WYATT WATERS
PORTFOLIO
2023
SELECTED WORKS
Portfolio | WYATT WATERS
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CASE STUDIES
SELECTED WORKS
THE LOUD LIBRARY 06-15
RHYTHM AND VOID 16-27
CANOPY GROVE 28-37
SEQUENCES OF SPACES
WOOD MATTER(S)
SKETCHES
TECHNICAL DRAWINGS
54-63
40-53
66-69
70-71
D
A
CATOLOGUE
OF
THREE
UNDERGRADUATE
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STUDIO
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G
PROJECTS
N
FROM
FALL
2022
TO
SPRING
2023.
Portfolio | WYATT WATERS
THE
LOUD
LIBRARY
Fall 2022 Prof. Gloria Chang The Loud Library is a proposal for a BPL Chinatown Branch, situated in the residential side of Boston’s Chinatown. The site is surrounded by three streets, which provides an opportunity to welcome library-goers on multiple fronts, while also being walled-in by looming affordable and market-rate residential towers and Tufts Medical Center’s campus.
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The culture of silence in libraries often amplifies small sounds, such as the scribble of a pencil, footsteps, and hushed yet piercing whispers. These disparate, discrete bursts of noise are often more disruptive than an even layer of auditory stimulus. The Loud Library challenges the status quo of silence in libraries by offering wide open spaces for sound to wash throughout the fractured and joined volumes, encouraging discussion and gathering for Chinatown residents.
The Loud Library | SELECTED WORKS
Portfolio | WYATT WATERS
D
C
B
A
F
E
Patterns of Use Streets with major foot and car traffic, both dynamic and static, are highlighted.
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Kneeland Street divides Chinatown into two areas of high traffic and low traffic. Naturally, there is more bustle and noise in the commercial side compared to the residential area. The BPL Branch takes advantage of the site’s quiet environment by using open program to create a loud library experience.
The Loud Library | SELECTED WORKS
A - Woman tries on boots on the corner of Kneeland and Tyler Street
B - Young boba patrons wait outside royaltea on Tyler Street
C - Pedestrians slowly proceed away from Chinatown Gate; cars follow their pace
D - Young couple pass an elderly man while approaching the Chinatown Gate
E - Individuals and families bustle through the Washington and Essex Street intersection
F - Elderly people flock around an outdoor market stall on Harrison Street
A series of hand-drawn vignettes illustrate the burden of cozy Chinatown sidewalks to facilitate and enable public gathering. These types of gathering include directional movement and stagnant pauses, both leading to impromptu conversation. The proposed library takes on this burden with wide circulation that blends with sedentary program.
Portfolio | WYATT WATERS
The that
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Crack, entice
Fill, and Join method creates subtractive embraces passerby to enter the library from any given side.
The Loud Library | SELECTED WORKS
Portfolio | WYATT WATERS
CAFE
CONFERENCE ROOM DIGITAL MEDIA SERVICES
0'
READING ROOM
CHECKOUT
12’ READING ROOM
ADDITIONAL COLLECTION
READING ROOM
0'
0'
12’ 2'
Section Perspective
12
8'
The Loud Library | SELECTED WORKS
LOADING DOCK
LIBRARY STORAGE LOADING DOCK ENTRANCE CHILDREN’S COLLECTION
LIBRARIAN OFFICES
STAFF BREAKROOM AND BATHROOMS
UTILITY ROOM MEETING ROOM
AUDITORIUM AND MAIN COLLECTION ATRIUM
Portfolio | WYATT WATERS
14
The Loud Library | SELECTED WORKS
PORTFOLIO | 2021-2023
RHYTHM
AND
VOID
Spring 2023 Prof. Paxton Sheldhal As Northeastern University’s student population rapidly grows with each incoming class, more and more students leak into the surrounding Boston neighborhoods. This growing disparity between housing infrastructure and the increase in college students calls for a solution that addresses both Northeastern University students and the existing residents living near the school.
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Rhythm and Void is a proposal for integrated graduate student and affordable housing that attempts to ameliorate the housing crisis by enabling coexistence between two communities which have been at odds. Diverse and flexible unit design, frequent and open public space, and comprehensive circulation push previously held notions of communal living, shared space, and the relationship between community and institution.
Rhythm and Void | SELECTED WORKS
Portfolio | WYATT WATERS
The unit-public space strategy begins with shifting masses carved by voids for circulation and outdoor space. Each building module consists of eight units, four of which are duplexes that wrap around the double-loaded corridors of the second and third floors. The center of the second and third floors provide outdoor space for either peaceful solitude or relating residents to the passerby on the street below. These outdoor voids alternate with the bridges connecting each module.
The circulation strategy is a combination of both point-loaded stair cores and doubleloaded corridors spanning across the entire aggregation. This multi-dimensional circulation attempts to combat vertical delineation of modules and units with pulsing volumes for interaction between residents: college students and Bostonians alike.
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Rhythm and Void | SELECTED WORKS
Concept Model
Circulation Diagram
Portfolio | WYATT WATERS
offer environments that enable clear thought through contrast
“privacy” should evolve past containment and steadfast protection
vertical delineation is too dividing
PEACEFUL SOLITUDE
know that voids will be filled
COMMUNITY AWARENESS
GROWTH
HOUSING
household structures aren’t static, allow expansion and contraction
neighbors
ACCESSIBILITY
SHARED FACILITIES eradicate redundancies residents should be exposed to exo-family sharing
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explore relationship of communal living and personal property
compartmen should not tru community
take advantage of public transit
COMFORT
Rhythm and Void | SELECTED WORKS
unit arrangement should highlight household diversity furnishings and aesthetics should pay homage to university
Units Indoor Amenities Outdoor Amenities
ntalization ump
make views of nature not only available but appealing
Boston is very walkable, encourage travel by foot/bike
Portfolio | WYATT WATERS
22
Rhythm and Void | SELECTED WORKS
Portfolio | WYATT WATERS
North Oblique
Section Perspective
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Rhythm and Void | SELECTED WORKS
South Olique
Portfolio | WYATT WATERS
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Rhythm and Void | SELECTED WORKS
Portfolio | WYATT WATERS
CANOPY
GROVE
Fall 2022 Prof. Gloria Chang Situated next to the Mary Soo Hoo Park in Boston’s Chinatown, Canopy Grove is a forest of wooden canopies and public restrooms that bridge Hudston Street and the Surface Artery. Benches, shower stalls, and toilet stalls supplement the rows of canopies, creating a subtle, meandering path diagonally across the site, while allowing transversal circulation and exploration.
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Canopy Grove does not act as a destination itself, but rather gently guides wanderers and Chinatown residents to enjoy a more unexplored side of Mary Soo Hoo Park, hidden behind the MFA Tower Installation. While this pavillion focuses on the journey, the winding path, occasional bench, and ambient sound of running water offer moments of respite as if one were roaming through a forest trail.
Canopy Grove | SELECTED WORKS
Portfolio | WYATT WATERS
Canopy Typology Certain canopies provide seating, toilet stalls, and shower stalls for passerby to use. These stalls aid the wanderer in their path, while providing points of rest.
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Canopy Grove | SELECTED WORKS
Northeastern Axon
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Forest Canopy Ordered rows of rising canopies create a hectic grove, guiding the wanderer through a meandering journey across the pavillion.
Canopy Grove | SELECTED WORKS
Plan
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Multi-dimensional Acclivity The canopy heights slowly slope upwards just as their density increases, easing the wanderer into the grove until the view of Surface Artery is revealed.
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Canopy Grove | SELECTED WORKS
Portfolio | WYATT WATERS
Urban Forest The rotated rows of canopies challenge the established urban grid while respecting the surrounding site. The rise of canopy heights imply a directionality, enticing the wanderer to keep moving.
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Canopy | SELECTED WORKS
CASE ST
AN
EXPLORATION
OF
TWO
CASE
STUDIES
TH
TUDIES
HROUGH
ORTHOGRAPHICS,
DIAGRAMS,
AND
MODELS.
Portfolio | WYATT WATERS
SEQUENCES OF SPACES Spring 2023 Prof. Humbi Song As a part of ARCH 3450, students analyzed various art museums in the Boston area. The Harvard Art Museums is a consortium of three separate museums located on the campus of Harvard University in Cambridge, Massachusetts. The museums include the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum. Together, they have over 250,000 objects in their collections, including paintings, sculptures, photographs, and decorative arts.
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The central courtyard of the Harvard Art Museums is a notable architectural feature that connects the three buildings. Designed by architect Renzo Piano, the courtyard is a four-story atrium covered by a glass roof. The roof is supported by steel trusses that allow natural light to flood the space, while also providing protection from the elements. The bottom two floors are constructed from limestone arches of an Italian Palazzo, while the top four of the courtyard are simple floor-to-ceiling glass panels.
Sequences of Spaces | SELECTED WORKS
Portfolio | WYATT WATERS
Materiality Gradient The Harvard Art Museums’ materiality is its most prominent and immediately apparent feature. The exterior combines two wings of classic Boston brick and the renovated modern addition of concrete, wood, steel, and glass.
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This marriage of old and new continues within the Calderwood Courtyard, with a rising gradient of limestone Italian arches to thin glass panes and barely noticeable aluminum mullions. This juxtaposition roots the viewer into an overarching materiality motif.
Sequences of Spaces | SELECTED WORKS
Portfolio | WYATT WATERS
This model abstracts the Harvard Art Museums’ interior courtyard into a fantastical cacophony of classical arches and clean glass panels. Four of the five floors are represented, each becoming more abstract and irrational than the last, showing how the way one experiences the museum’s courtyard transcends conventional delineations of height and space.
44
Sequences of Spaces | SELECTED WORKS
Poured concrete, chipboard, and acrylic make up the main materials of this diagrammatic model. Each material abstracts the building materials of the Calderwood Courtyard, emphasizing the gradation from heavy solids to almostfloating panes of glass.
Portfolio | WYATT WATERS
The intentional offsetting, lifting, and shifting of arches and glass panes reflects the ever-changing ambience created by these disparate materials and forms. The courtyard’s transparency also allows the musueum visitors to define the encompassing pace, energy, and viscosity of the space. The model’s scale figures appear to float, unencumbered by floors. The model emphasizes the courtyard’s verticality with thin acrylic dowels, giving the floating effect that the courtyard elicits.
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The sculptural nature of this model points to the courtyard’s exhibit-like quality in and of itself. The museums’ architecture is revered regardless of the art inside; even just the courtyard is a destination to behold.
Sequences of Spaces | SELECTED WORKS
Portfolio | WYATT WATERS
“ARCHITECTURE
48
IS
AMAZING—IT
IS
ART,
FED
DAILY
Y
Sequences of Spaces | SELECTED WORKS
Arched Views The Harvard Art Museums central courtyard transcends galleries and floors, putting both the art and visitors on display from any vantage point within the corridor. This analytique displays the implied web of vision and sight that connects art and people between floors and across the courtyard, hence expanding the dimensions of the typical art museum experience.
The transparency of the courtyard, mezzanine circulation, and natural light allow visitors to both admire art from different floors and across the courtyard, but also observe other visitors themselves.
BY
REAL
LIFE.”
Renzo Piano
Portfolio | WYATT WATERS
The courtyard’s masterful grasp on materiality and construction enables the visitor to play a crucial role in the total musuem experience. Specifically, the arches frame both artwork and the people walking through the corridors. One may find themselves more enthralled in the people-watching experience offered by these arched views than the actual art itself.
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Sequences of Spaces | SELECTED WORKS
Portfolio | WYATT WATERS
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Sequences of Spaces | SELECTED WORKS
While the exhibitions can be seen through glass walls and Italian arches in the central courtyard, this diagram highlights the dynamism and intrigue of the peoplewatching experience offered by the museum’s architecture. The distance between you and other people, the glass muffling any conversation, and the nearly illegible facial expressions and body language makes the other visitors a meta, animated, and multi-dimensional exhibition themselves.
Portfolio | WYATT WATERS
WOOD
MATTER(S)
Fall 2023 Prof. Santiago Pradilla As a part of IE University’s Design Studio V, students analyze and reconstruct sections of wooden constructions case studies around the world. After the earth tremors that hit Catalonia in the 1500s one of the faces of the watchtower from Merola Castle fell apart, hence the need to guarantee the preservation of the monument.
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Carles Enrich Studio was tasked to design a supporting structure that would preserve the wall ruin and reinstate the tower’s previous program.
Wood Matter(s) | SELECTED WORKS
IN
COLLABORATION
WITH
RICHARD
PINCH
Portfolio | WYATT WATERS
Timber Construction Technique Merola’s Tower construction consists of spruce and douglas bilaminated glulam scalloding modules stacked and connected together via a variety of steel knife plate connections. These modules are constructed off-site and then placed atop one another via crane. Like scaffolding, it structurally stabilizes and refills the volume of the pre-existing construction.
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Wood Matter(s) | SELECTED WORKS
The 1:4 replicated detail model displays the dense wooden joinery and bolt fastenings. This particular corner includes eight wood components and two steel knife plates.
Portfolio | WYATT WATERS
2.5m
5m
1.7
6m
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Wood Matter(s) | SELECTED WORKS
Process Inventory of Module Construction The Merola Tower construction process involves (first) fabricating the tower modules off-site and (second) stacking each module atop each other with a crane. This sequence displays one pre-fabricated module, and the order in which each lumber component attaches to the module construction. Assembly begins with the columns, followed by bottom diagonals and beams, then the upper diagonals and beams.
Portfolio | WYATT WATERS
13.26m
5m 1.7
6m
60
Wood Matter(s) | SELECTED WORKS
Process Inventory of Module Stacking This sequence displays the consecutive stacking of pre-fabricated modules atop each other. Including the base module, there are five in total, as well as a stairway core added once all modules have been stacked.
Portfolio | WYATT WATERS
)
Steel knife plate details by Richard Pinch From left-to-right and up-to-down: horizontal single-branch, horizontal triple-branch, horiztonal triple-branch (foundation), vertical single-branch, vertical double-branch, vertical triple-branch (foundation), vertical triple-branch, vertical double-branch (diagonals), vertical quadruple-branch.
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Wood Matter(s) | SELECTED WORKS
A
COLLECTION
OF
SKETCHES
S
AND
TECHNICAL
DRAWINGS.
Portfolio | WYATT WATERS
ARCH P
66
1120 A
FREE R
PLAN
T
HOUSE. I
Sketches | SELECTED WORKS
ARCH P
1120 A
THICK
R
-
THIN T
HOUSE. I
Portfolio | WYATT WATERS
Boston Site 68
analysis
Chinatown and iterative
Saga design.
Sketches | SELECTED WORKS
Barcelona Site, program,
Architecture and structural
Saga analysis.
Portfolio | WYATT WATERS
Longitudinal Section
Holden Waters Ilias Giannakopoulos Pandy Buasuwan Fall 2022 ARCH 2240 1/2” = 1’
ARCH 2240 WOOD LIGHT FRAMING TOWER Longitudial Section of Watchtower. 70
Technical Drawings | SELECTED WORKS
Coping Flashing/Waterproofing Coping Gravel Retaining Walls
7 5/8”
2’ 3/8”
1’ 11 5/8”
Counterflashing (with Weep Holes above) Continuous Flashing (with Weep Holes above) Brick Veneer 1” Air Cavity Modular Concrete Masonry Unit Rigid Insulation Waterproofing
Drainage Panel Root Barrier Single Ply Roof Membrane Cover Board Drainage Piping and Green Roof Drain Rigid Insulation Roof Decking Roof Sheathing 2” 3/4” 9 1/4” 3/4” 5/8”
Wood Roof Rafter Strapping Ceiling Sheet Rock Metal Tie Strap Bond Beam 5/8” Gypsum Wall Board Furring
1’ 3 3/16” 2” 7 3/16”
Solar Shading Device Steel Lintel to Support Brick Veneer System Steel Lintel to Support CMU System 4’ 2 3/16” 9’ 1 1/4”
Prefabricated Window System with Rough Opening Rocklow Sill
4’ 5 13/16”
Continuous Flashing (with Weep Holes above) Brick Veneer 1” Air Cavity Modular Concrete Masonry Unit Rigid Insulation Waterproofing
3”
1’ 2 3/8”
7 5/8”
Deep Heavy Timber Beam 3/4” Subfloor Solid Wood T+G Decking Metal Tie Strap Bond Beam
7 3/16” 2” 7 3/16”
Solar Shading Device Steel Lintel to Support Brick Veneer System Steel Lintel to Support CMU System 4’ 2 3/16” 9’ 1 1/4” Prefabricated Window System with Rough Opening Rocklow Sill
3’ 9/16”
Continuous Flashing (with Weep Holes above) Brick Veneer 1” Air Cavity Modular Concrete Masonry Unit Rigid Insulation Waterproofing Grade 1 1/2” 9 1/4”
9’ 1/4”
Wood Floor Joist 3/4” Subfloor 3/4” Finished Floor Metal Tie Strap
1’ 3 5/8”
8’ 7’ 1 3/8”
Rigid Insulation Drainage Mat Waterproofing Gravel Footing Drain
Poured in Place Concrete Foundation Wall Vapor Retarder Reinforced Concrete Slab Crushed Stone Capillary Break 4” 1” 4”
1’
ARCH Section
2240
MASONRY detail
Masonry Cavity Wall Section Architectonic Systems ARCH 2240 Holden Waters CAVITY WALL Professor Killion Mokwete drawing. 12.02.2022 3/4” = 1”
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