CONTENTS Tatiana Berger Studio A 1
Spring 2011 - AOP
Developing Space
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Implicit/Explicit Space
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Studio A 2
Carolina Arigon
Project 01 Concept Site Analysis
Site Analysis
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Transitions
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10
Final Design
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11 14
Analysis Final Design Project 03 Concept Site Analysis
15 16 18 19
Transitions
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Final Design
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Rebecca Leroux Concept
Fall 2011
Site Analysis
26 27
Transitions
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Program Final Design
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Studio B 2
Lilly Donahue Smith Spring 2012 Lynn Petermann 38 Project 00 Concept
Transitions Project 01 Concept Site Analysis
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Precedents
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Transitions
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Project 01 Materiality Concept
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Spring 2011 - AOP
Project 02 Concept
Studio B 1
Project 02 Concept
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Site Analysis
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Transitions
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Final Design
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Practice Summary
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78 Practice/Professional
84 Personal Development
Developing Space Studio A 1
Tatiana Berger
C O N C E P T
Manipulating the planes buy cutting and folding resulted in the creation of space. The quality of these spaced developed by creating boundaries. This resulted in interior and exterior spaces with different qualities. This in turn creates implicit and explicit spaces. This idea of implicit and explicit space will form the foundation for the next project in how it defines space.
Cuts in planes create space below and allow light to enter.
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T R A S I T I O N S
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1 Cuts in cardboard begin to create space and filter 2 Cardboard cut outs starting to create implicit spaces below extrusion. in light.
Top view shows how light can enter spaces This diagram shows how a simple plane extruded , can 3 and how planes can create interior and exterior 4 create implicit space and allow light to filter through. spaces.
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Implicit /Explicit Space Studio A 1
Instructor: Tatiana Berger Duration: Four weeks
C O N C E P T
This ultimately is an exercise in drawing and developing space from something that is not there. The exploration of spatial volumes in 3 dimensions. The ability to identify the boundaries and relationships between physical elements that define spatial volumes. This is then translated into the working between drawing and model making to achieve this objective. One again the process of iterations is important in moving forward,
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The creation of my space was derived from the shapes and forms of negative space in and amongst the branches of a tree. The branches themselves served as the explicit boundaries that defined my implicit space. This implicit space was the inspiration for my design. I drew a 2D representation of the negative spaces between the branches. Once I had envisioned the strongest implicit space between the branches, I used the surrounding branches to create the boundaries of each plane of my space. I extended each implicit plane until it reached the next intended branch. I continued this process until my space was a visual representation in 3-D. I then created this 3-D space out of paper to define its shape and form. Once I had created this implied space 3-D; I created a mould that would represent a solid form of my model. I then cast my mould in Plaster of paris to create my final implied space.
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1 The negative Images from the spaces of a tree guided me to the next step of exploration.
2 A paper mold was created of this implicit space that then became an analysis of my explicit space.
3 I then created a more solid form of this explicit space .
4 I then cast this space in a solid plaster of paris.
T R A N S I T I O N S
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The next step required a way to develop and understand space by using a strategy of joining together in a coherent system and logic(tectonic)throughout the system. A structure of linear elements were to be used without the use of adhesives.
T R A N S I T I O N S
Ultimately the reversal of implicit and explicit space would become evident as my tectonic would now become my explicit space that would define the implicit space.
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1 An exploration of basswood and vinyl elements were considered in defining the space.
2 An idea to filter light and emphasize the implicit space that was explored in my first project. 4 Color linear planes and basswood create a tectonic system that reduces the linear planes to define the space.
3 Ideas begins to form to minimize the explicit space and yet still capturing the implicit space. 5 Chipboard emphasizes explicit space, but allows for voids in the linear plane.
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1 An idea to minimize the tectonic system and creating clean simple lines.
2 Simple lines explore and create negative space
3 The implicit space now becomes implicit by being framed by the explicit boundaries.
4 The final construction of tectonic exploration incases the plaster model.
F I N A L
The tectonic system I used in this final iteration was to stay as simple and clean as possible. I used joinery that would intersect with each other and then disappear in a clean line. I chose to do linear lines and I wanted the tectonics to be as simple and as understated as possible.
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Bodies in Motion and Space: Construction at 1:1 Instructors: Carolina Aragon Studio A2 Project 1 Duration: Four weeks Our project was to observe the human body as the primary standard of measure in architectural space. By drawing the body and analyzing movement through a system of measurements and notations; analytical patterns developed on the way the body interacts with the environment that surrounds it . These observations would then form the basis for the design and construction of a wearable. This wearable would respond to the scale of the human body and function as a product of the body’s range of motion.
C O N C E P T
I chose the movement of a back dive at the start of a backstroke race. I discovered that the core movement throughout the body was that of contraction and expansion. I chose to analyze the movement of the arms as they contracted at the start of the race and then explode outwards at the sound of the starter signal. Symmetry and balance were also explored during this movement.
This wearable allows the analysis and documentation of the body as it passies through space.
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A N A L Y S I S Analysis of the body in motion resulted in my concept of asymmetry and balance while maintaining contraction and expansion.
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A N A L Y S I S 12
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The wearable is created to aid this motion and therefore are attached to the arms to demonstrate the motion. I used wooden plains to align with the different pares of the arm. They are attached by extensions posts to assimilate the joints. The stabilizing plane is a representation of my torso. The final part was to attach a tube on the one side of my elbow and an inner tube on the other side. This gives the visual of the expansion of the motion as it travels through space.
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1 Testing the wearable as it travels through space.
2 Certain nodes were observed during the movement of the body as it traveled through space. The nodes displayed a compact formation and then exploded outward. The nodes were scaled to represent human measurements throughout the body.
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Inhabitable Wall :Designing Occupiable Space Instructors: Carolina Aragon Studio A2 Project 2 Duration: Four weeks THE INHABITABLE WALL We were asked to create a sequence of spaces derived from a human motion. I pursued the three interesting motions of compression, explosion and lightness. I also incorporated symmetry and balance. Once the motions had been analyzed we had to create thresholds to represent these motions. A key element was to use the human scale to transverse through these spaces. And so the inhabitable wall is designed. My sequence of spaces all relate to the sequence my body takes in the
C O N C E P T
studied motion of a back dive.
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The contrast of experiencing a compression in a small space and the expansion of a bigger space has the capability of creating a weightlessness when in contrast.
The next threshold was designed with explosion in mind. In my movement
created a threshold that slowly leads me down a gradual flight of stairs. The
there is a release of energy as the body is propelled upwards. I used this
walls began to narrow and lead me into a narrow space at the bottom. I then
as a metaphor in a flight of stairs that would ultimately propels ones body
stepped down into a tight confining space.
upwards creating explosion.
A N A L Y S I S
To express the motion of compression and to create this feeling in a space, I
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F I N A L
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B 1 Symmetry and Balance
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The analysis of the movement through space is represented here in this section cut. As the movement responded to the human scale it also became an intricate part in the development of the inhabital wall.
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Training Facility : Program,Sequence and Space Studio A2
Instructors: Carolina Aragon Duration: Four weeks
Our Project is to design a triathlete training facility for six to seven triathletes. The constraints of the site is 35’ by 75’. We are to design a space based on the experience of out two prior projects leading up to this one. The first was to analyze a movement of the body and then translate that movement into a design of a space. I had analyzed the movement of a swimmer during the start of a backstroke race. This motion in-bodied the contraction and explosion of movement.
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In my design I have explored the concept of athletes breaking through their boundaries of human endurance. My BIG IDEA is athletes breaking out of the box. This conceptual idea has led my design through the programmatic design process. I focus not only on the physical aspect of the race, but on the psychological demands. I have created spaces that break out from the boundaries of a compressed space into an expansion. The irony is that this results in the athlete breaking out of the box and light breaking in.
C O N C E P T
My parti thus is a central location where the Swimmer, Runner and Cyclist leave the center core of the building and then return.
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Triathletes experience a Zen like stage when there bodies are working in balance. This “X Factor” is partially what motivates triathletes, together with many emotions that are experienced during the race. It is important for an overall body conditioning and this includes the mind. It was important for me to feature the athletes in their different elements for spectators play an important roll in triathlons. The spectators in this case are the pedestrians.
ATHLETIC TRACK
SWIMMING POOL BIKE ROOM
BATHROOMS
PILATES
STRENGTH TRAINING
YOGA
MEDITATION
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1 Diagram showing physical activities required to fulfil the needs of a triathlete in training
2 Percentage of space in building allocated for individual programing needs.
A N A L Y S I S
RESTAURANT
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T R A N S I T I O N S 20
1 Quick sketch models helped to visualize a three tier structure representing the three aspects of a triathlon. The facade has to be broken to allow the programmatic sequence to follow the Parti of breaking through.
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Running Track Biking Room Swimming Pool
1 Diagrammatic sketches in plan, helped me to organise the program and position the program and allowed my design to evolve from the original iterations. 2 Sketches in elevation helped to clarify the design and led to the final iteration. Three forms of training spacees now break out of the box from a central location
T R A N S I T I O N S
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F I N A L
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4 Cycling Room Pool
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Running Track Meditation Room
1 East Elevation
2 North Elevation
3 West Elevation
4 South Elevation
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Ground Floor
2 Lobby
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First Floor
4 Meditation Room
F I N A L
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F I N A L
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Section cut- Track
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Section Cut- Pool
5 Final Model - South Elevation
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Section Cut - Meditation
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Section Cut- Cycling Room
6 Final Model - West Elevation
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1 Perspective of running track showing athletes breaking through the box from the interior.
F I N A L
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2 Perspective of pool and cycling room as swimmer prepares to push the boundaries of her endurance. An athlete moves up the stairs to the meditation room.
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Lovejoy Wharf
Building Analysis
Studio B 1 Instructors: Rebecca Leroux Duration : Six weeks This Ferry Terminal is designed on an abandoned wharf in the North End of Boston. The program calls for a restaurant, studio space and a gallery that acts as a conduit for the local community as they interact with the space before utilizing the transportation ferry. The studio is to attract local artists as a workspace and the gallery as a way to promote their art. A restaurant services the commuters as well as the visitors to the gallery.
C O N C E P T
Due to the location on the edge of the Boston harbor, motion of water primarily influenced the design. Changes in elevation due to tides, funneling of water from the Charles River into the harbor and the empirical experience of being in a wave, helped to inform the design.
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2 1 Map Of Boston
2 Site Location
A N A L Y S I S
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A N A L Y S I S
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1 Edge condition exists between ocean and green space
2 Lock system creates level changes separated by solid mass.
3 Contrast in elevation between site and adjacent tunnel.
4 Solid mass condition at edge of water.
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3 1 Water from the Charles River is forced into the 2 This tension and movement is seen in a wave as it hits the harbor wall and is forced to turn ocean through a narrow threshold during tide back on itself. changes. This creates tension and elevation. 3 I explored the strong boundaries created by harbour walls.
4 The movement around the site is extreme. This movement is in all directions and this isolates the site.
A N A L Y S I S
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A N A L Y S I S
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3 1 Tide changes causing elevation changes
2 2 Funneling of visitors in and out of the building.
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3 Movement of direction of stairs as circulation cre 4 ates feeling of being tossed in a wave
T R A N S I T I O N S
Rough sketches to create an empirical experience of being in front of a wave. Elevations and plans explored to represent this concept. Movement of spaces in plan create a tension of movement.
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T R A N S I T I O N S
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1 The following ideas of surging,turning back on 2 Mass models used to indicate movement off a itself and movement, start to influence the desolid boundary. sign in these quick sketch models.
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Restaurant
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Gallery Space
Studio
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Ferry Terminal
PROGRAM
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North 1/16" = 1'-0"
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South 1/16" = 1'-0"
F I N A L
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1 First Floor
1 Second Floor
2 Third Floor
3 Site
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Elevations
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F I N A L
A perspective rendering of the inside of the Ferry Terminal using Revit , Photoshop and crayon. The empirical value of being in a wave together with the circulation and different levels is experienced.
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F I N A L
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East view of the terminal
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A vantage point to experience the motion of a wave as it approaches.
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West view.
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View from across the water.
TECTONIC STRATEGIES Instructors: Lilly Donahue Smith Studio B2 Lynn Petermann Project 0 Duration: Four weeks
C O N C E P T
A constructional assembly representing Penetration and Interlocking was developed as an idea to define space. This tectonic assembly was then applied at multiple scales and eventually responding to the human scale.
Penetration and Interlocking are expressed through these three components
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Tectonic Begins to Form Patterns
Volumes Interlocking and Penetrating
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Tectonic Turns a Corner
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Creating Space using Interlocking/Penetration
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Inhabiting my Tectonic
T R A N S I T I O N S
Volumes Penetrating
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1 The Assembly starts with one volume Penetrating another.
2 Two assemblies are now interlocked buy a common assembly.
3 The assembly repeats by interlocking each assembly
4 The Tectonic assembly evolves to be able to turn a corner.
5 An attempt to create a space using these two concepts of Penetration and Interlocking
6 Using my Tectonic I change scale to respond to the human scale 39
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T R A N S I T I O N S
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1 Three elements creating Interlocking and Penetra- 2 One tectonic starts to form space. tion 4 Tectonics allows to grow vertically and horizontally
3 Repeating tectonic language enables shapes and forms to turn corners 5
Conceptual idea of occupying space within the tectonic
APPARATUS ON A SLOPE Instructors: Lilly Donahue Smith Studio B2 Lynn Petermann Project 01 Duration: Five weeks
Located in the Arnold Arboretum in Boston,the site was selected as to represent a rural landscape on the cusp of an urban environment.
C O N C E P T
A tectonic representing Penetration and Interlocking was rigorously developed,ultimately responding to human scale in the form of a building. Woven into the design and accounting for both environments a program was introduced. Now an Education Pavilion consisting of a classroom,gallery and meeting room occupies the space. The materiality is explored as a way to establish the continuance of my tectonic of penetration and interlocking.
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East
North
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West
A N A L Y S I S
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A view of the site shows the green space with a tunnel that separates the rural environment from the 1 urban landscape on the other side. There is a clear 2 boundary between the urban and rural landscape.
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A N A L Y S I S
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2 Structural/Interlocking Material Landscape
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Penetrating
Mate- 1 The idea of man made materials penetrating the rural landscape is shown in this diagram.
2 Section of my tectonic helps me to understand what it would be like to inhabit the space. Elements interlock and penetrate throughout the design
PRECEDENTS
A list of precedents are used to offer inspiration and generate ideas for my design. Different materiality ideas generating penetration within its context. Diffused light penetration,volume penetration offer ideas to inform my design.
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T R A N S I T I O N S
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3 1 Introducing the tectonic into the landscape show- 2 Different levels of penetration occur at different levels. I begin to apply materials to ing penetration and interlocking structure allow for light as penetration. 3 My design begins explore different levels of occupancy through sections
4 A moment that represents structural and material implications of penetration of volume and light
MATERIALITY
The inherent nature of the materials are used as representation of urban and rural space. The man made copper material is structural and is informative of Interlocking and Penetration . Concrete and stone are reminiscent of natural materials. The tectonic of Penetration is abstracted by the idea of the sun entering the space at different times of the day. The influence of the tunnel is explored throughout the ground floor and a certain orientation allows a view that penetrates the building through the representation of different materials and gives a clear view of the tunnel that separates urban from rural.
Materials are used to evoke the authenticity of an experience. Although the materials are natural,they are still highly artificial due to how they are put together.
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A N A L Y S I S
Rural Landscape Urban Landscape Clear view towards tunnel
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The railway separates the rural and urban landscapes and only way to access both is through a tunnel.
Tunnel facilitates a penetration of transition between the rural and urban experience. Trees on one side and buildings on the other.
2 Conditions on the site that relate to my tectonic of penetration were explored.
1 The open space due to the rural landscape will allow the sun to penetrate the building. 3 Sketches using the idea of a tunnel to penetrate volumes of different materials
3 2 The inherent nature of a man made structure in an urban area is in itself a penetration of urban space into rural.
A N A L Y S I S
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T R A N S I T I O N S
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1 Transitions of how building interacts with site.I chose penetration into the site 2 Transitions on how materiality can communicate the tectonic of penetration
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4 1 Stone is a natural material and wraps around the 2 Copper elements interlock and create that man building. It is visible through a gallery space sepa- made shiny material the is reminiscent of a urban rated by glass landscape 3 Steel is a man made forged material used in stairs 4 Concrete over time will weather and blend into the rural landscape,fulfilling the idea of a natural within the building. structure.
T R A N S I T I O N S
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1 A certain orientation allows a view that penetrates the building through the representation of different materials and gives a clear view of the tunnel that separates 2 The view passes through the building
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The building allows the sun to penetrate and create 3 light as its trajectory moves from east to west
1 The tunnel within the context of the cite, was used to create a relationship with the axis of the building by creating openings that allowed a direct visual.
A N A L Y S I S
urban from rural.
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F I N A L
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1 1 First Floor
3 View showing the slope of landscape. The building penetrates the ground.
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Second Floor
Light Penetrates the facade during its protectory around the building. The steel stairs transition to a new space.
F I N A L
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F I N A L 56
The gallery space allows for interaction between the materiality.. Diffused light through a window allows a visual of the natural stone that wrap around part of the building. The steel stairs allow a transition space representing a threshold of urban textures.
F I N A L
Perspective showing that the program also allows for a classroom and an open area that can be used for functions. Light is allowed to enter the room through openings
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URBAN ANCHOR Studio B 2 Instructors: Lilly Donahue Smith Lynn Petermann Project 2 Duration: Eight weeks Located in Mission Hill in Boston,the site is located in a residential area on a hill next to Bringham Circle. The elevation affords a view of Boston in the distance. This urban environment exists minutes away from a bustling node of intersections that bring commuters into and away from the area. A small outside retail area exists close by that affords a number of small retail pushcarts. They are seasonal due to the cold winters. My design addresses this issue and allows small retail outlets to function during the summer and the winter. Research revealed divergent transition spaces between public,civic and residential thresholds. This became my “parti� as transitions through the spaces of my building.
CONCEPT
The building also became a public space for local residents to relax and enjoy the view,while engaging in activities to activate the community.
An abstract collage depicting the site and surrounding elements. Thresholds are explored.
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A N A L Y S I S
Site
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Green Space
The site exists in a typical Urban environment,surrounded by bustling commuters,residents and retails pace.
A N A L Y S I S Main Transportation Route Secondary Roads
Residential Business
Civic Buildings Site
Circulation around site
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A N A L Y S I S
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1 Plan of site showing Section cuts A and B. Site exists on an elevated slope and shows reference to surrounding buildings.
2 360 view from site
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3 360 view of site from Bringham Circle
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1 Site in relationship to surrounding masses.
View extending towards influence of build3 ings in the distance that begins to inform my idea of thresholds.
2 An exploration of contrast between heights of surrounding buildings to the site.
A N A L Y S I S
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A N A L Y S I S
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There is a threshold change between civic,residential and park spaces. My site thesis starts to explore the difference in the three.
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Site is surrounded by residential, civic and parks. These all start to define this urban site representing different volumes and heights.
1 Residential thresholds.
2 Civic thresholds
3 Retail outlets during the summer
4 Park and recreational thresholds
A N A L Y S I S
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Kitchenette Directors Office
Commercial Commons
Office Conference Room
Bathroom1
Entrance
Workshop
Workshop Bathroom Kitchenette Private
Retail
Entrance
Conference Room
Urban Room
Directors Office Office for Two
PROGRAME
Small Office
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I experimented with different configurations of program as a way to define circulation throughout the site.
1 Introducing a program that required a circulation between different spaces.
2 Iteration of spaces and circulation within the constraints of the site
Parti Transition from civic threshold into small-
PROGRAME
Transition from residential threshold into large space
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Entering through a small threshold into a larger space and a large threshold into a smaller space.
Two different thresholds that relate to residential and 67 Civic
T R A N S I T I O N S 68
1 1 Exploring Iterations using sketch models while incorporating a tectonic of Penetration.
2 A iteration of drawing to clarify the relationship between the building and the slope.
F I N A L Elevations showing the intervention of my parti, that informs the thresholds in the building. 69
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3 1 Plan
3 North Elevation
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East Elevation
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West Elevation
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F I N A L Longitudinal north view of the site and the model 71
F I N A L 72
An attempt to show the tectonic language throughout the building
F I N A L
Views showing how the building responds to the topography of the site
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F I N A L 74
Prospective showing the outdoor space The building also became a public space for local residents to relax and enjoy the view,while engaging in activities to activate the community.
F I N A L
Final rendering showing the design that was informed through the original tectonic that focused on Penetration.
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Santiago de Compestela Urban Intervention Summer Program
CA Institute
In 2011 I attended the CA Institute as an International student for a 4 week summer program. The primary goal was to immerse ourselves in the tectonic of this 16 century city. The object of the program is also to limit the amount of computers and most exploration is to be done by hand.
PRACTICE / PROFESSIONAL
Our team project was geared towards urban planning. We had to focus on site analysis and based on these findings design a series of urban interventions and installations. These holistic interventions are intended to create a dialog between the old city of Santiago de Compestela and Peter Esienmanʼs new “City Of Culture.”
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We immersed ourselves in the urban character, cultural genetics and ambiance of the town and through a series of lectures and tours we became aware how to be socially responsible as architects. This involved the study of: the symbiosis of the old and the new, urban character, interrelationships with spaces, social genetics and the activation of spaces through the recapitulation of the local vernacular.
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PRACTICE / PROFESSIONAL
Concept Statement:
What is not sustainable?
Our design is generated by the theoretical concept of Traditional Chinese Medicine. As with this ancient doctrine of practice, the combinations of small portions of herbs are combined together and administered to restore the body to a healthy balance. Our intervention is based on the same principle where key sustainable concepts are combined to produce a sustainable, holistic facade.
Our Approach: The sustainable concept is applied through materiality and site conditions. The glass bottle construction allows filtered light with no heat gain. The corn glycol inside the bottles acts as a trombe wall and allows heat to dissipate the heat into the store in the winter and out of the store in the summer. The vertical louvers allow for indirect light to enter the store without direct solar radiation. The intent was to decrease energy consumption without drastically changing the existing conditions of the current facade.
Site Plan
Solar Radiation - Summer Solstice
The traditional Chinese medicine is all about balance. Having that idea be the main focus of the design, the facade was broken up into equal, balanced pieces. Taking the idea further, there is also a balance of materials that references Chinese building materials (glass and bamboo). The client desired views into the store while also decreasing the heat gain. The vertical louvers and glass bottle construction solve that problem. The movable louvers and the corn glycol in the bottles act as a learning tool for the surrounding community to evoke a visual and physical response for sustainable learning.
Concept of Balance
Night Scene with LED Lights inside the bottles
Existing Storefront
PRACTICE / PROFESSIONAL
East Elevation - Louvers Closed
Proposed Storefront
East Elevation - Louvers Open 0’
1’
3’
8’
Total Cost From Analysis:
Traditional Measuring Technique
Existing Interior
East Section
Proposed Interior
Bottle Detail
$15,800 (estimated)
Region Influence
Glass Bottle Sample
CNC Wood
Glass Bottles
Floor Plan
Summer Sun
Winter Sun
Nam Bac Sustainable Storefront 75 Harrison Street, Boston, MA, 02111
Gateway: Sustainable Chinatown :
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Sliding Louvers
Solar Radiation - Winter Solstice
Instructor - Jane Hughes
Team - Zane Bell - Jennings Blanc - Matthew Langis - Danilo Marini
My first gateway project allowed me to experience the design process within the organization of a team. Meeting with clients, building code research,collaborating on design process and sustainable alternatives were all part of this experience.
PRACTICE / PROFESSIONAL Gateway: Forensic Detailing. I chose to get involved as a way to zone in on my AutoCad skills and to understand the construction of buildings. I learned envaluable knowledge that included line weights, sheet organization,concrete construction and how to read construction documents.
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PRACTICE / PROFESSIONAL PERSONAL PROJECT : To gain more exposure to Revit I undertook a self study to familiarise myself with this program.
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PRACTICE / PROFESSIONAL PERSONAL PROJECT : I worked with a client whom requested an addition
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PERSONAL
Im an attempt to improve my sketching.I enrolled in a drawing class at the MFA
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PERSONAL Combining both SketchUp and Photoshop in an attempt to create this image. Digital imaging can closely resemble a hand drawing.
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