theBAC Segment One Portfolio

THOM M BOESSEL BACHELOR OF ARCHITECTURE STUDENT

THOM BOESSEL 280 COMMONWEALTH AVE SUITE G8 BOSTON, MA 02116 PHONE: ( 617 ) 602-6311

THOM M. BOESSEL BACHELOR OF ARCHITECTURE PROGRAM Before coming to the Boston Architectural College I had been

my analysis. If these structures resolve the issues of congestion

working in a niche industry called “themed entertainment.” It

intended, I will be asked to design permanent structures. I mention

PZ ILZ[ [V KLZJYPIL [OPZ HZ HU L_WLYPLUJL IHZLK KLZPNU ÄLSK

this job because, it seems that having no formal education and just

transforming spaces into a very distinct theme. For instance,

experimenting and making it work along the way is what drove me

restaurants that make you feel as if you are sitting within a lush

to the BAC. I am under the impression that a college has collective

rainforest, with waterfalls, monkeys, and maybe old ruins of some

knowledge of built into a curriculum. This formal training, i am

kind with treasures? One never knows and it could potentially be

hoping with give me a wider net of experimentation and guidance

anything the mind can imagine. I worked in this industry with a

to inform me. I had been longing for a formal education, hoping

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it would unlock the mysteries of design. The education thus far

to Boston.

seems to be trying to show us the importance of good design. I

I have never had any formal design training, such as a design

usually assess good design by showing others my work and if they

school or workshops prior to the BAC. Through my work

under appreciate it as if it could be no other way then I must be

experience I have managed and art directed projects in large

doing something right. It is like the design of most good products,

ZWVY[Z ]LU\LZ =07 JS\I Z\P[LZ *S\I JVUJLZZPVUZ PU[LYHJ[P]L

we just tell ourselves that is how it should be. Not to say that is how

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i asses every project by any means.

parks. My most recent job, I was asked by the US Open to help

I intend on developing further consciousness with my design

them resolve circulation pinch points for The 2010 US Open. I

and the BAC is helping me do this. My history in the themed

created a small application that simulates the movement of

entertainment industry had developing space around the perception

guests along paths with attractor points that simulate the problem

a persons mind could have of the space, and The BAC has thus

points as it was described. The next step was to put attractor

concentrated on the human body and it’s interaction to space. I

points in several other locations to see if they relieve some of the

feel as if i am exactly where I wanted to be, I am experimenting with

JVUNLZ[PVU 5V^ [OPZ PZ ZVTL[OPUN ]LY` HIZ[YHJ[ ^P[O ZWLJPÄJHSS`

our perception of space and the physical relationship to the space.

commanded point emitters, but I have pinpointed locations

This relationship has been the most important to me between

HYV\UK [OL JVTWSL_ [OH[ YLZVS]L [OL PZZ\LZ [OLVYL[PJHSS` [OL

practice and my formal education.

US Open will be implementing temporary structures to check

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TABLE OF CONTENTS STUDIOS :;<+06 ( Dream House Cubic Deconstruction The Occupiable Joint

The Flagellation Analysis

:;<+06 ( ,_WLYPLU[PHS ;YHQLJ[VY` 9P[\HS 7YVQLJ[

:;<+06 ) =PSSH 4HPYLH (UHS`ZPZ Boat House

:;<+06 ) (IZ[YHJ[ ;LJ[VUPJ ,_WSVYH[PVU (YUVSK (YIVYL[\T ;LJ[VUPJ ,_WSVYH[PVU *OPUH[V^U ;LJ[VUPJ ,_WSVYH[PVU

*647,;0;065: Modular Miami Barcelona Sustainable Transport Facility Dudley Square Municipal Building

796-,::065(3 >692 3\JHZ 6PS :[HKP\T 6YHUNL )V^S *VTTP[[LL *VYWVYH[L 6MÄJLZ 3HUKZOHYR :[HKP\T American Airlines Arena University of Central Florida Athletic Complex

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A1 STUDIO DREAM HOUSE - 1 WEEKS THE OCCUPIABLE JOINT - 3 WEEKS PAINTING ANALYSIS - 3 WEEKS PAINTING GALLERY - 3 WEEKS SPRING 2009 MICHAEL SCHUR + NICHOLAS LAVITA

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DREAM HOUSE PROJECT MY FIRST STUDIO ASSIGNMENT 4@ -09:; :;<+06 (::0.54,5; ;OPZ ^HZ HU VWLU LUKLK HZZPNUTLU[ P[ ^HZ SLM[ \W [V \Z [V

KLZPNU HU`[OPUN YLSH[LK [V T` OVIIPLZ HUK ^VYR ;OPZ ^V\SK HS

ZOV^ ZP[L JVU[L_[ MVYT HUK ZVTL ZVY[ VM Å VVY WSHU [OH[ ^L JHU

SV^ T` WHY[ULY [V ]PL^ MYVT HIV]L ( Z[HPYJHZL ^V\SK Å V^ V\[ [V

discuss in class. It seems silly looking back at the project now. It

a patio area and would also act as the main entry to the house.

PZ SHJRPUN JVU[L_[ I\[ 0 Z[PSS MLLS HU HMÄ UP[` ^P[O [OL V]LY JVUJLW[

I have no issue having the entry of my personal home come

VM [OL KLZPNU /H]L H THZ[LY ILKYVVT [OH[ Å VH[Z HIV]L H SHYNL

straight into a large bedroom / living space.

open plan. Below is where I would assemble projects, sculpt,

KITCHEN / BATHROOM

STAIRS TO BALCONY

MASTER BEDROOM ;OL 4HZ[LY )LKYVVT Å VH[Z above the studio space. The perimeter of the bedroom is left open to view the studio.

STUDIO SPACE Open plan for sculpting, designing, developing experiments. It would be more of a lab.

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CUBIC DECONSTRUCTION DE-CONSTRUCTING / CONSTRUCTING A CUBE (::0.54,5; :<44(9@ The goal of this assignment was to create a volumetric cube from a solid ( Z\I[YHJ[PVU MYVT H ZVSPK J\IL [V JYLH[L ZWHJLZ ^P[OPU [OL IV\UKHY` of a cube. The other cube utilizes an additive method of creating spaces.

7SHULZ VM TH[LYPHS JVUULJ[ [V LHJO V[OLY KLÄ UPUN IV\UKHYPLZ HUK JYLH[L spaces that are left open, as opposed to the subtractive method of removing chunks of space.

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4PLZ =HU +LY 9VOL 9LMLYLUJL

EXPANSION EXPANSION COMPRESSION

OCCUPIABLE JOINT

SECTION SKETCH

EXPANSION / COMPRESSION JOINT (::0.54,5; :<44(9@ The threshold between the gathering space and the space for solitude uses a conceptual abstraction of compression and expansion along a linear constraint. The movement is limited to a compressed position, an expanded position, and a variable between two vectors along a path.

The built form consists of three open spaces separated by compressed

SPATIAL COMPRESSION

PLAN SKETCH

spaces. The centralized space is designed to be dynamic in the sense

POSITION ONE

of moving space from a vertical to a horizontal position, relative to the

POSITION TWO

POSITION THREE

entrance and exit of the space.

SEQUENCE

HUMAN SCALE

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MOVEMENT linear constraints

MOVEMENT non-linear constraints

POSITION ONE greatest vertical space

POSITION TWO sectional elevation change between the two positions

POSITION THREE greatest horizontal space 15

SECTION ONE

SECTION ONE

SECTION TWO

SECTION TWO

SECTION THREE

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SECTION THREE

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RED HUES

FOREGROUND SHADOWING

BUILDING

COVERED SHADOWS

DARK ELEMENTS

ALIGNMENT

FOREGROUND HORIZONTAL

VERTICALITY

AXONOMETRIC INTERPOLATION

DEPTH HIERARCHY

VANISHING POINT

FLOOR PATTERN

PERSPECTIVE EXTRAPOLATION

LIGHT / SHADOW

SECTION THREE

VERTICAL SEPARATION

HORIZONTAL MOVEMENT

70,96 +,33( -9(5*,:*( ;/, -3(.,33(;065

THE FLAGELLATION ANALYSIS PIERO DELLA FRANCESCA (1455-1460) 7961,*; :<44(9@ 0 ^HZ HZZPNULK H WHPU[PUN I` 7PLYV +LSSH -YHUJLZJH The Flagellation, >L ^LYL HZRLK [V JYLH[L H ZLYPLZ VM KPHNYHTZ HUHS`aPUN [OL WHPU[PUN The next project we were to create a space that would hold the painting in, and design that space that integrates our analysis.

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DEPTH HIERARCHY

VERTICAL SEPARATION

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ART GALLERY

INTERIOR GATHERING SPACE

GALLERY SPACE

GALLERY SPACE FOR THE FLAGELLATION PAINTING THE FLAGELLATION GALLERY SPACE 7961,*; :<44(9@

SCULPTURE GARDEN

;OL NVHS ^HZ [V \ZL H ^VYK MYVT [OL Å HNLSSH[PVU [V KLÄ UL [OL ZL[

ing to note that while working on his commission for the Church

ting for a built form that would host the painting. The left portion of

VM :[ -YHUJPZ PU (YLaaV 7PLYV MV\NO[ [V JOHUNL [OL JOYVUVSVNPJHS

the painting is given a sense of depth with a strong diagonal line

sequence of the True Cross in favor of a rhythm and symmetry

running to the foreground with the three characters in dialogue.

IL[^LLU [OL ^HSSZ VM [OL JO\YJO ([ Ä YZ[ NSHUJL VM [OL WHPU[PUN [OLYL

4` L`LZ RLW[ Y\UUPUN IHJR PU MVY[O IL[^LLU [OL [^V ZJLULZ [OL

is an inherent vague quality that suggests a hierarchy between the

IHJRNYV\UK HUK MVYLNYV\UK 0[ TVZ[S` YHU HJYVZZ [OL Z[YVUN Å VVY

SLM[ HUK YPNO[ OHS]LZ VM [OL WHPU[PUN ;OPZ OPLYHYJO` PZ VUL VM JVUÅ PJ[

pattern that runs diagonally across the painting, and the column

each side is no more important than the other. This back and forth

accentuates that diagonal line. The column also gives the painting

is explored throughout the sequence and development of the site.

H JSLHY KPZ[PUJ[PVU IL[^LLU [OL [^V ZJLULZ <WVU KLLWLY PU]LZ[PNH

The meandering of the sequence through the spaces, suggests a

[PVU PU[V [OPZ WHPU[PUN HUK ^OLYL P[ ^HZ SVJH[LK 0 MV\UK 0[ PU[LYLZ[

OPLYHYJOPJHS JVUÅ PJ[ VM PU KLJPZPVU

SITE ENTRY

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A2 STUDIO CHAIR PROJECT - 4 WEEKS EXPERIENTIAL TRAJECTORY - 6 WEEKS RITUAL PROJECT - 6 WEEKS FALL 2009 ADELE PARK + STEVE GO

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CARDBOARD CHAIR CHAIR / TABLE / WALL 7961,*; :<44(9@ The site is a studio space with a glass divider wall, kitchen, bathroom, and two storage YVVTZ ;OL .VHS ^HZ [V JYLH[L H ZLWHYH[PVU IL[^LLU [OL 2P[JOLU HUK [OL SP]PUN ZWHJL 0[ was important not to visually impede the relationship between the two rooms. The south most side of the chair was made to create a circulation wall, but have utility. The North most side was to be oriented toward the living room, but still read through to the kitchen.

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THE SITE

THE POSITION

The context that the chair sits within. I created a chair for my

I knew from start that I wanted to shape the form around a sitting

Z[\KPV HWHY[TLU[ [OH[ ^V\SK KLÄ UL H ZWHJL ^P[OPU [OL SP]PUN YVVT

WVZP[PVU [OH[ 0 Ä UK TVZ[ JVTMVY[HISL ;OL WVZP[PVU PZ ZP[[PUN \WYPNO[

that would separate the kitchen and bathrooms.

and my legs crossed leaning to a side with support for my elbow

CURRENT FLOORPLAN

CURRENT SPACE

DESIRED SPACE

THE FORM I knew from start that I wanted to shape the form around a sitting WVZP[PVU [OH[ 0 Ä UK TVZ[ JVTMVY[HISL ;OL WVZP[PVU PZ ZP[[PUN \WYPNO[ and my legs crossed leaning to a side with support for my elbow

DESIRED CIRCULATION

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DESIRED ORIENTATION

PRIMARY CIRCULATION

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THE LIGHTER SKIN The lighter skin acts more like a mesh when looking North / South, I\[ :VSPK ^OLU SVVRPUN ,HZ[ >LZ[ =PJ[VY /VY[H \[PSPaLZ [OPZ SLU[PJ\SHY LMMLJ[ ^OPSL TV]PUN \W H Z[HPY^LSS [OL MVYT VM [OL JVS\TU opens and closes itself in relation to the position on the stairs.

FACING SOUTH

FACING WEST

FACING NORTH

JOINT ORGANIZATION

LIGHTER SKIN THE CORE

TOP PERSPECTIVE 28

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EXPERIENTIAL TRAJECTORY THE SITE OF EILEEN GRAY’S E-1027 7961,*; :<44(9@

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>L ^LYL HZRLK [V JOVVZL H ZP[L HU`^OLYL PU [OL ^VYSK >OLU

[OL ZJH[[LYLK 3L]HU[ WPULZ HUK IY\ZOLZ VM ^PSK YVZLTHY` HUK

YLZLHYJOPUN [OPZ WYVQLJ[ 0 MV\UK H WLYZVUHS KLZJYPW[PVU MYVT ,PSLLU

euphorbia before coming on a small natural terrace cut into the

.YH`»Z , OV\ZL VU ^O` ZOL JOVZL [OL ZP[L [OH[ ZOL KPK 0 [VVR

OVUL` JVSV\YLK SPTLZ[VUL YVJRZ ^P[O [OL L]LY JOHUNPUN [\YX\VPZL

this description and created an experiential trajectory using the

of the Mediterranean below. The swim was forgotten. She had

description as follows: Clambering over crumbling walls, through

found the perfect site on which to build her house.

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1 11 LOCATION 1

LOCATION 2

LOCATION 3

LOCATION 4

LOCATION 6

LOCATION 7

:0;, (?6564,;90*

LOCATION 8

LOCATION 9

1

:0;, :,*;065 32

LOCATION 11

2

3

4

5

6

7

8

9

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WALKING MEDITATION RITUAL PROJECT

>L ^V\SK KV [OPZ MVY Ă&#x201E; M[LLU TPU\[LZ PU [OL TVYUPUN [V Z`UJOYVUPaL the body and mind. I took this technique and calculated the time it

:0;,

^V\SK [HRL [V ^HSR [OL WLYPTL[LY PU Ă&#x201E; M[LLU TPU\[LZ HUK [OH[ ^V\SK be the number that drove the number of divisions of the site. I

7961,*; :<44(9@

divided the site initially in a triangular form, and continued to divide

I spent two weeks at a Buddhist Monastery several years back.

the hypotenuse of the adjacent triangle until the meditation was

,]LY ZPUJL [OH[ L_WLYPLUJL 0 OH]L RLW[ WYHJ[PJPUN ^HSRPUN TLKP[H

complete. That was the basis of my form in plan.

[PVU [H\NO[ [V TL I` :\ VTN THZ[LY TVUR 0[ PZ H WYHJ[PJL MVY

796=0+, ;/9< 7(::

[OVZL ^OV HYL [Y`PUN [V V]LYJVTL HU_PL[` 0[ ^HZ KPMĂ&#x201E; J\S[ MVY TL [V

Firstly, its important to carry the same vernacular on the main retail

ZP[ X\PL[S` PU H YVVT [V JHST T` TPUK :\ VTN X\PJRS` YLJVNUPaLK

Z[YLL[ HUK ZLJVUKHY` JYVZZ Z[YLL[ <ZPUN [OL ZHTL ]LYUHJ\SHY KL

this, and taught me the walking meditation technique. It is a simple

Ă&#x201E; UL H Z[YLL[ ^HSS [V ZVSPKPM` [OL JVYULY :LJVUKS` [V JHY]L PU[V [OL

WYVJLK\YL >OPSL [HRPUN H IYLH[OL PU ZSV^S` `V\ TH[JO [OH[ IYLH[OL

program of the rectangular site to allow public access diagonally

with a single step. A breathe out coordinates with a second step.

through the site.

FORM DEFINITION ( ZL[ VM Y\SLZ [V Ă&#x201E; UK [OL MVYT 36

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SECTION PERSPECTIVES

PROGRAM

MOOD SKETCHES

COURTYARD SKETCH Courtyard EAST SECTION PERSPECTIVE

FACADE STUDY SKETCH Newbury St. facing North

WEST SECTION PERSPECTIVE

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SECOND FLOOR EXTERIOR GARDEN

uth

o artm

D

FRONT PERSPECTIVE

BUILDING MASS

40

st.

Newbury st.

SHADOW MAP

SHADOW MAP

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B1 STUDIO VILLA MAIREA ANALYSIS - 6 WEEKS BOAT HOUSE - 10 WEEKS SPRING 2010 KATHYRYN FRIEDMAN + LAUREN OLIVIER-BROCK

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EXPLODED AXONOMETRIC

INTERIOR / COVERED EXTERIOR NYV\UK Å VVY

covered exterior :6<;/>,:; =0,>

interior

*6<9;@(9+

RESIDENTS / STAFF NYV\UK Å VVY residents

AXONOMETRIC VIEW on corresponding page 05;,.<4,5; =(90(;065

staff

-694(3 4(::05.

VILLA MAIREA ANALYSIS

Noormarkku, Finland

residents

ALVAR AALTOS - VILLA MAIREA 7961,*; :<44(9@ >L ^LYL HZRLK [V KV HU HUHS`ZPZ VM H OV\ZL WYV]PKLK [V \Z I` [OL PUZ[Y\J[VYZ 0 ^HZ NP]LU (S]HY (HS[V»Z =PSSH 4HPYLH H OV\ZL PU YL[YVZWLJ[ 0 HT WSLHZLK [V OH]L ILLU HZZPNULK ([ Ä YZ[ *(5;,+ >05+6>:

glance it appeared to me to be a simple warm cottage. I soon found that the house followed a strict rule in its formal massing, and a playfulness of curved forms when interacting with the

PROGRAM NYV\UK Å VVY

points of the grid. The houses structural columns are placed along this grid. Aalto, as to not follow this rational architecture into the formal living spaces had masked the columns to bring

a

main entrance

[HJ[PSP[` [V [OL Z[Y\J[\YL (HS[V KPK UV[ ^HU[ [OL Z[Y\J[\YL [V IL ZLLU HZ Z[Y\J[\YL I\[ HZ H YL

b

staff quarters

lationship to the human. Columns were wrapped in rattan for the human hand to run across.

J VMÄ JL

Aalto also describes how the human when sitting by a window should not feel the coldness

d

food preparation

VM TL[HS I\[ [OL ^HYT[O VM ^VVK PU H JVSK LU]PYVUTLU[ ;OL Ä UPZOPUN PU [OPZ OV\ZL PZ PU KPYLJ[

e

kitchen

b

relationship to how the human may touch of interact with its material properties. >OLU Ä UPZOLK ^P[O HUHS`ZPZ ^L ^LYL NP]LU H JSHZZ [V [YHUZMVYT [OL OV\ZL 0 KLJPKLK 0 ^V\SK transform the staff quarters into a grandiose guest room. A guest room that would have direct access to the courtyard, and living quarters of the house as to not separate the guest from

e

c

d a

the residents. I would assume when you have guests they are more like family than not.

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47 30=05. 9664

INTERIOR / CONTAINED EXTERIOR \WWLY Å VVY

FORM FINDING ANALYSIS SUBDIVISION LEVEL 1

SUBDIVISION LEVEL 2

roof covering

contained exterior

interior 2850 mm

contained exterior

2850 mm

RESIDENTS / GUEST QUARTERS \WWLY Å VVY SUBDIVISION LEVEL 3

FINAL MASSING

guests

residents

PROGRAM \WWLY Å VVY

GRID COORDINATION +LÄ UPUN ^HSS HUNSLZ MYVT [OL MVYT Ä UKPUN NYPK

GRID COORDINATION +LÄ UPUN ^HSS HUNSLZ MYVT [OL MVYT Ä UKPUN NYPK

GROUND FLOOR

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ELEVATIONS

OPENNESS

SOUTH ELEVATION

VIEWS TO EXTERIOR

VIEWS TO EXTERIOR

NYV\UK Å VVY

\WWLY Å VVY

WEST ELEVATION

SKETCHES STRUCTURE STRUCTURAL COLUMNS

COLUMN LOCATIONS

idiosyncratic variations in structural columns.

column location within house.

exterior columns

dining room columns

living room

exterior living room columns

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dining room columns

exterior columns

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SKETCHES

TRANSFORMATION PLAN

STAFF (MAID) SPACE REMOVAL

=PSSH 4HPYLH JVTWV\UK PZ HWWYV_PTH[LS` ZX M[ HUK VM [OH[ ZX M[ PZ living space. I thought it logical to reduce/transform the present space rather than to add further program. to the building. The staff rooms located on the shorter LUK VM [OL UVY[O LHZ[ ^PUN ZLLTLK WY\KLU[ >L SP]L PU H UL^ [LJOUVSVN` HNL" The timeliness of Food preparation and hygiene has been drastically reduced and therefore is less important.

GUEST COURTYARD ACCESS ([ WYLZLU[ [OL N\LZ[ YVVTZ VM [OL =PSSH 4HPYLH VUS` OH]L SPNO[ VU [OL LHZ[^HYK side of the room. The circulation to and from the guest quarters has one traverse through the childrens play area through a smaller living space downstairs until you reach the main living room. I would like to provide direct access to the courtyard by extending the stairs from the north facade.

GUEST BALCONY Continuing along the extension of the north facade, I would like to provide another tier to access the roof garden from guest quarters.

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SITE DIAGRAMS

WIND ALONG THE ESPLANADE

ESPLANADE ACCESS The Esplanade entry on Mass ave, forces one to pass storrow drives exit before entering the park

BOAT HOUSE ESPLANADE WATERFRONT - BOSTON, MA *65*,7; :;(;,4,5;

ESPLANADE ACCESS

This boat house is for the primary use of the public. It should not stand as a

My solution would be to connect the Esplanade back to the grid of the Back Bay as it was historically before Storrow drive was expanded in the 1950â&#x20AC;&#x2122;s

monument to boat storage, but to accommodate those who watch the boats in action. I am trying to create the maximum seating and viewing areas of the water, while tucking the boat storage away. The experience of the site should not be impeded upon by storage of these boats, but to provide the maximum amount of green space to the people.

SITE DIAGRAMS FORM FINDING

ESPLANADE MASSING RELATIONSHIP 54

The series above displays the Esplanade massing in relation to its historical context and its context presently. The last diagram shows the desired massing.

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SITE DIAGRAMS

FORM FINDING

BOAT LAUNCH / STORAGE

ESPLANADE ACCESS

ESPLANADE ACCESS

The present access to the Esplanade.

The desired access to the Esplanade - bring the Esplanade to the grid of the Back Bay district in Boston, Ma.

SITE DIAGRAMS

NEW GRID RELATIONSHIP

CONE OF VISION The extend of the building is informed WASHROOMS by a cone of vision. The tangency of the KLÄ ULK ZSVWL PZ HKQHJLU[ [V P[Z IV\UKHY`

SHAPING THE EDGE The edge of the green bridge is informed by the division of the grid relationship between the esplanade and the Back Bay.

SLOPE DEFINED The edge of the green bridge is also informed by the clearance necessary for the Storrow drive exit.

OFFICES / STORAGE SITE DIAGRAMS

EXISTING GRID RELATIONSHIP

PRIMARY PATH

SECONDARY PATH

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LOWER LEVEL FLOORPLAN

BOAT LAUNCH AND STORAGE

WASHROOMS OFFICES

BELOW GROUND FLOOR PLAN

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B2 STUDIO TECTONIC ANALYSIS - 2 WEEKS ARNOLD ARBORETUM TECTONIC INVESTIGATION - 2 WEEKS CHINATOWN TECTONIC INVESTIGATION - 4 WEEKS SUMMER 2010 MICHAEL CREHAN

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TECTONIC RELATIONSHIPS

VENATION The density surrounding the radial pattern is more dense than the furthest most lines.

RADIOLARIAN Ameba-like body YHKPH[PUN Ă&#x201E; SHTLU[V\Z pseudopodia, acting as structural integument of the form.

LAMINA Layers lain over another - the clearance of form creates voids and coverings in space.

FRACTURE Larger triangular forms overlapping each other in organic rhythms. The gradation of triangles imply a change in depth.

COMPRESSION 6IQLJ[Z HYL KLWLUKLU[ \WVU H JVTWYLZZPVU QVPU[ to hold each other in place.

PROVIDED IMAGES

TECTONIC ABSTRACTION TECTONIC EXPLORATION 7961,*; :<44(9@ >L ^LYL WYV]PKLK [OYLL PTHNLZ VM [OVZL PTHNLZ ^L ^LYL [V PU]LZ[PNH[L ^VYKZ that best described a tectonic relationship. Those tectonic relationships were to drive further exploration into a modular unit. This unit was to be used to create a module and that module would be used to create an assembly of units.

4` [LJ[VUPJ \[PSPaLK ZP_ KPMMLYLU[ TVK\SLZ PU H JVUĂ&#x201E; N\YH[PVU VM [OL TVZ[ ZPKLK module sits at the base, and the least sided module at the highest point of the HZZLTIS` ;OPZ PZ IHZLK VMM [OL YHKPVSHYPHU JYHJRPUN PTHNL WYV]PKLK

BOX MODULES

1 UNIT

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2 UNITS

3 UNITS

4 UNITS

5 UNITS

6 UNITS

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CITY CONTEXT

SITE CONTEXT

SITE-SPECIFIC CONTEXT

PAVILION AT ARNOLD ARBORETUM TECTONIC EXPLORATION IN LANDSCAPE 7961,*; :<44(9@ My design emphasizes the main entrance, imparting to it a sense of monumentality. Upon approach of the pavilion one is faced with a ^PKL VWLU WSHUL ZJH[[LYLK ^P[O [YLLZ IYLHRPUN the rolling hill. The pavilion acts as a living picture LSL]H[LK ZSPNO[S` [V ]PL^ [OL SHUKZJHWLZ KLZPNU AXON OF SITE LAYOUT

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SITE ANALYSIS

ILLUSTRATIVE PLAN

SECTIONS

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PERSPECTIVE OF PAVILION

SITE SKETCHES 68

SITE SKETCHES 69

FIRST AXIS movement along x-axis

SECOND AXIS movement along z-axis

PATH ARRAY edges follow a path

ACCESSIBLE LAND

SITE BREAKDOWN

FIGURE GROUND

CHINATOWN CULTURAL CENTER URBAN TECTONIC EXPLORATION 7961,*; :<44(9@ ;OLYL HYL [^V [LJ[VUPJZ 6UL PZ H [YPHUN\SH[PVU of a rectangle, extruded, points pulled out to give an opportunity to catch shadows and to allow for structural integrity. The second is an L_[Y\KLK º3» [OH[ JHU Z[YL[JO [V ILJVTL H beam and rotate around its bend to become a seat.

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BUILDING PARTI

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PERSPECTIVE FACING THEATRE

PERSPECTIVE FROM SURFACE ST

INTERIOR PERSPECTIVE FROM ENTRY

INTERIOR PERSPECTIVE FROM GALLERY 77

COMPETITIONS MODULAR MIAMI 2010 ( INDEPENDENT ) BARCELONA SUSTAINABLE TRANSPORT FACILITY 2010 ( INDEPENDENT ) STEEL COMPETITION 2009 ( INDEPENDENT ) DUDLEY SQUARE MUNICIPAL BUILDING ( PROFESSIONAL )

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MIAMI MODULAR HOTEL AIAS MOHO / MODULARMiami BUILDING INSTITUTE AIAS, Miami Beach Hotel -(*<3;@ :765:69

Moho is a new concept in the ;,(4 4,4),9: long-standing tradition of world-class ;OVT )VLZZLS 5^H` 6V 9VILY[ 9 6Y[Pa 4PRRLS :[YVTZ[HK Miami hotel design. Its dynamic form 9,:765:0)030;0,: expresses the grand sense of luxury and 0 ^HZ PU JOHYNL VM 9LUKLYPUN + PTHNLZ JYLH[PUN KPHNYHTZ MVY [OL ZOPWWPUN JVU[HPULYZ ^LH[OLY HUHS`ZPZ KPHNYHTZ HUK Ä UPZOLZ [OL Å VVY WSHUZ Miami theatricality that popularized hotels in a kit-of-parts assembly that *65*,7; :;(;,4,5; 4VOV PZ H UL^ JVUJLW[ PU [OL SVUN Z[HUKPUN [YHKP[PVU VM ^VYSK JSHZZ 4PHTP OV[LS efficiently responds to contextual, design. Its dynamic form expresses the grand sense of luxury and theatricality [OH[ WVW\SHYPaLK 4PHTP OV[LSZ PU H RP[ VM WHY[Z HZZLTIS` [OH[ LMÄ JPLU[S` programmatic and environmental responds to contextual, programmatic and environmental variables. In this way, variables. In this way, the ability to adapt the ability to adapt and respond—to cater to each guest—is articulated as its primary function. and respond—to cater to each guest—is articulated as its primary function. ,YPJ 5LSZVU

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to the pool area. Generous terraces with stunning ocean views define a strong sense of

with its Collins Avenue neighbors and frames Western views to Biscayne Bay and downtown.

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Modular Unit (Shipping Container) Modular Array Modular Structure Service Structure Hot Water Supply Green Roof Kitchen Garden

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Lower Lobby Upper Lobby Event / Restaurant Restaurant Sun deck / Lounge Pool Snack Bar Restrooms Kitchen Office Green Pergola

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Lower Lobby Retail Store Mechanical Room Laundry Loading / Storage Janitorial Office Security Luggage Storage Utility

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GROUND LEVEL 01

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BCN COMPETITION BARCELONA SUSTAINABLE TRANSPORT FACILITY -(*<3;@ :765:69 +H]PK ,JJLSZ[VU

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9,:765:0)030;0,: 0 ^HZ PU JOHYNL VM Ä UHS + YLUKLYPUN KPHNYHT ZLYPLZ ZLJ[PVU HUK L_WSVKLK axonometric graphics.

*65*,7; :;(;,4,5; (YJOP[LJ[\YL PZ H YLÅ LJ[PVU VM J\S[\YL HUK Z\Z[HPUHISL HYJOP[LJ[\YL PZ H YLÅ LJ[PVU of a sustainable culture. From the beginning our team has discussed the importance of aiming to achieve not only and sustainable transportation center within a unique city but to create a unique urban experience within an urban ZL[[PUN 0UJS\ZPVU PZ V\Y HWWYVHJO [V Z\Z[HPUHIPSP[` >L ZV\NO[ [V IYPUN [VNL[OLY members of the city around a sustainable hub, were they can experience [OL M\[\YL WV[LU[PHS VM [OL LSLJ[YPJ WS\N PU JP[` JHYZ HUK PU[LYHJ[ ^P[OPU ZWHJLZ adjacent to a headquarter for research in green technologies.

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DUDLEY SQUARE DUDLEY SQUARE MUNICIPAL BUILDING (9*/0;,*;: Doug Dolezal Architecture + SMMA

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DUDLEY SQUARE MUNICIPAL CONT 90

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WORK LUCAS OIL STADIUM ( 2008 ) ORANGE BOWL COMMITTEE CORPORATE OFFICES ( 2008 ) LANDSHARK STADIUM ( 2009 ) AMERICAN AIRLINES ARENA ( 2010 ) UNIVERSITY OF CENTRAL FLORIDA ATHLETIC COMPLEX ( 2010 )

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LUCAS OIL STADIUM INDIANAPOLIS COLTS NEW STADIUM (9*/0;,*; >HNULY 4\YYH` (YJOP[LJ[Z

9,:765:0)030;0,: (Y[ +PYLJ[PVU + 9LUKLYPUNZ HUK *VUJLW[ +LZPNU 0 ^HZ HZRLK I` >HNULY 4\YYH` (YJOP[LJ[Z [V KLZPNU PU[LYHJ[P]L KPZWSH`Z [OH[ ^V\SK Ä [ PU[V [OL 3\JHZ 6PS ,_WLYPLUJL H[ [OL UL^ Z[HKP\T

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ORANGE BOWL COMMITTEE ORANGE BOWL COMMITTEE CORPORATE OFFICES *30,5; 6YHUNL )V^S *VTTP[[LL 2VZTV :[\KPVZ

9,:765:0)030;0,: 0U[LYPVY KLZPNU MVY [OL 6YHUNL )V^SZ JVYWVYH[L VMÄ JLZ 0 KLZPNULK WSHUULK and developed construction drawings for all the millwork. I managed the project from concept stage until completion.

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CUSTOM LIGHTING FIXTURE

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CUSTOM LIGHTING FIXTURE

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AMERICAN AIRLINES ARENA MIAMI HEAT STADIUM *30,5; 2VZTV :[\KPVZ

9,:765:0)030;0,: >L KL]LSVWLK H JVUJLW[ MVY [OYLL KPZ[PUJ[ HYLHZ" H JOLM LU[LY[HPUTLU[ HYLH lounge area, and a sponsorship area. Conceptual renderings for a design WYVWVZHS >L NV[ [OL QVI

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UNIVERSITY OF CENTRAL FLORIDA ATHLETIC COMPLEX *30,5; 2VZTV :[\KPVZ

9,:765:0)030;0,: *PYJ\SH[PVU ZJ\SW[\YHS WPLJL JVUJLW[ KLZPNU

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