Portfolio

CHRISTOPHER HASSAN ALLEN ARCHITECTURAL DESIGNER

-10 to +0 -19

01.

NEW RUIN

02.

PORTLAND WHARF

-27

-10 to +0 yrs.

-19

-43

-27

-52 -43

FALL 2022

FALL 2021

-52 -83 -93

03.

-83 -93

CHINATOWN LIBRARY SPRING 2021

04.

-147

-147

INSTRUMENTS OF ASSEMBLY FALL 2020

-169

05.

CHRISTOPHER HASSAN ALLEN 5 OF Morrill 4 Sarah C Holland 3 Charles Heath 2 William B Sweet 2 SC Squires 2 Sarah E Holland 2 James Hendley 2 ID Davenport 1 William Boyle 1 TW Davis 1 TP Davis 1 Patrick O’Connor 1 M Crown 1 John Heaman 1 JM Darelles 1 JH Goodwin 1 James C Heather 1 J Crawley 1 J Brown 1 J Bancroft 1 HW Kinsman 1 HM Nelson 1 George Goodnow 1 CM Rogers 1 C Moore

MASTER OF ARCHITECTURE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SCHOOL OF ARCHITECTURE AND PLANNING

06.

15 75 Kneeland St LLC* 14 Boston Redev.

Authorithy* 7 Chinese Christian Association*

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15 75 Kneeland St LLC?* 14 City of Boston?* 7 Chinese Christian Association*

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15 Hudson Bldg Trust?* 14 City of Boston?* 7 Chinese Christian Association*

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(Unknown Owners)

THREE—LEGGED CHAIR SPRING 2023

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15 Hudson Bldg Trust* 5 Michael J Hogan 4 Conveyancers TI&M* 3 YMCA* 2 Wu L Bing 2 SN Ayoub 2 FGM Lahan 1 SM Ayoub 1 PK Handy 1 Home Savings Bank* 1 FG & M Deban 1 EL Quinn 1 CA Sullivan

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15 Hudson Bldg* 4 Michael J Hogan 4 MA Jennings 3 YMCA* 3 FG Deban 2 Wu L Bing 2 SN Ayoub 1 Z Wyshak 1 L & M Davis 1 EL Quinn 1 AM Laham 1 A Nahass

ECOLOGY, ERASURE, & MEMORY ON DEER ISLAND FALL 2021

ARCHITECTURAL DESIGNER

In

# LOTS/OWNER * GROUP OWNED A LIKELY NONEUROPEAN OWNER, COMMUNITY RESOURCE ? SPECULATED OWNER

07—10.

WORK SAMPLES

01

NEW RUIN OPTION STUDIO PROFESSOR ANTÓN GARCÍA-ABRIL SPRING 2022

This proposal imagines creative and residential facilities for a plein-air artists' residency located on the Illa del Rei, a small rocky island at the mouth of the Port of Maó in Menorca, Spain. The residency is meant as an extension of the operations of the existing Hauser & Wirth gallery on the island, providing studio spaces, areas for communing and dining, as well as housing accommodations for six artists. These spaces are arranged along a snaking chain of rectangular "subtracted plinths" carved into the rock of the island's landscape.

The design takes formal and methodological cues from the long history of masonry and lithic architecture in the Balearic Islands, from the ancient T-shaped megalithic structures known as "taulas," to the Líthica quarry of Ciutadella de Menorca. The architecture reappropriates the material of the site, and nestles itself into the landscape, so as to nearly disappear to the eye of someone approaching, allowing the retention of northward vistas across the inlet towards the city of Mahón from the central peak of Illa del Rei.

PLAN: RESIDENCES

PLAN: STUDIOS AND COMMUNAL SPACES

PHYSICAL MODEL: INTERIOR

CONSTRUCTION SECTION: ENCLOSED STUDIO

PHYSICAL MODEL: EXTERIOR

02

PORTLAND WHARF CORE III STUDIO PROFESSOR SHEILA KENNEDY IN COLLABORATION WITH ADRIANA GIORGIS FALL 2021

BAIT

As Maine’s coastline changes hands from public to fully private, access to the shore becomes more contentious and litigious. This proposal, sited at the Berlin Mills Wharf in the city of Portland, offers a literal and figurative mooring space for the public—a point of commerce, rest, learning, and communing along an increasingly privatized SEAWEED HARVEST shoreline. Aimed at supporting the greater Portland community, the project caters to nearby farmers, city dwellers, and independent marine businesses through the emphasis of traditional skills and their reinvention. As Portland's population, and with it the local PROCESSING culture, grows and diversifies, the project provides a site for the confluence ofSEAWEED varying aquacultural, agricultural, and maritime traditions.

The building serves as a nexus for seaweed harvesting and refining activities that offer a cooperative effort around which members of the local community can FERTILIZER organize, recognizing the undertapped potential of rockweed (an endemic species of seaweed) as an additional economic resource for Portland's professional and amateur aquaculturalists alike. Rockweed provides a seasonal cycle around which local residents can engage both with each other and with the region's biosphere. FARMING

BAIT

SEAFOOD HARVEST

SEAFOOD HARVEST

SEAFOOD

SEAWEED PROCESSING SEAFOOD PACKAGING

FERTILIZER

COMPOST PROCESSING

SEAFOOD PACKAGING PACKAGED SEAFOOD

PACKAGED SEAFOOD

COMPOST PROCESSING

COMPOST MATERIAL

COMPOST MATERIAL

FARMING SURPLUS PRODUCE

SURPLUS PRODUCE

SURPLUS SEAFOOD

SURPLUS SEAFOOD

PRODUCE

PRODUCE

SEAFOOD

SEAWEED HARVEST

CONSUMPTION

CONSUMPTION

SEAWEED HARVESTERS SEAFOOD HARVESTERS AGRICULTURALISTS

SEAWEED HARVESTERS SEAFOOD HARVESTERS AGRICULTURALISTS

SITE PLAN

REINTRODUCING SEAWEED INTO AGRI- AND AQUACULTURAL NETWORKS

INTERIOR VIEW: NEXUS FOR CITY-DWELLERS, FARMERS, AND MARINERS

SOUTHWEST ELEVATION 0’

10’

0’

(PRODUCE IN) >

LOADING OD

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GROCERY CO-OP

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GROCERY CO-OP

10’

SECOND FLOOR PLAN

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SEAWEED STORAGE LD CO AGE R STO

MAIN ENTRY

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SEAWEED DRYING

SEAWEED STORAGE AND REFINING

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FIRST FLOOR PLAN

(SEAWEED 10’ IN)

FISHING SUPPLY LENDING LIBRARY

STORAGE

BOATHOUSE + REPAIR WORKSHOP

^

0’

10’

3’-0

”

6”

2’-0

3’-0

”

”

6”

2’-0

2’-0

”

2’-0

”

”

34”

LOADING

18”

34”

18”

3’-0”

3’-0”

SEAWEED STORAGE

APERTURE STUDIES: DESIGNING FOR INTERACTION

6”

3’-0

”

6”

3’-0

”

3’-0”

3’-0”

LOUNGE

DINING + HEARTH

TEACHING KITCHEN

WORKSHOP

BOATHOUSE + REPAIR WORKSHOP

INTERIOR VIEW: BOATHOUSE WORKSHOP

TRANSVERSE SECTIONS: GABLE ROOF EXPANDS AND CONTRACTS TO ACCOMMODATE PROGRAM

0’

10’ 0’

10’

0’

10’

In keeping with the motivation to embody local natural materials in the building itself, the project utilizes local dimensional lumber to construct thickened walls and a long-span truss structure, limited to off-the-shelf, repairable, and replaceable elements, and emphasizing a redundancy of parts which informs the scale of the building. Marine materials also find their way into the envelope of the building, with dried rockweed batting used as thermal insulation in exterior partitions, as well as an aggregate in the composite shingles that clad the building's unifying roof.

HARVESTING AND PROCESSING ROCKWEED FOR USE AS AGGREGATE IN MATERIAL EXPERIMENTS

MARINE COMPOSITE ROOF MARINE SHINGLES COMPOSITE ROOF SHINGLES

WOOD BATTENS AND COUNTERBATTENS WOOD BATTENS ONAND COUNTERBATTENS ON 2 LAYERS OF FIRE-RATED PLYWOOD 2 LAYERS SHEATHING OF FIRE-RATED PLYWOOD SHEATHING

WOOD WOOL INSULATION BOARD WOOD WOOL INSULATION BOARD

2 LAYERS FIRE-RATED PLYWOOD 2 LAYERS FIRE-RATED PLYWOOD

2 LAYERS TRANSLUCENT INSULATED 2 LAYERS TRANSLUCENT INSULATED POLYCARBONATE POLYCARBONATE

WOOD PLANK FINISH FLOOR WOOD PLANK FINISH FLOOR FELT UNDERLAYMENT FELT UNDERLAYMENT 2 LAYERS FIRE-RATED PLYWOOD 2 LAYERS SUBFLOOR FIRE-RATED PLYWOOD SUBFLOOR

WOOD WOOL INSULATION BOARD WOOD WOOL INSULATION BOARD BETWEEN WOOD FLOOR JOISTS BETWEEN WOOD FLOOR JOISTS

REPURPOSED NYLON MARINE REPURPOSED ROPE NYLON MARINE ROPE

2 LAYERS FIRE-RATED PLYWOOD 2 LAYERS ON FIRE-RATED PLYWOOD ON LIGHT TIMBER FRAME WALLLIGHT TIMBER FRAME WALL DEHYDRATED ROCKWEED INSULATION, DEHYDRATED ROCKWEED INSULATION, COMPRESSED INTO BUNDLES COMPRESSED INTO BUNDLES LIGHT TIMBER FRAME WALLLIGHT TIMBER FRAME WALL

MARINE PLYWOOD EXTERIOR MARINE SHEATHING PLYWOOD EXTERIOR SHEATHING WOOD BATTENS AND COUNTERBATTENS WOOD BATTENS AND COUNTERBATTENS

MARINE COMPOSITE WALL SHINGLES MARINE COMPOSITE WALL SHINGLES

EXTERIOR WALL ASSEMBLY STUDY

EXTERIOR ENVELOPE ASSEMBLY

SECTIONAL ENVELOPE MODEL

1

MARINE COMPOSITE ROOF SHINGLES ON WOOD BATTENS WOOD COUNTERBATTENS AND AIR GAP 2 LAYERS FIRE-RATED PLYWOOD

1

WOOD WOOL INSULATION

MARINE COMPOSITE ROOF SHINGLES ON WOOD BATTENS

WOOD WOOL INSULATION

WOOD COUNTERBATTENS AND AIR GAP

2 LAYERS FIRE-RATED PLYWOOD

2 LAYERS FIRE-RATED PLYWOOD

ROOF MEMBRANE

WOOD WOOL INSULATION

METAL DRIP EDGE CONCEALED METAL GUTTER

WOOD WOOL INSULATION

WOOD BLOCKING FOR GUTTER

2 LAYERS FIRE-RATED PLYWOOD METAL DRIP EDGE

ROOF MEMBRANE

MARINE COMPOSITE ROOF SHINGLES ON WOOD BATTENS

CONCEALED METAL GUTTER WOOD BLOCKING FOR GUTTER

WOOD COUNTERBATTENS AND AIR GAP

2 LAYERS TRANSLUCENT INSULATED POLYCARBONATE

MARINE COMPOSITE ROOF SHINGLES ON WOOD BATTENS

WOOD TRUSS

WOOD COUNTERBATTENS AND AIR GAP

SIMPSON TIE CONNECTION 2 LAYERS TRANSLUCENT INSULATED 2 LAYERS MARINE PLYWOOD POLYCARBONATE WOOD TRUSS SIMPSON TIE CONNECTION 2 LAYERS MARINE PLYWOOD

METAL DRIP EDGE CONCEALED METAL GUTTER METAL DRIP EDGE CONCEALED METAL GUTTER

1

2 1 2

STAINLESS STEEL TENSION CABLE

SIMPSON TIE CONNECTION

WOOD ROOF TRUSS 2

WOOD ROOF TRUSS

STAINLESS STEEL TENSION CABLE

SIMPSON TIE CONNECTION

WOOD ROOF TRUSS

WOOD ROOF TRUSS

2

2 LAYERS MARINE PLYWOOD

2 LAYERS FIRE-RATED PLYWOOD

2 LAYERS TRANSLUCENT 2 LAYERSINSULATED MARINE PLYWOOD POLYCARBONATE

COOL

COOL

WARM

WARM

STAINLESS STEEL TENSION CABLE

STAINLESS STEEL TENSION CABLE

2 LAYERS FIRE-RATED PLYWOOD VAPOR BARRIER

2 LAYERS TRANSLUCENT INSULATED POLYCARBONATE

VAPOR BARRIER

STEEL BOLT STEEL BOLT

WOOD POST

WOOD POST

2 LAYERS FIRE-RATED PLYWOOD

2 LAYERS FIRE-RATED PLYWOOD DEHYDRATED ROCKWEED BATT INSULATION

MARINE PLYWOOD EXTERIOR SHEATHING

DEHYDRATED ROCKWEED BATT INSULATION

MARINE PLYWOOD EXTERIOR SHEATHING

+

DEHYDRATED ROCKWEED DEHYDRATED ROCKWEED BATT INSULATION BATT INSULATION

DEHYDRATED ROCKWEED BATT INSULATION 2 LAYERS FIRE-RATED PLYWOOD

1/2” MARINE PLYWOOD

1/2” MARINE PLYWOOD EXTERIOR SHEATHING EXTERIOR SHEATHING

3

3

WOOD POST

VERTICAL WOOD COUNTERBATTENS

DAYLIGHT AVAILABILITY

VERTICAL WOOD COUNTERBATTENS AND AIR GAP AND AIR GAP

SIMPSON TIE CONNECTION WOOD BASEBOARD

SHINGLE UNDERCOURSE, 1/2” ABOVE FINAL SHINGLE COURSE FOR

SHINGLE UNDERCOURSE, 1/2” ABOVE WATER SHEDDING FINAL SHINGLE COURSE FOR WATER SHEDDING INSECT SCREEN, CONTINUOUS

WOOD BASEBOARD WOOD PLANK FINISH FLOOR ON FELT UNDERLAYMENT

WOOD BASEBOARD

MARINE COMPOSITE WALL SHINGLES

WOOD PLANK FINISH FLOOR ON FELT UNDERLAYMENT

WOOD BATTENS MARINE COMPOSITE WALLON SHINGLES ON WOOD BATTENS

WOOD PLANK FINISH FLOOR ON FELT UNDERLAYMENT

2 LAYERS FIRE-RATED PLYWOOD SUBFLOOR

2 LAYERS FIRE-RATED PLYWOOD SUBFLOOR

3

3

WOOD WOOL INSULATION BOARD

2 LAYERS FIRE-RATED PLYWOOD SUBFLOOR

-

EXISTING RIP-RAP

EXISTING CONCRETE

EXISTING RIP-RAP

STEEL BOLT

DAYLIGHT AVAILABILITY

WOOD BASEBOARD WOOD PLANK FINISH FLOOR ON FELT UNDERLAYMENT 2 LAYERS FIRE-RATED PLYWOOD SUBFLOOR

WOOD WOOL INSULATION BOARD SECURED WITH REPURPOSED NYLON MARINE ROPE

WOOD WOOL INSULATION BOARD SECURED WITH REPURPOSED NYLON MARINE ROPE

REPURPOSED NYLON MARINE ROPE WOOD BEAM

NEW CONCRETE FOOTING

STEEL BOLT

CEMENT FILL AND LEVELER

NEW CONCRETE FOOTING

EXISTING CONCRETE EXISTING RIP-RAP

-

SIMPSON TIE CONNECTION

WOOD WOOL INSULATION BOARD WOOD BEAM

WITH DRILLED PILES

CEMENT FILL AND LEVELER

WOOD POST

REPURPOSED NYLON MARINE ROPE

INSECT SCREEN, NEWCONTINUOUS CONCRETE FOOTING NEW CONCRETE FOOTING CEMENT FILL AND LEVELER WITH DRILLED PILES EXISTING CONCRETE

DEHYDRATED ROCKWEED BATT INSULATION 2 LAYERS FIRE-RATED PLYWOOD

+

CEMENT FILL AND LEVELER EXISTING CONCRETE EXISTING RIP-RAP

DRILLED CONCRETE PILE

DRILLED CONCRETE PILE

THERMAL AND DAYLIGHTING DIAGRAMS

EXTERIOR ENVELOPE ASSEMBLY SECTION

DETAILS

03

CHINATOWN LIBRARY CORE II STUDIO PROFESSOR CRISTINA PARREÑO SPRING 2021

Parcel R-1 in Boston’s Chinatown has experienced waves of private and public ownership since it was created through the land fill of the historic South Cove. Given that the parcel will most likely be the future site of affordable housing in the real world, and after hearing current Chinatown residents express a desire for a sense of home in their library, this proposal conceives a Return of House to the site, both programmatically and scalarly. In terms of program, this motive is reflected in domestic programs such as a communal kitchen, dining space, and tea room, providing additional spaces for residents of the neighborhood to enjoy family and group meals, which in particular operate as an integral part of many religious and cultural celebrations for the Chinese American communities of Boston’s Chinatown. In terms of scale, the return of “house” is reflected in the limited vertical extents of the massing as a counterpoint to the looming surrounding buildings and as a sign of deference to the rowhouses which originally populated the site, a line of which remain facing the south of the site. The building mass turns itself inward and the interior of the site is occupied by a courtyard which is not immediately visible or discernible by passersby, but rather reveals itself to the visitor only through an exploratory engagement with the site. This positioning of the courtyard is meant to create an intimate, protected outdoor space at the heart of the library which defies touristic voyeurism.

-10 to +0 -19 -27

-10 to +0 yrs.

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. . . a center for communing

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# LOTS/OWNER * GROUP OWNED A LIKELY NONEUROPEAN OWNER, COMMUNITY RESOURCE ? SPECULATED OWNER

(Unknown Owners)

5 OF Morrill 4 Sarah C Holland 3 Charles Heath 2 William B Sweet 2 SC Squires 2 Sarah E Holland 2 James Hendley 2 ID Davenport 1 William Boyle 1 TW Davis 1 TP Davis 1 Patrick O’Connor 1 M Crown 1 John Heaman 1 JM Darelles 1 JH Goodwin 1 James C Heather 1 J Crawley 1 J Brown 1 J Bancroft 1 HW Kinsman 1 HM Nelson 1 George Goodnow 1 CM Rogers 1 C Moore

15 Hudson Bldg* 4 Michael J Hogan 4 MA Jennings 3 YMCA* 3 FG Deban 2 Wu L Bing 2 SN Ayoub 1 Z Wyshak 1 L & M Davis 1 EL Quinn 1 AM Laham 1 A Nahass

15 Hudson Bldg Trust* 5 Michael J Hogan 4 Conveyancers TI&M* 3 YMCA* 2 Wu L Bing 2 SN Ayoub 2 FGM Lahan 1 SM Ayoub 1 PK Handy 1 Home Savings Bank* 1 FG & M Deban 1 EL Quinn 1 CA Sullivan

15 Hudson Bldg Trust?* 14 City of Boston?* 7 Chinese Christian Association*

15 75 Kneeland St LLC?* 14 City of Boston?* 7 Chinese Christian Association*

15 75 Kneeland St LLC?* 14 City of Boston?* 7 Chinese Christian Association*

15 75 Kneeland St LLC?* 14 City of Boston?* 7 Chinese Christian Association*

15 75 Kneeland St LLC* 14 Boston Redev.

Authorithy* 7 Chinese Christian Association*

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# LOTS OWNED BY:

TIMELINE: OCCUPATION AND OWNERSHIP ON PARCEL R-1

Tracing the 169-year-long history of architectural occupation of Parcel R-1 revealed that over time, residences owned by individuals were largely replaced by commercial buildings with corporate ownership, though some vacant lots on the parcel are still owned by local community-oriented organizations. Today, half of the parcel which was formerly occupied by rowhomes now exists as a parking lot.

In response to these conditions, this project proposes a library as . . .

. . . a protective refuge.

b

A

B

C

D

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c

d

FIRST FLOOR PLAN

SECOND FLOOR PLAN

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MEZZANINE PLAN b

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B

C

D

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c

b c

d d

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UNFOLDED SECTION: A GRADIENT OF SPACES SPECIFICALLY PROGRAMMED FOR CHILDREN, TEENS, AND ELDERS

e

a

04

INSTRUMENTS OF ASSEMBLY CORE I STUDIO PROFESSOR J. JIH FALL 2020

At a time when populations around the world are re-evaluating the histories and morals immortalized in their built environments, these Instruments of Assembly also serve as anti-monuments for the city of Boston, which has its own fraught history with monuments that glorify racism and colonial violence.

The proposal combines the sonic tactics of protest with a participatory program of storytelling and conversation to create a nodal network of interactive auditory interventions that comprise an urban discursive infrastructure. A variety of parabolic sound-reflecting shapes are combined and iterated to create an arrangement of unique rotating structures whose differences invite exploration and interaction and whose geometries and mobility enable a range of sound-based gatherings from one-on-one conversations to concerts and rallies, which play significant roles in political and social activism.

DISCURSIVE SONIC INFRASTRUCTURE

PARABOLOID DISH

PARABOLIC WALL

SPEAKING TUBE

PARABOLOID POD

The varied alignment, movement, and usage of these structures in the park create a complex and ever-changing soundscape nested within the picturesque landscape of the Emerald Necklace. As visitors interact with the structures and discover their geometric and sonic abilities, they find themselves immersed not only in real-time sounds of play, performance, and conversation, but also in reproduced sounds of social and political discourse: In addition to directing sound, each structure also records and replays sound through its shape and movement.

Paraboloid pods on the ends of each structure may be arranged to face one another, creating a sonic chamber in which a microphone in one pod is optimized to receive the sound of someone speaking in the opposite pod. One day a year, these microphones are activated and Boston residents are invited to the park to record anecdotes in response to questions regarding various social and political experiences of the city—"How do you feel when you see police?" "Recount a time you felt at home in the city," etc. These recordings are collected and dispersed to corresponding structures in the city, situated at civic and historical sites related to the stories told by participants. Through cooperative movement and a shared auditory experience, those who interact with the structures are invited to engage in public discourse with their fellow urban residents, seeing the city not through another’s eyes but through another’s words.

MAPPING RECENT HISTORY OF PROTEST IN BOSTON: KEY SITES AND METHODS OF CIVIL DISOBEDIENCE EMERGE

ITERATIVE COMBINATIONS

POINTS OF DEPLOYMENT: NETWORKING MONUMENTS AND SITES OF CONTENTION

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to park

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PLAN: ORIENTING SONIC INTERVENTION IN THE EMERALD NECKLACE

PLAN: SOUND REFLECTION IN VARIED USE SCENARIO

PLAN: SOUND REFLECTION IN RALLY/CONCERT SCENARIO

VARIED USE SCENARIO

05

ECOLOGY, ERASURE, & MEMORY ON DEER ISLAND URBANISM PROSEMINAR PROFESSOR RANIA GHOSN FALL 2021

This triptych focuses on Deer Island, the present site of the second-largest wastewater treatment plant in the U.S. and a historical site of the internment of Indigenous individuals during King Philip’s War, as an investigation of the role which ecological infrastructure plays in sociocultural projects of historical and demographic erasure, particularly in relation to Indigenous histories and communities, across a variety of temporal, geographic, and urbanistic scales. Bearing both its past and present in mind, Deer Island has a multifaceted history of literal and figurative washing, expressed across scales of time, infrastructure, and sociopolitics. Its current iteration as a beacon of ecological cleansing has figuratively whitewashed its history as a key site in the attempted ethnic cleansing of Indigenous communities by European colonizers.

DETAIL: ERASURE

1. ECOLOGY: SOCIOSANITARY WASTE

DETAIL: MEMORY

2. ERASURE: DENIAL AND REMOVAL

3. MEMORY: COMMEMORATIVE TRACING AND SPATIALTEMPORAL STITCHING

06

THREE-LEGGED CHAIR FURNITURE MAKING WORKSHOP PROFESSOR CHRIS DEWART SPRING 2023

A chair with three legs, made of ash and cherry wood, produced through steam-bent lamination and CNC milling. The chair takes its formal cues from Ming-dynasty yokeback chairs, the 1950 "Praying Mantis Lamp" by Jean Rispal, and bike seats.

FRAME PERSPECTIVE

FRAME PERSPECTIVE

FRAME SIDE PROFILE

FRAME SIDE PROFILE

FRAME PERSPECTIVE

FRAME/SEAT PLAN

FRAME SIDE PROFILE FRAME/SEAT PLAN

SEAT SIDE PROFILE

FRAME PERSPECTIVE

FRAME SIDE PROFILE

SEAT SIDE PROFILE

FRAME/SEAT PLAN

SEAT SIDE PROFILE

praying mantis lamp rispal, 1950s

chair daisy zhang FRAME/SEAT PLAN

INITIAL CONCEPT SKETCHES

chair jung in seo SEAT SIDE PROFILE

07 / WORK SAMPLE

"COVER ME SOFTLY:" TIMIŞOARA ARCHITECTURE BIENNIAL CURATED BY OANA STĂNESCU, WITH CHASE GALLIS AND SIMINA MARIN CURATORIAL, EDITORIAL, AND PRODUCTION ASSISTANT JUNE—OCTOBER 2024

As a production assistant, I was able to apply my architectural skill set to assist in the production of exhibitions for several local and international contributors to a biennial exposition of architecture, art, and design, including space planning, exhibition design, and installation of visual and audio works in collaboration with teams of curators, architects, artists, publicists, and other professionals. The biennial, under the theme "cover me softly," comprised 50 primary installations as well as over 80 smaller-scale contributions all centered around the interpretation of the "cover," from reinterpreting existing material (as in the "cover song") to literally covering or enclosing one's environment. This 10-year anniversary edition of the biennial exhibited works from a wide range of creative disciplines including architecture, art, fashion, film, and music, and unfolded over five weeks of community programming including workshops, lectures, and dance parties. Preparation for the exhibition included the adaptive reuse of over 3,000 square meters of interior and exterior space in a former military garrison building.

The exhibition was experienced by approximately 26,000 visitors over its duration.

In addition to my roles assisting curation and production, as an editorial assistant, I directly assisted the editors of a physical publication that accompanied the exhibition, the content of which includes a series of essays, interviews, and visual pairings of canonical design works with their reinterpretations, or "covers." In this role, my responsibilities included soliciting and selecting content for contribution, producing and editing literary and visual content, and coordinating legal usage rights for images that comprise a large portion of the publication.

08 / WORK SAMPLE

"SANCTUARY:" KUNSTHAUS GRAZ AZRA AKŠAMIJA / FUTURE HERITAGE LAB EXHIBITION ARCHITECT JUNE 2023—JULY 2024

I worked as the primary exhibition architect for researcher, designer, and artist Azra Akšamija's mid-career retrospective exhibition "Sanctuary," presented at the Kunsthaus Graz in Graz, Austria. In this role, I collaborated with the artist and a team of local curators to produce a visually cohesive and narratively coherent exhibition design for an international audience. The works selected and displayed consisted mostly of large-scale textile spatial installations, video works, and wearables. Conceptually, it was imperative to me that the works interacted with the architecture of the gallery space as much as permitted by the unconventional bubble-tecture interior, rather than either float untethered in the space, or rely on temporary walls to be erected. Over the course of the exhibition, a series of workshops were held in which visitors were able to learn about the fabrication methods of some of the artworks, and assemble portions of a large-scale modular wearable artwork.

09 / WORK SAMPLE

BËT-BI CULTURAL CENTER & MUSEUM AZIZA CHAOUNI PROJECTS ARCHITECTURAL INTERN JULY—AUGUST 2021

As an architectural intern at Aziza Chaouni Projects, I designed and modeled portions of a competition proposal for a museum and art center in Senegal using Rhino and AutoCAD. Through an iterative design process, I was able to propose and visualize a series of solutions to design and programmatic challenges presented in the competition brief, for final selection by the lead architect. I produced diagrams, collages, and sketches in the development of architectural, environmental, and material concepts, in order to effectively communicate the narrative of the project proposal and its response to specific site conditions. In preparation for this, I conducted research on material, environmental, cultural, and historical contexts of competition site. Throughout my time as an architectural intern, I aided in coordinating collaborative efforts between remotely-located international teams of fellow interns, architects, and consultants in order to develop a cohesive architectural proposal and associated presentation boards under a compressed timeline.

10 / WORK SAMPLES

URBAN DOVE CHARTER SCHOOL MARBLE FAIRBANKS ARCHITECTS JUNIOR DESIGNER SEPTEMBER 2019—AUGUST 2020

As a junior designer at Marble Fairbanks, I was involved in the planning, design, and construction of an alternative sports-based charter school in the East Midwood neighborhood of Brooklyn. The project entailed the adaptation of an existing religious children's school into educational and athletic facilities suited for high-school-age students. During pre-design, I conducted preliminary surveys of the site. During SD, DD, and CD phases, I drafted construction documents for permit sets, and worked closely with senior architects, the client, owner's reps, and school faculty to propose renovations and finishes consistent with the school's ethos, including designing a graphic identity for the gymnasium and other common areas that ultimately became a standard for the charter school's subsequent locations. With assistance from senior architects, I managed construction administration for the project, coordinating the efforts of the architectural, MEP, and construction teams and responding to complex design and execution challenges in real time, in order to successfully deliver a project with strict time and budget constraints.

CHRISTOPHER HASSAN ALLEN ARCHITECTURAL DESIGNER

MASTER OF ARCHITECTURE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SCHOOL OF ARCHITECTURE AND PLANNING CHASSANALLENJR@GMAIL.COM