Benjamin Naudet | Architecture Portfolio

ARCHITECTURE PORTFOLIO

Year 5 M.Arch

Academic Works

BENJAMIN NAUDET

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Curriculum Vitae

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BENJAMIN NAUDET I am a student in the Master of Architecture program at the University of Kansas. My an�cipated gradua�on is May 2019. Throughout my educa�onal and professional experience I have developed unique skillsets for each layer of the design process. My design ability and understanding will be a valuable asset to any team.

naudet.ben@gmail.com +1.573.692.0434 issuu.com/bennaudet www.linkedin.com/in/bennaudet

Updated: January 25, 2019

EDUCATION

EXPERIENCE

UNIVERSITY OF KANSAS

POPULOUS

L ‘ ECOLE NATIONALE SUPERIEURE d ’ Architecture Paris - Val de Seine Paris, France | Fall 2018

DANISH INSTITUTE FOR STUDY ABROAD Urbanism Architecture Studio Copenhagen, Denmark | Fall 2017

SCHOOL OF THE OSAGE HIGH SCHOOL

Architectural Designer I Kansas City, MO | June 2019 - Present

GOULD EVANS ASSOCIATES

Architectural Intern Lawrence, KS | January - May 2019

FRANKLIN AZZI ARCHITECTURE

Architectural Intern Paris, France | June - December 2018

RESEARCH ASSISTANT KU SADP

Osage Beach, MO | May 2014

Research for Dr. Kapila D. Silva Lawrence, KS | Spring 2017, 18

SOFTWARE

AWARDS

PROFICIENT:

FALL STUDENT AWARDS SHOW | 1st Place Award

Sketchup, AutoCAD, Revit, Photoshop, Illustrator, Indesign, Premiere, Lumion, Enscape, Microso� Office

FAMILIAR:

Rhino, Grasshopper, V-Ray, 3ds Max, Unreal Engine 4, A�er Effects, Bluebeam

Comprehensive studio project selected to be displayed in the second annual student awards show. Judged by alumni and professionals, our project was awarded 1st place.

Lawrence, KS | November 2018

INNOVATOR OF THE YEAR AWARD | Bluebeam eXtreme Award

REFERENCES

The annual Bluebeam conference had 975 a�endees and distributed three awards, one being Innovator of the Year which I recieved in regards to my virtual reality work during the Spring 2017 semeseter.

Los Angeles, CA | August 2017

DR. KAPILA D. SILVA

UNDERGRADUATE SYMPOSIUM | Most Outstanding Poster Award

Associate Professor University of Kansas kapilads@ku.edu 785-854-1150

DR. HUGO SHEWARD Associate Professor University of Kansas hugo-sheward@ku.edu 785-864-4365

JASON HASCALL

Structural Engineer Black & Veatch HascallJ@BV.com 1-913-458-6334

Curriculum Vitae

School of Architecture and Design Professional M.Arch Degree Lawrence, KS | Class of 2019

Lawrence, KS | April 2017

BLUEBEAM REVU LAUNCH EVENT | Presenter

The event was livestreamed globally and viewed by thousands of architects and engineers. The presenta�on encompassed tes�ng a new feature and developing innova�ve concepts for its use in the industry.

Los Angeles, CA | February 2016\

INTERESTS

EXPLORATIONS

Traveling Sports Drawing Visualiza�on Virtual Reality Sustainability Digital Fabrica�on

France Denmark Germany England Switzerland Luxembourg Portugal

Spain Netherlands Austria Hungary Czechia Italy Belgium

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Contents

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CONTENTS

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02

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RiNo Art Center

Dallas Deaf Art Museum pg. 22 - 33

Lego Tower

pg. 06 - 21

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Bridge Gallery

Mobile Market

Sustainable Community

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Mixed-Use Alley House

Jorn Utzon Case Study

Lego Tower Spread

Contents

pg. 34 - 41

pg. 42-47

pg. 56-59

pg. 48-51

pg. 60-61

pg. 52-55

pg. 62-63

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RiNo ART CENTER

RiNo Art Center 6

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01 RiNo ART CENTER

The RiNo district of Denver, Colorado is a palpable source of latent potential energy; a diamond in the rough. The area is urban and industrial, heavy with brick, concrete, steel and the non-stop stream of progress and development. The city Is ready for the district to evolve. Painted murals and sculptural pieces have risen throughout the area as artists begin to move in. The tasked program, a new community art center, must fit within the mold of this metamorphosis. It must engage the people who exist here currently, as well as attract and engage people beyond the site. To do this, the building must be in constant dialog and interaction with its patrons.

Every column, beam, wall and window must belong to the people. The existing conditions has acted like a canvas by convenience; the new building will act like a canvas by intention.

The existing conditions of the site have much to benefit from. Adjacent to the site is the Source - an adapted reuse of a former manufacturing warehouse turned to a hub for food, drink, and leisure. The next building series down is a new dense, rentable apartment complex, complete with its own amenities, including a parking garage. Fitted in between the Source and the upcoming apartment complex is a soon to be unnecessary parking lot.

The opportunity of designing with these elements already programmed into the site relieves a little of what the building needs to provide. The design can be streamlined and focused to support art and the community.

RiNo Art Center

Denver, CO Professor: Nilou Vakil Partner: Jared Heinzerling Spring 2018

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CONTEXT + GRID Located in the heart of the new development of the RiNo arts district is the site for this arts center. The site is set directly next to the popular Source market. Also across the lot is the new Source hotel.

RiNo Art Center

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MOVEMENT INFORMS SHAPE Now that the form is responding to the surround buildings, it also needs to respond to pedestrian movement, inside and outside the building. The form that was created responding to proportions naturally created a circulation loop.

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RANDOMIZED What if the defined grid bec extrusions. This allows us t site as an actor that can be surroundin

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PROGRAM It can be difficult to squee an elegant form, but using loop it becomes a rather sim gins to also inform design c shape of th

D EXTRUSION came a series of randomized to begin understanding the e extremely responsive to its ng context.

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INSERTED eze a loaded program into the pre-defined circulation mple task. The program bechoices made to the overall he building.

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ADHERING TO PROPORTIONS The randomized extrusions become uniform, responding to the site’s neighboring buildings. The height of each building dictates the height of the extruded grid segments. The result is a respectful an elegant form.

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RiNo Art Center

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FINAL FORM Using proportions, movement, and program we arrive at the final form. This is also derived from structural properties that define the interior experience of the building. The stepping notion is directly related to the program inside the building.

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RiNo Art Center

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BASEMENT 1. Storage collection 2. Wood & metal shop 3. Conservation office 4. Artist lounge

5. Lift 6. HVAC shaft 7. Toilet 8. Service

GROUND 1. Loading dock 2. Stair auditorium 3. Reception lobby 4. Courtyard

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RiNo Art Center

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D FLOOR 5. Reading lounge 6. Temporary Exhibit 7. Cafe 8. Artist studios

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MID LEVELS 1. Conference 2. Classroom 3. Exterior service 4. Suspended gallery

5. Open office 6. Permanent exhibit 7. Gallery lounge 8. Fire escape

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PERMANENT EXHIBITION

The permanent exhibition space is located on the highest level of the art center. Directly below the gallery are the cafe and resident art studios. The gap between the floor plates and curtain wall create a singular space quality throughout the building.

OPEN OFFICE SPACE

The office space is integrated dir into the buildings primary circula path. This creates a very open public friendly workspace for the center. Directly below the office s is the temporary exhibition space

OPEN STREET FRONT

The transparent west facade of the art center showcases art being made in the resident studios, and art being displayed in the 2nd level gallery space. Two glazed overhead doors invite people into the resident studios, merging the public and art communities.

RiNo Art Center BELOW GROUND PROGRAM STREET CONDITION

The existing multi-level street, bike, and pedestrian paths influenced the slightly raised ground level of the art center. This creates the notion of the building being on a pedestal.

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The metal/wood shop and collection storage can be found in the basement of the art center. Ample natural light comes through the gap between the ground level and curtain wall.

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RESEARCH LIBRARY

MECHANICAL HOUSING

Two feet below ground level is the art center’s library. The lower floor level creates a separation in space between the corridor and research area. Up above is a bridge that connects the auditorium to the open office space. This double height space acts as a place for art to be displayed.

Cooling towers and air intake vents are located on the back side of the art center. In order to maintain the buildings form, the mechanical space is attached to the building rather than actually integrated into the usable floor plan.

STAIR AUDITORIUM

On this end of the circulation loop, a multi-functional open auditorium can be found. The auditorium also acts a the grand staircase for the full art center experience. The form directly reflects that of the overall building.

ABOVE & BELOW ENTRY

The art center’s only gap in its circulation path is located at the entrance of the building. Visitors have the option to start their experience above or below ground, or they can lounge in the open courtyard.

RiNo Art Center

rectly ation and e art space e.

RECEPTION

The reception desk is positioned in order to minimize interruption in the circulation path. This is a help desk more then a place for visitors to buy tickets. It is also used as an open coat room for clothes or bags.

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INTEGRATED PROGRAM Public Semi-Private

RiNo Art Center CIRCULATION Public Semi-Private Private

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Service Circulation

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STEEL STRUCTURE Roof

Basement Shear Walls

RiNo Art Center

Mid Levels

HVAC

EGRESS

Supply

Accessible Vertical Circulation

Return

Fire Rated Vertical Circulation Egress Access Path Exit Discharge

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DIGITAL SLICE MODEL

In order to maximize our model making efficiency we built a complete digital model specifically for the physical model. Using Revit, AutoCAD, and Rhinoceros.

RiNo Art Center WEST SECTION

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BUILDING

Over the course of two and day to complete t model. Using basswood and plexiglass. Using printers, and

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35”

1/4” = 1’ PHYSICAL MODEL

The finished model was around 35” x 45” in size. Building this model exercised not only my understanding of the model making, but also the construction of our project.

RiNo Art Center

PROCESS

weeks we worked night the 1/4” = 1’ physical d, plywood, chipboard, the wood shop, 3D laser cutters.

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RiNo Art Center NORTH WALL SECTION

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RiNo Art Center

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RiNo Art Center SOUTH WALL SECTION

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RiNo Art Center

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Deaf Art Museum 1

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UNINTERRUPTED PATH

VISUAL PERMEABILITY

Continuous kinetic and spatial flow.

Allow for minimal amount of distraction to ensure ease of access and circulation.

Enable maximum visual access to entire space using specific levels of transparent glass that work with the gradual decrease in noise level.

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COLOR &

Use lighting to hig destination points. contrast with skin to maximum level of

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& LIGHT

ghlight access and Blues and Greens ones and provide a f visual comfort.

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02 DALLAS DEAF ART MUSEUM Dallas, TX Professor: Kapila Silva Fall 2016

A range of empirically-derived design principles used for designing spaces for deaf people guides the design of the museum. Utilizing both visual and acoustic factors throughout, the museum creates an experience that is translated from the deaf person to the average person. This concept is uniquely paired with the necessary exhibits and building program for this particular museum. The museum is located in the Arts District in the heart of downtown Dallas, TX. The journey through the museum starts at the entry that is located at the noisiest area of the Arts District and winds and climbs through the museum on a continuous ramp that culminates with an anechoic chamber that is located at the end of the site near the quietest area of the District. Sound absorbing material is used in such a way to gradually reduce sound as one moves along the ramp that ends with deafening silence in the anechoic chamber, embodying the world of a deaf person.

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Deaf Art Museum

Someone who is deaf is often categorized as being disabled while in reality this person considers him or herself as a part of the Deaf Culture. In other words, someone who is deaf has specific attributes and a lifestyle which can be considered as an actual subculture in the broader scheme of things.

Being deaf has a direct influence on how someone experiences the world around them, specifically space. The experience of how a deaf person interprets a space versus someone who has all of their senses is a concept that drives this project; a museum that celebrates the life and culture of a deaf person.

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MINIMAL MATERIAL CONTRAST

COMMUNICATIVE DISTANCE

Keep material palette as simple as possible, to prevent unnecessary clutter. Use simplistic building materials such as concrete, glass, and wood.

Walkway widths that allow comfortable sign language communication while walking. Width of path directly effects the ease of communication.

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Continuous Ramp

Deaf Art Museum Visual Permeability

Visual Connections

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Visual Freedom

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QUIET

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The site location is in the Dallas Arts District next to the Wyly Theater.

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NOISE TO SILENCE

UNINTERRUPTED PATH

Orientation of the building is determined by surrounding noise levels.

Gradual increase in elevation provides maximum visual transparency.

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VISUAL PERMEABILITY

CASCADING GALLERIES

CONTINUOUS EDGE

Glass transparency reflects noise levels per gallery space.

Defined by ramp width and slope. Inserted in between parallel glass walls.

Cascading water wall creates a constant visual and acoustic boundary.

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Deaf Art Museum

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LPT

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ROOF DECK LIBRARY EDUCATION ADMINISTRATION CAFE

REMAINING PROGRAM

ANCHOR

ROOF

Placed in accordance to level of noise created. The lowest spaces are the loudest.

Concrete shear wall separates fire staircase from the gallery spaces.

Specific slopes for increased/decreased sound experience for each gallery.

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Deaf Art Museum GROUND FLOOR

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Deaf Art Museum

LEVEL 2

LEVEL 1

RAMP PLAN

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Deaf Art Museum

SECTI

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Deaf Art Museum

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ION B

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Deaf Art Museum WEST SECTION

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Deaf Art Museum

Gallery

Exterior

Reception

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Deaf Art Museum

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Deaf Art Museum

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Lego Tower

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03 LEGO TOWER CONCEPT Copenhagen, Denmark Professor: Marie-Louise Holst Fall 2017

Just as a Lego would appear on an organic surface, the Lego Tower follows the rules of the Lego brick to hold the two parks together. The strong contrast of the grid layout versus the organic pathway in the gardens creates a visual understanding for what the building is trying to achieve. Introducing a new water form hints at the historical recreation of the old Copenhagen ramparts. The water acts as contrasting compliment to the orthogonal Lego Tower. While studying the site, I was most interested in the proportional aspects of the surrounding buildings in relation to where my building would be. Having an understanding for these proportions allowed for better decision making when choosing to build vertically in a location where almost all buildings are only moderately tall.

Lego Tower

Imagination, Creativity, Fun, and Learning. These are the core values behind the meaning of Lego and the Lego Tower. The Lego Tower makes these core values come to life and allow visitors to experience them first hand. The journey that one experiences while visiting the tower is filled with spatial opportunities that adhere to these values. One doesn’t feel as if they are walking through a museum or exhibition space, rather they feel as if they are climbing a giant playground filled with new things to try or see. It is nearly impossible for someone to enter the building and not feel the urge to play or interact with the various spaces. The Lego Tower’s form specifically sets out to connect its visitors to a creative mindset while also physically connecting the botanical garden and museum park.

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LEGO TOWER SITE The site is located in a vacant field in between the botanical garden and the park next to Statens Museum for Kunst. In between the two parks is a main road that sees moderate levels of traffic.

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RECONNECTION PARKS The Lego Tower footprint uses the both the old ramparts line and datum of the neighboring buildings to establish its position. The grid derived from the moat line breaks the orthogonal layout of the surrounding buildings and roads.

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PARK E Staying true to the rec green spaces are lifting with the Lego Tower itse surrounding building hei for Co

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EXTRUSION connection of the parks, the creating the legs that collide elf. The tower extends past all ights creating a new landmark openhagen.

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Lego Tower

HISTORICAL RAMPARTS The original moat line that surrounded old Copenhagen crosses right through the Lego Tower’s site. This line distinguishes an important part of Copenhagen’s history.

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PROGRAM & PATHWAYS The tower itself becomes a Lego tree filled with exhibition spaces and play-zones, while the spaces beneath the elevated park become education, administration, and service spaces.

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Lego Tower

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Lego Tower

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GROUND PLAN 1. Conference 2. Administration 3. Kitchen 4. Cafe 5. Lego Store 6. Toilet 7. Classrooms 8. Lecture Hall

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Lego Tower EXPERIENCE TRACKS To achieve the full experience of the Lego Tower one must choose either the exhibition or play-zone track to begin their journey. Upon reaching the top of the tower, one will experience the other track on their way back down.

EXHIBIT FLOOR PLATES Inside each of the enclosed boxes hanging on the tower’s core are the exhibition spaces. These spaces become resting points for some ascending or descending the exhibition track.

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PLAY-ZO

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SERVICE AND FIRE The core of the Lego Tower is used for both structure and vertical circulation. Split in half between a large service/accessible elevator and a fire staircase. Nearly every exhibit and play-zone is attached to this vertical circulation.

Lego Tower

STAIRS

ELEVATOR

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PLAY FLOOR PLATES On top of each box is where one can find the play-zone spaces. The different elevation heights of the spaces allow for unique views and social interaction. One will find build stations, lounge seats, and incredible viewing platforms as the experience the play-zone track.

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ONE TRACK

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Bridge Gallery

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04 BRIDGE GALLERY

Copenhagen, Denmark Professor: Marie-Louise Holst Fall 2017

The site location in Copenhagen is very unique as it is surrounded by buildings with a wide variety of program. Including industrial, commercial, and residential plots. This makes this space very unique as it is exposed to all of these different social and physical interactions. The existing park is nothing more than leftover space that wasn’t big enough to develop further. The Bridge Gallery transforms this leftover space into the central point to all of the surrounding buildings. This space becomes somewhere that people intentionally visit rather than pass through because it is a short cut. The design style of the gallery strongly represents the surrounding context or region in which the site is located. There is no intention to hide the fact that this area is rough and not soft, or dirty and not clean.

The gallery takes these once negative characteristics and glorifies them into a building that truly becomes part of the city.

Bridge Gallery

This project revolves around the concept of inhabiting a site that is under utilized and using form and space to active the existing conditions. In order for this to be successful it is imperative that the object placed on the site becomes a part of the surrounding context.

The use of an organic parasitic structure, contrasts the existing infrastructural elements (underpass).

This contrast allows for an understanding of the new and old. The structure itself glorifies the surrounding architectural elements, including the train and residential complex. At the same time its footprint is hardly existent allowing for maximum use of the existing green space.

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SITE Using the most under utilized portion of the park, the foot print of the gallery suggests engagement to the rest of the park. This very light footprint allows for maximum ground interaction.

Bridge Gallery

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PUSH & PULL Like wild mushrooms, the form begins to grow organically alongside the bridge. This configuration process promotes adaptation to the buildings surroundings.

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PROG Once configured, the progr an ascending gesture up th Elevating the gallery space interest for passer-byers.

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Bridge Gallery

EXTENSION Rather then hiding from the existing surrounding conditions, extending the footprint upwards creates a synergy between the train and park. This gesture also compliments other surrounding buildings.

GALLERY 1 & 2 RECEPTION

GRAM ram begins to narrate he side of the bridge. es creates a beacon of

RIPPLE EFFECT Ultimately the light footprint of the structure becomes much larger through a ripple effect. This may not be something that is tangible, rather it is something understood through reflection.

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Bridge Gallery

PERSPECTIVE VIE Like wild mushrooms on the trunk o multiple platforms of different sizes Some are used for floors and ceiling bikes and sitting areas.

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Bridge Gallery

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EW FROM STREET of the tree, the gallery consists of and shapes attached to the bridge. gs, while others are used to cover

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Mobile Gallery

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05 MOBILE MARKET Kansas City, KS Professor: Nils Gore Spring 2017

We completed multiple prototypes that would eventually be fitted for the actual truck upon arrival.

The project is currently under construction and will be on the road serving the by summer 2018. This was a unique opportunity to take on a project in which we were able to thoroughly analyze and develop a design that would later be built for actual use.

Taking on a leader role allowed me to understand the importance of communication for a large group project such as this. Displayed are graphics and design schemes that were created and completed by me.

Mobile Market

The Kansas City, KS Mobile Market project was founded by Matt Kleinmann who brought it to my 3rd year design build studio as a semester project. For the first half of the semester, my studio was tasked with developing multiple schemes for the mobile market. I specifically was tasked with the design of the shelving system. During this time period I developed multiple schemes that would achieve the mobile market’s needs. After a mid term review with various community leaders and architects, we begun the construction of mock up bays for prototyping the shelving system. I was in charge of ensuring the original shelving system design was implemented into our prototypes.

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PUBLIC ROOF GARDEN

EXISTING APARTMENTS

MARKET GARDEN

Sustainable Community 52

OUTDOOR MARKET

RESTAURANT

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06 SUSTAINABLE COMMUNITY

HOUSING UNITS

INDOOR MARKET

This project is to define what exactly a sustainable community is and what impact it can have on its particular location. Rather than buildings with solar panels and storm water collection systems, a sustainable community means much more. The goal is for one large scale design concept to transform a community for the better. I chose this particular site in Lawrence because it was essentially “no mans land� in terms of whether it should be classified as a commercial or residential zone. This allows for the architecture to act as an actual stitch to mend both sides of this portion of the city together. This region of the city is also missing an actual grocery store environment and can almost be considered a food desert. Which provides a perfect opportunity for this sustainable building to become a hub for not only gathering, but also shopping for and consuming food that is grown on site and in the community.

Breaking the existing orthogonal layout of Lawrence was a very important design choice for the success of this project. The example of an organic river flowing through an orthogonal city was used as a preliminary objective for what this building should achieve. The location of existing commercial and residential zones contributed to multiple design choices throughout the project. Because this building provides multiple layers of usability for the community it can be considered as sustainable. The idea is that those living in this building are able to work and gather in the same complex.

Sustainable Community

Lawrence, KS Professor: Hugo Sheward Spring 2016

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Lot 2 Lot 3 Lot 1 Commercial

1. SITE LOCATION

2. URBAN STITCH

Downtown is a linear commercial hub sandwiched between residential lots east to west. The site is located in the awkward transition zone between the commercial and residential areas. The current site is being used as parking which will all be moved below grade.

In order to bridge the two zones tog sition, it is imperative for the site to non-orthogonal grid to break the ex stitch takes place between the resid

Sustainable Community Housing Units

Residential Commercial

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4. REVERSED ZONES

5. PROGRAM

The micro residential zone is elevated and pointing toward the commercial zone while the micro commercial zone is grounded and pointing toward the residential zone.

The residential zone is comprised o rooftop. The commercial zone inclu rant with a produce garden and sea

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Mixed

Skeletal Solid Void

Residential

3. NODE EXTRUSION Nodes representing the three zones are extruded from the grid creating 3D actors for each zone respectively. The center skeletal node represents the transitional/mixed zone which is to be the anchor point for this project.

Sustainable Community

gether to create a smooth trano be centrally located. Using a xisting grain of the city, a physical dential and commercial zones.

Market Restaurant

of 14 housing units and a public udes a open market hall and restauating area on the roof.

6. GEOMETRIC COMPOSITE Using the established diagonal grid; the walkways, landscaping, and eco pond act as accents for the overall footprint and form of the building. The product is a physical mending that pulls both the residential and commercial zones of downtown Lawrence together.

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PRIV

The so vertica reside conne below

ROOF GARDEN

Both lower and upper volumes have accessible roof gardens. The upper roof acts as an elevated park that has a full size walking path around its perimeter. The lower roof contains public seating and produce garden.

Sustainable Community

RESIDENTIAL UNITS

Their are a total of 14 residential units in the upper volume. These apartments range from 1-4 bedrooms. Each has a view into the courtyard park.

ECO POND

Lining the street and completing the geometric footprint of the project is the eco pond. This acts as the collection point for all of the rain water that is cycled through the roof gardens.

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VATE TOWER

olid tower houses the al circulation for the ents. This tower has a direct ection to the parking garage w ground.

PUBLIC TOWER

Sustainable Community

Vertical circulation for the public is located in the structural or open tower. Its transparency provides a sense of its purpose and accessibility to the public.

FARMERS MARKET

The majority of the lower volume is made up of an open space that can be used for events or the weekly farmers market. The existing farmers market is in the adjacent lot, but does not have any permanent structure.

RESTAURANT

The restaurant acts as a first hand consumer for the both the produce garden on the food and the farmers market next door. The restaurant, market, and garden are all reliant upon each other.

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07 MIXED-USE ALLEY HOUSE Lawrence, KS Professor: Hugo Sheward Spring 2016

The program includes a three bedroom apartment and small sized office. The living portion of the structure is pointing towards the residential side of Massachusetts street while the office is lifted up alongside other commercial buildings. The building is lifted off the ground to maintain the existing alley passage for pedestrians. What was once a cold and concrete footpath, is now a public park and garden that connects Massachusetts street with New Hampshire St. The unique form breaks the existing pattern of commercial buildings on Massachusetts street. Slightly extending over the sidewalk, the structure becomes a small landmark for pedestrians enjoying their time in downtown Lawrence. The use of simple materials doesn’t take anything away from the strong form the building possesses.

Alley House

Bouncing off of the sustainable community project, this mixed-use house is a much more concentrated and small scale project. Its purpose is to simply act as a gateway or connection point between the commercial and residential portions of the city.

I chose to place the actual unit within this alley to become a part of downtown Lawrence. Because the amount of foot traffic downtown far exceeds the traffic of anywhere east of New Hampshire Street.

The objective is to grab the people on Mass Street and encourage them to begin gathering towards the east side. This building is to act as a start to the endless possibilities of development that can occur in this “dead zone” to reconnect the commercial and residential portions of this region in Lawrence.

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1. EXISTING ALLEY

2. MOTION PATHS

The site is located on Massachusetts St. in downtown Lawrence, KS. The existing alley and general context is the most important factor for understanding the form and concept of this mixed use building.

This alley is used as a passageway between Mass St. and various residential buildings.

Because the current use for the alle and circulation this becomes the ba highlights an important existing con impede on, but instead make better

Alley House Work

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4. COMPASS NEEDLE

5. PROGRAM

Constricting the form where it is already concave shapes the “spinal core� or connection piece that holds the program together. Not only does this signify the original shape of the alley, but it also becomes reflective to the general context of this part of Lawrence. It becomes a compass needle pointing in the direction of commercial and residential zones.

The living space is placed on the ea the residential zone, while the offic side facing the commercial zone. Th ally suggests that a bigger space be smaller space on the east which co

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3. MOTION EXTRUDED The movement paths are lifted above the ground and become floating markers for the form. Using the paths as a framework, the massing for the project can now take place. In order to maintain the alley’s function the mass is placed on pilotis.

Alley House

ey revolves around movement asis for its geometric form. This ndition that the project must not r or highlight.

Living

astern side of the building facing ce space is placed on the western he original layout of the alley actue placed over the west side and a oincides with the spatial needs.

6. COMPOSITE The final image is a stark yet respectful contrast to the existing conditions of the site. The pathway is uniterrupted and merely touched by the floating building overhead. Because of the jagged form, sunilight is able to fill the alley and give live to the gardens below. The elegance to this building is that one can pass beneath it without even realizing it is there.

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JACK & JILL

Two more bedrooms are located on the other side of the jagged wall that acts as a core for the home. This wall derived from the overall form of the project.

FORMAL LOUNGE

Closest to the entrance of the home is a formal place to relax and greet guests. This space acts as a smooth transition from the office space next door.

Alley House END POINTS

On either end of the building the form comes to a sharp point. These points signify the two different contextual zones, residential and commercial.

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MASTER BED

The master bedroom is located on the eastern most side of the home. This is the sharpest point in the home and it is pointed directly at the residential development.

The deck is stretched between the primary and secondary forms of the building. It is able to exist without impeding on the fluidity of the projects concept.

Alley House

WEBBED DECK

FLOOR HEIGHTS

The change in floor level is allows one to experience the form that is perceived from the outside on the interior. It is a gentle gesture that also provides spatial understanding.

OFFICE SPACE

Located on the western side of the building is the office space. Elevated above Massachusetts St. it becomes a floating office in line with the existing grounded buildings.

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Alley House

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Alley House

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0 JORN UTZON

Copenhagen Fall 2

Glass Curtain Wall

Eaves Gu�er

B

A

Concrete Roof

A

4

3

Jorn Utzon

2

1

Tradi�onal Chinese Construc�on Jorn Utzon took a lot of inspira�on from tradi�onal Chinese construc�on. He wanted to take the simplis�c structural characteris�cs and put a modern twist on them.

Structural Diagram The structure of the house relies on gravity. Therefore there are two sets of concrete columns at different heights to support two stories. Wooden beams then create the floor and roof planes.

ARCHITECT Jørn Utzon

CUT OPEN AXONOMETRIC

PROJECT Middleboe House DATE 1955 PLACE Copenhagen - DK

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2m

Precast Concrete Co The use of precast and structural fra provided a modern Chinese �mber cons

1 Deck

5 Bedroom

9 Toilet

2 Living

6 Bedroom

10 Entry

3 Kitchen

7 Bedroom

11 Living

4 Dining

8 Office

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08 CASE STUDY

n, Denmark 2017

Timber Siding A Precast Panel B C

5 6

7

8

Jorn Utzon

9

10 B

A

11

A A

Le Corbusier’s Unite D’Habita�on Utzon used mul�ple Le Corubsier buildings for precedent to the Middleboe House.

The way in which Corbusier created a weightless affect with his work inspired Utzon to li� the house off the ground.

onstruc�on concrete for the walls ame of the house n compliment to the struc�on.

DETAILS PRECEDENTS

A Concrete B Wood C Glass

Entry Core Detail The only accessible por�on of the house from ground level is the entry. Stairs then lead up to the main living space of the house.

DIS Study Abroad in Scandinavia / FA17 Detailing + Sustainability in Scandinavian Architecture / Faculty Angela Giglio� JU Manual

by Ben Naudet, Qingdong Hu, Pyae Thein

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LEGO TOWER MA

Copenhagen Fall 2

Lego Tower 68

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AGAZINE SPREAD

Lego Tower

n, Denmark 2017

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BENJAMIN NAUDET naudet.ben@gmail.com issuu.com/bennaudet +1 573-692-0434