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LAUREN BORAH DESIGN PORTFOLIO BACHELOR OF ARCHITECTURE CORNELL UNIVERSITY 2013


ILLUMINATUS

The Sublime Effect of Light and Art Museum of Contemporary Religious Art Thesis Project

Illuminatus is a Museum of Contemporary Religious Art completing the Divinity Quad of Harvard University’s campus. This thesis project is an ‹˜‡•–‹‰ƒ–‹‘‘ˆŽ‹‰Š–•‡‡‹‰–‘†‡•‹‰‰ƒŽŽ‡”›•’ƒ…‡•„ƒ•‡†‘–Š‡•’‡…‹ϐ‹…Ž‹‰Š–‹‰“—ƒŽ‹–‹‡•‡‡†‡†–‘†‹•’Žƒ›†‹ˆˆ‡”‹‰‡†‹—•‘ˆƒ”–‹–Š‡‹” “best light”. Taking inspiration from sacred spaces allowed the subject matter of the museum to inform its design. By diagramming daylighting …‘†‹–‹‘•ƒ•–Š‡›”‡Žƒ–‡†–‘†‹ˆˆ‡”‡–ƒ”–‹•–‹…‡†‹—•ǡ–Š‡’”‘Œ‡…–™ƒ•ƒ„Ž‡–‘‘–”‡Ž›‘ƒ”–‹ϐ‹…‹ƒŽŽ‹‰Š–‹‰ǡ„—––‘—–‹Ž‹œ‡ƒ–—”ƒŽŽ‹‰Š–Ǥ ‘”ƒŽŽ›ǡƒ•‘Ž‹†Dz„Ž‘…‘ˆ•–‘‡dz‹•…Š‹•‡Ž‡†ƒ™ƒ›–‘–ƒ‡ƒ†˜ƒ–ƒ‰‡‘ˆ–Š‡•‹–‡ǯ••—ƒ‰Ž‡•ǡƒ†–‘ƒŽŽ‘™ƒ–—”ƒŽ†ƒ›Ž‹‰Š––‘ϐ‹Ž–‡”•‡Ž‡…–‹˜‡Ž›‹–‘–Š‡ interior of the museum, illuminating the space and works of art. At night, luminescence from inside the museum will emanate out the carved cuts, hinting at the religious art contained within. The museum bridges over the existing labyrinth of contemplation on the site to preserve circulation. •—‡’Žƒœƒ‹””‘”•–Š‡ˆ‘”‘ˆ–Š‡„—‹Ž†‹‰ǡƒ†‹•ϐ‹ŽŽ‡†™‹–ŠŽƒ”‰‡…”›•–ƒŽŽ‹‡•›Ž‹‰Š–•–Šƒ–ƒŽŽ—†‡–‘–Š‡‹’‘”–ƒ…‡‘ˆŽ‹‰Š–‹–Š‡‹–‡”‹‘”ǡ which work like a sundial to create different sun alignments throughout the day.


THE VERTICAL NEIGHBORHOOD Micro Housing High-Rise New York City, New York

Š‡‡”–‹…ƒŽ‡‹‰Š„‘”Š‘‘†‹•‹ϐŽ—‡…‡†„›–Š‡†‡•‹‰‘ˆ•—„—”„ƒ ‡‹‰Š„‘”Š‘‘†•–”‡‡–•ǡ…‘•‹•–‹‰‘ˆ’”‹˜ƒ–‡‡†‰‡•™‹–Šƒ…‡–”ƒŽ ’—„Ž‹…•’ƒ…‡ǤŠ‹•’”‹˜ƒ…›‰”ƒ†‹‡–‹•ƒ’’Ž‹‡†–‘–Š‡Ž‘‰‹•–‹…•‘ˆƒ Š‹‰ŠǦ”‹•‡™‹–Šƒ‘’ƒ…‹–›‰”ƒ†‹‡–ǤŠ‡‘•–’”‹˜ƒ–‡•’ƒ…‡•‘ˆ–Š‡ „ƒ–Š”‘‘ƒ†„‡†”‘‘ƒ”‡’—•Š‡†–‘–Š‡‡š–‡”‹‘”‘ˆ–Š‡„—‹Ž†‹‰ǡ ‘˜‹‰‹–‘•‡‹Ǧ’”‹˜ƒ–‡‹–…Š‡•ǡ•‡‹Ǧ’—„Ž‹…Ž‹˜‹‰”‘‘••’ƒ…‡• ƒ†–Š‡ƒ’—„Ž‹……‡–”ƒŽ…‘””‹†‘”Ǥ•›‘—‘˜‡–‘™ƒ”†•–Š‡…‡–‡” ‘ˆ–Š‡„—‹Ž†‹‰ǡ™ƒŽŽ•„‡…‘‡–Š‹‡”ǡϐŽ‡š‹„Ž‡ǡƒ†‘”‡–”ƒ•’ƒ”‡–Ǥ

‡ƒ…Š—‹–ǡ–Š‡™ƒŽŽ•…ƒ„‡ˆ‘Ž†‡†„ƒ…–‘‘’‡–Š‡Ž‹˜‹‰”‘‘–‘ –Š‡…‡–”ƒŽ•’ƒ…‡ǤŠ‡•‡”‡–”ƒ…–ƒ„Ž‡™ƒŽŽ•…ƒ‡‹–Š‡”„‡ˆ—ŽŽ› ‡š–‡†‡†–‘…”‡ƒ–‡ƒš‹—’”‹˜ƒ…›™‹–Š‹–Š‡—‹–ǡ‘”…ƒ„‡ ’—ŽŽ‡†„ƒ…–‘ƒ›†‡‰”‡‡–‘…”‡ƒ–‡˜ƒ”›‹‰•Šƒ”‡†…‡–”ƒŽ•’ƒ…‡• „‡–™‡‡–Š‡—‹–•ǡ‹ˆ—•‹‰–Š‡…‘—ƒŽƒ•’‡…–•‘ˆƒ‡‹‰Š„‘”Š‘‘† ‹–‘–Š‡Š‹‰ŠǦ”‹•‡Ǥ Š‹•’”‹˜ƒ…›‰”ƒ†‹‡–‹•ƒŽ•‘‡š’”‡••‡†‹•‡…–‹‘™‹–Šƒ•–‡’—’‹–‘ Ž‹˜‹‰•’ƒ…‡•ǡƒˆ—”–Š‡”•–‡’—’‹–‘–Š‡‹–…Š‡ƒ†–Š‡ƒ†”‘’†‘™ ‹–‘–Š‡‘•–’”‹˜ƒ–‡‘‘‘ˆ„‡†ƒ†„ƒ–ŠǤˆ‘”…‡†’‡”•’‡…–‹˜‡‹• created as you look back into the unit with a lowering ceiling ‡š’”‡••‹‰–Š‡’”‹˜ƒ…›‘ˆ–Š‡‡†‰‡…‘†‹–‹‘˜‡”•—•–Š‡‘’‡‡••ƒ† …‘—ƒŽ•‡•‡‘ˆ–Š‡…‡–‡”Ǥ š–‡”‹‘”Ž›ǡ–Š‹•‘’ƒ…‹–›‰”ƒ†‹‡–‹•‡š’”‡••‡†™‹–Šƒ‰”ƒ†ƒ–‡†ˆ”‹– ’ƒ––‡”‘–Š‡‰Žƒ••‘ˆ–Š‡•Š‘”–ˆƒ­ƒ†‡•Ǥ”‹˜ƒ–‡•’ƒ…‡•ƒ”‡•Š‹‡Ž†‡† „—––Š‡…‡–‡”•’ƒ…‡Šƒ•ƒš‹—Ž‹‰Š–ƒ†…‹”…—Žƒ–‹‘Ǥ–Š‡Ž‘‰ ˆƒ­ƒ†‡•–Š‡Ž‹‡ƒ”…Šƒ”ƒ…–‡”‘ˆ–Š‡’ŽƒŽƒ›‘—–‹•ƒ”–‹…—Žƒ–‡†™‹–Š •Ž‹†‹‰Š‘”‹œ‘–ƒŽ’Žƒ‡•ǤŽ‡”‡•–‘”›™‹†‘™•ˆ—”–Š‡”…‘˜‡›–Š‡ Ž‹‡ƒ”„ƒ†‹‰ǡƒ†’Žƒ›™‹–Š–Š‡•…ƒŽ‡‘ˆ–Š‡„—‹Ž†‹‰Ǥ Š‡‡–‹”‡Š‹‰ŠǦ”‹•‡‹•Ž‹ˆ–‡†‘ˆˆ–Š‡‰”‘—†’Žƒ‡ƒ†’—ŽŽ‡†„ƒ… ˆ”‘–Š‡•–”‡‡–‡†‰‡–‘ƒŽŽ‘™”‘‘ˆ‘”ƒ’—„Ž‹…’ƒ”„‡‡ƒ–ŠǤ‹–• ƒ”‡…ƒ”˜‡†‘—––Š”‘—‰Š‘—––Š‡„—‹Ž†‹‰ǡƒ†…‘—’Ž‡†™‹–Š…—–•‹ ϐŽ‘‘”’Žƒ–‡•ǡ–Š‹•ƒŽŽ‘™–Š‡•—–‘’‡‡–”ƒ–‡†‡‡’™‹–Š‹–Š‡•–”—…–—”‡Ǥ Š‡•‡…—–•ƒ††‡Ž‡–‹‘•ƒŽ•‘ƒŽŽ‘™ˆ‘”‹–‡”ƒ…–‹‘„‡–™‡‡—‹–•ǡ‘– ‘Ž›‹’Žƒ„—–•‡…–‹‘ƒŽŽ›Ǥ††‹–‹‘ƒŽ’”‘‰”ƒ••—…Šƒ•ƒ–Š‡ƒ–‡” ƒ†…‘—‹–›‰ƒ”†‡ƒ”‡‹•‡”–‡†‹–‘–Š‡•’ƒ…‡•Ž‡ˆ–„‡Š‹†Ǥ


THE DARK FOREST Library and Monument Danteum Redux Project

Rome, Italy Concepts based on Dante’s poem, La divina commedia

The Dark Forest project reaches a height nestled under the existing tall canopy of pines on the site, so that the columns become a reference to the tree trunks and create a forest-like atmosphere. It references the temple typology to address the history of the monuments surrounding it, and does not try to compete with the context but to become an integral part of it. Upon entering the piazza you encounter 20-meter dark stone columns rising in front of you. The columns are irregular, with each column either growing thinner or wider as it moves up towards the roof. They are not placed on a regular grid so patrons must actively interact with the space to ‡–‡”–Š‡Ž‹„”ƒ”›Ǥ•–Š‡›™ƒŽ–Š”‘—‰Š–Š‹•ϐ‹Ž–‡”–Š‡’‡†‡•–”‹ƒ•ƒ”‡ˆ‘”…‡†–‘Ž‘•‡–Š‡•‡Ž˜‡•ƒ„‹–‹‘”†‡”–‘”‡ƒ…Š–Š‡Ž—‹‘—•™Š‹–‡ƒ”„Ž‡ „‘š‘ˆ–Š‡Ž‹„”ƒ”›™‹–Š‹ǤŠ‡‹–‡”‹‘”†‘‡•‘––‘—…Š–Š‡”‘‘ˆ‘”ϐŽ‘‘”–‘…”‡ƒ–‡–Š‡ˆ‡‡Ž‹‰‘ˆƒϐŽ‘ƒ–‹‰™Š‹–‡„‘š™‹–Š‹–Š‡†ƒ”ˆ‘”‡•–‘ˆ…‘Ž—•Ǥ ™‘ƒ‹…‹”…—Žƒ–‹‘…‘”‡••—•–ƒ‹–Š‡ϐŽ‘‘”’Žƒ–‡•‘ˆ–Š‡Ž‹„”ƒ”›ƒ†…”‡ƒ–‡ˆ‘—”’”‘‰”ƒ•’ƒ…‡•–Šƒ–…ƒ„‡†‹˜‹†‡†‹–‘—Ž–‹’Ž‡ƒ””ƒ‰‡‡–•Ǥ The space becomes increasingly free plan as you ascend in order to create the feeling of less and less uncertainty, in opposition to the dark forest that encircles it.


ARTISTIC NATURE

Performance Space and Music Camp Klammath Falls, Oregon

The Artistic Nature project is a performance space and music study center carved into the landscape of Knot’s Tableland. It takes advantage of the natural slope of the cliff by nestling the buildings into the topography, visually connecting the top of the ridge with the river below. A privacy gradient runs down the hill, with the private residence halls at the top, the classrooms midway up, and the public performance spaces at the bottom. Users can descend through the pavilion by using stairs that drop through the roof plane of each structure to arrive at the next level. Weaving the built forms through the vegetation, and taking advantage of the natural clearings, preserves every tree on the site. The ground plane in these clearings is lifted to create a green roof, which carves out habitable space below. From above, the built form is registered only as an undulating pattern that mimics the changing curve of the Sprague River below. In the residences and classrooms, solid walls create directional views capitalizing on the landscape and the view over Winema National Forest. These elevated buildings are set between the trees so even when you are indoors the feeling is of being surrounded by nature. Ample skylights allow light to penetrate into the recesses of each building, and glass front walls allow maximum light, air and view. In the performance halls, the same solid wall language is used, but is reversed to create internally focused spaces. The directional walls are folded back onto themselves to shape recital halls and theaters.


SITE PLAN

SCALE 1” = 50’


THE GLASS FIREHOUSE Fire Station

Ithaca, New York

The Glass Firehouse’s design focuses on linearity and layering into the site. It is split into three components - a glass box with four truck bays, a bridge building containing the living quarters, and an administration building with circulation connecting the two. The main structure runs in only one direction, and extends outside of the building envelope in order to express the horizontal. The bridge building raises the living area out of the landscape and references the stretching and linear qualities of the natural site. As you drive past, you are greeted with a glowing ‰Žƒ••„‘š†‹•’Žƒ›‹Â?‰–Š‡Ď?‹”‡‡Â?‰‹Â?‡•Ǥ‘Â?‰ entrance ramps lifted above ground level create a parade up to the illuminated building housing the –”—…Â?•ǥ™Š‹…ŠƒŽŽ‘™•–Š‡’—„Ž‹…–‘˜‹‡™–Š‡Ď?‹”‡Â?‡Â? at work. The glass box slips beneath the bridge so that vertical circulation can penetrate the building below and provide ease of evacuation during emergency calls. The horizontal banding of structure, mullions and ™‘‘†…Žƒ††‹Â?‰ƒ”‡†—’Ž‹…ƒ–‡†„‡Š‹Â?†–Š‡Ď?‹”‡ station with long retaining walls rising up the hill. This public running trail culminates in a lookout •’‘––Šƒ–ˆƒ…‡•„ƒ…Â?–‘™ƒ”†•–Š‡Ď?‹”‡Š‘—•‡ƒÂ?†–Š‡ Cornell campus, reconnecting the project with its context.


Ice Wall

Baird Prize Competition 3rd Place Winner

The challenge for the Baird Prize Competition consisted of creating a membrane allowing interaction between an interior and an exterior space. Ice Wall deals with the interface between the private realm of the bedroom and the public space of a communal terrace. The structure presented allows for different perceptions of the opposing space due to the change in opacity throughout the layers of material. From the interior, private space, the walls seems mostly transparent allowing light –‘ϐ‹Ž–‡”–Š”‘—‰Š–Š‡…‘Ž‘”•ƒ†’‡‡–”ƒ–‡–Š‡•’ƒ…‡Ǥ ”‘–Š‡–‡””ƒ…‡ǡ–Š‡™ƒŽŽ‹•˜‹‡™‡†ƒ•‘”‡‘’ƒ“—‡ǡ™‹–Š†‡•‡” layers closer to the exterior. The membrane leans inward and gets thinner as it moves up as if inviting the outside in. This allows for complete privacy for the internal space while still hinting at the program behind the wall. The two spaces are connected through their views and perceptions of each other through this obscured material. Neither can completely perceive what is Šƒ’’‡‹‰‘–Š‡‘–Š‡”•‹†‡„—–Ž‹‰Š–ƒ†ƒ„‹‡…‡•–‹ŽŽϐ‹Ž–‡”–Š”‘—‰ŠǤ


Bodegas Ysios Ysios Winery Structural Model

La Guardia, Spain Architect: Santiago Calatrava


PROFESSIONAL

•’‡”‹–›ˆϐ‹…‡•

‘‡”…‹ƒŽ—‹Ž†‹‰ Design Work Kirksey 2012 Houston, Texas

Stanford University Campus Center Drawings Perkins+Will 2012 Palo Alto, California



Lauren Borah Design Portfolio 2013