATION. DIAGRAM, ANALYZE, AND SPECULATE ON THE FORMAL/ SPATIAL POTENTIAL OF THE GIVEN PROGRAM THAT RESULT IN BOTH PHYSICAL AND DIGITAL ARTIFACTS. I began the design process for this collaborative laboratory by analyzing the site, seeing what regulating lines could be derived from adjacent buildings and how the street north of the site was more private than the street west of the site. I placed public circulation zones along the west and north sides of the site, allowing for easy entry into the building and visible movement through it. I placed the fabrication zones within one volume expressed as such and located at the rear of the site. Glass on the western elevation allows views into the fabrication and collaboration spaces from the street. Doing this allowed me to expose the activities of production and fabrication.
SITE ANALYSIS REGULATING LINES PROCESS IDEAS ABOUT CIRCULATION
GROUND FLOOR PLAN IN CONTEXT PROCESS IDEAS ABOUT THRESHOLD
I also studied the locations of potential threshold conditions and used that study to develop those moments and the overlap between different programmatic uses within the building.
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SECTION A
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SECTION B
SECTION C
UPPER FLOOR PLAN
WEST ELEVATION
SECTION D
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PROGRAMMATIC EXPLORATION After the review of this project, we were required to make one significant change to our design based on the critiques. For the redesign, I raised the gallery along the north side of the building above the level of the street. I did this in an attempt to unify the building more cohesively from the south production zones to the north public zones. Raising the gallery also created a more open public courtyard that mimics the sloping conditions of the park across the street.
PERSPECTIVE LOOKING NORTHEAST MODEL IN SITE
THE SITE MODEL WAS MADE COLLABORATIVELY WITH 12 OTHER STUDNETS.
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EXPLODED AXONOMETRIC SHOWING COURTYARD CONTINUITY
PERSPECTIVE LOOKING SOUTHEAST
SECTION PERSPECTIVE
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PRECEDENT SPECULATION
EXPLODED AXONOMETRIC
GEOMETRY
ARCH401 - DESIGN STUDIO II SPRING 2013 PROFESSOR: MICHAEL AMBROSE CRITIC: HOOMAN KOLIJI TIME: THREE WEEKS OBJECTIVE: CONSTRUCT A SPECULATIVE FORMAL/SPATIAL I NTERPRETATION DEVELOPED FROM THE ANALYSIS OF THE ASSIGNED PRECENDENT BUILDING. DESIGN A PRIMARY SPACE, A SEQUENCE OF MOVEMENT, AND A TECTONIC EXPRESSION OF THE WORK IN A SPECULATIVE FRAMEWORK. ASSIGNED PRECEDENT: CASA DAS CANOAS, OSCAR NIEMEYER This project began by documenting and analyzing the assigned precedent with the intent to design a speculative framework model derived from the analysis. The major discovery I made in my analysis was a relationship of circles, tangent lines, and center lines that Oscr Niemeyer used to derive the curved walls of his house at Canoas. Moving from this realization, I modeled a series of spheres and arranged them from the top and sides with my own tangent and center lines. I did so in an attempt to push Niemeyer’s ideas for plan further to that they affected the section of my framework.
INTERIOR CIRCULATION AND FLOW OF SPACE
AXES
SITE CONDITIONS
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OPEN-AIR COMPOSITION ARCH400 - DESIGN STUDIO I FALL 2012 PROFESSOR: BRIAN KELLY CRITIC: MARK ELLIOTT TIME: THREE WEEKS I began the design process of this garden after an initial precedent study of the Villa Torlonia in Frascati, Italy. Situated within the ficitonal Diamondback City, the garden serves as a public waterfront space and a transition from the city to the waterfront. I designed the garden as a series of terraces that cascade down from the height of the city at the north to the height of the waterfront at the south; a difference of ten feet. I placed a cascading fountain at the center of the entire composition to allow views from the northeast quadrant to the southwest quadrant. Doing so allows visitors to see where they are going as soon as they enter the garden. Other views run north to south in both halves of the garden. Larger public gathering spaces exist in the northeast quadrant, where the entrance to the park lies. More private spaces occupy the other quadrants, providing a gradual transition from the public city to the private lakefront and allowing guests to escape the hectic city. Vertical nodes mark the visual connection through the garden while columns direct visitors along the more public route through the garden.
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ARTISTIC INTEGRATION ARCH400 - DESIGN STUDIO I FALL 2012 PROFESSOR: BRIAN KELLY CRITIC: MARK ELLIOTT TIME: FOUR WEEKS After the review of Project 3, I revised my garden scheme to adhere more strictly to the big idea, the central cascade. The updated parti diagram has three voids of space aligned along a diagonal, surrounded by garden spaces, depicted as phenomenal poche. The central void is the cascade and the upper and lower voids are plaza spaces, through which movement can occur. The first step of designing the artist’s retreat was to separate the different programmatic functions. I organized the various required rooms based on whether they would be public or private and whether they would be on the inside or outside of the house. I also distinguished three different uses: living, display, and working. The living/dining room, kitchen, bedroom and storage constitute the living space, the gallery constitutes the display space, and the studio and library constitute the working space. Based on my garden parti diagram, which also had three main spaces, I decided to arrange three platonic forms along the lower right corner of the cascade, with the intent that each platonic form would house one of the three uses. The overall shape of the house is an “L” to fill the shape between the central cascade and circulation in the parti diagram. The “L” shape also continues the radiating pattern of squares from the central cascade to the outer walls of the garden. The house stands in the more private quadrant of the garden, allowing to the artist to escape the city and work. However, it gains prominence by occupying the center of the quadrant and becomes an object within the garden. Two sculpture terraces lie east of the main entrance, directly in front of the building. A lap pool with a separate shower lies further east. The views
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AXES
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AXES OF VISION
CIRCULATION
PARTI
RADIATING SQUARES
MATERIALS
PROPORTION
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ARTISTIC INTEGRATION cross the cascade and south from the northeast quadrant are preserved with glass windows. I based the plan of my house off a 5-foot-by-5-foot module, derived from the length of the retaining concrete walls and the cascade, 25-feet and 30-feet, respectively. The living and working spaces were placed up against the concrete walls in order to give the central placement to gallery, which would be the focal point and main destination for visitors. The gallery was pulled ten-feet away in both directions from the living and working spaces to heighten the hierarchy of the gallery and create circulation spaces. The plans of the living, display, and working spaces are all squares, echoing the proportions of the overall garden. I made the volume of the gallery a twenty-five foot cube to in order to make it a pure platonic form. I made the studio a twenty-foot cube, both to make it a pure platonic form and to allow resident artists to work on larger works. The roof over the library is five-feet lower than the studio roof to emphasize the importance of the studio and to frame the view of the gallery upon approach from the northeast quadrant. The mezzanine level of the gallery extends over the lobby, allowing views and a flow of space from the gallery to the studio. The mezzanine also extends of the central cascade, taking visitors further into the garden and immersing them in nature. The mezzanine is square in section, creating to the shapes of the gallery and studio in section. The mezzanine extends over the cascade ten-feet, creating a square cantilever that relates to the proportions of the building and garden. A lofted sleeping space allows for a flow of space within the living area while maintaining a square plan.
AXES
EA PROPORTION
GROUND FLOOR PLAN IN CONTEXT UPPER FLOOR PLAN
REGULATING LINES
SE PUBLIC VS PRIVATE
SECTION PROPORTION
EXPANSION AND COMPRESSION
REGULATING LINES
SE
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EAST ELEVATION
SECTION A
SECTION C
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SOUTH ELEVATION
SECTION B
SECTION D
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ADDITIONAL WORKS
BICHROMATIC, CONSTRUCTED TWO-POINT PERSPECTIVE OF PLATONIC FORMS AND SPACE CREATED BETWEEN THEIR ARRANGMENTS. COMPLETED IN ARCH242, SELECTED TOPICS IN VISUAL STUDIES FOR ARCHITECTS. SUMMER 2012
LINE DRAWING OF A PATIO CHAIR. COMPLETED FOR STUDIO APPLICATION; FALL 2011.
SHADE AND SHADOW DRAWING OF A PAIR OF HANDS HOLDING A PAIR OF GOGGLES FOR SWIMMING, MY FAVORITE SPORT. COMPLETED FOR STUDIO APPLICATION; FALL 2011
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BICHROMATIC, CONSTRUCTED TWO-POINT PERSPECTIVE OF PLATONIC FORMS AND SPACE CREATED BETWEEN THEIR ARRANGMENTS. COMPLETED IN ARCH242, SELECTED TOPICS IN VISUAL STUDIES FOR ARCHITECTS. SUMMER 2012
SHADE AND SHADOW DRAWING OF A GOTHIC CANOPY AT THE NATIONAL CATHEDRAL IN WASHINGTON D.C. COMPLETED FOR STUDIO APPLICATION; FALL 2011.
EXTERIOR TWO-POINT PERSPECTIVE OF THE NEWSEUM IN WASHINGTON D.C. COMPLETED FOR STUDIO APPLICATION; FALL 2011.
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THOMAS MASINO
UNIVERSITY OF MARYLAND
MAY 2014