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Amanda Gladysz BS Architecture Anticipated 2019 Wentworth Institute of Technology 603.540.3429

gladysza@wit.edu


Table of Contents Jordan Hall Intervention

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MFA Precedent Study

10-13

Wine Shop

14-17

Nomentana House Precedent Study

18-21

Mifflin Place

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Chestnut Hill Reservoir

24-27

Tula House Precedent Study

28-33

Additional Works

34-37

Residential Design Spring 2014

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Jordan Hall Intervention Boston, MA Spring 2016 I was tasked to make a chamber music space where Jordan Hall originaly sits next to the New England Conservatory in Boston. I decided to shape the exterior of my building first through the natural forces of the site before I moved into the interior because I felt chamber music is about each individual component working together to create something bigger, which is evident in my floor plans through something I consider to be layering. Through exterior creation, I found this concept which was difficult to translate inside. Eventually, each space was layered, as is in chamber music. From separate spaces, you can experience another space without disrupting it. The windows in this building are placed for strong visual connections with the most important parts of the surrounding area. It was important to me that the chamber music space was the gem of the building, and for that reason I made it a different material, and a separate, but included space. It is set back for noise cancellation, but

Site Forced Diagrams These disgrams go from left to right, top to bottom. This is the visual story of how my building was created from traffic flow, sound, height, accessibility, and visual connections of the site and surrounding area. The first few depict how I started with a box which was my site, and how I went about putting in a garden space, and the flow of the space. Then I added a mass on top for height, and started exploring sound, flow of people according to heavy and light traffic, surrounding buildings, and visibility.

Site Forced Shaping Sketches 4

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Concept Model The base is the site at 1/8�=1’-0�. The far right was the desired entrance, where it would bring in the chaos of the busy road, and funnel people into a new layer. To the bottom of the new layer(mesh) there are white scattered pieces that represent a currently unutilized, but usable alley that I later used, and the black uniform pieces are a baracade where a building stands. The other set of wires represents an exit of dispersion onto a not so busy, safer street.

Space Collage 6

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Concept Model

Third Floor Plan

Take-Apart Model 8

Second Floor Model

First Floor Plan Third Floor Model

Fourth Floor Plan Second Floor Plan 9


Precedent Study II

Boston, MA Spring 2016 I was tasked to study the Museum of Fine Arts in Boston; specifically the connection between the old museum, and the new addition. Because of this, I decided to focus on thresholds. The axonomoetric on the next page depicts three different thresholds between the old and the new, and no one else really took time to draw in the bricks, but I felt it was important to truly capture the old vs the new. The abstract models below from left to right, show first the new grid, the threshold (steel plate) and the old grid; second is the old wall with sticks going through the doors, and into the new wall. This model is specifically important because the flat wall is turned into a curved wall for the model. Even though it leads into a large space, it actually gathers visitors. The third model is showing the old(black box) as dense and crowded/heavy, and then the white box as a threshold where the doors are, and the white gridded box as the new, where it is open/ light.

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Group Site Model We were tasked with creating a section model of the MFA and I was in charge of the facade where the old exterior meets the new interior

Axons Showing the threshold between the new and the old, and how solder spaces read as more dense, and compact 12

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Wine Shop

Boston, MA Spring 2016 For this project we were tasked to design a wine shop using only a specific structural system of our choice. I chose round columns, and used them with partition walls to define different spaces, and not completely close off the spaces or interrupt the core. The client wanted the wine shop to also act as a cultural center, which included a space for wine tasting and shopping. To draw in the cultural elements, I made a central glass focus point where once fully immersed, the guests could interact with every other part of the building. The proportions of this glass center are based off the size of a large dining table, where families gather. This is a space where even on different levels and different areas of the building, the visitors connect. On either side of the building through each floor, there is a three foot void where there is no floor to provide natural light and to guide, as well as intrigue.

Public vs Private 14

Third Floor Plan

Second Floor Plan

First Floor Plan

Structure

Parti

Light

Sectional Connections 15


Nonpareil Drawings The painting on the left is done on an 18”x24” piece of paper to quickly show material and the space, and I feel it is important in feeling the space. The one on the right is done on different 9”x12” pieces of watercolor paper to represent the different parts of the wine shop that come together to create one space. I wanted to show the vast verticality of the space and how it would be easy to connect from one space to the next with a massive void in the center.

Section AA

Section BB 16

Nonpareil 1

Nonpareil 2

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Precedent Study I

Boston, MA Spring 2016 Situated in western Maine is the Nomentana residence by Mack Scogin and Merrill Elam Architects. I chose to study this home based on interest in the layout of the home from a sort of centralized point. The objective was to draft plans, create diagrams that supported what I found to be most influential in the home’s concept, and to create a singular piece that represented my found concept in a nontraditional way.

Parti 18

Light

Public vs Private

Materiality

Repetitive vs Unique 19


The client lived on her own, and

the architects did not want the client to feel lonely in the environment she lived in. To combat the loneliness, the architect formed a void in the center of the house with windows on every side of the void so she always sees a different part of the home when she looks outside, and feels like there are more homes out there in a sense, and more people to accompany her. The bottom right is a floor plan with the windows in the void extruded upwards, and the rest is a composition of those windows and the views from each.

Rough Perspective

Abstract Model 1

Abstract Model 2

Abstract 1: The blue foam in the center is the core of the home, and the two separate floors are represented. This model shows all of the paths that are possible in this house, and each one must go back to the core in order to move somewhere else. The house is supposed to be a maze with prolonged paths in order to make it a journey everywhere you go. Abstract 2: This model shows the tightness of each path along with where the person walking through gets bounced back from the private into the public. Nonpareil Drawing

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Manipulating Perception Cambridge, MA Fall 2015 This project required analyzing a site, and then creating an intervention that produced a new experience for an otherwise dull area. My class was assigned Mifflin Place in Cambridge, MA. The site is basically an alleyway nestled inside of a smoking area, busy restaurant rear, community dumpster, and parking garage. Our class worked together to create our first ever site model, and then we got into the conceptual aspect. My goal was to create a space where someone’s experience changed the closer they got to it, so that they would be drawn to the space and what it had to offer. In this case, the intervention seems flat from afar, and as you approach it transforms. From there, the intervention guides to the surrounding spaces, but also allows pedestrians to stop, and stay within the space. Like the site, the pedestrians in the space should feel separate without feeling isolated. We started the process by making quick paper models that

Group Site Model

Site Model

Class Paper Models 22

Final Model Front View

Final Model

Final Model Front Perspective

Design in Site 23


Chestnut Hill Reservoir Boston, MA Fall 2016 I was tasked with creating a visitor’s center at the chestnut hill reservoir in my choice of location within the site. Along with the visitor’s center there also had to be gathering spaces/an outdoor classroom space as well as a rain garden, pollinator garden, and vernal pool. This project also required altering existing paths. I decided to scrap the existing path and add a central boulevard where all of my elements would diverge from. My concept is about angling structures to force a view. Each structure faces out towards the water and drives the concept of going through a journey to get to the destination.

Parti 24

Funneling

Public vs Private 25


Perspective: Framing Through A Funnel

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Perspective: Framing The View

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Tula House Precedent Study Boston, MA Fall 2016 Our three person group was tasked with studying the Tula House by Patkau Architects. We had to then create an analysis poster, and a 1/4” scale model of a section of the house we felt was most important for the overall concept.

SECTION: CONNECTION TO NATURE 28

SECTION: CONNECTION TO NATURE 29 1/8“ = ‘ 1 -0“


FLOOR PLAN 1/16“ = ‘ 1 -0“

PUBLIC VS. PRIVATE

LAYERING: CONNECTION TO NATURE

SECTION: CONNECTION TO GROUND 30

LAYERING: CONNECTION TO NATURE 31


PUBLIC VS. PRIVATE

LAYERING: CONNECTION TO NATURE

LAYERING: CONNECTION TO NATURE

PROCESSION

INTERIOR VS. EXTERIOR INTERIOR VS. EXTERIOR

PROCESSION

FLOOR PLAN 1/16“ = ‘ 1 -0“ FLOOR PLAN 1/16“ = ‘ 1 -0“

PUBLIC VS. PRIVATE

COMBINATION: CONCEPT

WATER IS THE HEART OF THIS HOME OF WHICH EVERYTHING REVOLVES.

PUBLIC VS. PRIVATE

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CONCEPTUAL SKETCHES

-PROPOSED DESIGN-

HANDICAPPED ACCESSIBLE ENTRAN

Additional Works

PINKERTON BUILDING

MASSING MODEL

AMANDA GLADYSZ

Derry, NH Fall 2014-Spring 2015

AUTUMN 2014

Exterior Render

Exterior render from AIANH High School Competition 2015. Mount Monadnock State Park Welcome Center Design

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Interior Render

AND PLANS Interior Render fromELEVATIONS AIANH High School Competition 2015. Mount Monadnock State Park Welcome Center Design

Perched at the highest point of the academy campus, stands the Exterior Render Pinkerton Building. This historic building came to fruition and PERSPECTIVE Interior renderINTERIOR from an ADA addition to a Exterior render an ADA addition to athe completely rose in 1887. Roughly a from century later in 1990, ADA (Americans with Disabilities Act) was made law. Since becoming historic building historic building law, every building constructed must be handicap accessible and existing buildings had time to accommodate for these features. Historic buildings, however, are a special exception. The Pinkerton building can remain inaccessible because of a provision made in the law where in Pinkerton’s case, classes can take place in a different building. Being historic, the Pinkerton Building needs to have an addition that cannot be seen from the street. The main goal for constructing this addition aesthetically was to match the old addition so that the addition would not look like one at all, but rather something that had always been there. Preserving this includes the types of materials and aging on the

Interior Render

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Additional Works Cont.

Amanda Gladysz

Derry, NH Fall 2014-Spring 2015

Amanda Gladysz Phat Hat

Funky hat design AMANDA GLADYSZ

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SPRING 2015

Staircase Design

Stair design for a country store

SCALE: AS NOTED

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Amanda Gladysz Portfolio Spring 2017  
Amanda Gladysz Portfolio Spring 2017  
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