Syracuse Architecture Class of 2024
D e s i g n
N o o r y
TABLE
OF
CONTENTS mirwaisnoory7@gmail.com Syracuse School of Architecure Class of 2024
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Community Arts & Trades Learning Center
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Rare Books Library Archive
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Facade Design Exploration
p. 17-22
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Arctic Revival
p. 23-30
p. 1-8
p. 9-16
This project involves the designing of a learning center that allows members of the community to visit and learn the trade offered. The trade I chose was woodworking, as it is fairly simple and offers many practical uses such as home improvements, and the ability to further develop their skills to use in a professional job setting.
Wood Workshop 1,793 sq ft
Wood Lathe
Jointer Radial-arm Saw
Router Table
Disc Sander
Planer
Scrollsaw
Outfeed/Assembly Table
Table Saw
Drill Press
Bandsaw
Drill Press
Shaper
Sander
Bandsaw
Storage 294 sq ft
Workbench & Cabinets
Workbench & Cabinets
Lumber Storage Rack
Assembly Bench
Lumber Storage Rack
Lumber Storage Rack
Classroom 744 sq ft
Mech. Equip. 66 sq ft
Workbench
Misc. Storage
Store/Gallery 1083 sq ft Bathroom 104 sq ft Hand Tools (Rent)
Materials
Power Tools (Rent)
Loading Dock 294 sq ft
Bathroom 104 sq ft
Display Case
Office 215 sq ft
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Display Case
Display Case
Display Case
Checkout
Misc. Storage
Recieved Goods
Temporary Storage Items Leaving
Display Case
Programatic Components 1’-0” = 1/8”
Project 1 - CommunityAxonometric Arts & Trades Learning Center
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I then moved to my model where I started to group the individual programs in 3 different bays depending on function. Bays 3 Extruded
These bays are differentiated by roof type, formal characteristics, light is let in. The formal makeups are also designed to relate to th 3 Extruded Bays
Structure Axonometric
3 Extruded Bays
1’ = 1/32”
Red is responsible for supporting the middle structure. Red is responsible for supporting the middle structure.
Visual/Physical Connections Across 3 Bay
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W
, and the manner in which he neighboring context.
Structure Axonometric 1’ = 1/32”
From there, my middle bay (gallery space), started to become a direct consequence of the forms and structures on either side of it. This is done a couple of ways. First, the formal makeup of this middle bay is derived from the negative space formed by the left bay. It then connects to the side bays further by speaking to the roof conditions happening on either side. My structure for the middle part is also completely attached and reliant on the side structures. This leaves a strong division down my project, which gives a greater sense of transparency and inclusion to the neighborhood, allowing for the sidewalk material to continue its way through the project.
These 3 main volumes (bays) were then extruded back through the site. The right-most bay houses the workshop and loading dock/storage areas. The left bay houses more intimate spaces such as classrooms and a reception desk/office. The middle bay contains a gallery and tool rental space.
West Elevation
Red is responsible for supporting the middle structure.
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3 Extruded Bays
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Visual/Physical Connections Accross Visual/Physical Connections Across 33Bays Bays
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The project is then brought together by the structure and materiality, and specifically placed openings and visual connections.
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The ground materials are constantly trying to escape their boundaries, and help to unify the project by continuing the same materials across all 3 Bays.
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3
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Store/Gallery Display Area
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Woodshop Assembly Area
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Woodshop Machinery
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Loading Dock/Storage
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Offices/Reception
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Classrooms
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Bathrooms
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Mech Equipment
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Outdoor Gathering Area
There is also an outdoor gathering space located in the middle bay that works as a rest/eating area, and combines the programmatic responsibilities of all 3 bays, and allows for small events and presentations to occur. 2
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Long Section
Cross Section 1
Cross Section 2
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Project 2 - Rare Books Library Archive
The main formal concept that I started designing this structure with was the idea of a top-heavy, boxy and continuous form carved out of a large solid mass, with many faceted elements repeated throughout the building itself. This helps to create an almost cave-like feel as you experience the sequence of the building, met with brief moments of connection to the outside in certain instances. Within the various types of spaces that are carved out in this resulting network are different programs dedicated to a lobby, an archive storage system, galleries, reading and working spaces, offices for the building and course bathrooms. The manner in which one enters the project is by seemingly slipping through the facade into this heavy volume, then circulating up through the lobby into a heavy central volume.
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Terrace Offices Gallery/Exhibition Space Reading/Working Space Archive
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The archive proved to become my main focus of the architecture, making it the single most-emphasized space in the building. From the very beginning, before one even enters the structure, their attention is drawn to this large vertical mass that sticks out through the facade of diagonal elements and panels, that is the archive. Furthermore, as one moves back and forth, up and down throughout the building, they are constantly being reoriented to this large archive space and are also provided many visual connections to it as well. The archive also has the biggest visual connection to the outside before you reach the terrace, looking right at the highline. This cements the idea that the archive is this large intellectual center that holds the whole piece of architecture together. Next come the gallery/exhibition spaces and the reading and working spaces. I planned these out to wrap around the archive and main circulation mass that is planted around the center of the project. The galleries are more secluded from the outside to prevent light from damaging the works held in them. Meanwhile, the reading/working spaces were designed to allow much more natural light to slip in through apertures I produced in the facade. This is to allow work to be done in these spaces and give a greater sense of connection to the outside, which is something that is rare in the rest of the project. At just below the rooftop terrace we have the gallery and archive offices. These spaces are purposely very secluded from the rest of the building, so that public visitors are kept away from these areas, giving a different sense of privacy here that is unique compared to the rest of the project. These also have lots of natural lighting connecting them to the outside through the front facade. Finally is the rooftop terrace, which continues the language of faceted forms and will have you finally come out of this cave-like structure to fully connect to the outside. Here you are met with full views to the surrounding context including the highline. Thank you.
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Interior Renders
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Sectional Perspective
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Project 4 - Facade Design Exploration The main focus of this project was the exploration of depth and void and how one can play with them to realize the true potential of a facade. To start, I studied the precedent “Casa del Fascio” to better understand facade configurations. Taking from my precedent, I then placed a grid on the facade and used it to inform the formal decisions. Through this, powerful moments of spatial qualities are created.
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Qaanaaq
Melting Glacial Waters
Change in Ice Thickness (mm) +1500 +1100 +700
+300 -100 -300
-700 -1100
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-1500
Project 3 - Arctic Revival For this project, we were assembled in groups of 2 and were tasked with choosing a type of ecosystem or body of water that is facing a large ecological threat. The body of water that we chose to reasearch was the Arctic. The main ecological threat that we chose to address in the Arctic region was the thinning and loss of sea ice. This is part of a large, devastating feedback loop which is slowly crippling arctic ecologies.
Current Ice Thickness (m) Polar Bear
3000 Algae
2500 2000
Seal
Plankton Arctic Char
1500 Greenland Shark
1000 500 Beluga Whale
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We were then as retical “vessels” that ad threats. The vessel spray ter onto surrounding ic implements the use of sprays it into the atmos brighten cloud cover, w cess called “cloud-whit more sun rays to be refl atmosphere. We then started sel using foam and spo left with a resulting net covered and cast in soa
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sked to design theodresses our ecological
ys desalinated seawace as it passes. It also regular saltwater and sphere to increase and which is part of a protening”. This allows for flected back into the
modeled out our vesonges. We were then twork, which we then ap.
50 years 70 years 100 years
Legend Site Vessel Archive Locations Ice Expansion Over Time
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We were then asked to design an “archive” that protects and aids against the ecological treat we chose. We decided we wanted our archive to act in a similar manner to the vessel, keeping the cloud-whitening aspect. We also designed for the vessel to interact with the archive, docking at any one of three fingers, dropping off the brine that it collects up as a result of the desalination process.
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The layout of the building is centered around the water collection and spraying system that cuts through the center of the project, revealing one of the processes that occur within the building. The brine is accessible for locals who would like to use the solution as a food preservation method. It is also used to supply the fish vendors at the bottom of the mass for the same reasons.
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In the actual archive, we have chosen to store samples of ice which contain lots of historical information about our world’s past climate states and other past environmental qualities. The exterior skin of the archive is made of a reflective material, allowing for sun rays to be reflected off the building mass. This skin is then supported by a space frame structure and an accompanying system of columns.
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Mirwais Noory mirwaisnoory7@gmail.com Syracuse School of Architecure Class of 2024