A A R O N
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0 0 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .T h e L i b r a r y A s c e n d 002............................................Urban Ecology 003..............................................Studio North 004......................................Liturgy of the Hours 005...........................Discovery Through Drawing 0 0 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A n A r t i s t ’s B o o k 0 0 7. . . . . . . . . . . . . . . . . . . . . . . . . . . P o r t u g a l : M a t e r i a l P r a c t i c e s
001
THE LIBRARY ASCEND RISD, Architectural Design, Spring 2017 with Prof. Dongwoo Yim The goal of this project is to imagine a vision of the 21st century Library. As students we were challenged to consider the library as more than a place of research and reference, but a “hub� of knowledge across digital and printed media, and a collective place for the assembly of education.
001 The design process began with detailed research and analysis on the site. This site is placed adjacent to the Providence River, close to where universities such as Brown University and Rhode Island School of Design are expanding their campus to new neighborhoods on both sides of the river. The placement of this library can act as a facilitator to students as they transition between parts of the city for classes, while also bringing educational opportunities for collaboration. The design began with a diagram that the lowest floor aligns with the grid of the downtown, and the floor following twist until the top level aligns with the grid of college hill across the river.
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[ 1 ] Concept model of the twised ramps.
[ 2 ] Varaitions of study models for ramps. [ 3 ] Site analysis. [3]
001 Following the idea of a “twisting” structure and spatial sequence, the program was organized first off with the book stacks placed on a continuous ramp, which wraps around the main body like a ribbon. From the ramp, you can exit and enter into the core, which holds the rest of the library programs. From this ramp system, smaller and larger “nooks” are created in the negative spaces where the structure and the shelves twist and turn. These extra nooks are inhabited by individual desks and chairs for reading and studying. [ 4 ] Floor Plans.
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001 The core of the library holds all of the major spaces of the library, including a double height reading room, special collections, meeting rooms, classrooms and office spaces. The special collections books are housed in another ramping room, staggered with the main circulation ramp. The special collections stacks are visible, but protected behind windows for only library access. The top floor reading room is the center place of the library, adaptable to everyday use or special events, and is lit though a large natural skylight on the ceiling. By placing the main reading room at the top of the library, it is revealed as the final part of an experience, the highest point of the ascension in the library. [ 5 ] Sections. [ 6 ] Axon diagram.
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001 [ 7 ] Section Model.
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002
URBAN ECOLOGY RISD, Urban Ecologies, Fall 2017 with Prof. Peter Tagiur This project is a vision for the neighborhood of Olneyville, Providence. Olneyville, once the industrial center of Rhode Island, is a community that has fallen into decay since Rhode Island’s economy moved away from the textiles and metal smithing industry. My main goal is to reorient the community around a natural river on the site, once used to power the old mills, but this time by using natural means and ecological necessities to design artificial interventions on the site. In this project, both the ground and living spaces are equally considered, as the ecology works in parallel to the places of dwelling, while also promoting housing that can create a place for a community to thrive for generations. [ 1 ] Site demographic study.
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002 To make the river the most important part of the site, I first redesigned the land around the river, by pulling the earth up from the river, softening the river’s edge and creating a series of small hills on the site with the excess land (these small hills guide runoff from surrounding the site). All of the mass of earth I removed was returned to the site, simply reshaping to provide a more healthy ecology. From there, the insertion of dwellings started by considering everything I construct as a field, or forest of baring walls which placed on a grid don’t prevent the land from moving naturally, but rather hold their place as the land evolves and shapes around them. This ground strategy also distinguishes public spaces and private spaces, as housing retains to a linear grid, while public spaces take the form of circle pathways and courts carved between the hills, which signify inclusion and social spaces. In addition, these pathways guide the drainage from the housing and structures, all placed on top of the hills. [ 2 ] Ground-Level Plan.
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002 Every unit is designed with windows on both sides, promoting natural ventilation and maximizing natural lighting in the spaces. Between every set of units are shared vertical green houses. These green houses can be opened at the top to act as a chimney and ventilate the units in the summer, or can be closed up and opened to the units, using natural heat gain to help warm the units. In addition, these units are the places for the exposed tanks of the living machine, for filtering the water from the complex, and which act as a deeply integrated system. These spaces also become an ecological necessity which creates a social condition, these shared spaces build more interaction between neighbors. [ 3 ] Section perspective.
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002 [ 4 ] Unit asssembly diagram. [ 5 ] Unit plans.
Three bedroom apartment
Verticle circulation, green house
Studio apartments
Roof Plan
Two Bedroom Apartments
Studio apartments Upper level of Three Bedroom Apartment
Studio Apartments
Two bedroom apartment
Lower level / utilities
Lower level of Three Bedroom Apartment
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Basement / Utilities
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002 [ 6 ] Exterior perspective.
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STUDIO NORTH Design Build, Summer 2017 Studio North is a design build conducted every summer in Norwich, Vermont for ten architectural students under the guidance of award winning architects Keith Moskow and Robert Linn. For summer 2017, our group of students developed a design for a wood burning Sauna which was built on a trailer
so it could be moved between the lakes and ponds in the mountains of Vermont—with the experience of the hot sauna and cold swim in mind for the user. The added benefit of constructing the Sauna on a trailer is creating minimum disturbance to the landscapes—a structure with no permanent foundation. The Sauna was completely designed and constructed by the students in the course of just one week. [ 1 ] Construction diagram. [ 2 + 3 ] Completed Sauna.
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The overall concept of the Sauna was to think of it as dark cave, with the wooden structure creating a “nest” around the sauna itself which had to have no openings to the outside. After exiting the Sauna, there is a transitionary space, which is semiopaque, a place for either changing as well as functioning as a small greenhouse. This transitionary space can also light up in the night time, giving the Sauna the nickname of the “lantern”. The structure is traditionally framed by 2x4 pine, the interior is cedar boards, and the exterior is cladded in cedar shingles. [ 4 ] Process images.
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LITURGY OF THE HOURS The Making of Design Principles, Fall 2017 with Carl Lostritto The following is my work from The Making of Design Principles, the very first architectural studio course at RISD. This program is designed to start from the abstract and for each student to develop their own design principles as they realize an architectural space. This iteration of the course began with staying the phenomena of dropping ink into water. From this, I became interested in the spatial effect of ink as it completely consumes the water, and how light can still filter though the space creating structures of diffused light. These ideas were explored through several mediums including charcoal drawing, physical modeling, and digital computation. [ 1 ] A combination frame from a digital animation of ink study.
004 In turn, the spatial study of ink and the study of an iterative daily prayer made an excellent companionship. Though an iterative design process, the final building resulted as a spacious yet intimate building which uses elements of repetition in its structure which are adapted to continuous grain which runs down to the land. [ 2 ] Plan [ 3 ] Section
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The series of openings between the lateral pieces of the structure filter the light and cast multiple shadow conditions onto the space throughout the day, while also creating a cohesive transitions between interior and exterior spaces. [ 4 ] Diagram. [ 5 ] Site model. [ 6 ] Threshold model.
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005
DISCOVERY THROUGH DRAFTING Architectural Anaylsis, Spring 2017 with Prof. Gabriel Feld
Architectural analysis is an intense drafting course taught in the second semester of RISD’s architectural program. Every student is assigned a significant work of architecture, which must be hand drafted and digitally modeled. A process in which we completely deconstruct the work and then reassemble it, in order to build our own understanding that project’s architectural logic. The building I analyzed was the Faculty of Architecture and Urbanism, University of São Paulo (FAU-USP), designed by Brazilian architects João Vilanova Artigas and Carlos Cascaldi.
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[ 1 ] Section oblique.
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[2] Completed in 1961, the São Paulo’s School of Architecture is a significant part of the architectural history of Brazil and all of the South America. The project is completely concrete, monolithic in size, and evokes a temple like presence as one approaches the building. The interior is defined by a huge central atrium, surrounded by the studios and classroom spaces on the exterior walls. This building was the first to view the school as a place of openness, freedom, gathering, protest, and performance; something which a shared space such as this should hold. I analyzed the building as an assemblage of many parts, all working collectively with each other, and how a unified space can create a dynamic, and enriching learning environment.
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[ 2 ] Exploded axonometric [ 3 ] “Worm’s eye” detail. [ 4 ] Interior of João Batista Vilanova Artigas’ School of Architecture and Urbanism at the University of São Paulo, 1969.
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THE HOUSE UNDER A CRAZY S TA R AN ARTIST’S BOOK RISD, Foundation and Expermental Studies, Spring 2016 with Judy Maloney This artist’s book was inspired by The Zookeeper’s Wife, Diane Ackerman’s telling of the true story of Polish zookeeper Jan Żabiński and his wife, Antonina Żabiński. The Żabińskis saved the lives for over 300 jews by hiding and smuggling them in their zoo. This book is about the interplay of names and language, animals and people--the strange zoo that would eventually be named, “The House Under a Crazy Star”. This book was rewarded the Memorial Award by the Rhode Island School of Design’s Artist’s Book Competition in 2017 and was selected as a permanent addition to at the RISD Fleet Library Special Collections.
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PORTUGAL: M AT E R I A L PRACTICES Rhode Island School of Design / Fundação LusoAmericana, Winter session 2018 with Profs. Laura Briggs and Nicole Merola PART ONE
M AT E R I A L ETERNAL This winter, I took part in a six-week study abroad course which traveled through the cities and countyside of Portugal. With the concept of materials, nature and urban systems in mind, much of my research in Portugal was focused on the presence of water as an organizational tool, hierarchical power, and symbolic element. These three ideas are intertwined in how cities are for developed, and how human interventions were are formed from nature. This page consists of exterpts from my final book of journal entries, drawings, and photographs..
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PART TWO
to view it in a “God-like” perspective.
A collaboration with Daphne Do (RISD, BA, furniture ‘20)
This installation was placed on a site in transition, an old apartment complex that has broken down and is overgrown with grasses and moss. It is no longer accessible to humans the way it used to be since a small asphalt road has been laid down next to it and the ruins of the complex building are behind a wall of stone. This site itself proves the opposite of the orginal Padrão, as here, in a dense urban environment nature has reclaimed this
TIMESCAPE
This work is about human relationship with nature and material. A Padrão is a large stone cross inscribed with the coat of arms of Portugal that was placed as part of a land claim by numerous Portuguese explorers during the Age of Discovery. There has always been a part of humans with a desire to control nature, to gain power over the world,
patch from man. The material of the Totum is cork, connecting to Portugal’s relationship with the land. Cork comes from a tree native to Portugal which is continously harvested year by year in the country. Overall, we aimed to capture the history in Portugal between man’s relationship with land through time and the ongoing struggle humankind faces in its place with nature.