Sement II Portfolio Complete Reduced

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Frank Chandler S

Master of Architecture Ca

Segment II Portfolio

January 03, 2011





Frank Chandler S

Master of Architecture Ca

Segment II Portfolio

January 03, 2011





Studio Flt815- Research Center

Inclusive Design Studio- Shopfront Collabo

Inclusive Design Studio- Community Center

Generating the Spectacle- Animal Sanctuar

Generating the Spectacle- Zoo

Concrete Thinking- Crematorium & Chapel

Firm Experience71

78

57

45

35

23

15

1

Personal Architecture Projects



Large Hadron CoResearch Center

C-1 Studio

Studio Flt815Michael Shanbacher

Spring 2009

Project Duration: 16 wee

The studio consisted of one projethe duration of the studio. The pa Large Hadron Collider Researclocated in Waxahachie, TX. Theto house research types of our cwas also to accommodate publicdegree to which the public was ato the facility and the particular pelements that would be supplied of our choosing.

A strong emphasis was placed oing the type of research that wasplace at a hadron collider and to the architectural expression for t

lar branches of the sciences migemphasis was placed on the conpublic and private interaction. Toshould the public have access toof the labs and how might those be shaped through spatial considquestion that were posed.

Finally, this studio offered forth thof diagramming as a basis and g

formal exploration.



Large Hadron Collider Research Center- DiagrammingStudio Flt815

As diagramming was to play a crucial role in the shaping of our projects, the initial assignment was to diagram the television showLost. Specific shows were assigned, the information to diagram and the means of diagramming were left to us. As diagramming

was to be an important part of shaping our project, it seemed reasonable to create diagrams in 2-D and the consider them furtherin three dimensions.

Diagramming Lost. Attempts at Finding.

First, each character was diagrammed. Above showseach character’s impact on the island (in blue) and theimpact they held in the ‘real’ world.

A simple diagram of the strong overtones of goodversus evil on the show and the split that is created inthe characters.

Each of the characters were connected in ways thatthey were not aware. This diagram shows the con-nected characters and the degree to which they wereconnected.

The characters were depicted as all sharinmon experience and goals on the island. Oit was revealed that the motivation of someshared by the group.



FRINGE

THEORIES

PROTO

SCIENCE

PROTO

SCIENCE

PUBLIC PUBLIC

PROPOSED

THEORIES

MAIN STREAM

THEORIES

P

T H O L

G I C A

S

C I E

C

S

F O U N D A T

I O N A L I S M

FILTER

SYSTEM

SCIENTIFIC

METHOD

THEORETICAL

PHYSICS


The next diagramming exercise was to diagram the branch of science that would be housed in the research facility. These dia-grams explore theoretical physics. As the research facility was to provide for the public as well as for the sciences there seemeda need to explore the relationship between these two entities. And, in fact, there is an interesting positive feedback loop that takesplace, particularly with theoretical physics. First, there is the public, and from this variegated pool of thought comes much pseudo-science in the form of books, movies, art, etc. These creative forms of expression often inspire the topics that theoretical physicsendeavors to explore. Before the rigors of the scientific method are applied, initial theories are considered to be a part of protoscience and the theories are considered ‘fringe’ theories. If these theories enter the sphere of interest by enough scientists, they

may become proposed theories. This is essentially a filtering system through peer review. If considered worthy, will become mainstream theories and undergo the scrutiny of the scientific method at which point they may be kickthe ladder to fringe theories or may be elevated to the level of accepted fact and presented to the public as such. Tscientific information that are offered to the public become part of the fuel for the next round of public exploration thnext round of fringe theories and so on and so on. This could be seen as the way in which people better understandor it could be seen as the way in which people invent their own reality.

Diagramming Reality.



THEORY

PRACTICE

CENTRAL NODE

PUBLIC SPACEAND LIBRARY

SMALL AND LARGELECTURE SPACES

LABS

BROKEN INTO

THREE CATEGORIES

LAB TYPE 2 Proposed Theories

Grand unification theory

String theory

Theory of everything

LAB TYPE 1 Mainstream TheoriesEXAMPLES: Particle physics

Standard Model

String Theory

LAB TYPE 3 Fringe theories

Grand unification theory

Theory of everything


Following from the previous diagram this diagram is a layout of main components within the facility. Thisstrategy has theory at one end of the building- this is translated into lecture spaces. Next is the filteringsystem, considering that it is information that ultimately makes the filtering decisions the central nodeof the building was to be the library. As the last section of the building is practice this is where the labsare laid out. Labs for each of the branches of theoretical physics are to occupy this space, each withdifferent requirements. For instance, mainstream physicists might need equipment to run experimentswhereas the spaces for fringe theories would largely be research areas, requiring less space and could

possibly be tied in with the library.

Diagramming Program

Following from the previous diagrams, the next diagram considers qualities of space. Just as theoretical physics began with a depiction of fringe theories as a darker, murkier zone filtering to aent end product of information, this diagram depicts the building layout as darker, more solid at thewhere artificial lighting and video presentation would often be required. This leads to the library, orwhere the light is moderated depending on level and use and, finally, the labs where most of the daties of the facility take place and should benefit the most from natural light.

Diagramming Space.



VVV

PATHMEETING POINT- EQUALLY DISPERSED

MEETING POINT- CONNECTED PLANE

MEETING POINT- DISCONNECTED PLANE

MEETING POINT- SEPARATE PLANES

PATH OBSCURED BY OBJECT

PATH OBSCURED BY SEPARATE TRAJECTORIES

VIEW

VIEW OBSCURED BY OBJECTS

VIEW OBSCURED BY TRAJECTORY OF PATH

PATH OBSCURED BY SEPARATE PLANES VIEW OBSCURED BY PLACEMENT OF PATH VIEW BARRED

VIEW IMPLIED

VIEW OBSCURED BY PLACEMENT OF PATH

VIEW WITH ENCLOSURE


One of the main considerations for thiswas the manner in which the public woact with the private areas of the facility.certain portions of the program were desolely for public use, anyone visiting a

collider would undoubtedly be interestescientific workings of the facility. Cosome of the experiments would need tolated for security reasons. Additionallythe areas that the public could safely hcess to, the comfort and privacy of theees would need to be considered.

The diagrams to the left are an explothe different ways in which interaction m

cur with varying degrees of obscurity. posed research center was to be five stoallowing for many forms of interaction pathways. The ultimate goal was to cpologies that might be appropriate forange of interactions.

Interaction



Large Hadron Collider Research Center- SiteStudio Flt815

The site was located in a town called Waxahachie,TX. The most striking thing about the town was thatsize and demographic data portrayed it as complete-ly average in relation to other towns and cities acrossthe country. This meant, of course, that the most

interesting thing about Waxahachie is that it houseda large hadron collider. At least it housed most of ahadron collider; the funding to complete the facilitydried up, leaving the largest incomplete collider inthe world. The task of the studio was to envision itscompleteness.

The climate is dry and warm and the terrain at thesite was largely flat and prairie like. The most strik-ing feature on the site were the veins of trees that

spread across the land, the trees chasing under-ground veins of water. These fingers of vegetationwere accompanied by rare changes in elevation. Itwas within these natural formations, at the edge ofthe site boundaries that seemed the most fitting tosite the research center. The trees would minimizeimpact to surrounding farms and provide shade dur-ing the summer and the drop in elevation would allowfor a five story building that would not tower abovethe Texas flatlands.

The Texas Flatlands



Large Hadron Collider Research Center- PlansStudio Flt815

2nd FLOOR

1st FLOOR



3rd FLOOR 4thFLOOR 5th FLOOR



1

3

3

4

4

2

5

1

2

1

5

PUBLIC

PRIVATE

A C C E S S

T O G A L L E R Y

PUBLIC GATHERING

GALLERY

FLOOR 5

FLOOR 1

COMMUNAL

ADMIN.

ENTRY/ LIBRARY

LECTURE- SMALL

FLOOR 2

LABS-PROPOSED

LABS-FRINGE

LIBRARY

LECTURE- SMALL

FLOOR 3

LABS- FRINGELABS- PROPOSED

ENTRY TOLECTURESPACES

LIBRARY (OPEN)

L E C T U R E -L A R G E

TO OUTDOOR PUBLIC

FLOOR 4

LABS- MAINSTREAM

LABS- FRINGE

LIBRARY

(SECLUDED)

Large Hadron Collider Research Center- SectionsStudio Flt815

As much of this project centered around the degree of interaction between the public and the private functions of the facility, these diagrams were an attempt to unthese interactions might occur. The public was given access to much of the facility, but this access was mitigated using strategies explored in the ‘interactions’ diastance, on the third floor of the library the public access pushes into the lab space and is surrounded by private work areas. In these areas thin strips of glazing alloin to work areas. These are not direct views as the floor levels of the library spaces do not align with lab floor levels, they are offset by three feet. This condition is

by section cut 3. The goal was to allow the public to experience nearly all of the building, just in varying levels of obscurity.

Public and Private Collide.

Early sketch model



2

3 4

Large Hadron Collider Research Center- SectionsStudio Flt815

Section through labs showing public space surrounded by and offset

from lab space.

Section through library showing circulation leaving the

building and small glimpses into the private areas.

Longitudinal section showing the basic layout strat-egy of; lecture space, library, labs.



SCALE: 1/8”=1’

Large Hadron Collider Research Center- CirculationStudio Flt815

The overriding concepts for circulation were that not only did the public hthe majority of the building and partial access to the private labs, but alsolic had opportunity to experience the conditions laid forth in ‘diagramminbuilding graduated from minimal, controlled light and views, to filtered lighand views on the top level, to an ultimate arrival at outdoor platforms. Thmeant to mirror the condition of the scientific process and the means by information from a state of abstraction to accepted fact.

Let There Be Light.

Circulation through lecture space. Circulation through library space. Private circulation through lab space.



Large Hadron Collider Research Center- LabratoriesStudio Flt815

Public

Mainstream

Proposed

FringeThese diagrams describe the layout of the labs. Just as the pro-posed theories filter the information between fringe and main-stream theories, the proposed theories lab space lies betweenfringe and mainstream theory spaces. The goal was to create

spaces that allowed for separate working areas and that mighthouse separate equipment, but that were not so divided thatinteraction between the disciplines would be negated. After all,the scientific processes described earlier do happen in stasis orwith clear boundaries. The success of each branch of sciencedepends on the feedback provided by the others.

Collaboration.



WEST ELEVATION

NORTH ELEVATION

EAST ELEVATION

Large Hadron Collider Research Center- Elevations & Interior ViewsStudio Flt815

3



Large Hadron Collider Research Center- Exterior ViewsStudio Flt815

31

2

4

2

1

The north face of the building was designed to make clear the layersthat had been passed through to arrive at the outdoor platforms

Layers

Many institutions carry with them traditions that include an architectural typology. This studio ultimately became an exploration of a typology forscience. I believe that this had a great deal with the encouragement of using diagramming as a conceptual basis. While I have mixed feelingsabout the degree to which diagrams should shape a building, it undoubtedly lends a greater understanding of issues at play. Maybe it is that

diagramming is a way in which to priorities and identify those conditions for which to design.

Conclusions

Sh f C ll b



Shopfront Collab&Community Cent

C-1 Studio

Inclusive Design StudioGabe Bergeron

Fall 2009

Project Duration:

Shopfront Collaboration-

Community Center- 8 we

The studio consisted of two projesplit throughout the semester. Tproject was one in which we wor

owners in the Four Corners mainDorchester. This project was to in working with a real client with get, practical use considerationsissues that accompany a small bect. The goal was to improve theusing information gathered throuand with personal research and

The second half of the semester

designing a community center foFor this we gathered informationmeetings with the Four Corners group, a collaborative initiative cof residents and business ownerimproving the neighborhood.

The ultimate focus of the studio whow collaboration with the end uprogram can lead to, not only a m

cally sound design, but one that a greater richness of understand



CLIMATE

TOPOGRAPHY

METHODOF

ASSEMBLY

VERNACULAR

AVAILABLEMATERIALS

APPROPRIATEMATERIALS

RENEWEDMODERNISM

CRITICALREGIONALISM

CONTEXT

UTOPIANAGENDA

DEMOCRATIC

TEACHING

COLLABORATION

SOCIO-ECONOMIC

CULTURAL

APPROPRIATEMATERIALS

CONTEXT

AVAILABLEMATERIALS

VERNACULAR

METHODOF

ASSEMBLY

TOPOGRAPHY

CLIMATE

CULTURAL

SOCIO-ECONOMIC

PROGRAM

TEACHING

COLLABORATION

PERSONAL DESIGN

EXPLORATION/PRINCIPALS

LAYOUT

‘VILLAGE

ARCHITECT

WORK WITHINEXISTINGCONTEXT

PROVIDECONTEXT

‘FREE SKIN’‘TORSION BOX’

4-Corners Market- Design TheoryInclusive Design Studio

The diagrams above are the result of a st

work of Brain MacKay-Lyons, an architecbeen linked to participatory or inclusive dstudy began to shape my view of inclusivbeing related to the concept of authenticito define concept. Authenticity seems raby single design moves, rather it is an amof contributing factors, these factors all stloosely related defining qualities of a placqualities encompass land, material, peoptradition.

Mackay-Lyons has also been associatedRegionalism and Renewed Modernism, tof thought that seem linked to Inclusive Dthat each endeavor to enrich design with authenticity. Though each of the schoolsplace importance on particular issues, eaagree that one cannot achieve somethina place without first understanding the qu

place.

Design Theory and Authenticity





Transition

History- Change in demographicsDemographics- close association to migrationCurrent State...New State

Composition

Material/ Color

Alteration in repetition

Weight

Formal tone of area defined in part materials

Shop fronts create a pattern of glazed first floorssupporting more dense residential space above

Light framework supporting weight

Nodes, Connecting Points

Stores are clustered groups supporadiating pathways that connect eashops.

Radial Orga

4-Corners Market- Design PrincipalsInclusive Design Studio

Drawing of traditional fishing vessels of the Islands- light framework of

operable nets supported by solid, unadorned mass.

The 4 Corners Market is located at the direct cente

Corners Main Street district. This central location Market shares a strong responsibility in shaping thethe neighborhood.

Rendering of the 4 Corners Market at night,illustrating the proportion of fenestration to solidmass.

K EY ISSUES



CONTRASTINGINTERIOR

+

EXTERIOR

CONNECTION

TOPLACE

UNIFORMITY

Before

After

4-Corners Market- Shopkeeper InterviewInclusive Design Studio

K EY ISSUES

SECURITY

- CONSIDERWINDOWS

SECURITY GRATE

UNIFORMIT

-CONSIDER MATERIAL

COLOR

ORGANIZATION

LIGHTING

-CONSIDERARTIFICIAL-COST/

NATURAL- DISCOL

PRO

COST

-CONSIDER PRIORITIZE MAXIM

SOLUTIONS

One consistent problem throughout the 4 Corners shops is the manner in which adver-tisements were displayed. They were placed ad hoc over the entirety of the windowsand were in varying stages of disrepair and discoloration. From the exterior it would beimpossible to tell the great lengths that many of the shop owners (the one that I workedwith included) went to carefully organize their goods.

Another consideration beyond the signage specific to each shop was the degree ofuniformity of signage across multiple shops. The owner of the 4 Corners Market indi-cated that the shop nearby had been renovated and that he would like his shop to blend

in with this renovation. The shops below were pointed out as an example of a desirableoutcome.

The demographics study of the Islands indicated that some of the defining aspects ofthese places were its art work (known for its bright vivid qualities) and its markets thatwere more than places to purchase goods, but were also social focal points for communi-

ties.

Signage

STOREFRONT COMPONENTS

C ti B i F A hit t l



SIGNAGE

FLAT BLADE(HORIZ./VERT.)

WINDOW RAISEDLETTERING

AWNING ICON MARQEE/MOTION

AWNING

CLOTH BLADE

ENTRY

D OOR (TRANSPARENT) D OOR (TRANSLU CENT) D OOR (OPAQU E) THR ESHOLD ( RECESSED ) THR ESHOLD ( PR OTRU DING)

WINDOWS

TRANSPARENT TRANSLUCENT TEXTURED

LIGHTING

RECESSED PROTRUDING DIFFUSED SPOTLIGHT

SEATING

BENCHES CHAIRS

RAILING

SOLID CABLE/DIVIDED TRANSLUCENT

VEGETATION

FREESTAND IN G ATTAC HED TO BUILD IN G

TRIM

WOOD BRICK STONE METAL

CLADDING

WOOD BRICK STONE METAL

Board created in preparation for the interview with the shop owner. The goal was to create a grid ofshop front components that typically influence the character and usability of shop fronts. Accompany-ing each component type are examples of various arrangements.

The goal of this board was to create a matrix in which decisions made from the first boarquickly recorded and categorized as the discussion took place. The hope was to have a of desired general characteristics for shop front components with the ability to discover tr

Creating a Basis For an ArchitecturalDiscussion

4-Corners Market -Shopkeeper InterviewInclusive Design Studio

Abstract DiagramCheckered background depicts thevacant lots that are the backdrop forthe main intersecting pathways- themain business district pathway actingas the one streak of vibrant activity inthe neighborhood.



4-Corners Market- Material ConsiderationsInclusive Design Studio

As part of our considerations in this studio, we were asked to explore costeffective materials and assemblies as well as the possible re-use of materi-

als. For this, I fell upon my experience with my family’s business, in which weoccasionally work with local highway departments. We have noticed that thereare often piles of various materials that have been considered to out live theirusefulness. Of these are the perforated cold formed steel bars that are thesupports for most small scale road signs. As these posts are galvanized andintended for outdoor conditions, the signs they support often reach the end oftheir lifespan before the posts, but typically both are swapped out, leaving asurplus of galvanized material that is perforated throughout its length leaving itopen to many types of assemblies.

Re-Use

Configurations and Pattern Making

Component Within an Assembly

Awning SystemSecurity Grating Signa



4-Corners Market- Store Front DesignInclusive Design Studio

Material Addition

Signage Organization

Renewal of ExistingCommunity Signage

1

2

3

3

1,2

After considering the demographics study, itseemed as if the markets in the 4 Corners areawere not serving as a central social hub forresidents, as compared with Island markets. Thisscheme explores using a blank wall for the displayof art and community information.

Design Strategy

The strategy for the overall design of the 4 Corners Market was toapproach it from two positions. First, the goal was simply to revi-talize and renew the existing building using strategies that camedirectly from the shop owner. A photo realistic rendering programwas used to convey a unified color scheme with the adjacent shopand also to show what the shop would look like if the existing com-ponents and materials were cleaned or painted. The second partof the strategy was to show alternate schemes that incorporatedinformation from the previous research which included; the use ofrecycled sign posts (1), an integrated signage display system that

would remove the signage from the windows and organize them ina deliberate way that would allow for easy alteration or removal (2),and an allotted area for the display of community events and infor-mation (3).







YOUTH

CENTER



CROSS OVER ACTIVITY

Art could be both a youth center act iv i t y

and a marke t ac t i v i t y

Co-op w i th local Voc-Tech School

Creates two unique boundary condi t ions

- how open are these boundar ies?

MARKET

ART

YOUTH

CENTER

MARKET FREE

PUBLIC

CROSS OVER ACTIVITY

High sensory shops couldenhance f ree publ ic space- art

- coffee shop

- bakery

-music

- flor is t (green space)

HIGHSENSORY

HIGH

SENSORY

int . ex t .Boundary condi t ion between

ext . f ree publ ic space and

int . f ree publ ic space

Boundary condi t ion between

market and f ree publ ic .

example- how might green

space flow f rom ext . f ree

space to int . f ree space to a

flor is t shop?

MARKET

ADULT

TRAINING

COPY CENTER

OFFICE STORE

LOCAL NEWSPAPERADVERTISING

MICRO LENDING Creates two unique boundary condi t ions- how open are these boundar ies?

CROSS OVER ACTIVITYShops that require wor k that is s imi lar to

the adul t t ra ining

MARKET

CENTER

FREE

PUBLIC

ADULT

TRAINING

MARKET

YOUTH

CENTER

FREE

PUBLIC

ADULTTRAINING

MARKET

YOUTH

CENTER

FREE

PUBLIC

ADULT

TRAINING

OVERLAP AREA BECOMES NEW ENTITY

SHRINK

Need interacts wi t h Want

Enhances both Youth Center and Market

Adds to Authent ic i ty

GROW

FL

E

X

I

B

I

L

I

TY

A

MARKET AS

CENTRAL H UB

SATELLITE ENTITIES?

VERTICALLY T HROUGH

DESIGN OF STRUCTURE?

REDISTRIBUTION OF

BOUNDARIES?

MARKET

AR T

YOUTH

CENTER

BANKING

4-Corners Community Center- ProgrammingInclusive Design Studio



4-Corners Community Center- AdjacenciesInclusive Design Studio

HIGH SENSORY MARK

MARKET

COMMUNITY

PERFORMANCE

ARTISA

COMPUTER/ FINANCE

The idea of a high sensory market was an important one to the design of the community

center. Of course, any business aims for its shop to engage the senses, but in this in-stance the ultimate goal was one of recognition of culture and past. As the demographicsstudy indicated, many sections of the Islands still carry on the tradition of the old worldmarketplace. A place in which the branding of individual stores and items is far lessimportant than the experience of the whole. These markets were, and are, a loosely or-ganized mass of people and goods. No clear beginning or end, an opportunity to becomefully immersed in the experience.

For the community center, the aim was to create a central core which led from exterior to

interior to exterior again, and was defi

ned by market activity with ‘high sensory’ marketsbordering the main pathway. The idea of high sensory includes such items as food,music and art, but also more practical items such as cabinets and furniture- goods thatcould be created in part by students from local voc-tech schools, students who, throughthe course of their education in their trade, often create more pieces than they have needfor and would like to sell but often have no outlet for them (according to a voc-tech schoolsource). This would tie the idea of the market, not only to the old world markets of theislands, but to the residents of the community as well.

High Sensory. Market. Place.

1st fl

2ndfl

1st and 2nd Floor with enlarged courtyard layout



4-Corners Community Center- SiteInclusive Design Studio

BREAK IN STREET WALL

VEHICULAR TRAFFIC

PEDESTRIAN TRAFFIC

BIRD’S EYE VIEW(building no longer on site)

SURROUNDING VIEWS

The site was a large parcel located at the central node of the Four Corners area. Monitoring showed that pewas heaviest on the street that shared most frontage with the lot, as the street leads to a residential neighstreet face of the site oriented to the south and the combination of light and circulation, as well as geomesuggested orienting the long side of the building toward the street. This one empty parcel also created a pbreak in the street wall and by occupying the space the ‘Main Street’ character of Four Corners would be

Site. Closing Street Wall Breaks.

The chosen site with immediately surrounding activities.



STAGEBACK STAGE

MEETING

CLASS ROOM/WORKSHOP

CLASS ROOM/WORKSHOP

CLASS ROOM/WORKSHOP

CLASS ROOM/WORKSHOP

NEWSPAPER

CLASS ROOM/WORKSHOP

COMPUTERLABS

MEETING

COFFEE SHOP/ BAKERY

COMMUNITY

MARKET

MIXED

KITCHEN RESTAURANT

SEATINGSEATING

FLORIST

FOOD MARKETOPEN MARKET

KIOSKS

KIOSKS

INFORMALOUTDOOR

PERFORMANCE/MARKET

BUSINESSRESOURCE

MICROLENDING

BUSINESS

RESOURCEOFFICE

TRAINING

CERAMICS MARKET

WOOD SHOPSET DESIGN

PERFORMANCE LOBBY

CERAMICS SHOP

BANK

CABINET/ FURNITURE MARKET

4-Corners Community Center- Plan DiagramsInclusive Design Studio

HIGH SENSORY MARKET

The plans indicate the general layout of the program and their adja-cencies. There is also an additional layer of information involving theprogram strategy and the use of ‘crossover activities’. Purely com-munity activities are labeled in blue and purely market activities arelabeled in yellow. An even mix of the two is labeled in green, how-ever, the majority of the program is created from elements that haveboth market and community aspects to them, often with the weightof the programmatic activity leaning more heavily towards market oractivity. For instance, the restaurant is a market activity that wouldbe expected to create a profit, however, considering earlier explora-tions of voc-tech schools and considering that culinary is a commonvoc-tech offering, typically with a strong outplacement component;the restaurant market activity would have a community aspect to it.Conversely, the performance space is primarily a community activityand might not be expected to turn a profit, but ticket or rental saleswould make it a partially market activity.

Layers of Activity

1st Fl

2nd Fl



4-Corners Community Center- SectionsInclusive Design Studio

The search for form was particularly challenging. On the one hand, thecommunity center is comprised of many constituent parts, each with itsown needs in terms of space, circulation, and daylighting. The goal wasto try and serve these needs while creating a building that had a cohesiveidentity of its own. One strategy utilized was the use of stepped roofs anda courtyard so as to maximize daylighting. The stepped roofs also help

to defi

ne individual programmatic spaces.

Also weighing on formal decisions was the degree to which any of thestudies on the Islands should directly effect formal composition. Ulti-mately, the feedback from residents overwhelming supported a buildingtype that was representative of New England typologies. To that end,institutional and even religious building types were considered in order tocreate a building that would represent the Four Corners neighborhood asa distinct entity amongst a network of brick tax block buildings that repre-sented the expansion of Boston over the past two hundred years.

Form. Parts to Whole. A Whole to a Larger Whole.



STREET ELEV

COURTYARD ELEV

4-Corners Community Center- ElevationsInclusive Design Studio



4-Corners Community Center- Exterior ViewsInclusive Design Studio

The main public face of the community center, seen from the

street, housing the majority of the community-rich activities.

A Public Institution

Procession

View from street with exteriorhigh sensory market to the left.Shown are display board fences.

Amongst the display items withview of performance space wingin background.

View of performance space wingwith one open facade for smallscale outdoor performances.



4-Corners Community Center- Interior ViewsInclusive Design Studio

Interior view of ‘high sensory’ market. This is the centralnode for market activity. This area was given the greatestinterior architectural expression, the goal being that thearchitecture would mirror the high sensory market activi-ties and show the activity that was taking place on multiplelevels.

Expressing Activity



This is one of the most thought provoking studios I have taken. While it may not bethe role of the architect to design programs, doing so and doing so in a collabora-tive manner with the people who would use it, created a far greater investment inthe project as a whole. Also, while architects may not create programs, the decisionarchitects do make have a great effect over them. Because of this, I believe havingdelved so deeply into the people and the uses involved in this project has bettered my

understanding of one of the fundamental and founding principals of architecture- theway in which people use buildings.

Conclusions

Animal Sanctuary&



&Zoo

C-2 Studio

Generating the SpectacleKelly Jean ArdFall 2010

Project Duration:Single Animal Sanctuary

Zoo- 8 wks

The studio consisted of two projedivided over the semester. The were working with was Boston’s park space near Boston’s shore the dividing highway that cut throseparated some of Boston’s mos

borhoods neighborhood. This Gconnects the North End, the Whaand Chinatown. We were to expGreenway and choose to work wplots that most suited our project

The first project was to create a spublic interface for one animal. Tproject was to build upon the firssons learned and create a full fle

three animals.

Emphasis was placed on an undthe Greenway which was to be rethe needs of our chosen animalsto translate these two worlds into



Single Animal Sanctuary- SiteGenerating The Spectacle

These Diagrams illustrate those aspects of the Greenway that has the largest impact upon first visit.The greenway consists of multiple small parks, each divided by roadways. However, it seemed asif certain roads had a greater effect of dividing the parks than others, creating a condition wherethe green way seemed to blend together as one continuous experience in some areas and act assingle divided parks in others.

Also weighing upon the transitional quality of the parks is the change in street wall from one districtto the next. In the north end the buildings are consistently two-three stories with a commercialfront on the lower levels and are comprised of traditional heavy masonry brick. As the park waytransitions into the Wharf district these buildings give way to towering skyscrapers of varying mod-ern materials and assembly methods. Finally, the transition into Chinatown is varied, with smallerbuildings punctuated with a few skyscrapers.

From the onset, there was one parcel along the Greenway that resonated during the visits.This park is centrally located and amidst the tallest buildings yet it seemed to have the strongest de-gree of ‘relative introversion’ of any of the parks. Of course, the introversion is relative to the otherparks, after all, the Greenway is in one of the most dense sections of Boston. What lent this park

this more isolated quality was a combination of plantings along the perimeter, a slight raising of thestreet on the north west side, and one of the only occurrences of a grade in any of the parks. It wasthis combination of being fully immersed in the city but in a place with it’s own distinct boundariesthat set this parcel apart from the rest.

Generating a Spectacle within a Spectacle.




Built

Transport

Landscape

Hardscape

Streets

Flow

Visits to the site allowed for a close scrutiny of single parc

but to understand each park as a constituent part of the Greunderstand the Greenway within the greater fabric of the citwas necessary. The massings for the model came from thonto which information has been overlaid.

These diagrams illustrate more accurately the ‘tunnel’ qualiand the manner in which this effect increases from the Nortthe Wharf Districts. This stretch of parkway also allows foization of the city as a whole. Often the most striking viewfrom an approach on a highway (consider 93 North into Bbecause the width of the highway is such that it allows for awhereas the ratio of road width to building height within the any prospect of wholistic views. However, as the Greenwaan old highway system, users are able to stop and apprecence at their own pace, as opposed to at 70 miles and hour

It is this ability to see and anticipate the density of the city bewithin it that makes the chosen parcel (highlighted in red) so

Approach and Immersion

Initially considered sites




Diagram of the Greenway illustraration of districts, green spacethe relationship to the shore.



Horizontal Planes

Irregular Volume

Vertical Stacking

Single Animal Sanctuary- Concept StrategiesGenerating The Spectacle

After choosing the site next we were to choose the animal that we would work with. I chose to work birds due not only to thebuilt in spectacle of flight but also because of the open ended nature of possible enclosure (also due to interesting precedents-

consider Cederic Price’s London Aviary). Also, an aviary type enclosure seemed to reflect the tunnel and immersion qualities ofthe Greenway and chosen site, as previously described. As I considered overall strategies for housing the birds, I struggled withthe contradiction of a captivating display for people verses appropriate enclose for the animals. Consider the vertical stackingconcept, which I came to think of as a ‘billboard for birds’. It is ultimately ludicrous, but if pure appropriateness were the driving

principle, animals would likely not be brought to center of a city. Ultimately the choice was consider the projecor conceptual grounds and in the spirit of spectacle. Having said this, further pages will show that through re

reviewed journals, a consideration of ideal habitats were considered.The final product for the bird sanctuary was ultimately a combination of the vertical stacking and open volume vertical stacking allowed for spaces that both birds and people could inhabit (as well as a heightening of the effecchange on the site), while the open volume allowed for flight for the bird and immersion on the part of people.

Captivating or Cage? Maybe Both.



Single Animal Sanctuary- Interior ViewGenerating The Spectacle

Scale Enclosure

UNIT TYPES



Single Animal Sanctuary- DiagramsGenerating The Spectacle

UNIT Steel AWoodNylonPlastic

Section Fragment 3/16”= 1’

The section fragment illustcept of a structure that is inbirds and people, it also deon the third level in which this blended into the open vopeople to experience it from

The renderings above depicterials used in the vertical sa close translation of the diasure and scale to the far lefqualities of the units (depenpartitions) would allow for al

rations shown in the diagram

The idea of scale is importancepts, the experience of a ground bird up close is mucthe experiencing of pattern of a flock of birds. The hocombining of scalar conditiofor both simultaneously.

The Size of Small Thin



Single Animal Sanctuary- Site SectionsGenerating The Spectacle

1

3

S2

S1Plan 1”= 30’

Site sections showing the influenceof the stepped building to the west onthe staggering of the vertical stacks.

Multiple configurations were considered for the framework that would support the open,netted volumes. The goal was that the framework would be light and unimposing, of thesame qualities of the netting, but slender supporting members seemed out of proportionwith the span. Upon review, the possibility of using the tubes that meet the ground asa means of sharing the load could have been explored.

Form and Frame Work.



Single Animal Sanctuary- Generative FactorsGenerating The Spectacle

The concept of the open volume was shaped largely by the t

of the Greenway as a whole, but a more specific form consarch that serves as a gateway to the wharfs (shown in the vand image above).

The uses of the nylon mesh, which has the property of bewhen view directly and white when viewed from an obliquespired by the image of a cardinal amongst snow laden trees.

Interestingly, upon closer inspection, it was revealed that b

fond of the arch as many had nested within.

Birds and Arches.



Single Animal Sanctuary- ViewsGenerating The Spectacle

View from within vertical stack that joins the open volumeView from across the street to the east

Approach from South

View from vertical stack path, looking to the north

Zoo

C-2 Studio



Greenway Zoo- SiteGenerating The Spectacle

C 2 Studio

Generating the SpectacleKelly Jean ArdFall 2010

Project Duration: 8 wks

For the second half of the semesexpand the scope of the project iplete zoo of three animals. The

an expansion of the earlier projecsite remained the same.

For the initial project, much of ouwas of the Greenway as a wholebeing the selection of the site thato work with. To begin the next plooked more closely at the site wto uncover previously ignored ch

Massing and Voids Relating to Intercontinental Colonnade Framework for Bird Spaces Circulation Central Activity Nodes



Greenway Zoo- SiteGenerating The Spectacle

125 High St Intercontinental H

Contrast

Weight Time

Material Relationship With Intercontinental Material Relationship With 125 High St Vehicular Circulation and Impact Impact of Adjacent Buildings Main Activity Node

Perhaps the single most impactful entities upon the sitewere the adjacent buildings. Both are tall, command-ing buildings with very contrasting characteristics. 125

High St. is a renovated heavy masonry building utiliz-ing both stone and brick and portraying the qualities ofmany traditional Boston buildings. To the east is the In-tercontinental Hotel, a more contemporary, glass curtainwalled structure. It seemed that this contrast should beconsidered for a proposed structure that lie directly be-tween the two. From this, a material language of stoneand heavy timbers contrasted with steel framework andglass emerged.

The diagram at the center top of the pagaim to mirror the material and structural locent buildings. Not just a mater of mater

reflect effect of time on the city and the resmation of structure, material, time, and us

Zoo’s have few preconceived notions of it seemed they could pull from any numbeven combination of types.

Weight, Time, and Type.

Snake Space- damp, dark and heavyminimal and heavily controlled light

Viverrid Space- Light, but fully en-closed. Weather and temperatureneed be controlled

Bird Space- Light, open. Thin frame-work, less need for controlling tem-perature and weather



P R O C E S

S I O N

E N C L O S

U R E

Greenway Zoo- TypologiesGenerating The Spectacle

This diagram explores materialqualities and how they might re

ence and procession as well as relate to ideal forms for the anim

The animals chosen were; birdviverrids. Birds and snakes, anteristics, need little introductiona little less known. They were cthey completed a full spectrumtivity. Birds occupy the skies acupy the ground, viverrids occu

ground, they are tree dwellers.their habitat, they are also quwith a playful disposition.

The thinking is that having a coa full range of habitats and anot only lead to a more intereanimals to experience, but alsoof activities would lead to a warchitecture expression to botand display them. For instancetree dweller raises the questionpeople into the trees. The idedweller raises the question of hbetween animal and person mig

The ultimate goal was to matcspatial needs and appropriatanimals with the contrasting ma

forth by the adjacent buildings.

need be controlled. perature and weather.

For Things That Crawl,Coast.

The diagrams on this page are a consideration of how spatial arrangements and circulationmight affect the experience of both people and the animals. One question that arose is the

People Surrounding Viverrids Surrounding People. Circulation.



Greenway Zoo- Spatial DiagramsGenerating The Spectacle

Public Passage

g t a ect t e e pe e ce o bot peop e a d t e a a s O e quest o t at a ose s t edegree to which exhibits are given freely to the public. The diagrams to the left shows ascenario in which the snake and viverrid spaces are divided so as to allow the existing circu-lation pattern of the park to remain. This decision was made in consideration of the fact that

the Greenway was conceived as a way to connect places and people, it seemed unwise todisrupt the flow of one park to the next. Besides, if a Zoo is placed in public space, it seemsthat the public should have some access to it. To this end the diagrams consider how thefacades of the buildings might be shaped so as allow passersby to view some of the activitywithin. Diagram 2 was considered ideal as it allows for multiple viewing platforms and cre-ated a sheltered cove along the path.

The diagrams to the right show different configurations of the interior of the zoo, of boththe snake space and the viverrid space. The focus of the snake space was to create aconfiguration that not only allowed for a single path with different spatial qualities for the

display of different snake types- swimming, stationary and climbing, but also create a paththat directed people to viverrid space. The snake diagram highlighted in red is closest to thefinal configuration.

The viverrid diagrams show multiple configurations, the two that came to the forefront werea concept that placed people at the core of the room, with viverrids surrounding. The otherchoice was to have the viverrids at the core with people surrounding. The final choice was abit of a combination; a core of viverrids, a circulation of people with an outer core of viverrids.This allowed for people to be fully immersed in the experience and allow the outside public

to view the viverrids.



Plan- Ground Level Plan- 1st Fl

Greenway Zoo- PlansGenerating The Spectacle



Plan- 2nd Fl

Greenway Zoo- PlansGenerating The Spectacle

Roof Plan



Dark to Light High to Low



Greenway Zoo- SectionsGenerating The Spectacle

These sections illustrate a desired processional experience in which one would enter into theslowly ascending through a ramped three story space. The space is comprised of horizonstone stacking with small slivers of light between the stones. The area is dark and humid, an aAfter ascending three stories, the space opens to the glassed height of the viverrid area, atFrom here the path circumnavigates through vegetation, light, and viverrids. This ultimateexterior of the building and along a netted public pathway of flighted birds (next page).

Dark to Light. High to Low.



Greenway Zoo- Bird SpaceGenerating The Spectacle

East Elevation

Bird Space

Views of the same area within the bird space. Framework of structure aligns with the colonnaded trellis element that defines the streetlevel of the intercontinental hotel. In this area, zoo and free public space combine.

Netted bird spaces laces throughout the northern section of the park. Most intersect areas along the psave for an area over the graded portion of the site that people do not have access to.

Strictly For The Birds.

Stepped qualities from the previous project’s vertical stacking areworked into the main of the zoo, mirroring the stepping back of 125High St.

Core Circulation



Greenway Zoo- CirculationGenerating The Spectacle

Circulation diagram illustration the scribed on ‘Sections’ page.



Greenway Zoo- Exterior ViewsGenerating The Spectacle

Showing the horizontal banding of the materials. Banding dimensionally similar throughout stone and glass portions of thebuilding. The drawing is also showing the accessible space beneath the viverrid space. One of the goals of the project wasto create a building that was configured in such a way that the public had access to many portions of the building with smallglimpses of the activity within.

Views from North.

Inside Out.



Greenway Zoo- ConclusionGenerating The Spectacle

For most architectural projects the experiences and use ofa space is always considered through the lens of one enduser, people. The greatest challenge in this studio was toconsider other perspectives, those of the animals, and to tryand combine these shared perspectives into one cohesiveplace. While considering these perspectives, I sought guid-ance from the existing conditions of the sight. Conditions,due to the location, that provided so much information thatisolating the core information became a task as well.Above all, I strove for a project that would live up to the stu-dio’s fundamental principal, to generate a spectacle of expe-rience for users of both the park and zoo.

Conclusions

Mt. Auburn CemCrematorium & C

C-2 Studio



C 2 Studio

Concrete ThinkingKevin Losso

Fall 2010

Project Duration: 16 wee

The studio consisted of one projethe duration of the studio. The pfor a crematorium and chapel at Cemetery in Watertown, MA. This a large 250 acre parcel of plotsspace connected by a labyrinth oall located in the relatively dense

town of Watertown.

The studio began with the explormeans of founding a conceptual architecture, specifically, we werthe poem “Sonnets to Orpheus” and imagery.

The studio also focused on a parial; concrete. We were encourathe possible uses of this versatileAbove all there was a focus on thplace. The site was one that weand held a rich character do to htion, and use.

Bagsvaerd ChuJorn Utzon

KresgeEero SThe poem, “Sonnets to Orpheus” was assigned reading. From this poem we

An Open Web.



Mt. Auburn Crematorium- Abstract DiagrammingConcrete Thinking

Solitary Wave

Closed Vs. Open Systems

TreptoAxel Schultes

T

Temppeliaukio KirkkoTimo and Tuo

Parish Church Complex of Marco dAlvaro Siza

Precedents

p p g g pwere to choose a stanza or fragment that might serve as a starting point fora conceptual basis for the project. For me it was the short phrase ‘Solitary

Wave’ that resonated most strongly. I was struck by the impossibility of thenotion. Within our material environment, waves are never solitary they arealways preceded or followed by some activity or consequence. From this,I began to imagine environments that might support a solitary wave, suchan environment would need be a closed system. One classification withinscience is the classification of closed or open systems, however, a closedsystem is a largely theoretical condition. For instance, the earth is oftenconsidered a closed system, the atmosphere and materials are bound to theplanet and separated from the vacuum of space. However, even this sys-tem casts of particles and ions and receives debris from space. In a closed

system, material might not decay, might not follow the constant unyieldingprinciples of destruction inherent to ideas like chaos theory. But they wouldalso not change, transform and be re-invented. Perhaps perfection is, in fact,the antithesis of architecture.

The diagram to the left is an exploration of systems that are considered to belargely open or closed. Their are varying examples; the human body servesas an example of both. The respiratory system is in constant exchange withit’s environment while the circulatory system travels in a (somewhat) closed

loop. The human mind is, with any luck, the most commanding of open sys-tems, with the ability to exchange energy and direct material change.

Or consider a spiders web, an open system by design and for purpose. Ar-chitecture creates, willfully or not, systems. These systems often follow thepatterns in nature of falling on either the open or closed end of the spectrum.My interest, at the onset of this project, was considering these systems andtheir interactions.





Mt. Auburn Crematorium- The Spaces In BetweenConcrete Thinking

The sketch diagram above illustrates an early concept of a place in which the exterior is largely shelteredby large objects (a reflection of the trees that guard the site) and the excitement and activity of the placeoccur between these objects. The orientation of the objects is a response to the previous site diagram thatillustrates the main axis of the site, determined largely by the shape of the site and views.

When considering the main programmatic elem

matorium, the chapel aspace, my first inclinatiothese elements into sepaIn doing so, create and tisting network of pathwathe labyrinth like cemete

To this end, a griddedused. Typically, there areto pull from than a grid wing a general layout, bthe desire to evenly weigspaces against the publictween, the grid proved of 20 ftX20 ft were use(roughly) evenly dividedbecause many of the square ft. requirements by or into 400 sq. ft.

Weighing the Open

Shows degree of seclusion, by layout or mate-rial. Darker shades indicate more secluded.Grey tones are building, yellow tones are openspace.

From South (Chapel Ave)Main Entry

From East

Diagrams focusing on qualities of the buildings that might reinforce or better display exterior qualities to the usersth k Th lid/ id di id ti h diff t l l f ld hi hli ht th

Building Windows. Building Walls.



Mt. Auburn Crematorium- FormConcrete Thinking

the park. The solid/void diagrams are a consideration how different levels of exposure could highlight the core tween the buildings in some instances and provide a more sheltered experience in others.

The search for appropriate form continues. The sketches below show formal exploration, some based on the cthat emerged from the early systems and site diagrams. Ultimately, I chose to allow the later gridded diagrams toinfluence form. This was largely due to a desire for simplicity. Considering the nature of the site and of the prograwanted to create a building and spaces that were, above all, approachable. This began to mean a simple more mometry accompanying simple, earthen materials. A place of material and structural logic not so unlike the headstotombs, trees, and pavement underfoot.

The initial considerations of the duality of two systems also seemed to favor simple geometry. Heightened intricac

forms blur boundaries. Instead I searched for soundness, this project felt to be one that should not seek to confubut instead assure them. To invite them through tactility and resolute form.

Form? A Search For Soundness.

The diagrams below illustrate site and dethat influenced the layout and fragmentagram and associated buildings. For insthree shows what I considered to be one pactful views into the site, created by the

Dividing Factors.



Mt. Auburn Crematorium- Site InfluenceConcrete Thinking

Private Public

large oak trees. It is within the division that a building split occurs allowing and

of the activities inside.

Seclusion

OFFICEOFFICE

MI SC . STO R.

HOLDINGAREA

SCALE 3/32”=1’

OFFICE

STORAGE/MISC

RESTROOMS

1

2

3

V1



HOLDING ROOM

RETORTS

CHAPEL

WAITING ROOM

MEM. SPACE

4

5

6

7

8

11

2

2

3

3

4

5

6

7

8

V2

Main Approach

V4

V

V5

V3S1 S2Site Plan

S1 S2

V6

V

Mt. Auburn Crematorium- Site PlanConcrete Thinking

The plan serves as a site plan and as a legelowing views. The plan is integrated with sbecause to topography, trees and vegetation ing qualities of the site and project as a whole

Considerable time was spent documenting ations and type and much of the exterior portiowas designed for the limited views available ingoal was to make, not only the presence of thof the public spaces in between understandarrival into the cemetery with increasing acdifferent portions of the in between spaces inpressed as people pushed further into the ce

A Path To Guide.

Wood CladdingLight hardwood, maple or sim in color.Horizontal orientation with 1/8th in. gapbetween boards to strengthen horizontality.Grain pattern and some knots, slightlymore rusticated than many contemporaryext. wood cladding finishes.



Concrete WallsExample shown is of brushed and groovedconcrete precast panels. Intention for

project walls are similar, but with grooves

and brushed texture lines both orientedvertically.

Ground PlaneExample shown is of wood board stampedconcrete. The desired characteristics forground plane are the tone, texture, andcolor variation. If stamped pattern doesnot prove uniform enough for accessibility,then brushed texture as illustrated in inset.

Wood FinishesAll wood in project to be similar to ext.

wood cladding except for the wood finishesat the remembrance space memorial andaccompanying walls and at the overheadwood and concrete baffling which are to befinished with a dark stain (or clear staineddark wood).

Mt. Auburn Crematorium- MaterialsConcrete Thinking



View 7- From Int. Courtyard

Section 1

Section 2

Mt. Auburn Crematorium- Site SectionsConcrete Thinking

The dual material logic was reinforceentation. The concrete tilt up panelsgrooved connection with a vertical bwhile the wood slats are hung horizonmatorium (shown in section 1) serves and as the strongest representation ochoices and orientation.

Set Stage.



Mt. Auburn Crematorium- Exterior ViewsConcrete Thinking

View 6- From Platform Courtyard

North Elevation

Axon shown without

trees for clarity.

View showing the memorial space to the left, to the right is an area of seclusion created by two exteriaddition of plantings that are a continuation of existing trees. The creation of a secluded outdoor roomwho might wish to accompany the body to the retorts. This space is immediately adjacent to the eroom and might serve as an intermediary space of reflection.



View 3- Front Approach

South Elevation Scale: 3/16”= 1’View 4- Memorial Space Entry

Mt. Auburn Crematorium- ProcessionConcrete Thinking

View 2- From Stairs

East Elevation

The east elevation depicts the moment of fram-ing described on the site influence page. Thegoal was for a layering and depth to the view.

First the large oak trees, then the buildings withthe break that exposes the courtyard withinand, finally, the tallest walls of the buildings, theconcrete walls of the crematorium adorned witha vertical garden.

Green, Building, Green.

The goal of the front approach was to give some intimation of inner work-ings of the chapel but also to guide people into the courtyard. Upon ap-proach the glazed doors of the chapel lead to a small entryway with glaz-ing on the opposite allow people at the exterior to see in to the courtyardspace. Upon entering, one would pass through the conditions depictedon the following page, ultimately arriving at view 4, in which the courtyardspace is revealed with a choice of paths that lead further into the courtyardor through the memorial space.

COURTYARD



CHAPEL

Approach

Mt. Auburn Crematorium- ChapelConcrete Thinking

The diagram above, in yellow, describes the paththrough the narthex of the chapel and into thecourtyard. The darker shade represents a tighterenclosure due to the narrowing of fenestration to

small 4” slots built into the concrete panels and thedisappearance of the skylight above.

The main of the chapel is defined largely by light.Religious building has a long tradition of using lightto evoke the spiritual. Within the chapel, naturallight is used from above, artificial light from a clere-story space to highlight the joining two main cho-sen materials of the site, wood and concrete.

The drawing to the left is a more technical depic-tion of the materials and assembly method. In theclerestory space, channel glass and boards of thesame width are alternated to reinforce the light fil-tering qualities of the wood and concrete baffles.

Light.



Mt. Auburn Crematorium- Memorial SpaceConcrete Thinking

View 5- Memorial Space

The memorial space was inspired by the twists and turns and unexpected findings that exist throughout the cemetery. The additionform allowed the courtyard to become a path with more distinct spaces, as opposed to one amorphous space. The desired characential quality of the memorial space comes from one experience in the cemetery, in particular. Non-native beech trees exist in a fewcemetery, these trees have wildly irregular branches and dense foliage. Most striking is that the branches sweep down and touch theing you to push through to a space surrounding the trunk that is completely enclosed by foliage, with the leaves filtering bits of light thenclosure. The memorial space is two rooms of baffled walls with a similarly constructed memorial between them. Once in the spacviews out are filtered by the layers of wood cross hatches. The memorial structure is meant to be a series of formwork that would alloplaques to be poured into them. This idea was inspired by earlier concrete studies that showed the intricacies possible in pored fo

plaque could be created unique to the individual.

Formwork and Filters.



Mt. Auburn Crematorium- ConclusionConcrete Thinking

For me, this studio became very much about the defining qualities of a place. The characteristics ofthe site were both unique and unusual, but also sacred and timeless. It was perhaps the only stu-dio I have taken in which innovation was not the ever present and overriding in fluencer. Instead offocusing solely at the new creation, I strove to understand and translate what was already there.

Conclusions

FIRM EXPERIENCE



Machado Blake Design

I spent nearly two years at Machado Blake Design. I began asa drafter and was very fortunate to work in an environment inwhich my responsibilities increased for the entire duration of mystay. Drafting work lead to an increased role in design whichlead to site visits and collaboration with contractors and fabrica-tors.The principal of the firm, Christopher Blake, always placed care-ful design and the consideration of detail at the forefront ofevery project. Even as the economy staggered and budgets

thinned, an allowance for full consideration of all aspects ofthe project was always given. This allowance has undoubtedlyshaped all of the work in this portfolio.

LEXINGTON,MA RESIDENCE LEXINGTON, MA RESIDENCE- FENCE



LEXINGTON, MA RESIDENCE- TRELLIS LEXINGTON, MA RESIDENCE- ROOF DECK

This project involved the renovation andadditions to an existing TAC house. Thisrequired a strong understanding of theexisting conditions and qualities that de-fined the home and property ideas ex-



fined the home and property, ideas ex

plored most thouroughly in the ConcreteThinking studio.The additions involved a trellis and fencethe creation of a threshhold and a pro-cession from the public face of the prop-erty and the private yard and gardenswithin. These processional qualitieswere explored in both the Generating theSpectacle and Flt815 Studio, though theframework quality of the Zoo diagrams

are probably most reflective.The roof deck was meant to be moremonumental. Solid and integrated, muchlike the Crematorium project.

VACATION RESIDENCE, SEBASCO, ME VACATION RESIDENCE, SEBASCO, ME- INTERIOR FINIS

There is a connection betweenthe horizontally oriented ship-lapped bords that define the in-terior charecter of the vacationhome and the banding of wood



home and the banding of wood

in the Crematorium project.

The underlying idea is that ma-terial qualities can be enhancedand defined by formal arrange-ment.

VACATION RESIDENCE, SEBASCO, ME- INTERIOR FINISHING VACATION RESIDENCE, SEBASCO, ME- INTERIOR FINIS



CONCORD, MA RENOVATION CONCORD, MA RENOVATION



The most challenging aspect ofthis project was taking the mostawkward moment in the building,the foyer that joins the house andgarage and turning it into major cir-culation route. The client’s hopewas not only to convert the top level

of the garage into living space, butalso turn this ‘knuckle’ into verticalcirculation. It seems the constantgoal of design to take awkward ordisjointed moments and turn theminto focal points.

BEACON HILL, MA RENOVATION BEACON HILL, MA RENOVATION



Personal Arch. Projects



The design work in this section is my own andfor some of the projects I did the constructionwork as well.

It has been a year and a half since I have beenemployed at a firm. This section illustrates howI have been spending that time. I am fortunatethat I have construction work in ny backgroundand even more fortunate to utilizing it.This image is of me on Dec. 15th. My finalsthis semester fell on the 22nd. The deadlinefor the project is the 22nd. Oh, and there is thematter of a portfolio review...

I have begun to seach more intently for a job ata firm, as design is a consuming interest, but

for the time being I feel quite fortunate to de-sign in whatever capacity I can, and to build.

ASHBURNHAM, MA RENOVATIONASHBURNHAM, MA RENOVATION



12’ RAMP

24’ RAMP

30’ RAMP

Material Quanity Cost

BATHROOM

Vanity 1 $58.00http://www.homedepot.com/BathBathroomVanitiesVanityTopsVanityTopCombo/h_d1/N5yc1vZ1xh3Zbask/R100527212/h_d2/ProductDisplay?langId=1&storeId=10051&catalogId=10053

Faucet 1 $28.00

http://www.homedepot.com/h_d1/N5yc1vZ1xh3/R202043766/h_d2/ProductDisplay?langId=1&storeId=10051&catalogId=10053

Toilet 1 $198.00

http://www.homedepot.com/BathToiletsOneTwoPieceToiletsTwoPieceToilets/h_d1/N5yc1vZ1xh3Zaqvm/R202017635/h_d2/ProductDisplay?langId=1&storeId=10051&catalogId=10053

Medicine Cab 1 $49.00


GrabBars 2@$23.96 $47.92


Vanity andGenerallighting [email protected] $57.94

http://www.homedepot.com/h_d1/N5yc1vZ5z655/R100686825/h_d2/ProductDisplay?langId=1&storeId=10051&catalogId=10053

HandShower $39.97


Floor

CeramicTile .99/[email protected] $54.45

?

Backerboard

http://www.homedepot.com/FlooringFlooringToolsAccessoriesTile ToolsAccessoriesBackerBoard/h_d1/N5yc1vZ1xh3Zbngc/R100183556/h_d2/ProductDisplay?langId=1&storeId=10051&catalogId=10053 [email protected] $41.48

3/4"Plywood [email protected] $56.91

This is the largest project that I have designed and built to date.The project consisted of a complete tear down of four rooms tobuild a bedroom, an in-law suite, and a bathroom. The projectalso called for rebuilding the existing porch and adding an ac-cessible ramp as well providing accessible accommodations inthe in-law suite and bathroom.The work was done myself and members of my family’s busi-ness.The considerations for accessibility were considerable and

ranged from the slope of the ramp, ease of access into the bath-room and other areas, and even the switching of lights. Much ofthe information that I needed to approach these concerns camefrom Programming and Codes.

ARIZONA VACATION RESIDENCE NEW IPSWICH, NH EQUIPMENT STORAGE



This is a design for a vacationhome in Arizona. It is currentlyat the schematic stage of design.The client called for a simple andcost effective design that, whilesmall, would provide ample out-door space on both levels.

This project called for the storage of a dimensionally specific

piece of machinery, in this case, an excavator. It also calledfor a code compliant stairway so that the top level could belater converted to living space.



NEW IPSWICH, NH KITCHEN RENOVATION SHARON, NH BARN



Design for a kitchen island that is to beconstructed using 3’’ slabs of cherry.

Barn design (unbuilt) for a client that requithat would accommodate multiple uses.

STODDARD, NH LAKE RESIDENCE LEOMINSTER PORCH ADDITION



SHARON, MA KITCHEN RENOVATION SHARON, MA MASTER BATH RENOVATION



Rendered in 3D Studio Max

Rendered in 3D Studio MaxProposed Hardline Layout

Existing

Completed Project

Resposibilities included both de-sign and construction work on theserenovations to a Sharon, MA resi-dence. Both rooms were completlytorn down and rebuilt, new plumbingand electric were required for both.Much was learned about the con-struction difficulties caused by ret-rofitting old plumbing with a properly

vented system.



Documents

Sement II Portfolio Complete Reduced