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Boston Architectural College

May 2009

Awards and Presentations 2001 Senior Choice Most Influential Teacher Franklin Community High School

Education Boston Architectural College Masters of Architecture

2007 - Present

Boston, Massachusetts


"School Transformation Development Map", Council of Educational Facilities Planners International (CEFPI)

Indiana State University Bachelors of Science, Secondary Mathematics Education

1995 - 1998

Terre Haute, Indiana

David W. anderson Traveling Fellowship


Boston Architectural College Alumni/Alumnae Scholarship


BAC NOMAS Model-Making Workshop

Computer Software Skills AutoCAD 2010 Google Sketch-up Rev-It Adobe Photoshop Microsoft Visio Microsoft Office Excel Word Powerpoint Outlook Access Macromedia Fireworks E-Listen Google Earth Special/Favorite Projects Lakeview High School Battle Creek, MI - 2002 Prototype Elementary Schools Hammond, IN - 2003 Educational Facility Kuwait City, Kuwait - 2003 Heart To Honduras Canchias, Honduars - 2002, 2003

Rose-Hulman Institute of Technology Mechanical Engineering

1993 - 1995

Terre Haute, Indiana

Beech Grove High School Academic Honors Diploma

1989 - 1993

Beech Grove, Indiana

Work Experience Drummey, Rosane Anderson, Designer Boston, Massachusetts

2007 - Present

Programming/Planning Design Existing Conditions Documentation Construction Documents Workshop Facilitation

2006 - 2007 Frank Locker, Inc., Planner Boston, Massachusetts Educational Facility Planning Educational Specifications Programming Workshop Facilitation Client Coordination

2004 - 2006 W.T. Boone Enterprises, Inc., General Manager Frankin, Indiana Human Resources Purchasing Shipping Production Schedule Programming, Set-up and Maintenence of Equipment

2001 - 2004 DeJong, Inc., Project Planner Dublin, Ohio Enrollment Projections Educational Facility Planning Educational Specifications Internal Staff Training Technology Research and Implementation

1998 - 2001 Franklin Community High School, Mathematics Teacher/Coach Franklin, Indiana Mathematics Team Cheerleading Volleyball Golf Special Concentrations in Geometry and Calculus Co-chair PBA Lost Instruction Time Committee



i Jason G. Boone



ACADEMICS Figure/Ground Study


Inhabitable Space


Newbury Street Gallery


Freehand Illustrations


Technical Illustrations


Residential Study


Boat House


Educational Center at Peters Hill


China Town Cultural Center




Light Frame Construction


2009 BAC NOMAS Model-making Workshop


Arlington DPW Storage Facility


Putnam Vocational High School


Cromwell Middle School



ii Jason G. Boone

Table of Contents

iii Jason G. Boone

At this point in my education, I understand the architectural design process to include three basic stages: 1. Concept & Analysis 2. Design Development 3. Final Design Proposal

Each project begins with an overarching summary describing the objectives, the challenge and a few critical deatails. The sample pages illustrate where and how information for each phase of the design process is presented.

I believe that within these three stages several critical, although not necessarily linear, steps are necessary in order to achieve coherent and functional design.

Introductory and design narrative in toned areas.

The principle intent of this portfolio is to demonstrate my understanding of this design process and to document how that understanding has evolved over the course of my education. A secondary intent of this portfolio is to communicate my ability to think and communicate textually and graphically.

SUMMARY Objective Demonstrate an understanding of the figure/ground relationship and the concept of an underlying system (structure). Challenge Design four unique 18"x18" panels, each expressing the figure ground relationship utilizing different geometric components, in such a way that when arranged together express a wholistic figure/ground relationship.

To achieve these two goals, architectural design examples, simple graphic examples, and related narratives are presented. Architectural design examples are those with a specific design challenge that result in a specific product or built structure. Graphic examples are those that do not have specific design challenges, but communicate specific graphic or cognative skills. These examples are organized into three main categories: Academic, Professional Practice, and Personal Exploration. Examples are presented in chronological order within each category except where a compelling reason exists not to.

Details First Panel - Points: Geometric shapes small enough or uniform enough to be read as singularities and not as planes Second Panel - Lines: Geometric shapes whose length significantly out measures width Third Panel - Planes: Geometric shapes with a clearly defined length and width that can be read as flat surfaces Fourth Panel - Composite: Arrangement of all three geometric components

AC-1 Jason G. Boone

Page Numbering System: AC - Academic Work PP - Professional Practice PE - Personal Exploration

iv Jason G. Boone

Primary Grapahic Content. Highlighted and critical content captioned in black text.

Secondary Graphic Content

This portfolio takes advantage of several different graphic and model-making strategies. It is important to note that at the early stages of my development, strategic choices were largely experimental. At the conclusions of the foundations studios, however, I now possess a fundamental set of design and communication skills ranging from hand sketches to mechanical and digital illustrations. In the later projects, higher quality work was possible as a result of making measured decisions with predictable results.

Design Process Phase

concept Concept & Analysis

Very quickly I found myself attracted to the more organic sketches and less attracted to the checkerboard ones. My goals were to create figure/ground relationships rich with rotational movement and foreground/middle ground/back ground ambiguity. Conclusions To make a coherent four-panel piece, all four panels must be planned simultaneously or in sequence. Decisions I would develop the Points panel first using the organic "ribbon" I was most attacted to (left-most image). I would procede linearly in a counter clockwise direction through the Lines, Planes, and Composite panels attempting to connect each panel with this "ribbon".

Project Title Block. Course Information/ Project Duration. Title block on first page of each new project is black, all other title blocks are grey-scale. Master's A Spring 2007 Two Weeks Jeff LeClair

The images to the right represent my initial explorations and attempts to establish this competition.

Figure/Ground Study

The most dynamic and interesting figure/ground relationships are those that compete with one another. It is this competition that creates movement and energy.

AC-2 Jason G. Boone

Design Phase Progress Narrative. This text documents any critical observations and/or decisions necessary to move the design into the next phase.


Evidence in the professional practice and personal exploration will demonstrate a strong synergy between the skills devloped in coursework and skills in the other two areas of my work. The ability to rigorously explore a wide variety of design ideas, test their validity, and produce graphic represenations of those concepts has been valuable. It is a set of skills that has actually altered the way I perceive the world around me.

v Jason G. Boone

SUMMARY Objective Demonstrate an understanding of the figure/ground relationship and the concept of an underlying system (structure). Challenge Design four unique 18"x18" panels, each expressing the figure ground relationship utilizing different geometric components, in such a way that when arranged together express a wholistic figure/ground relationship. Details First Panel - Points: Geometric shapes small enough or uniform enough to be read as singularities and not as planes Second Panel - Lines: Geometric shapes whose length significantly out measures width Third Panel - Planes: Geometric shapes with a clearly defined length and width that can be read as flat surfaces Fourth Panel - Composite: Arrangement of all three geometric components

AC-1 Jason G. Boone

concept Concept & Analysis The most dynamic and interesting figure/ground relationships are those that compete with one another. It is this competition that creates movement and energy.

The goal was to create figure/ground relationships rich with rotational movement and foreground/middle ground/back ground ambiguity. Conclusions To make a coherent four-panel piece, all four panels were planned in sequence. Decisions The Points panel was developed first using the organic "ribbon" (left-most image).

Master's A Spring 2007 Two Weeks Jeff LeClair

The more organic sketches were instinctively more attractive than the checkerboard ones.

Figure/Ground Study

The images to the left represented the initial explorations and attempts to establish this competition.

AC-2 Jason G. Boone

"Ribbon" must connect to circle below and to "ribbon" to the right.

Points Panel Development

Design Development The highlighted thumbnails served as inspiration for each panel. With the exception of the Composite panel, which I had not explored in sketches until the other three panels were substantially complete, very little development took place. The key refinement at this stage was the placement of elements at the edges of each panel to connect with elements in adjacent panels. This was accomplished by assembling sketches on the floor as shown in the center.


Planes must connect "ribbon" above and circle to the left


Lines Panel Development

3 1

AC-3 Jason G. Boone






Master's A Spring 2007 Two Weeks Jeff LeClair


Figure/Ground Study


Planes Panel Development

Composite Panel Development




Jason G. Boone


Design Proposal The final composition creates rotaional movement and does not allow the eye to pause at any one place. In addition, the placement of elements in each panel reinforces an imaginary circle that ties the four panels together. The figure ground relationship becomes increasingly ambiguous as the eye travels around the composition counterclockwise from upper left to upper right. Similarly, the "ribbon" as a recognizable element shifts from figure to ground and back again as it travels around the composition clockwise. Finally, to further blur the figure/ground relationship, the composition was designed so that the surface on which the composition is mounted plays a role creating dominant L shaped "figures".

AC-5 Jason G. Boone

Understanding the figure/ground relationship allows a designer to constantly challenge preconceptions. Establishing a clear structure -- a system of self-imposed design guidelines -- early will encourage a design to evolve on its own. Resolve all design issues within structure established. In this design exercise, there was too much focus on creating a "pretty picture", and not enough on establishing and ahering to a clear structure.

Master's A Spring 2007 Two Weeks Jeff LeClair

New Learning The design process is not necessarily linear.

Figure/Ground Study


AC-6 Jason G. Boone

SUMMARY Objectives Demonstrate the application of the figure/ground relationship to the built enviroment, an understanding of human scale, and the application of a system to the built environment. Challenge Transform one of your figure/ground panels into an inhabitable space intended for personal reflection/,meditation.

Concept & Analysis This phase began with the search for a system. Which panel and/or what elements possessed the most potential for establishing a clear system? As three of my four panels contained intentionally but not structurally placed elements, my only choice was to use my Lines panel as the basis for my system.

Details System must be based on a figure/ground panel or from its elements. Lines Panel Sketch

Programme consists only of space for personal reflection or meeting with one other person. Building details such as rest rooms, handicapped accessibility, or elevators need not be present.

Lines Panel

The system present is a series of equally spaced lines of varying length and width to establish recognizable patterns.

AC-7 Jason G. Boone

2-D to 3-D Transformation Sketch



Master's A Spring 2007 Four Weeks Jeff LeClair

Inhabitable Space

Back Left

System Tools Model The distance from, the edge of the template to thecircular cut line served as the system for determining dimensions of each piece.


3-D Figure/Ground Model First step was to use system to transform 2-D panel into 3-D representation

AC-8 Jason G. Boone

Concept & Analysis (continued) The transformation model was the 3Dimensional result of applying a system derived from a 2-Dimensional graphic. To reinforce the concept of the system and to discover a basic element from which to create an inhabitable space, the next step was to model the system itself, a 3Dimensional diagram of the tools I used to develop the transformation.

Transformation Model

AC-9 Jason G. Boone

System Sketch Model

Final System Model Each subsequent layer was an iteration based on defined system.

All of this effort was necessary to choose a basic element and establish a system from which an inhabitable space could be created.

Decisions Basic element for inhabitable space will be curved "L" shape. System will be based on evenly spaced elements and incremental changes to basic element.





Master's A Spring 2007 Four Weeks Jeff LeClair


Jut as with the transformation model, each face reads differently.

Inhabitable Space


AC-10 Jason G. Boone

Design Development The design development challenge was to use the basic element to create space at an appropriate human scale and to do so using the system principles already established.

As a point of departure, I used the inherent spaces in my structural model playing with the human scale.

AC-11 Jason G. Boone

Literal Interpretation Model

Master's A Spring 2007 Four Weeks Jeff LeClair

Conclusions These initial explorations into creating space proved to be too literal. As an understanding developed, models were used to explore creating space.

Inhabitable Space


AC-12 Jason G. Boone

How can pairs of elements be arranged organically without compromising system?

The first iteration produced a clearly defined path and was true to the established system, but has little engery

Pa t

1st Iteration


Design Development (continued) As the design developed, it was necessary to return to the basic element and explore how it could be used to create space. Pairing basic elements created spaces that, when arranged in a sequence based on the system, created a path from larger to more intimate space, a metaphor to represent the jouney taken during metatation. Once this idea took root, I found it beneficial to be self-critical, analyzing each iteration as objectively as possible.

Planning Sketch

Sketch Model - Plan Image

Sketch Model - Elevation Image

The second iteration produced a clearly defined path, but energy i created at the intersection of paths.

Can energy, tension, and or interest be created by crashing two paths into one another?

The curvilinear nature of the paths is random and not an expression of the established system. Additionally, too much tension existed for a meditative space.

2nd Iteration


AC-13 Jason G. Boone

Planning Sketch

Sketch Model - Plan Image

Sketch Model - Elevation Image

Sketch Model #3 The innovative breakthrough was to twist the pair of basic elements. These twisted pieces could be arranged systematically and create intersting, but calming space.

3rd Iteration

Sketch Model - Plan Image

Sketch Model - Elevation Image

Sketch Model - Interior Image

Master's A Spring 2007 Four Weeks Jeff LeClair

Can energy and interest be created without tension and reinforce calm instead?

Inhabitable Space

The third iteration created a clearly defined path, had a more interesting composition, and reinforced calm with its balance of orthoginal shapes.


AC-14 Jason G. Boone

Design Proposal The final design represented the metaphoric journey to a metative state and was achieved through a system of equally spaced elements, elements project onto one another, and ambiguity in the figure/ground relationship.

Although materiality was not a consideration for this project, opposing sides of each twisted element was treated with a different color to reinforce the original figure ground ambiguity.

Final Presentation Model -Light Side

AC-15 Jason G. Boone




proposal New Learning Exploring ideas in model form can be as valuable if not more valuable than making sketches. Themes (like the metaphoric path) are important and easily foregotten --- In this case, a theme was invented that adhered to the system. The process should actually work in the other direction.

Final Presentation Model - Dark Side


Garden Image

Right Side

Master's A Spring 2007 Four Weeks Jeff LeClair

Human scale is very important when communcating design ideas. Include images of people in all presentation materials. The final model images would have been more compelling with a person in them.

Inhabitable Space

Stick to a system. Do not make additions at the last minute. The use of the Ibeams to give the design realness proved to be unecessary and the U-shaped bench at then of the "path" turned out to be a distraction.

AC-16 Jason G. Boone

Existing Site

SUMMARY Objective Demonstrate an understanding of the design process specifically as it relates to the development of forms. Challenge Design an art gallery to house Sol Lewitt's Variations Of Incomplete Cubes based on a selection of music.

Concept & Analysis I learned from the Inhabitable Space project that posing a series of critical questions was a good way to initiate concept development and site analysis.


What is the common thread that binds all the musical selections together? Answered collectly during a class discussion.

Stress Analysis



Details The form was to be sensitive to and highlight the art on exhibit. LOW STRESS

Formal decisions were to be derived from one or more predetermined selections of music. The site was the parking lot across from the Boston Architectural College at 320 Newbury Street.

Greenery Analysis

How does that common thread relate to the art work? Answered through reading article on artist and his work.


Accomodating site restrictions was important, but resolving site issues was less critical than the development of forms. Pedestrian & Vehicular Traffic PEDESTRIAN


What are the critical characteristics of the site and is there any evidence that the site inherently possesses the same thread as music and art?

AC-17 Jason G. Boone

Iteration of seven sticks -- Sol Lewitt

Building Edges

Not the site by iteself, but the surrounding neighborhood -- see analysis to right

concept site Conclusions Site was burried within fabric of neighborhood and read as negative space Highly congested with vehicular and pedestrian traffic Little green space in close proximity

Design must increase green space at site thereby creating a moment of reduced stress. Red Brick Study - Common Color and Repition of Building Materials

To celebrate the uniqueness of the art, the gallery must be sensitive to the scale of the surrounding fabric, but be unique in form and not blend in with boutiques and store fronts. Demolition of existing residential building may be required to provide access to more daylight and increase prominence of gallery.

Site Proximity Study - Vidid Mix of Vehicles and Pedestrians, Limited Natural Material

Master's A Spring 2007 Four Weeks Jeff LeClair


Newbury Street Gallery

Rendering of Existing Conditions at Site

Diagrammatically, there was a sense of rhythm and repitition not dissimilar to the concept of phasing.

AC-18 Jason G. Boone

Concept & Analysis The article we read about Variations Of Incomplete Open Cubes made it clear that this instillation was a compilation of iterative pieces each representing an abstract cubical form. It was important that the form of the gallery reflect not only the concept of phase shifting from the music, but also the orthagonal and iterative nature of the artwork.

Interior of cube with artwork exhibited on ground


Instillation of artwork is square. An abstracted simple cube may be most attractive concept.

How can concept of phase shifting from the music be represented as a diagram?


Elevation sketch Too literal interprepation of artwork...only one iteration shown. No Phase shifting present.

Linear elements

Linear regular rhythm

Figure/Ground using solid and void Intersting diagram, but not iterative. Site may not allow for spaces created to be large enough for instillation.

Partial cube extended over surroundings constructed out of sticks and glass Too literal interprepation of artwork...only one iteration shown. No Phase shifting present.

Plan sketch

Stacked Cubes -rotated and offset Iterative quality, but creating usable space may be problematic.

Radial regular rhythm

Radial phase shift

AC-19 Jason G. Boone

In Piano Phase, the selection of music on which I chose to base my form, there are eight "voices". Seven of the eight voices shift a 1/16 note out of phase in round robin. The mathematics of these shifts should serve as the foundation for the formal representation of the music.

Sticks form space -- No walls No perceptible interative quality.. too random

How can the orthogonal and iterative nature of the artwork be represented as a form?

Conclusions Linear expression of phase shift coupled with orthogonal form does not appear to be unique enough to be an interuption in the fabric of the neighborhood.

Decisions Form will consist of orthogonal elements offset radially.

The instillation requires a 14 x 14 grid consisting of 2 FT squares. These dimensions should drive the physical dimensions of the gallery.

Gallery Form - What form results from the application of the system?

Basic footprint is to be a square sized based on dimensions of instillation requirements.


Front Elevation Sketch

16 15

Conceptual Diagram


Plan Sketch

Elevation Sketch


16 increments represent one cycle or one complete phase shift. If a side of the cube is 40 FT based on arithmetic above, each layer to be shifted, must be 2.5 FT thick.


Form is a series of stacked square volumes each 2.5' thick. Sixteen volumes are each rotated 1/16th of a revolution beyond the stack immediately below to complete one full phase cycle.


11 10 9



7 5 Each volume must be hollow because art work will occupy void when suspended from ceiling.


Master's A Spring 2007 Four Weeks Jeff LeClair

Variations Of Incomplete Open Cubes traditionally has been displayed flat on the ground. Music implies movement and suggests that instillation be viewed from several vantage points. To accomodate this idea, artwork will be displayed in a single plane, but hung from the ceiling vertically.

Newbury Street Gallery

Design Development Once decision on how to marry charateristics of artwork and music was made, the system (guidelines/structure) for design development was established.

Exhibition - How is the artwork to be displayed and viewed?

3 2 Exploded Axon of Stacked Volumes


AC-20 Jason G. Boone

Circulation - How does a visitor move through the gallery? Design Development (continued) Because the system resulted in sequential protrusions from the central volume, resolving internal circulation was a challenge.

Artwork Instillation

Circulation Diagram Circulation must follow system. Stairs must mimic phase shift by following rotational path around gallery.

AC-21 Jason G. Boone

Isometric Stair Diagram

Stair Plan

The final solution was to use the protrusions as landings and create wedge-shaped treads to transition between volumes. It was an example of resolving a big probelm by refering back to the system.


Master's A Spring 2007 Four Weeks Jeff LeClair

Initial solution deviated from the system in the sense that it was an attachment and not the result of any specific elements.


Newbury Street Gallery

Initial solution was to simply wrap building mass with a shroud and extend floor plates to allow for stairs and landings.

AC-22 Jason G. Boone

View From Opposite Corner

Design Proposal The form is an abstraction of the cube inspired by Variations of Incomplete Open Cubes -- its overall dimensions measure 40'x40'x40'. The system for the abstraction was inspired by the 1/16 note shift characteristic of Piano Phase by Steven Reich. Elevation

1" = 20'


1" = 20'

Section 1

1" = 20'

The adjacent residential building has been demolished to give the gallery more presence on Newbury Street, to provide much needed green space, and to serve as a break in the fabric of the surrounding neighborhood.



nu Ave h t eal onw m Com


ee Str y r bu



t tree rd S efo



AC-23 Jason G. Boone

eet Str n o ylst

Presentation Model Site Contexts (500 FT Radius)

1" = 150'


Pedestrian View Along Hereford Street

Pedestrian View Along Newbury Street

Presentation models need not be perfect in every detail. A focus on overarching concepts and appropraite detail for the scale are more important that absolute accuracy. Be very careful about using Sketch-up to produce technical drawings. Simple slicing does not produce high quality images. Interior Perspective 1/8th Scale Site Model Construction Collaboratively with Studio Classmates



Master's A Spring 2007 Four Weeks Jeff LeClair

Rigidly adhering to a system produces highly unified concepts, but can limit the creativity of the designer. Structure is great, but selective violation can lead to really interesting results without compromising design coherence.

Newbury Street Gallery

New Learning Self-critique and contually posing new questions is an effective way to refine ideas, but is time consuming.

AC-24 Jason G. Boone

NARRATIVE This image immediately to the right was produced during a thirty minute freehand drawing class exercise. The challenge was to depict a detail of our human subject using vine charcoal focusing on light and dark values. The image at the far right on the opposite page was the final piece produced for freehand drawing. The challenge was to depict the ingredients from a favorite childhood recipe. Each ingredient was to be crafted in two panels, one "zoomed out and one "zoomed in." Additionally each pair of panels was to incorporate one of the four major concepts discussed over the course of the semester: line, value, texture, and shape. Carrot cake was the recipe I chose and the ingredients represented are carrots, sugar, pecans, and cinnamon. The remaining images are timed human figure sketches ranging from 30 seconds to 3 minutes.

2 min

AC-25 Jason G. Boone

3 min


Freehand Drawing Spring 2007 30 Minutes Evelyn Rydz

Freehand Illustrations


3 min



30 sec

AC-26 Jason G. Boone

NARRATIVE The three self-portraits on this page were different iterations at the midterm project. The challenge was to create a self-portait depicting emotion drawn from observation. Although each of these were formal assignments, the images on the opposite pages informed these presentation drawings. Each sketch-book entry and the collage were attempts to understand my own face. When arranged together and compared to the presentation drawing, the improvement in both my observational ability and technical prowess are evident. First Attempt - Happiness Ink Wash

Final Presentation - Surprise Vine Charcoal

AC-27 Jason G. Boone

Second Attempt - Anger Compressed Charcoal

Final Drawing Detail

Collage is a technique that reinforces the three-dimensional qualities of objects. The layering of the paper equates to the layering of charcoal and permits the communication of real depth. Every stroke counts. Each mark will read in the final product. Care must be taken to place every mark intentionally without sacrificing "looseness", the marks made by the unconscious mind make for rich drawings.

Collage - Portrait #3

Freehand Drawing Spring 2007 Two Weeks Evelyn Rydz

Drawing from observation is very challenging, especially when the subject is a familar one. Care must be taken to record what is actually seen rather than what the mind imagines is present.

Sketch Book Entry #1

Freehand Illustrations

New Learning

Sketch Book Entry #2

AC-28 Jason G. Boone


Vise Grips Freehand assignment for Orthogonal Drawing

The images on this and the next two pages demonstrate an understanding of technical drawing. The examples presented are from Orthogonal Drawing, Perspective Drawing, Master's Studio B-1, and Methods & Materials. Included among the examples are both freehand and mechanical illustrations.

Decorative Gord Sketch book assignment for Orthogonal Drawing

Ketchup Bottle Sketch book entry for Perspective Drawing Falling Water - Interior Perspective Final, Perspective Drawing

AC-29 Jason G. Boone

New Learning The most critical learning was related to how buildings actually go together. Every line is important. Failure to use correct material hatches can lead to confusion for the contractor.

Arrangement of these elements on a sheet enables or inhibits the reader's understanding of the object(s). Careful composition of Plans, Sections, and Elevations is crtical to correctly communicate characteristics of the object. Linewieght and poche' are critical features of a drawing. Technical illustrations can be beautiful if drawn properly.

Orhtogonal & Perspective Fall 2007 Duration Varies Will Tremble

Beginning with Orthogonal Drawing, I began to understand the usefulness of Plans, Sections, and Elevations when communicating physical objects on flat media.

Technical Illustrations

Sectional details read best when the exterior edge of cut objects are indicated with the heaviest line weight.

AC-30 Jason G. Boone

NARRATIVE The images on the right were produced as a component of a residential study assigned in Master's Studio B-1. This study served as a basis for several other projects including the axonometric cutaway image on this page produced for Orthogonal Drawing.

AC-31 Jason G. Boone

New Learning Reproducing technical drawings is an effective way to not only reinforce drawing skills, but also an effective technique for beginning a careful examination of a structure.

Masters B-1 Fall 2007 One Week Tom Simester

Experimental House - Muuratsalto, Finland Alvar Aalto, 1953

Technical Illustrations

When producing complicated technical illustrations, it is most efficient to draft without consideration of linewieghts and erasing. A final trace with the appropriate precision and linewieghts is much faster than trying to produce a perfect illustration in one pass.

AC-32 Jason G. Boone

SUMMARY Objective Demonstrate the ability to produce effective diagams Challenge Analyze and produce diagrams communicating specific design elements for a single family residence. Details Student chooses design elements to be diagrammed Diagrams presented on a single sheet 18"x 24"

Experimental House - Muuratsalto, Finland Alvar Aalto, 1953

All of the analytical sketches represented a brainstorming session and one continuous thought process. Each diagram was in response to a series of questions.

AC-33 Jason G. Boone

New Learning Just as in the design process, posing a series of questions is a good way to begin anaylsis. Diagrams need not communicate every detail, but only the most critical ones. Stacking diagrams is an effective way to communicate several ideas that relate to one another.

Fall 2007 Master B-1 Four Weeks Tom Simester

Thumbnail diagrams can add interest to a sheet as long as they are related and not a distraction.

Residential Study

Color choice can enhace or detract from the information being communicated. Differentiating warm colors and cool colors for different design elements proved to be effective here.

AC-34 Jason G. Boone

SUMMARY Site Access Via Water

Objectives Demonstrate an understanding of site analysis and design sensitivity to site specific issues. Challenge Analyze a predetermined site along the Esplanade, design and place a public boathouse that responds to a site-specific thesis. Details Programme to include: Boat Storage - 18 skulls Repair Shop Temporary Boat Storage Oar and Equipment Storage Mechanical Room Dock Slip Ramp for turning boats Weight/Workout Room Locker/Shower/Toilet Rooms Coaches' Offices Club Room Large Public Event Room Viewing Platform Kitchen/Prep Area

Node at Public Dock

Hard, Unnatural Edges at Storrow Dr.

Open Space at Lagoon

Dense Tree Canopy on Westerm Half

Meadow at Footbridge

AC-35 Jason G. Boone

Site Purpose Metaphor "Cling" to Ground but Reach for Water

Edges Three conditions exist each communicating a different experience/emotion: 1) Perforated Hard Edge - Man-made materials, straight lines mixed with natural materials (Semi-permiability) 2) Hard Edge - Man-made materials, straight lines, highly artificial (Impermiability/Urbanism/Harshness) 3) Soft/Natural Edge - Natural/living materials (Relaxation/Permiability)

concept site

Site Access > Vehicles adjacent and through but no "real" access > Pedestrians can enter for "first" time via Mass Ave and pedstrian bridge or.. > From within environment from the East > Watercraft can enter site from three points: two from open water and one under the Mass Ave. bridge Sunlight/Shade > Dense canopy on Western portion provides seasonal shade > Artificial lagoon provides most access to direct sunlight

Vegitation East and West portions of the site are distinct from one another in terms of their quantities of vegitation. The Western portions has a greater tree density than the Eastern portion.

Figure/Ground > Water and shoreline have figure/ground relationship > Lagoon reads as a doughnut hole Paths > Paved surfaces direct non-vehicular traffic through site like corridor > Choices exist; some mandatory for bicyclists, others open to all > Paths nearest Charles River are favored Edges > Several edge conditions exist

Master's B-1 Fall 2007 Seven Weeks Tom Simister

Site Analysis Summary

Charles River Boat House

The sketches and images on this page represent an attempt to understand the various conditions present.

Pedestrian Circulation Although there are several material indications communicating paths for pedestrians, there seems to be a distinction between high speed and low speed paths. Bycyclists (high-speed) tend toward the Storrow Drive paths while those on foot favor the Charles River paths. Additionally, when given the choice, those on foot choose Charles River and canopied paths over those along Storrow Drive.


Cling to Ground but Reach for Water Pedestrian Only Path

Bicycle Path

Pedestrian Only Path

Path Convergence

AC-36 Jason G. Boone

Concept As this project was intended to focus on site, I felt compelled to derive forms for the boathouse from site observations. The search for a concept began with the questions:

Where are the most dynamic and interesting loctations within the site? Which ones off the opportunity to align with my observed purpose of the site? Location C possesses the greatest potential to take advantage of high pedestrian traffic, bounding both bodies of water, and to create an "event", a node similar to the monument and dock on the Western portion of the site. Locations B and D have the potential to require sound mitigation for their proximity to vehicular circulation, an undesireable charateristic if visitors are attempting to escape the urban environment and attempt to "reach" the river. Location A has a great deal of potential, but already exists as a node for observering boat traffic, sunsets, and picnicking.

Site Section Analysis Sketch - Sketchbook Entry

AC-37 Jason G. Boone


Node of Storrow Drive monument and dock


At Lagoon on Storrow Drive Side


At Lagoon on Charles River Side


At Mass Ave Bridge where all circulation converges

What site characteristics can serve as metaphors for formal design?

concept site & form

Four possible dynamic locations exist on site. Boathouse form must be informed by site characteristics, observations, and pre-existing forms.

Skull/Boat Metaphor

Decisions Boathouse will be located at location C for its potential to have a dialogue with both bodies of water and the ground as well as for its opportunity to establish an "event" where none currently exists. It will endeavor to fulfill the purpose of the site as allow visitors the opportunity to reach for the water. Three metaphors for form will be explored: Brownstones as exist across Storrow Drive and are the "understood" form present in the Back Bay, Skull/Boat as the structure will ultimately house and be it's primary function, and the tree which represents the escape from urbanism desired by visitors.

Tree Metaphor

Master's B-1 Fall 2007 Seven Weeks Tom Simister


Charles River Boathouse

Brownstone Metaphor

AC-38 Jason G. Boone

An important realization was that physically touching each body of water meant the the existing circulation was an early and critical consideration. The "holes" in the forms below are the intital response to this realization.

Orientation Axis

Concept (con't) Finding a metaphor for the form of the boathouse prooved to be a challenging task. The images on this page represent a wide variety of iterations for each of the possibilities. It was critical that, having selected the location on the site, each iteration attempt to accomplish the three goals established through my site analysis: 1)

Circulation Axis

Boat Metaphor

Create a dialogue with both bodies of water...allow visitors/users to interact with the water with and without a watercraft


Engage the ground between the two bodies of water in meaningful way


Create an "event" in a place where none currently exists

Iteration #2

Iteration #1

Sketchbook Entry

Sketchbook Entry

Sketch-up Models

Brownstone Metaphor

Iteration #2

Additionally, a physical understanding of the size of the boats to be housed were early critical considerations for form. Below are a few sketches related to boat dimensions.

Iteration #1

Sketchbook Entries

Sketch-up Models

Tree Metaphor

Iteration #4

AC-39 Jason G. Boone

Iteration #1

Section Boat Length Sketch Sketchbook Entry

Iteration #2

Iteration #3

Sketch-up Models

Iteration #5

Concept (con't) Programmatic spatial relationships, just as form, must consider site conditions. As an initial step, the diagrams on this page represent an analysis of programmatic elements.

concept form & program

Regardless of the form, one critical driving force will be the length of the boats and their movement from the storage racks to the water. If there is a clear separation between public and private spaces, the physical zoning of these spaces should be vertical. Spatial relationships between program elements and the circulation between them will be critical to design success.

Decisions Storage bays will be located at the perifery to the greatest extent possible and oriented orthoganal to the water but parallel to the dock system to minimize travel distances and rotation of boats. As many of the private spaces are not view-sensitive, public spaces may exist on upper floors where views can be celebrated.

Master's B-1 Fall 2007 Seven Weeks Tom Simister


Charles River Boathouse

What function will the boathouse serve? What should its essence embody?

AC-40 Jason G. Boone

Concept (con't)

What key words define the essence of this structure?

As my design process continued, the program and the form pushed and pulled on one another. It was necessary to pose new questions in an effort to define the direction of exploration. The sketches on this page represent a rigorous exploration of both form and program. It was clear that the lengthof the boats was going to require a form that was highly rectilinear, but not all of the gestural forms informed by the site accommodated this rectiliniarity. The expressions represented are explorations of plan, section, and elevation to create an informed form that accommodates the program. Restated, what are the fundamental goals of this structure?

What are the possibilities for roof profile to help define form?

AC-41 Jason G. Boone

Harvard University Boathouse

What are the possibilities in section to accommodate the length of the boats but still inform and interesting form?

What are the possibilities for roof plan to help define form?

concept form & program

Many of the sections informed by the boat gesture resulted in geometry that made the boathouse larger than it needed to be. Additionally, the forms were evolviong in a direction that was in stark contrast to the existing site and disconnected from history as an identified key word. I had always been most interested in the tree gesture, but knew incorporating the program, specifically the boat storage component was problematic. At the most basic level, it was the only metaphor that embodied the purpose of the site - of reaching for the water. The irregulatity of form pushed architectural boundaries but did not conflict with the site as much as the boat gestures.


How can an irregular, organic form accommodate the program?

Tree metaphor as a concept will be further developed. Each edge of the structure will extend into and interact with each body of water. The final design may require a mixture of organic and rectilinear shapes to accommodate the program.

Master's B-1 Fall 2007 Seven Weeks Tom Simister

What are the possibilities for elevation to help define form?

Many of the brownstone explorations were similar to the existing boathouses and instinctively felt like the right direction to pursue. They were capable of accommodating the program and aligned with the key words identified. Architecture, however, is often about pushing boundaries, and none of the brownstone gestures struck me as particularly innovative.

Charles River Boathouse


AC-42 Jason G. Boone

Design Development The key tasks in design development for this project were to articulate a tree canopy form in plan that accommodated the program, sections that engaged both the Charles River and lagoon, ensure that the spatial relationships and public/private separation were appropriate. It was important for outdoor, public circulation to not only move around the boathouse, but through it to provide access to the water. It was also important that private circulation exist enclosed between program elements. One the Charels River side, the Club Room, a space only for athletes is actually below the water line, metaphorically allowing them to be in the water even when not rowing. One the lagoon side, members of the public can interact with the water via a stepped platform.

Programming Diagrams

AC-43 Jason G. Boone

The tree metaphor is expressed as both roof and selective elevation conitions. Intentionally placed columns will serve to the complete the tree metaphor as trunks.

Massing Diagrams

Program spaces will take advantage of irregular tree canopy form to create subspaces.

Master's B-1 Fall 2007 Seven Weeks Tom Simister


Charles River Boathouse


AC-44 Jason G. Boone

Proposal The Esplanade is a place where the public enjoys open meadows, wooded areas, and access to the water. On the selected site, the location on the Charles River side of the lagoon has long existed as a transient space devoid of trees and without an opportunity to interact with the water. The proposed boathouse is intended to a metaphoric tree canopy that serves to: 1) Operate as a functional boathouse with appropriate program elements, spatial relationships, and separation of public and private spaces

View from Charles River

2) Establish an event at this moment on the Esplanade that encourages members of the public to pause. 3) Activate the water's edge for both the Charles River and the lagoon, by providing public access to interact with the water.

Presentation Model - Componets

Proposed Site Plan

AC-45 Jason G. Boone

Boat Storage & Repair Shop

Club Room, Locker Rooms, and Training Room

Event Room and Viewing Platform

Club Room Relationship to Water's Edge

As this studio was concerned with site and form making, it was important to learn that abstracting nature into a built environment is a challenging task. Care must be taken to strike a balance between not too literal and unrecognizable.

Presentation Model - Site Context

Although an interesting form, this project could have been more successful if the tree meta[hor was both slightly more identifiable to users and at the same time slightly more abstract. When making wood models, choose substrate and adhesive carefully. My combination of white glue and a chipboard substrate caused the wood vineer to curl badly making it difficult to accurately depict my structure.

Charles River Side

Lagoon Side

Master's B-1 Fall 2007 Seven Weeks Tom Simister

New Learning

Charles River Boathouse


AC-46 Jason G. Boone

SUMMARY Objectives Demonstrate an understanding of how tectonic ideas can be abstracted to operate as a design and site strategy.

Regional Context The Arnold Arboretum, jointly owned and operated by the city of Boston and Harvard Univeristy, is both a serious research facility and a public park. It is a component of the carefully planned sequence of green spaces known as the Emerald Necklace.

Challenge Develop siting and design strategies for an educational center to be located at Peters Hill in the Arnold Arboretum based on the tectonic idea from Project 0. Details Programme consists of a series of educational pavilions including: > > > >

Reception space Meeting space Classrooms space Exhibition space

Arnold Arboretum

AC-47 Jason G. Boone


5 V

site V

3 4 V

6 Peters Hill Context Relative to Arnold Arboretum

Contour Map of Peters Hill Site at 5 FT Intervals and Photo Locations Photo Legend 1) Summit approach and impromptu path worn over time 2) Scale of tree height - max of approx. 60 feet 3) Steepness of slope, density of wooded area, quality of natural light penetrating canopy 4) Ground condition within wooded area 5) Scale of paved surface and trees relative to human figure 6) Quality of natural light penetrating densest canopy






Master's B-2 Fall 2008 Five Weeks Seth Riseman

1 V

Project 1: Educational Center - Week One




AC-48 Jason G. Boone

Concept & Analysis Peters Hill is essentially an upsidedown punch bowl with slightly unequally sloped sides. This analysis informs potenial locations suitable for L-shaped structures in both plan and section based on my original tectonic idea and detail. Sequential Radial Slices from Summit at 10 Degrees



Are a of Interest








AC-49 Jason G. Boone

The solar orientation and steepness of the hill impact the amount of sunlight striking my area of interest.

Conclusions This studio was about tectonics, materiality and scale. Beause of the requirement to design based on a previous tectonic, much of this site analysis was an effort to discover moments on Peters Hill that would receive my L-shape with little impact. Initially, our challenge was to design a series of pavillions.

Master's B-2 Fall 2008 Five Weeks Seth Riseman


Project 1: Educational Center - Week One


AC-50 Jason G. Boone

Concept & Analysis (continued) To better understand the program, each element was defined in detail. The list and relative area diagram below represented the first step in this understanding. The second step identified the Purpose, Users, Activities, Adjacencies, and Special Considerations for each element seen in the sketch book pages to the right. The final step in this process explored potential site locations suitable for each element based on my site analysisand tectonic strategy. My tectonic strategy evolved currently with the definition of the program. The diagrams at the bottom of the page and the exploded axonometric image on the opposite page represented several iterations of the strategy.

Relative Area Diagram

Ultimately there was only enough time to fully develop the classroom buiding.

Two flat, continuous steel L pieces welded at corner to form L sandwiched between two wood, glue laminated L's.

AC-51 Jason G. Boone

Basic Tectonic Assembly

Basic Tectonic Assembly - Exploded Perspective

Where necessary, rafter assembly tabbed and notched to be recieved by column/beam assembly bolted together by steel angle in all four corners.

Basic Tectonic Assembly - Detail

program & tectonics Conclusions Mixing wood and steel in an assembly is a potentially dangerous strategy as materials expand and contract at drastically different rates. The first iteration represented an unrealistic construction strategy and did not reinforce the L-shape as strongly as desired. The second iteration made an attempt at utilizing similar materials but created a ceiling pattern that resembled caufers rather than L's, tabs and notches. Additionally, although the enclosure reinforced the thesis, the fenestration pattern felt forced and arbitrary.

Final Iteration

Columns and beams are an Lshaped assembly of laminated wood and steel members notched to receive rafters of similar assembly. Enclosure is composed of granite base and curtain wall in-fill. Retaining wall and floor slab form L.

Columns and beams are an Lshaped laminated wood members notched to receive rafters of solid wood. Enclosure is composed of curtain wall and translucent panel in-fill in L-shaped patterns. Retaining wall and floor slab form L.

Columns are tabbed into a recess in the concrete floor. Beams are tabbed to be recieved by a recess in the main concrete beam and into slots atop each column. Together column and beam form L. Retaining wall and floor slab form an L.

Both the third and final interation represented an attempt to marry concepts from the previous two iterations. Columns and beams are constructed of wood material and tabbed into one another. Although, steel tabs are fixed to concrete to create the connection, recessess allow wood to expand at both the floor plane and at main support. Finally, edge retaining walls slope with terrain to reinforce the L-shape in an additional direction. Decisions Floor plans, sections, and tectonic strategies will all reinforce thesis of Lshapes, tabs, and notches. Materiality will be explored in greater detail in design development.

1st Iteration

2nd Iteration

3rd Iteration

Master's B-2 Fall 2008 Five Weeks Seth Riseman

concept Project 1: Educational Center - Week One

The final iteration is a simplification of the 3rd iteration that responds to specific site conditions. Main support, as in all iterations is cast-in-place reinforced concrete L. Retaining wall and floor slab form L-shape in both directions.

AC-52 Jason G. Boone

Design Development Design development was principally an exercise is taking advantage of the Lshape in plan to accommodate the program as defined. From the program, it was clear that the space needed to be agile and multi-functional. Development began with sketches related to subdiving the space into zones for the diverse activties conducted. One zone for large group instruction and experimentation. One zone for more intimate small group and individual tasks.

Iso Sketch

1st Plan Iteration

As a project with a tectonically-derived thesis, L-shaped structural members as identified in the site analysis and concept phase were celebrated by being exposed to occupants. Structures are partially embedded into the site to reinforce the concept of growing out of the site.

The first iteration attempts to accommodate the diverse activities identified for the space by taking advantage of the L-shaped plan to sub-divide the space without interior partitions.

Tectonic Perspective Model - 2nd Iteration

2nd Plan Iteration The second iteration pushed the development even farther to include a second L-shaped outdoor space that underlaps the previous plan to create a partially sheltered outdoor instructional space.

Tectonic Perspective Model - 2nd Iteration As an instructional space related to the study of fauna, it was appropriate to embed the structure within the densely forested portion of the site and provide glazing to the immediate vacinity.

Proposed Pavillion Locations - Classroom Pavillion Highlighted

AC-53 Jason G. Boone

Site Perspective Sketch - 2nd Iteration

Small Group/ Individual Study Zone



Sloped Retaining Wall to Match Existing Topogaphy

Open Plaza

Conclusions The second plan iteration accomplished all the goals of the thesis and accommodated the program, but ultimately the outdoor space below was determined to be an undesirably dark, likely damp, and difficult to make pleasant. Supporting the enclosed classroom space above may also have proved to be problematic within the confines of the tectonic strategy. Impromptu Path Becomes Concrete Pavers

Packed Earth Path Becomes Concrete Pavers

Large Group/ Experimentation Zone

Decisions A simplified single story pavillion accommodated the program as well with the articulation of a pavered outdoor plaza under the tree canopy and was less difficult to align with the tectonic strategy.

Master's B-2 Fall 2008 Five Weeks Seth Riseman

Pavered Stairs and Sloped Retaining Wall to Match Existing Topography to Permanent Exhibition Pavillion

Project 1: Educational Center - Week One


Final Plan Iteration

AC-54 Jason G. Boone

Floor Plan with Site Context

Proposal A classroom facility is a place for learning. Learning requires multiple instructional strategies and activities. Therefore a classroom facility must be agile to accomodate multiple delivery methodologies. And a classroom facility related to the study of aboraculture instictually belongs embedded in a naturally forested area.

Tectonic progression from original detail to first classroom strategy

Proposed floor reinforces the L-shape not only in its geometry, but also with its external circulation and its siting relative to existing topography.

Each of these design considerations has been applied to the Classroom Paviliion at the Peters Hill Educational Center. The program requirements and siting strategies are accomplished while maintaining a tectonic strategy consistent with the previous project - namely Lshapes, tabs and notches. Design elements at both the macro and micro scales reinfornce this basic tectonic thesis. The structure itself an L-shape in both plan and section. Each of the main supports is an assembly forming a recognizable L-shape when the space is occupied. Finally, even the connection details are tabs and notches exposed to users.

Section with Site Context Tectonic strategy expressed in section. Section through main support is two L's mirrored one on top of the other. The first is the main reinforced concrete support. The second is the retaining wall and floor slab system.

Tab and Notch Column/ Floor Connection Detail

Tectonic strategy expressed as typical connection detail. Similar condition exists at beam/ main support connection.

Cross Section

AC-55 Jason G. Boone

Interior Perspectives

Longitudinal Section

Large Group/Experimentation

Large Group/Experimentation

Small Group/Individual Study

Presesntation Model The structure was intended to appear to grow out of the site rather than sit on top or burried beneath it. Its siting was selected first to accommodate a programmatic objective to be in close proximity to the fuana being studied and second to permit the form of the structure to reinforce the tectonic thesis.

AutoCAD, when used, properly is an effective tool for not only communicating construction documents, but also hardline diagrammatic illustrations for presentation purposes. Expressing a tectonic strategy in built form aids users in understanding a structure and provides an additional opportunity for aesthetic interest. An arival plaza serves as an interstitial space between the formal instructional space enclosed by the pavillion and the undisturbed natural instructional environment of the Arboretum.

Once living material can be effective in producing presentation models. Retaining walls were designed to exist harmoniously with the existing topography. The minimal exposure of the wall is enough to provide a sense of being grounded and durable without dominating the surroundings.

Cork is an effective material for producing high quality representations of topography.

Presentation Model Images

Master's B-2 Fall 2008 Five Weeks Seth Riseman

New Learning There are occassions when a site will drive the form and occasions where specific forms require an analysis of site for locations suitable for that form.

Project 1: Educational Center - Week One


AC-56 Jason G. Boone

SUMMARY Objectives Demonstrate an understanding of tectonics, scale , and materiality as primary design considerations. Challenge Design a cultural center at the end of the Rose Kennedy Greenway.

Site is located at the terminus of the existing Rose Kennedy greenway, a site that is a focal point for both vehicular and pedestrian traffic.

Details Designs must incorporate the following programme:

The site is located on the threshold between industrial and residential portions of the city. On one side vehicular passes at high speed comared to the largley pedestrian trafic on the other.

Lobby/Gallery Performance Venue Staff Offices and Work Spaces Live/Work Lofts All existing structures adjacent to site must remain unless a compelling argument can be made for their alteration/removal. Tectonics The poetics of construction; the logic of forces involved and the relationship between elements that produce an organized system.

Exisitng vent stack is dominant element in immediate vacinity. Gate serves an an iconic threshold to Chinatown. Both existing structures must considered.

The relationship between parts and the whole. How things are made.

Site Contexts

Materiality The intentional selection of materials to express a design intent - i.e. warmth, texture, reflectivity. Scale The dialogue/relationship of physical size of one structure to an other and to the human figure.

AC-57 Jason G. Boone

Neighborhood Context

Immediate Context

Street Context

Parti Diagram Tectonic strategy simplified from Project 1 to a simple tab and notch. At the macro scale, the vent stack serves as the tab and the Cultural Center to serve as the notch.

Observations Present terminus of Rose Kennedy Greenway Center of pedestrian network Threshold to Asian neighborhoods - highly differentiated edge conditions Conclusions Cultural Center must punctuate Rose Kennedy Greenway. Cultural Center must be pedestrian friendly and manage differentiated edge conditions especially related to human scale.

Existing vent stack serves as marque for wayfinding and establishes a clear axis which must be considered.

Cultural Center must not completely impede visual connection across site.

Existing adjacent structures block access to daylight. Position of program elements as far from adjacent structures as possible to maximize daylight harvesting.

Conceptual Sections

Decisions Vent stack must serve as the tab and the Cultural Center must serve as the notch at the macro scale. Program elements must be properly placed to maximize daylight harvesting.

Daylight Harvesting

Program Relationships

Master's B-2 Fall 2008 Six Weeks Seth Riseman


Project 2: Chinatown Cultural Center


AC-58 Jason Boone

Scheme A -Planning Sketches

Scheme B -Planning Sketches

Scheme C -Planning Sketches

Design Development With so many differnt edge conditions and site constraints, it was crtical to rigorously explore program element locations and the formal response. The first iteration simply attempted to fit all the program elements within the site with an appropriate separation of public and private spaces. Each subsequent iteration began to articulate spatial relationships in response to daylight harvesting, pedestrian and vehicular circulation, and tectonically in response to the vent stack. At each stage a complete set of drawings was produced to test theories in scale as seen on the opposite page. In addition, each scheme was modeled and tested physically test for approriateness of scale as compared to the existing structures.

The first iteration merely recieves and imagines the structure occupying the entire available site.

The second iteration not olny recieves the vent stack, but also reacts to it by allowing the form to extend to the South. This iteration also creates a more significant gap between the adjacent structures maintaining a level of transparency across the site.

The third iteration advances the second by responding to differing edge conditions. Vertical circulation is shifted from J.F.F. Surface Artery to Hudson Street where it is more accessible to pedestrians.

Site Context Models

AC-59 Jason G. Boone

1st Iteration - Scheme A

2nd Iteration - Scheme B

3rd Iteration - Scheme C

Gallery office spaces are more appropriately located along Hudson Street for the improved views and ability to observe visitors within the gallery. Decisions Tectonically, the form must not only serve as the notch into which the vent stack fits, but must also react to vent stack at the macro scale. The vent stack will be exposed and an integral component of the interior of the Cultural Center to continue its existing wayfinding function. Massing Sketch Models

As a response to the differentiated edge conditions, the structural grid will respond to the axis of the vent stack, but the elevations of the Cultural Center will respond to Hudson Street and the John F. Fitzgerald Surface Artery respectfully. Similarly, the J.F.F. Surface Artery elevation will read as more monumental compared to the Hudson Street elevation.

1st Iteration - Scheme A

2nd Iteration - Scheme B

3rd Iteration - Scheme C

Master's B-2 Fall 2008 Six Weeks Seth Riseman

Conclusions Placing the performance space below grade was an appropriate design consideration as it needs no daylight, but making it an open space visible from the street, as in Scheme A, created potential security and lighting problems.

Project 2: Chinatown Cultural Center


AC-60 Jason Boone

The intial intent was to investigate tradaitional Chinese architecture as inspiration for articulating the final form. Without the time to conduct extensive research however, there was a danger of producing offensive and/or inappropraite representation.

Design Development (continued) In addition to articulating plans and sections, elevations and structure were explored in greater detail in design development. The macro tectonic exspression already established, the tab and notch thesis was exmplored at the micro scale. As at the Peters Hill Cultural Center, a connection detail was designed to reinforce the tectonic thesis.

Tectonic Thesis: Tab and Notch

It was determined that elevations that referenced traditional Chinese architecture was an appropriate course of action. The elevation study attempted to discover a identity that was both modern and appropraite for a cultural center.

Elevation Study

AC-61 Jason G. Boone

Taking advantage of the vent stack as a marque was a concept carried through to the final design. The mural reads "welcome" in traditional Chinese caligraphy, an honored art form within the Chinese culture.

Column/Beam Assembly - Top

Conclusions Design development resulted in a final scheme where circulation was more carefully articulated. Secodary vertical circulation was moved from the J.F.Fitzgerald Artery side to the Hudson Street side to reduce the scale at the residential edge and too allow a multistory volume where the stair previously existed. Simlarly, a two story volume was created to visually connection the two public gallery spaces.

Column/Beam Assembly - Bottom

Decisions A traditional steel frame must support the building, but precast concrete panels and concrete encased columns possess a tab and notch relationship that reinforces the tectonic thesis at the micro scale. A green roof accessible by the public is located on the Hudson Street side of the Cultural Center. Connection Detail Sketches

Exterior elevation will be composed of polished concrete and window glazing. A mural with the Chinese characters for "welcome" will be added to the vent stack to compelte the Cultural Center composition as a marque.


Column/Beam/Ceiling Assembly Axonometric Sketch - Not to Scale


Master's B-2 Fall 2008 Six Weeks Seth Riseman

Column/Beam Assembly - Bottom

Project 2: Chinatown Cultural Center


Structural Presentation Model Column grid is parallel to axis created by vent stack. This model expresses the structural strategy including the tectonic connection detail seen at the left.

Column/Beam/Ceiling Assembly Section Detail Sketch - Not to Scale

AC-62 Jason Boone

Proposal The form of the Chinatown Cultural Center was derived from a tab and notch relationship with the existing vent stack. Its lower three floors house a performing arts space, public galleries, and a public roof garden. The upper three floors house two private residential lofts for visiting artists, private galleries, and a shared penthouse studio.

The public gallery on the second level is open to below. Formal circulation space is indicated with a flooring material change.

The ground floor is open and airy, but formal gallery space is sheltered from direct sunlight by the adjacent buildings and the roof garden above.

Cut-a-way View


Even behind the stage, the vent stack is an integral portion of the design, serving as a means of wayfinding within the interior.

AC-63 Jason G. Boone

Sections A-A

Fourth Level

Third Level

Second Level

Ground Level

Performance Level

Sections B-B

Section 1-1 highlights the macro tectonic relationship between the vent stack and the Cultural Center. A slight reveal exagerates the tab and notch thesis.

Sections 1-1

Sections 2-2

Master's B-2 Fall 2008 Six Weeks Seth Riseman

proposal Project 2: Chinatown Cultural Center


Final elevations were designed to maximize daylight harvesting while protecting artwork from direct sunlight. Glazing pattern was a gesture to the L-shape from the previous project.

AC-64 Jason Boone

Proposal Continued The existing site was largely unused. A signficant portion served as parking and the remainder was fenced off for storage of unwanted furnishings. The Chinatown Cultural Center fills the site with a structure that will punctuate the end of the Rose Kennedy Greenway and serve as a source of pride for the local Asian community. The highly differentiate edge conditions are utilized to create an icon recognizable at speed as local citizens and tourists pass by in their vehicles along John F. Fitgerald Surface Artery and to create a smaller scale, more pedestrian friendly atmosphere along Hudson Street including a pubically accessible roof garden. Visting and local artists will have access to a well-equipped place not only to display, but to produce artwork.

Existing Conditions

AC-65 Jason G. Boone


J.F.F Surface Artery

The application of a tectonic strategy at multiple scales is likely to yeild interesting results. Stucture is absolutely critical to consider when designing at any scale. Although, expert engineers are often consulted, failure to consider the underlying structure eliminates a valuable opportunity to create architectural interest.


When communicating design concepts in physical models, it is often best (and expeditious) to produce several models at different scales depending on the information. In this project, three presentation models each communicated site context, underlying structure, and elevations respectfully. Attempting to produce a single model communcating each of the those concepts would have proved overly complex and counterproductive. Designing a complete structure, even one as small as this imaginary project, requires rigorous exploration at every level of design, from the macro and site context levels all the way down to the window mullions. As a result of this project, I have a much greater appreciation for the complexity of producing a "real" project.

J.F.F. Surface Artery

Hudson Street

Master's B-2 Fall 2008 Six Weeks Seth Riseman

New Learning Designing with cultural sensitivity is a difficult challege, especially when the culture is not your own.

Project 2: Chinatown Cultural Center


Presentaion Model The final massing is suborninate to the vent stack allowing it to serve its original function as a marque for way-finding. Although not shown, the existing mural around the base of the vent stack will remain as a symbol of the contents of the Cultural Center's intent. The newly added Chinese caligrpahy reads "welcome".

AC-66 Jason Boone

SUMMARY The Council of Facilities Planners International (CEFPI) is a professional organization dedicated to innovation educational facilities planning and design. In 2007, the sponsored a logo competition among its members to create a new brand that instilled the qualities of the organization. Those qualities included: Professionalism Education Facilities Internationality The images on the following pages represent both my developmental process and my final logo submission. DEVELOPMENT I quickly made the decision that the girl and door as icons of children, education, and facilities were the elements I wanted to explore. The images on this page represent a few iterations with my sketch book narrative in the accompanying text.

PE-1 Jason G. Boone

As an image, the submission is a child opening the door to her new school. Each element represents a characteristic of CEFPI. Girl All school children world wide. CEFPI is about serving the children of the world. Open Door Representative of both facilities and innovation. The door is open, not closed. CEFPI constantly looks for new doors to open and new ideas.

Red represents brick as a building material and physical facilities, the primary focus of CEFPIs mission. The snap on the corners represents the planning and design process associated with creating innovative facilities. Personal As an image, the girl is opening the door. Its her door, her school. Shes proud of it and wants to be there. Its a statement about CEFPIs mission is create innovative and personal learning spaces for all children. Font

Submission by: Jason Boone Member #: 32460 Firm: DeJONGLocker Student: Masters of Architecture, Boston Architectural College

CEFPIs logo needs a font that invokes thoughts of both children and architecture. The combination of upper and lower case letters symbolizes a childs writing. The crispness and line weight symbolizes the professionalism of planning, design, and architecture.

CEFPI Logo Competition


PE-2 Jason G. Boone

SUMMARY While enrolled in Materials & Methods in the Spring of 2008, I became fascinated with light frame construction. Although production of detailed drawings was a component of our course, I felt 2-dimensional illustrations were not sufficient to instill the critical concepts. As I could not frame a house of my own, I concluded that building a digital model one framing member at a time was the best tactic for reinforcing the concepts I was interested in.

Second Floor Cut

Studio Floor Cut

The model is based on a 24' x 36' footprint and is three stories high. It consists of a very basic program including: 2 Bedrooms Master Bedroom Three Bathrooms Living Room Family Room Kitchen Dining Room Studio/Office Finished Basement

First Floor Cut

Floor Joist Cut

Basement Cut

PE-3 Jason G. Boone

Light Frame Construction Overall Axonometric X-Ray

PE-4 Jason G. Boone

SUMMARY The Boston Architectural College Chapter of the National Organization of Minority Architects asked me to particpate in a model-making workshop. The workshop was intended to provide attendees with modeling tips that would improve the quality of their models and the speed at which they produced them. Roles and Responsibilities My personal role was as one of four lead instructors, focusing on three of the five sessions: Tips, Tricks and Tools, Presentation models, and Closing Session. In addition, it was my role to produce not only the proposal submitted to the college, but also the curriculum and the supporting instructional material used in my session. The images to the right of the workshop are courtesy of BAC NOMAS and Richard Griswald.

It was critical that the workshop allow students to not only learn from the instructors, but also that they learn from one another.

PE-5 Jason G. Boone

Opening Session: Tips, Tricks and Tools

Students worked in pairs to produce a presentation model from a kits of prepared templates in just 45 minutes.

Simple tools and Handout

Presentation Model Session

The workshop was designed to be highly interactive and hands on. Attendees were cutting, glueing and assembling pieces for nearly four hours.

BAC NOMAS Model-making Workshop

To advertise the workshop, sample works from myself and the other instructors were displayed in the lobby at 320 Newbury Street that illustrated workshop content.

PE-6 Jason G. Boone

SUMMARY DRA was hired to repair several storage facilities including a salt storage barn which required siding repair and new barn doors. Roles On this small project, I served the Project Manager role, reporting directly to the Principal-In-Charge. Responsibilities As a small project, it was my responsibility to manage all aspects of the project including: Field Measurements & Existing Conditions Documentation Coordination with Structural Consultants Product and Design Research Design and Product Selection Budget and Time Management Production of Contract Documents The images on these two pages represent the design component of the barn doors, beginning with the intial sketches and research and concluding with production of contract documents. Barn Door and Hardware Research

PP-1 Jason G. Boone

Assembly Diagram and Door Plan Detail

Arlignton DPW - Storage Facility

To size hardware appropriately, calculations were performed to estimate the weight of each leaf.

PP-2 Jason G. Boone

SUMMARY DRA was hired to design a new vocational high school on an existing site serving 1400 students. The project included a study phase where program definition, site feasability, and spatial relationships were developed. Roles Ultimately a $100M covering 315,000 gross square feet, my role was in a planner/programmer capacity. Responsibilities It was my responsibility to first review a draft program prepared by an outside consultant and make revisions as necessary to accommodate the program, but within the budget. It is important to note that the difference between these two iterations was approximately 60,000 gross square feet.

The owner's desire was for an organization into four vocational academies: three of which were highly specialized and one which was dedicated to freshman. Each academy needed its own identity and zone of the building with limited circulation from other academies passing through.

Second it was my responsibility to arrange program elements conceptually to reflect the owner's educational organizational methodology but within the constraints of the existing site. More than one solution was prepared in order to the owner to evaluate pros and cons of each solution. Finally, it was my responsibilty to write a report detailing the information produced which was submitted to the State for review. This document of more than three hundred pages contained educational specifications for each space in the newly developed program. The images on these two pages represent the spatial relationship strategies employed to develop conceptual options.

PP-3 Jason G. Boone

The numbered spaces are vocational shops each focusing on a different vocation within a career pathway. The lettered abbrerviations represent core academic content areas such as English, Math, Social Studies, and Science.

Whithin each academy, there was a desire to locate academic classrooms directly across the corridor from the vocational shops to create an intergrated delivery model. The expectation was for academic teachers and vocational teachers to coordinate their lessons on a daily basis.

For each option, a complete set of conceptual floor plans were developed to scale communcating the spatial relationships of each program element.

For each option, a massing model was produceed to communicate to the owner the relationship between the main street and the new building. The option shown is all new construction Option N3.

Putnam Vocational Technical High School

Three families of options were developed and tested for feasability on the existing site. The largest challege was the existing building had to remain in operation during construction.

PP-4 Jason G. Boone

SUMMARY DRA was hired to design selective aesbestos abatement, handicap accessibility upgrades, and minimal renovations. The renovations included reorganizing the main office area, converting an existing classroom into a pair of group toilets, and a conversion of a computer lab into a formal nurse's suite. Roles For this project, I performed in the role of job captain and lead draftsman. Responsibilities My responsibilities began with the documentation of the existing conditions, which required extensive research and field verification as no electronic documents existed. Next my responsibilities shifted to not only draftsmen, but designer. I was responsible for determining new layouts for the main office, the nurse's suite and several single user accessible toilets. At the busiest moment in the project, I was coordinating with consultants, our interiors department, and at least four other internal staff members working on the contract documents. The images on this page represent only a fraction of the total set produced. These selections have been chosen for their design content and detailing experience.

PP-5 Jason G. Boone

The area within the dashed line was a technology classroom and storage closet. The objective was to provide an accessible toilet, an small exam room, a work station, and as many cots as possible. Poched walls represent new construction.

Cromwell Middle School

At the early stages of the project, there was a possibility that the exterior wall would be demolitioned to install new masonsry, new windows, and new radiant heat. This section of the existing condition was my first opportunity to draft at this level of detail.

PP-6 Jason G. Boone

BAC Segment I Portfolio