Meaghan Kelly Architectural Portfolio 2022

MEAGHAN KELLY P O R T F O L I O

2022

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2 0 2 2 P O R T F O L I O M E A G H A N K E L L Y -

ABOUT ME I am third year graduate student at Syracuse university, completing a masters degree in architecture in May of 22’ Earning my undergraduate degree, from a fine arts school, has provided me with a uniquely interdisciplinary perspective of architectural design. I was able to immerse myself in an environment where cooperation and collaboration were encouraged across the spectrum of artistic disciplines.

I am currently earning a professional Master of Architecture degree from Syracuse University. After my first two and a half years of graduate edu­c ation I have been introduced to numerous new softwares and technologies that have elevated my representation skills. I am looking forward to continuing with this multidisciplinary approach in my design education and career.

INDEX 1.PIONEER HOMES 2.SCULTPUTAL SPACE 3. WILDFIRE 4.CAPILLARY REACTION 5. TRANSLATIONS 6. RESILIENT REEF 7. NARRATIVE HOMES 8. CRYSTOL BRIDGES

Drawings created with collaboration from or drawn by group member are noted with initials

pages 5-7 pages 8-9 pages 11-17 pages 18-19 pages 20-21 pages 22-33 pages 34-45 pages 46-56

“RECKON WITH THE PAST TO BUILD THE FUTURE” “Meaningfully acknowledge the histories, injustice, innovations, and victories of spaces and places before new work begins.

Reckon with the past as a means of healing, building trust, and deepening understanding of self and others.”

AB + MK + RH

THE CHURCH

STREET SCAPE

COMMUNITY CENTER

ENCLAVES

- BLACK SPACE MANIFESTO

AB + MK

DESIGN GOALS

AB + MK

In in this accelerated studio taught taught by visi�ng cri�ques lfeoma Ebo and Nathaniel Williams we tackled a complex set of issues in a local public housing complex, less than a mile away from Syracuse university. This neighborhood of Pioneer homes has been impacted by forced reloca�on from The 15th Ward, a historically black Syracuse Neighborhood to the problema�c area, where the 1-81 highway cuts through downtown Syracuse. This highway has caused health, safety and social issues for the residents of Pioneer Homes. A�er studying the Black Space Manifesto (h�ps://www.blackspace.org/manifesto), which our professor lfeoma Ebo helped to write, we explored ways to bridge the gap between Pioneer Homes, the University and the downtown metro area of Syracuse, New York.

(All conceptual work done in collaboration with Abigail Korn and Robert Helbock) non-original drawings are noted

1 - 81 HIGHWAY

VC STUDIO

PIONEER HOMES PUBLIC HOUSING

1.

Lorem ipsum dolor sit amet - Jane Smith -

CUT UNUSED HIGHWAY

IDENTIFY VIEW CORRIDORS

IDENTIFY BUILT ZONES

IDENTIFY COMMON PATHS

5 - FO FORM ORM EXTR O EXTRACTION EX XTR TR RACTION C I N CTI 6 - BU BUILT UILT U LT SP LT SPACE SP PAC CE

IDENTIFY PATHWAYS IN BETWEEN

7 - BUILT BU U LT A E AND AND D OPEN O N SPACE S ACE A E SPACE

VIEW VI IEW I W CORRIDORS COR C OR RRIDORS I O S IDO

Lo

With the likely removal/ decommission of the existing 1-81 highway, we decided to cut through the highway and remove the portion of 1-81 that acts as a physical barrier between Pioneer homes and the University. A multi-functional community space takes the place of the highway where health, wellness and entrepreneurship are given a physical space to help the community recover.

Through our conversations and interviews with current residents of Pioneer Homes, we made the advised decision to leave the old supporting columns of the highway so they may serve as a reminder of the past.

Olende rehentinume et latiusapera dendicae voluptat.

Tempore rspici qui simollam sim et aciis sinis nem verio moloreh enest, volorrovit voluptatus volore vitatio dus, ommod qui torest, apisciaspiet posanditatia verion essin prorest vollisquam consentinum corrum conse eseque voluptatur, sequi bea culpa dolorem

We get together and about diff spots aut talk quo occaborem auterent acea dus essusda sa volo conse volorem rerumAgniam, odissit essitas nimolup tatius et occaes sequiatent I mean we can reminisce But we can’t show our kids What we used to have What we used to do Where we used to go” Junie Dunham resident

Black joy is a radical act.” - THE BLACK SPACE MANIFESTO

In this 2 week assignment, we designed an “exquisite corpse”. Three Postmodernist sculptures were chosen, manipulated and warped into one composite. After the completion of the exquisite corpse, we represented our creations as architectural towers through drawings.

After three dimensional rhino models were completed 12” 3D printed models were created, completing the cyclical loop back to sculpture. “ This suspicion of a career that moves continually and erratically beyond the domain of sculpture obviously derives from the modernist demand for the purity and separateness of the various mediums...For, within the situation of post-modernism, practice is not defined in relation to a given medium- sculpture-but rather in relation to the logical operations on a set of cultural terms, for which any medium-photography, books, lines on walls, mirrors, or sculpture itself-might be used.”

- Rosalind Krauss

SCULP

CASE STUDY SCULPTURES 1Philadelphia Labyrinth, Robert Morris 2 Michael Heizer, Guenette 3 Terminal, Robert Smithson

2.

PTURAL SPACE 1

2

3

likely increase 66.7 %- 90% low agreement

world fire projections

likely increase 90 %- 66.7%

2010- 2039 950 degrees

55- 65 Degrees

2070-2099

Heat

burn scars 1878-2018

3

the underground city

the biggest yet

3.

WILD

the lowline

Collage created for one night charette - non original drawings included

FIRE

FIRE ESCAPE

In this first year studio we focused on three phases of design. The initial project phase was based on extensive research on a provided climate crisis (wild fire) and the diagramming of these complex global issues. The second phase design breif was to design a small scale performative pavilion that would act in response to the crisis of Wildfire. In this iteration I designed an underground bunker that could be used as a temporary refuge as well as an escape route, from wildfire. In the third and final project of this course I designed a fire resistant complex that would serve as a place of remembrance as well as a place for education on the climate crisis, and if needed a place for refuge from the wildfires in Paradise, California.

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ANNUAL PRECIPITATION IN INCHES 1990 - 2009

BURNED AREA 1878 - 2018

CALIFORNIA HAD ITS WORST WILDFIRE SEASON EVER IN 2018

723 7+(( :

the 10 worst California wildfires have occurred in the last 10 years

CAMP FIRE :

Date: November Cause: Weather Acreage burne Deaths: 88

a 7 year drought created a tinder box of dead/dry trees and plants

MENDOCINO C

dry hot winds traveling at 60-70 mph allow for fires to spread quickly 1 in 8 Americans living in California, people have been forced to move into fire-prone areas 95% of Ca fires are caused by humans

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Every State in the western USA has at least one county within the highest wildfire frequency (101-1308) Central Alaska has the counties with the highest wildfire frequency California and Texas lead in fire deaths California has 2,019,800 properties at risk Texas has 717,800 Properties at risk

VERY LOW LOW MODERATE

Date: started Ju Cause: low hum ple-digit tempe Acreage burned Deaths: 0

CARR FIRE

Date: started Ju Cause: A trailer the rim of the w the friction sho Acreage burned Deaths: 7

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r 2018 r ed: 153,000

Mendocino Complex Fire Camp Fire

COMPLEX FIRE

uly 27, 2018 midity and record trieratures d: 290,692

uly 23, 2018 r’s tire blew out. When wheel hit the pavement, ot sparks in brush. d: 145,000 acres

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Maps created with GIS using public ESRI and NASA data

one hour charrette - design iteration 4

1

HIGH SCHOOL

TEMPORARY SHELTER

UNDERGROUND CONNECTION TO THE SCHOOL HISTORICAL ARCHIVE OF CA FIRES TEMPORARY SHELTER

CAFE

1 tentcity 2 fireproof wall 3 circulation

TENT CITY Arrangement

RESEARCH/ ARCHIVE

CIRCULATION TUNNEL

MEETING ROOM

HISTORY MUSEUM

AUDITORIUM/ TEMPORARY SHELTER

CAFE

RESEARCH/ ARCHIVE CIRCULATION TUNNEL

MEETING ROOM

HISTORY MUSEUM AUDITORIUM/ TEMPORARY SHELTER

3 3

5

2 COVERED ABOVE AND UNDERGROUND GROUND CONNECTION TO THE SCHOOL

HISTORICAL ARCHIVE OF CA FIRES

MEDICAL

TEMPORARY SHELTER

CLASS ROOM / MEETING/ DISCUSSION RESEARCH/ ARCHIVE

EVACUATION/ AUDITORIUM

HISTORY MUSEUM

3

COVERED ABOVE GROUND CONNECTION TO THE SCHOOL HISTORICAL ARCHIVE OF CA FIRES

COVERED ABOVE GROUND CONNECTION TO THE SCHOOL

6

TEMPORARY SHELTER

HISTORICAL ARCHIVE OF CA FIRES TEMPORARY SHELTER

LIGHT WELLS

WALLS TO PROTECT FROM FIRE

LIGHT WELLS

FIRE WALLS Prevents the spread of fire from one building to next or from trees to the site

CLASS ROOM / MEETING/ DISCUSSION

2 tion and shelter spots th: Normal circulation tered tunnel/path to sheltered area

HISTORY MUSEUM ARCHIVE/ STORAGE RESEARCH

TEMP. SHELTER

LLS TO PROTECT FROM FIRE

INTERCHANGEABLE

MEETING ROOM/ CLASSROOM

HISTORY MUSEUM ARCHIVE/ STORAGE RESEARCH TEMP. SHELTER INTERCHANGEABLE

MEETING ROOM/ CLASSROOM

AUDITORIUM

Regular parking Regular parking

EVACUATION/ AUDITORIUM

final iteration -

RESEARCH/ ARCHIVE

HISTORY MUSEUM

1

AUDITORIUM

3

PARADISE A solemn place of remembrance stands where the town of Paradise, California once stood. The site is located right next to the local public high school, one of the only remaining structures. In the emergency of a wildfire there is clear and easy access from the school to the protective, fire resistant structures within the complex.

Large parking areas provide a space for tent cities if the need for them in Paradise occurs again. An underground research facility exists for the study of the ever increasing occurrences of wildfire in California. The entrance to the site is marked by a concrete sculptural pavilian with the names of those who have passed,

WALL SECTION NCAAA MUSEUM dueSECTION to wild fire the ODERBRUCH town of paradise.

WALL CASEin STUDY 1/4 “ =1’ -0”

fire walls

1:20 Scale

Total R Value (wall) inches 8.7

Total R Value (wall) inches 34.212

Control layer two-layer bituminous seal 22 mm oriented-strand board waterproof layer

BOSTON, MA

therm analysis

THERM STUDIES

1 ROOF EXTERIOR -11.8 C 1. Exterior concrete wall, 200mm 2. Thermal Insulation- Styrofoam IB-CH-A, 200mm 3. Electrical supply for sunblind 4. insulated window support 5. waterproofing 6. Motorized sun blinds 7. Soft Coat Low-E insulated glass with argon 8. Concrete lintel

ROOF

1

Control layer Un-faced extruded polystyrene XPS (vapor semi-permeable ( class III) located above and below the roof thermal insulation, under and above the insulated window support

SORRY, I HAVE NEVER USED GRASSHOPPER AND BASED ON YOUR LECTURE I THOUGHT THE SECTIONS NEEDED TO BE SIMPLE AND IN THE VERTICAL DIRECTION TO RUN. I CANNOT RERUN THESE DUE TO MY COMPUTER CRASHING WHEN I TRY TO RUN GRASSHOPPER, APOLOGIES. 1. two-layer bituminous seal 2. 22 mm oriented-strand board 3. waterproof layer 4. 2≈ 200/200 mm ridge purlins 5. 80/140 mm roof joists with 140 mm mineral-wool insulation 6. vapor barrier; 12.5 mm plasterboard

DUBLIN, IRELAND 5

Resistance Value of Materials (wall) PER INCH 1. .4.35 2. 4.35 2

Resistance value (vapor semi-permeable ( class III) Total 8.7 ocated on the exterior of the top center of the roof. On Both sides of the mineral wool insulation.

CAIRO EGYPT 1

2

8

2

1

1. SOFTWOOD BOARDING .6 1. Exterior concrete wall, 200mm 2. BATTENS; WATER PROOF LAYER 6.52. Thermal Insulation- Styrofoam IB-CH-A, 200mm 3. COUNTER BATTENS WITH INSULATION .5 supply for sunblind 3. Electrical insulated window support 4. MOISTURE DIFFUSING CHIP BOARD4.5.3.6 waterproofing 6. Motorized sun blinds 5. TIMBER POSTS 3.6 7. Soft Coat Low-E insulated glass with argon 6. STRAND BOARD .45 8. Concrete lintel 7. GYPSUM PLASTERBOARD .68

2 WALL 1. Double layer of Soft Coat Low-E insulated glass with argon

3

Control layer

EL SALVADOR, BRAZIL

1. Concrete footing 2. Waterproofing 3.Insulated window construction 4. Wooden window table 5. Terrazzo concrete flooring 20mm 6. Screed underfloor heating 70mm 7. Concrete slab 250mm 8. Under-slab thermal insulation 200 mm 9. Lean Concrete 50mm

DUBLIN, IRELAND

5 There appears to be some heat loss through the roof despite a significant amount of insulation being used. The layer may need to be made larger or a more robust form of insulation may need to be used in the colder climates where the building is being studied.

There is also some heat loss through the window supports, they may need an additional layer of insulation.

Total Resistance value 15.93

40 mm mineral-wool insulation

(vapor semi-permeable ( class III)

mineralinsulation wool insulation.

140 mm mineral-wool

6.15 mm oriented-strand board 7.12.5 mm gypsum plasterboard stopping coat, paint

TOTAL R VALUE 12.93

2

FLOOR

OUTSIDE TO INSIDE

1.19 mm softwood boarding two-layer bituminous seal 22 mm oriented-strand 2. 40 mm battens; waterproof layer board waterproof layer 3. 60 mm counterbattens with 4.16 mm moisture-diffusing chipboard located on the exterior of the top 5.60/140 mm timber centerposts of thewith roof. On Both sides of the

CAIRO, EGYPT

Condensation can occur

Case study: House in the Oderbruch, Hiede and and Von Beckerath

1 ROOF

2 WALL

3 FOUNDATION

1. two-layer bituminous seal 2. 22 mm oriented-strand board 3. waterproof layer 4. 2≈ 200/200 mm ridge purlins 5. 80/140 mm roof joists with 140 mm mineral-wool insulation 6. vapor barrier; 12.5 mm plasterboard

1.19 mm softwood boarding 2. 40 mm battens; waterproof layer 3. 60 mm counterbattens with

1. 20 mm brick tile paving 2. 10 mm bed of mortar 3. 65 mm screed with heating runs 4. 30 mm polyurethane insulation 5. 90 mm polystyrene insulation sealing layer 6. 200 mm reinf. Concrete floor slab

40 mm mineral-wool insulation

4.16 mm moisture-diffusing chipboard 5.60/140 mm timber posts with 140 mm mineral-wool insulation

6.15 mm oriented-strand board 7.12.5 mm gypsum plasterboard stopping coat, paint

MANUAL CONDENSATION CONDENSATION CALCULATIONS CALCULATI

1. Double layer of Soft Coat Low-E insulated glass with argon

2 WALL

7

BOSTON, MA 2 WALL

4

PERTOINCH Resistance Value of Materials (wall)OUTSIDE INSIDE 3 FOUNDATION

TOTAL R VALUE 20.76

WALL ROOF DETAIL DETAIL THERM THERM ANALYSIS ANALYSIS VAPOR BARRIER ANALYSIS

WALL 1 ROOF

BOSTON, MA

FINAL SITE PLAN

3 FOUNDATION

Td = T- ((100-RH)/5)

?

DUBLIN, IRELAND

Td = Dew point T = temp observed RH = relative humidity Boston, MA T = 52 CAIRO, RH =EGYPT 67 % Dublin, Ireland T = 48 RH = 83.6 %

3.8 1

7.12

AIR CAVITY EL SALVADOR, BRAZIL

3

1. 20It was mmalready brick tileclear paving made that the utilization of large amounts glazingbed will not well on its own without significant ad2. 10ofmm ofwork mortar justments in many climates. In the colder climates, Dublin and 3. 65Boston mmitscreed with heating will be necessary to design a trombe wall/ sun space heat the space though direct solar gain. existing concrete runstoMISSING Condensation canThe occur floor and roof will aid in the collection of heat through direct soandclimates, moisture leak mechanical 4. 30larmm polyurethane insulagain. In the warmer Cairo can and Salvador through if not properly tion louvers should be used to shade the space at certain times of day. The mechanicalinstalled shading devices will also need to be used in 5. 90Boston mmduring polystyrene insulation the significantly sunnier summers. sealing layer 6. 200 mm reinf. Concrete floor slab

TOTAL R VALUE 8.323

EL SALVADOR, BRAZIL

Cairo, Egypt T = 48 RH = 83.6 %

This footing design app

7.4 sulation and concrete s

significant heat loss thr once again. There may than there is currently the insulation and conc

Salvador, Brazil T = 48 RH = 83.6 %

13.4

Performance

HELIO TUBES AT THE LOW LINE PARK NYC

Performance

HELIO TUBES AT THE LOW LINE PARK

PLASTIC PRIMARY MIRROR

SECONDARY MIRROR

REFLECTIVE PARABOLA COLLECTS SUNLIGHT

PLASTIC PRIMARY MIRROR

FIBER-OPTIC CABLES CHANNEL SUNLIGHT FROM THE STREET ABOVE TO SUBTERRANEAN SUBWAY CHANNELS

HELIO TUBES A TRACKING MECHANISM FOLLOWS SUN PATHS THROUGHOUT YEAR

SECONDARY MIRROR

REFLECTIVE PARABOLA COLLECTS SUNLIGHT

HELIO TUBES

A TRACKING MECHANISM FOLLOWS SUN RECEIVER MODULE

RECEIVER MODULE TRACKING MECHANISM

DOMES REFLECT AND DISTRIBUTE CHANNELED SUNLIGHT

FILTERED CARBON VENTILATION REMOVES 60 - 80 % OF VOLATILE ORGANIC COMPOUNDS REMOVES 25- 30 OF FORMALDEHYDE

GPS RECEIVER

TRACKING MECHANISM

FILTERED CARBON VENTILATION

WASTE CAN BE TREATED WITH BURNED ORGANIC MATERIAL

REMOVES 60 - 80 % OF VOLATILE ORGANIC COMPOUNDS REMOVES 25- 30 OF FORMALDEHYDE

MATTRESSES ARE STORED UNDERNEATH THE FLOOR

WASTE CAN BE TREATED WITH BURNED ORGANIC MATERIAL MATTRESSES ARE STORED UNDERNEATH THE FLOOR

GPS RECEIVER

CASE STUDY - THE LOW-LINE

BY THE LOW LINE LAB

HELIO TUBES AT THE LOW LINE PARK NYC

REFLECTIVE PARABOLA COLLECTS SUNLIGHT

A TRACKING MECHANISM FOLLOWS SUN PATHS THROUGHOUT YEAR

FIBER-OPTIC CABLES CHANNEL SUNLIGHT FROM THE STREET ABOVE TO SUBTERRANEAN SUBWAY CHANNELS

DOMES REFLECT AND DISTRIBUTE CHANNELED SUNLIGHT

WIND CATCHERS

WIND CATCHERS

NIMALS ESCAPE WILDFIRE

NATIONAL FOREST

OPEN/CLOSE LATCH WIND CATCHERS

WIND CATCHERS

FILTRATION SYSTEM

OPEN/CLOSE LATCH mammals run

WIND CATCHERS

WIND CATCHERS

OPEN/CLOSE LATCH

FILTRATION SYSTEM

FILTRATION SYSTEM

urrow

er wade in rivers and lakes

row

small animals like rodents burrow deep underground

Bodfish Piute Cypress Grove

4.

In this first semester studio I designed a site specific performative pavilion. Our site was the Storm King sculpture park in New Windsor, NY. We were required to design a pavilion that would react to ta an environmental factor. I used specailized material, site placement and structural design in order to create a capillary reaction (The moving of water through suction).

The roof is designed to catch wind and create a vacuum effect on the water underneath the plastic polycarbonate panels. The water is then pulled up into the openings within the polycarbonate. Visitors can enter the pavilion and move through the panels and watch the affect light, wind and water play within this structure. This project resulted from a semester of material studies and tests on the effectiveness of the forces occurring within the materials of the performative pavilion.

5.

32

31

NUMBER OF SENTENCES PER SECTION NUMBER OF WORDS PER SECTION

15 ‘

7‘

98 “ 248 “

SYSTEM II

3‘ 53 ” 19 ‘

3‘

1’ 23 “

5‘ 8‘

53 ” 3’

2‘ 40 “



START

66 ‘ TOTAL SECTION IV GUARDS GOING UP AND DOWN

SECTION V SPACE FLASHBACK

SECTION VI CRASHED DOWN IN LOW AND GRACEFUL CURVES

SECTION VII HOG BARN

SECTION VIII MORE SOLID CURVES AND THE BULLETS MISSED

SECTION IX A SUBURB UNTOUCHED BY FIRE AND EXPLOSIONS

TRANSLATIONS

IT W AS

In this assignment we referenced a passage from Slaughterhouse 5 by Kurt Vonnegut. We designed our own schema or brief, in order to translate the written word into an architectural pavilion. I used the timeline of major events in the book and transposed these occurrences into architectural components. For example a man becomes a column, and a journey to outer space becomes an impossible parabolic arch. The measurements within the section are derived from the numbers of letters and senten ces in the reading. The model on the left is a partial model of the middle sequence of the section.

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BU

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LLE

CU

RV

EA

FT

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CU

RV

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10

0A ME

BILLY MONTANA

WINDOWS AND ROOFS GONE

“A great writer turns a reader into an a architect.”

-Walter Benjamin

AN

100 AMERICAN PRISONERS OF WAR

RIC

PR

ISO

NE

RS

OF

WA R

THREE CHIMNEYS

SECTION III SHALLOWER SHELTER

FOUR GERMAN GUARDS

SECTION I SECTION II PRESENT MEAT LOCKER

FOUR GERMAN GUARDS

.

SYSTEM I

TS

29

33

30 30

6.

.

RC FLOOD

PROGRAM LIST 2070 HIGH TIDE 2070 10 PERC FLOOD 2070 10 PERCENT CHANCE FLOOD

RESILIENT REEF In this comprehensive studio every phase of the design process was explored from site analyis to the detailing of wall sections and material selection. The selected site is in the old seaport of East Boston. This site has been quickly gentrified and is particularly susceptible to severe flooding due to sea level rise induced by climate change. The resulting site intervention and building would need to adapt and react to the influx of up to 10’ of water by 2100. The brief required landscape design that would help to redirect and collect water. It also rewuired a fully resolved building that would serve firstly as a place for play and second, in times of need, as emergency shelter.

(All conceptual work done in collaboration with Rameesa Ahmed - Select drawings done in callaboration with Tiffany Ng as noted (TN)

FINAL SITE PLAN

preliminary concept sketch site section

preliminary sketch concept in plan

LIVING BREAKWATER + MARSH RIDGE Our design incorporates a combination of breakwaters and the fasciliation of natural marsh restoration to help resist wave action. Our marsh ridges are contructed with ecologically engineered concrete and act as a breakwater while also providing an environment for marsh growth and sediment build up.

PROJECTED FLOOD PLANE

SCAPE LIVING BREAKWATER + H+N+S MARSH RIDGE

DIRECT WATER TOWARDS THE MAIN COLLECTION POOL ALONG THE FLOODPLAIN AWAY FROM DENSELY POPULATED AREA AND BUILDING

BREAKWATER

LIVING BREAKWATER | MARSH RIDGE

feed

MARSHBREAKWATER RIDGE

BIODIVERSITYDIAGRAM IN BOSTONOF A SALT MARSH

muscles/ clams

LIVING BREAKWATER

MARINE LIFE IN BOSTON HARBOR

Atlantic bluefin tuna

Atlantic bluefin tuna

Clam

Striped bass

Crab

Bluefish

Starfish

BREAKWATER

Striped bass

Boston winter flouder

Scallop

Lobster

Mussel

Bluefish

Boston winter flouder

BIODIVERSITY IN BOSTON MARSH RIDGE MARSH RIDGES

Phragmites

CORAL CUBE Biogenic buildup: Creation of sediment buildup through ecological processes

Switchgrass Marsh Elder Heron

SEA LEVEL RISE PRESENT TO 2070

Plover

Grass

salt ma aster

Trees, shrubs

Upland

Upper Border

High Marsh

MARSH RIDGE

PRESENT

Reference SCAPE LIVING BREAKWATER H+N+S MARSH RIDGE sarapezeshk

2030 HIGH TIDE

2030

BREAKWATER marsh ridge/ breakwater section LIVING BREAKWATER | MARSH RIDGE BREAKWATER

d the city

MARSH RIDGE Ecologically engineered concrete allows for marsh to regrow around it and oysters to inhabit it

MK - TN

BIODIVERSITY IN BOSTON BIODIVERSITY IN BOSTON 2030 9 inch Existing Sea Level

| MARSH RIDGE

2050 21 inch Existing Sea Level

Clam

Striped bass

Crab

Bluefish

Starfish

Boston winter flouder

Scallop

Lobster

Mussel

CORAL CUBE Made out biological concrete, allows water plants and animals growth

Atlantic bluefin tuna

Clam

Striped bass

Crab

Bluefish

Starfish

Boston winter flouder

Scallop

Lobster

Mussel

MK - TN

MARSH RIDGE

Atlantic bluefin tuna

2070 36 inch Existing Sea Level

arsh 2050 2030 Existing sea level

clam Low Marsh

Bio-tiles

MK - TN

0 10 PERC FLOOD

MARSH RIDGE

feed the marsh

3 ft Reference SCAPE LIVING BREAKWATER H+N+S MARSH RIDGE sarapezeshk

3 ft

2050 HIGH TIDE

2050 10 PERC FLOOD

Reference SCAPE LIVING BREAKWATER H+N+S MARSH RIDGE sarapezeshk

2070 HIGH TIDE

3 ft

2070 10 PERC FLOOD

ENVIRONMENTAL AND STRUCTURAL SYSTEMS STRUCTURE

TN

TN

TN

RA - TN

CONCEPT DESIGN (FACADE) - RA +MK DRAWINGS BELOW- TN

offices hang from truss in order to free up space for disaster releif condition

SINGLE BAY STRUCTURE 1/4” = 1’ - 0”

OPERABLE COPPER FACADE

METAL FACADE SUPPORT CURVED CURTAIN WALL

METAL TRUSS SYSTEM

FIXED CABLES

METAL LATERAL BRACING

*CONCRETE CORE WALLS PROVIDE ADDITIONAL SUPPORT TO HANGING STRUCTURE

TRUSS WEB MEMBERS FLOOR JOISTS

PIN JOINTS

BASE FLOOR

RAMMED AGGREGATE PILES

RA - TN

ENVIRONMENTAL SYSTEMS

LIVING BREAKWATER | MARSH RIDGE

present

2030

BREAKWATER

BIODIVERSITY IN BOSTON

MARSH RIDGE

2050

2030 9 inch Existing Sea Level

2050 21 inch Existing Sea Level

2070 36 inch Existing Sea Level

MK - TN

Atlantic bluefin tuna

Clam

Striped bass

Crab

Bluefish

Starfish

Boston winter flouder

Scallop

Lobster

Mussel

2070

physical models

rockite/ cnc mold model of marsh ridge

preliminary conceptual sketch

cnc concept model

final model

SITE SECTION 1/16” = 1’ - 0

2 0 2 0 R E S E A R C H I N T E R N S H I P

FIRM BIO Mathew Celmer is a practicing architect and professor at Syracuse University. In the spring of 2020 he launched his firm MCV STUDIO in Brooklyn, NY. Through this internship expe­r ience I was able to assist Mathew Celmer with creating and finalizing drawings for the website of his new firm (https://www. mcvstudio.com). Primarily focusing on his series of Narrative Homes. In this collection of luxury single family he homes, he uses works of literature to inspire the designs of the homes and villas.

I worked with styled semi-realistic, photo-realistic photoshop rendering and line drawing.

PROFESSIONAL WORK MCV STUDIO Brooklyn, NY “MCV is an architecture and design studio based in Brooklyn, New York. MCV is inspired by the intersection of everyday life, architecture and art. We understand architecture as a creative pursuit, viewing each new project as an opportunity to question the conventions of our built environment.

MCV is licensed to practice architecture, we provide services in all phases of the architecture and design process. We pride ourselves on developing collaborative relationships defined by transparency, trust and kindness for each new project we undertake.” -

MCV

7

7.

Narrative Homes is an ongoing research project exploring home design through the lens of literature. The creative exploration focuses on the relationship of narratives to the architecture design process. The design of each home in the series is based on a different selected portion of literature. The Narrative Homes series was the recipient of a Faculty Research Grant the Syracuse University School of Architecture and was selected for the International Artists-In-Residence program at the I-Park Foundation. - MCVSTUDIO.COM

NARRATIVE HOME III Type: Private Residence Status: Design Completed 2019 Size: 2,500 sf

NARRATIVE HOME III

­ ­

Narrative Home II is based on a scene from the 1930 novel As I Lay Dying by William Faulkner. The selec

Faulkner describes the family rescuing their mother’s coffin from a burning bar. As revealed in the no ther’s coffin becomes a central theme for the home’s design process and meaning.

NARRATIVE HOME II Type: Private Residence Status: Design Completed 2019 Size: 2,500 sf

cted scene,

ovel the mo-

Type: P

Status

Size: 2

Narrative Home I is based on the climactic scene from the 1942 novel The Stranger by Albert Camus. The sequence of events in this scene is a clear linear narrative. The movement of Meursault and the sequence he encounters during his walk are translated into an architectural project.- MCV

NARRATIVE HOME I

Private Residence

s: Design Completed 2018

2,500 sf

NARRATIVE HOME I

i-House Dormitory

2 0 21 S U M M E R I N T E R N S H I P

FIRM BIO Mizuta Museum

MoCADA Bklyn

StudioSumo is a small Brooklyn and LA based firm under the direction of Sunil Bald and Yolande Daniels. Most of their built work is currently in Japan such as the Mizuta Museum and the i-House dormitory. They focus on large institutional projects as well as small installations like Mocada Brooklyn and their housing installation at the Crystal Bridges Museum.

8.

Studi

INDIVIDUAL COMPONENTS

93.07 SQ FT

FOUR COMPONENTS 50.65 SQ FT

1. EATING 2. LIVING 3. BEDROOM 4. BATHROOM

113.24 SQ FT

27’ 11 3/8”

193.9 SQ FT

225 SQ FT

PUBLIC

ioSUMO

TOTEM LAYOUT

ORIGINAL LAYOUT

20 ‘

BATH

20 ‘

BATH

BED

- CABINET AS A DEFINER OF ENTRY WAY

BED

END PRIVATE

2 1

- TOTEMS AS BARRIER/ SCREENS FROM BATH TO BED AND LIVING TO BED

BUFFER ZONE

- TOTEM AS A BARRIER FROM THE KITCHEN TO DINING AREA

BUFFER ZONE LIVING

LIVING

- CIRCULATION MOVES FROM PUBLIC TO PRIVATE. THE BED AND BATH ROOM COMPONENTS ARE LOCATED AT THE BACK END OF THE UNIT.

FOUR COMPONENTS

AD REINHARDT

EATING

ENTRY WAY

36 ‘ - 6”

36 ‘ - 6”

1. EATING 2. LIVING 3. BEDROOM 4. BATHROOM

EATING

ENTRY WAY

START PUBLIC

LAYOUT I

PRIVATE

15.65’

PRIVATE - EXISTING RELATIONSHIPS WITH 500 SQ FT FOOTPRINT

15.65 ft x 31.95 ft - Retain existing scale - Retain totems as barrier/ screens from bed, bath, living, eating, kitchen - Retain cabinet totem as marker of entry

TOTEM AS A SCREEN

BUFFER ZONE

BUFFER ZONE

FOUR COMPONENTS 1. EATING 2. LIVING 3. BEDROOM 4. BATHROOM

DINING AND LIVING SPACE BECOME MERGED

31.95’

ENTRY

KITCHEN EXTENDS INTO OUTDOOR SPACE? KITCHEN

PUBLIC

INITIAL CONCEPT DEVELOPEMENT

PUBLIC

7

12

15

58

1260 30

12

13

30

15

17

14

17

12 12

15 17

2018

12

12

1262

MUSEUM ROAD

16

12

1261

3

5 12

16

12

15

C

1259

24

12 16 18

18

3

126

12

36

CONNECTING PATH

MAIN PARKING

17 13

12

12 69

13

16

15 18

16

18

24

E

24

18

70

1

18 12

28

2

12 7

18

16

73

12 12

12

12 68

20 12

22

24

18 18

12

67 12

126 6

15

18

12

12 12

18

18

28

29

15

65

126

ORCHARD TRAIL

127

4

19

12

12

74

12 32

5

EXCESS PARKING

18

NORTH WEST VIEW

MODEL 2

SOUTH EAST VIEW II

SOUTH EAST VIEW

NORTH EAST VIEW

MODEL 1

site orientation options Sets of renderings were created using vray in order to explore lighting and site differences in a set of three different orientations through the lense of four different main views. Revit solar animations were created to better visualize the change in the quality of light for each space depending on the specific site orientation.

MODEL 3

MODEL 4

- DEPEDNING ON THE SIZE OF THE INSTALLATION ON SITE E A LARGE SHADOW MAY BE CAST ON OUR SITE - INTENSE MORNING SUN IN THE BEDROOM

- early morning sun in the bedroom and living room and west side engawa - again the size of the installation on site E will effect winter morning shade

WINTER SOLSTICE 8:00 AM - THE LIVING AREA IS WELL LIT DURING MID DAY - THE ENTRY WAY IS ALSO WELL LIT AT MID DAY - EAST SIDE ENGAWA ALSO RECIEVES LIGHT, THE WEST SIDE DOES NOT

- compared to scheme 1 scheme 2 allows for more sunlight to enter the entry, kitchen and living areas at midday - It will also allow for direct sunlight on east and west engawa spaces - the path in this scheme will also receive direct sunlight

WINTER SOLSTICE 12:00 PM - THERE IS MORE SUNLIGHT IN THE LATER HOURS OF THE DAY - DEPENDING ON THE SLAT SCHEME INTENSE SHADOWS WIILL BE CAST TO THE NORTH OD THE SITE

- The dining, kitchen and entryway will receive direct sunlight.

- bath, bed and entry have ample indirect sunlight - West engawa will have direct sunlight

WINTER SOLSTICE 430 PM

THREE MAIN SITE ORIENTATIONS AT WINTER SOLSTICE REVIT SOLAR ANALYSIS SETS - FULL ANIMATIONS @ https://www.youtube.com/channel/UCunYO5JTikG3Mb_e2lLDdtw/videos

SCHEME THREE - NW FACING

SCHEME 2

final iteration -

SCHEME I

SCHEME 3 - bathroom and dining get obstructed morning sun - North engawa receives indirect sunlight

- bed, bath, living and entryway receive direct sunlight - south engawa receives direct midday sun

- entry, living, bedroom and dining receive direct evening sun - kitchen receives indirect sunlight ( could a portal/ window be places in the totem to bring sunlight into the kitchen in winter evenings - south facing engawa receives direct sun - North engawa is completely in shade

LIGHTING STUDY RENDERS

1

2

MEAGHAN KELLY https://issuu.com/mkelly528/docs/kellymportfolioissu