CALDWELL SMITH PORTFOLIO

CALDWELL SMITH architecture: selected works

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FORT POINT DANCE CENTER: SUSPENSION OF DISBELIEF Semester: Spring 2025 Prof. John May Harvard GSD; Core 2 Type: Performing Arts Center Team: Caldwell Smith

Fort Point Dance Centerl is a dance studio and performance center located in the heart of Boston’s historic Fort Point neighborhood. The site, accessed from Congress Street, is tightly nestled between two early–20thcentury buildings and is defined by dual frontages: one addressing the street and the other opening onto a service alley.

Careful negotiation of these frontages is central to the project, given the neighborhood’s strong historic character and dense urban fabric. The design balances contextual continuity with the need to accommodate contemporary performance and studio spaces, while also providing much needed public space at the ground level. This is achieved through two primary moves: lifting the building and separating the façade.

The street-facing brick-faced facade operates as a contextual screen, maintaining alignment and material continuity with the surrounding buildings while acting as deep threshold or urban filter between public and interior space. While visually continuous with its context, this façade also functions structurally, supporting the suspended building volume behind it.

The studio and performance spaces are lifted off the ground and suspended between two walls by a multi-story truss system. These programs occupy a polycarbonate volume, allowing the kinetic activity of the building to register in the city while providing ample, diffuse daylight for the studios.

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THIRD FLOOR 08 Mechanical 07 Large/Tall Dance Studio

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06 Small Dance Studio

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05 Storage/Greenrooms

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Light and air are central drivers of the Fort Point Dance Center and are addressed through passive systems wherever possible. The polycarbonate shell enclosing the studio spaces allows diffuse natural light to penetrate throughout the building, providing consistent, glare-free illumination.

Additional diffuse daylight is introduced through a skylight system above, modeled after the

Broad Museum in Los Angeles.

These skylights direct soft light downward through the glass floors of the central circulation stair core, allowing daylight to penetrate deep into the building’s floor plate.

this enables natural ventilation through the stack effect, with the central stair core functioning effectively as a solar chimney.

In addition to daylighting, the skylights are operable during appropriate weather conditions.

In conjunction with operable polycarbonate façade panels,

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BERKLEE CAMPUS CROSSROADS: OBJECT VS FEILD Semester: Fall 2025 Prof. Elle Gerdeman Harvard GSD; Core 3 Type: Sound Stage; Block Plan Team: Caldwell Smith

On the corner of Massachusetts Ave and Boylston Ave is the Berklee College of Music Performance Center, an an aging, awkward, and relatively small performance hall. Berklee Campus Crossroads is a proposal on this site for a new performance hall, cafeteria/student center, and vertical campus.

This project aims to do many things. The site sits on the boundary of the Fenway and Back Bay neighborhoods in Boston. Surrounding buildings include campus buildings, apartments, shops, churches—you name it. The site is just south of the I-90 freeway, the air rights of which are being sold as part of an attempt to urbanize the voided space. However, one of the most striking aspects of the surrounding urban fabric in relation to Berklee is how disparate Berklee’s campus is (Berklee buildings highlighted above in red).

The challenge of this project is therefore to juggle the complex programmatic, structural, and environmental requirements of a high-rise student center/performance hall with the urbanistic and social desire to improve the currently desolate surrounding urbanism and create a new center point to coalesce the disparate Berklee campus. Crossroads therefore takes the shape of a highly formal object—an almost sculpture-like extrusion.

This means that Crossroads not only operates as an object in the larger field condition, but also as an expression of the highly kinetic activities that take place within, such that necessarily concealed activity can be witnessed even when it cannot be seen.

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AA T.O. Parapet 268' – 0"

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Library

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Scene Shop

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summer automatic louvers shade the south facade from summer sun. fresh air is drawn from the north side through a raised floor and exhausted through the solar chimney. when pure natural ventilation is not practical, a mechanical chilled beam conditions the air as it enters the building.

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The south facade is exposed to the winter sun and functions as a trombe wall, which heats circulated air. The solar chimney is throttled to retain heat in the building. When fresh air is needed, already conditioned exhaust goes through a heat echainger with the unconditioned intake. Additional intake is provided through the raised-floor-system, which is heated with the perimeter beam element.

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Automated louvers shade the south facade from the harsh summer sun. Fresh air is drawn from the north below the rasied-floor and exhausted through the solar chimney. Outside of shoulder seasons, or when full naturally conditioned air is not possible, the buildings mechanical system provides cooling to the incoming air through a perimeter chilled beam, which conditions the air before it enters the building.

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ter south facade is exposed e winter sun and tions as a trombe wall, ch radiantly heats the ding. the solar chimney rottled to maintain heat e building. when fresh s needed, already ditioned exhaust air s through a heat hanger to uncondtioned ke air.

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The elevation of Crossroads is evidently a twosided scheme. On the north, perforated metal panels atop a stone podium create a façade system that is opaque from the exterior, but offers significant porosity to the interior for both light and air.

The south façade, on the other hand, uses curved brickwork to conceal ductwork, the spacing between which creates glazed niches that allow the space to

be daylit. In addition, a pair of solar chimneys—expressed as glass extrusions—nestle within the bundled brick cylinders.

This results in a more explicitly functional façade.

The pair can be read as a direct consequence of the plan, with the north accommodating programmed space and the south housing support and circulation.

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LEVEL 14: LIBRARY

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LEVEL 12: MUSIC TECH 07 Teaching Office

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LEVEL 06: BLACKBOX

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Slatted Wood Finish Acoustic Panel 1/2” GWB (x2) 2x4 Metal Stud w/ FBG Insulation 1/2” GWB (x2)

8”x8”x1/4” HSS Pre-Fab Stone Rainscreen Assembly 3-1/2” Rigid Insulation Vapor Barrier 1/2” Exterior Sheathing 2x6 Curved Metal Stud

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The cafeteria, located in a sunken basement level, includes space for eating, communing, and student performances. In conjunction with the performance spaces, the cafeteria functions as one of the most public elements of the program within the tower.

To support a clear relationship between program and spatial order, the theater and cafeteria together form what is conceptually a split ground plane. Both the performance hall and the cafeteria have direct access from the street, allowing students and audience members to enter their respective spaces directly from the ground plane.

Because of this arrangement, the cafeteria is able to receive daylight from above. This move produces a direct spatial consequence: the weight of the performance space above becomes legible through the sculptural curvature of the ceiling. The curvature emerges from the sectional relationship between the performance hall and the building envelope. Its concave form, emerged from a series of studies of convex curvature of all things. This concave nature of the curvature embraces the street, creating a softened street edge while still maintaining the continuity of the street wall.

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STUDIO 2X:

FILM SOUNDSTAGE - URBANISM/BLOCKOUT Semester: Spring 2025 Prof. John May Harvard GSD; Core 2 Type: Sound Stage; Block Plan Team: Caldwell Smith

Studio 2X is a multifaceted development proposal for a block on the edge of Boston’s Fort Point neighborhood, currently occupied by surface parking. The proposal includes two ~18,000 sq ft soundstages, commercial space—including a daycare and restaurant—and a future phase reserved for a multi-story residential building. The project forms part of a broader redevelopment effort in Fort Point, introducing mixed-use development and new green spaces across adjacent sites.

A critical point of departure for Studio 2X is the functional requirements of the soundstages, which comprise a substantial portion of the program. These spaces must be large, tall, and open, with minimal need for natural light and a strong requirement for separation from the street.

Accordingly, the soundstages are conceived as warehouse-like volumes: highly functional, open interiors that support unbounded activity.

The soundstages emerge as distinct elements on the site—brick boxes concealed behind a veil of sculptural, curved concrete walls. These walls form circulatory buffer spaces between the soundstages and the street, breaking down the mass into a layered sequence of sculptural elements rather than a singular, monotonous brick façade. Embedded within this controlled field of curved walls is a publicly owned, privately operated plaza. Raised above the ground plane, the plaza wraps the commercial building, which serves as the project’s civic anchor.

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First Floor Plan 1

Lobby

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Kitchen (Restaurant)

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Dining Room (Restraurant)

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Restroom

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Basement Floor Plan

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Hall 1 (Long Term)

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Admin Suite/Lounge

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Hall 2 (Intermittent Use)

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Locker Room

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Workshop

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Storage

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Studio 2X is comprised of three primary volumes: the two soundstages and the commercial space. While these volumes appear independent, they are connected through an underground network of hallways and support spaces.

This subterranean connection is facilitated by a subtle but strategically conceived system of ramps, allowing the project to remain seamlessly and fully accessible despite shifting floor levels.

The relationship between these three volumes establishes a deliberate sequencing of exterior spaces and an embrace of the city through large concave curvatures. These curvatures generate a series of implied thresholds which, through moments of spatial compression, divide the project into several undesignated yet clearly articulated exterior zones. Nested within this sequence is the raised urban plaza, marking both the center

of the site and a particularly important civic and commercial space given the scale of the project. A portion of the plaza functions as a public urban courtyard, offering moments of respite from the surrounding city.

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Caldwell Smith

SOMERVILLE MAGNET SCHOOL: SAMPLE, CUT, STITCH Semester: Fall 2024 Prof. Nancy Nichols Harvard GSD; Core I Type: Magnet School Team: Caldwell Smith

Somerville Magnet School is designed under the programmatic pretext of an approximately 30,000 sqft combined middle school and high school. And under the context of the relatively quiet residential neighborhood of Spring Hill, Somerville. The site is an L-shaped corner lot with significant grade change. The site’s unusual shape creates unique frontages belonging to three streets. The final dependent variable is an interaction between two seemingly incompatible sections, each representing a unique spatial paradigm. Using simple geometric relationships that are responsive to urbanistic needs, these spatial relationships are rationalized and animated.

The incongruence of the two sections offers an opportunity to unite the discontinuities of the project’s framework through the use of a void that carves through the building. This space attempts to answer the following questions: how can the continuity of a voided space create a connection between sets of discrete spaces? and How can that create a dynamic and unifying spatial experience?

This volumetric reconciliation through void creates a third unique (experiential) schematic axis that both unifies the two sections and sets up an exciting contrast between the bilaterally symmetrical envelope and an asymmetrical interior. The spatial overlaps generated by this void setup compositionally accelerating pictorial axes. The spatially discrete program is unified through an experiential void: a traveling atrium.

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By combining two heterogeneous sections (derived from 20th-century spatial paradigms: Adolf Loos’ “raumplan” and Le Corbusier’s “free plan”) in a method to create a unique system of spatial incongruency and spontaneity, this project hopes to address the discontinuities of site and program. These two planometrically derived sections each offer one space that could be leveraged as the tool to reconcile these discontinuities: a central vertical volume and a large open horizontal space.

These two spaces couldn’t be more different (one exists inside the section, the other contacts the exterior walls; one is vertical in nature, the other horizontal; one is focused toward the top of the section, the other on the bottom; etc…). Through the volumetric contortion of these spaces in the extruded sections, a method of spatial reconciliation for the discontinuities between these two paradigms is found.

In which, the vertical carefully contorts to the horizontal.

Programmatic, spatial, and

geographic discontinuities are resolved through these spatial maneuvers. Creating a Traveling Atrium. An experiential antidote to a sectional disruption.

The result is a harmonious diagonal transition between horizontal and vertical spaces. A process of making two become one. One which creates a richness of spatial layering. This is further enhanced by the pushing and pulling of the facade in reaction to the building’s sectional qualities and programmatic needs.

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CROSSING HOUSE:

LIVING SINGLE, LIVING TOGETHER Semester: Fall 2024 Prof. Nancy Nichols Harvard GSD; Core I Type: Muti-Family Housing Team: Caldwell Smith

The crossing house is an expirement in planometrically dervied design.

The house is a duplex, situated in an abstract medium density context. The cross axis is flanked by houses on eitherside. The longitudinal axis is parallel with the street on one side, and a garden on the other.

The design originates from the first floor plan, which includes a four rooms connected my a largely abstracted single loaded corridor. The corridor acts as a public/private threshold. It extends up through a further abstracted humble wall, separating the occupants (visually and physically) from the street on the street face and opening to the garden behind.

The duplex consists of three boxes, stacked and carefully rotated in relation to the one another. Stairs to the floor above move through designated spaces on either side of the plan and turn to match the angle of the floor above. In effect, this produces a rachetting of the stairs around a the elevator shaft. A formal tension which produces radically asymetrical spacal experiences. This effect permietes each floor, and generates an sort of programatic checkerboard along the longitudinal section.

The key investigations within Crossing House are the wrapping of circulation in order to create unique spatial experiences, the manipulation of public/private threhold , and the interacte between the two.

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The relationship between the two units of this duplex is negotiated through the strategic arrangement of circulation. The two units shift, push, and pull into each other’s space, but views directly into the other unit are obstructed.

The stairs are the medium in which this interaction takes place. The stairs wrap around a central core where the elevator is placed. The core operates as the point of contact, which the stairs can then ratchet around and catalyze the rest of the form.

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There is a general programming of space can be understood twofold: in terms of units and typology. The unit programming is a sort of checkerboard, where the floor above and below always belong to the opposite unit. Typological programming is understood through stacking, where most of the sleeping quarters are located in the basement, the living and dining on the first floor (where the units are entered), and accessory living/ communal areas on the third floor. A patio and garden accessible to both units are located on the third floor and roof, respectively.

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SECOND FLOOR

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BASEMENT

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NORTH CAROLINA RARE BOOKS LIBRARY: PROTECT, DISPLAY Semester: Spring 2024 Prof. Dana Gulling NCSU, College Of Design Type: Rare Books Library Team: Caldwell Smith

North Carolina Rare Books Library is a Library housing important and delicate documents, manuscripts, maps, and books. Located within the Capitol District in Raleigh, North Carolina, the North Carolina Rare Books Library stands in a close critical coversation with its muciple. The site is at the corner of two streets, Lane to the north and Blount to the east. Meanwhile, the west of the site opens up to the recently constructed Freedom Park. The park sets up multiple diagonal axes that contrast the strict grid of downtown Raleigh.

The relationship between these three important constraints of the site are simultaneously mediated and further manifest through the intrinsic and extrinsic qualities of the Library. The formal massing, spatial programming, and circulatory axes reciprocate the qualities of the given site. The massing, in particular, is made of three forms that are in communication with these aspects of the site. Two sit on the ground and produce a strong corner, responding to the urban condition. A third – housing the book stacks – is lifted above these, allowing the park to slide underneath. Extending the phenomenal public space from the park and into the reading room which faces it. Setting up an important dynamic between a building that is designed as public infrastructure and the necessity of restricted access for the delicate items it stores. This interaction sets up a multiplicity programmatic relationships through view axes, where the public can see but, out of necessity, cannot access.

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Of critical importance was the interaction of the surrounding context in relation to the library: the streets, the park, and the capitol mall.

These three factors set up three axes. These axes inform much of the library organization. This is importantly reflected in the circulation. Careful articulations around these axes connect important spaces from the surrounding site, becoming a civic circulatory infrastructure.

The interaction of all three axes unites at the central monumental stair, which simultaneously is an anchor and dispersal mechanism.

All interactions, both in plan and section, stem from the thoughtful interaction of these axes.

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THIRD FLOOR 25 Archive Repair and Bindery 24 Staff Office 23 Conference Room 22 Break Room 21 Directors Office

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SECOND FLOOR 15 Lg Rare Books Reading Rm 14 Sm Rare Books Reading Rm 13 Women’s Restroom 12 Men’s Restroom 11 Lecture Hall 10 Stacks - Rare Books

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The three volumes derived from the axes - offer the general rubric for the spatial planning of the library.

The most distinct of the three is the volume housing the book stacks. The stacks are emphasised as a gesture to and backdrop for Freedom Park. The perforated UHPC panels that screen the space help articulate the form as an analogy to the physically restricted but publicly accessable knowledge

stored within. The stacks are raised and subject to an emphasized expression.

This raising of the stacks, consequently, allows for a direct relationship between the public ground plane of the park and the library’s reading room. The entirety of the public level of urban space is maintained as outside becomes inside. One almost seamlessly slips into the other.

The library can be programmatically understood through a sectional gradient.

Where truly public spaces appear on the first floor, ascending to entirely restricted access on the third floor. This programmatic relationship is important to the relationship to site and social context. Creating easily accessible spaces at the most accessible places, which are entirely public.

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This project was part of a studio focusing on precast concrete, sponsored by PCI. Formwork, connections, and structure were all integral aspects. We started the studio by having two groups of seven students design, fabricate, and cast one precast panel and all the necessary formwork (in this case, a roof slab). A design challenge to relate a relatively small module to the building as a whole. The whole, in this case, became a techtonic system of precast concrete structure.

A resilient system well suited to the unique needs of the program.

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The panels designed by the two groups offered a chance to design a modular component in an otherwise standardized system. Our group focused on a roof slab that would produce a modular system of coffered daylit openings (shown on this project’s opening spread, rendered on the reading room ceiling). The coffers of our slab use trapiziodal sections, which are rotated and reflected to generate rhythm.

This slab required a formwork; a direct negative of the slab. After several test molds, we decided on making

the mold (2’x8’x10”) out of plywood. I cut coffering inverses using a track saw. The coffers were assembled of mitered plywood sheets, which required precision to achieve the often quite acute angles.

The structural capacity of the slab itself was extremely important to the design. The slab was designed to meet a series of tests, including a 4,000-pound dead load test.

The design was structurally analyzed by selected students from NC State’s College of Engineering.

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Low-E Fritted Glass UHPC Screen 2” Topping Slab 8LDT24 Precast Slab 28IT32 Precast Beam Insulated Spandrel Glass 2x1 Metal Stud (4”o.c.)

2” Rigid Insulation

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SCHENCK FOREST PAVILION: READING IN THE TREES Semester: Spring 2023 Prof. Joseph Burkett NCSU, College Of Design Type: Pavilion Team: Caldwell Smith Awards: 2023 AIA Aspire Student Design Awards Nominee

Schenck Forest is an actively maintained forest. The forest encompasses 245 acres of forested area which are operated by the NCSU Department of Forestry. The forest finds itself with a variety of hiking trails; however, distinctly lacks any thought-provoking architecture.

Placed strategically along the Richland Creek Trail, Schenck Forest Pavilion works to activate the path, creek, trees, and visitors, all within distinct timber architecture. Cedar columns continue the natural pattern set by the trees and raise a glulam frame elegantly above the intersecting path. It is wrapped in a cloak of polycarbonate with purposefully placed voids. A large opening is fixed at the end where the frame sublimely overhangs Richland Creek.

The site is chosen due to its beauty, and location. The landscape directly informs the architecture through the path, trees, and creek.

The path is intentionally intersected by the pavilion, drawing a line in perpendicular opposition to the winding path. The pavilion is raised above the path, placing it among the trees. At this site the bank is steep and tall. As water reflects its surroundings, the raised cantilever reaches over the water and reflects the form of the steep bank below.

The pavilion is with nature, and cannot be without.

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Detail A Glulam Beam Steel T-Bracket Threaded Shank

The first being the direct intersection with the path. The pavilion was always part of the path, and not set to the side.

While some ideas were more experimental and intersected the path in unique ways, the intersection was a constant.

2x4 Wood Framing

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Glulam Column Steel Bolt Steel Bracket Concrete Footing

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The final remaining idea was that the structure should be able to be manufactured using the materials harvested in the forest. Manufacturing and assembly are meant to be able to take place in Schenck Wood Lab.

Glulam Column

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The second residual idea was the extension over the creek. Some early Iterations would extend all the way across.

But the importance of this interaction was crucial.

Slotted Steel Plate

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As with all architecture, process was important to the design. Three ideas remained constant throughout the process, showing their importance, especially in such a simple structure.

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The Schenck Forest Pavilion is the result of a study in timber construction. Within a large managed forest, the pavilion represents what could be created with the wood harvested in the forest.

A combination of custom glulam members and dimensional lumber assemble into a cohesive frame. They are connected with a variety of custom and standard hardware.

It is a study of one of the most sustainable materials; one which could be the most important for the future of architecture.

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jcaldwellsmith@icloud.com +1 (336) 707 4385