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Brenton Santos


Studio Projects Outdoor Dance Pavilion Fall 2013

Annex Connector Spring 2013

Urban Sanctuary Spring 2013

Youth Hostile Fall 2012

Urban Shelter Fall 2012

Live Workspace Spring 2012

Albers Project Spring 2012

Precedent Studies Scheu House Spring 2012

The Octagon Fall 2012

Pompidou Centre Spring 2013


Outdoor Dance Pavilion Fall 2013

Located adjacent to the Cambridge Public library my Outdoor Dance Pavilion attempts to combine nature with knowledge. I do this by using the Fibonacci/golden spiral to layout spaces in the site and create a structural system that surrounds the pavilion.


Seen below is the pavilion in the winter.The seating is tucked away to allow a large open space that can be used as an ice skating rink. The structure is a series of ascending triangles that follows the Fibonacci sequence and creates a shell for the performance.


The structural system is covered in aluminum panels on the first and third tiers. These tiers will weather along with the surrounding park allowing it to mold continuously into the site. The second tier is covered in glass to allow the low winter sun to enter the space but not during the summer when the sun is higher in the sky.


The performance space is sunken below the ground so that there is a balcony overlooking the space. The park is uninterrupted by the performance space and when a performance is not in progress the space can be a active part of the park


This performance space is meant have a sculptural quality but also fit into the site. Its meant to reflect the beauty and art that take place during the performance even when it is not ongoing.


The dancers are able to preform in a sheltered space while having a view of the audience and surrounding park. It is important that the dancer and the audience both have direct view of the site so that the dance performance is connected to the site in the minds of the dancers and the memories of the audience.


By having one side of the performance space open to the park it creates a relationship between the two spaces. This allows the audience to sit below the overhang without feeling overwhelmed or wrapped by the structure frame.


Annex Connector Spring 2013

The Annex Connector aims to bridge two wings of Wentworth’s Annex Building. The connector will act as a face toward the community as well as combine two areas of study in an inclusive studio space.

The architecture and Industrial design majors are both design oriented professions that require very similar spaces for work. A private space for individual design, a collaborative space where they can interact with peers, and a place of rest to collect their thoughts. Each space is delegated by material opacity.


The front facade of the building moves to translate the actions that take place within. A system of horizontal louvers bring light into private spaces, while a system of rotating boxes provide a view into a space once it is occupied.


The building aims to glorify the work process by showing the community the designer when they are hardest at work. This building combines the community to the school by expression of light.


The back facade of the connector is made up of cantilevered work spaces. This facade creates a courtyard for students to inhabit when they are not working. Creating a studio space is more than just a place where student will work it also is a place where the student will spend most of their personal time.


The central spine of the building is the circulation. It has an articulating screen that rotates and shows the movement of students throughout the building. Work is glorified by light while movement is glorified through view.


Urban Sanctuary Spring 2013

When entering the space the family member must first understand and accept the loss of their loved one. Light spills down the inside of the wall and floods over the feet, symbolizing the washing of feet before prayer. Each space is designed around each stage of grief.


The first stage is denial, so the occupant is placed in a dark room with light illuminating only their family and the urn of the deceased. Anger follows denial as the procession moves through a narrow corridor exposing them to aggravating noise and light effects.


The bargaining phase is a mezzanine that stops inches from the cemetery wall and a line of light separates the living from the deceased. Rather than fight the next stage which is depression I created a courtyard that reverberates the sound of the crying and mourning. The noise of the mourning is amplified by the copper door that work as a columbarium. When the copper door is exposed to the elements they oxidize and the rain pattern leaves behind a mark similar to a tear stain. The last stage is acceptance; It is only reached once the individual has come to terms with the loss of the loved one and has experienced every stage in the grief process. It is personified by finally completely the final turn and reentering society.


Youth Hostile Fall 2012

Each room sits on a series of stilts creating a space similar to stacked tree houses. By standardizing the sleeping space I was able to arrange them into a way to encourage multiple visits over varying times of the year.


While moving through the spaces and climbing the stairs to their individual rooms the guests all fully exposed to the elements. It is only once they have entered their personal space that they are sheltered from the seasons but can enjoy their beauty.


The dining and interaction spaces lay against the wall of the current Newbury St restaurant. The contours of the landscape are visible through windows at eye level. Similar to the rest spaces the interactive spaces give a view of the seasons while being protected from the elements.


The outdoor circulation allows for the guest to experience the hostel in two different ways. Looking out their own personal bedroom cubical each occupant is able to view the visual beauty of the seasons. In the circulatory space however the guest is exposed to all season changes from wind to snow.


Urban Shelter Fall 2012

The goal of this project was to provide shelter from harmful northeastern weather while allowing the inhabitant to enjoy nature in an urban environment. The fabric molds around the chair in the winter protecting it from the cold SE winds. In the summer however it is open to allow flow of NW wind in the stifling summer months.


Live Workspace Spring 2012

Designed for the needs of a carpenter and furniture designer the Live Workspace uses the movement of the folding chair to guide design. The Chair has three stages groove, shifting, and weaving.

Parti

1st Floor

2nd Floor

3rd Floor

Weaving Weaving Shifting Shifting Groove Groove

Parti

Weaving Weaving Shifting Shifting Groove Groove Section

Roof


The groove is expressed on the exterior facade, while the shifting is expressed in the staircases. The weaving occurs in two bridges connecting the carpenters studio to his personal live space, and then again to the roof garden.

1st Floor

3rd Floor

Circulation 2nd Floor

Roof


Albers Project Spring 2012

Using a two dimensional drawing by Josef Albers alter the line weights to create a three dimensional model. This model should be engaging sectionally, and emphasize the importance of lightweight in a design setting.


C

D


Scheu House Spring 2012

Created by Adolf Loos the Scheu House uses terraced flat roofs to emphasize view and connectivity to the site. The facade of the building does not speak to the lavish interior spaces. Sectional changes make circulation of the space interesting and engaging.


A

II

6 5

4

7 I

I

2

3

1

1913


The Octagon Fall 2012

Located at Amherst College, The Octagon shows vertical vaulting of interior spaces. All modes of vertical circulation are located on the outside. The octagon is an effective form for the program of an assembly hall because it draws eyes from the sides to the center space.

Octagons of Differing Scales

Rectangles of Differing Scales


Pompidou Centre Spring 2013

A facade study of one of the most recognizable buildings in France. The Pompidou Centre works as a machine to mass produce large interior spaces. It is often regarded as one of the first high-tech buildings ever designed.


By moving the circulation and building systems to the exterior facade of the building, Piano and Rogers create large open spaces that can be altered to the need of the resident exhibition. This brutalist design hides the beauty that takes place within.


The building design is comprised of two parts. Below the site sits a 3-level infrastructure housing the technical facilities and service areas.


Then a vast 7-level glass and steel superstructure housing most of the center’s areas of activity together without the restrictions of building around internal building systems.


2013 Portfolio  
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