Rensselaer Polytechnic Institute
By articulating a template, organized cuts could be made into the styrofoam allowing for variations in shape and size of the material. In every module, there was either 2 or 3 cuts, evenly spaced and as they approached the frame, their size decreases. The next task was as a group; in a similar way the different templates decided the curves and densities of the material around the frame. The spaces created by the mesh change with every step and was hung in a ten foot tall â€œcageâ€? for installation review.
Materiality Research: Design Studio: Fall 2008 Triangulated Styrofoam Trimmed Paper
Individual and Team: Alexandra Dorn, Lindsey Dubas, Desiree Edge, Rebecca Exley, Alyssa Johnson, Lisa Laue
A chosen artifact was extracted of its performances which were then changed into a pavilion for the midterm, which would be used for a dancing theater, then into a museum, where the artifacts would be displayed. A cushioned armchair, which swiveled on wheels and could recline with the shifting of a peg in the back had main performative characteristics of pressure change, tension and compression, and the interchangeability of the rotation. There were â€œpull-downsâ€? that act only visually, but there is a constant form also, that increase from one side of the site to the other in number. There are three floors, the top two with openings that look to the floors below, in order to create openness.
Shaker Artifact Study: Design Studio: Spring 2010 Shaker Museum Individual Project
Development of the system began with the circulation of the Emperor Penguin and the minimization of heat loss within the penguins feet. We began to design the exterior facade of Piazza Solferino, which was to be removed and reconstructed. The double layer “skin” system takes advantage of conduction between water and air; water collected from the environment passes through modules which are permeable to air. The contact between air and water is vital, as this is where the heat transfer occurs. The system functions differently in summer and winter to maximize efficiency. Water within the system is recycled into the interior, creating radiant floors and providing water for plumbing. The concepts of energy storage, transmission, and recovery can be seen through the different “modules” which alter lighting on the interior.
Building Morphologies: Parametric Workshop: Fall 2010 Torino, Italy Sustainable Circulation: Piazza Solferino
Team Project: Carlotta Francia di Celle, Lindsey Dubas, Sarah Goldfarb, Riccardo Rigo
After researching the history of Palazzo dei Congressi and the surrounding EUR, we found that the congress meeting house was to be moved to the Fuksas “Cloud,” leaving the building vacant. Rather, we developed a new program, a visual arts theater, in which projections and exhibits could be posted around the central “void space”, created by the vaulted extrusion. After simplifying the plans into a more usable projection gallery, the space was divided into a stepped contouring shape that provided the spaces for the actual exhibits. By walking around the central volume, one views protruded shapes into the open spaces, that could also be used for projecting or for other visual entities. The roof, which was originally a theater area, has been converted into a large movie projection screen.
Palazzo dei Congressi: Design Studio: Fall 2010 Rome, Italy Palazzo dei Congressi: Projecting into the Void Team Project: Christos Constantinou, Morgan Danner, Lindsey Dubas, Alyssa Johnson
In creating a wall through slip-casting, we made our original mold thinking that we would be completely changing the mold itself, but we found that a majority of our work in creating deformations came from postproduction of the slip. The most interesting parts were the dark spaces within the piece itself, and the void in between the pieces. In order to drastically exaggerate these spaces, the four-legged pieces could be turned, torqued, or made into one of three different “modules.” The wall consisted of 2” pieces, 4” pieces, and transitional pieces so all could fit together. These variations of pieces came from one mold, that contained a variable 5 pieces.
Carnal Clay: Vertical Studio: Spring 2011 Accentuating the Void Team Project: Lindsey Dubas, Joseph Hines, Michael Kehoe
Continuing with the process of slip-casting, we began to work with the Brasilia Bus terminal, where the intertwining roads and parking areas created a huge confusion. Our iterations went through mapping the most used areas of pedestrian travel, the existing roads, and many ways in which to fix these into separate layers. Our single surface that we created that acts as a cover for the bus terminal, a bridge for some crossing streets, and a grassed and pathed ramp for pedestrians to cross the area, cutting away areas that were not needed/used in any way. The surface extended out in directions that support the most amount of program, and areas where we saw there to be more pedestrian lanes carved into the existing grass. This surface also encompassed surrounding buildings, giving it itâ€™s name.
Eviscera: Brasilia: Vertical Studio: Spring 2011 Connective Cannibalism Team Project: Lindsey Dubas, Michael Kehoe, Justin Paul Ware
In redefining the city as being a condenser, a subterranean residential compression, and an expander, the more public, social areas of the building, which both capitalize on embedding gradients into the site we begin using sun exposure and lighting conditions to determine the location and size of those programs. In this way, programs can become more localized while at the same time becoming more diverse to react to new global scales and regionalfamily scales of living. This proposal also takes advantage of the humidity, soil, as well as transpiration uses water collection flows for our programmatic needs. Looking at the site as more of an opposition between the earth and the sky, the underground neighborhood starts to capitalize on temperature gradients of the desert climatic zone, and the floating city capitalizes on the diurnal wind swings on the site.
Dubai:Burj Khalifa: CASE Studio: Fall 2011 Earth and Sky Team Project: Lindsey Dubas, Kristin Koslowski, Tuan Nguyen, Kunmi Park
Ground Floor Plan
Ground Floor Plan
-1st Floor Plan
Ground Floor Plan
-1st Floor Plan
-1st Floor Plan
-15th Floor Plan
Ground Floor Plan -15th Floor Plan
-15th Floor Plan -1st Floor Plan
BIG Architects entered a competition for the redesign of the Kimball Art Center in Park City, Utah. With the design development course, we were asked to pick a project in competition phase, redesign if necessary, and to carry it through design development. The redesign of the building created a revolution that worked to attract locals and visitors to the site through the use of permanent educational facilities and interchangeable art exhibits and galleries. The design for the facade system worked with flitch-beams held in tension by rods that were suspended by the steel beams in the upper levels and created space for exhibiting artwork. Every other floor is used for curcularion and exhibition, while the floors between act as a space for education and the production of the arts.
Kimball Art Center:Park City, Utah: Design Development Studio:Spring2012 Curated Revolution Team Project: Lindsey Dubas, Rebecca Exley, Caitlin Toczko
103: 1/8" 103: 1/8"
GALLERY 605 GALLERY 805
MAIN GALLERY STAIR
revolutory circulation path through the main curation spaces
206: 1/8" 206: 1/8"
205: 1/8" 204: 1/8"
RESIDENCY 405 206: 1/8"
secondary circulation paths from gallery to each ancillary work space
CAFE 802 203: 1/8"
COMPUTER LAB 008
MECHANICAL 10 GALLERY 406 MECHANICAL 009
RESIDENCY 604 MECHANICAL 804
MECHANICAL 404 OFFICE 005 203: 1/8"
LAVATORY 004 203: 1/8"
202: 1/8" 102: 1/4"
STUDENT GALLERY 003
BLACK BOX GALLERY 002
BLACK BOX GALLERY 001
THIRD FLOOR PLAN 1'=1/8"
FIRST FLOOR PLAN 1'=1/8"
GALLERY 401 201: 1/8"
208: 1/8" 208: 1/8" 208: 1/8"
FIFTH FLOOR PLAN 1'=1/8"
SEVENTH FLOOR PLAN 1'=1/8"
FULL PERIMETER SUPPORT
NINETH FLOOR PLAN 1'=1/8"
rotation of floorplate is derived through alternating structural connection
DUAL POINT SUPPORT smaller floorplates are truncated parallel to core, but sustain two connections to exterior columns
201: 1/8" 103: 1/8"
Based on the cactus and camels; adaptability to collect, store, transfer and use water within the desert, the infrastructural system was designed to do the same. With a n extremely large scale that spans from the Golf Course in Reno to the tract housing about half a mile to the easy, the system is made of canyons; to collect evaporation in the air, collect water from the ground and store it for use on the interior and exterior of the system; and courtyards; extensions of the â€œyardsâ€? that are missing from the repetitive monolithic buildings of housing. The upper courtyards could be used for whatever exterior programmatic needs of the golf course and the housing and the artificiality of the golf course spills over into the extra-green artificial terrain created by the excess of moisture underground. The terraced system creates slopes that can be traversed and multipurpose spaces that are open to the public and made to increase the economic growth of Reno, Nevada.
Te(Rain) Re(Creation) A Synthetic Terrain to Collect Water: Spring 2013
Bio-Infrastructural Growth Individual Student Thesis
A compilation of project and work done at RPI including a spatial recognition studio to design development and thesis research and schematic...