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W O R K S

PREVIOUS: Wentworth Institute of Technology Bachelor of Architecture INTENDED: UT School of Architecture M.Arch II (UD)


CONTENTS


Note: Project material that was not solely produced by Ashley J. Craig is marked with an asterisk (*). The initials (AC) are included as an indication of my specific contribution to material created by more than one project team member.

1 Tremont Street urban modication

2 Theater Des Westens performance center addition

3 Wilhelmstrasse sustainable design center

4 Holy Cross

global green design competition

5 Inly School master plan & addition

6 Rizika Residence addition & renovation

7 Harvard’’s Allston Science Complex childcare center

8 Cable Rack NYC design competition

9 Flex Module OAN competiton

10 Graphic Design

ACADEMIC

PROFESSIONAL

PERSONAL


According to an essay written by Gregotti, ““modication reveals the consciousness of belonging to something pre-existing””. With this in mind, and with the location of the site being in the historically delicate area of Charlestown, the buildings design attempts to reveal its surroundings, but also to be revealing to itself.

CHARLESTOWN, MA architecture as urban modication

This is accomplished by the intersection of three ‘‘bars’’ each with a different programmatic element according to public, semi-public, and private use. The collision point of these elements allows for a constant awareness of the three parts from inside and outside of the building. Also, from the collision point, there is a view from one side of the street to the other so that the building does not act as a barrier in the neighborhood, but attempts to bring life to the site. The semi-public bar acts as a divider between the other two; however it integrates the building as a whole by allowing for choice of participation, and path, once inside the building. The three bars can be considered ‘‘spatial containers’’ of program that begin to dene the surrounding streets edges and create an outdoor square between themselves for community activities. Area Site Plan: hand drawn

Urban Design Studio spring 2005

Final Design Model


“This is accomplished by the intersection of three ‘bars’ each with a different programmatic element according to public, semi-public, and private use.”

Site Plan & Se S Section: ction: n hand rendering

Above: Final Design Model Left: Study Models 1-4

ACADEMIC


As an addition to the Theater Des Westens, the new performance center takes form on the site with relations to its surroundings. The building consists of two overlapping forms, creating a main area of circulation to service both parts. The form to house the performance space is adjacent to the existing building and respects its more formal layout. The secondary form runs along the trains’’ edge and opens up towards the street creating a passageway to the new outdoor area on the site. In order to continue the rhythm of the block, the main entrance is set back from the streets edge while the secondary entrance is accessed from the new passageway.

BERLIN, GERMANY performance center addition

Internally, the performance space is set up with a more traditional layout in relationship to the Theater Des Westens. However, its atmosphere becomes more public and casual by extending its contents to the front facade and creating vertical views to and from the balcony seating area.

Figure Ground: Vectorworks

While creating activity along the edges brings the inside out, facade materials act as partial shading devices allowing for only a glimpse from the outside in. Simplicity contributes to the buildings idea from its urban footprint to its internal layout, allowing for the building to act as a respectable service space to the existing. Simultaneously, an iconic circulation space and material details along the facade, allow for the building to obtain a presence of its own.

Study Abroad fall 2005

Enlarged Floor Plan: Vectorworks


“Its atmosphere becomes more public and casual by extending its contents to the front facade and creating vertical views to and from the balcony seating area.�

Elevation: Vectorworks / Photoshop Left: Site Photos: 1-4 Below: Concept Sketch

Interior Perspective: Vectorworks

ACADEMIC


This project explores how a center for sustainable design can exist within an urban block of downtown Berlin. In this example sustainable is dened as a series of interconnections between people, building, site, and time. In order to translate this denition of sustainable into architecture a building must uphold certain qualities. It must be economical, it must be efcient, and it must sustain the existing urban fabric that surrounds it. Occupying a corner and extending down two major streets presents a responsibility for the building to respect the qualities of two very different block and facade conditions.

BERLIN, GERMANY sustainable design center

Thus, the project is composed of two bars intersecting at the corner. One competes horizontally with an adjacent massive structure, stretching from its corner towards the end of its empty lot, and forming a ‘‘heavy’’ street wall, by a layering of light structural systems. The other competes with vertical glazing systems and heavy trafc patterns resulting in large vertical solids with spontaneous transparent voids revealing public interior functions and integrating the activity on the street to the activity inside the building. Upon entering the building, visitors are presented with the choice of going up a level to the public library and learning center, or exploring the indoor exhibition space and wintergarden. As semi-transparent ‘‘insertions’’ of research space extend vertically through the building, visitors in the exhibition and wintergarden areas can view the work taking place inside the laboratories.

Thesis Studio spring 2006

Immeadiately adjacent to the wintergarden is an exterior garden and large scale exhibition space. This area begins to break down the scale of the project and create a more intimate relationship with its neighboring residential buildings. It is intended for research pertaining to sustainable building and material methods, education, and community activities.

Site Analysis:

green space

general land use

building use

sound observation

pedestrian trafc

path and place


Study & Final Models: wax & wood

“In order to translate this definition of sustainable into architecture a building must uphold certain qualities. It must be economical, it must be efficient, and it must sustain the existing urban fabric that surrounds it.�

Figure Ground: Vectorworks

Facade Detail: Autocad

Labs

Above: Perspective Rendering Left: Facade Section

Exhibition

Wintergarden

Community Garden / Large Scale Exhibition

Section: AutoCad / Photoshop

ACADEMIC


Our proposal takes its name from the rural American tradition of the Feed and Supply store. These businesses were both brokers and community centers for farm families. A visit to the Feed and Supply provided goods for everyday agricultural and domestic life, and was an opportunity to connect with neighbors and to hear important news and information. Architect: Miller Boehm Architects Architecturally, our proposal joins two distinct historical periods to form a contemporary vision. The agricultural origins are recgonized through simple, utilitarian forms and durable materials. The local historic domestic architecture (the 3 bay shotgun and camel-back shotgun) is re-interpreted and modernized. The familiar feature of generous public galleries is present along Douglas Street, and is expanded to a 35-foot high open-air plaza and ““community porch””.

NEW ORLEANS, LA global green design competition

The tradition of African-American benevolent associations and mutual-aid societies is rekindled into a community resource center that offers a public transportation hub, a community gathering space, economic incubator spaces, childcare, and a playground for local families. Agrarian roots are revisted by way of a central community garden and a Culinary Arts Center. The center would use New Orleans chefs to train individuals for employment in the city’’s restaurant and hospitality industry. The center would also staff the Coffee Store, and prepare meals for delivery to low-income neighbors (““Meals-on-Wheels””) as part of their training. This Culinary Arts Center ts the broader vision for rebuilding New Orleans, reecting the recommendations of the Bring Back New Orleans Commission. The center would mirror efforts to nurture the vital cultural heritage of music, food, and arts throughout New Orleans.

Miller Boehm Architects summer 2006

* Site Axon

Neighborhood: Holy Cross, Lower 9th Ward Competition Overview: ““The generation of ideas for sustainable redevelopment in New Orleans that will encourage livable cities everywhere and discourage the consumption of nonrenewable resources.”” Project Role: 1 of 4 Design team members Responsibilities: - Site and precedent research and analysis - Conceptual design charette’’s - Design development of plans and details - Design drafting and graphic production using Vectorworks and Adobe Suites


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1. Cafe 2. Community Room 3. Preschool 4. Lobby 5. Infants 6. Toddlers 7. Culinary Arts School 8. Pump House 9. Incubator Space 10. Covered Playground 11. Outdoor Playground 12. Community Space 13. Boardwalk 14. Community Gardens 15. Single Family Gardens 16. Single Family Homes 17. Parking 18. Accessible Apartments 19. Exising Magnolia Trees

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1. Oriented for wind and light. 2. Shaded areas for micro-climate cooling 3. Green roof on all west facing roofs 4. High albedo parking surface to help diminish heat island effect 5. PV Panels 6. Ground source heating and cooling system 7. Rainwater harvesting 8. 3’’ high raised plinth for ood protection. 9. Exterior wall construction designed to inhibit mold growth 10. East and west casement windows open to the river and the prevailing breezes

* Section Diagrams: Vectorworks / Photoshop (AC) Left: Site Plan Right: Unit Plans types a-c

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Sustainable Methods: Site Scale: - photovoltaic panels - geothermal heating & cooling - cistern-fed irrigation Neighborhood Scale: - transportation hub - community center - economic incubator - culinary arts center - community gardens - daycare City Scale: - educational resources - employment opportunites

* Perspective: north / west corner

PROFESSIONAL


The new master plan for Inly School began with a study of the existing. With approximately 6 acres of site, the goals of the school were to maximize outdoor activity areas for multiple age groups, create a better trafc ow for both vehicles and pedestrians, increase employee and visitor parking, and create a more efcient and coherent campus design. Constraints to the site include an old sewage system with a limited capacity, residential height restrictions, an intense grade change, and setback requirements. A series of master plan options were presented to the community and client. A proposed plan to bring density to the northern part of the site and take advantage of the southern site for outdoor activities and environmental systems, began to satisfy concerns of the users. Initial phasing diagrams helped illustrate how a change at this scale would be possible while allowing the school to remain open.

COHASSET, MA master plan & addition

Architect: Carr, Lynch, and Sandell Size: 6 Acres Zone: residential A-1 Exisiting Program: montessori school, K-8 * Proposed Master Plan & addition

Site Section: elevation constraints

Carr, Lynch, and Sandell fall 2006


Phasing Diagrams:

phase 2

Site Analysis: path & place

Site Analysis: sun study

Project Role: Designer under Peter Martin and Jim Sandell Responsibilities: - Documentation of existing site and building conditions - Site analysis and diagrams - Zoning requirements - Design development of master plan options - Production of all project documentation including graphic diagrams, drafting, text, and presentation materials required for client and community meetings

phase 4

Site Section: grade change

phase 6

PROFESSIONAL


Located in an historic neighborhood, and on a heavily contoured site, form and function were of equal importance in the addition to the Rizika Residence. In order to meet historic preservation guidelines and also fulll the wishes of the client, it was important to consistently work in plan, section, and model. Design team collaboration and weekly client meetings also contributed to the process.

BOSTON, MA addition & renovation

Conceptually, it was of importance to open up the ground oor of the house, making the spaces feel more connected to one another, to the landscape, and to natural day lighting.

Study Elevation: AutoCad / hand rendering

The living and dining spaces are open to one another and ow out onto the rear patio. The patio steps down with the natural grade of the site into the rear yard.

Concept Plans:

On the upper levels, it was important to both the client and the architect to maximize the use of the space, while maintaining a coherent form. Positioning rooms by use, daylight, and mass, were all determining factors for the nal layout.

minimize

Architect: Next Phase Studios Neighborhood: Chestnut Hill Existing Sq.Ft. = 4,567 SF Addition = 2,300 SF Completion Date: November 2008 object

Next Phase Studios, Architects 2007 - 2008

ipping


second

Project Role: Designer under Rick Ames Responsibilities: - Zoning and historical regulations - Schematic design - Design development - Drafting and production of all documents through the design development phase - Project text - Weekly client meetings - Document coordination with surveyors and bidders

third Proposed Floor Plans: ďƒžrst Side Elevation Rear Elevation

PROFESSIONAL


Within this green Lab Building at Harvard University, the responsibilities of Next Phase Studios were the design of the public ground oor spaces including: Lobby, Conference Center, Cafeteria, Childcare Center, Fitness and Retail Areas. The Childcare Center will create a pleasant atmosphere for children, spaces where children like to play and learn. Within a rather rigid lab building, the childcare spaces are located in a protected area on the ground oor with sunlight, views, and direct access to the playground and nature. The spaces are dened by a ‘‘ribbon’’, a wooden wall in the form of a wave, reecting the children’’s imaginative world. The materials used both inside and out are natural and close to the ground, like wood ooring, shingles, and wood furniture.

ALLSTON, MA childcare center

The ‘‘piazza’’ as the public space or lobby, contributes to the Reggio Emilia concept of the childcare, connecting all experiences and spaces; classrooms, art room, staff room, etc. Natural ventilation, day lighting, acoustics, and visual / physical connections to nature are key characteristics that make a functional and well designed space for children, that simultaneously contribute to the highly sustainable goals of the lab complex.

Design Architect: Behnisch Architekten, Germany Design Team Partner: Next Phase Studios Size: 1,000,000.00 sf Total Ground Floor Area: 42,500.00 sf Expected completion: 2010

Next Phase Studios, Architects 2007 - 2008

Childcare Section: design development

Childcare Plan Sketch: design development Childcare Center, Program Specics: Size: 10,500 Sq.Ft. Major Spaces: Art Room Staff Room Piazza / Kitchen (2) Infant Classrooms (2) Toddler Classrooms (2) Preschool Classrooms Playground / Children’’s Garden


* Site Renderings: Behnisch Architekten

Childcare Exterior: ďƒžnal design model

Shingle Wall: detail

Childcare Plan: design development * playground plan provided by Stephen Stimson Project Role: Designer under Martin Werminghausen Responsibilities: - Schematic design - Design development - Construction documents - Production and/or management of childcare documents - Document coordination with entire design team - Design team and client meetings

Shingle Wall, Flattened Elevation: construction document / shingle diagram overlay

PROFESSIONAL


The Cable is the element that gives the Rack its character and denition. The Cable is a known element, connected to the everyday act of securing bikes. The Cable Rack can be seen as a grand cable lock clicked into its Anchor on the street. The basic shape of the ‘‘Loop Series’’ is a loop derived from the inherent characteristics of a cable lock. The ‘‘I Love NY’’ motif of the ‘‘Heart Series’’ adds a curl to the basic model which makes it more spatial and slightly bigger. A family of forms is included in the design in order to provide adaptability. The varying of appearance along with grouping congurations makes it possible to create a unique identication for a venue like Broadway or the Bronx Zoo.

NEW YORK, NY city racks, NYC design competition, top 10 nalist

The Cable is composed of a 1”” stainless steel cable core encased in a protective nish layer of re retardant 1-1/4”” reinforced heavy wall LPDE with an optional textile pattern layer between cable and cover for neighborhood customization. While the solid galvanized steel cable will provide strength and security, the soft cover will protect the bike from scratch marks.

Project Role: 1 of 3 Design team members Responsibilities: - Conceptual design - Design development - Physical models - Shop drawings - Graphics and presentation documents for submission entry (excluding renderings)

Next Phase Studios, Architects summer 2008

Cable Rack, Loop and Heart: physical models / Photoshop

* Grouping Congurations: physical model (AC) / Photoshop


* Manhattan Rendering: physical model (AC) / Photoshop

* Heart Prototype: competition stage 2, street installation Sept. 30, 2008

Architect: Next Phase Studios Competition Overview: ““From bus stop shelters to parking meters to street lights, the streets of New York City are a diverse landscape of urban forms. One increasingly ubiquitous element is the CityRack, with thousands on sidewalks in the ve boroughs. These simple racks have served us well for the past 10 years. But as we look to make even greater strides in increasing the number of cyclists we need something more. We need something that is functional while simultaneously capturing the attention and imagination of New Yorkers.””

Shop Detail

PROFESSIONAL


The primary function of ‘‘Flex Module’’ is to respond efciently to the environmental concerns and transitional needs of a re-locatable classroom. The construction process, material selection, intelligent façade system, and customizable nish options contribute to the siteless and adaptable nature of this design solution.

Project Role: Design team leader Responsibilities: - Conceptual design - Design development - Drafting & detailing - Illustrator graphics, text, and presentation board for submission entry

Composed of seven recycled content steel frame modules, the structure acts as a skeleton for the tensile fabric and enables the expansion and contraction of the entire modular unit. Encapsulated by two rigid spatial containers on either end, the fabric structure forms a completely sealed enclosure, creating the classroom space.

RE-LOCATABLE CLASSROOM open architecture network design competition, top 52 nalist

AFH Chicago Design Team spring 2009

The solid spatial containers act as service cores to the classroom. Designed with a window module system for maximizing day lighting and ventilation and equipped with built-in technology and storage units, the oor plan remains exible, allowing teachers and students to easily recongure the space. Ideally, these façades would be oriented to capture the prevailing winds of the site. This ready-made unit consists of completely prefabricated parts using a sustainable selection of materials. The classroom is primarily assembled offsite and can be delivered as a single weather sealed enclosure that can quickly be deployed into its nal form. Minimal on-site assembly includes installation of nish oor panels, the air duct, and technology and electrical connections. The benets of ‘‘Flex Module’’ can be seen in terms of cost, time, and energy saving solutions throughout the entire construction process. Created as an easily deployable and re-deployable unit with the ability to ship in one coherent piece, ‘‘Flex Module’’ serves as a true example of a temporary structure that strives to minimize negative impact and maximize modular progression.

* Phasing Diagrams: 3D Studio Max / Illustrator (AC) 1. site assembly

2. transportation

3. coupling

4. nal touches


Design Team: Ashley Craig, Victoria Biddle, Erica Carvalho, Kaitlin McVehil

* Axon: 3D Studio Max

Competition Overview: ““Many school districts turn to portable classrooms as fast, cost effective, code compliant solutions to overcrowding. These units are less expensive than traditional school additions, and provide schools with more exibility due to the option of leasing or purchasing. The design of a relocatable classroom will focus on creating inspiring learning and teaching environments for both students and teachers in a modular design to be largely constructed off-site.”” Wall Detail: AutoCad / Illustrator

Plan: AutoCad / Illustrator

* Section Perspective: 3D Studio Max / Illustrator (AC)

PERSONAL


Born From pure passion and true love; FlatWear was created by Ashley Craig in a bedroom in Chicago. Having a background in architectural design, each T seeks perfection in graphic presentation and coherence in content, developing FlatWear as a recognizable brand. FlatWear promotes style, comfort, and originality. Urban inuence inspired by classic surf /skate apparel, its seemingly simple yet creative aesthetic strives to appeal to a wide range of people with varying degrees of style. All T’’s are professionally screen printed on 100% cotton American Apparel shirts for men and women. Please enjoy. A quality product made with love for everyone. (equality/design/evolution)

URBAN APPAREL graphic t-shirt design

www.wix.com/atwear/urbanapparel www.atwear.etsy.com

Original Graphics: created in Photoshop and Illustrator

Ashley J. Craig

spring-summer 2009

Brand Logo


FlatWear T-Shirts: www.wix.com/ďƒ&#x;atwear/urbanapparel

Men

W omen PERSONAL


Graduate School Submission  

This portfolio was used as my submission when applying for graduate school for the fall of 2010.

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