Precedent Analysis

Figure 3.12 Process Sketch of Layered Model (Zachary Gaudet CC BY)

Layering the Occupation of Space

Layers of acrylic are used to combine the shared experience of each individual that occupied the hostel. Each space expands and contracts based on its level of occupation—be it private or public or in terms of how long one lingers in a space. Figure 3.14, represents a sense of movement between spaces of transition and occupation that are inferred based on the scale and amount of people on a given panel.

Figure 3.13 Sectional Analysis of the Hostel (Zachary Gaudet CC BY)

Figure 3.14 Study of the layered occupation within the Hostel (Zachary Gaudet CC BY)

Hijacking Normative Space

The site of interest is an existing building in the Fenway neighborhood in Boston, MA (of which is expanded upon on page 50). At the corner of a busy intersection and confronted by a variety of contextual conditions such as several academic institutions and the Museum of Fine Arts, the site offers a distinct existing language to begin a dialogue with. The conceptual design of the space supports the direct interaction of passer-byers through a series of thresholds and apertures meant to distort or reorient ones perception of the space. The language of the previous study models from the New Orleans case study was adapted to the site to emphasis the new interactions among people.

Figure 3.15 Artifact model studying layered occupation of space (Zachary Gaudet CC BY) Figure 3.16 Abstract Axonometric of the Proposed Site (Zachary Gaudet CC BY)

Figure 3.17 An analysis of the inflection in Hilliard's photography. Through diptychs and triptychs, Hilliard is able to compose unfolded perspectives of space (Zachary Gaudet CC BY) adapted from David Hilliard, accessed January, 2022. (Top left down: Kevin, No More Tears, Tale is True, Ivory) (Top right down: Bluebird, Dad, Aftertaste of Ritual, Mary Remembering, Three). (Bottom row: implementing Hilliard's technique on the proposed site).

Figure 3.18 Site plan showing the intersection of the Fenway, Mission Hill, and Roxbury neighborhoods (Zachary Gaudet CC BY)

The proposed site is located at the intersection of the Museum of Fine Arts Boston, Northeastern University, Wentworth Institute of Technology and the greater Fenway neighborhood. The highly active intersection reinforces the transitory nature of the area, as the proposed site is underutilized while being in a prime location. Only the skin or the surface of the obsolete structure is considered in the reinvention of the site for the sake of remaining familiar and preserving the murals adorning the facade, albeit in an unconventional manner. Figure 3.20 refers to the proposed site as in-between, while highlighting the two streets that pinch it at the corner of Huntington Ave and Parker St. The difficult site constrains were a constant consideration in the design testing and design outcome.

Figure 3.19 Site plan illustrating the transitory and high traffic nature of the proposed site: 450 Huntington Ave, Boston, MA (Zachary Gaudet CC BY)

Figure 3.20 Site section illustrating the proposed site as a juncture in-between a busy intersection and major Boston institutions (Zachary Gaudet CC BY)

Figure 3.21 Existing Parker Street and Huntington Ave elevation, Mural "Woman: Untitled", by Daniel Anguilu, Commissioned by Northeastern University's art initiative in 2017 (Zachary Gaudet CC BY) adapted from 2022 Google, Map Data, accessed January 2022.

Figure 3.22 Collaged image of the Parker Street and Huntington Ave elevation (Zachary Gaudet CC BY)

Figure 3.23 Surface collage studies on the Parker Street and Huntington Ave elevations. Through destructuring the facade conventional architectural elements gain additional meaning or take on an all together new meaning (Zachary Gaudet CC BY).

Figure 3.24 Spatial collage study on the former Punter's Pub plan. Through destructuring the existing space conventional architectural elements are rearranged or displaced in order to provide a new way of occupying a familiar space (Zachary Gaudet CC BY).

Destructuring Elevation and Plan

Inspired by the design tests of "Post Gay: On Archive, Exhibition and Ghosts," an inclusive design studio taught by Adam Thibodeaux at the University at Buffalo School of Architecture and Planning, the approach consisted of a three phased plan: archival, queering, and appropriation. The intimate analysis of the existing structure and reassembly of its previous form allows one to decipher the fragments that may remain in the queering phase. Queering refers to a series of modifications to the facade and plan that encourages failure in the process which ultimately leads to the destructuring. Destructuring, or appropriation, turns typical readings of buildings on its head to provide a strangely new yet familiar architecture.

Figure 3.25 A series of unfolded sections exploring the reconstructed nature of the existing space and a theoretical hijacking of the space into a stereotypical queer bar (Zachary Gaudet CC BY).

The reconstruction of the former Punter’s Pub emphasizes a male dominant sphere through their adornment of photos of the Northeastern Men’s Hockey Team, neon-beer signs, and other common bar aesthetic. "The occupation of space by cis-gender, straight, white men in the presence of other men often incur displays of masculinity as the performative, social connection between maleness and power"—as per Jack Halberstam’s definition of toxic masculinity.

While the straight bar puts emphasis on the bar to watch sports, spatial occupation shifts to the performance space or dance floor in a stereotypical queer bar. The bottom image reappropriates the space, adorning the walls with rainbow drapes and posters of queer icons while the game room is converted into a space for sexual acts to be performed. These two conflicting narratives create a binary relationship with one another despite being depicted in the same space.

The relationship between how straight people and queer people occupy the same space within a strict binary fails to address the gray area that exists in-between. In this sense, space can never be binary nor can you simply blur these two narratives together to find common ground.

Unfolding the Section

Inspired by David Hilliard's photographs in Figure 3.17, the proposed site is unfolded along several lines of inflection to describe distinct narratives. Figure 3.25 illustrates how different spatial projection can change the perception of the space.

Northeastern attempts to project a message of inclusion and diversity throughout their campus with a series of murals commissioned through an arts initiative. However, the inclusion the institution projects through art is opposite to the interior of the pub it adorns.

Figure 3.26 Top image by David Gissen. Adapted from “An Archaeology of Disability,” from the 2021 Biennale Architettura exploring the intersection between historic preservation and accessibility (Zachary Gaudet CC BY) accessed 12 February 2022, https:// peoplingthepast.com/2021/06/25/ blog-post-30-producing-the-shortfilm-semata-signs-for-the-curatedexhibition-an-archaeology-ofdisability/ Figure 3.27 Image to left, Spolia study inspired by David Gissen's 2021 Biennale Architettura (Zachary Gaudet CC BY). Figure 3.28 Bottom Image, Interiorizing the Facade (Zachary Gaudet CC BY)

Intervening the Existing Structure

The surplus of obsolete structures in the world has inspired countless innovative solutions through adaptive reuse and giving a building new life. To the left, Figure 3.27 and Figure 2.28 deems every part of the existing structure as "usable" in the reconstruction process. Whether that is through spolia (recontextualized architectural fragments) or the interiorizing of the Parker St. mural to emphasize its new function. Below are collage studies that also reconsider the function of the skin as occupiable or the frame as the only necessary element to remain to support a new building function.

Figure 3.29 Fragments from the Storefront for Art and Architecture collaged with the proposed site for intervention (Zachary Gaudet CC BY). Figure 3.30 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 (Zachary Gaudet CC BY).

Figure 3.31 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 (Zachary Gaudet CC BY). Figure 3.32 A series of sketches illustrating the delamination of the existing structure and extension of the facade as hierarchical design component (Zachary Gaudet CC BY).

Delaminating Layers

Furthering the idea that "the facade is everywhere" allowing the facade to be an integral aspect of the design as its wraps upwards, downwards, and even inside of itself. In this sense the facade is any surface that one would come into contact with. The transformation occurs after the delamination of the existing structure, eliminating fragments and intervening the pieces that remain. The second paper and chipboard model highlights the newly established connection between the existing (chipboard) and the introduced fold (paper). The process of delaminating is pushed further through the process of delimitating the boundaries of the structure, peeling open at the edges if the site and fracturing at nonuniform intervals.