1
S E G M E N T 1 P O R T F O L I O PHILLIP WRIGHT
BOSTON ARCHITECTURAL COLLEGE CANDIDATE FOR MASTER OF ARCHITECTURE phillip.wright@the-bac.edu
SEGMENT I PORTFOLIO
LIST OF CONTENTS Course: Master’s B-2 Studio Instructor: Shonali Rajani School: Boston Architectural College Semester: Spring 2011 pg. 2-51
Course: Master’s A Studio Instructor: Christopher Munro School: Boston Architectural College Semester: Fall 2010 pg. 52-75
Course: Critical Regionalism Instructor: Tatiana Berger School: Boston Architectural College Semester: Fall 2011 pg. 76-81
Course: Structures 1 Instructor: Nathan Roy School: Boston Architectural College Semester: Fall 2011 pg. 82-87
Course: Freehand Drawing Instructor: William Hemmerdinger School: Boston Architectural College Semester: Spring 2011 pg. 88-93
Course: Intro to Revit Instructor: Greg Demchak School: Boston Architectural College Semester: Fall 2010 pg. 94-99
Course: Architecture Studio 3 Instructor: Anthony Viscardi School: Lehigh University Semester: Spring 2009 pg. 100-107
Practice Portfolio (2010-2011) pg. 109-125
1
INTRODUCTION
PROJECT 0
Course: Master’s B-2 Studio Instructor: Shonali Rajani School: Boston Architectural College Semester: Spring 2011
Project Name: Project 0 - Tectonic Unit
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
Project Description: To begin the project, I was given a packet of Architectural detail drawings. From this packet, I chose three (3) details to describe using tectonic terms. For each detail I derived a list of tectonic ideas that I wanted to further explore. Some of the terms used include the idea of Insertion, where one element inserts into another; the idea of Datum, where different elements meet at certain point; and the idea of Encasing, where a certain element wraps around another. From these ideas, I created models to display how the tectonic ideas work in three dimensions.
2
TECTONIC DETAILS
PROJECT 0
DETAIL 1 Tectonic Ideas • Inserting • Overlapping • Encasing • Changing scale
DETAIL 2
DETAIL 3 Tectonic Ideas • Inserting • Rotating • Datum • Axis
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
Tectonic Ideas • Interlocking • Rotating • Datum • Axis
3
TECTONIC DETAIL 1 - DIAGRAMS
PROJECT 0
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM 1
4
DIAGRAM 2
In the first detail that I explored I found the tectonic ideas of Inserting, Overlapping, Encasing, and Changing Scale. The image titled ‘Diagram 1’ shows the idea of overlapping planes at different depths creating a step-like form inside of the main U-shaped form that is colored blue. The image titled ‘Diagram 2’ explores the idea of the fluctuation of scale in both the horizontal and vertical directions.
TECTONIC DETAIL 1 - MODEL
PROJECT 0
MODEL (FACE 2)
I chose to further explore the tectonic idea of fluctuating scale. I pursued this idea by creating a model that had changes in scale in both the vertical and horizontal directions. I also explored the idea of how parts could be solid and how others could become voids and not simply have a rectangular form. This can be seen in the the bottom image in how the top piece of the right side slants downwards.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
MODEL (FACE 1)
5
TECTONIC DETAIL 2 - DIAGRAMS
PROJECT 0
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM 1
6
DIAGRAM 2
For the second detail drawing, I derived the tectonic ideas of Interlocking, Rotating, Datum, and Axis. The image titled ‘Diagram 1’ shows the idea of a central datum that has the other pieces interlocking into it and rotating around it. The image titled ‘Diagram 2’ shows more ideas of the interlocking nature of the parts in the detail drawings.
MODEL
For the exploration model, I chose to further explore the idea of interlocking pieces. I created a sketch model formed by numerous interlocking pieces coming together to form a structure. The pieces are different colors to represent how they could be different materials that interlock together. The assembly creates different levels that could be inhabited and creates unique spaces each time it is put together.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
TECTONIC DETAIL 2 - MODEL
PROJECT 0
7
TECTONIC DETAIL 3 - DIAGRAMS
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM 1
8
PROJECT 0
DIAGRAM 2
For the third detail, I found the tectonic ideas of Inserting, Rotating, Datum, and Axis. The diagrams above show the exploration of how the four tectonic ideas come together. I saw the detail as having a central datum, or core with a central axis, that had different pieces inserting into the core and rotating around it.
MODEL
The model exploration of the tectonic ideas involves a central core piece that has other pieces that intersect into it. To show the idea of rotating, I started with a black material and stepped it up on each side of the core and did the same with a white material. To show the inserting idea, I left the core uncapped so you can see the pieces inserting into it.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
TECTONIC DETAIL 3 - MODEL
PROJECT 0
9
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SCALED EXPLORATIONS
10
PROJECT 0
Shown above are different scaled explorations of how the different tectonic units could be used by humans. These drawings mostly explore the units as building scale, showing how humans could inhabit different levels or spaces created.
ITERATIVE EXPLORATIONS
Shown on this page is another iterative model involving the core tower with different levels inserted into it. The sketches to the left of the model are two scaled explorations of how the model could be used in the real world. The top sketch is at hand scale and shows the model being used as something that could hold candles on a table top. The bottom sketch shows the model at human scale and shows how it could be used as a type of seat.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
PROJECT 0
11
ITERATIVE EXPLORATIONS
PROJECT 0
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM 1
12
DIAGRAM 2
The drawings on this page explore the idea of an encasing wall like structure that has different inhabitable levels. There are also two planes inserted into the levels, creating boundaries. I was also interested in how the encasing element was connected at the corners.
MODEL The image on this page is a model interpretation of the sketches on the previous page. The inhabitable levels are differentiated by color and the encasing element wraps around in a ‘U-shape’ form.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
ITERATIVE EXPLORATIONS
PROJECT 0
13
THE INITIAL UNIT
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
INITIAL UNIT
14
Taking ideas from the tectonic principles derived from the detail drawings and models, I created my initial unit. It involves the elements seen in the sketch models such as the different inhabitable levels with a core tower inserting into them. These elements are then encased by a ‘U-shape’ form. I differentiated the pieces by using different colored materials.
PROJECT 0
INITIAL UNIT ASSEMBLY
ASSEMBLY AT HUMAN SCALE
I built three models of the unit and thought of how they could come together into an assembly. The image in the upper right shows them stacked together, creating different levels. The sketches below show the assembly at different scales, where it could be used as a seat at human scale, or as a vantage point at building scale.
ASSEMBLY AT BUILDING SCALE
REVISING THE UNIT
PROJECT 0
THE REVISED UNIT
DIAGRAM OF ELEMENTS
THE REVISED UNIT
AXON DIAGRAM
The next step involved revising the unit so that the materials and forms were clearer. I started off by using a thicker material for the encasing element and lengthening one of the sides. I made the central core a darker color, thinned it out, and lengthened it. I also revamped the insertion idea so that the different levels wrap around the core, enforcing the idea that it was inserted into them. The top level also starts to break out of the encasing box.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
THE REVISED UNIT
15
FINAL PRESENTATION MODELS
PROJECT 0
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
At the start of project 0, I chose three details that I thought had tectonic potential. The tectonic ideas that I focused on from the original three details included, amongst others, depth, datum, insertion, overlapping, and encasing. I narrowed my focus after a couples stages of concept development and continued developing the idea of a central datum, insertion, and encasing. I built several study models that involved inserting a component, that I thought of as being a central core or datum, into another component that encases the datum. The final unit that I designed involves the use of different materials and thicknesses so that the elements would contrast and read differently from each other. In creating the assembly, I thought of the unit as a “U-Shape” that encases other elements. I developed the final assembly with this idea and brought back into my design the tectonic idea of interlocking the units to encase a space that could be inhabited.
16
FINAL PRESENTATION DRAWINGS
PROJECT 0
PLAN VIEW
AXON DIAGRAM
AXON VIEW
CONNECTION DIAGRAM
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SECTION VIEW
17
SCALED EXPLORATIONS
PROJECT 0
In this scaled exploration, I looked at the model at building scale. This allowed the possibility to have a space with different levels that are inhabitable. The central core space could also potentially be used as an interior space.
BUILDING SCALE
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
In this scaled exploration, I looked at the idea of the unit assembly being at the scale for a person to sit on. The assembly would allow for different directional views by the way it is connected and the central cores could be used as surfaces to sit upon.
18
HUMAN SCALE 1
In this scaled exploration, I looked at the possibility of the assembly being used as a type of podium arrangement for speeches and presentations.
HUMAN SCALE 2
The two images shown to the right are of the revised unit assembly after the review. The general critique was that the unit was successful but the assembly fell short because it was just a simple connection that did not create anything interesting as you would “turn the corner.” Taking this feedback into consideration, I reassembled the three different units to create a new form. I rotated and flipped the units and connected them in a way that had dynamic corners and created different types of spaces on the interior and exterior.
UNIT ASSEMBLY REVISIONS
REVISED UNIT ASSEMBLY
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
PROJECT 0
REVISED UNIT ASSEMBLY
19
INTRODUCTION
PROJECT 1
Course: Master’s B-2 Studio Instructor: Shonali Rajani School: Boston Architectural College Semester: Spring 2011
Project Name: Project 1 - Art Gallery for the Arnold Arboretum
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
Project Description: The goal for Project 1 was to design an Art Exhibition space by using the tectonic principles from Project 0. The project site is located in the Arnold Arboretum.
20
TECTONIC IDEAS
PROJECT 1
Rules of the Tectonic Assembly from Project 0 • Detail 1: Insertion and encasing • Detail 2: Datum and interlocking • Detail 3: Insertion and Datum Final Rules for Project 1: • Insertion • Encasing • Datum • Interlocking
DETAIL #2
DETAIL #3
After Project 0, I chose specific tectonic ideas that I wanted to further pursue for Project 1. Out of all the different tectonic ideas that I had found, I chose to explore Encasing, Insertion, Datum, and Interlocking. The diagrams above show the original architectural detail drawings that I derived the tectonic ideas from.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DETAIL #1
21
SITE INTRODUCTION
PROJECT 1
The chosen site for the project is in the Arnold Arboretum. I had the choice between three different building sites on the overall chosen site. The three sites break off of a pedestrian path and offer different views of the Arboretum.
1 3
2
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
Location: 125 Arborway, Boston, MA 02130
22
Site 1: Downward slope from path Site 2: Downward slope from path Site 3: Upward path
slope
from
SITE ANALYSIS
PROJECT 1
During my site analysis, I looked at how the sun would travel throughout the day over the sites, the path of pedestrian traffic, wind patterns, particular views from the sites, and possible massing on sites. I was immediately drawn to Site 2 and Site 3 for different reasons. I appreciated Site 2 because it offered a view onto Site 3 which was a hill rising up overlooking the park. I also wanted to explore building on Site 3 and having views looking down over the park.
After going through site analysis, I came to the conclusion that I wanted to design a structure that focuses views onto the park and not the city to the East. I decided to use site 2, so that the sun would travel over the structure, providing natural light, and allowing views of the sunset over the hill. I felt as though the meeting point of the three existing paths was a special moment in the park and decided that using it as a possible entry point to my building could be a potential design idea. BUBBLE DIAGRAM ON SITE 3
IMPORTANT SITE FEATURES DIAGRAM
INTERSECTION OF PATHS DIAGRAM
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
BUBBLE DIAGRAM ON SITE 2
Important Discoveries: • Sun rises in East behind site 2, travels overhead, and sets behind the hill on site 3 • The intersection point of the 3 existing paths • Keep the views of the park as the most important features that need to be designed around
23
SITE SECTIONS
PROJECT 1
SITE 3 SECTION #1
SITE 3 SECTION #2
SITE 2 SECTION #1
SITE 2 SECTION #2
These are preliminary sections showing possible placement of the structure on different sites and how it interacts with the landscape (cut in, rest on top, etc.). I originally envisioned some type of structure with multiple levels that allowed different views out onto the landscape. After drawing these preliminary sections, I decided that I wanted to focus on designing a building on Site 2. My main reason for choosing this site was because I wanted to focus the views out onto the hill and visitors could view the sunset over it in the evening.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
The two site sections below show a more refined idea that displays my tectonic unit from Project 0 turned onto its side. This allows for the central core to be used as a walking space and the ends could allow views out over the landscape. The space underneath could also be inhabited.
24
SITE SECTION A
SITE SECTION B
SKETCH DESIGN
PROJECT 1
MODEL IMAGE #1
MODEL IMAGE #2
The arrangement of the units take a Uform, similar to the unit itself. The cores from the original unit become gallery space and the ends are glazed to allow views of the hill. The design provides a courtyard type of space, covered space, and indoor space for visitors.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
PERSPECTIVE VIEWS OF THE EXTERIOR AND INTERIOR
PLAN DRAWING OF UNIT ARRANGEMENT
25
CONCEPT SKETCHES
PROJECT 1
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
BREAKING DOWN THE ENCASING ELEMENT
26
BREAKING DOWN THE ENCASING ELEMENT
SITE SECTION OF NEW UNIT
SKETCH MODELS
PROJECT 1
BREAKING DOWN THE CORE ELEMENT
SKETCH MODEL OF THE REVISED UNIT
The next step in the design was to start breaking down the solidity of the encasing element so that it did not seem so heavy and closed. I did this by cutting slots into two sides of the encasing U-shape and connected the two by using what could be thought of as beams. The design had a more interesting type of connection and took away from the denseness of the original unit. I also broke down the core and turned it into an open box design. I envisioned it being a type of glass box that would be encased by the heavier, but more open, U-shape form. The sketches on the left page show the process of breaking down the U-shape into the rib-like structure that would act as stilts holding the habitable core space off of the ground. I wanted to play with the light and how it would enter the glass box space and the voids in the encasing form allowed for different light patterns throughout the day.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
BREAKING DOWN THE ENCASING ELEMENT
27
CONCEPT DIAGRAMS
PROJECT 1
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM SHOWING CORE UNIT WITH PATHWAY CONNECTIONS INSERTING INTO IT
28
DIAGRAM OF CONNECTION OF ALL THE PATHWAYS
SITE COLLAGES SHOWING THE CONNECTION OF THE PATHWAYS AND IMPORTANCE OF THAT CONNECTION
MODEL AND PLANS
PROJECT 1
FLOOR PLAN
ROOF PLAN
The diagrams on the left side of the page show how I started to rethink the idea of inserting elements into a central core space. I was also very drawn to the connection of the three pathways and how it could become an important piece in my design process. I though of the connection of the three paths as a datum and I wanted my building to act as a datum as well that connected the pathways. On the right page, a concept model is shown that displays the three pathways coming together and inserting into the datum/core space. The plan drawings show the rib-like structure letting light into the gallery spaces.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
MODEL OF CONCEPT
29
ITERATIVE EXPLORATION
PROJECT 1
On this page, there are images of a section model that I built to show the different elements coming together. The light gray box represents the framing of the glass box core space which inserts into the thicker encasing form. The rib-like structure allows light to pierce through and enter the glass box space. I envision the black material representing some type of concrete that reaches down to the ground on legs, so that the impact on the land is less than it would be if there were solid walls.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
IMAGE OF SECTION MODEL
30
IMAGE OF SECTION MODEL
The diagrams on the right page show how I explored the idea of different areas coming together and meeting at one point such as the existing three pathways that meet at one point. The preliminary roof plan on the bottom of the right page shows the differentiation of areas and how they start to insert into each other. The pathway inserts into the glass box, which then inserts into the encasing U-shape form, with then inserts into the main core space. To signify the connection of the three different paths, I incorporated a square skylight that would highlight the connection perfectly at midday.
ITERATIVE EXPLORATION
PROJECT 1
DIAGRAM SHOWING THE CONNECTION OF THE THREE PATHS
ROOF PLAN SHOWING THE DIFFERENT AREAS INSERTING INTO THE DATUM/CORE
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM DISTINGUISHING AREAS
31
ITERATIVE EXPLORATION
PROJECT 1
SECTION LOOKING TOWARDS THE NORTH
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
After further exploring through the use of diagrams, I drew more sections to develop the heights of spaces and to determine how people would experience the different spaces. As a visitor would walk down the open air path, he or she would then be enclosed in a smaller glass box pathway, which would then open up into a large gallery space.
32
SECTION LOOKING TOWARDS THE SOUTH
SECTION MODEL
I then built another section model that shows how the glass box pathway goes into the encasing element which goes into the central core space. The image shows the effects that would come from the light entering the space through the voids.
PROJECT 1
MATERIAL PRECEDENTS
I also looked for examples of glass box spaces and found two that were similar to what I was designing for my project. The way that light enters spaces was also a big thing for my project so I looked into ways that the pattern of light could be used in the design.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
The images on this page are different material precedents that I found while working on this project. I wanted to use concrete for the my encasing walls and roof so I looked at different ways that concrete can be used and the different forms that it can take.
33
FINAL PRESENTATION
PROJECT 1
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
PLAN DRAWING
34
SECTION A (LOOKING WEST)
SECTION B (LOOKING EAST) The final design incorporates the tectonic ideas of insertion, encasing, and a central core/datum. The encasing element took a rib-like form with legs that reach down to the ground to support the structure. The intersection comes from the pathways inserting into the central core space. The private spaces are located on the east side facing the city and the important public areas face the west, and most importantly overlook the hill and connection point of the pathways.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
PROJECT 1
FINAL PRESENTATION
SITE MODEL
SITE PLAN
35
FINAL PRESENTATION
PROJECT 1
SITE SECTION A
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE SECTION B
36
SECTION C
A late major development in the design is that I removed the pathway that broke off of the meeting place of the other three existing pathways. Instead, I designed a balcony that would allow for visitors to view the hill and look out of the park. This came about because I wanted the main view to be of the natural landscape and a balcony would allow for those views to be captured. In the Section C drawing you can see the balcony on the left side, the central gallery space in the center, and the private areas on the right side.
FINAL PRESENTATION
PROJECT 1
VIEW OF SECTION MODEL
The images on this page are of a section model that I built of the final design. The top picture shows the different spaces (balcony, walkway, central gallery space, and private spaces). The materiality of the building is: • Concrete encasing elements • Wood beams connecting the encasing walls • Steel framed glass boxes • Asphalt walkways similar to that of the existing pathways throughout the park
CLOSE UP OF INTERIOR WALKWAY
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SECTION MODEL (LEFT: PUBLIC BALCONY / MIDDLE: WALKWAY / RIGHT: PRIVATE SPACE)
37
INTRODUCTION
PROJECT 2
Course: Master’s B-2 Studio Instructor: Shonali Rajani School: Boston Architectural College Semester: Spring 2011
Project Name: Project 2 - Cultural Center for Chinatown
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
Project Description: The goal of this project was to design a cultural learning center located in Chinatown. The challenge was to use the tectonic principles derived from Project 0 to aid in the design and evolve them into a building that related to the location.
38
PROJECT 2
SITE DOCUMENTATION
VENT STACK NEXT TO SITE
SITE MONTAGE - SELECTED SITE
The chosen site for Project 2 is located in Chinatown, near downtown Boston. The site itself is situated in close proximity to the Old Chinatown Gate. The building area for the project included a parking lot space between the Ginza Restaurant and a large vent stack for the JFK freeway (shown in the upper left). What I was most drawn to about the site was a small park area right next to the vent stack that served as a communal area for children and adults to gather. It was also the only small area that had nature such as trees and grass which I wanted to preserved and enhance. I created several site montages to show the surrounding context of Chinatown and explore how I could start to incorporate it into my project.
SITE MONTAGE - OLD CHINAT OWN ENTRANCE
COMMUNAL SPACE NEXT TO VENT STACK
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE MONTAGE - CHINA TOWN WALKWAY ENTRANCE
39
SITE ANALYSIS
PROJECT 2
SITE SECTION DIAGRAM LOOKING EAST
DIAGRAM OF “NATURE” ON URBAN SITE
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE SECTION DIAGRAM LOOKING NORTH
40
SITE SECTION DIAGRAM LOOKING NORTH
DIAGRAM OF TRAFFIC AROUND SITE
The diagrams on the right side of the page explore the heights of the surrounding buildings compared to the site. I explored the foot and vehicle traffic around the site on the JFK Street side and the Hudson street side. I also looked at the density of the urban buildings compared to the nature/park area adjacent to the selected site.
SUN AND WIND DIAGRAM
SITE COLLAGES
PROJECT 2
This site collage shows the site in the center, the nature side to the left, and the brick wall of the Ginza Restaurant to the right. The sketch model shows the site in the center (orange), the nature side in green, and the wall rising up to the right. The clip of “escape” is my vision of creating some type of sheltered, safe area from the busy city.
This site collage shows the broken down encasing wall form, similar to Projects 0 & 1. I envision it being used as a site encasing element, creating a barrier between the site and the surroundings while allowing views inside and out. The model also reflects this idea, building upon the previous model and adding the broken down wall. SITE COLLAGE 2 AND SKETCH MODEL 2
This site collage portrays the idea of the central core (similar to other projects) tower that visitors could inhabit. My idea was to have indoor and outdoor gathering space so the project could be utilized year round. The model shows the idea of the tower rising up off of the site between the nature side and Ginza side. SITE COLLAGE 3 AND SKETCH MODEL 3
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE COLLAGE 1 AND SKETCH MODEL 1
41
TECTONIC SKETCH MODELS
PROJECT 2
The images on this page are of the preliminary sketch models I built to explore possible ways of incorporating my tectonic ideas of Insertion, Encasing, and Datum/Core. Sketch Model 1 explores the ideas of different levels inserted into a central core tower that could be inhabited and offer different views. Sketch Model 2 has similar qualities to Project 1 with the slotted walls and connection beams between the two. There is also a core tower that would be gallery space. Sketch Model 3 explored the idea of creating a connection between the wall of the Ginza Restaurant and the Big Dig Vent Stack. The main space would be lifted off of the ground and the vent stack inserted into the plane to support it.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
TECTONIC SKETCH MODEL 1
42
TECTONIC SKETCH MODEL 2
TECTONIC SKETCH MODEL 3
PROJECT 2
PRELIMINARY DESIGNS
SKETCHES EXPLORING MATERIALS, CONNECTIONS, AND SPACES
DIAGRAM OF WAYS TO ACCESS SITE
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
The diagrams on this page show my explorations on how the site can be accessed and preliminary plan ideas for the orientation of the building on the site and simple building design. The middle sketch on the left shows the beginning tectonic design using simple shapes and colors. The blue represents the central core tower (or datum). The tower is inserted into different inhabitable levels colored purple and orange. The encasing element is the red which wraps around the building and opens up towards the existing park area.
SKETCH PLAN SHOWING ELEMENTS
DIAGRAM OF ACCESSING BUILDING
SKETCH OF ENCASING WALL AND INHABITABLE SPACE INSIDE
43
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
MID-PROJECT REVIEW
44
PROJECT 2
SITE PLAN
GROUND FLOOR PLAN (ENTRY TO BUILDING)
SECOND FLOOR PLAN
THIRD FLOOR PLAN
SECTION VIEW (LOOKING WEST)
SECTION VIEW (LOOKING NORTH)
For the mid project review, I presented a design that was a very literal translation of my original unit from Project 0 (a core tower space, inserted into planes and different levels, and encased with a U-shape form). The core tower space was designed as a glass box being inserted into the thicker form. I carried over the idea from Project 1 of breaking down the unit and created an exterior wrapping that had openings for light to enter.
MID-PROJECT REVIEW
PROJECT 2
MODEL OF BUILDING
MODEL ON THE SITE
Where the building met the ground, I created stilt like walls similar to Project 1. I envisioned the ground level space to be open environment and that visitors would enter up into the building and gallery space. The gallery space would have views focused out onto the vent stack and existing park area. Criticism during the review was that I did not fully relate the building to the site and the positioning on the site did not make sense. It was determined that I needed to “break out of the box” and start to evolve my original tectonic unit into something that was more appropriate and connected to the site.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SKETCH SITE MODEL TO SHOW MASSING AND LOCATION
45
DESIGN DEVELOPMENT
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
DIAGRAM OF SPACES
46
PROJECT 2
SKETCH PLAN OF SPACES
PERSPECTIVE OF THE FRONT ENTRANCE
PLAN SHOWING MATERIALITY
PERSPECTIVE SHOWING COURTYARD SPACE AND INTERIORS
For the design development, I explored how to “break out of the box” and make the building respond to the importance of the site, namely the park area and the nature qualities. I did this by sliding the building over so it follows the same direction as the vent stack. I also explored how to strengthen the differentiation of the gallery space and the rest of the building. I did this by elongating the building and pulling the glass box gallery farther out.
PROJECT 2
DESIGN DEVELOPMENT
MASSING MODEL ON SITE
SECTION VIEW (LOOKING EAST)
I also designed the surrounding wall to allow openings for views in and out. The east facing wall on the JFK street side is solid and it starts to break down with more openings as it wraps around to the Hudson street side. Inside of the wall, I plan for there to be grass space for outdoor learning and gathering. A big idea that formed this project was creating an extension of the nature park area while making it a safe and more protected environment. SECTION VIEW (LOOKING SOUTH)
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE PLAN (SHOWING NATURE AREA)
47
FINAL REVIEW
PROJECT 2 For the Final Presentation, I presented my idea of creating an escape from the busy city; a place where people could visit to learn about culture and relax. The final plan incorporate the surrounding concrete wall, which encases the building and outdoor courtyard space. It allows views to the interior spaces in the building and courtyard, but forces visitors to enter through the park area. The wall is solid along the east side to protect from JFK street traffic, and it starts to break down and openings are placed as it wraps around the space (see Ground Level Plan). The building itself is a mixture of materials that relate to the surrounding buildings such as brick, glass and wood. There is a glass box inserted into the main building which provides the double height gallery space with focused views on the park area. The south end of the building provides classroom space and there are rolling doors on the ground level, which can be opened to allow the connection with nature outside. The size of the courtyard space is reflective of the Big Dig Vent Stack, which looks as though it could insert into the open space. There is also a small gap between the encasing wall and the vent stack so that people could peer in and catch a glimpse of what is going on inside. I did this as an invitation to draw people into the interior space.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SITE PLAN
48
GROUND LEVEL PLAN
SECOND LEVEL PLAN
SECTION A (LOOKING WEST)
SECTION B (LOOKING EAST)
NORTH ELEVATION
SOUTH ELEVATION
EAST ELEVATION
WEST ELEVATION
The two section drawings at the top of the page show the heights and sizes of the spaces. I want the gallery space to be taller than the rest of the building and be composed of glass so it would be differentiated from the rest of the building and appear as though it was inserted into it. The elevation drawings portray the material qualities that I chose to incorporate into the design. The main building is clad in brick and wrapped with a wood veneer. The classroom spaces (seen on the left side of the east elevation) have rolling doors on the level to strengthen the connection with the outdoors. The north elevation shows the main entrance to the building and the front of the gallery space. The south elevation shows the facade that faces the Ginza Restaurant. The west elevation is along the Hudson Street side and the openings allow views for people passing by to see inside the building.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
FINAL REVIEW
PROJECT 2
49
FINAL REVIEW
PROJECT 2
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
CONCEPT STATEMENT
50
AERIAL IMAGE OF SITE MODEL
NORTH ELEVATION (MAIN ENTRY) ON SITE MODEL
Using the Tectonic strategies of Insertion, Encasing, and Datum/Core, I designed a building that focuses on extending the small park located next to the Big Dig Vent in China Town. After performing site documentation and analysis, I was drawn to the more peaceful nature of the existing park and wanted to create an area that provides an “escape” from the busy traffic that fills that area of Chinatown. I developed the tectonic of encasing into a wall that not only acts as a barrier from the surrounding traffic, but also encases the building and outdoor space for visitors to use for their activities. The datum/core became my gallery space, but instead of being central, it is pulled off to the left side of the building as to focus directly on the existing park area. The insertion comes in the form of the gallery space being a large 30’ tall glass box that is inserted into the rest of the building that includes classrooms, offices, circulation, etc.
FINAL REVIEW
PROJECT 2
SECTION MODEL - CLASSROOM SPACES
SECTION MODEL - CLASSROOM SPACE
SECTION MODEL- INTERIOR OF CLASSROOM
The models on the left page represent the building sitting on the site and show the differentiation between the glass gallery space and the rest of the building. The images on this page are of a section model I built of the classroom spaces. I chose to show the red brick and wood veneer on the exterior elevation and also the surrounding concrete wall. The ground floor of the classroom space has a rolling garage type of door that can be opened during the warmer months to connect the habitable space between the interior and exterior.
COURSE: MASTER’S B-2 STUDIO / SPRING 2011 INSTRUCTOR: SHONALI RAJANI
SECTION MODEL - EAST ELEVATION
51
INTRODUCTION
PROJECT 1
Course: Master’s Studio A Instructor: Christopher Munro School: Boston Architectural College Semester: Fall 2010
Project Name: Project 1 - Phenomenal Transparency
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
Project Description: The goal of this project was to explore the concept on phenomenal transparency. The objective of phenomenal transparency is to create a design in which a viewer could not discern what is foreground and what is background. To achieve this phenomenal transparency, I utilized three colors; black, white and brown. The deliverables for Project 1 were four 18 inch by 18 inch boards portraying different elements achieving phenomenal transparency which are Lines, Points, Planes, and a combination of all three.
52
PHENOMENAL TRANSPARENCY BOARDS
PROJECT 1
POINTS DESIGN In this design, I defined a ‘point’ as being a circular shape and also as the tip of the star like shape which comes to a point. By creating circles using black and white pieces of paper, I was also able to create the brown pointed shapes. Phenomenal transparency was achieved through the visual oscillation that occurs between the circular shapes and the pointed shapes.
PHENOMENAL TRANSPARENCY USING POINTS
LINES DESIGN
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
In this design, I created phenomenal transparency through the use of black and white lines and the brown voids also form lines as well. On the left side of the design, I used overlapping lines, and as one color would overlap another, it would change to the third color (is black goes over white, it becomes brown and vice versa). The design also has an implied line that can be seen on the lower right portion where the direction of the lines change to a different angle.
PHENOMENAL TRANSPARENCY USING LINES
53
PHENOMENAL TRANSPARENCY BOARDS
PROJECT 1
PLANES DESIGN In this design, I created phenomenal transparency using black, white and brown squares or planes. As each different colored square overlaps, it changes to a different color. There are numerous different sized squares that make up this design that can be visualized by focusing on different parts of the board.
PHENOMENAL TRANSPARENCY USING PLANES
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
POINTS, LINES AND PLANES DESIGN
54
In this design, I created phenomenal transparency through the use of points, lines, and planes. I carried over the principle from the first three boards in that when colors overlap they will change to a different color. The planes and lines blur together as well as the circular forms. Different types of planes and sizes can be seen and the lines pierce through the different shapes.
PHENOMENAL TRANSPARENCY USING POINTS, LINES, AND PLANES
PROJECT 1
PHENOMENAL TRANSPARENCY MODELS
NO. 2 - MODEL OF PHENOMENAL TRANSPARENCY POINTS, LINES AND PLANES BOARD
The images on this page are sketch models derived from the phenomenal transparency boards. The top image is a 3-D extrusion of the Points, Lines, and Planes board (the upper left area of the board). The bottom image is also derived from the Points, Lines, and Planes board (includes a portion of the circular form).
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
NO. 1 - MODEL OF PHENOMENAL TRANSPARENCY POINTS, LINES AND PLANES BOARD
55
PHENOMENAL TRANSPARENCY MODELS
PROJECT 1
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
NO. 3 - MODEL OF PHENOMENAL TRANSPARENCY POINTS, LINES AND PLANES BOARD
56
NO. 4 - MODEL OF PHENOMENAL TRANSPARENCY POINTS, LINES AND PLANES BOARD
The images on this page are more interations of the forms generated from the Points, Lines, and Planes board. The top image takes the ‘T’ form from the upper left corner of the board and wraps it around to create a box form. By connecting multiple ‘T’ forms, different size spaces are created. I also placed different sized planes to create boundaries between the different areas. The bottom image also involves the ‘T’ form but also plays with extrusions at different heights and voids.
REINTERPRETATION MODELS
PROJECT 1
REINTERPRETATION OF MODEL NO. 4
The models on this page are reinterpretations of the models on the previous page. The top image further explores the idea of wrapping the ‘T’ form around to create a box form that has different areas and voids. The bottom image builds off of Model 4. The ‘T’ form is still present on two faces of the form. As you view different sides of the model, there are solid faces and void faces. I used wood pieces to emphasize the intersection of the ‘T’ form.
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
REINTERPRETATION OF MODEL NO. 3
57
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
FINAL PRESENTATION
58
PROJECT 1
FINAL MODEL
I was most interested in further exploring the reinterpretation of Model 3. In this model, I rigorously followed a method of wrapping pieces around the entire form. The ‘T’ form is the main exterior form but I started to create voids in the pieces as they wrap around. The different areas are still present but I also played around with solid planes and voids. Depending on the scale, the top of planes could be inhabited and spaces inside of the model could also be inhabited.
SECTION DRAWING EXPLORING THICKNESS AND SPACES
This section drawing was an exploration in how the spaces created in the model could be inhabited. This drawing shows the design at building scale. There are different sized spaces, creating a difference between public areas and private areas. The upper right side of the drawing is a large public meeting space that could potentially be open air such as a patio. The smaller space on the left side of the drawing shows a private meeting space. I also explored how the thickness of the walls and floors could be changed to differentiate the spaces.
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
FINAL PRESENTATION
PROJECT 1
59
INTRODUCTION
PROJECT 2
Course: Master’s Studio A Instructor: Christopher Munro School: Boston Architectural College Semester: Fall 2010
Project Name: Project 2 - The Inhabitable Wall
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
Project Description: The objective of this project was to take concepts from the Phenomenal Transparency project and apply them to a design for a “habitable wall.” The idea of the “Inhabitable Wall” project was to turn the walls of the main stairwell at the BAC or the volume inside of it into a new space.
60
PROJECT SITE
PROJECT 2
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
PLANS AND SECTIONS OF THE BAC STAIRWELL - SITE OF THE INHABITABLE WALL PROJECT
The chosen site for the ‘Project 2 - The Inhabitable Wall’ was the front stairwell of the Boston Architectural College 320 Newbury Street building. To begin the project I drew plans and sections at different floors to gain an understanding of the stairwell space. The goal of the project was to design a habitable space, which could be the entire stairwell space, or in the actual existing walls. I wanted to explore using the phenomenal transparency themes from the Planes board that I had created from Project 1.
PHENOMENAL TRANSPARENCY USING PLANES
61
CONCEPTUAL IDEAS
PROJECT 2
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
DRAWING OF THE WRAPPING STRUCTURE
62
DRAWING OF THE WRAPPING MATERIAL
The drawings on this page explore the wrapping form similar to the Phenomenal Transparency project in which I had the overlapping planes and when they overlap, the material would change. In this idea, I have glass and concrete and I wrapped them around the exterior. This created the similar ‘T-shape’ from the previous project when concrete would overlap the glass and vice versa.. In the bottom drawing, the blue represents glass and the gray represents concrete.
MODEL AND DRAWINGS
PROJECT 2
SECTION A
SECTION B
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
MATERIALS WRAPPING AROUND THE EXERIOR
STAIRS WRAPPING AROUND IN THE INTERIOR
The top model shows the wrapping around the exterior (bluish-green = glass, black = solid material). The lower model image shows the idea of ramps wrapping around the exterior. Even more towards the center, the ramps twist and deform creating possible inhabitable spaces (can be seen on the drawings as well).
PLAN VIEW DRAWING
63
FINAL PRESENTATION
PLAN DRAWING OF GROUND LEVEL
PROJECT 2
MODEL SHOWING ENTRY WAY
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
The images on this page show the entry way into the inhabitable space. The shape of the bottom entry way resembles that of a stair set in section, rising up at an angle. I chose to flip the shape on the other side to create a form that appears to be two blocks shifted in plan. I also created a rendering using SketchUp to show the scale of the building and how the materiality might appear.
64
CONCEPT STATEMENT In the beginning of the semester, I had developed a system that when two solid squares overlapped; the solid would turn into void. I rigorously applied this system around the façade of the existing stair tower to create openings to see to the interior. Inside, I manipulated the stair to create a double helix that wrapped around the interior of the tower. At the center, the stair planes warp into a different direction forming a “twisted space”. This in turn creates new planes that have the potential to be inhabited by humans.
RENDERING OF ENTRY WAY SHOWING SCALE
FINAL PRESENTATION
PROJECT 2
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
SECTION DETAIL MODEL SHOWING WRAPPING EXTERIOR
The images on this page are of a larger scale section model that I built to show the wrapping exterior elements, the ramps wrapping around the interior, and the twisted deformation of the ramps towards the center on the building. The black material on the top image represents the concrete and the voids would be filled with glass. The spaces created by the twisted, deformed ramps creates a potentially inhabitable area.
SECTION MODEL SHOWING WRAPPING RAMPS
65
INTRODUCTION
PROJECT 3
Course: Master’s Studio A Instructor: Christopher Munro School: Boston Architectural College Semester: Fall 2010
Project Name: Project 3 - Art Exhibition Space
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
Project Description: This project involved designing an art exhibition space to be located on the bridge at the Massachusetts Avenue and Boylston Street intersection above Interstate 90 (right near the BAC building). The challenge for the project was that I had to pick two (2) different types of art pieces and a “wildcard” to help influence my design.
66
PROJECT SITE
PROJECT 3
VIEW OF THE BRIDGE ON BOYLSTON OVER I-90 (BAC IN THE UPPER LEFT CORNER)
The chosen site for the project is the bridge on Boylston right near the Massachusetts Avenue intersection. The bridge has high pedestrian foot traffic and car traffic throughout the day. The bridge has three triangular structural forms (as seen on the top photo) that I wanted to use for my project.
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
AERIAL VIEW OF SITE (BRIDGE OVER I-90, INCLUDING STEEL TRIANGLE STRUCTURAL FORMS)
67
THREE ART PIECES
PROJECT 3
For the first artwork, I chose a sculpture of a hand by Fernando Botero. The sculpture is an extremely large, corpulent hand that is fat at the wrist and gets skinnier as it rises to the fingers. From this sculpture I took themes of over-emphasizing sizes and bulbous qualities.
“THE HAND” BY FERNANDO BOTERO
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
The second piece of artwork I chose is called the “Suprematist Collage” by Kazimir Malevich. It was designed during the Suprematist movement, which Malevich helped to start. The movement focused strongly on the use of fundamental geometric forms, one in particular being the square. I used this idea to develop the strong, rectilinear forms that create the exterior form of my exhibition space.
68
“SUPREMATIST COLLAGE” BY KAZIMIR MALEVICH
The “wildcard piece that I chose was the movie “Cloverfield” in which a monster attacks the city of New York and creates havoc and destruction. I used this in my design process to create a “controlled chaos” of towers collapsing onto each other. Also, the movie is filmed through the use of a person holding a video camera during the events taking place and due to the chaos; the camera shakes and creates fractured views. I used this idea in one of the three “towers” that I created as the exhibition space. “CLOVERFIELD” THE MOVIE
PROJECT 3
SKETCH MODEL INTERPRETATIONS
SKETCH MODELS INTERPRETING “THE SUPREMATIST COLLAGE” (RECTILINEAR GEOMETRIC FORMS)
SKETCH MODELS INTERPRETING “CLOVERFIELD” (BUILDINGS TIPPING AND CRASHING OVER)
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
SKETCH MODELS INTERPRETING “THE HAND” SCULPTURE (ROUND AND BULBOUS QUALITIES)
69
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
COLLAGES
70
PROJECT 3
COLLAGE NO. 1
COLLAGE NO. 2
COLLAGE NO. 3
COLLAGE NO. 4
COLLAGE NO. 5
COLLAGE NO. 6
COLLAGE NO. 7
COLLAGE NO. 8
Through a series of collages, I determined that I wanted to utilize the three triangular pads on the site, which would become bases for three buildings that would crash down onto each other. I also had the notion to create a gateway into and out of the city since the bridge leads into the Back Bay area.
SKETCH PLAN DIAGRAM
SKETCH OF SPACES AND SUNLIGHT
SKETCH OF FALLING BUILDINGS
For my conceptual ideas, I wanted to utilize the three structural triangles from the bridge support which I refer to as pads. I wanted to create three large grandiose spaces to reflect the influence from “the Hand” sculpture. I wanted the main building forms to be simple rectangular masses and to include the influence from “Cloverfield” I wanted the buildings to all come crashing down on top of each other. The two main artworks chosen for my project, “the Hand” sculpture and “the Suprematist Collage” will be displayed in two of the falling towers, at the top end which would be glazed so sunlight would flood the space and the sky would be seen. The fallen building that supports the other two would have a void on the face touching the ground so that vehicle and foot traffic could continue to travel underneath it.
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
CONCEPTUAL IDEAS
PROJECT 3
71
FINAL PRESENTATION
PROJECT 3
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
SITE PLAN
FLOOR PLAN - ENTRY LEVEL
72
FLOOR PLAN - EXHIBITION SPACE
FINAL PRESENTATION
PROJECT 3
SECTION A (LOOKING NORTHWEST)
CONCEPT STATEMENT In the beginning of the project, I was given the task of choosing two artworks and a “wildcard” to create an exhibition space for and use as inspiration in the design process. For my first artwork, I chose a sculpture of a hand by Fernando Botero. The sculpture is an extremely large, corpulent hand that is fat at the wrist and gets skinnier as it rises to the fingers. From this sculpture I took themes of over-emphasizing sizes and bulbous qualities. The second piece of artwork I chose is called the “Suprematist Collage” by Kazimir Malevich. It was designed during the Suprematist movement, which Malevich helped to start. The movement focused strongly on the use of fundamental geometric forms, one in particular being the square. I used this idea to develop the strong, rectilinear forms that create the exterior form of my exhibition space. The “wildcard piece that I chose was the movie “Cloverfield” in which a monster attacks the city of New York and creates havoc and destruction. I used this in my design process to create a “controlled chaos” of towers collapsing onto each other. Also, the movie is filmed through the use of a person holding a video camera during the events taking place and due to the chaos; the camera shakes and creates fractured views. I used this idea in one of the three “towers” that I created as the exhibition space. The exhibition space itself is comprised of three “towers.” One has completely fallen onto the ground on top of the existing road but has space for vehicle traffic to still pass underneath. The other two towers collapse onto each other and are supported by the one on the ground. Where the towers collide, I chose to remove the walls that intersect and it created a large open space inside the volume of the mass. I then created a system of paths using the theme of bulbous qualities that is held up by points that intersect into the walls. The “Hand” sculpture by Botero is located in one tower and the “Suprematist Collage” in the other. At the ends of the two upper towers there are large glass facades, and the rest of the building material is a thick concrete material. Doing different Collages throughout the design process, I decided that I wanted to create a type of gateway into and out of the city. I also wanted to create something so large that it would fill someone with the sense of feeling small, such as a feeling one might get when being in a large city with high rise towers. The heavy exterior is contrasted on the interior which has large open spaces and appears to be held together by a thin, curving walkway.
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
SECTION B (LOOKING SOUTHEAST)
73
FINAL PRESENTATION
PROJECT 3
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
AERIAL VIEW OF SITE MODEL
74
The site model shows the massing of the towers falling down onto each other. The top two towers have glazing at the tops where “the Hand” sculpture and “the Suprematist Collage” would be located. The passageway underneath the massing is the existing bridge so traffic could drive through into and out of the city. I envisioned the design creating a type of gateway into and out of the city.
VEHICLE PASSAGE WAY UNDERNEATH BUILDING
FINAL PRESENTATION
PROJECT 3
COURSE: MASTER’S STUDIO A / FALL 2010 INSTRUCTOR: CHRISTOPHER MUNRO
AERIAL VIEW OF SECTION MODEL
The section model is cut at the level of the exhibition space to show the volume and nature of the spaces. The silver material represents the inhabitable floor space throughout the volume. There would be large voids where visitors could look down into the other spaces. The bottom level where the entry is has the roof removed so you can see the glass floor that looks down onto the traffic below.
VIEW INTO THE BOTTOM OF FALLEN TOWER
75
INTRODUCTION
REGIONALISM SKETCH PROBLEM
Course: Critical Regionalism (AS7202) Instructor: Tatiana Berger School: Boston Architectural College Semester: Fall 2011
Project Name: Critical Regionalism - Sketch Problem
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
Project Description: The goal of this course was to define what Critical Regionalism is and how it applied to different types of architecture. Through a series of readings and discussions, the class examined how things such as climate, topography, style, form, and others made a building regional. The second part of the class involved in-depth researching of a building that is critically regional. I chose to research the Boa Nova Tea House by Alvaro Siza, and I argued how he uses the site to drive the form of the building while including regional characteristics of Portuguese architecture. The final part of the class involved a three week sketch problem to further explore the ideas of Critical Regionalism and apply them while designing a house for a wooded site in Lincoln, MA right near the deCordova Sculpture Park and Museum. The intended user of the house is a small artistic family that would live in the house for short periods of time throughout the year.
76
SITE DOCUMENTATION
REGIONALISM SKETCH PROBLEM
LOCATION deCardova | Sculpture Park and Museum 51 Sandy Pond Road, Lincoln, MA 01773 SITE DESCRIPTION The sculpture park is located on a hilly terrain. The museum is located on the top of a hill and overlooks Flints Pond which is towards the north west. The park has numerous pieces of sculpture that are made of varying materials including wood, steel, stone, bronze, copper, concrete, glass, and others of similar qualities.
FLINTS POND
SELECTED SITE
The museum is a modern building that is composed of brick, concrete and glass facades with a stark white interior. The museum shop area is composed of dark wood shingle buildings that have steep inclined roofs with clerestory windows to allow for natural light. They are traditional in style compared to the modern design of the museum.
Shown above is a Site Documentation poster that I presented the first week of the project. The site is the deCordova Sculpture Park and Museum in Lincoln, MA. The site description is included on the poster in the upper right corner.
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
SITE SELECTION FOR BUILDING The specific site that I chose to locate my project is along the path that edges Flints Pond. The selected spot has a preexisting fireplace ruin and is approximately 30 feet away from the shoreline of the pond. The elevation of the hill is fairly steep but climbable.
77
PRECEDENT ANALYSIS
REGIONALISM SKETCH PROBLEM
THE CODMAN ESTATE
THE GROPIUS HOUSE
Exterior view of the Gropius House
Exterior view of the Codman Estate Building Name: Codman Estate Architect: John Codman Location: Lincoln, MA Year Built: 1740
Building Name: Gropius House Architect: Walter Gropius Location: Lincoln, MA Year Built: 1938
Description: “Overlooking a prospect of farm and pleasure grounds, this country seat, also known as “The Grange,” was a powerful force in the lives of five generations of the Codman family. Each generation that lived here left its mark, and the estate gradually came to symbolize the family’s distinguished past.
Description: “Walter Gropius, founder of the German design school known as the Bauhaus, was one of the most influential architects of the twentieth century. He designed the Gropius House as his family home when he came to Massachusetts to teach architecture at Harvard’s Graduate School of Design.
In the 1790s, John Codman carried out extensive improvements to the original Georgian house and surrounding grounds. Sixty years later, his grandson updated the house in keeping with Victorian taste and filled the house with the finest New York furnishings. Today, the interiors are richly furnished with portraits, memorabilia, and art works collected in Europe, showing the decorative schemes of every era, including those of noted early twentieth-century interior designer Ogden Codman, Jr.
Interior view of the Library
Modest in scale, the house was revolutionary in impact. It combined the traditional elements of New England architecture— wood, brick, and fieldstone—with innovative materials rarely used in domestic settings at that time, including glass block, acoustical plaster, chrome banisters, and the latest technology in fixtures.
Interior view of the Library
In keeping with Bauhaus philosophy, every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity of design. The house contains a significant collection of furniture designed by Marcel Breuer and fabricated in the Bauhaus workshops. With the family’s possessions still in place, the Gropius House has a sense of immediacy and intimacy.”
The grounds feature a hidden turn-of-the-century Italian garden with perennial beds, statuary, and a reflecting pool filled with water lilies, as well as a 1930s English cottage garden.” http://www.historicnewengland.org/historic-properties/homes/codman-estate
http://www.historicnewengland.org/historic-properties/homes/Gropius%20House
Interior view of the Kitchen
Interior view of the Kitchen
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
BOSTON CONTEMPORARY MODERN HOME
78
THE PIERCE HOUSE
Exterior view of the Boston Contemporary, Andover Modern Home
Exterior view of the Pierce House
Interior view of the Roof Structure
Building Name: the Pierce House Architect: the Pierce family Location: Dorchester, MA Year Built: 1683 (built upon for 350 years)
Exterior view Building Name: Boston Contemporary Modern Home Architect: Marcel Breuer (Bauhaus Architectural Style) Location: Andover, MA Year Built: 1957
Interior view of the Living Room
Description: “The Pierce House is one of the last surviving examples of seventeenth-century architecture in the city of Boston. Lived in by ten generations of one family, the house documents the building practices and tastes of the Pierces over three centuries. At different times, family members expanded and adapted their house to meet demands for space, function, comfort, and privacy. The history of the Pierce family highlights important aspects of social history, community history, and New England history. It tells the compelling story of a middling New England family over the course of three hundred and fifty years as they worked hard to provide for themselves and their children. The Pierce family took part in both local and national events; during the American Revolution, Colonel Samuel Pierce participated in the fortification of Dorchester Heights.
Description: “In 1957 Hungary born Bauhaus architect Marcel Breuer designed this Boston modern home. Embracing the principles from the Bauhaus school, Breuer incorporates a white and natural stone exterior, glass walls, an open floor plan and built-in bookcases into this work of art. This Boston contemporary home, located on a serene 2 acre site, has beautiful views throughout the interior such as a koi pond from the master bedroom or the pastoral views of Andover from the living areas. This modern home in Boston is a perfect example of the ideas originated by the Bauhaus school of which Marcel Breuer was a leading contributor as a student and teacher before he arrived in the United States to join Walter Gropius’s architecture practice and teach at Harvard in 1937. He is also known for the Wassily chair he designed originally for artist, Wassily Kandinsky.”
Exterior view of Eel Grass Insulation
Architectural viewports and special lighting highlight many of the rare surviving seventeenth-century features. Of particular interest are beautifully chamfered framing members and a nearly complete exterior wall of original riven clapboards that was preserved by the addition of a lean-to.” Source: http://www.historicnewengland.org/historic-properties/homes/pierce-house
Source: http://www.dougnewby.com/acc/archsig/properties/marcel_breuer_modern/
Interior view of the Kitchen
Exterior view of Pediment over Entry
As part of defining the regional characteristics of architecture in Lincoln, MA, I looked at different houses that are located in the immediate area and also around the New England area. The site is located right near the Gropius House which is a famous example of modernism in New England.
SITE ANALYSIS AND SKETCHES
SITE SECTION - SUN ANALYSIS
SKETCH OF MUSEUM SHOPS
FORM STUDIES
SKETCH OF MUSEUM
SPACIAL LAYOUT BUBBLE DIAGRAMS
SKETCH OF PATH TO FLINTS POND
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
REGIONALISM SKETCH PROBLEM
79
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
SKETCH STUDIES
80
REGIONALISM SKETCH PROBLEM
PRELIMINARY PLAN OF LIVING ROOM
PRELIMINARY PLAN OF SPACES
PRELIMINARY SITE SECTION
PRELIMINARY WEST ELEVATION
PRELIMINARY SOUTH ELEVATION
Shown are the preliminary plans, site section, facade studies, and site layout that led to the final presentation design. PRELIMINARY SITE PLAN
FINAL PRESENTATION DRAWINGS
REGIONALISM SKETCH PROBLEM
STUDIO
PLAN OF STUDIO
LAUNDRY
STUDIO SMALL BED
BATHROOM
SECTION OF STUDIO
LIVING ROOM LARGE BED BEDS (BEHIND) KITCHEN
KITCHEN PATH TO STUDIO ENTRY
LIVING ROOM
PATIO
PLAN OF HOUSE SECTION OF HOUSE
FLINTS POND
FINAL PRESENTATION DRAWINGS
The site that I chose was located in the woods along a path leading away from the museum. The spot I chose to place the house was approximately 25-30 feet away from Flints Pond and offered a complete view out over the water. This was a driving theme in my design as I wanted the living room space along the south west facade to have mostly glazing, allowing this visual connection with the exterior and pond. I also wanted the house to follow the slope of the mountain that rose up away from the pond, so I have the main spaces at different levels. One would enter the house along the south west facade by ascending a set of stairs. Once inside, the living room space breaks off to the left and is placed at a lower elevation. The stair set leading down to the space faces the pond and draws the persons attention to the exterior. The kitchen is off to the right and is at the same elevation as the main entry hallway. It opens up to a patio that allows for outdoor cooking and lounging. Towards the rear of the house are the bedrooms and bathroom, which are located at a slightly higher elevation. The studio space is located off a path from the kitchen patio and is a simple box plan with a sloped roof and glazing along the south west facade overlooking the pond. The overall plan of the house is rotated 45 degrees so there is a thick solid wall protecting from the north west winter winds. The form of the house has more traditional references with the sloped roof and clerestory windows while incorporating some of the modern style with the flat roof. Regional materials that I considered for the house include local granite stone, wood shingles that can be seen across New England, and white interior walls that are common of the modern style.
COURSE: CRITICAL REGIONALISM / FALL 2011 INSTRUCTOR: TATIANA BERGER
CONCEPT DESCRIPTION
81
INTRODUCTION
BRIDGE DESIGN PROJECT
Course: Structures 1 Instructor: Nathan Roy School: Boston Architectural College Semester: Fall 2011
Project Name: Bridge Design Project
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
Project Description: The goal of this project was to apply principles learned about forces in structures to design a bridge spanning 130 feet. To determine if the structure was feasible, I completed joint analysis and determined the forces in the members. From these numbers, I determined the size of the members and the overall weight of the structure.
82
BRIDGE DESIGN
BRIDGE DESIGN PROJECT
AERIAL PERSPECTIVE OF THE BRIDGE DESIGN 8.75 KIPS
8.75 KIPS
D
B T
A
C
T
C
C
C
F
T
E
T T
C
12.5 KIPS
H
J T
T
C
G
12.5 KIPS
15.0 KIPS
T
T C
C
I
8.75 KIPS
8.75 KIPS
N
P
L T C
T
K
T
C
C
C
R
T
T
M
O
C
Q
37.5 KIPS
37.5 KIPS
FORCES IN MEMBERS AB = 0 KIPS AC = 37.5 KIPS AD = 53.0 KIPS BD = 0 KIPS DC = 0 KIPS DE = 65.4 KIPS DF = 83.7 KIPS FE = 8.75 KIPS FH = 83.7 KIPS
HE HG HJ JG JI JL JK LK LM
= = = = = = = = =
77.7 KIPS 67.4 KIPS 138.6 KIPS 112.5 KIPS 0 KIPS 138.6 KIPS 112.5 KIPS 67.4 KIPS 77.7 KIPS
LN NM NP PO PM PQ PR RQ
= = = = = = = =
83.7 KIPS 8.75 KIPS 83.7 KIPS 0 KIPS 65.4 KIPS 53.0 KIPS 0 KIPS 0 KIPS
FINAL REPORT For my bridge design, I created a modified Warren Truss with a central area that cantilevered off to the sides of the main structural system. This area allows for a space that people could sit down to rest or stop to look at the surrounding views without getting in the way of those moving. The bridge spans 130 feet in total with six sections that are 15 feet long by 15 feet wide by 15 feet high and the large seating space that is 40 feet long by 35 feet wide by 15 feet high. The main column and beam structural members are comprised of square steel beams that are 12 inches by 12 inches. The members that connect at angles are 8.5 inches wide and are 22.5 feet at the longest section. The connections between members will be a mixture of welding and bolting. The floor of the bridge is concrete with a smooth finish. The ‘walls’ of the bridge are covered in glass so that the interior will be protected from the elements while allowing the desired views. The roof of the bridge is a lightweight metal decking. The dead load I applied to the bridge is an estimated calculation of what the loads acting from the steel member’s weight, the concrete deck weight, glass weight and other materials would be. I estimated the dead load acting up the entire bridge to be approximately 375 kips (0.2 kips/foot). The point loads I applied to the bridge totaled 75 kips and I distributed the loads across the bridge applying more to the central area where the cantilever space is. The bridge is a symmetrical design and the loads are transferred through vertical and diagonal members to the left and right end of the bridge where there are pin connections. The estimated weight of the entire bridge is approximately 1,062,900 pounds.
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
FREE BODY DIAGRAM AND FORCES IN THE MEMBERS
83
PLANS
BRIDGE DESIGN PROJECT
B 10 ft
PATHWAY
PATHWAY
10 ft
15 ft
35 ft
A
45 ft
SITTING AREA
PATHWAY
A
SITTING AREA
40 ft
45 ft
B
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
FLOOR PLAN OF BRIDGE
84
ROOF PLAN OF BRIDGE The floor plan of the bridge shows a central truss system with a seating area breaking off to both sides at the midpoint of the bridge. The roof of the bridge is metal decking.
SECTIONS
BRIDGE DESIGN PROJECT
130 ft 15 ft
20 ft
15 ft
20 ft
15 ft
PATHWAY
SITTING AREA
PATHWAY
15 ft
15 ft
15 ft
100 ft
SECTION A
35 ft 10 ft
15 ft
15 ft
SITTING AREA
10 ft
SITTING AREA PATHWAY
SLOPE (in background)
SECTION B
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
15 ft
85
DETAIL CONNECTIONS
BRIDGE DESIGN PROJECT
Beams are welded to column (weld plate)
Members are bolted to the column
Beams are welded to column (weld plate)
0.10 ft
1 ft
0.10 ft
Members are bolted to the column
1 ft
Welded connection (triangular plate)
t
0.7 0
ft
0f 0.7
Welded connection (triangular plate)
1 ft
Welded connection (triangular plate)
Welded connection (triangular plate)
DETAIL CONNECTION OF STRUCTURAL MEMBERS
Handrail
Glass
1 ft
86
t 0f
Column
0.7
Glass
Bolted connection of beam to column
Load will be transferred to a pin connection
DETAIL CONNECTION OF PIN CONNECTION TO THE GROUND
3.60 ft
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
Member
INTERIOR PERSPECTIVES
BRIDGE DESIGN PROJECT
INTERIOR PERSPECTIVE OF THE MAIN WALKING PATH
COURSE: STRUCTURES 1 / FALL 2011 INSTRUCTOR: NATHAN ROY
INTERIOR PERSPECTIVE OF THE SEATING AREA
87
INTRODUCTION
FREEHAND DRAWING
Course: Freehand Drawing Studio Instructor: William Hemmerdinger School: Boston Architectural College Semester: Spring 2011
Project Name: Freehand Studio work
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
Project Description: The following pages have examples of work that I completed for my Freehand Drawing studio in Spring 2011. The media used involves lead pencil and charcoal, utilizing different styles of shading and rendering.
88
RENDERING OF AN APPLE USING LEAD PENCIL
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
FRUIT RENDERING
FREEHAND DRAWING
89
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
PERSPECTIVE RENDERING
90
FREEHAND DRAWING
PERSPECTIVE RENDERING OF THE MASSACHUSETTS AVENUE BRIDGE USING LEAD PENCIL
PERSPECTIVE RENDERING
PERSPECTIVE RENDERING OF A “SWINGIN’ SUBWAY” USING LEAD PENCIL
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
FREEHAND DRAWING
91
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
LANDSCAPE RENDERING
92
FREEHAND DRAWING
LANDSCAPE RENDERING OF A MOUNTAIN RANGE AND LAKE USING CHARCOAL
LANDSCAPE RENDERING OF A SHACK AND TREE USING CHARCOAL
COURSE: FREEHAND DRAWING / SPRING 2011 INSTRUCTOR: WILLIAM HEMMERDINGER
FREEHAND DRAWING
93
INTRODUCTION
THE MARQUIS ESTATE OF CHERRY CREEK
Course: Introduction to Revit 2011 Instructor: Greg Demchak School: Boston Architectural College Semester: Fall 2010
Project Name: The Marquis Estate of Cherry Creek Modeling
COURSE: INTRO TO REVIT / FALL 2010 INSTRUCTOR: GREG DEMCHAK
Project Description: This course was an introduction to Revit 2010 and covered the basics for BIM modeling. The course culminated in a final project that involved choosing a preexisting building to model in the program. I chose a house called ‘The Marquis Estate of Cherry Creek’ which is located in Cherry Creek, Colorado. The project offered challenging experiences in the areas of matching materiality, creating different types of glazing, and building multiple levels with open spaces below.
94
THE MARQUIS ESTATE OF CHERRY CREEK
RENDERINGS
COURSE: INTRO TO REVIT / FALL 2010 INSTRUCTOR: GREG DEMCHAK
RENDERING OF THE MARQUIS ESTATE OF CHERRY CREEK
RENDERING OF FRONT ENTRY FACADE
95
FLOOR PLANS
THE MARQUIS ESTATE OF CHERRY CREEK
COURSE: INTRO TO REVIT / FALL 2010 INSTRUCTOR: GREG DEMCHAK
BASEMENT FLOOR PLAN
96
GROUND LEVEL FLOOR PLAN
FLOOR PLANS
THE MARQUIS ESTATE OF CHERRY CREEK
ROOF PLAN
COURSE: INTRO TO REVIT / FALL 2010 INSTRUCTOR: GREG DEMCHAK
UPPER LEVEL FLOOR PLAN
97
SECTIONS
THE MARQUIS ESTATE OF CHERRY CREEK
COURSE: INTRO TO REVIT / FALL 2010 INSTRUCTOR: GREG DEMCHAK
SECTION A
98
SECTION B
SECTION C
ELEVATIONS
THE MARQUIS ESTATE OF CHERRY CREEK
NORTH ELEVATION
EAST ELEVATION
SOUTH ELEVATION
WEST ELEVATION
99
INTRODUCTION
ARMS, WINGS, AND MECHANICAL THINGS
Course: Architecture Studio 3 Instructor: Anthony Viscardi School: Lehigh University Semester: Spring 2009
Project Name: Arms, Wings, and Mechanical Things
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
Project Description: This was a semester long project with different stages of design and development. The design research process was as follows: • Begin with the investigation of joints and connections and their dynamic forces • Search for conditions that simulate the particular dynamic structural qualities of tension and compressive forces • Research existing mechanical devices and design and construct assimilations of these conditions in model form • Create a final model that incorporates specific studies into a building form with structural and materials propositions such as cantilevers, corbels, arches, trusses, hinges, and pivot joints
100
INITIAL RESEARCH
ARMS, WINGS, AND MECHANICAL THINGS
DRAWING OF A BALD EAGLE SWOOPING DOWN TO CATCH A FISH
DRAWING OF A FISH CAUGHT IN TALONS
DRAWING OF A BALD EAGLE LEG AND TALONS
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
The type of joint that I wanted to research for my project was the motion that a Bald Eagle makes as it swoops down to catch its prey. To begin the research, I chose several images of a Bald Eagle in this motion and drew it at a larger scale using a grid system to practice drawing skills and gain a better understanding of how the Bald Eagle moves. I drew a large image of the eagle swooping down, an image of a fish caught in the eagle’s talons, and an image of the bone structure of the eagle’s leg and talons.
101
GEOMETRIC FORMS
ARMS, WINGS, AND MECHANICAL THINGS
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
DRAWING OF THE GEOMETRIC SHAPES IN A SWOOPING EAGLE
102
GEOMETRIC SHAPES IN THE PREY
GEOMETRIC SHAPES IN THE TALONS
After drawing out the eagle, I broke down the forms into geometric shapes. the purpose of this was so that I could further break down the drawing into a machine that would be developed into the final design.
DRAWING OF HOW THE GEOMETRIC SHAPES CAN BE TURNED INTO A MACHINE
STAGE 1
STAGE 2
STAGE 3
After breaking down the form of the swooping Bald Eagle into geometric shapes, I further breakdown the form into a mechanical contraption. I wanted the machine to be an interpretation of how the eagle’s wings raise up and the legs pull up towards the body before it would snatch the fish out of the water. The sketch machine that I built functioned in this way. I built a central shaft with two wings and legs. As a pieces was slid down the central shaft, it would fit into notches and pull the wings up. As the wings would rise, they would also pull up the legs, simulating the motion of the Bald Eagle.
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
FROM GEOMETRY TO MACHINE
ARMS, WINGS, AND MECHANICAL THINGS
103
THE FIRST ANALOG MODEL • •
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
•
104
ARMS, WINGS, AND MECHANICAL THINGS
The Analog Model was about choosing a specific aspect of the Simulation Model and evolving upon it to create a new type of machine. For my analog I chose to keep the feature of the wings rising as the center joint is slid down the shaft of the model. I doubled the “towers” so that one would be affected by the others movement and they could work together to move.
STAGE 1
STAGE 2
STAGE 3
STAGE 4
ARMS, WINGS, AND MECHANICAL THINGS
• •
The first Analog Model was too bulky so I returned to the thinner scale pieces of wood like in the Simulation Model to create a lighter looking model. This made the model look more like it could actually be thought of as a possible type of framework for a structure. I also doubled the number of “towers” again creating four of them.
STAGE 1
STAGE 2
STAGE 3
STAGE 4
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
•
THE SECOND ANALOG MODEL
105
THE FINAL MODEL •
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
• •
106
ARMS, WINGS, AND MECHANICAL THINGS
The Analog Model started to take the form of possibly functioning as a type of covering for a boardwalk or promenade The idea for the final model was to create a form of shading by using numerous dowels This model has a walkway level and also extends to ground level where the pillars would be placed in the ground
STAGE 1
STAGE 2
STAGE 3
STAGE 4
STAGE 5
STAGE 6
THE FINAL MODEL
ARMS, WINGS, AND MECHANICAL THINGS
• •
The “Joint” that is used to move the wings up and down was developed into a more stable and efficient means of operating the machine The pegs in the mechanism used to change the position of the wings can be pulled out so that the mechanism can slide to the next notch where the peg will be pulled back into by the rubber bands.
AXON OF THE SYSTEM ON A BOARDWALK
AXON OF THE ‘JOINT’ SYSTEM
The drawing on the left side of this page is how I envision the machine being used in the world scale. It could be used as a type of covering for a boardwalk or promenade. The heights and forms of the machine could be adjusted throughout the day to meet whatever needs were present. The joint to move the “arms” up and down could be motorized to move up and down.
COURSE: ARCHITECTURE STUDIO 3 / SPRING 2009 INSTRUCTOR: ANTHONY VISCARDI
CLOSE UP VIEWS ON THE ‘JOINT’ UTILIZED TO MOVE THE SYSTEM
107
108
SEGMENT I - PRACTICE PORTFOLIO
LIST OF PROJECTS Project: Novartis Institute for BioMedical Research, Inc. (NIBRI) Firm/Company: Cannon Design, Inc. Location: Cambridge, MA Date: May 2011 - Present Project: Taberner Residence Firm/Company: Ian F. Taberner Architect Location: Olcott, NY Date: Fall/Spring 2011 Project: Site Research and Analysis Firm/Company: Ian F. Taberner Architect Location: Boston, MA Date: April 2011 Project: Graphic Design Firm/Company: Ian F. Taberner, Architect Location: Boston, MA Date: June 2011
109
RESUME PHILLIP D WRIGHT 1800 Commonwealth Ave Apt. 32, Brighton, MA 02135 215-738-2202 phillip.wright@the-bac.edu
EDUCATION Boston Architectural College Candidate for Master of Architecture
August 2010 - Present
Lehigh University Bachelor of Arts in Architecture
August 2006 – May 2010
EXPERIENCE Cannon Design | 05/2011-Present My responsibilities include editing reports and narratives, creating spreadsheets for different project aspects, filing and archiving past projects, covering the reception desk, and other general office maintenance. I have received more responsibility on different projects including major editing and reformatting of a healthcare project manual using InDesign and preparing white paper deliverables for clients. I have also had to opportunity to work with Construction Administration utilizing Primavera Contract Management software. BAC Thesis Department | 09/2010 - Present In this position, I assisted the Boston Architectural College Thesis Department with general office duties such as filing, record updating, scheduling, etc. I developed a spreadsheet database of past Thesis projects, ranging through the past decade, that allows users to research related topics/titles, critique panel members, synopsis, etc. I also assisted in planning and building of the 2011 Graduation Exhibit at the BAC which featured selected Thesis student work. Hallmark, Inc. | 06/2010 – 08/2010 Responsibilities included traveling to different store sites to disassemble old display shelving and construct new displays. Big Lots, Inc. | 07/2009 – 09/2009 Responsibilities included assembling of different furniture pieces, assembling shelving units, and customer service. MedImmune, Inc. | Summers of 2006 - 2008 Responsibilities included entering environmentally controlled areas following strict protocol to assist in the production and packaging of a flu vaccine. Dunes Realty, Inc. | 06/2005 – 07/2005 Responsibilities included quality inspection of rental homes before guests would arrive and general maintenance of the homes when guests would leave.
SKILLS • • • •
110
Proficiency and professional experience using computer programs such as Revit, AutoCAD, 3DS Max, Adobe Suite, and Microsoft Office Professional experience in general office duties such as filing, data entry, organization, & front desk reception Strong physical model building skills using different materials Engineering background from high school Engineering Academy
PRACTICE ESSAY My first experience with the Boston Architectural College began when I started looking for a school to pursue my Master of Architecture degree. I was drawn to the BAC because of the concurrent program and I was optimistic, even overly zealous at times that I would be able to secure a job in a firm reasonably fast. At New-Student Orientation in June of 2010, I had my first experience visiting the firm Machado and Silvetti here in Boston, and I loved it to say the least. The first thing I did upon returning home was submit my resume and portfolio, thinking I would hear back in a couple days. I also began sending my materials out to as many other firms that I could find on the BSA website, only to get a “No� here and there, and silence from the rest. This alone has been a test of character but I was fortunate to receive a Work Study position assisting the Thesis Department at the BAC. My position within the department includes the duties of maintaining accurate records of student progress through the program, creating a database of past student Thesis work for future students to reference, and other office duties. This job has also granted me the opportunity to go to Master’s Thesis students reviews to see the type of work that is completed at that level as well as meet and talk with professional architects who aid in the Thesis process. The director of Thesis, Ian F. Taberner AIA, has taken me under his wing and allowed me to help produce digital models of his house that he plans to remodel in the near future. I have also worked with Ian to document a site and create a site plan for a BSA Scholarship Competition that he created. Most recently, I spent numerous hours helping to plan, build, and finalize the set-up for the BAC Graduation Exhibit located on the first floor of the 320 Newbury Street. After a full year of school at the BAC, working in the Thesis Department, and not receiving any good news from the numerous firms I applied to, I was finally offered a short-term position with Cannon Design. Since I started about six weeks ago, my assignment has been extended as I have proven myself to be a valuable asset to the firm. I am quickly learning the daily functions of an architecture office and it is certainly eye opening to see how all areas of a project come together. On a daily basis I help with Construction Administration (CA), creating and/or logging in and filing submittals, RFI forms and change orders. I also edit and check documents that are sent out to clients. These and other tasks I perform have given me invaluable experience into how an Architecture firm operates and how it is similar and different from studio. I am currently balancing working at Cannon as well as continuing working with the BAC Thesis Department. It is demanding working two jobs but the payoff in work experience and knowledge of Practice is well worth it. In the upcoming weeks, I plan to continue gaining skills in the Construction Administration realm of projects as well as the general office procedures here at Cannon Design. Now that I am getting the opportunity to finally work in the field of Architecture, I am certain that this is the profession that I want to do for the rest of my life.
111
INTRODUCTION
NOVAR TIS INST ITUT ES FOR B I O M E D I C A L R E S E A R C H CAMBRIDGE, MASSACHU SE T TS
The Novartis Institute for BioMedical Research, Inc. (NIBRI) Campus Expansion project is a collaborative effort between multiple firms to design three new buildings on the selected site in Cambridge, MA. The firms are listed below:
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
• • •
112
Cannon Design (Boston, MA) Maya Lin Studio with Bialosky + Partner s Architects (New York, NY) Toshiko Mori Architects (New York, NY)
Exterior Perspective looking northeast from Massachusetts Avenue
“Novartis Institutes for BioMedical Research, Inc. (NIBRI), located at 250 Massachusetts Avenue in Cambridge, MA is expanding the campus to include a new development on a parcel directly across Massachusetts Avenue bound by Osborn, State, and Windsor Streets. The 163,618 sf site assemblage for this development includes land leases with MIT for the parking lot at 181 Massachusetts Avenue, an existing historic three-story red brick structure at 211 Massachusetts Avenue with attendant parking at 22 Windsor Street, Smart Street, and the approximately 130,000 sf former Analog building at 21 Osborn Street. The new site will house research and administrative space for 1060 employees. The expanding NIBRI campus holds a prominent position along the Massachusetts Avenue corridor, serving to connect the MIT campus with Central Square.” -Excerpt from Cannon Design Criteria Design Package: Architectural Report: Executive Summary
MASTER PLAN & SITE CIRCULATION DIAGRAMS PROPOSED RENOVATION 211 Massachusetts Avenue
PROPOSED NEW BUILDING 181 Massachusetts Avenue
PROPOSED NEW BUILDING 22 Windsor Street
EXISTING 500 Technology Square
EXISTING 300 Technology Square
EXISTING 100/200 Technology Square
Proposed Development Existing NIBRI Campus Existing Massachusetts Institute of Technology
EXISTING 45 Sidney Street
EXISTING 250 Massachusetts Avenue
EXISTING 350 Massachusetts Avenue
EXISTING 220 Massachusetts Avenue
EXISTING 186 Massachusetts Avenue
This Master Plan diagram displays the existing NIBRI campus, the Proposed Expansion Development plan, and the existing Massachusetts Institute of Technology campus.
To Ce ntr al
Sq
ua
re
t $SFBUF B NBTUFS QMBO UIBU SFTQPOET UP UIF intersecting historic grids and the scale of adjacent buildings t $SFBUF DPOOFDUJWJUZ CFUXFFO UIF FYJTUJOH 8FTU Campus and the proposed East campus through friendly pedestrian access across Massachusetts Avenue.
Windsor Street
t $SFBUF B HSFFO TQBDF UIBU NFSHFT $BNCSJEHF Civic life with the NIBRI scientific community by developing a campus like outdoor environment; providing a heart to the NIBRI campus.
ue
211 Massachusetts Avenue
Ma
ssa ch
us
ett
sA ve n
22 Windsor Street
are qu
State Street
ll S da
en
K To 181 Massachusetts Avenue
Skybridge and subterranean connections facilitate this path of circulation
t ee Str ny
a Alb Arrow Key
Osborn Street
Pedestrian Circulation Bike Circulation Vehicular Circulation Service and Deliveries Circulation 0’
16’
32’
64’
96’
Meeting Circulation Day care Circulation
This Site Circulation diagram displays different paths of foot traffic across the site and vehicle circulation surrounding the site.
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
EXISTING 75 Sidney Street
113
LABORATORY PLANNING
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
1
114
2
3
DIAGRAMS 1 - (Upper Left): A close up drawing of a typical laboratory module. 2 - (Upper Right): A close up view of a typical bench module 3 - (Middle Left): A chart showing the planning module dimensions for the project
An important aspect of the project is to design efficient laboratory spaces for NIBRI researchers to use on a daily basis. To fulfill this requirement, a modular design is being utilized for the laboratory spaces using standardized dimensions to allow for flexibility and adaptability in the spaces. The planning modules may be combined to produce large, open laboratories or subdivided to produce small instrument or special-use laboratories. This facility is being planned using a collection of IDEO (a design and innovation consulting firm) furniture pieces that are being identified as those assigned to each individual researcher. The reagent storage cabinet, bench and write-up desk are identified as the standard IDEO furniture pieces assigned to each researcher. The IDEO furniture module as the most basic dimension is based on a 16�x 16� geometry. Laboratory planning modules can be combined and/or subdivided to create the appropriate sized laboratory based on head count and/or function.
ELEVATION RENDERINGS EXTERIOR ELEVATIONS IN CONTEXT
South Elevation along Massachusetts Avenue and Albany Street
North Elevation through Site
West Elevation through Site (along “Smart Street”)
These exterior elevations show the conceptual design of the building in relation to the context. A stone screen wall wraps around the exterior of the building creating a unique facade at different views from the exterior. The drawings/renderings were produced by Cannon Design and Maya Lin Studio with Bialosky + Partners Architects.
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
East Elevation along Osborn
115
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
EXAMPLES OF REPORT PAGES
116
Shown on this page and the next page are some examples of pages I put together for the Criteria Design package submission. My responsibilities included choosing a proper layout, formatting text, editing building images, and creating diagrams.
PROJECT: NOVARTIS INSTITUTE FOR BIOMEDICAL RESEARCH, INC. (NIBRI) FIRM: CANNON DESIGN
EXAMPLES OF REPORT PAGES
117
INTRODUCTION Client Name: Ian F. Taberner, AIA, Director of Masters Thesis, Boston Architectural College Project Type: House remodeling Location: Olcott, NY Team Size: 2 people Responsibilities: I worked directly with Ian to create 3D digital models and plans for his house remodeling. We spent time in December 2010 working together to explore how different layouts affected the flow of spaces and discussed different options. The project had taken a hiatus during the Spring 2011 semester but we will be picking up where we left off to further develop the design.
PROJECT: TABERNER RESIDENCE IN OLCOTT, NY FIRM: IAN F. TABERNER, ARCHITECT
Summary: This was my first experience really sitting down with someone who had ideas for what they wanted to do with the existing house. I created a SketchUp model from scratch so we could enter a Design Development stage of exploring layout ideas and trying to create special moments within the simple design. This experience was very valuable as I was able to work one on one with a registered Architect who taught my skills and shared his stories and ideas about Practice in Architecture.
118
AERIAL MAP VIEW: BUILDING SITE IN OLCOTT, NY The Taberner’s existing residence sits on a lake front site. The property is very narrow in the east to west direction, and longer on the north to south direction.
PLANS AND SECTIONS <-- NORTH
Bath Garage
Outdoor Space
Mechanical
A
Kitchen
Bedroom
Living Room
Entry Shoreline of lake
B
FLOOR PLAN LAYOUT 1
<-- NORTH
Garage
Outdoor Space
Bedroom
Bath
Living Room
Kitchen
Shoreline of lake
SECTION A (LOOKING TOWARDS THE EAST)
NORTH -->
Kitchen
Bath
Bedroom
Outdoor Space
Garage
SECTION B (LOOKING TOWARDS THE WEST)
The overall scheme for the Tabernerâ&#x20AC;&#x2122;s new residence is to create a long, thing building the has a straightforward procession from the garage on the north end to the living room on the south end. The site itself is very narrow so this placed tight constraints on how the building could be designed after set backs from property lines were also taken into consideration. This plan involves three main square forms that measure 15 feet x 10 feet with smaller spaces in between.
PROJECT: TABERNER RESIDENCE IN OLCOTT, NY FIRM: IAN F. TABERNER, ARCHITECT
Living Room Shoreline of lake
119
PROJECT: TABERNER RESIDENCE IN OLCOTT, NY FIRM: IAN F. TABERNER, ARCHITECT PERSPECTIVES
AERIAL VIEW 1
AERIAL VIEW 2
120
PROJECT: TABERNER RESIDENCE IN OLCOTT, NY FIRM: IAN F. TABERNER, ARCHITECT
PERSPECTIVES
PERSPECTIVE: EAST FACADE
PERSPECTIVE: SOUTH FACADE
121
INTRODUCTION Client Name: Ian F. Taberner, AIA, Director of Masters Thesis, Boston Architectural College Project Type: Site Documentation Location: Boston, MA Team Size: 2 people Responsibilities: I visited a site chosen by Ian Taberner to be the site for a BSA Scholarship Competition he was developing. I photographed the location and measured different lengths to get a general sense of the site to later on create a site plan in AutoCAD.
PROJECT: BSA SCHOLARSHIP SKETCH PROBLEM SITE DOCUMENTATION FIRM: IAN F. TABERNER, ARCHITECT
Summary: Site documentation is a very important skill to have as I study Architecture and progress through studios and Practice. It was also helpful in giving me more practice using AutoCAD which I have not utilized as much in the past.
122
The chosen site for the competition is located at the intersection of Newbury Street and Massachusetts Avenue. The area that allowed for building upon was in between two existing brick structures and is currently used as a planting area. The building on the left side of the site is three stories tall and the building to the right is two stories tall. The site has a narrow triangular form that posed a unique challenge for design.
PROJECT: BSA SCHOLARSHIP SKETCH PROBLEM SITE DOCUMENTATION FIRM: IAN F. TABERNER, ARCHITECT
PLAN DRAWING
123
INTRODUCTION Client Name: Ian F. Taberner, AIA, Director of Masters Thesis, Boston Architectural College Project Type: Graphic Design Location: Boston, MA / Myongji College of Architecture, Korea Team Size: 2 people Responsibilities: I was given the task of creating a poster for Ian to send to the Myongji College of Architecture in Korea for a 2011 Summer Studio that he wanted to lead. I utilized the Adobe Creative Suite to edit images of his sketches and a of a model he built to create the poster.
PROJECT: MYONGJI COLLEGE OF ARCHITECTURE GRAPHIC DESIGN FIRM: IAN F. TABERNER, ARCHITECT
Summary: This was a valuable exercise in creating ways of display work or ideas. The poster ended up being successful and attracted enough studentâ&#x20AC;&#x2122;s for there to be multiple studios that would all follow the program written by Ian F. Taberner.
124
The sketches were produced by Ian F. Taberner as preliminary ideas for a potential memorial. They were produced by layering drawings on top of each other and continuously adding more layers. Those sketches were eventually turned into a space and built into a physical model. I assisted Ian F. Taberner by creating graphic designs for him to use for a course he was teaching in Korea. The design was well received by students at the Myongji College of Architecture in Korea and the course was expanded due to student interest.
PROJECT: MYONGJI COLLEGE OF ARCHITECTURE GRAPHIC DESIGN FIRM: IAN F. TABERNER, ARCHITECT
GRAPHIC DESIGN POSTER
125