Download pdf - Abby Marie Chryst's MArch Portfolio

Abby Marie Chryst . Design Portfolio . MArch . 2010

Cover: Type and Architectonic Deconstructive ModelMedium: FormZ and IllustratorProfessor: Brian SlawsonSpring 2009

The Early Work . Fall 2003 - Spring 2005

Abby Marie ChrystModel Medium: butter board Dimensions: 21in. x 27in. x 7in. 1/4” = 1’- 0” scale original sizeDrawing Medium: ink and graphite on mylarDimensions: 24 x 36 in sheet 1/8” = 1’- 0” scale original size Professor: Laura BlauFall 2003

- 3 -

The focus of this design was the conscious and subconscious of the mind; and the process of working through a specific situation pertaining to the process of thought. The areas within the model that open up, represent spaces of contemplation or revelation. The spaces that wind around are areas of circulation, that are representational of uncertainty around the curves and corners of the structure. The final revelation occurs when the participant has made their way through the entire structure and are finally led to an upward staircase where they will find themselves outside on an open balcony area overlooking the landscape beyond, as a metaphor explaining the tribulations the mind goes through until it finally comes to a lucid conclusion.

The Labrynth of the MindProcess: The Enigma and the Revelation Fall 2003

Abby Marie ChrystModel Medium: FormZ, digital

- 4 -


The walls of the structure are designed as interlocking panels, like a puzzle or enigma. These walls are another metaphor that correlate with the idea of the many possible tribulations and layers of the mind.

plan view, FormZ digital model

hand-inked plan view, (ink on mylar)

- 5 -


hand-inked front elevation view, (ink and graphite on mylar) hand-inked rear elevation view, (ink on mylar)

hand-inked rear elevation of balcony, (ink and graphite on mylar) hand-inked side elevation view, (ink on mylar)

Abby Marie ChrystModel: digital, FormZoriginal printed size varies Professor: Elizabeth MastersSpring 2004

- 6 -

The design of an archeological director’s office, was a two week design charette, focusing on the use of grids, lattices, and screens, in a conceptual and innovative way. The design also utilizes the merging of public and private spaces. A number of the larger spaces, contract and expand as one circulates through them, creating more intimate alcove spaces for private use, which then open out to more public occupied areas. Materiality was chosen in a manner in which to accentuate ideas such as openness and transparency within privatized space, while also manipulating the view. For example, curvilinear surfaces, glass block walls, and texturized materiality, all help to disguise the actions occurring behind them; thus distorting these actions to the viewer so that even a seemingly open, public space can also be privatized.

Archeological Director’s Office . Archeology Museum . Rome, Italy

The Merging of Public and Private Spaces Spring 2004

axonometric viewplan view

interior perspective


- 7 -

Archeological Director’s Office . Archeology Museum . Rome, Italy

The Merging of Public and Private Spaces Spring 2004


interior perspectiveeye level view

eye level view

Abby Marie ChrystModels: conceptual models: butter board, no scale; final model: black museum board, bass wood, corrugated plastic, chip board, and butter board; original scale 1/8”= 1’-0”approximate size: 26 in. x 24 in. x 8 in.Professor: Elizabeth MastersSpring 2004

- 8 -

The Archeological Museum design, was formulated from ideas present in previous work, such as the enigma project, as well as the design charette for the museum director’s office. Here, I was also working with grids, lattices, and screens to give the design an inherent transparencythroughout. I was also working with the idea of a maze or puzzle once again. I wanted the wall planes I was working with, to interact and create a maze that the visitor would need to circulate between in order to discover the artifacts, much like the process of uncovering the artifacts out in the field, in situ.

I was focusing a great deal upon layers, and the planes of walls being layered within each other to create a sense of building on top of, similar to the idea of many layersof sand, dirt, or earth layered on top of ancient artifacts, which the museum would house.

The artifacts on display are presented within shelving systems built into the walls, some of which are transparent.

Archeological Museum . Rome, ItalyGrids, Lattices, and Screens Spring 2004

museum conceptual model

museum final model

museum final physical modelbird’s eye view

- 9 -

There is a sense of openness, yet enclosure within the design, and a bit of mystery for the viewer, since they have no idea what they might discover around each corner. The visitor must investigate in order to find the artifcts within the walls, in which they are presented.

The structure is open air, and the site is situated between two other large buildings on site. the museum is connected through lattice and grid structures to each of these buildings. An open air structure was mainly chosen becasue of the fairly temperate climate of Rome, and for issues dealing with sustainability.

The grids and screens add another level of layering to the design, as well as the mezanine level, which overlooks below. These layers also affect how the sun interacts within the spaces of the design.

The open air structure allowed the final design to accomodate many combinations of layering; as well as allowing the structure to utilize sustainable design methodology such as passive heating, cooling, and lighting.


museum final physical model

Abby Marie ChrystModel: digital, FormZfinal printed size variesProfessor: Elizabeth MastersSpring 2004

- 10 -


museum interior perspective

museum plan view

top: bird’s eye viewmiddle: interior perspectivebottom: mezanine perspective

Abby Marie ChrystModels: conceptual models: butter board, bass wood, and wire mesh, no scaleProfessor: Elizabeth MastersSpring 2004

- 11 -

The “Academia Hotel” was a design for a college campus hotel, and began conceptually, by analyzing characteristics of a specific animal’s skin. This particular design focused on the skin of a butterfly.

Inherent within the design were the ideas surrounding metamorphosis and regeneration; new form growing from previous form.

The final design of the hotel focuses on a transformable window system, which helps to ventilate the structure and allows light filtration; shading devices much like screens, over the balconies; and an exposed structural system which internally spreads outward through the building. These structural elements are representational of the the butterfly’s thin supports that attach and bear the weight of their wings. In the hotel, these elements actually support the structure, just as the thin structural elements of the butterfly’s wings support the insect.

The Academia HotelSkins, Layers, Regenerative Design Spring 2004

visual analysis: butterfly’s skin

conceptual models

Abby Marie ChrystModel: butter board, no scaleDrawings: hand drawn ink on mylaroriginal scale: 1/8” = 1’ - 0”Professor: Elizabeth MastersSpring 2004

- 12 -


Academia Hotel conceptual model . phase 2 plan view

conceptual model, elevation view

hotel ground floor plan

hotel 1st - 6th floor plans

hotel 7th floor plan

Abby Marie ChrystDrawings: hand drawn ink on mylarFinal Model: museum board, bass wood, gridded plastic, acetate, original scale 1/4”= 1’-0”approximate size: 19 in. x 7 in. x 24 in. (all floors)Professor: Elizabeth MastersSpring 2004

- 13 -


east side elevation

south side elevation

section through south side

transverse section

top: portion of final physical model, floors 1 - 6bottom: portion of final physical model, floor 7

Abby Marie ChrystModel: digital, FormZprinted size variesProfessor: Elizabeth MastersSpring 2004

- 14 -


FormZ, digital model, detail of facade

FormZ, digital model, detail of balconies and transformable windows

left: detail of windows and facade; middle: interior of rooms; right: detail of interior revealed structure and rooms

axon views

Abby Marie ChrystSite map Professor: Donna Lisle and Bruce SchmidtFall 2004

- 15 -

The black box theatre project began by analyzing Kabuki Theatre and particular stage interactions that occur between the viewer and the stage performers, especially considering closeness and distance as well as scale.

The design was focused on the context of the city of Philadelphia, where it is placed, between Sansom and Chestnut streets, on 19th and 20th streets. Here, placed tightly within the surrounding site context of buildings, my focus was to make the site accessible to various people, especially the actors and the audience.

A major concern was to make sure that the theatre would be visible, since it is sandwiched inbetween a number of rather tall buildings, such as apartments and offices / shops. Another major concern was the loading dock, and where access to this would occur. I decided to plan for the alley that runs along one side of the site to be the path the trucks would take to reach the loading and unloading areas.

As far as visibility is concerned, I created a large glass curtain wall that wraps around the entire structure in order to create the most visibility both into the structure, and out to the street, as a way in which to draw attraction to the theatre.

The glass functions twofold, in that it creates a screen for passive daylighting, but it also creates a sort of performance for passers by, since it is completely transparent. Not only does the audience inside of the theatre see acts being performed, but passers by on the street become a secondary audience.

There is a larger theatre on the ground floor, and the actor’s staging areas and dressing rooms are located on the second floor, along with a smaller black box theatre. There are two sets of large curtains, one on the ground floor and one on the second floor that wrap around each theatre space when there needs to be minimal to no light filtration in the space.

Black Box TheatreSite, Context, Open Plan Fall 2004

Abby Marie ChrystSite context Professor: Donna Lisle and Bruce SchmidtFall 2004

- 16 -


left to right: Chestnut Street; site and surrounding context; Sansom Street; site and surrounding context; Walnut Street

Abby Marie ChrystDrawings: conceptual studies of theatre and site, original dimensions: top, 1/16” = 1’ - 0” middle: 1/8” = 1’ - 0” bottom: 1/16” = 1’ - 0”graphite on vellumConceptual models: butter board, bass wood, museum board, and wireProfessor: Donna Lisle and Bruce SchmidtFall 2004

- 17 -


conceptual theatre second floor plan

section elevation

site and theatre diagram plan

theatre conceptual models

Abby Marie ChrystFinal model: plexi glass, museum board, bass wood Professor: Donna Lisle and Bruce SchmidtFall 2004

- 18 -

Through urban contextual mapping, and diagrammatic sketches, the final form of the theatre evolved into an open plan, with the wrapping glass curtain wall (which also wraps around the second floor); opening and closing by a sliding track system. This allows multiple paths of circulation and ease of entering and exiting.

The three edges of the site function as different access points for the two theatres enclosed; allowing multiple vantage points for passers by, as well as those inside of the spaces.


final theatre modeltop right: west side elevationmiddle right: bird’s eye view of second floor theatrebottom row (left to right): rear elevation, bird’s eye axon view, bird’s eye east side elevation

Abby Marie ChrystFinal drawings: ink on mylar Professor: Donna Lisle and Bruce SchmidtFall 2004

- 19 -


longitudinal section through front facade, section B

west side entrance and elevation facade

section A through ground floor theatre

basement floor plan

ground floor plan

ground floor actor’s area and partial second floor plan

Abby Marie ChrystConceptual models: butter board, bass wood,museum board, no scale Professor: Donna Lisle and Bruce SchmidtFall 2004

- 20 -

Morris Arboretum: A Scholarly RetreatMassing, Transparency, Linearity, Connection Fall 2004

The design of this project was focused upon a tranquil retreat for scholars at the Morris Arboretum, outside of the city of Philadelphia.

The structure was placed in the wetlands region of the flood plain on the site. The walls of the foundation are concrete, and are designed to adapt to the site by allowing the natural flow of water from flooding to travel underneath these foundation walls through cut out niches at the bottom.

The rest of the structure is composed of wood, steel, and glass mainly, and the abundance of glass allows for serene viewing of the natural habitat surrounding the retreat.

conceptual massing models

site context

Abby Marie ChrystConceptual models: butter board, bass wood,museum board, no scale Professor: Donna Lisle and Bruce SchmidtFall 2004

- 21 -


There is a central open area designed with the structure, which overlooks the creek, and is created by the glass walkway circulation. There are as well, open communal spaces for eating, gathering, and sharing ideas within the retreat; as well as a library and study area. The second level is solely the private rooms for sleeping and contemplating.

These rooms were designed up above the rest of the structure so that the scholars would be able to overlook the site, as well as the other areas within the structure.

The abundance of glass aids in the visibility of the design, and opens up the landscape to the viewer. The purpose of the visibility is to aid in creating a serene and contemplative atmosphere, where the structure becomes part of the environment, and vice versa. One of the major aspects of the design is the integration of the built environment into the natural landscape that it exists within.

conceptual massing models

Abby Marie ChrystFinal model: bass wood, museum board, acetateOriginal scale: 1/16” = 1’ - 0”Original dimensions: approximately 7 in. x 9 in. Professor: Donna Lisle and Bruce SchmidtFall 2004

- 22 -


final model

view of central open area over creek

views of resident’s rooms, entrance, walkways and circulation

top: aerial view, entire retreatbottom: aerial view of private rooms

Abby Marie ChrystFinal drawings: graphite on bristol vellumOriginal scale: 1/4” = 1’ - 0”Original dimensions: approximately 24 in. x 19 in. sheet Professor: Donna Lisle and Bruce SchmidtFall 2004

- 23 -


final plans

final sections

- 24 -

Northern Liberties, Philadelphia, PASite Revitalization, Extension, Connection, Transition Spring 2005

The Northern Liberties project focused on urban design, and the revitalization of urban void in the Northern Liberties sec-tor within the larger context of Philadelphia.

The initial site investigations focused on expressing urban void, edge conditions, vacancy, transitions, change, growth, and revitalization.

The main focus of the design was to re-activate Third Street, and program all of the voided spaces so that interaction within the site would occur and revitalize the derelict areas.

The initial mappings focused on highlighting the derelict and voided spaces and the reconnecting of these to each other, creating a series of complex diagram maps that show extensions of the grid and these spaces. Northern Liberties site context

Abby Marie ChrystFinal diagrammatic mappings: photoshopOriginal dimensions: approximately 20 in. x 20 in. eachprinted size and scale varies Professor: Vera ParlacSpring 2005

- 25 -


The extensions are of the voids themselves, connecting each seperate void to one another.

The next series of mappings represent extensions of the city grid, cutting pathways through derelict space, and creating new pathways through these voided sites. These pathways help to connect each area to one another, creating a new relationship.

Where these new pathways intersect, “nodes” of interaction occur, and new program develops here.

From these mappings, a series of diagrammatic models were built, representing the nodes of interaction, their context within the site, and then the interaction between the once derelict spaces within the site.

site investigations, delineating space

left column (top to bottom):

a. new developmentb. exclusively commercialc. new construction

right column (top to bottom):

d. edges between commercial and residentiale. edges between current renovation and new constructionf. exclusively residentialg. residential and commercial

Abby Marie ChrystDrawing: prisma color, ink, and graphite on vellumOriginal dimensions: 48 in. x 36 in.Professor: Vera ParlacSpring 2005

Models: bottom left - bass wood, pine, foam corebottom right - bass woodDimensions: bottom left - 36 in. x 36 in. original sizebottom right - 15 in. x 15 in. original size

- 26 -


Northern Liberties - entire site, diagrammatic connections of urban void, diagrammaticmodels

Abby Marie ChrystDrawing: prisma color, ink, and graphite on vellumOriginal dimensions: approximately 24 in. x 36 in.Professor: Vera ParlacSpring 2005

- 27 -


This proposed intervention is a way of connecting the vacancies in the site context, focusing on Third Street as an axis of recreation. All vacancies of the site are connected through the streets as a series of networks, or smaller grids of activity, within the larger grid and context of the city.

There are also networks of converging edges, which in turn produce “nodes” of interaction at these intersections. These nodes then become the activators of the site depending upon where they are located in relation to Third Street; as well as being dependant upon the specific site context they carry with them.

These nodes then develop into extensions of the streets which connect to pathways. These paths are created by the edge conditions. One can then move along the paths that connect to the streets and traverse through the vacant sites.

Northern Liberties - paths carriedthrough from site context to seperateand create space in vacant buildings

Abby Marie ChrystDrawing: prisma color, ink, and graphite on vellumOriginal dimensions: 36 in. x 36 in. eachProfessor: Vera ParlacSpring 2005

- 28 -

Visitors can gather or spend time in a proposed node (activator) on the site, and upon leaving they will be able to continue along a path of their desire to another area of the site.

Each vacant area has a proposed recreational intervention, or program based upon the location and the area (square footage) of the vacancy.

The proposed project, in its entirety, intends to connect the vacancies attached and correlating with Third Street, through these mapped edges, paths, and nodes. The proposal plans to initiate a recreational axis for the community of Northern Liberties.


Northern Liberties - streets as networks of activity, nodes of activity at intersections, edges of vacancies

Mapping legend for the next set of maps (starts next page and continues to page 30)

Abby Marie ChrystFinal diagrammatic mappings: prisma color, ink, and graphite on vellumOriginal dimensions: approximately 20 in. x 36 in.Professor: Vera ParlacSpring 2005 - 29 -


maps, left to right: delineation of vacancies by mapped edges; mapping of connections from and through vacant buildings in site context; the creation of paths connecting vacancies from the delineated spaces; and intersections of the spaces resulting in nodes

Abby Marie ChrystFinal diagrammatic mappings: prisma color colored pencil, ink, and graphite on vellumOriginal dimensions: approximately 20 in. x 36 in.Professor: Vera ParlacSpring 2005

- 30 -


maps, left to right: mapping of site specific nodes and their connections to the Third Street axis (correlates with program mappings); mapping of vacancies from site contextual nodes and delineating the spaces associated with these nodes; mapping nodes closely connected to the Third Street axis as extensions of the grid; and final activity delineation mapping (correlates with initial map legend on page 28)

Abby Marie ChrystFinal diagrammatic mappings: prisma color colored pencil, ink, and graphite on vellumOriginal dimensions: 15 in. x 15 in. eachProfessor: Vera ParlacSpring 2005

- 31 -


The connections of voids and the mapping of place

mapping of the delineation of commercial areas in relation to the Third Street axis, and creation of commercial nodes at the convergences of these mapped edges

mapping of the delineation of site contextual nodes in relation to the Third Street axis, and creation of nodes of activity and interaction based upon the convergences of the delineated spaces

mapping of the delineation of residential areas in relation to the Third Street axis, and creation of residential nodes at the convergences of these mapped edges

mapping of the delineation of new construction and renovation areas in relation to the Third Street axis, and creation of new construction and renovation nodes at the convergences of these mapped edges

Abby Marie ChrystFinal and process diagrammatic mappings: prisma color, ink, and graphite on vellumOriginal dimensions: approximately 10 in. x 30 in.Professor: Vera ParlacSpring 2005

- 32 -


These design diagrams represent all of the voided and derelict spaces that were given new programmatic functions.

The initial sketch diagram shown was a part of the process of figuring out areas of space and programmatic function.

The final program mappings correlate as follows:

tennis courtsvolleyball courtsskate parksplaygroundbasketball courtsbike / walking loops (paths)running trackpoolspublic square / commercial park spaces

[re] - programmed derelict and voided space[s]

process sketch diagram

Abby Marie ChrystFinal and process diagrammatic mappings: prisma color, ink, and graphite on vellumOriginal dimensions: approximately 10 in. x 30 in.Professor: Vera ParlacSpring 2005

- 33 -


[re] - programmed derelict and voided space[s]

Abby Marie ChrystFinal diagrammatic models: prisma color pencil, paint, nails, string, bristol, oak, bass wood, butter board, and museum boardOriginal dimensions: approximately 12 in. x 36 in.Original scale: 1/20” = 1’ - 0”Detail model: original dimensions 12 in. by 12 in. Original scale: 1/4” = 1’ - 0”Professor: Vera ParlacSpring 2005

- 34 -


final models:top left - large diagrammatic site modelmapping nodes, paths, and interactions

top right - 1/4” scale detail model mapping nodes of interactions

left bottom - deatil of node

right bottom - detail of node

Abby Marie ChrystFinal diagrammatic model: prisma color pencil, paint, nails, string, bristol, oak, bass wood, and museum boardOriginal dimensions: approximately 12 in. x 36 in.Original scale: 1/20” = 1’ - 0”Small node models: bass woodOriginal scale: 1/8” = 1’ - 0” Professor: Vera ParlacSpring 2005

- 35 -


models, nodes of interaction

models, nodes of interaction

final diagrammatic modelshowing site activation

The Later Work . Fall 2005 - Fall 2006

Abby Marie ChrystSite map, printed size variesOrtlieb’s site is in redProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

- 37 -

Traces Design, Ortlieb’s Site, Philadelphia, PACirculation, Site Revitalization, Extension, Regeneration Spring 2006

The “Traces” design project encompased the ideas of a transitory structure that was to remain for 10 to 15 years, and programmatically, would function as a school to teach the structural design of buildings, as well as doubling as an art school, gallery, and studio space(s). The site is located between Poplar and Second Streets, in Northern Liberties, Philadelphia, PA.

The construction of the school also functions partially as a design build project for the students who will be using the space, since they will help build the school as part of their curriculum; and this would in turn contribute in large to their learning process.

The structure itself was designed with sustainability in mind, so the main exterior structure was comprised of steel, which could be disassembled and moved to a different location after the duration of the15 years has passed.

initial site map, Ortlieb’s site is in red

- 38 -


original site photos, showing remaining Ortlieb’s structure on site

- 39 -

The glass curtain wall that wraps much of the structure remains as a permanent piece of the design, to be utilized when a new structure moves into the site.

The structure utilizes a wind tower, and single packaged VAV roof systems, which vent through the floors and ceilings to the exterior. The glass curtain wall system allows for natural light and ventillation through the walls; and there is on-site waste removal with solar panels to aid in heating. Planned in the design is also a solar chimney to aid in passive heating and cooling, with stack ventilation.

The design focused on the idea of a partially transitory, partially fixed structure, where there would be two structural systems utilized. Circulation was also a major focus of the design, being that the building itself is formed from voids created by this circulation.

The remnants of the building on the Ortlieb’s site is utilized in this design, creating a regenerative sense of architecture, where areas of the foundation, and major walls were kept as a partial shell of the new structure.

Here, the new grows form the old, and they blend together, forming a new architectural design; but in a way in which there is always that sense of what was and what is new, so that one can see the merging of the past and present, and where the site grew from. This type of regeneration then becomes the core or foundation of the new structure, and the continuation of the site.

The extension of the site grid was also a major focus of the design, in order to bring the site back into the design, and reconnect the site with the new structure.


initial site diagram showing Ortlieb’s structure on site, street grid, and surrounding site context, and red diagram of initial building design

Abby Marie ChrystSite and surrounding contextual design mapwith extensions of the grid:graphite and prisma color colored pencils on vellum, Ortlieb’s site is in redProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

- 40 -

The viewing galleries have a dual function, switching from circulation areas to spaces for viewing, and sometimes being utilized simultaneously for these actions.

One major idea, relating to the transitory nature of the structure and site, would be for parts of the circulation to stay and parts to be removed and travel with the rest of the structure.

This would reveal a clear distinction between what parts left and what parts stayed. The transitory portions would be created from much lighter materials, as oppsed to the more permanent forms, which would be created from concrete and glass.

In the newly configured spaces that were formed from voids created from the circulation, would be artist’s studios and classrooms.

The site would become regenerative in the sense that the new structure would grow from the old, and continue to reconfigure and change, but always would remain a remnant of the past history of the site.


conceptual mapping of site and initial concept model of new construction

Abby Marie ChrystModels: previous page - bass wood, butter boardNo scaletop: bass wood, butter board, museum boardOriginal scale: 1/16” = 1’ - 0”bottom: foam core, bass wood, acetateOriginal scale: 1/4” = 1’ - 0”Professor: Jeff Goldstein and Johnathan FerrariSpring 2006

- 41 -


intermediate conceptual model showing circulation

final structural model, showing circulation and glass curtain wall system

- 42 -


Abby Marie ChrystFinal mechanical diagramsSketchup, printed size variesScale: 1 to 1Professor: Jeff Goldstein and Johnathan FerrariSpring 2006

circulation

water and heat pumps

mechanical

solar chimney

- 43 -


Abby Marie ChrystFinal model elevationsSketchup, printed size variesScale: 1 to 1Final Plans: AutoCADoriginal scale: 1/8” = 1’ - 0”Professor: Jeff Goldstein and Johnathan FerrariSpring 2006

final floor plans

- 44 -


Abby Marie ChrystFinal sectional drawingsand elevation drawingsOriginal scale: 1/8” = 1’ - 0”graphite and prisma colorcolored pencil on vellumProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

left: sectional drawings, original scale: 1/8” = 1’ - 0”right, top to bottom: north facade, south facade, west facade, east facade elevation drawingsoriginal scale: 1/8” = 1’ - 0”

- 45 -


Abby Marie ChrystFinal detail drawingsgraphite on vellumScale: varies from 1/4” scale to 1” scaleProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

detail drawings of structural components

- 46 -


Abby Marie ChrystFinal modelOriginal scale: 1/16” = 1’ - 0”acetate, bass woodmuseum board, butter boardProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

final model

- 47 -


Abby Marie ChrystFinal model and final site modelOriginal scale: 1/16” = 1’ - 0”acetate, bass wood, pinemuseum board, butter boardProfessor: Jeff Goldstein and Johnathan FerrariSpring 2006

final model and final site modelfinal model

- 48 -

Architectural Thesis Spring 2007A Regenerative Architecture:The Production of Meaning through the Revelation of Derelict History

- 49 -

Philadelphia is seen by many as a broken city, meaning, that the city is fragmented and contains many derelict urban spaces. Here, areas within the urban fabric are separated, do not interact between each other, and are disengaged within the city as a whole. Throughout this thesis, I would like to explore the Architectural Issue of urban voids and derelict spaces, and their reactivation within the urban context, through sustainable design within society, through time, history and meaning. This reactivation of derelict spaces will recon-nect areas of the city and revive social connections and urban life within these sectors of Philadelphia.

This thesis will focus on the context of the once prosperous Divine Lorraine Hotel and the surrounding derelict spaces. The aspirations of this thesis will work with connections of the ancient heritage (Ridge Avenue), the Enlightenment Period (Broad Street), and the Beaux Arts movement (Fairmount Avenue) of Philadelphia.

By overlaying and mapping these different typologies, programs and functions of the site through time, new form will generate, creating a regenerative architecture, meaning that the new forms will be derived from past histories of the site and their connections in these spaces.

This new formation will bring new meaning to the site within the context of the city, merging the past histories, typologies, and programs of the site, with new form and program. The proposed regenerative form will be a historical museum, in which to house data, art, and information about the site and urban context, and its history within the city.

(abstract from thesis document)

Architectural ThesisA Regenerative Architecture Spring 2007

historic picture of the Divine Lorraine

- 50 -


During my undergraduate studies at Temple University, I focused on working with urban void, and derelict spaces that surround derelict sites, in order to reactivate a specific place, and reconnect it within the urban fabric.

I am very interested in sustainability, not soley of a materiality form, but also sustainability of social and collective memory, and the the sustainability of a history of place and context.

My Bachelors of Architecture thesis focused on a specific site, that of the Divine Lorraine Hotel, located at 699 North Broad Street, in Philadelphia, PA. Here, this once very inhabited and “alive” site, has now diminished into a derelict shell, surrounded by urban void and decay.

The hotel was completed in 1893, and is a French Gothic Revival structure. It reached it’s peak during the golden years on Broad Street, when the Industrial Revolution reached its top, and since, the site has slowly diminished and reached its current state of decay.

site photos: top left - Divine Lorraine from the West side of Broad Street, top right - rear facade, bottom left - urban void across the street from the Divine Lorraine, bottom right - edge of derelict site across the street

- 51 -


site photos: left to right - derelict site alternate view, across the street; Divine Lorraine rear / side view; derelict site behind the Divine Lorraine; street edge and view of city in the background of derelict site behind structure

- 52 -

The thesis focused upon three distinctive scales, those of the artifact, the building, and then the city contextual scale.

The research began by initially looking into the history of the building itself and what happened and occurred here; and then evolved into mapping the site and context through time.

I began to map the site from Sanborns dating back to 1859, 34 years before the completion of the Divine Lorraine.

I had done a lot of research and found out that the hotel was frequented by the wealthy and prominent in Philadelphia, as well as travelers abroad, and during the 1950’s Father Divine, a pastor had taken over the building, and reached out to the derelict and poor themselves, offering refuge.


Google Earth aerial view of site with mapping of intersections of the city grid

right: top to bottom - mapping of urban void surrounding site context; urban void combined with city grid; urban void, city grid, and site map combined

- 53 -

Many people from all walks of life have stayed or lived in the Divine Lorraine, and the building tells many stories, of times past and present. My goal, was to trace the site, through layers of time, which I did by studying Sanborn maps of the site, and creating large scale deconstructive drawings, that I then superimposed in order to analyze what layers had been covered, uncovered, and re-covered over again, through time.

The site itself, is at the coalescence of three major, important roads within the center of the city, those being Broad Street, which is the Avenue of the Arts, Fairmount Avenue, which relates to the “City Beautiful Movement” and connects the city to the Philadelphia Museum of Art; and then the ancient footpath, Ridge Avenue, which creates a link to the Native American’s. In the middle of these three streets, is where the site occurs.


views of Divine Lorraine from the three different intersections of Broad Street, Ridge Avenue, and Fairmount Avenue

Abby Marie ChrystDeconstructive site drawing / mappinggraphite on vellumOriginal scale: 1 to 50 Professor: Sneha PatelSpring 2007

- 54 -


I superimposed these layers of time to create new pathways into the site, and to create a landscape in and around the structure that aimed at a regenerative architecture, where the the new grows from the old, rather than completely negating the past. Here, then, the past and present merge and the site can be reactivated in the present from the layers that were rediscovered and reincorporated from the past.

deconstruction, created from an 1859 Sanborn map of the site and surrounding context; the Divine Lorraine is the filled in form at the top left

initial site deconstructions, mapping extensions of the city grid, nodes of intersections and edges, and urban void surrounding the site

Abby Marie ChrystDeconstructive site drawings / mappingsgraphite on vellumOriginal scales: 1 to 50 Professor: Sneha PatelSpring 2007

- 55 -


deconstructive drawings of the site from 1886, 2006, and 1954

Abby Marie Chrysttop: solid / void spatial modelsbottom: site and building design interventionsketchup digital modelsOriginal scales: 1 to 1printed size variesProfessor: Sneha PatelSpring 2007

- 56 -


diagrammatic sketchup models, top: left - right, tenth floor, ninth floor, fifth floor, ground floor, basement levelbottom: three models representing the site intervention cutting through existing structure and creating new circulation paths and new forms

- 57 -


The final exploration of the thesis, focused on working with the initial deconstructions and incorporating a landscape intervention, which also developed from my inital deconstructive drawings.

Here, the landscape intervention aimed at reconnecting the derelict and voided space with the rest of the site context and the larger grid of the city as a whole.

The site intervention is then brought into the interior of the building, continuing as cuts through the structure, which bring into the building paths, and create new forms of space with new programmatic functions, from previous extensions of the site over time.

These paths create some new enclosed spaces and some spaces that are left open. The enclosed spaces create new forms, that attach themselves to the exisitng structure, adding to the present from the past.

landscape intervention / deconstruction, scale 1 to 50

Abby Marie ChrystDrawings: landscape deconstructionsgraphite on vellumModels: landscape interventionsfoam core, bass wood, museum boardOriginal scales, drawings and models: 1 to 50Professor: Sneha PatelSpring 2007

- 58 -


landscape intervention / deconstructions, scale 1 to 50

landscape intervention models, scale 1 to 50

Abby Marie ChrystModels: landscape interventionsSketchup modelsProfessor: Sneha PatelSpring 2007

- 59 -


landscape site intervention, scale 1 to 1

Abby Marie ChrystModels: landscape and building interventions combinedSketchup modelsProfessor: Sneha PatelSpring 2007

- 60 -


left to right: landscape and building interventions combined; landscape and solid / void; site intervention cut through structure, creating new form and space with pre-existing form, merging new and old, past and present

Abby Marie ChrystDrawings: AutoCAD, IllustratorOriginal scale: 1/4” = 1’ - 0”Process sketches: ink on vellumModel perspectives: FormZProfessor: Sneha PatelSpring 2007

- 61 -


left column: final floor plans with site interventionmiddle column: process sketches of site interventiontop: perspective sketches of site interventionbottom: perspective model views (FormZ models)

- 62 -


Final site photographsrepresenting three scales - artifact (top)building (middle) city contextual (bottom)

Abby Marie ChrystDrawings: Photoshop, and graphite on vellumProfessor: Sneha PatelSpring 2007

- 63 -


final building and site interior and exterior perspectives

Abby Marie ChrystSectional final model:Original scale: 1/4” = 1’ - 0”museum board, bass wood, foam core, plexi glass, acetateProfessor: Sneha PatelSpring 2007

- 64 -


final sectional model of part of ninth and tenth floors of the Divine Lorraine Hotel site intervention

Abby Marie ChrystSectional final model:Original scale: 1/4” = 1’ - 0”museum board, bass wood, foam core, plexi glass, acetateProfessor: Sneha PatelSpring 2007

- 65 -


final sectional model of part of ninth and tenth floors of the Divine Lorraine Hotel site intervention

Abby Marie ChrystFinal site model (built in three pieces): Original scale: 1 to 30chip board, plexi glass, butter board, bass wood (original size: 4 ft. by 6 ft.) Professor: Sneha PatelSpring 2007

- 66 -


final thesis site model, with all ten floors of the Divine Lorraine represented in layered plexi glass

Abby Marie ChrystFinal site model: (built in three pieces)Original scale: 1 to 30chip board, plexi glass, butter board, bass wood (original size: 4 ft. by 6 ft.) Professor: Sneha PatelSpring 2007

- 67 -


final thesis site model, with all ten floors of the Divine Lorraine represented in layered plexi glass

- 68 -

Additional design work can be found on my website:

www.abbymariechryst.com

Some of my MFA thesis work and documentation can also be found here. I have been focused on researching a historical plantation homestead, called the Historic Haile Homestead, in Gainesville, Florida; where I am also a volunteer docent.

I have been working ethnographically in order to peel back the layers of history that have been erased from the site, which is now partially covered by the Haile Plantation Subdivision.

I have been researching the inherent ironies and juxtapositions of the site through oral and video interviews from visitors to the Homestead, other docents, descendants of the Haile family (the once plantation owners) as well as slave descendants, people who are visiting the subdivision, business owners in the subdivision, and people who live inside of the subdivision.

A pdf version of my initial thesis proposal, as well as updated proposals can also be found on my website.

A link to a time-based flash design project helps to highlight the knowledge surrounding the Homestead, and how this place fits into the context of the site today. There is a link to this design project as well on my website.

The printed text only version of my architectural thesis that accompanies this portfolio can also be found on my website in it’s entire book form as a pdf. The pdf version is also an Indesign file, which contains the images and additional appendices of the thesis.