Design Tests

Figure 3.33 A second iteration of sketches illustrating the delamination of the existing skin as it reshapes the site (Zachary Gaudet CC BY). Figure 3.34 Sketches refining the intersection of existing skin with the introduced fold and the path it carves into the ground to resituate itself (Zachary Gaudet CC BY). Figure 3.35 Perspective view of the delaminated structure intersected by the new fold reaching upwards and downwards to create new space (Zachary Gaudet CC BY).

Design Outcomes Design Outcomes

Queering a Normative Structure

Queering refers mostly to the reappropriation of the existing structure. However, it is refereed to as queering in this thesis to set it apart from a typical adaptive intervention, in that it adheres to a newly set of established criteria as layout out at the beginning of the design testing chapter. The existing structure is located on a tight corner site. By unfolding the skin, the site is liberated from its boundaries and made easier to intervene. The operation commences first by determining the fragments that are to remain and which will be removed, shifted, and fractured.

1.

Figure 4.1 Diagram illustrating the phased transformation undergone to the existing structure: 1. Existing Conditions 2. Unfold 3. Delaminate 4. Delimitate 5. Occupy & Refold 6. Resultant Condition (Zachary Gaudet CC BY)

4.

Next in the transformation, the new fold is introduced to both delimitate new site boundaries and inform the spatial layout of the intervention. The fold peels up on the right corner of the site next to the adjacent building to allow for slippage between the buildings. The fold also solidifies the positioning of the fractured architectural elements from the existing structure. Next the floors and ramps are introduced, directed by the fold, yet the fold remains an independent entity. Lastly, the building refolds upon itself to create a layered spatial experience composed of unconventional programmatic adjacencies.

Figure 4.2 Section through the entrance facing Parker Street (Zachary Gaudet CC BY)

Figure 4.3 Perspective of the negative column detailing joined to the existing pilasters and entablature (Zachary Gaudet CC BY) Figure 4.4 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Queering the Facade

Queering the facade in a liberation of the facade from only being an exterior architectural element. The facade is everywhere, meaning all surfaces can be seen as facade, made apparent by the fold which weaves in and out of the intervention. The fold intersects the existing fragments to produce a sense of reappropriation, as the architectural elements no longer serve there previous function. This is also made apparent by the column detailing on the Huntington St elevation in Figure 4.3. The existing entablature and pilasters, formerly aesthetic and symbolic of the classical style of architecture are resituated onto new concrete columns and beams, delineated by negative detailing. This gives them a new structural function while remaining visually familiar.

Figure 4.5 Section through the entrance facing Parker Street (Zachary Gaudet CC BY)

Figure 4.6 Section through the tip of the building at the intersection of Huntington Ave and Parker St. The existing structure is fractured to allow for one to slip inside (Zachary Gaudet CC BY) Figure 4.7 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Queering the Entrance

The entrance is situated at the pinch point of the intervention at the corner of Huntington Ave. and Parker St. The existing fragments were fractured to create a slip into the building at an inconspicuous juncture, adjacent to the walk light signal at the corner of the sidewalk. As the ramp, and thus the occupant begin to descend into the building, a horizontal fissure on the Huntington St. elevation reveals this action to the outsider without giving them a sense of where they are going. Alternatively, the Parker St. elevation is more transparent, revealing this entire sequence to the outsider, creating a contrast between outsider perceptions.

Figure 4.8 Section through the ramp leading down to the bottom first floor (Zachary Gaudet CC BY)

Queering the Ramp

The entire building is intended to be experienced as a procession on the ramp. Along the procession are moments of pause or interaction that culminate in a moment of expansion at the lowest level. The fold informs the direction and path of the ramps, yet acts independently from them. The fold intersects, fractures, joins, and opens up along the procession creating a layered experience. In Figure 4.10, the ramp is divided into two portions of circulation that join at certain points to create space for one to explore and decide their own path or to simply linger in place.

Figure 4.9 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.10 Section through the ground floor and ramp leading down to the bottom first floor. The fold acts separately from the ramp as they intersect to create a unique circulatory experience (Zachary Gaudet CC BY).

Figure 4.11 Section through the ramp showing the vertical circulation stack tucked behind the primary fold (Zachary Gaudet CC BY)

Queering Fragments

The mural that was previously adorning the exterior wall on the Parker St. elevation is resituated into the interior of the building to emphasis the disassociation from previously assumed value. Not to say that the mural should not possess value at all, but that its use can go beyond the purpose of surface treatment, and begin to inform the experience of the occupant while traversing the procession. The new placement of the mural encourages one to think deeply about the potential of art and how it can be used to direct people. In Figure 4.11 the wall is punctured by a small eye level aperture to provide a moment of visual connection in the hopes of producing intimate visual encounters between wondering eyes.

Figure 4.12 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.13 Section through ramp showing the mural fragment embedded into the fold (Zachary Gaudet CC BY)

Figure 4.14 Section through the ramp showing the interstices created by the fold carving out space (Zachary Gaudet CC BY)

Queering the Poshe

The poshe in this sense is most visible in Figure 4.15, where the fold penetrates the earth encasing it and carves out space for more secluded interactions along the procession. The carve is intimate and provides a moment of concealment along a highly visible portion of the procession. In this sense the fold not only acts independently from the floor and the ramp, but also from the earth in which it is situated in.

Figure 4.15 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.16 Section showing the fold carve out space in the ground to produce interstitial moments along the path (Zachary Gaudet CC BY)

Figure 4.17 Section through the ramp showing the interstices created by the fold carving out space (Zachary Gaudet CC BY)

Interstices Along the Procession

As the fold emerges from the earth, a pocket of space is created in the corner of the intervention which provides room for gathering of small groups to perform and socialize. Perform, because of the window in the right corner in Figure 4.17 and socialize as seen in Figure 4.19. While on the first lower level of the intervention, the space is double hight yet provides a sense of seclusion before reaching the lowest level with more opportunity for interaction.

Figure 4.18 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.19 Section through the ramp showing a pocket of space along the procession (Zachary Gaudet CC BY)

Figure 4.20 Section through the end of the procession and entrance to the rear hall (Zachary Gaudet CC BY)

Queering the Wall

Once entering the bottom floor at the end of the procession, a short ramp directs one into an alcove-like space that was carved to promote moments of gathering along the path towards the inclusive restroom. The wall is indented to provide support for people to lean against. Like much of the rest of the intervention, interactions are promoted along the perimeter. The tightness of the site allows for most of the building to be based on this type of interaction, further emphasizing the parallel between liminal space and queer identity.

Figure 4.21 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.22 Section through the rear hall with divots in the wall for leaning support (Zachary Gaudet CC BY)

Figure 4.23 Section through the rear hall showing a series of private and semi-private stalls blurring the division between restroom and social space (Zachary Gaudet CC BY)

Queering the Restroom

At the end of the procession is the restroom, a unisex public space that deviates from the typical restroom typology. The stalls begging to materialize before you actually enter the restroom and promote more intimate gatherings that would not be possible in the central space in Figure 4.26. The hollowed out space moves in a linear path with moments of pause between the parallel walls that eventually enclose into restroom stalls. Further, the shared sink basin may also promote social interaction as individuals groom themselves before existing up the staircase to the central space or back towards the semi-private stalls along the procession.

Figure 4.24 Plan highlighting the portion of the building shown in the section to the left (Zachary Gaudet CC BY)

Figure 4.25 Section through the rear hall with semi-private stalls for people to occupy (Zachary Gaudet CC BY)

Figure 4.26 Perspective view of the bottom second floor at the end of the ramp

Figure 4.27 Analytique

Critical Reflection Critical Reflection

April 19, 2021 Thesis Defense:

Chala Hadimi Professor, Wentworth Institute of Technology

Michael Wolfson Professor, Wentworth Institute of Technology Principal, Meander Studio collaborative design

Penn Rudermann Principlal, OPRCH

Nondita Mehrotra Principal, RMA Architects

Yasaman Esmaili Principal, Studio Chahar

Simon Williamson Dean of Industrial Design, Wentworth Institute of Technology

This final chapter response to the speculation and criticism of the thesis received at the Thesis Defense on April 19, 2022, and makes optimistic plans for future research. I believe that the thesis landed in a spot that I am proud of for the efforts I directed towards it throughout this last year. It is satisfying to step back and observe the trajectory the thesis took, where it could have gone, and where it can go in the future if I had another year to work on it. I am grateful to have been able to present in front of a group of critics who challenged me to question the true intent of queer tectonics and if I achieved the goals I set out for at the start of this process. As for the depth of the design itself, I believe it can be made more queer through the further reappropriation of typical structural elements such as the column, along with the entourage in the renders. While David Hilliard's work was highly influential for the way space is depicted, the provocative and intimate relationships between the people photographed and their relationship to spaces they occupied was also influential. It is exciting to think about the prospect of queering other buildings beyond the chosen case study and all of the questions that would arise from such an endeavor.

Critique 01: What makes the intervention perceptibly queer?

The idea and creation of the building itself is very metaphorical. Yes, it is based on queerness, but how does the outside world see the building? How will the public know that it is a queer structure or queer place? What made it queer internally and programmatically. The proposal may initially be meant to provide an inclusive place, yet remain predominantly white/straight. Response: I know that it will attract LGBTQ+ people because it is a nightclub scene. At night the way one occupies the space is inherently queer, because the layered spatial experience deviates from a typical nightclub plan layout. During the day it can be a place for people to display their art or for a place where other communities can gather to exchange goods. For example, it can be a place for minority and queer artists to sell their art or do spoken word. Obviously the people that will be presenting will highlight that it is a place for queer people and that also answers the question of how the public can know its a queer place. This also goes with the principle of ambiguity because you never really know who will be there doing business. This also goes with the idea that people don’t know what to expect before going inside the space. If every day or week you have different artists/sellers during the day it will keep the experience random and different. Lastly, queer tectonics and queering normative building does not necessarily lead to queer space (that is space solely for queer people). Instead, it leads to a sense of liberation from rigid binary logic and promotes inclusivity through the way space is used rather than strictly who uses the space.

Critique 02: Resituating the Mural

Why did you move the mural that was previously exterior to the interior of the building? Response: The mural that was previously adorning the exterior wall on the Parker St. elevation was reoriented to the interior of the building to emphasis the disassociation from assumed value. It is meant to serve as a gesture against the typical adaptive intervention method of hollowing out the interior and preserving the exterior skin where it is. Yes, the mural could have easily remained situated where it was originally, but resituating it allows for more provocative relationships between new and existing elements.

Critique 03: Potential of Rendering Style

The renders did not display what functions the building has to their fullest potential. The people on the ramp do not seem to be dancing as

previously conveyed in the explanation of the space rather they seem only to be walking and standing.

Response: The type of performance one performs does not need to be a festive dance display. Rather the performance is more metaphorical; that the people are performing simply by being there and being seen. To improve the renders, I think a more provocative relationship between individuals would have related back to David Hilliard's work better. Specifically the way in which people use and act in space can be an indicator of program without having to indicate it otherwise.

Critique 04: How can this case study apply to other buildings?

How do you see the design criteria you created apply to other case studies?

Response: The principles developed through the thesis could extend to other buildings and perhaps need to be rephrased per individual

Figure 5.1 Final presentation boards as presented at the Final Thesis Defense on April 19, 2021 at Wentworth Institute of Technology, Boston, MA (Zachary Gaudet CC BY). site strategy. I think the principles should be focused on moving forward because they are what ultimately makes the place “queer” and distinguishes from other normative preservation strategies. For example, a principle of inclusivity as seen with how the bathrooms become inclusive, etc.

Critique 05: Physical Model of the Final Design

I agree that a final physical model would have helped to show how the intervention situated itself within the site in regards to being below grade. However, the thesis was much more dedicated to representation as seen in the unfolded section, triptychs and diagrams. Early in the design process I often referred to this as queering of representation— or another conventional element that can be manipulated to better express the intent of the thesis. Perhaps as the plans act as the normative antithesis, the model could do the same.

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2021. https://www.architectural-review.com/essays/only-resist-a-feminist-approach-to-criticalspatial-practice Sanders, Joel. "From Stud to Stalled! Architecture In Transition". Log, no. 41: 145-154. Edited by Davidson, Cynthia. New York: Anyone Corporation, 2017. Schaik, Leon. "Spatial Intelligence: New Futures for Architecture". Assemblage, no. 15. New Jersey: John Wiley & Sons, 2008. Schultz, Anne-Catrin. Carlo Scarpa: Layers. Germany: Edition Axel Menges, 2007. Shamsian, Jacob. “How the rainbow became the symbol of LGBT pride”. Insider. 2018. Accessed October 2021. https:// www.insider.com/why-rainbow-lgbt-gay-pride-2017-6 Sontag, Susan. Notes on ‘Camp’. Camp: Queer Aesthetic and the Performing Subject: A Reader, edited by Fabio Cleto. Scotland: Edinburgh University Press, 1999. Urbach, Henry. “Closets, Clothes, & disClosure,” assemblage no. 30: 62-73. Edited by Hays, K. Michael, Ingraham, Catherine, and Kennedy, Alicia. Cambridge: Massachusetts Institute of Technology, 1996 Venturi, Robert. “The Difficult Whole,” Complexity and Contradiction in Architecture: 88-104. New York: The Museum of Modern Art, 1966. IMAGE CREDITS: vii Figure 0.1 Gaudet, Zachary. " Unfolded perspective of the entrance to the proposed intervention." April 18, 2022. 2 Figure 1.1 Ricardo Bofill – Taller de Arquitectura. Barrio Gaudí, 1968. Reus, Tarragona, Spain. Accessed December 1, 2021. https://ricardobofill. com/projects/gaudi-district/ 5 Figure 1.2 Coddou, Flavio. Casa Gilardi, 1976. Accessed December 1, 2021. Photography. http:// www.flaviocoddou.com/portfolios/casa-gilardi/ 6 Figure 1.3 The Queer Architect, Herbert Bayer and Stephan Quickmann. Field of Vision, Modern (Gay) Art Gallery, 1930. Werkbund Exhibition, Paris. Accessed October 12, 2021. https://www. archdaily.com/963117/architecture-out-of-thecloset/60b68fef253d4e01653e1eb0-architectureout-of-the-closet-image 7 Figure 1.4 QSpace. Sanctuary, 2016. Accessed October 12, 2021. http://qspacearch.com/sanctuary 8 Figure 1.5 Gaudet, Zachary. " Concept Map establishing connections between the topics discussed in the literature review." April 18, 2022. 12 Figure 2.1 Popov, Alexander. View of a nightclub in Moscow, 2021. Moscow, Russia. Accessed November 8, 2021. https://unsplash.com/photos/ exboerLBhxc 14 Figure 2.2 Foundazione Querini Stampalia. View of the porch in the Querini Stampalia restored by Carlo Scarpa, 1963. Venice, Italy. Accessed September 25, 2021. https://www.querinistampalia.org/eng/ contemporary/architecture/carlo-scarpa/carloscarpa-gallery.php 16 Figure 2.3 Morgenroth, Thekla, Sendén, M. Gustafsson and Lindqvist, A. Indirect effect of gender identification on prejudice against non-binary people, Diagram adapted from Defending the Sex/ Gender Binary: The Role of Gender Identification and Need for Closure 2020. Sage Journals. Accessed November 10, 2021. https://journals. sagepub.com/doi/full/10.1177/1948550620937188 18 Figure 2.4 Preston, Julieanna. Idleness Labouritory, 2015. Accessed November 11, 2021. http://www. julieannapreston.space 21 Figure 2.5 Mclean, Mackenzie Victoria. “The Ante-Closet,” Queer(ing) Space: Potentials of the In-Between, 2021. Carleton University Research Virtual Environment. Accessed September 20, 2021. https://www.koozarch.com/interviews/queeringspace-potentials-of-the-in-between/ 22 Figure 2.6 Fundación de Arquitectura Tapatía Luis Barragán A. C. View of the workshop in Casa Barragán. Accessed September 19, 2021. http:// www.casaluisbarragan.org/eng/en-taller.html 22 Figure 2.7 Fundación de Arquitectura Tapatía Luis Barragán A. C. View of the vestibule in Casa Barragán. Accessed September 19, 2021. http:// www.casaluisbarragan.org/eng/en-taller.html 24 Figure 2.8 Hilliard, David. Andreu. 1997 Accessed September 29, 2021. http://www.davidhilliard. com/1993–2000.html 25 Figure 2.9 Hockney, David. Sunday Morning, Mayflower Hotel, New York. 1982 Accessed September 30, 2021. https://www.hockney.com/ index.php/works/photos/photographic-collages 26 Figure 2.10 Abrams, Julian. The theatre company Punch Drunk unveils their new immersive show, “The Burnt City”. 2021 Accessed November 29, 2021. https://www.punchdrunk.com 33 Figure 3.1 Gaudet, Zachary. "Precedent Analysis:

Casa Barragan." November 16, 2021. 35 Figure 3.2 Gaudet, Zachary. "Precedent Analysis: Palazzo Querini Stampalia." November 16, 2021. 37 Figure 3.3 Gaudet, Zachary. "Precedent Analysis: Peninsula House." November 16, 2021. 39 Figure 3.4 Gaudet, Zachary. "Precedent Analysis: Therme Vals." November 16, 2021. 40 Figure 3.5 Gaudet, Zachary. "A series of suggestive sketches illustrating various types of experiential conditions." September 21, 2021. 41 Figure 3.6 Gaudet, Zachary. "Study Model: 1." September 24, 2021. 41 Figure 3.7 Gaudet, Zachary. "Study Model: 2." September 24, 2021. 41 Figure 3.8 Gaudet, Zachary. "Study Model: 3." September 25, 2021. 42 Figure 3.9 Gaudet, Zachary. "Study model exploring the scale of Madame Isabelle, emphasizing the contrasting qualities that were experienced in each space." September 29, 2021. 43 Figure 3.10 Gaudet, Zachary. "Figure collage photographic series of the hostel." September 30, 2021. 43 Figure 3.11 Gaudet, Zachary. "Study model composed of a series of collaged images delimiting the boundaries of the hostel." September 31, 2021. 44 Figure 3.12 Gaudet, Zachary. "Process Sketch of Layered Model." November 20, 2021. 45 Figure 3.13 Gaudet, Zachary. "Sectional Analysis of the Hostel." November 21, 2021. 45 Figure 3.14 Gaudet, Zachary. "Study model of the layered occupation within the hostel." November 22, 2021. 46 Figure 3.15 Gaudet, Zachary. "Artifact model studying layered occupation of space." November 28, 2021. 47 Figure 3.16 Gaudet, Zachary. "Abstract Axonometric of the Proposed Site." November 28, 2021. 48 Figure 3.17 Gaudet, Zachary. "Analysis of the inflection in Hilliard's photography." January 10, 2022. 50 Figure 3.18 Gaudet, Zachary. "Site plan showing the intersection of the Fenway, Mission Hill, and Roxbury neighborhoods." January 11, 2022. 51 Figure 3.19 Gaudet, Zachary. "Site plan illustrating the transitory and high traffic nature of the proposed site." January 12, 2022. 51 Figure 3.20 Gaudet, Zachary. "Site section illustrating the proposed site as a juncture inbetween a busy intersection and major Boston institutions." January 12, 2022. 53 Figure 3.21 2022 Google, Map Data. "450 Huntington Ave, Boston, MA." Accessed January 13, 2022. https://www.google.com/ maps/@42.3284511,-71.0860476,14z 53 Figure 3.22 Gaudet, Zachary. "Collaged image of the Parker Street and Huntington Ave elevation." January 13, 2022. 54 Figure 3.23 Gaudet, Zachary. "Surface collage studies on the Parker Street and Huntington Ave elevations." January 15, 2022. 56 Figure 3.24 Gaudet, Zachary. "Spatial collage study on the former Punter's Pub plan." January 16, 2022. 58 Figure 3.25 Gaudet, Zachary. "A series of unfolded sections exploring the reconstructed nature of the existing space and a theoretical hijacking into a stereotypical queer bar." January 21, 2022. 60 Figure 2.26 Gissen, David. “An Archaeology of Disability." 2021. Accessed February 21, 2021. https://peoplingthepast.com/2021/06/25/blogpost-30-producing-the-short-film-semata-signs-forthe-curated-exhibition-an-archaeology-of-disability/ 60 Figure 3.27 Gaudet, Zachary. "Spolia study inspired by David Gissen's 2021 Biennale Architettura." February 21, 2022. 60 Figure 3.28 Gaudet, Zachary. "Interiorizing the Facade." February 20 2022. 61 Figure 3.29 Gaudet, Zachary. "Fragments from the Storefront for Art and Architecture collaged with the proposed site for intervention." February 20, 2022. 61 Figure 3.30 Gaudet, Zachary. "Adding an additional structural frame to the proposed site and collaging the Docks of Paris to it allowing for it to appear new yet familiar." February 19, 2022. 62 Figure 3.31 Gaudet, Zachary. "A series of paper sketch models exploring different ways to fold the skin of the building in and around itself to delimitate new site boundaries." March 8, 2022. 62 Figure 3.32 Gaudet, Zachary. "A series of sketches illustrating the delamination of the existing structure and extension of the facade as hierarchical design component." March 7, 2022. 64 Figure 3.33 Gaudet, Zachary. "A second iteration of sketches illustrating the delamination of the existing skin as it reshapes the site." March 23, 2022. 64 Figure 3.34 Gaudet, Zachary. "Sketches refining the intersection of existing skin with the introduced fold and the path it carves into the ground to resituate itself." March 26, 2022. 65 Figure 3.35 Gaudet, Zachary. "Perspective view of the delaminated structure intersected by the new fold reaching upwards and downwards to create new space." March 29, 2022. 68 Figure 4.1 Gaudet, Zachary. "Diagram illustrating the phased transformation undergone to the existing structure." April 18, 2022. 72 Figure 4.2 Gaudet, Zachary. "Section through the entrance facing Parker Street." April 18, 2022. 72 Figure 4.3 Gaudet, Zachary. "Perspective of the negative column detailing joined to the existing pilasters and entablature." April 18, 2022. 73 Figure 4.4 Gaudet, Zachary. "Plan Diagram: 1." April 18, 2022. 74 Figure 4.5 Gaudet, Zachary. "Section through the entrance facing Parker Street." April 18, 2022. 74 Figure 4.6 Gaudet, Zachary. "Section through the tip of the building at the intersection of Huntington Ave and Parker St. The existing structure is fractured to allow for one to slip inside." April 18, 2022. 75 Figure 4.7 Gaudet, Zachary. "Plan Diagram: 2." April 18, 2022. 76 Figure 4.8 Gaudet, Zachary. "Section through the ramp leading down to the bottom first floor." April 18, 2022. 77 Figure 4.9 Gaudet, Zachary. "Plan Diagram: 3." April 18, 2022. 77 Figure 4.10 Gaudet, Zachary. "Section through the ground floor and ramp leading down to the bottom first floor." April 18, 2022. 78 Figure 4.11 Gaudet, Zachary. "Section through the ramp showing the vertical circulation stack tucked

behind the primary fold." April 18, 2022. 79 Figure 4.12 Gaudet, Zachary. "Plan Diagram: 4." April 18, 2022. 79 Figure 4.13 Gaudet, Zachary. "Section through ramp showing the mural fragment embedded into the fold." April 18, 2022. 80 Figure 4.14 Gaudet, Zachary. "Section through the ramp showing the interstices created by the fold carving out space." April 18, 2022. 81 Figure 4.15 Gaudet, Zachary. "Plan Diagram: 5." April 18, 2022. 81 Figure 4.16 Gaudet, Zachary. "Section showing the fold carve out space in the ground to produce interstitial moments along the path." April 18, 2022. 82 Figure 4.17 Gaudet, Zachary. "Section through the ramp showing the interstices created by the fold carving out space." April 18, 2022. 83 Figure 4.18 Gaudet, Zachary. "Plan Diagram: 6." April 18, 2022. 83 Figure 4.19 Gaudet, Zachary. "Section through the ramp showing a pocket of space along the procession." April 18, 2022. 84 Figure 4.20 Gaudet, Zachary. "Section through the end of the procession and entrance to the rear hall." April 18, 2022. 85 Figure 4.21 Gaudet, Zachary. "Plan Diagram: 7." April 18, 2022. 85 Figure 4.22 Gaudet, Zachary. "Section through the rear hall with divots in the wall for leaning support." April 18, 2022. 86 Figure 4.23 Gaudet, Zachary. "Section through the rear hall showing a series of private and semiprivate stalls blurring the division between restroom and social space." April 18, 2022. 87 Figure 4.24 Gaudet, Zachary. "Plan Diagram: 8." April 18, 2022. 87 Figure 4.25 Gaudet, Zachary. "Section through the rear hall with semi-private stalls for people to occupy." April 18, 2022. 88 Figure 4.26 Gaudet, Zachary. "Perspective view of the bottom second floor at the end of the ramp." April 18, 2022. 90 Figure 4.27 Gaudet, Zachary. "Analytique." April 18, 2022. 96 Figure 5.1 Gaudet, Zachary. "Final presentation boards as presented at the Final Thesis Defense on April 19, 2021 at Wentworth Institute of Technology, Boston, MA." April 18, 2022. 98 Figure 5.2 Kenny, Devlin. "Thesis Defense: Gaudet." April 19, 2022. 109 Figure 5.3 Gaudet, Zachary. "Unfolded Perspective of an aperture creating a moment of pause and visual connection along the procession." April 18, 2022.

Figure 5.3 Unfolded Perspective of an aperture creating a moment of pause and visual connection along the procession (Zachary Gaudet CC BY)