Segment I Portfolio Submission

Arick Jayson Dyrdal Candidate for Bachelor of Architecture 05.20.2014

Self Reflection

After leaving active military duty, I struggled to find a job that I enjoyed. After the Coast Guard, nothing compared to the job, the people, the camaraderie, the connections, and the places I was able to see. I felt as though my service to other’s was gone and that service was an important part of my life.

It wasn’t until I worked under a carpenter that I realized I loved building things.

I thought to myself, “Finally, a job that I look forward to going to.” That’s the moment I decided I wanted to be an architect, which was less than 2 years ago.

I’m not an artist (although I do write music), I ‘m no Francis Ching, I’ve never had a drawing or art class, I never dreamed of being an architect, nor did I know who Frank Lloyd Wright was. Having said that, I love the work I’m doing now and where The BAC is taking me. I’ve learned a lot and am honing my craft.

I’m a kinetic learner and I approach design by building with my hands. I can usually predict how things will come together and this helps the design with an internal dialogue of reality and imagination.

Originally, I came to The BAC because I wanted to design and build custom houses in the White Mountains, but now that I’ve been attending school I see that the possibilities are insurmountable. I still have it in mind that I want to further my business and continue to work for myself, but my eyes have widened to the widening potential.

In summation, I’m excited to move onto the next year and continue with The BAC. Every day I feel that I’m getting better and I’ve come so far. The work you’re about to see in this portfolio I could not have imagined I’d be doing. I had no idea what I was getting into, but I do not regret it.

Arick Jayson Dyrdal

32 Prospect St, Somersworth, NH 03878 | 603.479.9489 | arickdyrdal@icloud.com

Clerk of the Works, Davis Square Architects 05.2014 – Present Subcontractor, Owner of Arick Construction 9.2012 – Present Finish Carpenter, 41 Westland Ave, Boston, MA – 50+ Units Window Replacement Upgrade, Kittery, Maine – 3 Season Porch Laborer, Wood Wrights, Kensington, NH 04.2012 – 07.2012 Worked on a renovation of Agave restaurant in Newburyport, MA Assisted with assembly and installation of over 1,000’ of concrete docks at Boston Yacht Haven Security Officer, Portsmouth Regional Hospital, Portsmouth, NH 07.2010 – 12.2010 Customer service for the hospital Documented daily activities in company log Performed security duties of all hospital properties Boatswain’s Mate 3rd Class, US Coast Guard Reserve, Portsmouth, NH 07.2010 – 07.2013 Communications and port watch stander for all operations between Hampton Beach, NH and Kennebunkport, ME Electronics Technician 2nd Class, United States Coast Guard 10.2005 – 07.2010 Supervisor for shop personnel Conducted monthly safety inspections of all electronic spaces on board 24-hr on call technician for all shipboard navigation equipment Responsible for maintenance of satellite communications equipment Maintained the hazardous material storage locker Maintained all communication antennas Acted as a member of the helicopter tie-down team

Education Boston Architectural College, Boston, MA 08.2013 – Present

Bachelor of Architecture Candidate GPA 3.15 Hesser College, Portsmouth, NH 07.2010 – 10/2011

Associate in Business Science GPA 3.46

Professional Skills / Personal Interests CAD| AutoCad and SketchUp Hand Drafting | Plan, section, elevation, axonometric, perspective Model Building | Laser cutter, CNC router, wood shop, foam core, Styrofoam, cardboard, basswood, etc.

Proficient with Adobe Cloud Suite; e.g. Photoshop, InDesign, Illustrator, and Bridge Proficient in Microsoft Office programs; e.g. Word, Excel, and Power Point Excellent verbal, written, grammatical and presentational skills Ability and interest in adapting to and learning new skills Self-taught guitar, piano, bass, and drums ~My music can be found at http://www.reverbnation.com/jaysondyrdal

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Table of Contents Transdisciplinary Studio 1

7

Transdisciplinary Studio 2

17

Design Representation

47

City Lab

57

Community Practice

79

Making and Modeling

89

Sustainable Material Assemblies

99

5

Transdisciplinary Studio-1 Instructors: Paul Herbert and Aimee Epstein FND1003

7

The Client

SEPARATE

FRAME

D E N D R O LO G Y TREES

PRIVATE

OFFICE

LABORATORY CONTEMPLATIVE

PUBLIC

PLANE

EQUAL CONFERENCE

This Project was based on a specific client and their needs. The client was a dendrologist (someone who studies trees) and the task was to create 3 spaces with 3 different programs; single person use, two person use, and group use.

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The Iterative Process

In exploring a concept of separate, but equal in that there were 3 spaces with 3 different programs, but were all equally integral to the clients work.

The Client

Sketching through problems and solutions, struggling with form and considering access with respect to a quite and busy street on both sides of the 100’x50’ site.

Sketch illustrating equal framing to establish similarity, but the vertical planes imply and differentiate space.

11

The Final Iteration

Spaces defined: For the dendrologist an office, a laboratory, and a conference room was needed.

Even though the dendrologist spends most of the their time in the field and in the lab, there’s still a bit of administrative and computer work to do.

This is the single person space.

When the client comes back from collecting samples and data from the field it needs to be analyzed in the lab by two people.

A conference room is needed because once pertinent information is deduced from field and lab work it needs to be distributed to the public.

Here is where the client disseminates the information and when not in use by the client it is public accessible space.

The Office

The Client

C

A

+

B

A

The Office

B

Lab

C

Conference Room 13

The Final Iteration

The framing elements establishes the v of all three spaces.

Physically separating them implies differentiation.

The vertical planes within the frames furthers this differentiation and dictates occupancy capacity.

ction ric Proje

et Axonom

Final Model in Site

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Transdisciplinary Studio-2 Instructor: Kerri Frick FND1004

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Project 1: Analysis Device: Body

HUMAN BODY SYSTEMS

MOVEMENT

TECTONIC MATERIAL SENSORY ACTIONS ACTIVITY MOTION CAUSE AND EFFECT ACTING REACTING ORDER LANGUAGE SEQUENCE

Wearable Device: Creating a wearable device that revealed hidden idiosyncrasies within one of the five senses.

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Inception

Transition

Acquisition

Transition

Acquisition

Transition

Acquisition

Transition

Inversion

Project 1: Analysis Device: Body

The sense of choice was touch and the movement of study was a ring twirl. The intention for this device was to show how the fingers (in order to move the ring) were interdependent, but still required systematic collaboration between each other. The device has eyelets that are threaded with a single piece of wire. The wire had enough slack to allow one finger to extend while the rest contract

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Left: The device hand drafted in axonometric projection with lead.

Right: Exploded axonometric

Project 1: Analysis Device: Body Front Elevation of Device

Top View of Device

#6 -32 Nuts, Bolts, Washers (x9)

Popsicle Sticks (x18)

Hook & Loop Velcro Sized to fit Fingers (x5)

3/4’ Elastic Band (x1)

3” Springs (x5)

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Inception

Transition

Acquisition

Transition

Acquisition

Inversion

Acquisition

Transition

Acquisition

Transition

Acquisition

Completion

Project 1: Analysis Device: Body

The final iteration of the device used springs in place of the wire in order to show the distance of travel each finger makes as well maintain their coordinated interdependent relationship. The rear bracket pegs imply their connectivity; the finger pegs literally shows their interdependence.

The added frame elements that extrude from the fingers exaggerate positional angle of each finger in relation to each other when viewed from a side elevation.

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Project 2: Analysis Device: Place

SCALE

PROPORTION HUMAN BODY INTERIOR CONFLICTING PATH

CONDITIONS

SPATIAL

THRESHOLDS VIEWPOINTS EXTERIOR

CONDITIONS

BOUNDARIES TIME INHABITABLE SPACE LIGHT OCCUPIABLE SPACE SEQUENCE RELATIONSHIPS

ELEMENTS

ROTATION

OVERLAP

ORDER

MOMENTUM

MOVEMENT

PLANES REPETITION

PROCESSION

TECTONIC

Thresholds: For this project a site was given for a space to be designed therein. The site and space must respond to each other to create interior, exterior, and threshold conditions.

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Warming Up Exploring the Apple Store and the Boston Public Library to study thresholds Middle: A sketch model of the Apple Store. The openness was recreated in order to illustrate the impression one gets when inside.

Right: A diagrammatic map of the interior.

Left: A sketch of the Apple Store’s facade. It’s composed of glass curtain walls and creates a very open feel, as though it were an extension of the street.

Left: A Sketch of the Boston Public Library’s facade as well as walking paths along the side walks.

Right: A sketch and layout of the old part of the library. The high ceilings and quietness made it feel very open like being outside, regardless of surrounding walls.

Ske

tch

Mo

del

- La you t

Project 2: Analysis Device: Place

Building Up Using the given topography, the first iteration emerged with respect to the landscape by using the existing ground as the floor. The openness and outside feeling was adapted from the Apple Store and Boston Public Library.

Left: Plan view of the model in the topography.

South

Right: Path and Pause diagram. The path was dictated by the long overhead frame elements and the pausing moments are informed either by nothing overhead or short overhead framing elements.

e

s Pau

Path

North

Left: An elevation of the model. The plan was altered by extending the overhead plane out and downward onto the topography to create an occupiable condition outside of the main space.

West Entrance

North Entrance

The threshold on the north side was designed to allow two people to cross, but only closely if they were to cross together. Since the frame starts wide and narrows overhead 1/3 the entrance becomes uncomfortable to cross near the edges. The outside frame of the opening forces one to walk on the inside, contradicting it’s appearance.

The threshold on the east side looks narrow, but opens up near the shoulders of a person and feels wider. It was designed for one person to pass through, but still have the luxury of a wide entrance without being crowded.

East Entrance

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The design developed from the concept elevation. The implementation of an overhead plane was considered as well as form. In order to respect the natural conditions a Fibonacci sequenced was implemented in the form of triangles.

This naturally occurring mathematical proportion proved most advantageous.

Keeping Up Pushing the threshold further and refining intent. Bleeding and blending the inside/outside thresholds together in order to create tertiary conditions drove the design.

Concept Plan

Concept Elevation

1st Iteration

Transverse Section

Ins

ide

Outside/In

/ou

t

Completely Inside

Com

ple

tel y

Ou

tsid

e

When the overhead plane leaves the main space and extends onto the topography it creates an inside space outside the main area.

Project 2: Analysis Device: Place

2nd Itera tion

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INSIDE/OUT OUTSIDE/IN

Inside/Out Completely Inside Outside/in Completely Outside

The final iteration was based on the notion of overlapping the inside/outside threshold.

By bleeding the two into each other primary and secondary conditions were created; completely outside, completely inside, outside and covered (outside/in), and inside and uncovered (inside/out).

Project 2: Analysis Device: Place

de

Final Model

Inside/out

Ov erl

t Join

Completely In si

app

ing

The

Outside/in

Overlapping translated into structure.

The framing elements that hold up the overhead planes and the retaining walls contain lapping and overlapping joints.

g pin

s

End

ap

erl Ov

Below is the process used to create the overlapping thresholds. Simply extruding the plane directly upwards creates a completely inside condition. In order to create overlapping inside/out and outside/in conditions the over head plane had to be flipped and staggered.

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Perspective Drawings

Iteration 1

Iteratio n

Fina l

2

Iter atio n

Project 2: Analysis Device: Place

Final Model

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Project 3: Event Space

PEOPLE INTERIOR MOVEMENT MATERIAL EVENT HISTORY

MOVEMENT SCALE PROPORTION

HUMAN BODY SYSTEMS

SENSORY

TECTONIC

ACTIONS

ACTIVITY

SOUND

RIBBON LANGUAGE SEQUENCE

MOTION

EXTERIOR

RELATIONSHIPS BOUNDARIES TEMPORAL TIME

LIGHT OCCUPIABLE SPACE SEQUENCE PLANES PROCESSION OVERLAP ORDER MOVEMENT

INHABITABLE SPACE

ELEMENTS ROTATION MOMENTUM

REPETITION TECTONIC

ORDER

CONFLICTING CONDITIONS PATH SPATIAL

CONDITIONS THRESHOLDS VIEWPOINTS

CAUSE/EFFECT

SPECTATOR

BYSTANDER

TEXTURE

ACTING /REACTING LIGHT

PARTICIPANT

TEMPERATURE

THRESHOLD

BODY

VIEWS

The purpose of this project was to create an event space in the location of the Hynes Convention Center Bus Stop on Massachusetts Ave in Boston, MA. The extent of the site was 40’x240’.

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Site Inspiration

Site: Hynes Bus Station–Large Scale

Site: Hynes Bus Station–Human Scale Site: Hynes Bus Station–Small Scale

Sketch converting small scale inspiration to large scale realization

SketchUp Model

From inception through iteration, the form was composed specifically for hosting a music and arts festival. Converting the arcs from perpendicular to parallel orientation and developing vertically angled planes to keep exterior noise out.

This in conjunction with the wood in the arcs (to help enrich sound within) was the driving concept for the form.

Project 3: Event Space The diagram on the right shows the previous existing noise conditions.

The original station is dotted.

This iteration combines the arcs and vertically angled planes into one continuous ribbon system that unravels throughout the entire model.

Seating

Seating

Bus Stop

Seating

Stage

Seating

Stage vs. Bus Station Section

Ribbon Plan Stage vs. Bleacher Section

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A Transverse Section

Longitudinal Section

Longitudinal Section

C

B

Project 3: Event Space

A

B C

41

New bur y St ree t Ma

ssac

hus

etts

Stop

Ave

Stop

Prim

ary

Per for m

anc eS

pac e

Bus

Bus

y ndar o c e S

o Perf

r

ce man

e Spac

Axo

nom

0 I-9

st We

etric

Proj ec

tion

Project 3: Event Space Here the orange band indicates the continuous ribbon that unravels throughout the site. It acts as a multi functional threshold that creates inside and outside spaces. At the bus stop one would sit on the bench while being covered overhead by it. This happens on stage and in the seating area until it arrives at the secondary event space. In that space it hugs around the site and comes back to become a low threshold and then back into more seating.

Sound Refraction Diagram

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juggling music singing dancing painting

miming

Secondary Performing Arts Space

Project 3: Event Space

Back Bay is filled with artists, architecture students, architects, musicians, painters, and hagglers. With this in mind a space was designed to accommodate them and to host a music and arts festival.

Redesigning and expanding the Hynes Convention Bus Station, a ribbon was created to unravel throughout the space and to keep excessive noise out and enhance the art within.

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Design Representation Instructors: Paul Herbert and Melissa Toops FND1005

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Case Study: Carpenter Center

AXONOMETRIC

PLANS SECTIONS PILOTI FREEFACADELONGITUDINAL TRANSVERSE OPEN

RIBBON SUN

DIRECTION

WINDOWS ANGLE

The Carpenter Center for the Visual Arts in Cambridge, MA was the main focus in this section. Through analysis, drawing techniques were introduced in order to develop skills in drafting, sketching, and diagramming.

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Case Study: Carpenter Center

Site Analysis

The Carpenter Center is the only concrete building in the area indicated in black strips.

The red strips indicate brick facades.

The pilotis at the Carpenter Center run from basement to the 5th floor, but not all of them. This diagram shows how far each pilotis goes. Color indicates level and the size of the circles gives a sense of the core mass of the structure.

Basement 1st Level 2nd Level 3rd Level 4th Level 5th Level

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Technical Drawings

The Carpenter Center in Axonometric Projection

Case Study: Carpenter Center

Elevations

53

2nd Floor Section

3rd Floor Section

West Section

East Section

Case Study: Carpenter Center

On site Sketches

Ramp and Pilotis on the East side of the building

Angled windows on the West side of the building looking from 3rd to 4th floor

North West Corner

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City Lab Intensive and Extension Instructors: Karen Nelson, Aiofe Morris, and Laura Cella-Mowatt FND1005

57

City Lab: Intensive

PALIMPSESTNORTHENDROSE

KENNEDY GREENWAY SKETCH WALK ELEVATED HIGHWAY THE BAC

Introduction to architecture, sketching, and analyzing the built environment.

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City Lab: Intensive

61

City Lab: Intensive

63

City Lab: Intensive

65

City Lab: Intensive

67

City Lab: Intensive

69

City Lab: Intensive

71

Red indicates path Blue indicates lighting coverage on basketball court

City Lab: Intensive

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City Lab: Intensive

75

City Lab: Intensive

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Community Practice Instructors: Ben Peterson FND2003

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Intervention

A site, a group, and a common goal.

All the work shown in this section was a collaborative effort.

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Darwin Design stems from Charles Darwin’s notion on evolution. Not that the strongest survives, but the one that is most adaptable to change. We see the world as an existing environment and seek improve it through intentional design and community.

Intervention

“It is not the strongest of the species that survives, nor the most intelligent. It is the one that is most adaptable to change” ~Charles Darwin

Darwin Design + build

Arick Dyrdal A carpenter/builder first and a designer second. He’s currently studying architecture at The Boston Architecture College and received an Associate in Business Science from Hesser College. Arick’s Coast Guard experience has framed him to think more as a humanitarian and his methods focus on teamwork

Jennings Blanc

A Drafter, working in the Architectural design field, creating environmentally responsible spaces through a creative and collaborative process. He received his undergrad in Architectural Technology at the Boston Architectural College, and specializes primarily in sustainable design. I am passionate about architecture and I design conscious to public and environmental needs to better our community and those abroad.

Alondra Batista A non-practicing designer with a associates degree in civil engineering and a BA in Architecture Design.

Alondra has been involved in a couple of infrastructure workshops and small community based projects. She is interesting in changing communities through design and making better spaces for people to inhabit.

Sarah Lyman An Architectural Technology student with the desire to understand the mechanics of systems and how they can operate more efficiently.

By working with existing condition projects she is able to design compact solutions for limited spaces. Another one of her interests is directed towards the reuse of materials and the proper disposal of waste.

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Site Analysis

The site we chose was the corner of 320 Newbury that peers into that gallery. We chose this site because it fits within Darwin Design’s model; community. We wanted to unit the pedestrian and Back Bay community with that of The BAC. Since the gallery is public space we wanted to frame it further with our intervention. In green is pedestrian traffic and in orange is the gallery.

Intervention

Iterative Process

Darwin Design’s first idea was to have a bench of some kind so people can sit and look at the gallery as well as hang out and relax.

Concept 1

Once it was figured out that we only had $50 to work with we turn to re-purposing some material. This beam was found floating in the North End of Boston over 2 years ago. This material drove the design.

We also wanted to draw attention from a distance so we came up with an idea of vertical elements suspended between the columns.

These were to act as a backing as to allow only one direction of seating; facing the gallery. The only trouble was coming up with simply yet interesting pattern.

Concept 2

Concept 3

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The North End Recovery location of wood beam

As a last minute change of plans; the location of the bench was transferred to the loft due to lengthy historical permit process.

Bench Length Original 14’ x 6” x 12”

Section Details

Lap Joint Close Up

87

Making + Modeling Instructors: Melissa Toops + Luis Montalvo FND3010

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Boston Architectural College 320 Newbury Street Boston, MA 02115 Right: 1st and 2nd floor elevations Bottom left: 1st floor plan Bottom right: 2nd floor plan

Loft Space Stair Case Window Face

Drafted in AutoCad

Project 1 - 320 Case Study

Perspective

Drawing

Plan

Elevation

During the initial study of 320, three areas were targeted. On this page is the loft; located on the second floor. The lineal layout, the elevated space, and large windows captured my attention.

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The Staircase model was built with attention to the imprints caused by the 2x4s forms used to cast the walls.

It was also interesting how the stairs were casted.

It appeared to be a ribbon that wrapped back around itself, almost uncomfortably so.

Imposed on the model is the process used to construct this mock-up.

The second site of choice Setting up the was the stairs d risers. ribbon stringer an that leads up to the loft. The only stairs in the building that’s purposed for one floor. Given the scale of this space it actually doesn’t move you from one floor to another.

Project 1 - 320 Case Study Fish Bowl

Above: Longitudinal Section

Below: Plan

The 3rd site and the final investigation was the fish bowl. What was most interesting was the view the fish bowl had of the street and the vertical framing elements screening it.

Perspective Drawing 93

Elevation outside the fishbowl

Detailed section of the window, concrete sill, and hardware

Chipboard form with basswood inserted within the form in order to create impressions .

Project 1 - 320 Case Study Wood Element Top Attachment Detail

Wood Element Bottom Connection Detail

Concrete, Wood, & Aluminum Composition

Concrete Texture Detail 95

Inter

g tin s c

Sketch Model

SketchUp Model Side Elevations

SketchUp model of a spiraling intersecting model. The spiraling shown here created internal spaces that was imagined as a contained ecosystem.

To the far left a rendered version of a possible mobile underwater city.

Mobile Underwater City Rendering

Project 2 - Gerunds

Above montage inspired by the sketch model on the right and prompted by the word folding.

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Sustainable Material Assemblies Instructors: Michael Fiorillo, Kyle Sturgeon, and Lucca Townsend FND2011

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Case Study: Art House at Jones Center

AFFECT

GLASS CONCRETE

DETAIL

UNPACKED

MATERIAL

WOOD

BRICK

LIGHTING The Art House at Jones Center is located in Austin, Texas and was a renovation and expansion designed by LTL Architects.

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Geography Map

LTL Architects Lumen Architecture

Project Structure/Dynamic Breakdown

Austin

MJ Structures

San Antonio

Arthouse at Jones Center Structura, Inc. Garrett-Ihnen Civil Engineers Blue House Design Dickensheets Design Associates

Case Study: Art House at Jones Center

Detail Unpacked

While investigating the Arthouse the glass blocks were found to be most interesting because of it’s configuration, assemblage, and... because it’s different.

There are 177 of these installed through walls as part of the fenestration.

Glass

The diagram on the right shows most of the components that make up the glass block and lighting element.

Block

LED

Glass Block Detail

103

Detai

l Affe

ct

Case Study: Art House at Jones Center

This diagram seeks to make sense of a seemingly arbitrary arrangement of lights.

The higher density of lights on the 1st floor and towards the left side on the 2nd floor are offices where more natural light is desirable and the small clusters of light show where the gallery. The art gallery itself needs more controlled lighting there for it has the least.

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