2021/22 Cummings School Student Academic Showcase

Fall 2021, Spring 2022

Student Academic Showcase + Honors

October 2022

Roger Williams University Student Academic Showcase (SASH) Cummings School of Architecture Each year, Roger Williams University convenes Student Academic Showcase and Honors (SASH) events in April, to share outstanding work by undergraduate and graduate students in presentations, panel discussions and exhibitions. SASH represents our collective intellectual accomplishments as a University during the academic year.

The Cummings School of Architecture has sought to make the most of this event and opportunity, and has created a school-wide exhibition of outstanding work from all courses and levels of study, which is then exhibited in the School’s atrium spaces over the year. This year and going forward, SASH work is also collected into a print and online and print booklet.

The work collected demonstrates the character of teaching and learning here at the School, and is the product of interactive relationships between students, faculty and external partners in classroom and field courses, design studios and course workshops.

Particular thanks to Professors Nathan Fash and Olga Mesa for organizing the collecting the work, and for working collaboratively with Heather Wilson, the Cummings School’s Portfolio and Documentation Specialist.

Sincerely Stephen White, AIA, Dean Cummings School of Architecture Program Directors Architecture

Nathan Fash, AIA, Associate Professor Olga Mesa, Associate Professor Art & Architectural History

Randall Van Schepen, Ph.D., Associate Professor

Preservation Studies/

Elaine Stiles, Ph.D., Assistant Professor

Preservation Practices Urban and Regional Planning

Ginette Wessel, Ph.D., Assistant Professor

Portfolio and Documentation Specialist Associate Dean

Dean

Heather Wilson Gregory Laramie, AIA Stephen White, AIA

FACULTY Andrea Adams Edgar Adams Aleksandra Azbel Rubén Alcolea Timothy Bailey Steven Banak Mauricio Barreto Julia Bernert Julian Bonder Aaron Brode Eric Busch Ginette Castro Noel Clarke Bilge Celik Anthony Corr Andrew Cohen Nicole Cuff Michael Decoulos Bob Dermody Keith Doucot Nathan Fash Gail Fenske Nicole Gaenzler Vincent Giambertone John Hendrix Karen Hughes Melissa Hutchinson Rich James Sarah Kennedy Myoung Kim Nermin Kura Gregory Laramie Kristopher Lawson Alyssa Lozupone Ryan Ludwig Richard McBride Olga Mesa Samantha Moscardelli James Moses Cynthia Murphy Xuanyi (Maxwell) Nie

John O’Keefe Eleftherios Pavlides Robert Pavlik Anne Proctor Marthe Rowen Christopher Ryan Blair G. Shanklin Kellan Simpson Elaine Stiles Randall Van Schepen Hanisha Thirth Bennabhaktula John Tschirch Roberto Viola Ochoa Kristen Weigel Ginette Wessel Melanie Weston Stephen White Junko Yamamoto Dingliang Yang Tyrone Yang Leonard Yui Fall 2021 Teaching Firms: Schwartz/Silver Architects Peter Kleiner, AIA Warren Schwartz, FAIA Jon Traficonte, AIA VARI Design Dingliang Yang, Principal Xuanyi (Maxwell) Nie Spring 2022 Teaching Firms: Maryann Thompson Architects Maryann Thompson, FAIA Jeff Vogel Hacin + Associates David Hacin, FAIA Matthew Manke Joshua Lentz (M.Arch’12)

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The Core Design Studios introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

Tableaux Vivant Assignment Students in AAH122 Art and Architectural History II: Renaissance to the Present are asked to create a Tableaux Vivant (literally translated as “living picture”). The practice of recreating works of art with contemporary bodies has a deep history and was especially popular in the 19th century. Sometimes this was even done live, on a stage.

The process of recreating a work in a Tableaux Vivant can vary from an attempt at close replication to a more creative re-interpretation of the image in contemporary terms. Images here reflect that spectrum, with some students choosing to recreate works using creative props in the time of COVID.

Original: Fuseli, The Nightmare, 1781 | Tableaux Vivant: Delia Maguire

Image caption

Original: Michelangelo, The Creation of Adam, Sistene Ceiling, 1508-12 | Tableaux Vivant: Abigail Mayer

Original: Zurbaran, St. Serapion, 1628 | Tableaux Vivant: Jack Ryan

Image caption

Original: Rigaud, Louis XIV | Tableaux Vivant: Kyle Clifton

Original: Vermeer, Woman Holding a Balance, 1662-63 | Tableaux Vivant: AJ Alessandrini

Original: Manet, The Spanish Singer, 1860 | Tableaux Vivant: Jacob Plasencia

Original: Vanni, The Virgin and Child Appearing to St. Francis, 1599 | Tableaux Vivant: Maryrose DiPiro

Original: Courbet, The Stone Breakers, 1849 | Tableaux Vivant: Abigail Sargent

Original: David, The Death of Marat, 1793 | Tableaux Vivant: Garett Doidge

Art and Architectural History II: Renaissance to the Present | FALL 2021 AAH 122

Tableaux Vivant

Work by: AAH 122 Students Above Professor: Randall K. Van Schepen

THE PAVILION The goal for the project was developing a restaurant with a design influenced by a specaility dish. My design focused on a folding motion similar to a wave that would create an enclosed volume. This fold is expressed through the curved wall element which makes a gradual transition between the floor and ceiling. This curved wall also creates a divider between the kitchen and seating. But between the indoor and outdoor seating is a floor to ceiling window. This is the main source of light and view into the resaurant. This was represenative of the open side of a fold.

The building’s large window is faced south to allow for the sunlight to fill the interior of the building, Beyond the outdoor seating was space set aside for a garden to be used to grow the ingredients for the restaurant. Gradually transitoning the man made structure to the natural surroundings of the building.

Exterior Perspective

Exterior Aerial

Interior Perspective

Project Drawings

Exterior Perspective

Architectural Design Core Studio I | FALL 2021 ARCH.113.07

The Pavilion

Work by: Jason Cowell Professor: Tyrone Yang

ROOF PLAN 1/4”=1’/0” SCALE

CONCEPT

PROJECT GOAL

One key parti concept that was carried throughout my design was the “s” shape that was originally extracted from my model from part two of the project. A defining feature that is contained within the “s” shape is the central, horizontal axis that runs across the roof of the pavilion. Another key parti concept that was important was the idea of having different heights. The differing heights was first portrayed in my section drawings of the vessel. I eliminated the idea of having topography that was in my second model and instead I made the columns different heights within the final model. The differing heights led to the creation of an interesting sloping spiraled roof design. The spiraled roof is somewhat reminiscent of the plan view of an artichoke.

The goal of this project was aimed towards creating and designing a dining pavilion. Our pavilions needed to have specific program and other requirements, such as providing a minimum of three to five discernible spaces of varying sizes, clear spatial hierarchy, and to be “open air” but still provide shelter from the sun and rain.

MODEL When building the final model I used various sorts of materials such as wood for the columns, beams, and railings, bristol paper for the roof, cardboard for the decking and stairs, and a mesh-like material for the walls.

In terms of space, there is a front porch that wraps around either side that connects it to the back deck, where outdoor dining would be. The interior spaces are open concept. There are two main “cells” of space that are circular in shape, and each circular unit have two different spaces, which are more semicircular in shape. There is a specific location for the kitchen, two different sized dining areas, a bar space, and an outdoor dining space.

SECTION CUT B 1/4”=1’/0” SCALE

PRECEDENT During the process of creating my final model I did research on the Zumthor Chapel by Peter Zumthor. I found a lot of structural similarities between my project and this chapel. The relationship between the vertical columns and horizontal beams in his chapel design is similar to the structure of my pavilion. Each column has a beam that connects it to the column directly across from it, creating the roof.

SITE My pavilion is located at Currie Park at West Palm Beach. After creating the physical model I could really envision the pavilion in a more tropical and warm location. The location that I picked is right on the water, and the pavilion would be oriented towards the southwest. Because the pavilion is facing southwest, most of the sun would be hitting the front of the pavilion during the day, and provide shade on the back deck. Those in the pavilion would also get a great view of the sunset during the evening.

SECTION DRAWING OF VESSEL

EXTERIOR ELEVATION 1/4”=1’/0” SCALE

SECTION CUT A 1/4”=1’/0” SCALE

Architectural Design Core Studio I | FALL 2021 ARCH 113.03

PERSPECTIVE DRAWINGS

Dining Pavilion

Work by: Emma Gullen Professor: Aaron Brode

INTERIOR INTERSECTIONS The project uses the theme of intersection to create an immersive experience for the guests who come to dine. The project was inspired by the garlic bulb, the fruiting body which displays how all the interior cloves work with and around each other to create this very organic, natural flow.

On the edge of a lake, a beautiful view from any area of the restaurant can be seen. Most clearly seen from the height of the second floor is where visitors can not only enjoy the water but also the entirety of the level itself. Moments of intersection happen visually through reflection, as the floor supporting the second level, is made of a transparent material. By making the floor material acrylic, the visitors can see the reflections of the overhead structure, the ascending and descending fins, and themselves.

The two levels of the building are also intersected by ascending and descending fins, into which seating is integrated. These fins emerge from the ceiling of the first level, or the floor of the second level, and provide places to sit while generating movement and rhythm throughout the project.

They invite guests to both see the intersecting planes of the structure and to be a part of the architecture as well.

First and Second Floorplans

Elevations

SECTION AA 1/8”=1’

Sections AA and BB

SECTION AA

SECTION CC

Site Plan and Section

Growth of the Garlic

Architectural Design Core Studio I | FALL 2021 ARCH 113

Interior Intersections Exploration Drawings

Work by: Jocelyn Pagliuca Professor: Sasha Azbel

Bell Pepper Abstraction, Pen and Ink

Bell Pepper Section Cuts

Bell Pepper Abstraction, Charcoal

Vessel Display Case, Worm’s Eye View

Bell Pepper Formal Analysis

Bell Pepper Abstraction, Collage

The Bell Pepper

Display Case Elevation

West Elevation View

Display Case Section

The project began with the observation of a vegetable, mine being a bell pepper. Beginning by observing the pepper, section cuts and formal analysis drawings were made. After describing the bell pepper, we moved on to creating a paper vessel intended to wrap and hold the vegetable. The next step was creating a display case to hold three of the vessels. A point of emphasis I focused on with the display model was creating obstructions to the view of the vessels. I wanted to relate the display to how these peppers would naturally be viewed when growing, with the leaves covering peppers and changing the view. From this display, I derived the central system, that being three structures coming from one central connecting structure.

I took these ideas and applied them to a pavilion designed to provide dining and cooking space. I created a hexagonal shape with light filters alternating sides that come together to a central oculus. The oculus places emphasis on the space below it.

Along with this space being in the center of the pavilion, the space’s characteristics make it the primary space of the pavilion.

One of the requirement was to create different spaces for eating. Using differing heights and differing levels of privacy, I distinguished unique spaces. I chose to use materials similar to the display case, using rockite for the base and wood for the light fiters. The extreme difference between the materials (one being heavy and thick while the other is light and airy) allowed for a clear distinction between ground structure and ait structure. The cycle that was explored through these projects, going from a bell pepper to a pavilion serving a recipie involving them, allowed for a connection between the ideas involved in the different designs.

Vessel Prototype Progression

West Section Cut

South Elevation View

South Section Cut

Pavilion Top View

Sequential Vignettes, beginning at the southeast entrance, ending at the private dining space

Pavilion North Elevation View

Pavilion East Elevation View

Architectural Design Studio | FALL 2021 ARCH 113.01

Pavilion South Elevation View

Pavilion West Elevation View

The Bell Pepper

Work by: Lindsay Gaiser Professors: Ryan Ludwig

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Triangulation becomes evident ventilation system.

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SOUTH ELEVATION 1/4’’ = 1’

CROSS SECTION 1/4’’ = 1’

N

SITE PLAN 1/8’’ = 1’

UNDERGRADUATE STUDIO | FALL 2021

Studio Name | TERM YEAR Studio | TERM YEAR ARCH Name 113.02 COURSEID# ID# COURSE

The Series of Three Project Project title title Work by: Jenna Ferrandino

Work name Workby: by:Student’s Student’sFirst First and and Last name Professor: Aleksandra Azbel Professor(s): Professor’s First name Professor(s): Professor’s First and and Last name

PROJECT 3A & 3B- THE PAVILION Throughout the Fall Semester, we were tasked with taking an assigned fruit or vegetable and using aspects of the food and converting them into structures. Such as a vessel, a display, and a pavilion. I was assigned a banana, and used its curved geometry to create 3 unique projects.

Project 1: As seen second to the right, was a scalable hanging chair designed to hold people or bananas. The upper curved element and support was based off the curved geometry of the banana. The base element was designed off a geometric abstraction of a cross section of the banana. The swinging chair element had the curved geometry with the interlaced supports to allow for adjustability and support.

Project 2: As seen on the right, was a further developed version of project 1. It took the idea of the hanging chair for people and multiplied it to hold 6 people. It was created to serve as a gathering place. The intended use of the structure was seating surrounding a firepit for a family. The legs of the structure continued the curved geometry along with the curved roof structure. The actual roof of the structure was a pergola designed for the creation of shade by plants. The plants would climb up the curved truss suppport and into the roof to provide shade in the summer and sunlight in the winter.

Project 3: Is a combination of the elements discovered in Project 1 and 2, while also including the elements native to the banana. The location for the pavilion in project 3 was based off where bananas grow. It was placed in a tropical location. With the tropical theme, the pavilion was designed to be a wedding pavilion to give the structure a purpose.

The circular roof structure of project 2 was converted into elipses and dubbed “father and mother surfboards,” because of their shape. Furthering this, the support structures for the roof and the wedding arch also followed this eliptical idea.The actual roof surface and surface in the railing was maid out of a mesh like material intended to have a pattern like the banana flower. The enterance to the wedding pavilion was designed to resemble a wave-like structure.

Countinuing the tropical and curve-linear theme throughout the pavilion was important, so the tables inside continued the surfboard theme and the kitchen counter was also curved. The kitchen area had a staircase to the farthest right, which was for utility and a restroom, while directly next to it was the bar counter. The main counter to the left was for food and had a step up for guests to custom order food to be cooked on the flattop grills. Also while serving as a divide between the public space, the semi-private space(cooking space), and private space(dish room and storage room). While having easy access for the employees between the slits in the counter and hallway along the side of the kitchen. The kitchen also included skylights for light and ventilation and has palm trees surrounding the back to hide the structure from guests.

Preliminary Orthographic Drawing

Architectural Design Core Studio l | FALL 2021 ARCH 113.05

Project 1A & 1B- A food Item and A Vessel

Project 2- The Display

Project 3A & 3B- The Pavilion

Work by: Nathaniel Bancroft Professor: Melissa Hutchinson

MOUNTAINSIDE DINING PAVILION

Site Plan This project is located on the westface of a mountain.

It is designed so that the majority of the views look to the west. The intended use of the space is for a family or other group to be able to gather, cook, eat and congregate together. The inspiration for the pavilion came from the star fruit. In the abstractions that preceded this design, the pentagon was the dominant geometry derived from the fruit. The supporting elements of the landscape utilize the same angle contained in the pentagon. Upon arrival at the pavilion the guest is presented with the choice between going to the upper or lower area of the structure. The lower area has been carved into the landscape creating a cave-like space. Its purpose is to afford the guest an area to take in the view from a unique perspective with the walls angled out from the ground giving the occupant the sense that they are suspended off the side of the mountain. The upper portion of the structure includes a cooking space with a large island and a covered dining area. On the outside of the pavilion there is another large table allowing flexibility between indoor and outdoor dining.

Division Of Space

Sun Path A

B

Site Section A

Arch Design Core Studio I | FALL 2021 ARCH 113.05

Site Section B

Mountainside Dining Pavilion

Work by: Andrew McDonald Professor: Melissa Hutchinson

PAVILION ELEVATION SECTION

DINING PAVILION This project focuses mainly on the concept of the structure of carrots. The design is heavily inspired by the carrot itself, while also including details from the recipe. The root vegetable is one that develops underground, so I wanted to create an experience where the main visuals would develop as guests would go down lower into the main underground space.

Above ground, a carrot has a leafy green stem that acts as a hint to the main body that is underground. To replicate this idea, I created a glass skylight that has multiple purposes. One of those purposes is the above-ground “hint” of the structure below. The skylight also acts as a chandelier-like structure, which hangs down in the center of the dining area, and provides light to the space. On top of the skylight acting as a light source, it also provides a water source by acting as a fountain, where the water falls from above ground into the underground space.

I designed the space to be open and large so visitors wouldn’t feel cramped. A few additional concept details I included were the tapered walls, which were inspired not only by the carrot but by aloe as well, which is from our recipe. Another detail I decided on including was the spiral staircases. These were originally going to be linear staircases, however, I decided to change them to curved staircases to not only give contrast to the space but also because carrot stems/roots aren’t pin-straight, which is what I took inspiration from.

PLAN VIEW: ABOVE GROUND

FLOOR PLAN: UNDERGROUND

Architectural Design Core Studio I | FALL 2021 ARCH 113.07

DINING RECIPE: CARROT & ALOE SOUP

Dining Pavilion Work by: Kayla Morel Professor: Tyrone Yang

Amplified Body Part 1A and 1B: Body Parts in Motion and the Body as a Device

The goal of this excersise was to demonstrate the various characteristics and capabilities of the human body solely through drawing.

First, only the leg was focused on, showcasing its range of motion, structure, and function through a set of abstract and technical drawings. These drawings show movement by overlaying images of the leg at different positions through its motion, creating highly dynamic diagrams.

Next, the entire body was considered. Concepts like structure, density, dynamism, and texture were all considered during this process in order to

convey the unique positions and motions that the body can perform.

After this, an apparatus that attached to the body and would automatically draw when the body moved in a specific way was designed.

This particular apparatus attaches the the hands in order to excentuate and record the small gestures made while typing. From this, the act of typing, which usally produces a purely digital record of itself, also leaves an analog trace. In this way, the drawings this apparatus creates are like abstract versions of the text that is typed while using it.

Space Part 2: Representing Pure Space

In this project, a series of two connected spaces, one tall and one short, were carved out of the interior of a solid cube. These two spaces were then horizontally cut and vertically punctured in order to let light inside in a variety of ways. After digitally testing the size and orientation of the spaces, a 12x12x12” foam layer model was created to represent the project as a whole, along with section and axonometric drawings

House of Senses Part 3: A Site and a Place

After being assigned four cards for a sense, an island plan, a poem, and a painting, an island that incorporated characteristics or feelings from each was designed.

As determined by the “Perpendicular Cut” Plan, the island has two artificial cuts throgh the landscape pointing towards eachother. Then, taking inspiration from Delaunay’s painting, I chose to make the island sharp and rocky, made completely of layered diagonal and orthagonal edges. From Von Sohiller’s poem and the sense of sight, the island culminates in a summit and provides expansive views across itself.

Once the island was established, a building that also incorporated the four cards was designed to accomodate a wise elderly couple.

The structure is a linear sequence along one of the island’s cuts, starting at a dock, moving past a pool and grotto, up into a living and kitchen area, into a sleeping area, and culminating at an outdoor observatory.

The building’s structure mimics Delaunay’s painting, continuing the layered diagonal and orthagonal system of the island while framing views of the landscape down its artificial cuts. Further emphasizing the sense of sight, dramatic points of light are letting inside through small openings and carvings into the structure. As a result, the project is both cohesive with the landscape and creates a clear, navigatable layout.

Our purer essence then will overcome Their noxious vapour; or, inured, not feel; Or, changed at length, and to the place conformed In temper and in nature, will receive Familiar the fierce heat; and, void of pain, This horror will grow mild, this darkness light; Besides what hope the never-ending flight Of future days may bring, what chance, what change Worth waiting--since our present lot appears For happy though but ill, for ill not worst, If we procure not to ourselves more woe.

Seeing

Perpendicular Cut Hearing John Milton, Paradise Lost, Book 2, fragment

From time to time The clouds give rest To the moon-beholders.

Touching

Architectural Design Core Studio II | SPRING 2022 ARCH 114.01

The Lake Smelling Matsuo Bashō, ca.

1681

Hail to thee, mountain beloved, with thy glittering purple-dyed summit!

Hail to thee also, fair sun, looking so lovingly on!

Thee, too, I hail, thou smiling plain, and ye murmuring lindens, Ay, and the chorus so glad, cradled on yonder high boughs; Thee, too, peaceably azure, in infinite measure extending Round the dusky-hued mount, over the forest so green,-Round about me, who now from my chamber’s confinement escaping, And from vain frivolous talk, gladly seek refuge with thee.

Through me to quicken me runs the balsamic stream of thy breezes, While the energetical light freshens the gaze as it thirsts.

Twin Cuts Friedrich Von Schiller, The Walk, fragment Georges Braque, Castle at la Roche-Guyon, 1909

Robert Delaunay, Les Fenêtres Sur La Ville No. 3, 1912

All hollow vaults and dungeons sealed from sight, All caverns circumscribed with roof and wall, Defend dark Night, though noon around her fall, From the fierce play of solar day-beams bright.

But if she be assailed by fire or light, Her powers divine are nought; they tremble all Before things far more vile and trivialEven a glow-worm can confound their might.

The earth that lies bare to the sun, and breeds A thousand germs that burgeon and decayThis earth is wounded by the ploughman’s share: But only darkness serves for human seeds; Night therefore is more sacred far than day, Since man excels all fruits however fair.

Side 1952 Slice Buonarroti, Ogni vanFigures, chiuso, Sonnet 103, ca. 1510 Jean Dubuffet,Michelangelo Ties and Whys: Landscape with

Roy Lichtenstein, Landscape 1 from 10 Landscapes, 1967

Semester Portfolio

Work by: Hogan Cain Professor: Ruben Alcolea

Hand Perspective Abstraction

Geometric Dynamism

Abstract Texture

Elevation of body apparatus

Drawing made by apparatus

Interaction within a space

An Investigation of Space The projects this semester were designed to investigate space. We moved from exploring how we inhabit space to how we create meaningful space, and finally, how we can combine these to inhabit created space. The projects relied heavily on experimentation between materials and drawing style.

The first project was focused on the anatomy of a body. We explored an individual part of the body by using different drawing techniques and different views. We moved on to explore the body as a whole unit. We looked into how the body moved, the structure of the body, the texture, and the density of the body. We used many different materials, styles, techniques, and experimentation to explore these topics in our drawings. We used this newfound understanding of the body to create a series of drawings looking into how the body interacts with space around it. By using the methods we experimented with in the first part of the project, we created drawings that helped us understand the many ways an individual can interact with the space around it.

Space Viewpoint

Space viewpoint

We used the knowledge gained from the previous project to investigate how we could create an extension of our interaction with our surroundings.

We did this by creating an apparatus. We were tasked with picking a part of the body and creating a mechanism that we could draw with by moving the isolated body part. We were encouraged to find a specific movement or task that would allow the mechanism to illustrate our interactions.

While deciding on the body part we wanted to focus on, my partner and I decided that, as it is vital to all movement in a human, the spinal cord would be the best part of the body to focus on. We developed our idea to be an extension or the spinal cord that would illustrate the movement of the spine when it was purposefully being stretched during our chosen activity of yoga. Our apparatus allowed us to explore how the spine is connected to the arms and how the spine stretched and contracts when doing yoga.

Apparatus being worn

Our final project was a combination of all of the things previously explored.

We had to investigate how to create a space designed for interaction with people. We were given a series of cards meant to guide us and give us inspiration. We had a peom, a painting, a sense, and the shape of an island.

Our first task was simply to develop the island. We created the heights, cliffs, and any interesting and individual features of our island. After interpreting my island and developing the desired heights, I went back to my other cards.

Using inspiration taken from my given poem and drawing, I decided to take a similar approach to the last project and remove space from a given shape; I created a cave within my island. I chose to place this cave between the perpendicular cuts on my island, since those were the defining parts of my island. To develop the cave, I made a map linking all of the important points on my island. Looking at this map allowed me to create the shape of the cave as designated by the island. As the cave was the stand out feature in my project, I chose to fit all of the required buildings inside the cave. To find where they should be located, I created another map, linking the important points of emphasis on the island and the cave. I also connected points of the cave with points of intersection or emphasis. This allowed me to get the general shape for the buildings. I then adapted these shapes to fit the program as required. The buildings created were both connected to each other, but the island itself. We had been tasked to create these buildings and center them towards the sense originally given to us. As my sense was touch, each aspect of the spaces I created were designed to either emphasize the amount of or the lack of touch. Additionally, I continued to explore this idea of connection between the buildings and their surroundings.

We moved on from our investigation of how people interact with space and into the development of space. We were tasked with taking a cube and removing mass from within it to create a space. The end goal of this project was to create dramatic photos. The space I created consisted of two main spaces, with a connecting space between them. The spaces were twin spaces, but flipped so they were at different orientations. They also were on different axis’.

This was to emphasize the twin spaces and how different they were. The connection piece was not in line with either axis, but connected the two spaces by connecting the corners of both rectangles. Each space also had cuts on the top, to allow light in. The cuts both followed the axis of the other space, further connecting the spaces. The last step in developing the space was inserting small slits into the sides of the spaces to allow the space to be viewed.

Space Viewpoint

Space viewpoint

Top of the space’s negative

Perspective Vignette

Abstract island perspective

Perspective Vignette

Elevation of island model

Connection map of buildings

Connection map of buildings

Plan of cave in island

Detailed plan

Architectural Design Core Studio II | SPRING 2022 ARCH 114.01

Detail of Final Model

Investigation of Space

Work by: Lindsay Gaiser Professor: Ruben Alcolea

Defining Space This semester our main focus was on space. More specifically, how we take up, occupy, and create space. We were tasked with four different projects that required us to think about space in different ways, each project building off of the last.

Our first project had us focus on drawing a specific part of the body. I chose the hand. I created a set of drawings that focused on specific qualities of the hand, such as its texture, volume, and how it interacts with other objects. Beyond that, we then focused on drawing the body as a whole unit and how a person moves through time and space.

Our second project was built off of that in that we were required to build an apparatus for a specific part of the body. My partner and I created an apparatus that was attached from the neck down. The main goal was to be able to measure one’s “personal space” or “personal bubble” when in motion. Our device was similar to the shape of a cone and contained two structural rings that supported the wooden dowels that were attached to the upper ring and would create marks as they dragged on the floor. We burned the ends of the wooden dowels to create natural charcoal that would create various types of marks on the floor, depending on the type of motion as well as the duration of motion.

The third project, representing pure space, started to focus on creating space within a 24’x24’ foam cube by carving voids. We experimented with how to create different types of light and then applied those effects of light to specific moments within the carved spaces. For this project, I created two different cells of space, one being more vertical and the other more shallow. I had a pathway that connected the two and a cut out that further connected the two spaces and allowed light from one space to be seen in the other space. I wanted to have the light define the different spaces and so I had multiple streams of light coming in from the top of the vertical space and one single source of light coming in from one of the sides of the more shallow space. I also had a single source of light defining the pathway that connected the two cells of space.

For the final project, The House of Senses, we designed a habitable structure based on four cards, one of a painting, a plan of an island, a poem, and a sense. We started off by creating concept models of our island and then we created a waffle model that showcased the topography features of the island as well as localizing the site for our structure.

Texture

My conceptual stratum model emphasized the diagonal quality, as well as the lake. I decided to build on the side of a mountain and beside the lake.

The plan that I received was titled “The Lake” so I felt that the lake had to be included. I recognized that in my painting there were these horizontal bars that got intersected by a diagonal line, and so I used that as inspiration for how I could place the structure on the site and how circulation could work.

For my sense I had smell and so I worked with air quality. This was achieved by moving diagonally from a low to a high altitude. I also centralized the cooking space within the plan and had the transitional moments from level to level be open air in order to allow natural elements (rain) to come in.

The poem that I received dealt with darkness and being sealed from sight, so rather than having my structure sit on top of the plains, I submerged the structure below and had carved spaces. In addition to the open-air moments highlighting the transitional spaces, I also had deliberate locations for skylights to highlight specific moments within the house.

To further display the diagonality, I included cutouts on the side of the mountain located at a lower elevation so that you could view the lake, and I also added a cut out at the highest elevation where the observatory is located so that you could view the ocean from the right side of the mountain.

This is best displayed in the axonometric that shows the voids.

Dynamism

Apparatus in Motion

Axonometric Drawing of Island

Axonometric Drawing of Spaces

Axonometric Drawing of Cube

Final Model

Photo of Space

Perspective Drawing

Section Drawing

Final Model

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Conceptual Stratum Model

Perspective Drawing

Plan

Defining Space

Work by: Emma Gullen Professor: Rubén Alcolea

Site Plan: Perpendicular Cuts

Island Sections

Island Sketch

Site Plan

Cut-through site plan showing cave

To think about the given site plan, “Perpendicular Cut,” three-dimensionally, I created a concept model. I overexaggerated the height of the island and discovered that, rather than being a solid flat mass, the island could be a huge, rocky cave with two entrances which I could build inside. The pictures above show my island design in a harsh, jagged style to match the harshness of the rocky cliff faces surrounding the island. Below are some concept sketches in which I interpreted the mood of the space. Some key ideas expressed here include solitude, enclosure, rise, light, and darkness.

“Approach” Vignette

“Dancing” concept sketch

“Rise” concept sketch

“Enclosure” concept sketch

Final 1/8” model

To take advantage of the various unique conditions created by the island’s shape, my design is separated into three distinct interior spaces.

These spaces cling to the cave walls and are joined by a staircase which ascends from sea level to the open air. As we climb this staircase, the spaces transition from public spaces open to guests to more private, intimate spaces meant for only the residents. Each space is a cluster of geometric, crystallike forms, making the island’s interior resemble a geode. Following this theme, the windows of each space are one-way mirrors.This means that the small amount of light let in by the two openings and a large crack in the cieling bounces off the water and the buildings, creating a sparkling interior.

Bird’s eye plan

Axonometric Section

cut-through cave plan Light Sections

Light Sections

Final 1/8” model Final 1/8” model

Because of the two-layered nature of this proect, two models were needed to adequately represent the space. The first is a 1/40” scale model of the whole island, which opens up to reveal the inside. The second is a 1/8” in scale model of the kitchen and dining building, which is the first to break through the surface and exist in both open air and subterranean space.

Building 1

Building 2

Building 3

The first cluster of rooms is a public multipurpose space meant to entertain guests as well as be used recreationally by the residents. This includes a game room, a library room, and a guest suite. The second space is for cooking and eating. Because this island residence is so remote, it’s important to give the space some degree of self sufficiency. The kitchen has an attached greenhouse which takes advantage of the room’s large windows and skylight, as well as a large pantry beneath the kitchen for food storage. Attached is a more formal dining room with a bar for large gatherings. The third building includes a bright, naturally lit bedroom with a view of the sunrise, with a private study downstairs.

1/40” model

1/40” model

1/40” model

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The Geode

Work by: Ivy Hammett-Aron

2year nd

A continuation of the Core Design Studios which introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

Narragansett Rowing Club The Narragansett Rowing Club is a community center located on the Seekonk River. The lack of South facing windows in the storage facilities ensures the team’s and community’s boats stored here will not be damaged by the sun. A separate team space allows for privacy from the visiting team and spectators during regattas. Ample viewing deck space and additional stepped seating allows the community to gather and enjoy rowing events and other public activities.

The narrow site forced the design to be split into two parts, creating a gateway that leads to a piazza that celebrates the natural environment, the riverfront, and the community. The community and athletic zones are unified by the central piazza creating harmony throughout the design.

North Section

Gateway Partis

A Primitive Journey

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View from Dock

Tangible Model

Grounded Bench

Narragansett Rowing Club Work by: Amy Kunzinger Professor: Andrea Adams

NARRAGANSETT BOAT CLUB

NARRAGANSETT BOAT CLUB IS A BOATHOUSE FIT FOR BOTH PUBLIC AND PRIVATE USE, SEPERATED PROGRAMATICALLY INTO THREE HEAVY TIMBER STRUCTURES WHICH SIT ATOP A CONCRETE BASE. FISSURES CUT THROUGH THE EARTH JUST AS OARS CUT THROUGH WATER, EMBRACING RISING TIDES AND ALLOWING THE RIVER TO FLOW UP AND INTO THE STRUCTURE. GLASS BREEZEWAYS PROVIDE CIRCULATION BETWEEN THE THREE MAIN STRUCTURES AND THE OUTDOOR DECK AREAS THAT LOOK DOWN INTO THE FISSURES AND OUT TOWARD THE RIVER.

Site Plan

Floor Plans KEY

A 1

1

TRAINING

7

2

OFFICE

8

STORAGE

3

MEETING

9

MECHANICAL

4

LOCKER 1

10

LOUNGE

5

LOCKER 2

11

BREEZEWAYS

6

BATHROOMS

FOOD PREP

2 3

11 D 4

SECOND FLOOR PLAN

Sections

5

B

6 6

7

8

9

11

10 C D C

KEY

1

SECTION C - D

2

1

PUBLIC BOAT STORAGE

4

STORAGE

2

OARS

5

WORKSHOP

3

PRIVATE BOAT STORAGE

3

4

B A

SECTION A - B

FIRST FLOOR PLAN

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A5 - Boathouse Work by: Maryrose DiPiro Professor: Ginette Castro

The Progression At first glance, these three projects seem to have nothing in common, but after evaluating their processes is where a similarity begins to emerge. The Heartbeat was based on analyzing the characteristics of the line produced by a heart rate monitor.

These were then implemented into every aspect of the structure. Light Source was composed based on a polar planimeter’s range of motion. After breaking the motions down and overlaying them on one another, I was given the forms in which the lamp was constructed. The PinkHouse came about from a plan of Site A. By analyzing the sequence of thresholds within the landscape, I was able to pick out six different forms that I LightSource: Concept Diagram

felt fit the function of each room in the facility.

Each project had its respective subject matter, but the process of turning these subject matters into buildings is similar.

Through a long process of researching and analyzing the subject matter, it allowed me to get a better understanding of the ideas I worked with. This was done by breaking down each characteristic in a way that created a clearer understanding of how its components coincide with themselves. I was then able to put these pieces back together to form my project, whether it be the first, second or third project.

The PinkHouse: Concept Diagram

LightSource

The Heartbeat

The Heartbeat

LightSource

The PinkHouse Model

The PinkHouse Model

The PinkHouse

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The PinkHouse Model

The Progression Project Comparison Work by: Lisa Jagodzinski Professor: Kris Lawson

NARRAGANSETT ROWING CENTER MICHAEL CHMIEL

A1 - DIGGING & ASSEMBLING For the first project of the semester, we were given a rectangular block with a defined site. Our task was to dig away at the block to create subtractive spaces, and then use additive elements to further define and refine those spaces. There are three main areas in the project: an entry, and two spaces differing in quality and feeling, one dark and one light. As they transition from the entry to the dark and heavy space, the occupants are forced to move under a monolithic and oppressive volume. While in the darkness, there are areas of reprieve where light is able to seep in. The dark area below and the bright space above are linked by an overwhelming gash that cuts through both the block and the site. The angled form of the gash begins a secondary rotated grid, which is used to relate the entry void to the light space. The bright area contains built elements that feel light and airy, and almost float compared to the oppressive volume the dark space is located beneath. Digging at the volume to create the subtractive spaces gave me the confidence to make several decisions while designing the rowing center, such as using earth displaced by the building to create the community pathway that runs between the two volumes.

A2 - WAVEFORM SEATING

ROWING CENTER PARTI

For project two, we were asked to analyze an artifact from the Herreshoff Boat Museum, located in the town of Bristol. The artifact I chose was a horn from the top of a boat. The essence of the horn is the sound it creates, and how that sound is used to interact and communicate with other boats. The form of the horn itself mimics its essence, appearing like two sound waves rushing towards one another. When two waves come together, they create a wave interference pattern. At the point the waves interact, their amplitude is added together. Using the nodes created by the pattern, I created a seating device that is inspired by the form of the waves. The shape of the seating device takes the occupants and the human form into account.

I also wanted the seating to be able to be used in the lounge space of the rowing center, so I wanted to create something that would be comfortable to sit in.

A3 - NARRAGANSETT ROWING CENTER The parti of the Narragansett Rowing Center was in some ways inspired by the Waveform Seating Project. I wanted to continue to explore the idea how the waves interacted, this time in the form of the wakes of two rowboats as they move past one another. The two sides of the waves created the two main spaces for programmatic elements, and the space in the center allowed for community integration into the boathouse itself. The path which already existed on the site was almost always being used by members of the community, so I wanted to make sure it remained an important part of the project.

As the community, or the occupants of the Rowing Center, walk past the boathouse, the vertical louvers are intended to give the experience of the water itself. The forms undulate and naturally crest and fold over one another. The precise vertical rhythm is meant to counteract the random nature of the water with the order and precision of rowing. The louvers also provide shade for the interior of the boathouse from the eastern sun.

The two distinct volumes are divided programmatically between people and boats.

The upper element is intended for people, where the spaces are further organized from left to right as most-private, semi-private, and the public lounge at the end. The lounge opens up to the river, allowing for views in both directions.

The waveforms found in the louvers along the facades also are translated into the landscape as hills that create found spaces. The path meanders along the riverside, mimicking the shapes of the structure while also undulating towards and away from the river to allow for better views. The path continues directly through the boathouse, integrating the community into the rowing center itself by providing space for community boat storage. The viewing deck is located above the boat storage, containing more found spaces and allowing for more views of the river below.

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Narragansett Rowing Center

Work by: Michael Chmiel Professor: Greg Laramie

Narragansett Rowing Center For the Boathouse project, I was assigned the task of designing a new Narragansett Boathouse on-site “C.” My Parti for this project is the literal Embedding and Stretching on the site. My precedent study, “The Spain Rowing Center,” influenced my design and the structure’s embedment into the terrain on the hill located on-site “C.” The pulling of the landscape achieves the stretching aspect of my Parti to create the three outdoor viewing areas, labeled as the lower, middle, and upper viewing spaces.

What I wanted to achieve with the structure was to have it occupy the unusable space of the site. I also didn’t want the site to lose its natural beauty. My solution was to have the structure embedded into the hill, which is the steepest part of the site where people can not occupy. The loss of the natural hillside is addressed by the green space added to the roof of the structure to create a more usable space for the site and to help replace the land taken for the building.

At the start of the project, I envisioned my structure to be a beacon.

In the early morning darkness, when rowers typically go out for their practices, I wanted plenty of light for them to be able to situate themselves in their boats and to help later guide the rowers back to the docks.

ISOMETRIC PERSPECTIVE BOW CHOCK CLEAT

BOW CHOCK CLEAT PHOTO

Artifact In the Artifact project, I had to choose an object “part of a boat” and turn it into a seating device. I selected a “Bow Chock Cleat,” which holds the boat up against the dock by feeding a rope through it and tying it to the pier. Breaking down the cleat to its simplest of components and uses, I decided to use the “tension” aspect of the cleat as my theme for the seating device.

I then broke up tension metaphorically and literally to create my seating device.

I made Tensegrities for the chair legs for the literal use of tension. Then, the metaphorical use of tension comes in with both the intended use of the seating device and layout. The device is for “tense situations/conversations” such as divorce mediation or political discussion. The tall walls surrounding the space will ensure all the tension will remain inside for maximum

AXONS

MODEL INTERIOR PHOTOS

discomfort.

ISOMETRIC PERSPECTIVE SEATING DEVICE

SITE PLANS

FLOOR PLANS

MODEL TENSEGRITY LEGS

MODEL PHOTOS

Digging & Assembling

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

For the Digging & Assembling project, I carved away at a solid brick and then turned those voids into occupiable spaces. The main inspiration for my overall design comes from the forms of Tombs and Chasms. This structure separates into two main spaces, a lower Tomb level, and an upper Chasm area.

The lower level, reminiscent of an Egyptian tomb, has a ruff carved-like entrance that leads into a smooth interior, with light wells to illuminate the space.

FORTH FLOOR

It then wraps around, opening to the outside where there are wooden supports that fade to the upper area of the structure, similar to archaeological scaffolding. The upper chasm represents the space where an Archaeologist is digging and carving away. The scaffolding frames the space and acts as a shading device to the sections that have been removed.

SECTION #1

SECTION #2

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SECTION

Work by: Joseph Membrino Professor: Greg Laramie

Narragansett Boat Club Sitting along the Seekonk River at the Northern edge of Providence, The site for the New Narragansett Boat House presented a heavily sloping landscape which contained a long and unobstructed pedestrian path. The task at hand was to create a boathouse which would not only serve the local rowing team, but also the community.

From this, the structure needed to serve both home and away teams with appropriate facilities, as well including a semi-public social space for events and gatherings.

The Boathouse design works to preserve the existing path and create a seamless flow for both boats and pedestrians along the landscape. To go with this, a stairway has been carved from the center of the structure in order to maintain the concept of an unobstructed path. This works in conjunction with the concept of entering the boathouse without ever stepping inside. Passerby’s are greeted with views of the elegant boats and are immersed within the boat storage itself as they cascade up or down the central stairway.

Taken from a Precedent Study of the Bled Rowing Center, the idea of conforming to a curve of a landscape, in this case the riverfront, took hold as the driving concept for form. The subtle bend first took place on the ground floor to conform to the waters edge, but quickly started to inspire the form for other areas of the building, including the second floor. The idea of “peeling” came to light and slowly started to create the paths and overhangs seen on the Boathouse. This subtle peeling effect can be felt from the main pedestrian path as the building starts to overhang your journey and reach out to invite you into the structure.

Second Floor

Public path is continuous and always unobstructed

Ground Floor

STORAGE

FOOD PREP

BATHROOM

SHOWERS

LOCKERS

Mechanical

MECHANICAL

BATHROOM/CHANGING DN

DN

BATHROOM LOCKER ROOM: AWAY

LOCKER ROOM: HOME

STORAGE

BATHROOM

TRAINING ROOM

SOCIAL ROOM

OFFICE FOOD PREP

LOCKERS SHOWERS SHOWERS

LOCKERS

Mechanical

BATHROOM/CHANGING

MEETING ROOM

MECHANICAL

BATHROOM/CHANGING DN

DN

BATHROOM LOCKER ROOM: AWAY

LOCKER ROOM: HOME

TRAINING ROOM

SOCIAL ROOM

OFFICE

LOCKERS

SHOWERS

MEETING ROOM

BATHROOM/CHANGING

SECOND FLOOR PLAN

UP

UP

BOAT STORAGE

STORAGE

UP

UP

WORKSHOP

BOAT STORAGE

STORAGE WORKSHOP

GROUND FLOOR PLAN N

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N

The end product of the boathouse is a low-profile structure which allows for both the seamless movement of boats and people around the building. Boats can enter and exit the lower level storage from each end and be easily transferred to the water. Pedestrians are encouraged to journey both above and through the boat storage with ease as well as admire the views presented by the upper viewing deck. The new Narragansett Boathouse provides the local rowers and people of the greater Providence area with a destination which is calming, inviting, and akin to all many realms of recreation. Home and away rowing teams are provided with locker rooms, showers, and bathrooms which all connect into a training room to open up to the view of the river and the focal points of the factory and bridge which sit across the water.

Narragansett Boat Club

Work by: Patrick Mountjoy Professor: Noel Clarke

THE NARRAGANSETT BOATHOUSE The Narragansett Boathouse acts as a summation of the semester’s major themes. The development of the parti, the additive and subtractive design process, the ground plane as a design element, how to address specific site issues, and much more were all necessary in the design process. All of these concepts help to develop an intentional design that connects to the site in a meaningful way. We were given a program outline of the necessary spaces to include to design for people and boats alike.

SITE ISSUES: A primary concern is the flooding condition of the site. In a storm surge, water levels could reach up to 14’ above sea level, meaning the main program needed to be at this level. The other issue is the connection of the boathouse to the water. A road disconnects the site from the river, requiring a solution for boat access. To solve this, the pond existing on the site would be dredged down to sea level in order to create a calmer docking point, and create an unobtrusive means of access for the large row boats.

CONCEPTS: There is a degree of importance to the entrance threshold of the site as well. With this in mind, the primary concept for my buildings is division, taking precedent from the WMS Boathouse in Chicago. I decided to separate the buildings to draw people into the site, as well as separate the internal programs. A steep hillside takes a majority of the site, which led me to embed one of the buildings, the field house, into the hill to better integrate with the exisiting site conditions.

To create an intentional connection to the site, I embedded the Field House building in the hill. This way, visitors to the existing hilltop park have easy access to the building from the hill.

Roof Plan: 1/32” = 1’-0”

This connection gave way to a second design concept, a series views through terraces, including a rooftop viewing platform and lower viewing terrace that have unobstructed views of the site and river. These terraces create an external circuit for the general public, as well as an intentional connection between the two buildings. The terraces and their access points show which internal spaces are meant for the general public, separating visitors from the private boater spaces like locker rooms and boat storage. Since the building is embedded, the lower level spaces are kept private (i.e. locker rooms, offices, showers).

The second floor is level with the terrace, implying public use spaces (i.e. the lounge, function spaces, etc.).

The other structure, for boat storage, rests on the edge of the pond. By keeping the boat storage building separate from the main program in the field house, the difficulty of moving the 62’ long boats to the water would be unobstructed by the general public. The boat storage structure becomes more of an exhibit space for the public, and a functioning space for the boaters. The placement of the building along the pond also allowed for a meaningful connection to the river.

CIRCULATION People Boats

Site Plan

Flooding Diagram

Exterior Circuit

Second Floor: 1/32” = 1’-0”

Site Section

Division Parti

First Floor: 1/32” = 1’-0”

Renderings: Field House

Lounge View

Rooftop View

Divide

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Boathouse Renderings

Garage Bays

Catwalk and Truss View

Narragansett Boat House

Work by: Ryan Spillane Professors: Greg Laramie

Between Land and Water The project location is along the Seekonk River in Providence, Rhode Island. The specific site had a few unique features, such as the hill and the pond, that made the site more challenging to work with. Because Rhode Island is famously known as the “Ocean State” the theme of this design is focused primarily on the connection between land and water, and how humans interact with it.

The overarching idea presented within the design of this project was to understand how life itself interacts with and is connected to the water. The identity of both buildings is revealed upon the landscape they lie on; one being built above the water, and one being carved into the hill. The shape and identity of both buildings are simple and pure, avoiding any distraction from the focus which is put on the bridge. This “bridge” is the pinnacle of the design as it acts as the only physical connection between both buildings. The shape is derived from the motion of rowing, where humankind interacts with the water; it takes practice to achieve a perfect, balanced motion, just like it does to understand our connection with nature. This idea is further shown through the terracing, where only a small portion of the plants continue to extend down towards the water. The way humans interact with the architecture is also purposeful in illustrating this connection. There are sequences of experiences that people gain when exploring the architecture that evokes a sense of awe and better illustrate the connection humankind has with the landscape around them.

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Between Land and Water Work by: Ryan Wargo Professor: Ginette Castro

MEETING ROOM

OFFICE

TRAINING CENTER

BATHROOM STORAGE BATHROOM

KITCHEN

UPPER LOUNGE

Level 3

PROVIDENCE BOAT HOUSE MECHANICAL ROOM

The existing site consisted of a singular road closed to traffic for pedestrians use along the waterfront. The site also has some interesting elevation change. On the south side of the site the slopes gradual, it is where most of the water run off from storms can be expected to go. As you move across towards the north side of the site the slope begins to become more vertical. This creates an interesting site condition to take advantage of in the design of the boat house.

LOCKER ROOM

The design focuses on using elevation as a way to differentiate between function. There are two main forms perpendicular to one another which are connected “lightly” This allows the spaces to be immediately connected but still appear as two separate spaces. The lower building is parallel to the river making it easier to bring the long boats into the storage portion of the structure. While the upper building is perpendicular to the river so it can interact with the existing hillside.

The first floor is dedicated to boat storage and a workshop. It is almost completely only meant to be accessed by the team and staff except for the entrance place along the exterior walkway, which gives lower access to the upper building. On the second and third floors there are various spaces laid out seperating between more public oriented amenities and other private ones.

For example on the second floor there is access to the roof of the lower structure creating a large viewing deck for visitors and spectators to watch the races and events. On the third floor there is both a training room and a portion of the public lounge space. Each of these is separated from one another and each as its own stairwell connecting to there matching counter parts.

Such as the upper lounge with the lower lounge and the training center with the locker rooms.

The final design sought to find the best way to separate functions while matching corresponding amenities with eachother to provide the best access and ease of use in the space.

LOCKER ROOM

LOWER LOUNGE

Site Plan

Section A

Boat Storage Entrance

Level 2

Section B

Walking/Bike Path Underneath Building WORKSHOP AND REPAIR

South Elevation

BOAT STORAGE

Walking/Bike Path Underneath Building

North Elevation

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Level 1

Green Loop

Work by: Andrew Gouveia Professor: Karen Hughes

PRECEDENT: BLED ROWING CENTRE Prior to designing a boathouse, we were assigned a precedent boathouse to study. The Bled Rowing Centre pictured above is uniquely placed in a mountianous landscape in a way that intertwines the built and natural environments. The project is aligned to mimic the natural waterline of the lake and is built with natural materials in attempt to blend into the landscape it interacts with.

PRECEDENT: WHALING PAINTING The painting above demonstrates whaling, a common practice that helped shape the culture of the Providence area, especially societies settled on bodies of water.

ABSTRACTION SKETCH Abstracting the painting yielded an identification of four main forms: the whale (grey), the triangular boat (brown), the waterline (blue), and the mast (green).

ITERATION ONE SKETCH

FINAL ITERATION SKETCH

Further abstraction led to a connection between form, program, and function. The mast, which controls the direction of the boat, became a means for circulation as a stair system. The waterline became symbolic of the sloped landscape. The triangular boat became the top forn with most programatic elements. The whale, which offered a connection between both the above and below-water environments, became a place for boat storage.

In further abstraction, an open integration of the landscape integrated into the lobby of the boathouse and surrounding the front staircase became a symbol for the mast, serving as an indication of circulation and the identity of a project with a strong natural connection. The triangular form of the boat became an exclusive lounge area, hierarchically highest above the other forms, as it is distinguishable by shape, size, and height above the other forms. Both the whale and waterline serve as connections between the landscape and the built environment.

Site Plan with Approach

Section Drawing

Front View of Model

Plan Drawings

Perspective Drawings

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Model Details

Riverscape

Work by Paloma Bellizzi Professor: Samantha Moscardelli

ELEVATIONS

SITE PLAN

NARRAGANSETT BOAT CLUB The Narragansett Boat Club boathouse proposal is set into a steep hillside rising above the Seekonk River in Providence, Rhode Island. Located on the same river is the historic Slater Mill, built in 1793 in Pawtucket, RI as the first water-powered textile mill in America. The boathouse pays homage to the history of its site by taking inspiration from the historically significant building and modernizing it to fit within the context of the 21st century and suit the needs for a modern-day rowing club.

SEEKONK RIVER SITE RELATIONSHIP

SLATER MILL PRECEDENT

BOATHOUSE FOOTPRINT

SLATER MILL AERIAL VIEW

BUILDING ORGANIZATION

FLOOR PLANS

SITE AND SKETCH MODEL

SECTIONS

SKETCHUP MODEL PHOTOS

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Narragansett Boat Club

Work by Carley Howe Professor Richard McBride

NARRAGANSETT ROWING CENTER MAS TER PLAN S

ELEVATIONS & SECTIONS

WESTERN ELEVATION 1/16”=1’

WEST ERN EL EVAT ION

FIRST FLOO R 1/16”=1’

SECT ION I 1 5 ’

WEST ERN EL EVAT ION SECT ION II 4 5 ’

EXPLO DED AXON A TR I U M SECT ION II 4 5 ’

SECT ION I 1 5 ’

TIMBER SCREEN GL ASS

SOUT H NORT H EAST

TI M B E R S C R E E N

WEST S E CO ND FL O O R 1/16”=1’

WOOD F RAM E

DIAGRAMS

N

BOAT STORAGE

LOWE R V I E WING

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CIRCULATION P RI V A TE S P A CE P UB L I C S P A CE

Architectural Design Core Studio III | FALL 2021

ARCH 213.08

GUEST S M EM BERS SCALE 1”= 30’

NARAG ANSETT ROWI NG CE NTE R WORK BY : E M I LY SALVI PROFESSOR: RI C K M C BRI D E P ROP RO

Project 1 Model 1

Project 1 Model 2

Project 1 Model 4

Project 1 Model 3

Digging and Assembling The digging and assembling assignment began with a given solid that then needed to have voids taken out of it. The goal was to create a space of combination of spaces that could be viewed or explored. The second part of the assignment was to design additive parts to the solid void block that would improve or add more to the experience of the space. The final part of the assignment was to create a physical model that represents the design that was created.

Above is the development of the model on Sketchup through four different points as the design evolved. At first, large sections of spaces were removed to create an overall shape and feel for the space. As the project progressed the changes became more minor and detailed and finally the additive portions were added.

Images of Winch

On the left is an image of the final model with all of the solids, voids, and additive portions together. This project was a great way to understand space as well as solids and voids. Going forward in the semester this project would be a great resource to look back on and use for ideas.

Artifact The second project was to take an artifact from the Herreshoff Marine Museum and develop the item into a functioning piece of furniture through three different steps.

The first step is identifying what artifact to use. On the right, there are two images of a brass winch. This is the artifact that was used in this project. Below the images of the winch is an analysis of the movement that the winch goes through when it is being used. This would develop into a key element of the bench design.

Project 1 Final Model

To the far right is are several drawings that represent the final design and function of the bench. The axon shows the hinge feature within the bench that explains how the movement of the bench functions. This project was a great experience in learning how the analysis of an object can inspire a design.

Project 2 Sections and Diagrams Winch Analysis

The Boat House The Boat House was the final project of this semester and used elements from most of the previous projects.

The goal of this project was to research, visit, and design a boathouse for the sport crew. The first step was to research existing boathouses and understand the ins and outs of how they work. By looking at several precedents and comparing and contrasting it was clear to see what the important parts of a boat house were as well as how the the design can play a part in the overall building. After the precedents I had a good idea of what was important and not important for my boathouse.

The next part of the project was visiting an existing boathouse as well as the site where we would be building our own boathouse. Being able to physically stand in a boat house and understand the scale of the rooms, as well as the boats, was a very important step to learning the needs of a boathouse. Being on the site was also very important because it allowed to first-hand see the space where the new building that I would be designing would go. Having the ability to physically visit and experience a site is a major benefit to the overall project.

Project 3 Second Floor Plan

After the site visit, what was left in the project was to design and create my design for a boathouse. When I was designing the boathouse I wanted to create a seperation from the inside where events would be taking place and the outside where the public would be passing by. To create this feeling within the space, I designed the buildings to wrap the inside deck. This wrapping effect also allowed the buildings to have windows and more clear views of the river where the events would take place.

The design of wrapping the buildings created this feeling of a cove on the water. This developed the dock to create a cove of its own which then further developed into my overall idea of safe harbor. The idea is that the boats that were used for the sport could be docked on the inside of the dock, safe from the waves of the river.

After designing the docks I went back and redesigned the deck space where the public would be so that it matched the feeling of the docks and the overall space I wanted to create. The design of the safe harbor also inspired the entrance to create a sense of wonder and question from the outside. This would draw the public into the space while also keeping seperation and privacy important.

In conclusion, this project brought together all of the projects before it while teaching me how to design around a concept while also keeping a connection between all of the space. This projected bettered my skills overall and without the previous projects it would not have turned out the way it did.

Project 3 First Floor Plan

Project 3 Final Model

Project 3 View from the Street

Project 3 View from Inside

Project 3 View from the Deck

Project 3 View from Across the Street Project 3 Site Plan

Architectural Design Studio | FALL 2021 ARCH 213.02

Safe Harbor

Work by: Brennan Dunn Professors: Andrea Adams

Multi-Generational Housing

Community

Terracing

Located in the Historic French Quarter of New Orleans, this multi-generational housing complex allows for the mingling and engagement of varying age groups while providing ample ADA access and entertainment spaces. The lively and exciting street scape of New Orleans has been curated and constructed within the central courtyard to provide and foster a greater sense of community and interaction. The structure begins to step back as it rises, thus creating a series of terraces to open up the central space and incorporate a greater sense of integration

Overlapping Masses

Opening up to the Southern End

312 Dauphine Street New Orleans, LA

Creation of Terraces and nodes of interaction

Circulation designated to the Exterior

Repetition of Vegetative spaces

Building Heights- surrounding 1/4 mile

Composed of 17 units, retail space, a gallery, library, and restaurant, the structure invites both the residents and the public to mingle in a common area while providing exciting opportunities to merge and intersect. Balconies and terraces produce planted spaces, communal areas, recreation sectors, and nodes of interaction in which those of all generations can share stories, ideas, and dialogues.

Solid Void Neighborhood Map

Qulaity of vegetation in surrounding blocks

A

SECTION A

SECTION B

B

Architectural Design Core Studio IV | SPRING 2022 ARCH 214.01

Multi-generational Housing

Work by: Patrick Mountjoy Professor: Olga Mesa

COMFORT AMONG CHAOS Society demands a lot and as the world has evolved we have adapted into the “go go go” motto. Within this ideology we are forced to find comfort among the chaos, this model represents the never ending demands of society. Having to find a place to sleep but yet when found still hearing the lasting sounds of the commotion above. There inlies never truly getting away from the impending demands that make up our lives. This model may em-

PROCESS WORK

Architectural Design Studio IV | SPRING 2022 ARCH 214.03

Comfort Among Chaos

Work by: Sophia Bono Professors: Ginette Castro

TENSION WITHIN A pilot is constantly in motion living the fast paced lifestyle on the go while a ceramist has a laid back go with the flow life mentality. The pilot is constantly suspended in a high altitudes’ and the ceramist’s craft calls for building up clay into definite forms. These two different lifestyles calls for a space unique to each individual as they are never on the same page. This is represented through the varying floor levels between the two. The pilot’s dwelling grows in a horizontal manner, imitating the way a plane gradually uplifts. The ceramist’s side is growing upwards vertically representing the motion of throwing clay on a pottery wheel. The grooves in their artwork are magnified on the exterior facades on the first, second, and third floor toggling back and forth at each level. Though these two forms create tension, it is what allows for a unique living space for individuals with vastly different lifestyles.

CERAMIST ELEVATION ITERATION: BUILDING FROM THE GROUND UP

PLAN: CIRCULATION TENSION

PILOT SECTION: TAKEOFF

CERAMIST: WALL

CERAMIST FLOOR PLANS

PILOT FLOOR PLANS

GARDEN

BEDROOM

BATHROOM

-8’

KITCHEN

LIVING ROOM

+4”

BATHROOM

BEDROOM

STUDIO +14”

LIVING ROOM +9’6”

SHARED DECK

KITCHEN +9’10”

DECK

DINING ROOM +8’4”

ENTERTAINMENT SPACE +29’9”

LIVING ROOM +4’6”

+29’9”

+29’9”

+14’

+14’ +9’10” +8’4”

+9’6”

+9’6” GROUND

-8’

Architectural Design Studio IV | SPRING 2022 ARCH 214.03

+4”

GROUND

-8’

Tension Within

Work by: Sophia Bono Professor: Ginette Castro

VODOO New Orleans is a very vibrant community with an enriching history. A part of that history is voodoo, a religion in New Orleans that some practice.

Voodoo is highly commercialized and is radically different from what is actually practiced amongst the locals. The multi-generational housing is trying to tell a story through its various pathways and vibrant colors. There is one story to be told but two sides of the story are expressed throughout the architecture. The commercialized side is the hard exterior all uniform with its metal mesh and only when someone starts approaching is when they realize they know nothing about the building much like voodoo. There is much more to be explored and once they think they have figured it out there is another twist. The residents live in what seems to be chaos according to the pedestrians, but they understand this “crazy” and that is what creates a unique experience to live in such a dynamic building.

COURTYARD SECTION

SITE PLAN

Architectural Design Studio IV | SPRING 2022 ARCH 214.03

SECOND FLOOR

Vodoo

Work by: Sophia Bono Professor: Ginette Castro

PLAN

SECTION 9’ FROM NORTH - 1/2”=1’

SECTION MODEL 1/2”=1’

Architectural rch Dsgn Core Design Std IVCore | SPRING Studio 2022 IV | SPRING 2022 ARCH.214.03

REFLECTED CEILING PLAN

EXTERIOR MODEL 1/2”=1’

Crystaline Dreams Work by: Rachel Kane Professor: Ginette Castro

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Architectural Design Core Studio IV | SPRING 2022 ARCH 214.03

The Painter and the Cellist Work by: Rachel Kane Professor: Ginette Castro

Lorennah Granfors

Detail of Casting Joe DePaolo

Ethan Medeiros

Delia Maguire

Joe DePaolo

Ethan Medeiros

Delia Maguire

Zachary Laplant

Leah Whearty

Joe DePaolo

Angled View of Casting

Lorennah Granfors

rmwork

Angled Front View of Formwork

Rachel Borzone

Construction Materials and Assemblies I | FALL 2021 ARCH 231.01 & ARCH 231.02

Work by: Lorennah Granfors, Delia Maguire, Alicia Vincelli, Joseph Depaolo, Zachary Laplant, Rachel Borzone, Ethan Medeiros, Nicole Casler, Leah Whearty, Professors: Nathan Fash and Chris Ryan

Rose Walsh

Rachel Wronski

Delia Maguire

Ryan Desanctis

Sarah Smithline

Mason Lantz

Bodie Ibrahim

Anthony Paturzo

Ethan Medeiros

Evan Wenchell

Construction Materials and Assemblies I | FALL 2021 ARCH 231.01 & ARCH 231.02

Work by: Rose Walsh, Rachel Wronski, Delia Maguire, Ryan Desanctis, Sarah Smithline, Mason Lantz, Bodie Ibrahim, Anthony Paturzo, Ethan Medeiros, Evan Wenchell Professors: Nathan Fash and Chris Ryan

Gerrit Rietveld’s Schroder contrasted with horizontals, and House was built in 1924 for accented with primary colors a recently widowed womwhich were placed on structuran, Truus Schroder, and her al elements. It is balanced, and three kids. Rietveld was a fur- asymmetrical in composition niture designer and was un- allowing no single element to conventional in his design of dominate the design. By means the house; It is known for its of protruding, relieving, hidunusual layout and forms. Its ing, and exposing specific comdynamic elements allow for ponents, Rietveld creates an spaces to become dynamic abstract design that becomes and interchangeable.intromachine-like. The building is duced sliding partitions that configured with a staircase at its could be moved in order to core creating a centralized plan. create privacy or openness The staircase thus influences the on the first floor. He also uses circulation which spirals inward the same techniques to create on the ground floor and then fluid transitions between the outward once at the first floor. exterior and interior spaces.

Following the De Stijl movement, the house features vertical lines and planes,

Architectural Analysis I | FALL 2021 ARCH.281.01

Detail drawing of the corner window of Rietvled’s Schroder House showing how the windows can be seen as an effortless transition between the exterior and the interior.

A1.4, A3

Work by: Rachel Kane Professor: Ruben Alcolea

Geometric Study

Perspective Study With Colors

Perspective Study

Isometric

Military

Di-metric

Cavalier

Field Study: Burnside Memorial Hall Bristol, Rhode Island

Elevation of the Burnside Memorial Entrance

Section of the Burnside Memorial Entrance

Plan of the Burnside Memorial Entrance

Perspective of the Burnside Memorial Entrance

Axonimetric Drawing of the Burnside Memorial

Axonimetric Plan of the Burnside Memorial

Local Case Study: Linden Place by Russell Warren Bristol, Rhode Island

Third Floor

Linden Place Section

Second Floor

First Floor

Linden Place Front Elevation

Linden Place Floor Plans

Linden Place Side Elevation

Linden Place Perspective

International Case Study: Can Lis by Jørn Utzon Mallorca, Spain

Can Lis Floor Plan

Can Lis Front Elevation

Architectural Analysis I | FALL 2021 ARCH.281.04

Can Lis Sections

Can Lis Perspective

Architecture and Drawing Analysis Zulange Gonzalez Professor Dingliang Yang

INTERACTIONS WITH COLOR

Two colors which appear as one

One color which appears as two

The illusion of transparency

ANALYSIS OF THE BURNSIDE BUILDING- BRISTOL, 1883

Analysis of the Villa dall’Ava- Rem Koolhaas, 1991

Entryway Elevation

Entryway Section

Column Detail

The Villa dall’Ava, a landmark design by Rem Koolhaas, showcases the change in lifestyle and design as architecture would move into the 21st Century. The task at hand of analyzing and recreating the contemporary Paris home would be done through exercises in AutoCAD as well as Photoshop and other methods of hand diagramming. Altogether, the premise was to understand architectural intention and enhance knowledge pertaining to a landmark design.

Reconstructed Plans

Analysis of Circulation

Ground Floor

Second Floor

Third Floor

DETAILED FRAGMENT:

Following the analysis of the structure and its composition, the task became recreating and applying texture to an outstanding or important element of the house. For this, the rooftop pool and deck area was selected due to its prevalence in the design and function of the structure. This area acts as a dividing method for the two living areas and provides a unique and exciting element for the occupants of the home.

30-60 Axonometric Exterior showcasing form and notable elements of the structure Plan View

Section Cut Facing North

East Elevation

South Elevation

Section Cut Facing South

Architectural Analysis I | FALL 2021 Arch281.01

Interior drawing of the kitchen area depicting quality of space and change of texture.

Analysis of the Villa dall’Ava and Selected Works

Work by: Patrick Mountjoy Professor: Rubén Alcolea

Case Study: Casa Turégano, Alberto Campo Baeza Madrid, 1988

10 X 10 meters

Casa Turégano

Perspective Construction

Reconstructed Plans

Reconstructed Elevations

Reconstructed Sections

Rooftop Detail: Plans/ Sections

Architectural Analysis I | FALL 2021 ARCH ARCH281.03 281.03

Axonometric Interior

Rooftop Detail: Elevations/ Sections

Case Study: Casa Turégano

Case Study:Work Casa Turégano by: Maryrose DiPiro

Work by: Maryrose DiPiro Professor: Roberto Viola Ochoa Professor: Roberto Viola Ochoa

CASE STUDY: HOUSE WITHOUT QUALITIES OSWALD MATHIAS UNGERS UNGERS’ “HOUSE WITHOUT QUALITIES” WAS DESIGNED TO EXPERIMENT WITH THE REDUCTION OF ARCHITECTURAL ELEMENTS AND QUESTION THE NECESSARY QUALITIES OF A HOME. BASED ON CLASSICAL ARCHITECTURE, UNGERS FOCUSES ON CREATING AN ORDERED STRUCTURE THAT STEMS FROM GEOMETRY AND PURITY. THE RECTANGULAR PLANS AND SEEMINGLY SIMPLE DESIGN OF THE HOME PLAY WITH THE IDEAS OF PUBLIC AND PRIVATE SPACES THROUGH DOUBLE HEIGHT SPACES, BALCONIES, AND HIDDEN ROOMS. THESE HIDDEN ROOMS REFER TO THE PRIVATE FUNCTIONS AND CIRCULATION ROUTES OF THE HOME, SUCH AS BATHROOMS, CLOSETS, STAIRCASES, AND AN ELEVATOR, ALL OF WHICH ARE UNDISCLOSED INSIDE OF THE WALLS. UNGERS’ DESIGN REFLECTS THAT OF MEDIEVAL CASTLES WHERE PRIVATE CHANNELS AND SERVICE FUNCTIONS ARE SEPARATED FROM PUBLIC SPACES, KEEPING MATERIALS OR ROOMS UNEXPOSED. THE CLEAR ORGANIZATION AND PURPOSE OF UNGERS’ DESIGN CAN BE SEEN IN ALL ELEMENTS OF THE HOME, EXPRESSING HIS INTENTIONS OF GEOMETRY, PURITY, AND LACK OF TRADITIONAL RESIDENTIAL FEATURES.

THE SITE IS SURROUNDED BY TAILORED HEDGES TO CREATE AN IMPENETRABLE EFFECT. THE HEDGES SCREEN THE GROUND FLOOR AND GARDEN FROM THE STREET AND SIDEWALK. THE ENTRY GATES, THIN TRELLIS, AND CARPORT AROUND THE BUILDING ARE PAINTED GREEN TO SUGGEST POINTS OF ENTRANCE AND BECOME HIDDEN WITHIN THE LANDSCAPE. THERE ARE ALSO LARGE TREES BETWEEN THE NEIGHBORING HOMES TO CREATE PRIVACY AND AN OPEN GRASS AREA IN THE BACKYARD. THE HOME ITSELF SITS ON A WHITE 18 BY 18 METER PLATFORM MADE OF NATURAL STONE THAT MAKES IT SEEM LIKE IT WAS PLACED ON A TRAY. WHEN LOOKING AT THE HOME ON THE SITE IT CAN BE DIVIDED INTO THREE SECTIONS: THE LARGEST BEING THE BACKYARD, THE SECOND LARGEST BEING THE HOME ITSELF, AND THE SMALLEST BEING THE PAVED AREA IN THE FRONT.

HOUSE WITHOUT QUALITIES VS. MEDIEVAL CASTLE HIDDEN ROOMS

ANALYTICAL SKETCHES SPATIAL STRUCTURE/COMPOSITION

CIRCULATION

HIERARCHICAL STRUCTURE

PROGRAM ZONES

GEOMETRY

FIRST FLOOR PLAN

FIRST FLOOR PLAN

FIRST FLOOR PLAN

FIRST FLOOR PLAN

FIRST FLOOR PLAN

GROUND FLOOR PLAN

GROUND FLOOR PLAN

GROUND FLOOR PLAN

GROUND FLOOR PLAN

GROUND FLOOR PLAN

LONGITUDINAL SECTION

LONGITUDINAL SECTION

LONGITUDINAL SECTION

LONGITUDINAL SECTION

LONGITUDINAL SECTION

PLANS, SECTIONS & ELEVATIONS

MOST IMPORTANT

LEAST IMPORTANT

PRIVATE

SEMI-PRIVATE

PUBLIC

SERVICE

DETAIL 1 AXONOMETRICS STAIRS

DOUBLE-HEIGHT SPACE

DETAIL 2

PERSPECTIVE

1

2

Architectural Analysis I | Fall 2021 ARCH 281.02

1

2

House Without Qualities Work by: Rachel Borzone Professor: John O’Keefe

REPRESENTING CASE STUDIES AFTER PRACTICING AND DEVELOPING OUR ANALYTICAL AND TECHNICAL DRAWINGS SKILLS, OUR ABILITY TO REPRESENT REAL CASE STUDIES OF ARCHITECTURE SIGNIFICANTLY IMPROVED. WE FIRST BEGAN ANALYZING USING ANALYTICAL TRACING OF EXISTING FLOORPLANS. GRIDS WERE USED TO SHOW ALIGNMENTS OF WALLS AND ROOMS, AND FIND SYMMETRY. DEVELOPING ROOM SHAPES WAS DONE THROUGH DIAGRAMING GEOMETRY. HIERACHY COMPARED ROOM SIZES AND HOW THEY FIT WITH ONE ANOTHER TO CREATE LARGER SHAPES. OTHER SHAPES, SUCH AS CURVES AND CIRCLES, WERE USED TO DISCOVER DESIGN DECISIONS. USING DIAGRAMMING, WE WORKED BACKWARDS FROM A FLOORPLAN TO UNCOVER HOW THE ARCHITECT USED SHAPES TO CREATE THE DESIGN.

ANALYTICAL TRACING

WE LEARNED HOW TO CORRECTLY REPRESENT A VOLUME USING DIFFERENT AXONOMETRIC DRAWINGS. WE WERE TAUGHT THE CORRECT TECHNICAL ORIENTATIONS. THIS ALLOWED US TO COMPARE AND DECIDE IN OUR CASE STUDIES WHICH TYPE OF AXON COULD DISPLAY A STRUCTURE IN THE BEST WAY. WE THEN LEARNED HOW TO CORRECTLY SHOW A BUILDING USING PERSPECTIVE. ALTHOUGH BUILDINGS ARE DESIGNED IN PLAN AND ELEVATION, PERSPECTIVES ACCURATELY DEPICT HOW A PERSON WILL EXPERIENCE A BUILDING IN REAL LIFE, WHICH IS CRUCIAL TO DESIGN. WE LEARNED HOW TO REPRESENT VOLUMES IN ONE POINT AND TWO POINT PERSPECTIVE. THESE EARLY SKILLS ALLOWED US TO DEVELOP BASIC UNDERSTANDINGS OF ARCHITECTURE AND DESIGN THROUGH CAREFUL ANALYSIS. IT ALLOWED US TO MORE ACCURATELY REPRESENT BUILDINGS, SUCH AS THE CASE STUDIES BELOW. USING THESE SKILLS TO DIAGRAM AND COMPARE FLOORPLANS, CRAFTSMANSHIP, AND EXPERIENCE WITHIN PERSPECTIVE WERE KEY ABILITIES LEARNED AND DEVELOPED.

GRID

GEOMETRY

HIERARCHY

AXONOMETRIC DRAWINGS

CAVALIER AXON

FINAL OVERLAID PLAN

TWO POINT PERSPECTIVE

TWO POINT PERSPECTIVE

PERSPECTIVE DRAWINGS

DIMETRIC AXON

TRIMETRIC AXON

ONE POINT PERSPECTIVE

EGYPTIAN AXON

ISOMETRIC AXON

MILITARY AXON

RADIUS

DOCUMENTING AND SURVEYING: BRISTOL TOWN HALL, BRISTOL, RHODE ISLAND

PLAN

SECTION

FRONT ELEVATION

TWO POINT PERSPECTIVE

AXON DRAWING

INTERNATIONAL HOUSE CASE STUDY: TUREGANO HOUSE, MADRID, SPAIN

SECTION

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

FOURTH FLOOR

WHEN COMPARING THE TUREGANO HOUSE TO THE WARREN-BACHE HOUSE, THERE ARE KEY DIFFERENCES IN THE DESIGNS OF BOTH INTERIOR AND EXTERIOR. THE INTERNATIONAL HOUSE HAS MANY MORE ALIGNMENTS ON THE INSIDE WITH WALLS AND ROOMS, BOTH HORIZONTALLY ON A FLOOR AND VERTICALLY THROUGH ALL FOUR FLOORS. THE LOCAL HOUSE DOES NOT HAVE AS MANY “PERFECT” ALIGNMENTS HORIZONTALLY, BUT STILL MAINTAINS MANY OF THE SAME WALLS AND ROOMS FROM THE FIRST TO THE SECOND FLOOR.. THE WARREN-BACHE HOUSE FOCUSES MORE ON IT’S EXTERIOR ALIGNMENT AND SYMMETRY. ON THE FRONT FACADE, THE DOOR IS AT THE VERY CENTER, WITH A WINDOW ABOVE AND SMMETRICALLY PLACED WINDOWS AND COLUMNS BESIDE IT. ALL OF THE WINDOWS ON THE FRONT AND SIDES ARE THE SAME SHAPE AND SIZE AND PLACED THE SAME WIDTHS APART. ONLY ON THE BASEMENT WALLS AND BACK FACADE DO WE SEE DIFFERENCES IN WINDOW SIZES. THIS IS BECAUSE THE APPROACH VIEW AND VIEW FROM THE STREET WAS THE MAIN FOCUS WHEN DESIGNING. THE INTERNATIONAL HOUSE USES A WIDE VARIETY OF DIFFERENT WINDOW SIZES. WHILE MANY ALIGN ON THE FRONT, MANY ARE RANDOMLY PLACED ON THE SIDE AND BACK EXTERIOR. THE INTERNATIONAL HOUSE PAID MORE ATTENTION TO DETAILS AND ALIGNMENTS INSIDE, WHILE THE LOCAL HOUSE PAID MORE ATTENTION TO SYMMETRY AND DESIGN ON THE VISIBLE EXTERIOR.

AXON

LOCAL HOUSE CASE STUDY: WARREN-BACHE HOUSE, BRISTOL, RHODE ISLAND

FRONT ELEVATION

SECOND FLOOR

ARCH 281.04

TWO POINT PERSPECTIVE

BOTH HOUSES UTILIZE THE SLOPE OF THE LAND ARUND THEM. THE TUREGANO HOUSE CUTS INTO IT’S FIRST FLOOR WITH THE LAND, CREATING ENTRANCES ON THE SECOND FLOOR. THE WARREN-BACHE HOUSE USES THE SLOP TO CREATE A WALKOUT BASEMENT IN THE BACK WITH A DOOR AND MANY WINDOWS FOR NATURAL LIGHT

FIRST FLOOR

Architectural Analysis II | FALL 2021

AS FOR MATERIALITY, THE LOCAL HOUSE HAS MUCH MORE DEATILED CRAFTSMANSHIP AND MORE MATERIAL USE. THE INTERNATIONAL HOUSE USES ONLY THE WHITE CONCRETE AND GLASS, WHILE THE LOCAL HOUSE USES STONE, BRICK, GLASS, WOOD, AND COLUMNS. THERE IS MUCH MORE DETAIL IN THE WINDOWS AND DOORS AS WELL. THE DETAILED STONE QUOIN ON THE FRONT CORNERS. BOTH HOUSES ARE BASIC SHAPES, BEING A RECTANGLE AND A SQUARE. THE LOCAL HOUSE BREAKS UP THE RIGID RECTANGLE FORM WITH AN ARCHED ROOF, A FRONT ENTRANCE THAT STICKS OUT, AND HANDCRAFTED DETAIL ON THE EXTERIOR. THE INTERNATIONAL HOUSE RBEAKS UP THE RIGID SQUARE SHAPE USING A HALF CIRCLE ON IT’S FOURTH FLOOR. OVERALL, WHEN IT COMES TO MATERIALS AND CRAFTSMANSHIP, THERE SEEMS TO BE A LOSS OF THIS IN THE MODERN HOUSE COMPARED TO THE OLDER LOCAL HOME.

AXON

TWO POINT PERSPECTIVE

Representing Case Studies Work by: AJ Alessandrini Professor: Dingliang Yang

MAKE ONE COLOR LOOK LIKE TWO

MAKE TWO COLORS LOOK LIKE ONE

ILLUSION OF TRANSPARENCY

In the image above, it appears as though the orange box on the yellow background is a lighter shade of orange than the orange box on the magenta background color. However, this is just an illusion of color, and the two orange boxes are actually the same shade of orange. The orange boxes just appear to be different based on the background colors they are placed on.

If you place something between the two pink colors and stare at the center, the two pink colors appear as the same hue. With the darker shade of pink placed on the lighter shade of purple and the lighter shade of pink placed on the dark purple, your eyes are tricked into believing that the two pink colors are actually the same hue. This is another example of a color illusion.

In this image, it appears as though the yellow block of color is transparent. As you look through it, the pink color block below it appears orange (the blending of this hue of yellow and the hue of pink).

However, this is another color illusion. The pink and yellow color blocks are actually both opaque.

The orange color between them is actually the child color of pink and yellow (if the two colors were blended together, they would create this orange color) and is a separate piece from the yellow and pink color blocks. There are three pieces to this image: the yellow block that has been cut, the orange piece, and the pink piece. The three blocks of color were cut and placed together to create this illusion of transparency.

DESCRIPTION THROUGH DRAWING II: Documentation at Saint Michael’s Memorial Garden

Photos taken of the brickwork pattern of the walkway

Initial photos taken and front elevation drawing based on measurements taken on site

Erin LoMonaco Interactions with Color and Description Through Drawing II ARCH 281 - Architectural Analysis I - Viola Ochoa - Fall 2021

Plan Drawing based on measurements taken on site

Side elevation, section, and front elevation drawings based on measurements taken on site

Sculpture Pavillion by Aldo Van Eyck

Solo House by OFFICE

Solo House by OFFICE

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Palazzo Farnese-Di Sangalo, Michelangelo

Palacio Carlos V-Alhambra

A5-PART 1: ANALYTICAL SKETCHES Palazzo Farnese-Di Sangalo, Michelangelo

Palacio Carlos V-Alhambra

A5-PART 1: ANALYTICAL SKETCHES

A1-PART 3: BASIC GEOMETRIC CONSTRUCTIONS

The green color is placed in the middle of two colors that help manipulate the green color to look like the other one.

The green square on the left has more blue under tones compared to the green on the right which was more yellow undertones, overall contrasting with its background.

Trenton Bath by Louis Kahn Trenton Bath by Louis Kahn

The pink color is placed in two different colors. The lighter blue makes the pink appear darker while the darker hue of blue makes the pink appear brighter and lighter in color when in reality, they are the exact same color.

Forum in Pompeii

Can Lys in Mallorca by J. Utzon

A5-PART 1: ANALYTICAL SKETCHES

Solo House by Pezo and Von Solo Ellrichshausen House by Pezo and Von Ellrichshausen

A1-PART 2: ANALYTICAL A1-PARTTRACING 2: ANALYTICAL TRACING SPATIAL DEFINITION SPATIAL DEFINITION

A5-PART 2: APPLICATION A5-PART 2: APPLICATION

Richards LaboratorybyinL.Philadelphia

by L. Kahn Richards Laboratory in Philadelphia Kahn

House the Horizon Girona by RCR Arquitectes House of the Horizon inof Girona

by RCR in Arquitectes

Simple lines and shades were created to help distinct circulation, hierarchy, geometry, and symmetry.

The combination creates art within itself as well as identifying its key components. The shapes from diagramming create patterns and play off each other to create rhythm and movement.

A5-PART 1: ANALYTICAL SKETCHES A5-PART 1: ANALYTICAL SKETCHES

A5-PART 2: APPLICATION A5-PART 2: APPLICATION

Casa del Fauno-Pompeii

Sert House, Cambridge, J. Lluis Sert

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Fabrica Fino by Scamozzi

MG+FA Houston by Rafael Moneo

A1-PART 2: ANALYTICAL TRACING SPATIAL DEFINITION

Two blocks of colors are joined in the middle to create a balance third color. The use of two completely different colors create a perfect sense of balance so that no tone is being over powered. It can be seen in the blue and pink combination that the middle colors not overpowered byGEOMETRIC either CONSTRUCTIONS A1-PART 3: BASIC color. Same goes for the yellow and blue combination. There is not an overpowering sense of blue nor yellow, both are perfectly balanced.

A1-PART 3: BASIC GEOMETRIC CONSTRUCTIONS

Nicole Grief Compositional Diagrams and Strategies ARCH.281.03-Architectural Analysis I-Viola-Ocha-Fall 2021

A1-PART 2: ANALYTICAL TRACI SPATIAL DEFINITION

ARCHITECTURAL REPRESENTATION ANALYTICAL DRAWINGS THE FOLLOWING COLLECTION OF PROJECTS WERE USED AS STUDIES TO LEARN AND PRACTICE EFFECTIVE ARCHITECTURAL REPRESENTATION THROUGH DRAWING. THIS PROCESS BEGAN WITH THE STUDYING OF EXISTING PRECEDENTS AND DEFINING THE CORE PRINCIPLES WITHIN THE PRECEDENT TO DEVELOP AND UNDERSTAND THE INTENT WITHIN THE DESIGN. THIS WAS COMPLETED BY BREAKING DOWN THE PRECEDENT INTO SIMPLER FORMS SUCH AS GRIDS AND GEOMETRIES TO IDENTIFY THE RELATIONSHIP BETWEEN ALL THE DIFFERENT ELEMENTS. AFTER STUDYING PRECEDENTS, WE BEGAN TO WORK ON OUR OWN DRAWINGS BY LEARNING TO ACCURATELY REPRESENT THE DIFFERENT TYPES OF AXONOMETRIC FORMS. THESE FORMS ARE AN INTEGRAL PART OF ARCHITECTURAL ANALYSIS THROUGH DRAWING AND BECAME A TOOL WHEN LOOKING AT OTHER CASE STUDIES AND DEVELOPING OUR OWN WORKS. ONCE WE HAD MASTERED THE AXONOMETRIC DRAWINGS, WE STUDIED THE PROPER WAY TO PRODUCE TECHNICAL PERSPECTIVES. THESE WERE DONE USING PROJECTIONS OF FLOOR PLANS AND ALLOW FOR A TRUE REPRESENTATION OF THE VISUAL EXPERIENCE OF A BUILDING. THIS BECOMES A NECESSARY TOOL FOR UNDERSTANDING HOW A STRUCTURE INFLUENCES THE HUMAN EXPERIENCE.

AXONOMETRIC DRAWINGS

PERSPECTIVE DRAWINGS

BURNSIDE MEMORIAL HALL

USING THIS UNDERSTANDING OF ARCHITECTURAL ANALYSIS AND THE WAYS WE CAN REPRESENT IT, WE BEGAN TO LOOK AT DIFFERENT CASE STUDIES WITHIN OUR LOCAL COMMUNITY AND THE WORLD ABROAD. WE WERE THEN ABLE TO COMPARE AND CONTRAST THE DIFFERENT STYLES AND SYSTEMS USED WITHIN EACH CASE STUDY AS WE DID WITH THE FIRST PROJECTS. BURNSIDE MEMORIAL HALL CONSTRUCTED IN 1883 BY STEPHEN C. EARLE, THE BURNSIDE MEMORIAL WAS THE FIRST CASE STUDY WE DID. WE FOCUSED ON THE ENTRANCE OF THE STRUCTURE WHICH HELD TWO, MATCHING ARCHES WITH A SET OF DECORATED COLUMNS. THE BUILDING HAS A HEAVY RELIANCE ON STONE AND BRICKWORK THAT PROVIDES ORANGE AND GREY COLORS TO THE FACES. THE CENTER OF THE STAIRS IS DIVIDED BY A HANDRAIL THAT PERFECTLY ALIGNS WITH THE FRONT DOOR THAT HAS AN OVERHEAD ARCH TO MATCH THE TWO IN FRONT. THE FORMS CREATED BY THOSE ARCHES FOLLOW THE WALLS OF THE BUILDING AND DIVIDE UP THE ELEVATION INTO DIFFERENT LEVELS. VILLA DALL’AVA DESIGNED BY REM KOOLHAAS IN FRANCE, THE VILLA DALL’AVA USES A UNIQUE FLOOR PLAN. THERE ARE THREE WINGS WITHIN THE BUILDING, TWO ON EACH END AND ONE THAT CROSSES BETWEEN AND BELOW THE OTHERS. THE SHAPE OF THE MAIN WING IS A STRETCHED TRAPEZOID THAT ACTS LIKE A FUNNEL TO THE LARGER SPACES WITHIN THE HOUSE. LARGE GLASS WINDOWS PROVIDE A VIEW OF THE SITE FROM ALL SIDES OF THE BUILDING AND BECAUSE OF THE SHAPE OF THE FLOOR PLAN, IT ACTUALLY POINTS TOWARDS THE EIFFEL TOWER. THE ROOF HOWEVER BECOMES AN INTEGRAL GATHERING SPACE WITH ITS BUILT IN POOL AND GREEN SPACES. THESE FEATURES ARE WHAT MAKE THE HOUSE STAND OUT FROM ANY OTHER. 92 STATE STREET DESIGNED BY RUSSELL WARREN IN BRISTOL, RHODE ISLAND, 92 STATE STREET FEATURES A COMPLEX FLOOR PLAN WITH A RELATIVELY STRAIGHTFORWARD ELEVATION. EVERY WINDOW FEATURES ORNATE FRAMING, BUT IS UNIFORM THROUGHOUT THE ENTIRE BUILDING. A MULTITUDE OF COLUMNS SUPPORT THE COVERED PORCH WHICH PROVIDES SEPARATION FROM THE SIDEWALK THAT IT SITS RIGHT AGAINST. TWO FIREPLACES MIRROR EACH OTHER ON EACH SIDE OF THE HIP ROOF AND A SPIRAL STAIRCASE PROVIDES A CHANGE FROM RECTILINEAR FORMS WITHIN A FEW OF THE ROOMS. WOODEN SIDING AND STONEWORK ARE THE MAIN MATERIALS USED WHICH ARE FAMILIAR WITHIN ITS REGION.

VILLA DALL’AVA

Architecture Analysis 1 | FALL 2021 ARCH 281.04

92 STATE STREET

ARCHITECTURAL REPRESENTATION

Work by: Cole Russell Professor: Dingliang Yang

Los Manantiales by Felix Candela Concrete became an increasingly popular building material during the Spanish Civil War. This was due to the fact that it represented modernization and efficiency. During the mid- 1950s Joaquin and Ferdanadp Ordonez proposed to Candela to design a restaurant for the Centro Asturiano en Calzada de Tlalpan.

The structure created a replacement for another wooden restaurant that had burned down previously. He decided to start creating full scale experiments through engineered thin shell structures.

The citizens in the city of Xochimilco refer to the structure as “La Flor” (the flower). The system of the building is hormonally sound between the outer shell and the surrounding floating garden. It is also formed by interesting hypars with a thin roof structure that creates a dramatic open space for the dining area The shape of each of the petals is considered a Hypar Vault; together, they form groined vaults. In this shape, forces from the weight of the form travel to the groins. These groins take the forces, and redirect them towards the supports in a similar way a standard arch would. This force acting on the support is at an angle, and therefore generates a horizontal and vertical force.

Candella performed and validated his calculations with the 3 hinged arch model, alongside ‘membrane theory for hypars’ (which he developed). after a computer analysis (which takes into account all possible forces and reactions), that the x component of the resultant forces is less than previously estimated. The reason is because of the form. The overhangs create forces that act in the opposite direction to the other horizontal forces, cancelling some force out making the resultant less magnitude. For these reasons, Candella was able to produce a wildly fluid form out of concrete, with an extraordinarily thin shell.

Plan

GLAZING/ WINDOW CASING

1” CONCRETE SHELL

WIRE MESH

WOODEN FRAME

Parti

WOODEN SCAFFOLDING

Exploded Axon

Sections

Architectural Analysis ll | SPRING 2022 ARCH 282.01

Elevations

Los Manantiales Precedent

Work by: Cole Calavano, Zack Wieners, Niccola Zona Professor: Olga Mesa

3year rd

A continuation of the Core Design Studios which introduce students to the fundamental design concepts and principles necessary to develop a variety of projects that range in scale and duration. Students begin to form a vocabulary for making spaces and forms that includes human scale, proportion, site, structure, enclosure, materiality and typology. Students are asked to generate a point of view by considering a number of ethical issues that affect their work and its relationship to the communities they are designing for. And lastly, students learn the variety of skills necessary to make and communicate their ideas.

COMMUNITY PERFORMING ARTS CENTER || PROVIDENCE, RI

“CIRCLE OF FRIENDS”

INITIAL DIAGRAM

PROJECT STATEMENT Our youth is locked inside of their rooms watching videos on a phone screen as entertainment instead of exploring people and places outside of their immediate neighborhood.

How can this performance center invite people, especially those of younger generations, to explore the world and themselves creatively? How can this performance space reintroduce cultural vitality to this amazing site?

This performance center will be: A place that caters to the physical and social health of the citizens of Providence A place that promotes socially sustainable spaces for interactions within the community A place that enhances the local landscape A place that welcomes people of all ages to explore their creativity The inclusion of circles in the facade visually represents the playfulness and vitality of children. Using circles in plan has a more metaphorical meaning; a circular space is a community, and the people within it have created a circle of friends. The circular cut out on the corner of the building at the plaza is symbolic of the open circle, inviting people to come join the community they will find through art. The interior courtyard is a full circle space, demonstrating the joy you can only experience once you have decided to step outside your comfort zone and try something new.

PROGRAM 1. Scene Shop 13. Green Room 2. Pre-Function 14. Hair and Makeup 3. Stage 15. Dressing Room 4. 500 Seat Theater 16. Janitor’s Closets 5. Children’s Courtyard 17. Practice Rooms 6. Classroom 18. Mechanical 7. Lobby 19. Storage 8. Box Office 20. Laundry Room 9. Lavatories 21. Costume Shop 10. Black Box Theater 22. Control Rooms 11. Open Office 23. Sprinkler Room 12. Director’s Office 24. Electrical Room

FINAL DIAGRAM

5 4 3 2 1

Architectural Design Core Studio V | FALL 2021 ARCH 313.04

“Circle of Friends” Community Performing Arts Center Work by: Brooke Dutton Professor: Marthe Rowen

52nd Street

existent on the site, allowing for a smooth flow of people though the plaza and keeping in touch with the pre exist-

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was de-

rived that could be used to create almost any piece of jewelry ing site conditions. nd Street designs. This grid was then used as the basis The grid is seen within the theater with the arrangement of T h e a t e r orforgridornamental the plans of the performance center. The forms within the the seats and stage, as it is connected to the center point lines were extracted as building masses and circulation of the grid. However, when one steps onto the middle of h e a t e r 52nd Street the stage, the grid switches and they become that center paths. This kept jewelry as the heart of the project. grid was also kept and used for the design of the plaza. The point with all the seating and aisles pointing towards them.

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52nd Street Theater

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First Floor and Plaza

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1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop8

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater 20- Control Room 21- Performer’s Lounge

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater 20- Control Room 21- Performer’s Lounge

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater 20- Control Room 21- Performer’s Lounge

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1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY

The use of bricks helps to connect the building to the city The use of bricks to connect the building to the city and architecture of helps Providence.

However, a perforated Providence. However, a perforated brick and wasarchitecture used as theofexterior to allow for some transbrick was used as the exterior to allow for some transparency into the interior of the building and to the plaza. parency into the interior of the building and to the plaza.

In service areas and restrooms the facade becomes fully In service areas and restrooms the facade becomes fully brick brick to allow for privacy.

However, ininareas acto allow for privacy.

However, areasof of public public access, cess, glassglass blocks were placed in inbetween to blocks were placed betweenthe the bricks bricks to for interaction between interiorand andexterior. exterior. The allowallow for interaction between interior The shadows are created this perforationalso also allowed allowed shadows that that are created by by this perforation for a type of natural ornament the interiorof ofthe the buildbuildfor a type of natural ornament forfor the interior as well connecting buildingback backto to the the idea idea of ing asingwell connecting thethe building of jewelry and ornament. jewelry and ornament.

First Floor and FirstPlaza Floor and First PlazaFloor and Plaza

First Floor and Plaza

1- Lobby First Floor and Plaza1- Lobby 1- Lobby 2- Administration 2- Administration 2- Administration 1- Lobby 3- Box Office 3- Box Office 3- Box Office 1- Lobby 2- Administration 4- Practice Rooms 4- Practice Rooms 2- Administration 4- Practice Rooms 3- Box Office5- Classrooms 5- Classrooms 5- Classrooms 3- Box Office 4- Practice 6- Scene Shop 6- Scene Shop 6- Scene Shop 4- Practice Rooms Rooms 5- Classrooms 7- Storage 7- Storage 7- Storage 5-First Classrooms Floor and Plaza 6-Shop Scene Shop 8- Costume 8Shop Costume Shop 8- Costume Shop 6- Scene 7- Storage 7- Storage Lobby 8- Costume 8-1Costume Shop Shop

2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

Project #2 Providence Theater | FallProject 2021 Project #2 Providence Theater #2 Providence | Fall 2021 Theater | Fall 2021 ARCH 313.06 ARCH 313.06 ARCH 313.06

Second Floor

Third Floor

9- Prefunction Space 10- Concessions 11- Theater 12- Dressing Room 13- Make-up Room 14-Green Room

15- Prefunction Space 16- Concessions 17- Blackbox Theater 18- Greenroom 19- Balcony Seating for Theater Third Floor 20- Control Room

Second Floor Second Floor Second Floor

Second Floor

9- Prefunction Space 9- Prefunction Space 9Prefunction Space 10- Concessions 10- Concessions 10- Concessions 9- Prefunction Space 9- Prefunction Space11- Theater 11- Theater 11- Theater 10- Concessions Dressing Room 12- Dressing12Room 12- Dressing Room 10- Concessions 11- Theater Make-up Room 13- Make-up13Room 13- Make-up Room 11- Theater 12- Dressing Room 14-Green Room14-Green Room 14-Green Room 12- Dressing Room 13- Make-up Room 13- Make-up Room Second Floor 14-Green Room 14-Green Room Second Floor

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15- Prefunction 2 Space Floor 16-Third Concessions 17- Blackbox Theater Prefunction Space 18-15Greenroom Concessions 19-16Balcony Seating for Theater 17- Blackbox Theater 20-18Control Room Greenroom 21-19Performer’s Lounge Balcony Seating for Theater

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The use of bricks helps to connect the building the city The use of bricksto helps to connect Thethe usebuilding of brickstohelps the city to connect the building to the city 12 and architecture of Providence.

11 a perforated andHowever, architecture architecture of Providence. However, a perforated 12 11 andHowever, 12 12 11 of Providence.

11 a perforated brick was used as the exteriorbrick to allow for some transwas used as the exteriorbrick to allow was for used some as the transexterior to allow for some transparency of theparency building andthe to interior the plaza.

13 into the interior 13 13 into of theparency buildinginto andthe to the interior plaza.of the building and to the plaza.

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17

5

5

Third Floor

13

13

5

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20

13

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19 MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY 21

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existent on the site, allow though the plaza and kee ing site conditions.

The grid is seen within th the seats and stage, as it of the grid. However, wh the stage, the grid switch point with all the seating This creates focus and im the performance. The the the idea of the grid as g from the ceiling to create onto the performer while audience on the performe

4

4

21

Based upon the exploration of the costume jewelry industry in Providence’s History and ornament in general, a grid was derived that could be used to create almost any piece of jewelry or ornamental designs. This grid was then used as the basis for the plans of the performance center. The forms within the grid lines were extracted as building masses and circulation paths. This kept jewelry as the heart of the project.

The grid was also kept and used for the design of the plaza. The center of the grid holds a tree, alluding to how all ornamental forms essentially come from nature and also adding shade to the exterior space. Using the grid lines that protrude from this tree, forms for vegetation and seating were constructed that yielded two main circulation paths. These paths were already

First Floor and Plaz

15

Third Floor Third Floor

Third Floor

Third Floor

15Prefunction Space 15- Prefunction Space 15- Prefunction Space

16- Concessions 16- Concessions 16- Concessions 15-Blackbox Prefunction Space Theater 17- Blackbox Theater 17Blackbox 17Theater 15- Prefunction Space 16-Greenroom Concessions 18- Greenroom18- Greenroom 1816- Concessions 17- Blackbox Theater 19- Balcony Seating for Theater Balcony Seating for Theater Seating for Theater 17- Blackbox Theater19- Balcony1918-Control Greenroom 20- Control Room 20Control Room 20Room 18- Greenroom 19-Theater Balcony 21Performer’s Lounge 21-Seating Performer’s Lounge Performer’s Loungefor Theater 19- Balcony Seating 21for Third Floor 20- Control Room 20- Control Room 21- Performer’s Lounge 21- Performer’s Lounge

15- Prefunction Space 9- Prefunction Space 16- Concessions 10- Concessions 17- Blackbox Theater 11- Theater 18- Greenroom 12- Dressing Room 19- Balcony Seating for Theater 13- Make-up Room 20- Control Room 14-Green Room The use of bricks helps to connect the building to the city 21- Performer’s Lounge and architecture of Providence. However, a perforated brick was used as the exterior to allow for some transparency into the interior of the buildingThe anduse to of the plaza.

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Work Delia Maguire by: Delia In service areas andMaguire restrooms the facade becomes fully cess, glass cess, blocks glass were cess, blocks placed glass were in placed between were in between the placed the between to bricks to the bricks to for a type of by: natural ornament forWork the interior of the buildProfessor: Hanisha Thirth In service areas and restrooms the facade becomes fully andThe Hanisha Thirth Professor: Hanisha Thirth brick to allowback for privacy.

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MATERIALS AND TRANSPARENCY

MATERIALS MATERIALS MATERIALS AND TRANSPARENCY AND TRANSPARENCY AND TRANSPARENCY MATERIALS AND TRANSPARENCY MATERIALS AND TRANSPARENCY

MATERIALS AND TRANSPARENCY

parency into the interior of the building and to the plaza.

In service areas and restrooms the facade becomes fully brick to allow for privacy. However, in areas of public access, glass blocks were placed in between the bricks to allow for interaction between interior and exterior. The shadows that are created by this perforation also allowed for a type of natural ornament for the interior of the building as well connecting the building back to the idea of jewelry and ornament.

Work by: Delia Maguire Professor: Hanisha Thirth

ect #2 Providence Theater | Fall 2021 Project Project #2 Providence Project #2 Providence #2 Theater Providence Theater | Fall Theater |2021 Fall 2021 | Fall 2021 H 313.06 ARCH ARCH 313.06 313.06 ARCH 313.06 Project #2 Providence Theater | Fall 2021 Work by: Delia Maguire ARCH 313.06 Professor: Hanisha Thirth

Architectural Design Core Studio V | FALL 2021 Project #2 Providence ARCH 313.06Theater | Fall 2021 ARCH 313.06

Work by: Delia Maguire Project #2 Professor: Providence Theater | Fall 2021 Work by: Work Delia by: Maguire Delia WorkMaguire by: Delia Maguire Hanisha Thirth Professor: Professor: Hanisha Thirth Hanisha Professor: Thirth Hanisha Thirth ARCH 313.06 Work by: Delia Maguire

52nd Stree Theater

Professor: Hanisha Thirth

Work by: Delia Maguire

Work by: Delia Maguire Professor: Hanisha Thirth Professor: Hanisha Thirth

1- Lobby 2- Administration 3- Box Office 4- Practice Rooms 5- Classrooms 6- Scene Shop 7- Storage 8- Costume Shop

The conceptual design process began with the study of Indigenous and Native people of the region, the shrinking of the Providence River, climate change, and sea-level rise.

Through this, the project developed the action of “reclaiming space” and broke away from rigidity. The Providence River flows through the site defining the central circulation axis. Through moments of overflow, the programmatic spaces are formed.

This concept gained strength with the clients of the 52nd Street Project: a mentoring and educational theater program for youth in the city of Providence. The most powerful spaces for creative expression, such as the Black Box, main theater, practice spaces, and the scene shop, are designed to push out from the axis with great strength. Through this movement, openings for light and views into each space and out to the city of Providence are revealed.

The design honors a holistic approach to a theater performance. Contributing elements such as costume and scene design, the educational, and practice operations are each highlighted to provide a thoughtful learning approach for the students of the 52nd Street Project.

THEATER SITE LINES

PROVIDENCE, RI

SECTION PERSPECTIVE A — A’

EQUINOX — 2 PM

PROVIDENCE RIVER PROVIDENCE RIVER 1891-1940

LOWEST POINT

MEZZANINE

LOWEST POINT

SECTION B — B’

3

MAIN FL.

A’

THEATER ACCESS / EGRESS

PUBLIC / PRIVATE

EAST ELEVATION

k l

m n o p

PRINTING JANITOR’S CLOSET STAFF STAIR FIRE STAIR

OPEN OFFICE DIRECTOR’S OFFICE

q r

LOBBY ADA THEATER ACCESS

B’

STAGE THEATER

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e f

STORAGE LOADING DOCK SECURITY OFFICE STAFF RESTROOM

p d

B

a

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PUBLIC RESTROOM BOX OFFICE PUBLIC STAIR & ELEV. BACK STAGE

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SOUTH ELEVATION

CONCEPTUALIZING THE RIVER

1

MAIN FL. (ADA)

RECLAIMING SPACE

RECOGNIZE, RESIST, RECLAIM

PARTI

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30 60 FT.

FIRST FLOOR PLAN

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30

60 FT.

Architectural Design Core Studio V | FALL 2021 ARCH 313.02

52nd Street Project — A Children’s Performance Center

Work by: Grace Amoruso Professors : Julia Bernert

Mended Ground Cultural & Performance Center PROJECT NARRATIVE & PARTI

The purpose of this building and 52nd Street Project is to create a safe, grounding, but transparent space for children to learn and theatrically flourish. The project reflects both the fracturing & mending reconnection the flow and energy the people of Providence, especially children, bring to a space. As seen in the parti diagram to the right, it is apparent that the ghosts of people’s circulation through the site, before placing the building, are honored and remain alive, respecting their natural paths taken through the city.

The sidewalks of the plaza reflect the circulation on the interior of the project, extending the natural diagonal lines of the paths to the outside, drawing people into the “canyon”.

FLUID CIRCULATION THROUGH A SOLID

FRONT FACE RENDERING BR

LAUNDRY

DRESSING ROOM "A"

DRESSING ROOM "B"

BR

COSTUME SHOP

COSTUME SHOP

GREEN ROOM

STORAGE

GREEN ROOM STAGE

GREEN ROOM

MAKEUP ROOM

MAKEUP ROOM

STORAGE

STORAGE

BLACK BOX THEATER MAIN THEATER

SL

SL

SL

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SL

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LOBBY

MEZZANINE 1 MEZZANINE 2 LOADING DOCK

BOX OFFICE / SECURITY

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J.CL

STUDENT LOUNGE

LOBBY

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OPEN TO BELOW

BR

BR

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OPEN TO BELOW

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CONTROL ROOM

BR

BR

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BR

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STUDENT LOUNGE OPEN TO BELOW

BR

OPEN TO BELOW

J.CL OPEN TO BELOW

BR

OPEN TO BELOW

BR

BR OPEN TO BELOW

PRE-FUNCT. 1 CLASSROOM "A"

CL

VESTIBULE

CL

CL

PRE-FUNCT. 1

OPEN OFFICE

PRACTICE ROOM "A"

REFRESHMENTS BAR

1ST FLOOR & SUB-LEVEL

INTERIOR RENDERING OF “CANYON” SPACE

CL

PRE-FUNCT. 2

PRACTICE ROOM "B"

SCENE SHOP

SCENE SHOP

PAPER STG. DIRECT.'S OFFICE

CLASSROOM "B"

2ND FLOOR

3RD FLOOR

4TH FLOOR

5TH FLOOR

FLOOR PLANS 6TH FLOOR

MECHANICAL ROOM ROOF

5TH FLOOR

BLACK BOX CATWALK STUDENT LOUNGE

3RD FLOOR

MEZZANNINE 2 OFFICES SCENE SHOP

4TH FLOOR

BLACK BOX THEATER SCENE SHOP LOUNGE

2ND FLOOR

MEZZANNINE 1 PRACTICE ROOMS PRE-FUNCTION

1ST FLOOR

MAIN THEATER CLASSROOMS PRE-FUNCTION CAFE

NORTH AXONOMETRIC SECTION DRAWING

DIAGRAMATIC EXPLODED 3D-MODEL

STUDY MODELS

SOUTH FACADE RENDERING

SOUTH AXONOMETRIC SECTION DRAWING

Architecture Design Core Studio V | FALL 2021 ARCH 313.02

Mended Ground

Work by: Lorennah Granfors Professor: Julia Bernert

“THE PEARL” Community Performing Arts Center

My performance center focuses on designing playful spaces that are engaging for kids and adults as well. The performance spaces are like a hidden pearl, cradled by the support spaces and public areas by acting as the shell. It functions as the core of the project and the object of fascination for children to discover. Creating a clear division between support spaces, public, and performance areas will demonstrate my parti. Lastly, the exterior plaza is included to provide a space for kids to release their youthful energy.

Architectural Design Core Studio V | FALL 2021 ARCH 313.04

“THE PEARL” Community Performing Arts Center Work by: Joseph DePoalo Professor: Marthe Rowen

52nd Street Theater and Learning Center

Shakespeare once said “All the world’s a stage”. He meant that life is like a performance and everyday people are like actors. In the project, the black box theater is a glowing beacon that invites people to come together. People then circulate along a red staircase and are able to see each other through holes in the floor and through the transparent facade. When people see each other, they are observing the performance of life.

In the project, the black box and prefunction are housed in the same space. The structure is on the outside and a glass wall is behind it. When a performance occurs, movable partition walls move down and make the space dark. When the space is used as a pre-function space, the dark walls move away and people are able to view the Providence river and other surroundings. The X bracing is used for lateral stability and the modern steel contrasts the historic brick of the student facade. Additionally, there is a public plaza. Outdoor performances occur underneath the black box. While people are watching the outdoor performance, they are able to see the glowing black box inviting them in the background. People then can circulate to the 500 person theater or to the Black Box theater.

The school is designed to allow the students to feel a sense of Providence’s history. The brick facade of the school relates to the historic masonry buildings in the area. However, unlike the other masonry buildings, the windows are composed asymmetrically in order to show that it is a school for creative theater students. The students have a rooftop space where they can learn, play and perform. They also have a space where they can peer into the black box in order to learn from the professional performers.

Glass Curtain Wall Moveable Partition Wall X Bracing

Plaza Perspective

Black Box Structure Diagram

Student Entrance

Public Entrance

Student Circulation

Public Circulation

Stairs

Stairs

Student Outdoor Space

Public Outdoor Space

Section AA

North West Perspective

Pre-function Perspective

Theater Entry Perspective

Circulation Diagram

Floor Plan Level 3

Pro r

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North Elevation House Stre

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rd Street Crawfo

Delta Street

15’ 25’

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Dyer Street

5’

Floor Plan Level 1

South East Axon

Architectural Design Core Studio V | Fall 2021 ARCH 313.05

South Elevation

52nd Street Theater and Learning Center

Work by: Joe Bucci Professor: Blair Shanklin

Connectivity A performing arts center, located in Providence, RI, designed to house various types of performances along with educating the young. A space that is designed to connect you with others and learn from them, listen to their stories, and enjoy the gathering of those around you.

A special connection can be made in a theater and throughout a performance. As the performer is telling the audience a story, a relationship is being created. The audience has been emotionally invested into the performance resulting in the expansion of their imagination, vision, and creativity.

This performer-audience connection is being made as they may inspire or influence new ideas and feelings. Similarly, a child’s mind is full of these imaginary and creative thoughts, as theater is something that allows them to express themselves and these hidden concepts. Spaces that influence connections between multiple people, such as the performers, audience, and students is an important role in this design.

As one approaches the performing arts and educational center, they will be welcomed by the greenery and comfort of the plaza breaking up the busy city. As one circulates through the building, they will find themselves not only communicating on equal levels, but through multiple double high spaces and elevations. This is not only demonstrated on the interior of the building but also on the exterior, such as the front facade.

Diving deeper into the design, materiality and color are used in a way that connects parts of the building to a more natural world and a more imaginary world, similar to a performance.

The performers, audience, and students all can be inspired by the way they are connected. These connections allow for growth, knowledge, and new ideas.

Site Plan

Ground Floor Plan

Section Perspective

Pre-Function

Circulation Diagram

Massing Diagram

South Elevation

East Elevation

Architectural Design Core Studio V | FALL 2021 ARCH 313.05

Section AA

Section BB

A Cultural and Performance Center Work by: Matthew Carlson Professor: B.G. Shanklin

THE ECLIPSE THEATER The addition of a performance center in Providence, Rhode Island has the potential to enhance the community and its surrounding area. In order to accomplish this, the structure should cater to its adjacent neighborhoods. Creating a building that communicates with a variety of diverse individuals, all while paying homage to the city of Providence itself will drive the development and design decisions. Implementing historic elements will serve as an educational tool for the community, and for those who come interact with the performance center. Providing a vibrant and exciting environment for children and their families will allow them to have a memorable experience with each visit. Outdoor facades within the buildings courtyard will reflect the feeling of walking down the streets of Providence, offering colorful murals, areas to view outdoor performances, as well as an eye catching green spaces that enhances the exterior spaces.

East Elevation

Site Plan

LOUNGE

PRACT. A

Dyer Street

CLASS A

BR

DRESS A

BR BR

MAKE UP A

BR

GREEN ROOM

COSTUME

BR BR

PRACT B

LOUNGE

DRESS B

CLASS B

BALC.

MAKE UP B

ADMIN.

BALC. GREEN ROOM

LOBBY

BB

BB BB

STORAGE

Ground Level

SCENE SHOP

MECH.

AA

Second Level

Section B-B

Architectural Design Core Studio V | FALL 2021 ARCH 313.06

Third Level

AA

AA

Section A-A

The Eclipse Theater

Work by: Nathan Cormier Professor: Hanisha Thirth

MATERIALS

COLOR PALETTE

SHADE STUDY

SITE PLAN COURTYARD 1

3/21 12 PM

6/21 12 PM

12/21 12 PM

3/21 12 PM

6/21 12 PM

12/21 12 PM

3/21 12 PM

6/21 12 PM

12/21 12 PM

COURTYARD 2

COURTYARD 3

RIGHT ELEVATION

PUBLIC VS. PRIVATE PUBLIC PRIVATE

THE SUNFLOWER THEATRE The Sunflower Theatre is meant to celebrate community in Providence as well as Native American culture. I chose to look community within Indigenous architecture and transparency. The longhouse is the winter home of many Native American communities throughout history. These homes can house up to 20 families. The plan of the building is centered around a campfire and beds along the walls. The interior central circulation represents this in the form of the staircase and the surrounding balconies. The materiality of the building is meant to portray the same feelings. The exterior is likely to made of rough bark, light wood and curtain wall glass encapsulating the courtyards, and green walls. The Sunflower Garden in the front is a way to bring the importance the mural to the forefront of the site. The essence of the sunflower is represented on the interior and exterior materiality through color.

LEFT ELEVATION TRANSPARENCY AND CIRCULATION STAIRS TRANSPARENCY

An important aspect of the project is the courtyards strategically placed on the site to connect the urban fabric of the city to the site and promote a space for celebration and festivities. Providence is a place where outdoor festivals are important to the culture of the city. The courtyards will be surrounded by glass so the community inside the building can overlook the various activities happening. Each courtyard is accessible from the inside of the building as well. This promotes the importance of transparency from within and from the exterior. The essence of community is to be transparent with everyone and to include everyone. This is the essence of The Sunflower Theatre.

FRONT ELEVATION

PLAZA DEVELOPMENT

DIAGRAMS

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2.

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LOBBY PRE-FUNCTION 1 BOX OFFICE THEATRE STAGE BLACK BOX SPRINKLER ROOM PUBLIC RESTROOMS STAFF RESTROOMS CLASSROOM PRACTICE ROOM OFFICE OFFICE LOUNGE TERRACE

N 15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

N

N

JANITOR'S CLOSET DRESSING ROOM GREEN/MAKEUP ROOM COSTUME SHOP SCENE SHOP LOADING DOCK CONTROL ROOM LAUNDRY ROOM ELEVATOR ELEVATOR ROOM MECHANICAL ROOM ELECTRICAL ROOM FIRE STAIR STORAGE

RENDERINGS

SECTION A-A

SECTION B-B AXON

Architecture Design Core Studio V | FALL 2021 ARCH 313.05

The Sunflower Threatre Work by: Emily Soares Professors: Hanisha Thirth

The Fall River Project OVERVIEW: Fall River, a greatly under-served community just 15 minutes from Bristol, RI, set the site for what would be a new and improved street for the citizens of the city. Specifically, the City Hall Building sitting atop an overpass for the I195 highway would serve as an anchoring point for a new shading device, landscape, and urban setting.

SITE ANALYSIS: Downtown Fall River is a dense mid-rise city with a collection of business districts and neighborhoods mixed in with busy highways and industrial districts. The area where City Hall sits is between two busy areas of commerce in the city and stands as a connector over the highway tunnel. Parks in Fall River are space, especially in the area of center city. Vegetation on the site is minimal with a few young trees and shrubs dotting the sidewalk. Concrete retaining walls and the solid and dense feeling city hall building dominate the landscape. The feeling on the Southwest side is cold and hard. The under developed sidewalk adds little positives to the initial feeling given by the building and adjacent landscapes. The sidewalk also contains no shelter for either sun or rain nor does it provide ample seating for an area with such high traffic.

Fall River City Hall: Major Business Districts: Street/Grid Pattern: Major Highway:

OBJECTIVE: Through research and analysis of weather data, demographics, and precedent studies, the task at hand was to create a complete design for one street surrounding city hall. This meant first analyzing weather trends and shading angles to create a shading device as the main gathering point for the space.

From here, a landscape was created with ADA accessible ramps and stairs to round out the sidewalk and increase storm water runoff for the site. Lastly, research was done into urban design trends to overhaul the existing street by allowing pedestrian traffic to take back control of the site. This including adding bike lanes, narrowing car lanes, and adding more vegetation.

In conjunction with the shading device, organically flowing seating areas provide a more playful and inviting space for families and pedestrians. The overhaul of the space creates a safer, greener place to gather and explore.

Site Shading Study

Demographic Analysis Median Age

Median Family Income

Families Below Poverty Level

Population Density

Looking at median age in the Fall River Downtown area, we start to see some trends occurring in and around City Hall. The neighborhood directly surrounding City Hall has one of the highest median ages of any other region in the area. Directly next to this, we see neighborhoods with the youngest median age. It seems that the center of downtown might see more established families while the outer areas could house more young professionals. This divide in age could see neighborhoods splitting due to a lack of commonalities associated with age. Improving design in the area of City Hall could see a movement of younger populations closer to the area, thus blending the two populations and creating a more cohesive city.

Interestingly, the area of Fall River which has the highest median population, also has the lowest median income. With that, the neighborhood nearby with one of the lowest median ages, sees one of the higher median incomes. This in and of itself creates a different kind of divide between neighborhoods. In general, almost all of the neighborhoods touching Fall River City Hall have a median income of less than $30,000 per year.

These neighborhoods, even ones with a higher median income, could benefit greatly from increased attention to urban design in the area. Changes like this are often unseen in lower income neighborhoods and could provide a more habitable and welcoming feeling to the streets of Fall River.

Directly relating to the previous map, the percentage of Fall River Residents living in poverty is quite even throughout the city. This percentage does increase in and around the area of City Hall though. The low income areas seen in the previous map which also have a low poverty level percentage are likely single or double person households. The areas which have a higher median income but still lay below the poverty level are likely areas where families and larger households reside. This means that families both young and old are likely quite void from the area of city hall. This could be because of safety, inclusion, or proximity to schools. Regardless, it could be beneficial to the City of Fall River to bring more families to the center city region.

The map of population density in Fall River tells an important story of where resources need to be allocated in the region. The population of this area mainly resides in the Southwest side of the city with another large population center in the West. The population density around City Hall is around average with high levels of density in the surrounding neighborhoods. This means that City Hall is seen as almost a crossing point in the downtown which connects the denser areas. This also could mean that the specific region of City Hall isn’t a stopping point. Good urban design could transform the surrounding streets and create more of a destination rather than a bridge.

Solar Study

9am

12pm

Month on 21st.

Time

Azimuth

Altitude

December

9am

41 Degrees

13 Degrees

December

12pm

0 Degrees

25 Degrees

December

3pm

41 Degrees

13 Degrees

September

9am

September

12pm

0 Degrees

48 Degrees

September

3pm

55 Degrees

32 Degrees

June

9am

80 Degrees

48 Degrees

June

12pm

0 Degrees

72 Degrees

June

3pm

80 Degrees

48 Degrees

55 Degrees

Climate Study

Wind Rose Study

Yearly Temperature Range For Providence, RI

Wind Data: June- August

Seen Here on June 21st at 10am, sun trickles in within the morning hours but is shielded out in the afternoon by the angled louvers above. Existing planters are now used as seating areas and the shading device begins to open up to the walkway with larger openings and porous walls.

3pm

Shading Hours Needed: June 21st- Dec 21st

32 Degrees

The newly developed site allows pedestrians to take back the street and for multiple modes of transport to safely share the road. The narrowed vehicle lanes and implemented median create a safer crossing and invite more widespread vegetation to cover the area.

N

Through the shadow analysis of sketchup and Photoshop I discovered some important and interesting ideas surrounding my site. I found that my site B, sitting on the Southwest side of the building, received natural morning shade from the city hall building which was most effective during the fall and spring equinox. The winter morning shade bypasses the site by a little and the summer shade covers around half the site. Interestingly, none of the 12pm shadows were able to reach or aid my site with cooling. This is especially prominent in the summer solstice where shadow cover is absent from my site. The 3pm sun also hits my site hard in the summer with adjacent building shadows just missing the site. The winter solstice and equinoxes see the afternoon shadows reach onto the site and begin to shade from what could be uncomfortable heat at times.

From this, we might gather that a sun shading device for site B should have a few set characteristics pertaining to sun at different times during different seasons. The shading device may want to be more open for the sun coming from the east since this may be a colder time in the day as well as having a low connection with direct sunlight. The device may also want to be more hostile towards sun coming from the south since the site is completely unsheltered from light during this time. When the sun begins to head West we see a large amount of building shade in the spring, fall, and winter months, while the summer months see direct sunlight coming towards the site. Around 3pm the temperature is warmest during the day so direct sunlight may want to be avoided. A sun shading device could show ideas of allowing in the sun during colder months but blocking it during the hot summer afternoons.

Yearly Relative Humidity and Dry Bulb For Providence, RI

Wind Data: December- February

Dry bulb, or the ambient temperature without humidity factored in, generally is at its lowest point during the middle of the winter while humidity is at its lowest during the month of April.

Despite humidity having its highs and lows it stays relatively stable throughout the year.

Taking a look at the gray line of the comfort zone we can see that the months of June and September have the most data points in and around the zone. This likely means that these months would be most comfortable. With that, designers likely do not have to account for either of these weather factors.

During the summer months, winds primarily blow from the Southwest with some lighter winds coming from the Northeast. In the winter, a time when wind should be blocked using the shading device, we see stronger gusts coming from the Northwest. Due to this, the shading device should consider allowing in the soft breezes in the summer to cool down the space, while also blocking out the harsher winter winds. All this said, the shading device in conjunction with vegetation makes an attempt to allow warmth into the space in the winter while using surrounding buildings to block out less welcome winds.

Shading Hours Needed: Dec 21st- June 21st

The ideal sun angle of 45 degrees was chosen as this is the point where sun begins to penetrate spaces at all hours of sunlight. During peak summer the sun will often rise to 70 degrees of altitude which could be properly and easily shaded by some type of horizontal shading device.

By the time mid September comes around, the sun becomes lower in the sky and will peak at an altitude of only around 45 degrees. As the weather gets colder, sun exposure is allowed by a horizontal shading device at all hours of sunlight.

In all, during the summer when the sun rises above 45 degrees, the heat from the sun will be properly shaded. In the winter when that warm sun is needed, it will be allowed in to warm and light the space.

When considering humidity in the region, we can see that the helix like form hovers in and around the gray line of the comfort zone. A shading device cannot usually account for humidity, so it turned out to be most beneficial to ignore that data and instead focus on direct sun as well as wind.

Circulation from the entrance of the building to the adjacent footpath has been kept in tact while also creating a shaded, more enticing street. The protected bike lane encourages multiple modes of transport while added benches present as stopping point along the path.

Site & Environment | FALL 2021 ARCH 321.01

The Fall River Project

Work by: Patrick Mountjoy Professor: Leonard Yui

Overall perspective of the Fall River City Hall/ surrounding area which showcases the two-level public space on the site along with the adjacent park with a community garden.

The Fall River Project was broken up into three distinct parts, the first focusing on creating a space designed for thermal comfort which included a design for a shading device (top image). Following, we had to rethink the shading device while also adding ADA compliant ramp and stairs (middle images). We then focused on the street design for the site surrounding the Fall River City Hall.

Top four images: demographic maps showing household income along with statistics relating to work-time commute- 5th image: shading plan- 6th image: Ricardo Lara Park precedent- 7th image: streetscape section- 8th image: spine of main street

FALL RIVER PROJECT

View of the top floor of the public space

View from the city hall looking towards the west.

With the chance to create a public space on the Fall River city hall site, there were a few goals I wanted to accomplish with design, that of which being to create a space that adresses the problems of the community. The city of Fall River MA is poverty stricken that lacks a central space for congregation while also having food insecurity issues. With the design, I proposed a two level space that can accessed by all with the inclusion of ADA ramp and stairs. The space includes built in seating on the lower floor which is shaded by the floor above which also cantilevers over the bottom story. Following, The upper level utilizes more malleable seating arrangement along with a shading device to provide comfortable temperatures during the summer months. The two spaces are tied together with a central void that has a tree running up the center. This move is meant to be symbollic of a move towards nature for the initial site of the city hall/ I-195 rid of a waterfall of the Quequechan river.

Adjacent from the site I decided to create a community garden to adress the food insecurity issues of the community, where it could actually be classified as a food desert. As the site of the city hall and park site above I-195, noise pollution is obviously a concern for the site, as a response I lined the western most side of the park with trees to dampen the noise from the highway. The park also includes a bus stop for better accessibility to the site along with a lane for food trucks along with seating. Across from the park, there is also an outdoor art exhibition that can be utilized by the public. The move to add food trucks along with an art exhibition is meant to draw people to the site.

The city of Fall River aims to strengthen the spine of North and South Main Street by supporting local buisnesses along with more resources for the community. My project aims to be part of said revitaliztion plan my furthering strengthening the spine of main street by providing a place the community can gather while also providing resources.

I also found it interesting on the immense amount of people who live 10 minutes from work and still decide to drive and even walk to work over bike, so I also made it a mission to make the surrounding area more friendly to bikers. Firstly, I reduced the amount of lanes which should not have much impact on local traffic, but also allows for the inclusion of a larger central median, bus stop/ food truck lane, and bike lane. The inclusion of the bike lane along with a reduction of space made for cars will allow easier access for biker which will hopefully make for a more active/ lively community.

The site also includes an increase of permeable surfaces and greenery while still respecting the current brutalist style of architecture. With the design of the public space and park I decided to create a cantiliever and shading device which matches the style of the city hall. Following, I included added trees and a greenwall seen on the railings of the ramp.

Perspective of the streetscape design while also showcasing the proposed public space on the city hall site.

Site & Environment l FALL 2021 ARCH 321.01/02

Fall River Project

Work By: Cole Calavano Professors: Nicole Gaenzler & Leonard Yui

FALL RIVER PROJECT The surrounding area of city hall in Fall River, Massachusetts is an undesired and undeveloped area that does not account for its atmospheric conditions. A thorough site analysis which included looking at the demographics, the sun path, climate analysis, and wind patterns were analyzed to design a more sustainable and vibrant community through urban design.

When first looking at designing a shading device in fall river numerous climate conditions were looked at and taken into consideration. One of the site conditions was the sun path, specifically looking at what time the site would get the most sunlight and accounting for that. The site got the most sunlight between noon and 3 pm, so looking at the humidity and temperature in fall river it was apparent to shade that time of day. However, since the site is in New England it does get harsh winters, so it is necessary to allow for as much winter light in as possible to maximize thermal comfort.

Therefore the shading structure was designed for maximum shading at noon and 3 pm in the summer. The design also accounted for the winter sun and the shading device was at a certain angle to optimize the afternoon sun in the winter.

Another key aspect of the shading device was to have filtered light come through and not have it be completely shaded, but have it be filtered inorder to create a unique experience underneath the device to enhance the urban design.

Another aspect looked at fall river was the accessibility for everyone with or without disabilities and making the site one cohesive design. A designed a ramp that allowed for gatherings and aided in a more sustainable effort through greenery. The stairs were integrated into the ramp and have two access points up to city hall to allow for traffic control on each side of the site. The design of the ramp was was a gradual slope down from city hall which created two terraces that are flush with the landings so everyone can access the green space. Having these gatherings space up above the street allowed them to frame a view looking towards the water. Having views of the water allowed me to tessellate my shading device accordingly to maximize the views.

SHADING PLAN

JUNE 12PM

DEMOGRAPHIC MAPS

In the winter the extreme low temperature is negative three and the extreme high is 92 degrees. In the summer it is typically hotter ranging from 69 to 75. In the winter it drops for an average between 25 and 35. The most uncomfortable ranges would be the average lows in january and february. These are the most uncomfortable because its below the freezing point. Designing in providence one should be weary of the rough winters and to deal with this they need to be extra cautious about an effective heating system. One might consider theraml mass as an effective way of

Between June and August the prevailing direction is northeast and the maximum speed is 26. The overall prevailing direction and average speed is east at 10 miles per hour.

The average wind speed is 10 miles per hour which is pretty low especially in the summer.

In the summer you want more wind to counteract the hot temperatures.

Between December and February the prevailing direction is northeast and the maximum speed is 43. The overall prevailing direction and average speed is east at 15 miles per hour. Between these months it has the highest wind average speed.

The highest humidity is in August which reaches around 85. April has the lowest humanity with reaching nearly 40. The high point for dry bulb is in July reaching to 81 and the the lowest it hits is in february reaching around 21. The most comfortable time is in September whereas the most uncomfortable is January. Natural ventaltion may be considered to cirruclaute the air and bring the hot air out and allow cool air to come in.

CLIMATE ANALYSIS

WIND ROSE

City Hall Restaurants and Food Stores Shopping/ Retail Buisnesses Underused spaces such as parking spots, abandon sites

SECTION PERSPECTIVE

Site and Environment | FALL 2021 ARCH 321.02

DECEMBER 3PM

Fall River Project

Work by: Sophia Bono Professors: Nicole Gaenzler and Leonard Yui

Fall River Project This Project aims to create a gathering space with connection to City Hall from new stairs and ramps and connection to the street with a newly designed street layout. The purpose is to provide a solution to the poorly designed landscape at City Hall in order to draw in more people to the area. In the process of designing this new landscape, climate, landscape design, and urban planning was considered to create the most comfortable environment for the people of Fall River.

With the given site on the South end of City Hall, the shading device combats the hot sun shining on the area. Climate analysis such as shadow study, wind, seasonal temperatures, and passive design of the region was also taken into consideration in order to create the most comfortable environment for the people.

Next, the design looks at accessiblility in creating ADA stairs and ramps. These accessibility additions work to form the gathering spaces and paths in the landscape as well as influencing the placement of greenspace to improve strormwater runoff in the area. The addition of permeable pavers for much of the gathering space also helps reduce stormwater runoff. Lastly, the design aims to connect the gathering space to both the street and the space on the other side of the street while taking into consideration some demographic maps of Fall River.

The hand rails and plentiful seating respons to the older median age around City Hall and the added bus and bike lanes respond to the lower percentage of people driving vechicles in the area.

Overall, the project design focuses on comfort, safety, and accessibility for all people.

Precedent- Barn at Falingwater: The way light shines through the wooden beams was a major influence on the design of the shading device.

Shadow Study: With most shadows falling in the morning for this site, it was necessary to provide shade to combat the afternoon sun during the warmer months.

Perspective Looking Through The Shading Device

Perspective of Shading Device, Showing Ample Shaded Area

Perspective Looking Towards The New City Hall Stairs

Perspective of The Gathering Space From Across The Street

Plan View of Stairs and Ramps: The proposed stair and ramp design follows ADA guidelines and aims to shape gathering spaces while starting close to one another and reaching the top in the same area.

The Complete Street: With City Hall to the left, there is now a large gathering space at its entrance. There is also an added bike lane and bus lane to accommodate people without cars. There is still a lane for parking which also acts as a barrier between the street and the bike lane. Across the street is added vegetaion and the bus stop for the new bus lane.

Site and Environment | FALL 2021 ARCH 321_03

Plan View With Stormwater Considerations: The addition of new greenspace not only helped shape pathways, but also helped with stormwater. Permeable pavers were also added to much of the gathering space to significantly lower the Q value for the area by over 100 gallons per minute.

Percentage of Workers over 16 driving Cars: The lower percentage of people drivng cars around City Hall made it necessary to add a bus lane and bike lane, ensuring access for all.

Median Age in Fall River: The older population around City Hall made it necesarry to create planty of seating and handrails to ensure safety for all ages.

Fall River City Hall

Work by: Josh McNamara Professor: Leonard Yui

The Religion of Louis Kahn and the Jonas Salk Institute “I'm too religious to be religious.” were the words that Louis Kahn said to a close friend of his after the plans for a synoquage commission were unfortunately abandoned in the drawing phase. These words have become famous when discussing the life of Kahn and when delving into his childhood which is often seen as deeply troubled. During his career, it was clear to his friends, family, and clients that his religion was architecture. Whether Kahn did it intentionally or not his designs held spiritual secrets hidden within the substructure of his architecture. It seems antithetical that an architect famous for brutalist, monumental designs such as the Jonas Salk Institute would be utilizing details of cultures that are so often excessively ornamented and precise but Kahn did it all the same.

Kahn was not the type of super egotistical architects that are often depicted in television and movies, Wendy Lesser explains in her book You Say to Brick: The Life of Louis Kahn. Lesser elaborates on how Kahn was a welcoming person, loved by students and friends, and ironically, even for his success, a terrible businessman. She attributes his lack of financial understanding to why Kahn very rarely acquired vocal critics or envious rivals. Kahn also seemed to have a sort of “self-mocking” attitude towards his work which Lesser points out. This satirical nature may have been what led to his admittedly humorous lessons about architecture. Arguably Kahn's most famous words are the namesake for Lesser's book, “You say to brick,’What do you want, brick?”. These words are often said alone but the full lesson continued with, “Brick says to you, ‘I like an arch.’ If you say to brick, ‘Arches are expensive, and I can use a concrete lintel over an opening. What do you think of that, brick?’ Brick says, ‘I like an arch.’” This story often brings laughs but it can be meticulously studied to identify an important belief that Kahn had which was that everything had an innate potential and future. That brick wanted to be an arch, that slab of concrete wanted to form a water trough, that student will be an architect. This architectural ideology I believe can be related to a Christian ideology of God’s purpose for all of his people. God has a predetermined path set for each one of his followers. Using Kahn's story of the brick and cross examining this Christian story, one might say, “What do you want for this brick, God?” and God might respond with “I want that brick to be an arch.”

The Jonas Salk Institute is Kahn’s Magnum Opus. It has become one of the most famous and influential buildings of the 20th century and arguably of all time. The image of the Institutes courtyard looking out over the pacific ocean (Fig. 1) is recognizable by even those not familiar with architecture. Its construction has a history of two visionaries, Louis Kahn and Jonas Salk. Salk is a famous American virologist who is credited with developing the vaccine that put an end to poliomyelitis. Stuart W. Leslie describes the relationship between Kahn and Salk in “A Different Kind of Beauty”. At the time, there was a fear of architects delving into the field of science and creating laboratories. Leslie claims that “Laboratories are awarded in nobel prizes, not pritzker prizes.” and so the relationship of competition began. There were many within the science community that did not want the Salk Institute to become a monument for architecture instead of a symbol of scientific innovation and success. Even with this fear Salk himself believed that the architecture could have a positive impact on the institution by allowing the structure to bring people together in a metaphorical and physical way. Salk very much valued the care that Kahn had put into his work and similarly Kahn had an understanding that “Science laboratories are essentially studios.” This does not mean however that it was a smooth process, many of Kahn’s original ideas for the residential units of the institute died on the drafting board and were never brought into the final design of the laboratory. The Salk Institute was designed in 1959 and it was very rare for architects to even consider designing laboratories because of the previously mentioned fears and as Leslie mentions the one notable exception was Frank Lloyd Wright's Research Tower for S.C. Johnson Wax and Eero Saarinen’s corporate laboratories for General Motors which was built only twenty years earlier in 1939.

Since the beginning of the project the two visionaries wanted to create a monastery of sorts that would become the institution. Salk was very ambitious, with a desire to create a place that invented an entire new way of life. Kahn wanted to hone in on what made his previous project, the same one that Salk had noticed him for, special. That project was the Richards Medical Center in 1957. The first proposal for the Institute was considered disappointing to Salk who thought that the system of towers Kahn had planned were an eyesore on the landscape and did not fully consider the communal aspect of a science laboratory. Kahn responded, mixing up the plan and adding a gathering hall and residence into the plan, much to Salk's appreciation. It was not until a “telephone conversation with Dr. Salk was so upsetting that Mr. Kahn was unable to work effectively for three days” (Leslie, 2008) that a new proposal was put on the drawing board. This plan would isolate the three pillars again being the laboratory, meeting house, and residences but overhauled their spaces functionally. The laboratories became vast open rooms that as Leslie mentions evoked “The architecture of clean air” and featured more private studies that became a “necklace on the outside of the building”.

Even with the design plan moving forward at a better pace, Kahn once again needed to revise the plans. Salk had made it a goal to not use government funding in the project, instead using personal philanthropic donations to fund the Institute but his pockets had begun to run dry and as Leslie explains, many of his peers had advised him to find another architect to take over. It was this potential crisis that led Kahn to redevelop the project for the final iteration. He dropped the excess, keeping only the best features of the project and reducing cost. The new proposal was able to create football-field sized laboratories stacked over three floors with nine feet of service space in between. The community space turned into what is now the concrete courtyard, splitting the project down the middle and creating the images we see in the modern photography of the Institute. As time went on, Kahn continued to produce drawings and iterations on the details of the project, much to the annoyance of the engineers and contractors who had begun to build the Institute. It took a serious letter from Salk to Kahn requesting him to stop because they were once again running out of time and money. Nevertheless the Salk Institute was built.

(Figure 1. Taken from the Salk Institute)

The Salk Institute’s design references the art of a one point perspective drawing. In such drawings, a singular point along the horizon line becomes the origin of the lines drawn to create depth as seen in Fig. 2. In the case of Kahn’s design it is clear the vanishing point in his “drawing” is the sun and the horizon line is formed by the Pacific Ocean which the project is angled out towards. The lines formed from this vanishing point became the substructure of what would become the Salk Institute. The travertine water trough that runs down the courtyard perfectly captures the sun as it sets behind the horizon as seen in Fig. 1. This language profoundly centers the project in relationship with the natural world and is continued by the sidewalks of the projects, angling in towards that vanishing point. The actual laboratory rooms and residential units that rise up from the ground on either side of the courtyard act as a sort of picture frame, isolating the view and accentuating the effect of the perspective imagery. Each unit is angled out towards the water, allowing everyone inside the Salk Institute to take advantage of this natural photography. The idea of physical perspective drawings in architecture was not invented by Kahn. Christian cathedrals and Jewish synagogues have been using a form of this design for centuries. In Fig. 3 this is shown best. The altar of the church becomes the vanishing point of the picture and the rest of the room is designed to angle in towards that singular holy point. The pews that line the room become the transversals of the perspective and the ornamented columns that often are present in such structures create the same borders that create a framed effect. The eye follows the line of the pews, down the distance of the sanctuary and comes across that singular point of the altar.

The similarities should start to become clear now. The sun was the altar in Kahn’s plan for the Salk Institute. The travertine water trough, flowing with “holy water” out into the Pacific is the aisle between the pews which are depicted by the engravings within the concrete courtyard and the walls of the Salk Institute are a minimalistic quotation of the monumental facades of historic cathedrals. This comparison between the Salk Institute, churches and synagogues of old begins to reveal Kahn's religion. It was baked into all of his architecture. This symbolism would turn the Salk Institute into a building that was metaphorically holy. The project was a hit architecturally however the fears the scientist had proved to be justified. Due to the many scrapped iterations and complications in the construction process the actual laboratory spaces became synonymous with laboratories all across the country. The gathering hall and residence units had been put indefinitely on hold, preventing that vibrant community that Kahn and Salk had originally wanted to create. The labs became rigorous work environments that had little time for leisure and it became such a headache that even Jonas Salk stepped down as president. The laboratory was successful even despite this but now the religious, monastic values that were once such a core part of the project were reduced to be hidden beneath the surface structure of the project.

(Figure 2. Taken from Miguizzi. 2013)

Kahn worked relentlessly to make the Jonas Salk Institute the best project he had created, and to his credit, it is still considered his magnum opus. The problem was in his lack of financial understanding which developed a rift between the architect and the president of the Institution. Although the project has become famous for its design and the language that is behind the architecture. It sadly was unable to meet the dream that both Kahn and Salk had for a monastery of science and innovation. Now the religious, monastic values hide within the deep structure and the history of the building. Two ambitious visionaries came together and created a work of art that only fell short of their own extravagant goals.

BIBLIOGRAPHY Lesser, W. (2017) You Say to Brick: The life of Louis Kahn. Farrar, Straus and Giroux. New York.

Leslie, SW. (2008) “A Different Kind of Beauty”: Scientific and Architectural Style in I. M. Pei’s Mesa Laboratory and Louis Kahn’s Salk Institute.

University of California Press Miguizzi, S. (2013) Projection, Anamorphis, and Vision. Colorado State University Lau, W. (2020) Relighting Norwich Cathedral’s Interior. Architect Magazine Shih, C-M, Liou, F-J. (2010) Louis Kahn's Tectonic Poetics: The University of Pennsylvania Medical Research Laboratories and the Salk Institute for Biological Studies. National Taiwan University of Science and Technology. Taiwan Salk Institute for Biological Studies

(Figure 3. Taken from Lau. 2020)

History of Modern Architecture | SPRING 2022 ARCH 325.03

The Religion of Louis Kahn and the Jonas Salk Institute

Work by: Cole Russell Professor: John Hendrix

LE CORBUSIER: LIFE AND DEATH OF THE MACHINE Born in 1887 as Charles-Edouard Jeanneret-Gris, Le Corbusier has solidified his position as the most recognized architect of the 20th century through an extensive portfolio of globally-studied, highly-referenced works.

Throughout his long career, beginning at just twenty-five years old, Le Corbusier’s work played a crucial role in the spread of modernism across the globe. The ideas and principles he introduced to modernism, from his five points of architecture to his view of homes as machines for living, inspired generations of architects to view the built environment in accordance with his politics and principles. Despite the widespread influence of his most iconic works, however, even Le Corbusier himself could never be completely satisfied with his architectural doctrine. In 1929, the architectural work of Le Corbusier underwent a radical change in form, function, materiality, and principle. His abandonment of the machine, replaced quickly with goals of lyricism and undulation, was met with shock and confusion across the greater architectural community. The potential causes of his complete shift in trajectory vary greatly and include the great stock market crash, the atrocities committed during World War I, and personal beliefs toward life, religion, and culture. Although Le Corbusier’s exact intentions remain unknown to this day, it is clear that sociopolitical factors, as opposed to aesthetic considerations, largely contributed to his abandonment of purism and adoption of critical regionalism.

Le Corbusier built projects in Soviet Russia throughout the 1930s and spent 1941 appealing to the affections of Marsal Pétain’s fascist dictatorship in Vichy, France (to no avail). He worked with Jewish clients throughout the start of World War II, seemingly unaware of the depth and connotations of aspiring for true “purity.” By the end of World War II, society at large had been made well aware of the exact capabilities of mechanized war and the quest to eliminate imperfection. In the wake of Hitler’s regime, Le Corbusier “no longer made apocalyptic statements about the ‘radiance of the machine age’.” Le Corbusier’s black and white doctrine of perfect or imperfect would need to adapt to a new world wrought with nuance and regret.

Figure 1 | Nature morte a la pile d’assiettes

His work throughout the 1940s contained themes of surrealism and mythology. Several of the once-rigid five points of architecture became fluid and subject to change. The free plan, once essential, appeared rarely post-war. The role of piloti in lifting structures away from the ground became less important, replaced by walls which continued downward. In his 1945 apartment complex Unite Habitacion (Figure 4), Le Corbusier reexpressed his socialist ideals with an entirely new palette. Painted-plywood, purposefully flat to appear machine-built, was replaced by bêton brut, concrete intentionally textured by formwork. Shading devices - brise soleil - directed sunlight into apartments, prioritizing the human experience over the simplification of an exterior façade. Rather than encourage separate, mass-produced living, as expressed through Maison Domino, the complex facilitated more communal, communist conditions, in which all necessities were capable of existing within the self-sufficient structure. A shopping mall provided inhabitants with stores and markets crucial to everyday life. A rooftop terrace, left behind from the original five points, diverted the paths of previous gardens by featuring organic, surrealistic shapes for children to play and dream amongst.

Jeanneret, yet to appoint himself the name Le Corbusier, began his architectural career engraving watches in his home village of La Chaux-deFonds under artistic instructor Charles L’Eplattenier, who recommended that he pursue architecture. In his early days of architectural training, he traveled to multiple architectural sites of relevance, each of which contributed to his initial ideas about architecture and its relationship to politics, the humanities, and human culture itself. In Italy, he studied Venetian renaissance architecture; in Vienna, he familiarized himself with the works of Otto Wagner and Josef Hoffmann. In Greece, he discovered the classical proportions of the Parthenon. In 1908, he visited Paris, taking a liking to reinforced concrete and the ideologies of nineteenth century rationalism.

Perhaps the most influential experience from this decade, however, was his time spent working under Peter Behrens in 1910 at the Deutscher Werkbund, an architectural labor union of modern architects in Berlin. There, he encountered the Werkbund’s Bauhaus-style embracement of industry and mass production. From this point on, Le Corbusier began to view art and industry as indispensable parts of the same, all-encompassing machine.

Figure 2 | Maison Domino

It was during a trip through the Mediterranean called the Voyage d’Orient that Jeanneret penned a letter regarding the supposed “Universal Qualities” of primary geometries such as cubes, spheres, pyramids, cones, and cylinders in response to studying Rome’s greatest ruins. Jeanneret believed that the seemingly permanent existence of these geometries implied permanent value. He viewed architecture and design as a black and white issue - a question of right or wrong. Works either contained perfect, universal geometry, or they did not - and this measure of quality directly determined their merit as architecture. By 1917, Jeanerret had begun expressing these ideas about form and order in a magazine co written with Amédée Ozenfant called Aprés La Cubismé. The two referred to themselves as purists, considering themselves to have taken up the duty of reshaping art in the wake of cubism. They considered cubism, an avant-garde movement that warped reality through geometry, to be an impure, fragmented interpretation of art. As purists, Jeanneret and Ozenfant intended on returning art to a state of perfect, correct geometry.

They regarded mass-production - the machine - to be a tool with incredible potential to enforce the “basic laws’’ of perception, and studied the proportions of machine-built objects. In a still life painting entitled “Nature morte a la pile d’assiettes,” (Figure 1) Jeanneret depicted objects commonly utilized in cubism - plates, pipes, a book, etc. - as perfect, idealized forms, each matching the rest in shape, size, and proportion. He believed that only through pure machine forms could society reach a perfect socialist utopia, in which equal proportions would inevitably lead to equal opportunities and fair outcomes.

Perhaps most telling of Le Corbusier’s hanging design principles was his 1950 chapel Notre Dame at Ronchamp (Figure 5). Those familiar with Corbusier’s work met the structure with skepticism and apprehension.

The church, though rumored to have been organized with a modular system, appeared entirely irrational, organic, and surrealistic. The heavy curved roof had been engineered by Iannis Xenakis specifically to appear irrational. The very technologies that Le Corbusier had once appreciated as tools for purism had now become tools for abstraction. In addition to its reinterpretation of the function of machine technology, Notre Dame at Ronchamp showcased the very beginnings of critical regionalism, in which architecture of the international style is adapted to reference location. A myriad of influences, such as the material vernacular of the mediterranean and the shape of a typical Hebrew temple, mingled with one another to create a form with no semblance of machine purity.

Figure 3 | Villa Savoye

Throughout his career, Le Corbusier continued to prioritize his socialist ideals, some which could be considered “more cultural than political.”

Although he continued to express the same desires - developing a utopian society for the benefit of humankind - the methodologies he held and utilized in order to attempt to realize those ideals shifted greatly within the span of a few decades. Le Corbusier witnessed the means required to achieve the end goals of purity and perfection in the wake of the second world war.

The insurance of idealized proportion, when applied practically, requires the removal or elimination of geometries considered impure. Whether Le Corbusier realized the relationship between his ideologies and the atrocities committed during the war remains unclear. Scholars are also in disagreement as to whether, given the opportunity, Le Corbusier would have continued his quest for perfection, should facism have won the war.

Regardless of such hypotheticals, the connection between Le Corbusier’s early admiration for machines and his eventual abandonment of the subject lies next to the connection between the built environment and society at large, and the question of which influences the other. Le Corbusier’s stance on this relationship is clear: “It is a question of building which is at the root of the social unrest today; architecture or revolution.”

Jeanneret, who adopted the name Le Corbusier in 1920, ultimately intended on developing a socialist utopia by way of his urban planning concepts. In Vers Une Architecture (Towards an Architecture), Le Corbusier depicts a new architecture; one that would both “express the spirit of the age and face the problems of a centralized, modern metropolis.” He defined architecture as the “correct play” of volumes - insinuating that other methodologies were, so-to-speak, incorrect. The mission of this new architecture, according to Le Corbusier, was to facilitate the functioning of a new, machine-based society.

Long before he wrote Vers Une Architecture, he had already developed several concepts in regards to the application of machines in creating a perfect, socialist society. Maison Domino (Figure 2), a modular housing unit made up of three slabs, six piloti and an attached stair, was his proposal for a France-wide social housing system. Each household across France would receive the basic structure; after distribution, individuals could alter or enhance the home as needed.

Figure 4 | Unite Habitacion

BIBLIOGRAPHY Corbusier, Le, and Willy Boesiger. Le Corbusier: Last Works. New York: Praeger Pub., 1970.

Maison Domino succeeded immediately in terms of influence and sensation; cities across the globe interpreted locally variations of mass-produced, widespread housing systems. Corbusier’s ultimate goal, however, surpassed manufactured housing as well as individual architecture projects, despite his successes with rational, pure, machine-like Villas Stein and Savoye (Figure 3), both of which were organized geometrically and decorated sparsely to emphasize their perfection. Le Corbusier intended on fully designing a city of the future, and was prepared to align himself with any regime to do so. Le Corbusier, during this time, was someone who “thought that reform, social change, could only be made by an authority.” and applied his rigid ideas of geometry to government systems as well. To Le Corbusier, machine-like purity was fundamental in all aspects of human society, from the arts and humanities to the law. Proportion was fundamental, even to the human scale: Corbusier’s Modulor Man, hailed as a tool for human-based-design, could also be considered, on the contrary, to be the “mathematization … the standardization of the body.”

Donadio, Rachel. “Le Corbusier’s Architecture and His Politics Are Revisited.” The New York Times. The New York Times, July 12, 2015. https://www. nytimes.com/2015/07/13/arts/design/le-corbusiers-architecture-and-his-politics-are-revisited.html.

Ferleger, Brades Susan, Muriel Walker, Michael Raeburn, and Victoria Wilson. Le Corbusier Architect of the Century. London: Arts Council of Great Britain, 1987.

Frampton, Kenneth, and Roberto Schezen. Le Corbusier: Architect of the Twentieth Century. New York: Harry N. Abrams, 2002.

Figure 5 | Notre Dame at Ronchamp

History of Modern Architecture | SPRING 2022 ARCH 325.03

“Le Corbusier (1887-1965) Charles-Edouard Jeanneret.” Le Corbusier: Biography of Modernist Architect. Accessed May 13, 2022. http://www.visual-arts-cork.com/architecture/le-corbusier.htm.

Le Corbusier: Life and Death of the Machine Work by: Maryrose DiPiro Professor John Hendrix

Computers are Bad for Architecture

Course: ARCH 322.01 Theory of Architecture Work by: Abigail Arruda Professor: John Hendrix

ABSTRACT Use of computer programs distances us from the link from our hands to our minds, and asks little of us. The speed of the computer eliminates the processes of exploration and decision-making in design.

Computers do not allow enough time for a design to be thoroughly thought out. They do not allow for the pleasurable process of design development connecting the hand, eye and brain. The computer does not reveal potential flaws in the design. Buildings designed on the computer can be inappropriate for their site, functionally inefficient, difficult to construct, over budget, or ugly. Unfortunately the computer serves the current image-dominated approach to architecture made necessary by media. In this screen capture of Instagram, seven of the fifteen images were created on a computer. Often the computergenerated image is not accurate to the architecture. Computers can be detrimental to designs and the design process, but architecture in the twenty-first century requires reliance on the computer. It is unavoidable in the higher education curricula of architecture programs to use a computer for architectural drawings or renderings. As technology advances and the modern world continues to change daily, computers are more and more involved in our lives. The question about the advantages and disadvantages of computers continues every day in our society.

Images left from Pinterest

Flexibility in Architecture

Course: ARCH 322.01 Theory of Architecture Work by: Cora McComiskey Professor: John Hendrix

Psychoanalysis and Architecture: How Mental Health Disorders Brought The World’s Greatest Architectural Works Course: ARCH 322.01 Theory of Architecture Work by: Jenna Salisbury Professor: John Hendrix

Theory of Architecture | FALL 2021 ARCH 332

ABSTRACT As students, we are to present deep analyses of site conditions and environmental studies as a prelude to the design process. I have spent many hours researching urban contexts and analyzing surrounding buildings, traffic patterns, and census data (as in the image). This information is important, but basing a design solely on the conditions from the current point in time– or really any point in time preceding the present– creates an architecture of staticity. In a period of six months, the neighboring businesses may be leased. In five years, there is the potential for a new infrastructural system. In twenty years, there is a possibility that the entire context has changed or, in an extreme case, no longer exists. And yet, if the design conforms to the conditions of the present, it fails to meet the conditions of the future. This possibility of rapid change is not theoretical, but has been actualized in many instances in the past. Instead of designing for the present– for the conditions that we know and understand at the current point in time– we should design in anticipation of the future. The change is not limited to external context. The occupant turnover in certain types of buildings– mainly commercial or residential– tends to be high in relation to the building’s lifespan. Environmental-based responsive architecture should not be confused with sustainable architecture. Storing rainwater, fixed solar panels, and recycling greywater are methods of sustainable architecture, and these methods are fixed, static. Environmentally responsive architecture tends to include stimuli-based sensory technology that influences the positions of mobile elements. While its impact on the human is unmatched, the flexibility of responsive architecture is crucially important when it comes to the environment.

Responsive architecture is the “new” sustainable architecture, but instead of being tied to a singular condition, responsive architecture has the ability to learn and to adapt.

ABSTRACT Architecture is an expression and reflection of the human psyche.

In order to understand the role that architecture plays in changing concepts of cultural identity, it is helpful to understand the human psyche behind architectural works. In architecture (as in any language), vocabulary elements have certain symbolic, representative associations. Le Corbusier changed the architectural vernacular through his masterpieces that brought about modern architecture. What if he had autism? Individuals with autism struggle with social relations and visual overload or hyperarousal, obsessions and compulsions.

He wrote that he preferred drawing to talking, and he could not look people in the eye. The Prairie Style comes from Frank Lloyd Wright’s need for family stability that he was missing in his life, and childhood trauma caused by emotional cruelty and physical violence.

The prairie is symbolic of letting go of the past in an exploration of endless possibilities. The Prairie Style begins with the hearth at the center, symbolic of family. To Wright this was his way of making a home rooted and built around a strong and warm, loving family that he desired. Francesco Borromini suffered from melancholy and possibly schizophrenia. Depression can cause feelings of hopelessness and pessimism; his belief in God provided him with hope. He had a violent temper and a neurotic fear of human contact. His twisted architectural forms may be symptoms of psychical disorder. Looking back on my own studio projects, I can see my own psyche controlling my design concepts. Our first project this semester was to design a structure that performs. My design concept is the distortion of space.

I created fractured reflections through position of structure, form, and organization (see image). The forms were organized to appear to be connecting and intersecting with one another in order to create the deception of broken reflection. The exterior is confusing, broken, and deceptive, but when a person sits inside, that is the only time they see the true reflections of themselves. The brokenness of the project comes from the depression that can come with post-traumatic stress disorder.

The psyche has an interesting way of communicating in unseen ways.

It is a great phenomenon that has birthed the best architectural works in history.

Craving fine Italian cuisine? Look no further than Guarnieri’s! Guarnieri’s is the newest Italian restaurant in Griffin, Georgia. Here guests can immerse themselves in rich Italian culture by eating exquisite food in an atmosphere that feels like little, old grandma Maria’s kitchen.

Guarnieri’s offers large servings at a reasonable price that will have guests feeling well fed. A spacious main dining room is located near the entrance, but far enough away so guests will not feel the warm outside air. A spacious main dining room perfect for families is located near the entrance with views of downtown and natural vegetation from the large southern windows that make up the storefront. For special gatherings or a more intimate experience, there is an elevated private dining room in the back of the restaurant. This elevated area also offers views of downtown with plenty of windows which also offer a lot of natural light during the morning, and as the sun sets a warm yellow glow lights up the space with more the perfect intimate dining experience with a mural of Italy on the back wall.. The bar is located in the center of the restaurant adjacent to the open kitchen, creating a relaxed environment for single guests. Each dining option has ample lighting that helps create a relaxing environment with a warm yellow glow that reflects off the rustic wooden and vaulted brick ceilings.

These materials also absorb some of the lighting so that the light does not hurt guests’ eyes. The bar has a lowered rustic tin ceiling with bronze lights to create a unique experience that gives the sense of separate spaces in a more open layout. The lighting is designed for guests to be able to clearly see their food and their surroundings in a relaxing environment at all times of the day. The use of skylights and large windows also allows for more natural light in the morning that transitions into a more intimate, relaxed dining experience at night. Each table has an individual cone-shaped light that diffuses light to a larger area with a weaker luminance, giving each guest a more personalized experience of dining. The lighting in this restaurant is designed to accentuate the textured surfaces throughout the design, bringing guests back to their grandma’s Italian house.

Wall Grazing Light for Menu

Wall Grazing Light for Menu

D o w n l i g h t f o r Ta b l e D o w n l i g h t f o r Ta b l e

Wall Grazing Light

Wa l l M at e r i a l s Brick I n d ic at e d w it h

T e r r a C ot ta I n d ic at e d w it h

F lo o r M at e r i a l s Checkered

Guarnieri’s

Venetian Classic T u s c a n S l at e

Wood

Acoustics and Lighting | SPRING 2022 ARCH 332.91

Guarnieri’s

Work by: Olivia Cromer, Laura Griffin, & Nicole Casler Professor: Cynthia Murphy

Architecture: A Physical Zeitgeist for the Era of Human Civilization

Course: ARCH 322.02 Theory of Architecture Work by: Jordan Peck Professor: John Hendrix

Syncretism and Eclecticism in Architecture

Course: ARCH 322.02 Theory of Architecture Work by: Alessandro Pinto Professor: John Hendrix

Bernini’s Baldacchino

Course: AAH 330.01 Baroque Art and Architecture Work by: Madeline Jarvis Professor: John Hendrix

ABSTRACT Historically, architecture has told us a great deal about humanity, from the Great Wall of China to Robert Venturi’s manifesto Learning from Las Vegas, which illustrated the architecture of signage that helps to give relevance to the destinations that surround us. Architecture has always had a defining trait in its imitation of nature’s shapes, mathematical formulas, and geometries, embodied in a range of earthly materials and their interaction with physics. Architecture’s journey through time is made up of a mixture of two things: the art and culture of the period, and a term called flotsam. Flotsam is the floating remnants of the past to remind us of what human life used to be, and the world that we have built is one big palimpsest, or layers of traces of the past, of the architectural ideas we believed would add something more to our lives. Architecture is a man-made reflection of the zeitgeist of the present era: what human life is and needs during that place in time. The universe is always morphing and changing and architecture’s goal has always been to last and to overcome these changing conditions, or at least adapt to them. Bioconstructivism is a concept revolving around different forms that nature creates and are shown through the use of technology. Epigenetic surfaces, which consist of the forms of clouds, waves, and dunes, and other fluctuating morphologies of buildings, all respond to natura naturans, meaning, “all forms should respond to nature.” I use these geometries in my own designs as a way to give them purpose. I make the building flow with patterns of circulation, program, and the site surrounding it. One design (see image) responds to Chicago’s windy climate and how the use of Chicago’s famous winds can dictate the undulating form of the exterior of this housing complex. I created the program to focus on that and the circulation and living conditions of the building.

ABSTRACT Syncretism in architecture occurs through the mixing of foreign architectural forms and elements with the local architectural forms and elements. Eclecticism is a nineteenth and twentieth-century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something that is new and original. One example is the Basilica of the Sagrada Família in Barcelona, designed by Antonio Gaudí. La Sagrada Familia utilizes three-dimensional forms of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. Another example is the NeoGothic Church of St. Clare in Horodkivka (see image). This architecture is unusual for Central Ukraine – an intertwining of Romanesque and Gothic styles with a combination of natural stone with red brick. The Church of St. Clare was constructed by Polish builders, together with inhabitants of the village and the neighboring village of Zherdeli. It was constructed in an eclectic style with elements of neo-Gothic and modern twentieth-century architecture. For architects, there are often requests to do the seemingly impossible task of creating a cohesive design that incorporates two or more different design aesthetics. When mixing architectural styles, an easy strategy could be to make one style the primary aesthetic and the other a supporting one. In terms of the Pareto principle, also known as the 80/20 rule mixing styles, this strategy makes the primary style represent 80% of the design while the other style represents 20%. The need to blend two design styles elegantly is most apparent when renovating a house or creating a home addition. Another great strategy to blend architectural styles is to follow the “less is more” approach. Pare down the design styles to their most basic principles and make a design with those principles in mind. More than likely, the two styles are considered to have innate similarities. Find those similarities and turn them into the project theme.

ABSTRACT When Gianlorenzo Bernini began to study architecture, he noted that good architects understood how to combine the beautiful with the necessary, and that the best architects could turn the necessary elements into beautiful things. Because of such a comprehensive understanding of architecture and the quality of work he produced, he was appointed as chief architect of Saint Peter’s in 1629 when Carlo Maderno died. As part of the renovations, Pope Urban VIII wanted a Baldacchino built over Saint Peter’s tomb. Bernini used spiraling columns as Maderno had originally designed. However, he added his own mark on them. He formed them on a colossal scale and ornamented them with gilded vegetal motifs. He also cast the columns in bronze, created bronze lappets with tassels, and added crossed ribs.

Later, he designed angels to hold the canopy apart from the columns.

Francesco Borromini, Bernini’s assistant, suggested that the ribs of the superstructure would be attached to the columns, and the angels holding the canopy would help to aid in the visual ambiguity of the baldachin’s support system. Not only was this a great solution between the two architects, but it also showed the collaboration and partnership that was present during this time period. The bronze columns that Bernini constructed sit on marble pedestals that bear the Barberini bees on the outer faces. The presence of the papal escutcheons was highly representative of the ideas of patronage in this time. Bernini also emphasized the power of the pope by implementing the crossed keys of Saint Peter and the papal tiara as draped with a decorative cord.

Such a design intertwines the pope with Christ, creating a substantial statement of power on behalf of the pope. The Baldacchino’s imposing structure reinforced the ideas of the Counter Reformation, and the Barberini bees established the power of the pope, both on a familial and institutional level. With its ornate detail, massive scale, and Christian messaging, it is unsurprising that this was one of the great works of the Baroque.

Art and Architecture | FALL 2021 AAH 330 - Baroque Art and Architecture & ARCH 332 - Theory of Architecture

I. APPLE CANTILEVER — Partnered with Luke Strand Challenged to design and build an efficient, elegant structure to support an apple 16” off the table at a distance of 16” from any base elements.

THE COURSE: Introduces the fundamental concepts of structural form and behavior through a combination of lectures and studio exercises. Basic structural forms and their taxonomy will be studied in nature and through history, using visual presentations, readings, and handson experiments. Load paths and basic load tracing through common structural systems will be investigated. An introduction to vector-based force representation will also be covered as a continuation of topics covered in Physics. In addition, the students’ studio projects will be utilized for assignments. The development of a strong structural vocabulary will also be stressed.

Grace Amoruso September 2nd, 2021 Assignment 1 - Sketching and Reading arch335_01_21fa_a01_amorusog.pdf

PHYSICAL MODEL REPRESENTATION

PHYSICAL MODEL DESIGN

STRUCTURAL SKETCHES AND ANNOTATIONS

PHYSICAL MODEL DESIGN cont.

II. TAXONOMY — CYLINDRICAL SHELLS AND VAULTS — Partnered with Luke Strand Present structural attributes of the system and demonstrate its form and how it behaves.

THICKNESS

DEPTH

PHYSICAL MODEL DESIGN (KIMBELL ART MUSEUM)

CORRESPONDING STRUCTURAL DIAGRAMS

PHYSICAL MODEL REPRESENTATION

NECTIONS” CLOSE UP AXON VIEWS

VI. STRUCTURAL CASE STUDY — Partnered with Luke Strand To construct a scale model of the structural system (of the Thorncrown Chapel, E. Fay Jones) to demonstrate its load paths and structural behavior.

CORRESPONDING STRUCTURAL DIAGRAMS cont.

III. HORIZONTAL FRAMING SYSTEMS To understand components of steel, wood, and concrete horizontal framing systems and practice drawing structural systems of each.

Connector made of sheet steel

ever Support Beam

Secondary Beam

Steel to Beam Column

Continuous Construction (Cast-in-place)

Angle Connector

FOLDED ROOF

UPPER TRUSSES SUPPORT ROOF

Welded Bolted to Plate

Primary Beam Primary Beam

Bolted to Column

PLANK AND BEAM SYSTEM DETAIL

OPEN-WEB STEEL JOISTS

LOWER TRUSSES CONNECT TO DEEP BEAMS

48 FEET TALL

TWO-WAY CONCRETE SLAB

IV. BEAM DESIGN CHALLENGE — Partnered with Luke Strand STEEL BEAM CONSTRUCTION PLANK AND BEAM SYSTEM Challenged to design, construct, and load test a 24” beam made from only chipboard and glue.

ONE-WAY CONCRETE SLAB

CROSS TENSION TRUSSES

2x WOODEN MEMBERS

LOWER TRUSSES CONNECT TO DEEP BEAMS

NOT AS IMPT. FOR TRIANGULATION TO CONTINUE AT POINTS FURTHEST FROM CONCENTRATED LAOD

PLAN CUT VIEW 3” = 1’ - 0” COMPRESSIVE ELEMENT TO KEEP FOLDED MATERIAL TOGETHER, RESIST OUTWARD THRUST

ADDITIONAL MATERIAL AND STRUTS WHERE MOST FORCE IS EXPECTED (CONCENTRATED LOAD)

THE BENT TRIANGULATION TAKES UP MORE SPACE IN CENTER OF BEAM WHILE USING MINIMAL MATERIAL

STRUTS WHERE FORCE IS EXPECTED ON ROLLERS

LOAD PATH DIAGRAM AND ANNOTATIONS

DIAMOND CONNECTION DETAIL

Flat Collector

AMORUSO, P. 7 BEAM SECTION 1:1

HEAVY STONE BASE

FOLDED MATERIAL IN THE CENTER IS EMBEDDED INTO CUT OUTS WITHIN 3 LAYERS OF CHIPBOARD TO STRONGLY ATTACH TO TOP AND BOTTOM PIECES 0.1250”

ELEVATION 3” = 1’ - 0”

0.2500”

STRUTS FOR FORCE FROM ROLLERS, THOUGH HOLLOW OPENING AS LESS MATERIAL IS NEEDED HERE (FURTHEST FROM THE CONCENTRATED LOAD)

FOCUSED ON PROVIDING SUPPORTS WHERE FORCES WERE EXPECTED TO OCCUR

0.3125”

0.7745”

TRUSS DETAIL

5.1875”

4.0000”

ISOMETRIC 3” = 1’ - 0”

STRUCTURAL SKETCHES AND ANNOTATIONS

LOAD TESTED BEAM

GRACE AMORUSO ASSIGNMENT 9 Beam Challenge

BEAM DESIGN AND SECTION

V. STRUCTURAL SKETCHES To create 28 different, original, annotated sketches, by hand while practicing analysis skills and developing a robust structural vocabulary.

PHYSICAL MODEL REPRESENTATION cont.

ROOF FOR MUNICH OLYMPIC STADIUM BY FREI OTTO

L’OCEANOGRAFIC BY FELIX CANDELA

Structure, Form and Order | FALL 2021 ARCH 335.01

TANGLEWOOD HOUSE 2 BY SCHWARTZ / SILVER

Work by: Grace Amoruso Professor: Robert Dermody

Course Description Introduces the fundamental concepts of structural form and behavior through a combination of lectures and studio exercises. Basic structural forms and their taxonomy will be studied in nature and through history, using visual presentations, readings, and hands-on experiments. Load paths and basic load tracing through common structural systems will be investigated. An introduction to vector-based force representation will also be covered as a continuation of topics covered in Physics. In addition, the students’ studio projects will be utilized for assignments.

The development of a strong structural vocabulary will also be stressed.

Structure Form and Order is the first course in a three-course structures sequence within the technical systems realm of the architecture program.

This course begins to explore the history, development, taxonomy, function, materials, behavior and design of structures. A continuation and expansion of basic vector concepts covered in physics will also be included in order to prepare students for the subsequent Design of Structures courses.

Learning Outcomes 1.

Use a robust vocabulary of proper structural terms.

2.

Identify, explain, and diagram basic structural forms/systems.

3.

Identify, explain, and diagram relationship between structural form and behavior 4.

Identify and explain significant structural developments through history.

5.

Identify important historical structures and their designers.

6.

Identify structural inspirations/connections to natural forms.

7.

Identify how structure can organize and inspire architectural forms.

8.

Identify and explain basic structural elements and structural materials.

9.

Analyze / diagram behavior of basic structural systems using physical models and hand/digital drawings.

10. Identify and explain structural loads, load paths & load tracing in basic structures.

11. Use vector-based force representation to perform basic structural calculations.

12. Find, use, and properly attribute Open Educational Resources.

Structure, Form, and Order | FALL 2021 ARCH 335.01

Work by: Matthew Carlson and Noah Ellingwood Professor: Robert Dermody

Queen of the Curve; Islamic Calligraphy Influence Lindsey Hansen and Dominick Stanco

This research explores Islamic calligraphy and its relation to Zaha Hadid’s work. As an architect born in the Middle East in Iraq, Hadid’s artistic training as a painter and calligrapher provided great inspiration for her designs. Some of the foundational principles of Islamic art, such as geometry, and the art of penmanship, both engaging linear and spatial dynamics, are prominent visual characteristics of Zaha Hadid’s signature style. Through the analysis, of a number of case studies, this paper discusses how particular letters from the Arabic alphabet, and various styles of Arabic script have been translated into architectural form, in Zaha Hadid’s buildings.

Case Studies Related to Caligraphic Letters

Steps For Transforming Calligraphy to Architectural Forms

Step 1 - Caligraphy

Step 2 - Exploration of Variations

Step 3 - Abstraction of Shape

Step 4 - Explorations of Letter

Step 5 - Application of Techniques

Step 6 - Exploration of Conceptual Forms

Step 7 - Exploration of Interior Spaces

Step 8 - Resolved Forms

Art and Architecture in The Islamic World | Fall 2021 AAH.323.01

Queen of The Curve Work by: Lindsey Hansen and Dominick Stanco Professor: Nermin Kura

4year th

Advanced Architectural Design Studios offer student a number of thematically focused directed studios that range in subject matter based on the interest of the faculty.

Topics vary semester to semester, and include such issues as housing, sustainable design, contemporary technologies, interior architecture and preservation architecture.

B.1

B.1

AMERICA’S CUP HALL OF FAME

HERRESHOFF MARINE MUSEUM

VIDEO ROOM

DOWN

B.2

B.2

OPEN TO BELOW

R. CHASE HERRESHOFF LIBRARY

1 Burnside St, Bristol, Rhode Island, 41°39’ 48.816”. -71°16’ 22.2636” TECHNOLOGY & DESIGN EXHIBITION

UP

B.1

B.1

FAMILY & CO. HISTORIC OVERVIEW

VIDEO ROOM

DOWN B.2

B.2

OPEN TO BELOW R. CHASE HERRESHOFF LIBRARY

MECH.

MECH.

TECHNOLOGY & DESIGN EXHIBITION

UP

The Herreshoff Marine Museum serves as a point of attraction and as a landmark for Bristol, Rhode Island. However, as the building currently exists, the historic artifacts are confined to the limitations of a warehouse with poor natural lighting and limited space. This proposal for the remodel attempts to mitigate these conditions while enhancing the craft and beauty of shipbuilding.

OPEN TO BELOW

AMERICA’S CUP HALL OF FAME

CAPT. NAT. HERRESHOFF MODEL ROOM

GIFT SHOP

OPEN TO BELOW

This proposal for the remodel of the museum utilizes an overlay and modification of curvilinear forms derived from the analysis of various boats. The curvilinear forms continue in plan and elevation, culminating with the double curvature of the roof. The proposal also offers a better quality of natural lighting and an addition for more ample display and exhibition space.

FAMILY & CO. HISTORIC OVERVIEW

MECH.

MECH.

CAPT. NAT. HERRESHOFF MODEL ROOM

GIFT SHOP

UP

SAILING EXHIBITION

STAFF OFFICES

OPEN TO BELOW

DOWN

ROOF PLANE

UP

SAILING EXHIBITION

OPEN TO BELOW

STAFF OFFICES

DOWN

SECOND LEVEL

MUSEUM

N

N 1ST FLOOR PLAN

0

20

40

60

2ND FLOOR PLAN

100 FT

SCALE 1/16” = 1’-0”

0

20

40

60

100 FT

SCALE 1/16” = 1’-0”

GROUND LEVEL

MUSEUM, OFFICES, RETAIL

T.O. ROOF (HIGHEST PEAK) 44’-4”

T.O. ROOF (INTERMEDIATE PEAK) 33’-0”

N

N

T.O. SECOND FLOOR 16’-6”

1ST FLOOR PLAN

0

20

40

60

100 FT

SCALE 1/16” = 1’-0”

2ND FLOOR PLAN

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40

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100 FT

SCALE 1/16” = 1’-0”

BUILDING CIRCULATION VISITORS TRANSVERSE SECTION

0

1

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STAFF

5 FT

SCALE 1/4” = 1’-0”

N SITE PLAN

0

10

20

30

50 FT

SCALE 1/32” = 1’-0”

T.O. ROOF (HIGHEST PEAK) 44’-4”

T.O. ROOF (INTERMEDIATE PEAK) 33’-0”

T.O. SECOND FLOOR 16’-6”

TRANSVERSE SECTION

0

1

2

3

5 FT

SCALE 1/4” = 1’-0”

Advanced Architectural Design Studio | FALL 2021 ARCH 413.03

Herreshoff Marine Museum

Work by: Cora McComiskey and Max Burrell Professors: Dingliang Yang and Maxwell Nie

Sections

Building For Waste In being tasked to combine a waste-to-energy facility with a YMCA near a residential neighborhood, the main goal was finding a way to design a space that community members would want to use where municipal waste would be turned into the energy.

This nine acre site is located in Providence, Rhode Island in an area where there are not a lot of greenspace for the community members to use. The site itself is in an industrial area and in need of some more natural, green elements to break up all the asphalt. Another design challenge was trying to figure out how to connect the residential neighborhood to the site itself as there is currently no easy access point since the neighborhood is about 30 ft higher than the designated site.

For my design I create a large parkspace to cover the whole site. This would create more green/park space for the residence, create an access point to the site from the residential level, while also hiding some of the more undesired industrial programs being constructed near a residential area. Some of the programs that would be used more by community members, like the pool or gym, would be above the parkspace. The idea behind this was to create more natural views from the higher, residential level, and more structural views from the lower, industrial level the site is at. This also helps to guide visitors to the YMCA, as this is where community members would spend most of their time.

There are a lot of different outdoor programs throughout the whole site in order to promote people to use the whole site instead of just the areas near the YMCA. A market space is in the center of the site and acts as a connection between the YMCA and the waste-to-energy facility. The market place is a place where community members can get local products and see where their waste goes. For instance any products they throw away at the market place is taken to the waste-to-energy facility and visitors can go to the visitor center and observation area of the waste-to-energy facility to see them and learn about the gasification process.

The overall goal for this project was to take a very industrial style program and show that something undesirable near a residential neighborhood, but needed, can be reimaged into a greenspace for everyone to use.

Concept Diagrams

Floor Plan

Outdoor Exhibit

A

Site Plan

Playground

B

Outdoor Seating

C

Courtyard

D

Outdoor Event Space

E

Community Garden

F

Forest

G

Market Space

H

Interior Perspectives

Advanced Architectural Design Studio | FALL 2021 ARCH 413.02

Building For Waste

Work by: Laura Griffin Professors: Myoungkeun Kim

HARMONY STREET

Harmony Street was designed around the idea of the courtyard, a central mass dedicated to

SITE/ BUILDING DATA

gatherings, or catch up after a long week. To keep the courtyard undisturbed while allowing

Lot Zoning: R-10 Lot Square Footage: 100,000 sqft / 2 acres Historic House Studio Units: around 350 sqft Unit 1: 750 sqft + balcony Unit 2: 1800 sqft + roof deck Unit3: 1100 sqft + roof deck Unit4: 1400 sqft + roof deck

engaging the community that resides in the complex. Each unit is designed to be connected to this central space via patio spaces shared by two dwellings. Each point of access creates opportunities for interaction between occupants of all walks of life, a space to share a meal, host easy access to parking, a driveway wraps around the external edge of the site before emerging out onto Hope St., Separating the person from the vehicle. On the Hope St. side is the row of

1 Bedroom 3 Bedroom + flex upper level 2 Bedroom + flex upper level 3 Bedroom

communal amenities including a daycare (run by occupants of the community),fitness center / community space, and the green house (helps them grow their own food sustainably). With the need for sustainable design being more pressing now the units on the east side have green roofs used to collect and filter water to be used in the adjacent units, with roofs accross the complex oriented north to maximize solar gain, and to point back to the historic house.

Parking: 2 spots per unit + overflow

All of

this attempts to bring the person back to their roots, living as a community surrounded by nature.

DIAGRAMS

SITE PLAN House Community space and studios 1 Bedroom 3 Bedroom 2 Bedroom 3 Bedroom Greenhouse

C

Gym + Community Space Daycare

B

Automobile Pedestrian

CIRCULATION

PROGRAM

SITE AND SURROUNDINGS South facing solar roof Green roof

A Affordable Median

PASSIVE STRATEGIES

AFFORDABLE VIEW FROM HISTORIC HOUSE PORCH (C)

VIEW FROM SOUTHERN UNITS (A)

SOUTH

EAST

HOUSE PLANS

VIEW FROM PATH (B)

EASTERN UNIT PLANS

Advanced Architectural Design Studio | FALL 2021 ARCH 413.01

SOUTHERN UNIT PLANS

Missing Middle Housing : Bristol RI Work by: Caroline Keller & Owen Law Professor: Edgar Adams

Hershoff Marine Museum

BE

Our concept is the tension between the boats and the water. Therefore, this project focuses on these tensions with deep analysis and understanding of the most relevant boats. There is a clear need for a better organization of the boats while allowing the whole exposition to explore this concept.

DOWN

DOWN

IUS

AR

LIS

IUS

AR

LIS

BE

G HT YAC UILDIN N/B

SIG

MODEL ROOM

DE

STEAM ENGINE ROOM

THEATER

IA

IA

AN

AN

TH

TH

AMERICAS CUP

E LAT HOFF ES RR

HE

H

H

RC

RC

TO

TO

DOWN

DOWN

RLY FF EA HO ES RR HE

LOBBY

This project aims to renovate the existing building and give it a new interior organization and exterior face. We created 4 “bays” for boat exposition. These bays extend towards the water, suggesting elasticity from the existing condition while allowing views of the water linking the water and the boats. Also, exposing more light into the museum with a semi-transparent facade. Moreover, the circulation works as a weave guiding visitors to experience all expositions on the first and second floors. Another critical aspect of the boat’s “bays” is its multi-level view of the boats. The half floor provides views towards the bottom form of the boat, while the one and a half floor allows visitors access aboard the boats and space to contemplate the intricate details of the decks on the second floor.

The main structure of the building is wooden posts supporting a glulam system above. The roof wraps this structure system, and the form suggests the tension of the existing building towards the water. Acting as if the roof is being pulled off the existing museum while also being affected by the reorganization of the boats and their tension to the water. The size of the boats also affect the conditions of the dry docks and the height of the roof, thus the larger the boat the more testion it has with the water.

A

AR

RA

CL

CLA

F

ROO

N

N

1ST FLOOR PLAN

0

20

40

60

2ND FLOOR PLAN

100 FT

0

20

40

60

100 FT

SCALE 1/16” = 1’-0”

SCALE 1/16” = 1’-0”

OR

OND SEC

FLO

N 2ND FLOOR PLAN

N

OR

0

20

40

60

T FLO

100 FT

FIRS

SCALE 1/16” = 1’-0”

1ST FLOOR PLAN

0

20

40

60

100 FT

CLA

RA

TOR

CH

THA

NIA

BEL

ISAR

IUS

SCALE 1/16” = 1’-0”

CIRCULATION

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0

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20

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SCALE 1/32” = 1’-0”

N SITE PLAN SCALE 1/32” = 1’-0”

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20

40

60

100 FT

Advanced Architectural Design Studio | FALL 2021 ARCH 413.03

Herreshoff Marine Museum

Work by: Aidan Donaghey & Alessandro Pinto Professors: Dingliang Yang & Xuanyi Nie

INTEGRATING THE INORGANIC The Waste to Energy Facility equipment is hidden under these organic forms and disguised in a sea of green. The powerfully efficient, reusable, and sustainably produced energy is capable of achieving a net zero carbon footprint as well as the providing the YMCA to be as well. This project would engage the community by inspiring them to learn about sustainable energy. It would serve the community by providing the public with garbage disposal and sorting, which is then continued to give back in the form of an active recreational facility.

There is a sense of fear and hesitation associated with the public knowledge of large industrial architectural projects. “Integrating the Inorganic” is an effort to eliminate this fear and turns the hesitation into a concept of exploring and excitement. It inspires the average person to meander through the nature, and eventually leads you to learn about the process and works of the WtE facility.

The design consists of a series of covered pavilions nested in a site reclaimed by vegetation. The site would be filled in and planted with trees surrounding these pavilion program pieces, enabling a sense of wonder and discernment. The programs would be “spaces to find,” situated along meandering pathways through the trees. By pulling apart pieces of the gasifier program , more space is created for easier garbage truck circulation throughout the site. This meandering truck circulation is reflected in the meandering pedestrian pathways that lead to the YMCA as well as the additional program spaces. These include outdoor areas such as recreational fields, small outdoor gathering spaces, The forms are held together by power nucleus programs in which others surroundand sprawl out in a playful action. This creates spaces of activity and life. The project becomes a full CIRCLE OF ENERGY.

PERSPECTIVE 1 A

B

A

B

SITE PLAN FLOOR PLANS

T.O. PARAPET 34' 1"

FIN. SECOND FLOOR 32' 9"

PERSPECTIVE 2

GREEN ROOF ASSEMBLY 2" CONC. TWO WAY SLAB 2" RIGID INSULATION WATER PROOFING PROTECTION LAYER TOP SOIL GRASS

TYPICAL SLAB ON GRADE ASSEMBLY 6" CRUSHED STONE 2" RIGID INSULATION VAPOR BARRIER 6" CONC. TWO WAY SLAB TRIPLE INSULATED GLAZING RECYCLED STRUCTURAL GLASS

B

FIN. FIRST FLOOR 18' 6"

TYPICAL BELOW GRADE WALL ASSEMBLY 3 8" DRAIN BOARD 2" RIGID INSULATION WATERPROOFING MEMBRANE REINFORCED CONC. FDN. WALL 6" MIN. AGGREGATE COVER 4" DRAIN PIPE KEYWAY W/ BENTONITE

B.O. FOOTING 10' 0"

1

SECTION AA

PERSPECTIVE 3

WALL SECTION DETAIL SCALE: 1/4" = 1'-0"

SECTION BB

Advanced Architectural Design Studio | FALL 2021 ARCH 413.02

Integrating the Inorganic

Work by: Isabel Clancy Professor: Myoungkeun Kim

263 Lincoln Ave, Barrington : From Ranch to Duplex SITE/ BUILDING DATA Lot Zoning: R-25

`

Lot Square Footage: 11,000 sqft or .25 acres Building Footprint: Existing: 2246 sqft Proposed: 2875 sqft (a garage bay has been added)

Lot Coverage: Existing: 20% Proposed: 25% Unit 1: 3 Bedrooms, 1,800 sqft

BEFORE

AFTER

NARRATIVE With the constraints of the lot and set backs I decided to design a duplex that appeared like a single home. One unit is affordable while the other is more generous. Both offer the same program, with the same number of bedrooms, living spaces, and flex space. The goal was to create a home for two similar families that could co-exist side by side. The similar family dynamic would create an extended family feel, and give each family a support system. The backyard and patio spaces balance privacy with openness where all boundaries are soft and permeable. The warm facade is welcoming and open to the surrounding neighborhood. I have provided each unit with the luxuries of suburban life while essentially doubling the standard density in a way that doesn’t shock or stand out negatively.

DIAGRAMS

FOOTPRINT BEFORE vs AFTER

PASSIVE STRATEGIES

The front northern facade has large exposures to let in more ambient light. On the southern, back facade uses overhangs and shading devices to help block out direct summer sun. The roof also maximizes

STREET VIEW

ROOF CONNECTION

The garage roofline mimics the neighboring house to the left. The second story added to the house does not conflict with the neighborhood as the neighboring house already has two stories. The asymetrical gable roofline pulls the overall massing of the house down, giving it a less imposing feel.

PLANS

SECOND FLOOR

BACK OF AFFORDABLE UNIT

BACK OF FIRST UNIT

SITE PLAN

ELEVATION

Advanced Architectural Design Studio | FALL 2021 ARCH 413.01

Missing Middle Housing : Barrington RI

Work by: Caroline Keller Professor: Edgar Adams

After

Before

Facadé

Axis

Plaza Activity

Parti Expanded Services Narrative A Midcentury re-urbanization of historic Weybosset Hill destroyed the mixed-use nature of Cathedral Square and replaced it with housing and commercial super blocks. Interstate 95’s construction further created a disconnection with the West End of the city. These factors have steadily forced the Cathedral Sq. area into decline. The streets are unsafe, it’s not ADA accessible, infrastructure is in disrepair, and no one visits. There is, however, an opportunity to fix these issues.

Weybosset St. Section

Cathedral Sq. Master Plan

This Master Plan uses a healthier lifestyle focus to reactivate Cathedral Square. Citizens who have a healthy relationship to their urban spaces and activities are more empowered to ensure that improvements are made within the community, therefore new programs are brought to the site to promote this healthy and equitable relationship with the public. A wellness center, green market, spaces for cooking classes, and a public greenhouse are combined in a new commercial and community focus. The redesigned Cathedral Plaza also contains nodes of interaction centered around wellness and community.

These new nodes have flexible activity such as indoor/outdoor seating, a garden greenspace, an open-air performance stage, a market space, and options for movies in the square, that has the potential to be a new stable for the western side of the city much like Water Fire. A new Diocese Chancery building will adhere to the goal of keeping current program at the site, and the current housing buildings will remain, avoiding displacing current residents.

Two existing L- shaped buildings on the East side of the Square will be adaptively reused to create additional housing and retail frontage. The insertion of LED lit membranes within these buildings creates a new visual energy for the site and a safe and equitable community habitation. Public programs also include new restaurants as well as art spaces; all have transparency to the street to provide learning capabilities as one passes by, sparking interest. The Cathedral itself is also used as a sculptural monument. Views to the stained-glass rosettes and facade details are maintained and emphasized, attracting people to the site with additional help from a new art walk and direct pathways, celebrating the pedestrian. Overall, this proposal will re connects the two sides of the city, creating a healthy active relationship for residents and visitors with new programs, dynamic architecture, and active public urban spaces.

Floor Plans

Old Vs. New

Community Void

Roof Greenhouse

Model Photos

Sectional Perspective

Advanced Architecture Design Studio | SPRING 2022 ARCH 413.01

Adaptive Reuse of Cathedral Sq. Providence, RI Work by: Ryan A. DeSanctis Professor(s): Julia Bernert

CATHEDRAL SQUARE: RESTITCHING THE CULTURAL FABRIC Federal Hill Heritage Center

2m 1/

ile

te nu mi 10

8 3/

lk wa

m

ile

RISD Museum

te inu 8m

A220 Project Gallery Space

1

Downcity Arts District

lk wa

m

ile

te inu 5m

k wal

1/ 8m

Federal Hill

/4

Columbus Theater

TAPA Academy of Fine Arts

Trinity Repertory Company A220 Main Stage & Gallery

ile

-3

e walk nut mi

Providence Performing Arts Center

World’s Fair Gallery

Providence River

Rhode Island Museum of Science and Art

West End

proposed: Cultural Center Theater Galleries Studio Spaces Artist Housing

B.R.I.D.G.E. Center Johnson & Wales University

Cultural Network The Avenue Concept Arts Organization

Site

Site Downcity Arts District Federal Hill

Major Highway

West End

South Side Cultural Center

NEIGHBORHOOD

CULTURAL NETWORK

CIRCULATION

SITE ORGANIZATION

1905

Providence River Highways

Present

Proposed

FIGURE GROUND OVER TIME

SITE GEOMETRY

SITE PLAN The main concepts of my Cathedral Square Masterplan Proposal are to reunite the two ends of the city that were divided, to create a new hub of cultural connection and expression, and to decrease the scale of the square to feel more inviting and approachable.

My proposal removes the existing chancery building and relocates it to the southernmost part of the site to enable a visual connection between the West End and Westminster St, reconnecting the West End to Downcity.

Vehicular traffic is reintroduced by a two-way road that enters the square from the West End, arrives at the Cathedral for drop-offs and pick-ups, and exits the square to the north, allowing vehicles to be brought back into the square while favoring pedestrian traffic between the West End and Downcity.

The new cultural center contains a medium-sized performance arts theater, a cultural center, galleries and studio spaces for artists, as well as artist housing. Providence is the cultural hub of New England, so creating a center of cultural expression acts to restitch a divided city. Using the new cultural center as a heart, many other elements of cultural expression are linked together between the West End and Downcity, creating a cultural network. The two sides of the city that were split have developed their own identities, and a new cultural center is a place for them to come back together and share their ways after half a century of being divided. The city itself is also a mix of many different cultures from many different origins, and the cultural center would act as a place for them to be expressed.

This proposal also deconstructs the “superblock”. The existing square

is divided into three different districts. The first is the residential district at the north corner of the Cathedral Square site, containing a community center as well as housing, which addresses the already existing housing issue in Providence. This district is a neighborhood, where various types of housing mix together to create a less homogenous group of residents.

This housing district also features a community center, containing spaces for physical activity, learning, and leading an active lifestyle. Secondly, the eastern side of the site are existing conditions. In this unit, not much is being changed except for the addition of housing units to the end of one of the L-shaped apartment buildings, and the adaptive re-use of the ground floors as retail spaces. Lastly, the cultural district is located in the southernmost portion of the site. In this zone are the cultural center, the

SITE MASSING Cathedral itself, and the chancery offices. All three districts are organized around the square at the center.

Along with the creation of the districts, the master plan also decreases the scale of the elements of the square, restoring the feeling of smaller and more private spaces throughout the overall public square. There is a heterogeneous mixture of volumes and voids, creating a variation in the size and scale of urban spaces. Some of them, like the main square, would be completely public, while others such as the outdoor space at the center of the housing district would be more private, as well as intimate parklets and small gardens. Creating these smaller spaces makes people feel as though they’re a part of a neighborhood, rather than just being in a monumental square.

CATHEDRAL SQUARE: CULTURAL CENTER

RESTITCHING

GEOMETRY

2ND FLOOR PLAN

SITE PLAN

1ST FLOOR PLAN

SECTION

Advanced Architectural Design Studio | SPRING 2022 ARCH 413.01

Cathedral Square

Work by: Michael Chmiel Professor(s): Julia Bernert

COLUMBUS AVE

MASS ACHU

SETT S AVE

W SPRINGFIELD ST

SITE PLAN

SITE AND CONTEXT COLLAGE

Kitchen looking into light-well.

Looking into light-well.

Bedroom views.

Sitting in living room looking into light-well.

LAUNDRY

TYPICAL COURTYARD SCHEME TRANSFORMED INTO MY DESIGN SCHEME MEDITATION ROOM COMMUNITY ROOM

A NEW LIGHT: SECOND STAGE HOUSING According to the National Intimate Partner and Sexual Violence Survey 2010 Report, more than 10 million adults experience domestic violence annually in the United States. The impacts of domestic violence are profound and often the survivors are at a higher risk for physical and mental health problems. In this context, the studio calls for ideas for housing that will become a temporary home and shelter for survivors of domestic violence often consisting of mothers, and children, going through unsettling moments.

Focusing on the relationship of a Second Stage Housing residents’ connection between the public street and the privacy of their own unit; this project utilizes an exploded courtyard and repeated lightwell series to create a sense of privacy from the public without feeling trapped within their unit. The plan focuses on two concepts: the residents’ connection to the outdoors with separation from the public street, and optimizing the amount of units on the site. The grouping of units are arranged in “twos” where each shares a light-well that connects residents to the outdoors, but this connection is set-back in plan for privacy. Additionally, the design of the units stretch across multiple light-wells, which allow for 96 units to be located on the site.

By optimizing the amount of units, and creating an “open” aspect from the interior, but private relationship from the exterior, residents are welcomed into the Second Stage Housing complex without feeling isolated or enclosed.

SUMMER 9AM

SUMMER 12PM

SECTION 1 - COMMUNITY SPACE AND COURTYARD

SECOND - FIFTH FLOORS

SUMMER 3PM

COMMUNITY ROOM

SUITE 2

WINTER 9AM

WINTER 12PM

WINTER 3PM DAYCARE GARDEN KITCHEN AND DINING

LIGHT-WELL DAYLIGHT STUDY

OFFICE

SUITE 1

GROUND FLOOR

UNIT PLANS AND DIAGRAMS

SECTION 2 - UNITS AND LIGHT-WELL

AXON

South Facade.

Advanced Architectural Design Core Studio | SPRING 2022 ARCH 413.02

A New Light: Second Stage Housing

Work by: Kathryn Risola Professor: Myoung Kim

Nakanojo Recreational Center The town of Nakanojo located in Gunma Prefecture, Japan is a remote rural community. The small community which resides in Nakanojo has been declining in numbers over the past few decades. More specifically, the reduction in population is primarily attributed to the exodus of younger generations to surrounding prefectures. The result of this social exodus is present in the multitude of abandoned structures throughout the community.

Additionally, this community suffers from isolation. A strong social network is not prevalent which contributes to a generational divide.

Although there is a large population of the older generation, they lack activity. As a result, this older population cannot adequately engage in what Nakanojo has to offer.

On the other hand, Nakanojo presents a plethora of opportunities within the Gunma Prefecture. These opportunities primarily reside in its historical richness and rural environment. With many shrines located throughout the Nakanojo area, there is much to learn about its heritage. The building typology of this area is void of modern intervention. Therefore, the history resides within the built environment as the majority of buildings take on a traditional architectural design. The rural environment in Nakanojo is one that yields many opportunities. The landscape exhibits a unique set of mountains and valleys. Despite the vast built environment within this community, it does not take away from the richness of the landscape.

In order to benefit the Nakanojo community we have taken The Gotanda School as an area of interest for adaptive reuse.

Originally closed in 1969, This structure is an Elementary School which exhibits a traditional style of architecture taking inspiration from Chinese, Dutch, and Buddhist design. A yearly Nakanojo Biennale exhibit was held at this location and acted as a hub for engagement between the immediate community and local artists. The objective for adaptive reuse is to engage the older generation, remaining younger generation, farming community, and outer community (from other prefectures). In order to increase this community outreach the former Gotanda Elementary School will incorporate new forms of usage such as areas for gardening, fruit picking, farmers markets, and a library. All forms of program which exist on this site will be led by elderly community members.

Site Plan

Floor Plan

NASHI

Nakanojo Fruit Network Ryan Parks

TRADE トレード

The Nashi Pear in particular is a pear which can withstand the 7b-8a hardiness zone conditions within Nakanojo. These pears are typically used for sweeteners, recipes, and can be eaten raw. The root bed is five meters in diameter allowing for a more dense orientation of the trees.

The tree height grows to three meters which is perfect for all individuals no matter the height.

Harvesting path Harvesting return

Existing Building Envelope

Return to storage Hiking Trail

UME The Ume Plum also lives in the hardiness range of 7a-8a hardiness range. The Ume is a plum which originated from China but has become a staple Japanese culture. The Ume tree has pink petals and can live in a hardiness range of 7a8b. The root bed grows to a dimension of five meters in diameter and the height of the tree grows to three meters high. The relatively small diameter of the root bed ensures a higher density of trees planted adjacent to one another. The height ensures that all individuals can reach the fruits once the growing season arrives.

HIKING ハイキング

FARMING 農業

Network Study

Nashi - Your YuzuProgram - Ume House Title Ryan Parks

Heavy Timber Structure

Harvesting path Harvesting return Return to storage

PLANTING 植付

Hiking Trail

YUZU

MAINTENANCE メンテナンス

The Yuzu fruit is a citrus yellow fruit common in Japan. This fruit is commonly used in post harvesting recipies such as vinegar or zest. This tree lives in a hardiness range of 7a-8b.

The root bed grows to a dimension of two meters in diameter allowing for an even denser orientation of trees. The height of the tree grows no more than two and a half meters allowing for all individuals to pick the fruit.

KEN 間

HARVESTING 収穫

Existing Conditions New Work

GARDENS 庭園

HIKING ハイキング

FOOD STORAGE 食料貯蔵庫

LIBRARY 図書館

FARMERS MARKET 食品市場

Ken is a standardized unit of measurement in Japanese Architecture. It is a system of measurement typically used both today and in the past to dimension room sizes and is divisible into smaller quantities.

Based on the Chinese Jian this proportion was designed to measure land and calculate taxes. Ken is present in traditional Japanese architecture in pillar spacing. Therefore this dimensional unit itself holds history. This dimension is used in all new work for adaptive reuse.

Exploded Axon

Harvesting path Harvesting return Return to storage Hiking Trail

Activity Study

PRESERVATION

LIBRARY

GARDENS

The operations taken within the building revolve around its existing structural grid. Due to the historic significance of the dimensions used to create the structural grid (Ken) this dimension is repeated in all new work. To re-engage the educational aspect of the former Gotanda School, this is an architectural method of promoting the rich history of Nakanojo and Japan as a whole. Demolition within the spaces is in key areas to either increase circulation in otherwise unactivated spaces in the former building, or expose the existing truss system. New programmatic spaces created on the interior and exterior of the building extend the structure in a way that suggests space, providing room for fixtures such as lighting elements, and shading.

There is only one library within the town of Nakanojo. Given its rich history, this is an activity which can teach the history and lineage to future generations. The addition of the library reuses the former classroom space to return a form of education to the surrounding community. Lighting from the former classroom spaces are reused in order to light reading areas within.

Additionally, the dimension of bookshelves and drop down ceiling are determined by the existing Ken unit seen in the existing structure.

Gardening in Nakanojo is a lifestyle that the majority of the community partakes in. However, fruit is not typically grown among the community compared to other crops. Creating an environment for growing fruit will in turn change the Nakanojo landscape in number of ways. First, fruit picking is a valued outdoor activity for residents all throughout Japan. This will ensure that the surrounding community will be engaged with an already fun and existing activity that is not present currently in the town.

Second, this is an opportunity to bring together the multiple generations within Nakanojo and collectively partake in all methods of production. Each part of the farming process is able to cater to all types of individuals. The three fruits used for farming have harvesting seasons all throughout the year ensuring that there is always something to do. There are a six total garden platforms two for each species of fruit. This orientation of the planting beds engages with the dramatic topography adjacent to the sight giving those who inhabit the site a new perspective on Nakanojo below.

North Section

East Section

South Elevation

East Elevation

Advanced Architectural Design Studio | SPRING 2022 ARCH 413.03

Nakanojo Recreational Center

Work by: Ryan Parks Professor: Junko Yamamoto

A

ADAPTIVE REUSE ISAMA STUDIO - Nakanojo, Japan A source of agricultural revival

B

B

A 1st Floor - Plan 1. Greenhouse

2. Kitchen

3. Dining

4. Social Lounge

5. Study

6. Livestock Den

7. Workshop

8. Restroom

9. Parking Lot

10. Gardens

Isama Studio, is located in the eastern region of Nakanojo, Japan; belonging to the Gunma prefecture. The town is large, more than twice the size of Boston, Massachusetts and is composed of nearly 80% vegetation. Although only two hours away from Japan, the town is slow-paced and rural at its core. Nakanojo is kept alive by its elderly population.

The town itself houses 15,000 where nearly 60% are over the age of 60, evidently, creating a landscape undesirable to new inhabitants, restricting the flow of young blood.

A town set in its ways, perfecting old habits, Nakanojo is well known for their agricultural strength. Generating crops that generate 20% of Tokyo’s food, locals have found farming to be a sustainable yet static practice. So popular that a plot of land is commonly dedicated to farming at the average home as an additional source of income, reinforcing the agricultural backbone that puts Nakanojo on the map. Additionally, as so many locals decide to walk this path, the need for farmers, as well as their pay in wages is decreasing.

Leading to a loss of appreciation and passion for the act of farming, as well as a financial struggle among the elders of Nakanojo.

What this project aims to accomplish is to reignite the flame that is agriculture in Nakanojo. Teaching locals about the importance of this practice but also what can come of it when seeing what the crops can produce throughout their lifespan. By implementing a self-sufficient site running off of a cyclical system, site inhabitants can further understand what it takes and what can come from the act of farming aside from monetary gain. The site itself can be followed throughout in an order that is easily understood. The interior can initially be observed in the greenhouse. Operated by one of our three actors, the botanist.

The botanist manages and maintains a healthy habitat for a variety of crops on two levels with visible clarity throughout. Inhabitants are encouraged to participate in the greenhouse by purchasing grow-beds and their seeds with the intention of purchasing a developed plant under the careful hand of the botanist.

Next, we have our kitchen. The space closest to our greenhouse but also a fundamental component of the cyclical system as well as the educational influence that the project seeks out. This is the home to our second actor. A chef. Locally sourced from the tourist district of Nakanojo. While the kitchen is intended for locals to prepare their choice of food with aid from the adjacent greenhouse, it was found that a person with culinary experience to prepare meals with ingredients only given by the site would be beneficial for the agricultural experience. This is further supported by the library located in the southern end of the building. This library acts as a final step in the educational process that is our building. Acting as an information resource focused on the rich history of Nakanojo, farming strategies, and recipes. This library acts as one of the (now) two public libraries in all of Nakanojo, hopefully encouraging more interaction with the local community.

As one finds themselves exploring the site they may come across our final step in our cyclical process of sustainability, the Japanese Serow goat. Local to Nakanojo this goat, like many of its kind is known to have a diet of runoff berries and grass, often with an appetite for other fruits or vegetables. With these animals on site, their domain is the backyard. They are managed under their cattle raiser, our third actor. They provide a mix of food that consists of runoff and uncollected foods for the goats to use. Their waste is mixed in with biomass that helps fuel both the electricity as well as fertilize future crops.

Front Elevation

EXISTING CONDITIONS Interior Program Diagrams

Detachment from Street Level Greenhouse

Kitchen

Lounge

Library

Cycle of Sustainability

Repetitive Room Types

Growing

Cooking

Livestock Integration

Clarity Throughout Interior

Single Loaded Corridor

Kitchen

Upper Dining Level

Lower Library Entrance

Lower Dining and Lounge Level

Cross Section - A

Exploded Isometric

Longitudinal Section - B

Advanced Architectural Design Studio | SPRING 2022 ARCH 413.03

Isama Studio Agricultural Depot

Work by: Darius Polillio Professor: Junko Yamamoto

Page 12

Course Description

6X6 HSS TRUSS STRUCTURE, GUSST PLATE ATTACHED

METAL HANDRAIL (3' TALL)

A numeric and graphical approach to the design and analysis of basic structural systems. Basic principles of mechanics: forces, equilibrium, geometric properties of

CUSTOM GUSSET PLATE CONNECTION, WELDED TO TRUSS STRUCTURE

building types will be emphasized. Projects requiring the design and analysis of simple funicular structures will be assigned.

Learning Outcomes 1.) Use graphical methods to analyze and design basic structural systems/components.

2.) Interpret, explain, and diagram load paths and load tracings for framed structures.

3.) Use basic principles/concepts of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress and strain in the analysis and design of basic structural systems/components.

Page 8

5.) Use a robust structural vocabulary in writing and verbally.

6.) Prepare professional quality technical documentation and presentations.

3/4" THROUGH BOLTS (DUE TO HSS)

GLULAM LVL (4.49"X11.8") @ 42" O.C.

Vectors represents load directions (VECTOR NOT TO SCALE)

TRUSS-LVL-STEEL CONNECTION DETAIL Scale: 1” = 1’ - 0” Drawn by Joselynn Lyford

SIMPSON STRONG-TIE RIGID CONNECTOR ANGLE

W6x20 STEEL GIRDER

METAL HANDRAIL (3' TALL)

6X6 HSS TRUSS STRUCTURE, GUSST PLATE ATTACHED

CUSTOM GUSSET PLATE CONNECTION, WELDED TO TRUSS STRUCTURE

CUSTOM GUSSET PLATE CONNECTION, WELDED TO TRUSS STRUCTURE

2x8 WESTERN CEDAR DECKING (SPAN 42")

SIMPSON STRONG-TIE RIGID CONNECTOR ANGLE

Upward vectors are larger than downward vectors, because the two upward vectors have to equal the forces of the seven downward vectors

COLUMN LOOKS TO BE IN ROAD, BUT IT IS JUST THE VIEW OF THE SECTION (ROAD CURVES AND BRIDGE GOES OVER CURVE, BUT STRUCTURE IS NOT IN ROADWAY.)

Load Elevation Diagram: Structure (not arrows) Scale: = 1’ - 0” Pedestrian BridgeDrawing design project connecting RWU campus3/32” with property across Old Ferry Road Load diagram to depict direction of axial loads on the structure Project completed with Justin Britschge

TRUSS-LVL-STEEL CONNECTION SECTION Scale: 1” = 1’ - 0” Drawn by Joselynn Lyford

W6x20 STEEL GIRDER

GLULAM LVL (4.49"X11.8") @ 42" O.C.

Pedestrian Bridge design project connecting RWU campus with property across Old Ferry Road Connection details for Truss-LVL-Steel connection Project completed with Justin Britschge

Lateral Stability Diagrams - Shear Walls

Lateral System Axonometric

Pedestrian Bridge design project connecting RWU campus with property across Old Ferry Road Wooden model of structure made by Justin Britschge Project completed with Justin Britschge

Lateral System Plan

6

Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Lateral system diagram depicting shear walls for counteracting lateral loads Project completed with Jared McGowan

Secondary Beam Load Diagram & Calculations Dead Load: 35 PSF (Provided) Roof Dead Load: 5 PSF (Assumed) Snow Load: 40 PSF (Provided) Live Load: 20 PSF (Provided)

Secondary Beam Largest Tributary Width (Conservative for non typical edge shape) By assumption, acts as a rectangle.

TW = 5 FT 4 IN (5.34 FT)

Dead + Roof + Snow + Live = Total Total Load: 100 PSF (Calculated)

Span of Secondary Beam L = 8 FT 8 IN (8.67 FT)

W = TW x TL W = 5.34 FT x 100 LB/FT^2

Material Qualities : Douglas Fir Wood Shear Fv = 95 PSI Bending Fb = 1,450 PSI Modulus Elasticity = 1,700 KSI Moment of Inertia = 230.84 IN^4 Chosen Lumber Dimensions: 4 x 10 Douglas Fir

Self Weight A x .252 32.38 IN^2 x .252 = 8.16 LB/FT

W = 534 LB/FT

TW = 5’ - 4”

(New Bending Moment) Madd = (W)L^2 / 8 Madd = (8.16 LB/FT) x (8.67 FT)^2 / 8

L = 8.67 FT

Madd = 76.67 IN^2

By Observation, Uniformly Loaded & Simply Supported R = Vmax = WL / 2 Vmax = (534 LB/FT) x (8.67 FT) / 2 Vmax = 2,314.89 LB

(New Section Modulus) Sadd = M / Fb Sadd = ((76.67 IN^2) x (12 IN/FT)) / 1,450 LB/IN^2 Sadd = .63 IN^3

Mmax = WL^2 / 8 Mmax = (534 LB/FT) x (8.67 FT)^2 / 8

Check S Snew = Sreq + Sadd Snew = 41.52 IN^3 + .63 IN^3

Mmax = 5,017.52 LBFT (Shear) Fv = 3V / 2A Areq = 3V / 2 Fv Douglas Fir wood: Fv = 95 LB/IN^2 Areq = 3 x (2,314.89 LB) / 2 x (95 LB/IN^2)

Snew = 42.15 IN^3 Snew < SProvided 42.15 IN^3 < 49.91 IN^3 O.K.

Areq = 36.55 IN^2 (Bending) Fb = M / S Sreq = M / Fb Douglas Fir wood: Fb = 1,450 LB/IN^2 Sreq = ((5,017.52 LBFT) x (12IN / FT)) / 1,450 LB/IN^2

Deflection = 5WL^4 / 384EI = 5 x ((534 LB/FT) / (12 IN/FT)) x ((8.67 FT) x (12 IN/FT))^4 384 x (1,700,000 LB/IN^2) x (230.84 IN^4) = .17 IN

Sreq = 41.52 IN^3

Deflection Limit < L / 180 .17 IN < (8.67 FT) x (12 IN/FT) / 180 .17 IN < .58 IN O.K.

Trial Wood Dimensions : 4 x 10 Provided Information A = 32.38 IN^2 S = 49.91 IN^3

9

Secondary Beam Load Tracing Diagram

Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Secondary beam calculations using shear, stress, and deflection to calculate beam size Project completed with Jared McGowan

Primary Beam Load Diagram & Calculations Dead Load: 35 PSF (Provided) Roof Dead Load: 5 PSF (Assumed) Snow Load: 40 PSF (Provided) Live Load: 20 PSF (Provided) Dead + Roof + Snow + Live = Total Total Load: 100 PSF (Calculated)

By assumption, acts as a rectangle.

TW = 8 FT 8 IN (8.67 FT)

Chosen Lumber Dimensions:

Span of Primary Beam L = 24 FT 8 IN (24.67 FT)

W = TW x TL W = 8.67 FT x 100 LB/FT^2

Self Weight 2A x .252 356.5 IN^2 x .252 = 89.84 LB/FT

W = 867 LB/FT

L = 24.67 FT

Assumptions for this Member: 1. This beam governs the calculations.

2. The Point loads will be assumed as a uniformly distributed load based on the symmetrical loading pattern.

3. The members will be doubled for strength in spanning, this will double the values for area and the section modulus.

Material Qualities : Douglas Fir Wood Shear Fv = 85 PSI Bending Fb = 1,300 PSI Modulus Elasticity = 1,600 KSI Moment of Inertia = 3,568.7 IN^4

Primary Beam Typical Tributary Width (Beam with longest span and largest

2B

Two Members bolted together for stiffness

(New Bending Moment) Madd = (W)L^2 / 8 Madd = (89.84 LB/FT) x (24.67 FT)^2 / 8 TW = 8’ - 8”

Madd = 6,834.68 IN^2

By Observation, Uniformly Loaded & Simply Supported R = Vmax = WL / 2 Vmax = (867 LB/FT) x (24.67 FT) / 2 Vmax = 10,694 LB

(New Section Modulus) Sadd = M / Fb Sadd = ((6,834.68 IN^2) x (12 IN/FT)) / 1,300 LB/IN^2 Sadd = 63.09 IN^3

Mmax = WL^2 / 8 Mmax = (867 LB/FT) x (24.67 FT)^2 / 8

Check S Snew = Sreq + Sadd Snew = 600.84 IN^3 + 63.09 IN^3

Mmax = 65,957.99 LBFT (Shear) Fv = 3V / 2A Areq = 3V / 2 Fv Douglas Fir wood: Fv = 85 LB/IN^2 Areq = 3 x (10,694 LB) / 2 x (85 LB/IN^2)

Snew = 663.93 IN^3 Snew < SProvided 663.93 IN^3 < 921 IN^3 O.K.

Areq = 188.72 IN^2 (Bending) Fb = M / S Sreq = M / Fb Douglas Fir wood: Fb = 1,300 LB/IN^2 Sreq = ((65,957.99 LBFT) x (12IN / FT)) / 1,300 LB/IN^2

Deflection = 5WL^4 / 384EI = 5 x ((867 LB/FT) / (12 IN/FT)) x ((24.67 FT) x (12 IN/FT))^4 384 x (1,600,000 LB/IN^2) x (3,568.7 IN^4)

Sreq = 600.84 IN^3 Trial Wood Dimensions : Provided Information A = 178.25 IN^2 S = 460.5 IN^3 2A = 356.5 IN^2 2S = 921 IN^3

Analysis of Thompson Exhibition Building in Mystic, CT

Design of Structures I | FALL 2021 ARCH 434.02

= 1.27 IN Deflection Limit < L / 180 1.27 IN < (24.67 FT) x (12 IN/FT) / 180 1.27 IN < 1.64 IN O.K.

Primary Beam Load Tracing Diagram

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Outdoor Classroom design project for RWU campus to provide outdoor learning space for classes Primary beam calculations using shear, stress, and deflection to calculate beam size Project completed with Jared McGowan

Green Loop

Work by: Joselynn Erickson andby: Michael Donovan Work Joselynn Lyford Professors: Nate Dermody and Rich OlgaJames Mesa Professors: Robert

Wood Frame Research Poster

Course Description A numeric and graphical approach to the design and analysis of basic structural systems. Basic principles of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress strain relationships will be presented. The selection and configuration of efficient structural systems for common building types will be emphasized. Projects requiring the design and analysis of simple funicular structures will be assigned.

Learning Outcomes Upon completion of this course students will be able to: 1. Use graphical methods to analyze and design basic structural systems/components.

2. Interpret, explain, and diagram load paths and load tracings for framed structures.

3. Use basic principles/concepts of mechanics: forces, equilibrium, geometric properties of areas, material properties, support conditions, stress and strain in the analysis and design of basic structural systems/ components.

4. Select and configure efficient structural systems/components for common building types.

5. Use a robust structural vocabulary in writing and verbally.

6. Prepare professional quality technical documentation and presentations.

Structure: Joseph Phelps Vineyards

The purpose of this project was to analyze a wood frame structure of our choosing to get a better understanding of the use of wood as a structural element. Through this analysis, a poster was created that displayed the wooden structural system of our selected building. The poster includes information about the building, sketches of structural components, diagrams of the structural system, and an explanation for gravity and lateral load systems.

The building selected for this project was the Joseph Phelps Vineyards building constructed in 2015 by BVC Architects. The design uses a large wooden truss as a structural element in the Great Hall to create an open area in the center of the building. The project was a restoration and addition to the existing wine making facility from 1979.

The wooden trellis was a design motif used in the original building and is used in the new project to help celebrate the past.

Load Tracing Diagram

Exploded Truss Detail

Truss Detail

Pedestrian Bridge Design Project

Exploded Axonometric Drawing of Wooden Truss

Wood Frame Design Project

Work By: Zachary Baker, Michael Cattaneo, and Harrison Knight

Work By: Zachary Baker and Michael Cattaneo

With the newly acquired land across the street from RWU, this proposal for a pedestrian bridge would connect the existing campus to an area intended for future campus development. The creation of this project considers the interrelationship between design and analysis by using graphic methods to form a structurally sufficient bridge. The proposed bridge was required to sustain the calculated live, dead, and snow loads while utilizing a structural system that could be proven through graphic static solutions. These calculations were then be used to determine the sizing of structural members. In addition to the conceptual design of the bridge, a detailed analysis of a critical connection point was required to further understand the construction of a bridge. The type of structure used in this proposal is a tied arch.

A tied arch has characteristics of both a cable stayed bridge and an arch bridge. By combining these two methods through graphic statics equations, we are able to size te members and determine the feasibility of this project.

As the current pandemic remains a factor of everyday life, this wood frame structure acts as an outdoor classroom allowing for social distancing and a safer environment for education. Through the development of the structure, this project aims to celebrate wood construction while exploring the specific conditions that relate to this type of material. The design and analysis process included the consideration of the sizing of members based on the loads that would be applied to the structure. Load tracing calculations for the primary and secondary structural systems were required to accurately size their members. Shear and moment equations were used to determine the deflection of the members and verify their ability to endure the required loads. A series of trusses were used in this structure because of their ability to span long distances and create unobstructed spaces.

Cross-bracing is used as a form of lateral stability to account for wind loads and seismic loads.

Study Model

Site Plan

Force Polygon Section

Form Diagrams

Cable Connection Detail: Axonometric Bridge Plan

Schematic Plan

Cable Connection Detail: Side Cable Connection Detail: Plan

Design of Structures I | FALL 2021 ARCH 434.02

Cable Connection Detail: Front

Load Tracing: Wooden Screen

Load Tracing: Trusses

Load Tracing: Girders

Load Tracing: Posts

Semester Projects

Work by: Zachary Baker Professors: Robert Dermody and Rich James

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Master Plan

LIPPIT HILL University Heights is historically known and remembered as Lippitt Hill to all those who were displaced or grew near the area. In the 1950’s the cities throughout the country undertook a process of Urban Renewal that was intended to revitalize urban areas and rid our cities of blighted neighborhoods. Through the “Urban Renewal” of Lippitt Hill, homes, family shops, roads, and trolley transportation were removed to reveal wide asphalt roadways, highways, large commercial spaces, and a residential zone that became an isolated island in the middle of the Mt. Hope community. The destruction of the lives of those who lived there displaced them and forced them to move to somewhere more affordable. Through the understanding of the site’s history, the goal is to knit the fabric back together to promote lower to middle-income families, diverse transportation connections, and local shops that support those who will live and once lived there.

The design was structured around the RIPTA 2040 plan of having a light rail system through N. Main St. This would enforce the idea of having a Transit Oriented Development (TOD), which would make Lippitt Hill a gateway for Providence. The strategies implemented are a linear park along the Moshassuck River, to allow for a safe pedestrian and cyclist connection from Mt. Hope to downtown, added pedestrian safety by redesigning dangerous intersections while providing a designated lane for bicyclists, and increased program density throughout Randall Square and Lippitt Hill. To reknit the urban fabric there are a series of limited access shared streets or woonerfs that flow through the existing University Heights housing.

On the precinct level, the plan was to redesign the existing shopping mall to increase pedestrian access and social activity. Surface parking was removed and shifted to the north and south ends, burying two-level parking garages behind retail spaces. Then the shopping mall was divided into smaller masses and pushed to the street edge in order to activate N. Main St. as well as to create a protected pedestrian zone within the mall.

The program includes a grand staircase that connects the new greenway with the mixed-use development. Retail spaces are embedded within the stairs and have their own private plazas that encompass auditorium seating and face the art pavilion in the plaza space, which serves as a backdrop. On the second floor, the greenway extends over from University Heights to connect with the residential zone above the retail spaces.

The mixed residential includes apartments, townhouses, and live-work housing. The apartments are composed of one to two bedrooms units and lofts, the townhouses are composed of two to three-bedroom units, and the live-work apartments are composed of loft-style and studio units. With all the new housing typologies that are flexible for different backgrounds, the project reframes Lippitt Hill as a diverse location that is a gateway for Providence.

Plaza Perspective

Section

Advanced Topical Design Studio: Urban | SPRING 2022 ARCH 416.01

Lippitt Hill - Equity and Reconciliation

Work by: Naomi Cruz and Jacob Plasencia Professor: Edgar Adams

Preliminary Sketch: Restoring the Geometry of the Cathedral

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Master Plan

CATHEDRAL SQUARE REVITALIZATION

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The new Community Center and Co-Operative Housing building is intended to be the pinnacle of neighborhood engagement centered at Cathedral Square. Its strategic location along the Westminster axis allows for maximum visibility and functions as a symbol for communal values. By combining the program of the Community Center and the co-op housing, this building can serve the public while also providing amenities for the residents and making their homes affordable. In addition to the shared spaces of the community center, co-op residents have private access to rooftop gathering spaces which include gardens and outdoor activity spaces. The new structures and programs added to Cathedral Square will place further significance on the Community Center and set the building as a primary hub for interaction within the neighborhood. The massing of this building and the attached housing complex on the northwest corner of the site form a private courtyard at a human scale to accommodate for the expected surge in the residential population of the square. Through this proposed scheme, this building and the greater Cathedral Square will contribute to the rejuvenation and mending of Providence.

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This proposal aims to reestablish the Westminster axis and treat Cathedral Square as a landmark destination along the path between Downtown and the West End. By demolishing the Dioses building, the new crossing will streamline connectivity with a continuous path between the ends of the city that favors pedestrian traffic and is accompanied by an electric bus route. The regulation of traffic modes encourages walking in the city and less of a reliance on automotive transportation while also protecting the cathedral from the loud atmosphere of the traditional cityscape. The square will have a mixed-use program that will allow for a diverse community and purpose for occupancy. Cathedral Square will act as a waypoint between Downtown and the West End. The improved method of circulation and the mixed-use program of the square will increase foot traffic and transform the site from an obstacle to a flourishing attraction that mends the city back together. The massing of the new site will create a defined square that derives its geometry from the existing superblock and the former intersection of Westminster and Weybosset in front of the cathedral. The convergence of these angles along the cross-axis amplifies the facade of the cathedral and further celebrates its

presence on the site. The significance of the cathedral and the Westminster axis in this proposed urban renewal is carried through in the formation of the I-95 crossing. Dave Gavitt Way is moved closer to the cathedral and new buildings are placed next to the highway. This row acts as a buffer between the interstate and the cathedral while also extending the urban fabric towards the West End. PR

What was once a lively area in the center of Providence, Cathedral Square is now a forgotten site that degrades the quality of life in the surrounding environment. In addition to the poor conditions of the square, its current design lacks a vital connection between Downtown and the West End. The combination of Interstate 95 and urban development of the 1960s and 1970s resulted in the termination of the Westminster axis. The construction of the Diocese of Providence became the new endpoint of the Westminster axis and further defined the barrier between Downtown and the West End.

Model corner of Westminster and Dave Gavitt Way

Westminster Site Section

Typical Cooperative Unit:

2,750 sqft with 6 bedrooms = 75 total bedrooms in the building

458.3 sqft / person (assuming 1 person / bedroom)

Unit Interior Perspective

Rooftop Terrace Perspective

Existing HUD Section 8 Elderly Apartments at Cathedral Square: Single room = 535.6 sqft / person

Typical Floor Plan

Building Section

Proposed cooperative housing units are 16% more efficient while providing additional amenities to improve the quality of life

Westminster Perspective

ADVANCED TOPICAL DESIGN STUDIO: URBAN | SPRING 2022 ARCH 416.02

Adaptive Reuse at Cathedral Square

Work by: Zachary Baker Professor: Julia Bernert

Cathedral Square Urban Design In this urban design project of both west and east Providence, it is my goal to find a middle ground that can truly connect both sides of Providence. A divisive highway and a blocking building take away from the gorgeous and important center axis that historically encompassed the connection between the two sides of the city. In my proposal, a new above highway park connects East and West sides. New pathways sway interaction, and trees, food spots, parking, beautiful sights, activities, and more help not only connect the sides but make for a more engaging environment.

The park will have a series of paths that either define certain spaces within the park or add a sequential series of entrances onto cathedral square from the West side. These paths have different curvatures to make for both a more interesting path to travel and to break up the harsh horizontality of the highway.

The existing Westminster Street bridge will stay in position but restored to highlight the already existing axis. However, to make a relationship with that axis the Auditorium building that blocks it must go. The new building that will take its place highlights the center axis in a more interactive way and supplies community spaces that fortify the idea of the park, creating a space of enjoyment and interaction throughout the site. The building will also highlight the cathedral’s position and beautiful rose window, as well as its key aspect within the city’s old history.

Programming for the new buildings includes ground level retail spaces, second level offices and new residential apartments on the upper levels, bringing housing for younger people to the site while supporting the existing affordable housing. The public space of Cathedral Square will not be left out of this innovative design. Landscaping elements will carry on the formal language of the new park through the addition of low curved walls to help direct traffic in the square and highlight the center axis. The walls enforce these ideas without compromising the views or circulation in the Square, creating a large amount of space to freely walk and explore, while keeping the spatial integrity of this historic urban plaza space.

Mater Plan

Site overhead Perspective

Piazza View Alignments towards the West

Axis Building Perspectives

Axis Building Section Perspective

Piazza View Alignments towards the Cathedral

Site Perspective

North East Facing Elevation 1’-0”=1/32”

Advanced Topical Design Studio: Urban | SPRING 2022 ARCH 416.02

Cathedral Square Urban Design

Work by: Anthony Spataro Professors: Julia Bernert

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Working closely with individual faculty members, including the Teaching Firms in Residence, students are asked to address any number of current issues and themes resulting in a wide range of projects. Topics in recent semesters have included contemporary interventions in historic cities, innovation incubator facilities, speculative affordable housing, adaptive reuse, college campus design, tourism and habitat regeneration, ecological design, exploration of the legacies of slavery and the slave trade, and an interfaith community chapel. Topics are selected by faculty and vary from semester to semester.

THE LOOSEST FIT Multifamily Housing Complex and Community Center New Bedford, Massachusetts

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ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. James Moses

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10" x 15"

10" x 15"

RA

10" x 15"

10" x 15"

RA

10" x 15"

10" x 15"

RA

10" x 15"

RA

10" x 15"

15" x 20" EX.

30" x 20" INTAKE LOUVER

30" x 20" INTAKE LOUVER DOAS SYSTEM

TYP. CEILNG FAN COIL TERMINAL

SA

10" x 15"

10" x 30" RECT. DUCT (SUPPLY)

10" x 30" RECT. DUCT (SUPPLY) DOAS SYSTEM VRF TERMINAL

10" x 30" RECT. DUCT (RETURN)

RA

RA

10" x 15"

RA

10" x 15"

10" x 30" RECT. DUCT (SUPPLY)

8" x 5"

SA

SA

RA

RA

N

SA

RA

M

L

K

J

I

H

G

F

E

D

C

B

SUN ORIENTATION

A

RA

10" x 30" RECT. DUCT (RETURN)

RA

10" x 30" RECT. DUCT (RETURN)

10" x 30" RECT. DUCT (SUPPLY)

WALL CAVITY TO GALLERY

8" x 5"

SA

SA

8" x 5"

10" x 15"

10" x 15"

8" x 5"

8" x 5"

SA

10" x 15"

SA

O

10" x 15" RECT. DUCT (RETURN)

TYP. CEILNG FAN COIL TERMINAL

RA

8" x 5"

SA

10" x 15"

8" x 5"

SA

10" x 15" RECT. DUCT (SUPPLY) 10" x 15"

RA

8" x 5"

10" x 15" RECT. DUCT (SUPPLY)

10" x 15" RECT. DUCT (RETURN)

SA

8" x 5"

8" x 5"

8" x 5"

RA

8" x 5"

SA

SA

8" x 5"

RA

10" x 15"

8" x 5"

10" x 15"

SA

10" x 15"

RA

TREE COVERAGE

DOAS SYSTEM VRF TERMINALS

10" x 30" RECT. DUCT (RETURN)

10" x 15"

RA

RA

SA

OA

30" x 20" EXHAUST LOUVERS 15" x 20" IN.

RA

SA

10" x 15"

RA

SA

10" x 15"

8" x 5"

SA

10" x 15"

TYP. CEILNG FAN COIL TERMINAL

SA

8" x 5"

1

S-1

SA

10" x 15"

SA

TYP. EXPOSED FAN COIL TERMINAL

SA TYP. CEILNG FAN COIL TERMINAL

10" x 15"

RA

10" x 15"

RA

CROSS VENTILATION

10" x 15"

SA

RA

SA

T.O-ROOF EL_47'-0"

TYP. EXPOSED FAN COIL TERMINAL

SA

RA

RA

STAIR_1

10" x 15"

SA

T.O-PARAPET EL_40'-6"

10" x 15"

10" x 15"

10" x 15"

10" x 15"

10" x 15"

SA

OUTDOOR COMFORT

TYP. EXPOSED FAN COIL TERMINAL

10" x 15" SA

STAIR_3

RM-401

RA

RM-401

SA

10" x 15"

10" x 15"

10" x 15"

10" x 15"

10" x 15"

TYP. EXPOSED FAN COIL TERMINAL

RA

TEMPERATURE CONTROL

TYP. EXPOSED FAN COIL TERMINAL

10" x 15"

SA

10" x 30" RECT. DUCT (SUPPLY) 10" x 30" RECT. DUCT (SUPPLY) 10" x 25" RECT. DUCT (SUPPLY)

10" x 15"

10" x 15"

RA

10" x 15"

RA

SA

10" x 15"

10" x 15"

STAIR_1

RA

T.O-THIRD-FLOOR EL_24'-0"

STAIR_3

SA

RM-306

10" x 15"

10" x 15"

RA

10" x 30" RECT. DUCT (SUPPLY)

10" x 15"

SA

10" x 15"

10" x 30" RECT. DUCT (RETURN)

TYP. CEILNG FAN COIL TERMINAL

SA

RA

10" x 15"

SA

10" x 15"

10" x 15"

10" x 15"

10" x 15"

10" x 30" RECT. DUCT (RETURN)

10" x 15"

10" x 30" RECT. DUCT (RETURN)

10" x 15"

SA

RA

10" x 15"

RM-327

RA

SA

RA

STAIR_1

10" x 15"

RM-227

RM-229

10" x 30" RECT. DUCT (RETURN)

T.O-SECOND-FLOOR EL_12'-0"

SA

STAIR_3

MULTIPURPOSE

SA

RM-206 10" x 30" RECT. DUCT (SUPPLY)

RA

EXPOSED STRUCTURE

MECHANICAL SEE MECH. PLANS

SA

SA

10" x 25" RECT. DUCT (RETURN) RA

RA

RA

RA

10" x 25" RECT. DUCT (SUPPLY)

10" x 30" RECT. DUCT (SUPPLY) DOAS SYSTEM

DOAS SYSTEM

TYP. CEILNG FAN COIL TERMINAL

SA

VRF TERMINAL

WALL CAVITY TO MECHANICAL

10" x 30" RECT. DUCT (RETURN)

30" x 20" INTAKE

30" x 20" INTAKE LOUVER

30" x 20" EXHAUST LOUVERS

OA

30" x 20" EXHAUST LOUVERS

VRF TERMINALS

OA

EA

EA

SA

SA

RA

STAIR_1

SA

LOBBY

MECHANICAL SEE MECH. PLANS

MECHANICAL SEE MECH. PLANS MULTIPURPOSE

STAIR_3

RM-133

RM-101

RM-102

RM-136

T.O-GROUND-LEVEL EL_0'-0" RA

SA

WALL CAVITY TO ROOF

B.O-FOUNDATION EL_-6'-10"

SA

PAUL BRYANT

SA

SA

SA

KITCHEN VENT.

SA

SA

SA

SA

SA

THE LOOSEST FIT

SA

SA

KITCHEN VENT.

SA

SA

KITCHEN VENT.

SA

SA

KITCHEN VENT.

SA

SCALE : 1/8" = 1'-0"

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. James Moses

KITCHEN VENT.

DATE :

10" x 15"

10" x 15"

SA

BATHROOM VENT.

BATHROOM VENT.

TYPICAL. 6" ROUND DUCT

BATHROOM VENT.

TYPICAL. 6" ROUND DUCT

BATHROOM VENT.

TYPICAL. 6" ROUND DUCT

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

M1-01

RA TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

MECH. GROUND FLOOR

TYPICAL. 6" ROUND DUCT RA

TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

12/18/2021

BATHROOM VENT.

TYPICAL. 6" ROUND DUCT RA

RA

RA

10" x 30" RECT. DUCT (RETURN)

TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

ENERGY RECOVERY VENTILATOR

10" x 30" RECT. DUCT (SUPPLY) TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

VRF TERMINAL

10" x 15"

2

SECTION-2 1/8"-1-0'

TYPICAL. 6" ROUND DUCT

VRF TERMINAL

OA

TYPICAL. 6" ROUND DUCT

VRF TERMINAL

OA

EA

TYPICAL. 6" ROUND DUCT

VRF TERMINAL

OA

EA

VRF TERMINAL

OA

EA

OA

EA

EA

10" x 15"

10" x 15"

RA

S-2

SA

SA

SA

TYP. CEILNG FAN COIL TERMINAL

SA

RA

OA

SA

TYPICAL. 6" ROUND DUCT

SA

RA

TYP. CEILNG FAN COIL TERMINAL

SA RA EA VRF TERMINAL

BATHROOM VENT. TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

KITCHEN VENT.

TYPICAL. 6" ROUND DUCT TYPICAL. 6" ROUND DUCT

SA

SA

SA

OA

SA

SA

RA

TYP. CEILNG FAN COIL TERMINAL

SA RA EA VRF TERMINAL

TYP. EXPOSED FAN COIL TERMINAL

BATHROOM VENT. TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

SA

SA RA

KITCHEN VENT.

TYPICAL. 6" ROUND DUCT

10" x 15"

TYPICAL. 6" ROUND DUCT

SA

SA

10" x 15"

10" x 15"

SA

10" x 30" RECT. DUCT (RETURN)

OA

SA

SA

RA

TYP. CEILNG FAN COIL TERMINAL

SA

10" x 30" RECT. DUCT (SUPPLY)

RA

10" x 15"

EA VRF TERMINAL

TYP. CEILNG FAN COIL TERMINAL

KITCHEN VENT.

TYPICAL. 6" ROUND DUCT

10" x 15"

10" x 15"

BATHROOM VENT.

ENERGY RECOVERY VENTILATOR

RA

TYPICAL. 6" ROUND DUCT TYP. EXPOSED FAN COIL TERMINAL SA

SA

SA

SA

SA

OA

THE LOOSEST FIT

PAUL BRYANT

SA

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. James Moses

SA

RA

TYP. CEILNG FAN COIL TERMINAL

SA RA EA VRF TERMINAL

BATHROOM VENT. TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

KITCHEN VENT.

TYPICAL. 6" ROUND DUCT TYPICAL. 6" ROUND DUCT

SA

SA

SCALE : 1/8" = 1'-0" DATE :

10/29/2021

SECTIONS S-1&S-2

A2-11

SA

OA

SA

SA

RA

TYP. CEILNG FAN COIL TERMINAL

SA RA EA VRF TERMINAL

BATHROOM VENT. TYP. CEILNG FAN COIL TERMINAL

ENERGY RECOVERY VENTILATOR

KITCHEN VENT.

TYPICAL. 6" ROUND DUCT TYPICAL. 6" ROUND DUCT

10" x 30" RECT. DUCT (RETURN)

OA

EA

EA

EA

OA

TYP. CEILNG FAN COIL TERMINAL

EA

EA

OA

TYPICAL. 6" ROUND DUCT

TYP. CEILNG FAN COIL TERMINAL

DOAS SYSTEM

EA

OA

TYPICAL. 6" ROUND DUCT

TYP. CEILNG FAN COIL TERMINAL

10" x 30" RECT. DUCT (SUPPLY)

TYPICAL. 6" ROUND DUCT

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

VRF TERMINALS

VRF TERMINAL

VRF TERMINAL

VRF TERMINAL

VRF TERMINAL

VRF TERMINAL TYP. CEILNG FAN COIL TERMINAL

SA

SA

TYPICAL. 6" ROUND DUCT

SA

ENERGY RECOVERY VENTILATOR

TYPICAL. 6" ROUND DUCT

SA

ENERGY RECOVERY VENTILATOR

RA

TYPICAL. 6" ROUND DUCT

SA

ENERGY RECOVERY VENTILATOR

RA

TYPICAL. 6" ROUND DUCT

SA

ENERGY RECOVERY VENTILATOR

RA

TYPICAL. 6" ROUND DUCT

ENERGY RECOVERY VENTILATOR

RA

RA

BATHROOM VENT. SA

ENERGY RECOVERY VENTILATOR

ENERGY RECOVERY VENTILATOR VRF TERMINAL

SA

SA

SA

SA

30" x 20" EX. LOUVERS

TYP. CEILNG FAN COIL TERMINAL

SA

BATHROOM VENT. ENERGY RECOVERY VENTILATOR VRF TERMINAL

OA

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

TYPICAL. 6" ROUND DUCT

SA

EA

OA

TYPICAL. 6" ROUND DUCT

SA

TYP. CEILNG FAN COIL TERMINAL

SA

BATHROOM VENT. ENERGY RECOVERY VENTILATOR VRF TERMINAL

TYPICAL. 6" ROUND DUCT

OA

EA

SA

TYP. CEILNG FAN COIL TERMINAL

SA

BATHROOM VENT. ENERGY RECOVERY VENTILATOR

TYPICAL. 6" ROUND DUCT

OA

EA

SA

TYP. CEILNG FAN COIL TERMINAL

SA

VRF TERMINAL

TYPICAL. 6" ROUND DUCT

OA

EA

SA

TYPICAL. 6" ROUND DUCT

OA

TYP. CEILNG FAN COIL TERMINAL

BATHROOM VENT.

RA

RA

RA

KITCHEN VENT.

KITCHEN VENT.

THE LOOSEST FIT

SA KITCHEN VENT.

KITCHEN VENT.

BATHROOM VENT. SA

SA KITCHEN VENT.

OA

RA

BATHROOM VENT.

SA KITCHEN VENT.

SA

10" x 15" 30" x 20" INTAKE LOUVERS

VRF TERMINAL

EA

RA

SA

KITCHEN VENT.

BATHROOM VENT. SA

KITCHEN VENT.

BATHROOM VENT. SA

BATHROOM VENT. SA

SA

SA KITCHEN VENT.

PAUL BRYANT

KITCHEN VENT.

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

TYP. CEILNG FAN COIL TERMINAL

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. James Moses

SCALE : 1/8" = 1'-0" DATE :

12/18/2021

MECH. SECOND FLOOR

M1-02

Integrated Project Design Studio | FALL 2021 ARCH 513.02

The Loosest Fit

Work by: Paul Bryant Professor: James Moses

N

A1-02

CK & WHITE SET

ACCADEMIA FILARMONICA ROMANA

ROME, ITALY

SOUTHERN ELEVATION

With an intention to create a project that is perfectly integrated into the landscape of Rome, this project began with in-depth research about the City of Rome. All from how the city came to be, how it is as of now, and a more detailed look into the site in which this project will be located. With all this research then came the important question of what is this project trying to accomplish / what are the intentions of the project? What could this project add to the Accademia? What are the main questions that need to be asked? There is no one simple answer to these questions, so a study of buildings and how and why they were built took place.

Showing how a project can be thought of and how it can function. taking these studies into our own project was the beginning of our projects. This project ultimately came down to five categories: Place, Context, Scale / Space, Character, Atmosphere, Identity / Organization, Articulation / Tectonics, Materiality, Detail, Hapicity / Environmental Stewardship. These became the backbone of how the design progressed throughout the semester.

This project in particular was centered around the idea of enhancing what was already existing on the site and making the Accademia more welcoming to the public. This will be done by setting the project at the back of the site with three main divisions. One for the public which will be the portion of the project that is in line with the street. Two of which are tilted and contain the main hall, a performance space for the Accademia. Three would be the long rectangular portion that is located toward the back of the site which would be used for the students within the Accademia. All of these masses are used to create direct relationships with their functions. this is done by the public plaza that will be created because of the setback nature of the project. The tilt brings people into the garden, as well as starting to define a backyard concert space that has already been established by the Accademia. All moments and materials that are used within this project were chosen to create a design that is integrated into the city in structural systems, design, and economic ideas.

PROJECT ASSEMBLY 12

5

7

9

THIRD FLOOR

4

10

1

3

SECOND FLOOR

8

2 11

1 - TYPICAL CURTAIN WALL ASSEMBLY -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -GLASS CURTAIN WALL 1.1 - TYPICAL CURTAIN WALL ASSEMBLY WITH STRUCUTRAL ELEMENT -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -SPANDRAL GLASS -INSULATION -3/4“ PLASTER FINISH -14” CONCRETE CAST 2 - TYPICAL OUTDOOR PATIO ASSEMBLY -4X4 STONE TILES -1/2” GROUT -6” GRAVEL -RAMMED EARTH

6

3 - TYPICAL SLAB ON GRADE ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2x4” WOOD STEPPERS -4” CONCRETE SLAB -6” GRAVEL -RAMMED EARTH 4 - TYPICAL FLOOR ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2X4 WOODEN STEPPERS -HOLEDECK XL (CUSTOM SIZING) 5 - TYPICAL ROOF ASSEMBLY -GREEN ROOF WATERING SYSTEM FROM LANGLEY -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL 6 - TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING 7 - METAL FLASHING 8 - 1/20” SLOPE 9. GUTTER TO CONTROL RAIN WATER 10. METAL TIE TO SECURE MESH FACADE 11. LEVELING OF GROUND TO PREPARE FOR MESH PANEL SYSTEM CAST IN PLACE CONCRETE 12. CONNECTION FOR MESH PANEL FACADE

FIRST FLOOR

SITE PLAN

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

SECTION THROUGH THEATER

Integrated Project Design Studio | FALL 2021 ARCH 513.01

Work by: Student’s Emma Meier-Luinenburg Professor: Roberto Viola Ochoa

PEN

INK

WAT E R C O L O R

1579 ft

ABANDONED QUARRY

INTERPRETATION CENTER + RETREAT HOTEL

VERMONT

UP

Ch

ur

ch

H ill

Rd

DN

1642 ft

0

10

20

40

100

GRAPHIC SCALE 1:60

T H E E X T R A C T I O N O F R AW M AT E R I A L I S W H AT S U S T A I N S O U R S O C I E T Y. D A Y T O D A Y L I F E M O V E S S O FA S T T H AT W E H A R D LY E V E R PA U S E A N D TA K E A M O M E N T T O T H I N K A B O U T T H E M AT E R I A L S W H I C H A R E U S E D T O C O N S T R U C T T H E B U I LT E N - VI R O N M E N T . A S P O P U L A T I O N S A N D C I T I E S C O N- T I N U E TO G R O W, T H E F LO U R I S H I N G L A N D S C A P E S T H AT H A R V E S T T H E S E R AW M AT E R I A L S A N D F E E D O U R C I T I E S B E C O M E M O R E D E P R I V E D . T H E -E N D L E S S D E M A N D F O R R AW M AT E R I A L S H AV E TA K E N A T O L L O N T H E N A T U R A L E N V I R O N M E N T . T H E M O- U N TA I N FA C E H A S B E E N S C A R R E D B Y M A N F O R T H E SAKE OF GLOBAL ECONOMICS & HUMAN NEED. THE T I M E H A S C O M E F O R T H E S E W O U N D E D E N V I R- O N MENTS TO HEAL.

MOUNTAIN ELEV: 160'-0"

GRADE

ELEV: 87'-6"

LVL 03

ELEV: 75'-0"

ANIMATION

LVL 02

ELEV: 62'-6"

LVL 01

SCAN ME

ELEV: 50'-0"

WATER

ELEV: 0'-0"

A-SECT-___1 A-SECT-___2 A-SECT-___3 A-SECT-___4 A-SECT-___5 A-SECT-___6 A-SECT-___7 A-SECT-___8 A-SECT-___9 A-SECT-_H80 A-SECT-_H40 A-SECT-HDDN A-SECT-HDN2 A-ANNO-CNTR

Graduate Architectural Design Studio | FALL 2021 ARCH 515.01 | Hypogeans

FORGOTTEN LANDSCAPES Work by: Mitchell DaSilva Professor: Rubén Alcolea

URBAN BIOPHILIA Humans have an innate connection and curiosity towards nature called biophilia. Since the industrial revolution and boom of urbanization, this biophilia has been lost in cities. Urban Biophilia aims to restore this connection and curiosity to those who dwell in cities without the means of escaping to the more ‘natural’ landscapes. Buildings sprout out of a forest, connected by elevated walkways which allows people to explore the forest from the various zones that compose a forest. This allows people to explore the various species that make up these zones. Further, an ecology research and lab center fill two of the buildings providing the site with its own ecology management system. Ecologists will care for and maintain the site while conforming with ecological succession. Ecologists will also be available to interact with inhabitants that are there to learn about the necessity of such an ecosystem.

Trophic Levels

Sectional Perspective @ Urban Forest

Illustrated Site Axonometric & Species

Sectional Perspective @ River

Sectional Perspective @ Wetlands

Terracotta Block Taxonomy

Facade Organization Diagram

Detailed Section

Site Section

Graduate Architectural Design Studio | FALL 2021 ARCH 515.02 & ARCH 515.03

Urban Biophilia

Work by: Brenna Whitney Professors: Nate Fash and Olga Mesa

HYPOGEANS D’INVENZIONE Part I: Form Research Predjama Castle is a 13th century medieval castle built into a 123m-high limestone cliff face in the historic region of Inner Carniola in Postojna, Slovenia. Beneath the castle, Lovka Stream runs into another cave. For more than 800 years, this castle sits nestled into a cliff side making a visual connection between man made and nature. The close proximity of the limestone to the also natural but human designed construction of the stone castle creates a visualization of the immaterial relationships between nature and architecture.

Closer examination of the forms created by the excavation of the cliff and the construction of the castle reveals unique geometric relationships. Following the profile of the cliff face, the rooms of the castle are sunken into the rock on one side, while openings on the opposite side give opportunity for light. An abstract study of these forms dictates the negative volume carved out of the foam model to create images as a representation of the physical elements of the castle.

Abstract studies of the physical forms that make up Predjama Castle produced intriguing drawings and photographs. Design strategies developed during this phase of the semester will inform future project decisoins regarding form and immaterial relationships.

A QUARRY. A SITE. A MEMORY Part Two: Rock of Ages, Barre, VT A visit to Rock of Ages Quarry in Barre, VT, provides physical evidence of the effects of quarrying on the landscape. Throughout the landscape surrounding the quarries are piles of large gray rock, scrap material from excavating otherwise referred to as grout.

The initial goal after the first impression of the site was to bring people up close to the grout. The piles of wasted material have an aggressive impact on the landscape where they are placed. Large, jagged, 1-2 ton gray rocks overwhelm the landscape surrounding both active and abandoned quarries. Where the piles of grout have been for a while, trees and greenery start to push its way back through the wasted material.

Through tests of piling and removing modular pieces of acrylic, voids are developed. At full scale, people can occupy the space where grout was removed, forcing a close interaction with the monstrous piles of grout. By creating an interpretation center that is a void in the grout pile, it will force people to be face to face with the mess humans have created in digging into the Earth and discarding piles of “scrap.”

The pieces that were removed can be used to develop a retreat center. In the same formation as the void in the pile of grout, the building is enveloped by the rock. Close connections to the grout such as rooms with glass walls, balconies throughout the building, and a lower level with light wells and a pool are developed in order to create a serene, earthy environment where people can escape the chaotic tone of reality; a reality where people discard unwanted things in large piles.

DN

UP

Entry LEvEL

SEction

SitE PLan

Graduate Architectural Design Studio | FALL 2021 ARCH 515

Hypogeans

Work by: Jessica Raccio Professors: Rubén Alcolea

CONURBATION DECAMPMENT Located on the currently unoccupied site on the intersection of South Broad St. and Washington Ave, the project seeks to create a zone of nature within the urban. The design will allow for an escape from the built world into a world connected to and surround by natural beauty, creating an interconnected community between not only the human occupants of the project but with the animal visitors as well.

The project will primarily seek to transport occupants from the urban sprawl of Philadelphia into a fantasy world of green, creating a relaxing atmosphere separate from the stresses of city life and educating visitors about living lives more connected with the natural world. Within the site a variety of retail spaces are offered including sit-down restaurants and smaller café like spaces kept along the lower levels of the project, the remaining upper floors split the project into two towers of program, an office space kept along the main streets of the project and a second residential tower along the smaller streets to the north of the site. As well, the project holds within an aquaponics system that utilizes the raising of tilapia and the waste they produce throughout their lives to provide the required nutrients for the optimal growth of the different plant species found growing throughout the project.

In an ideal world the project will play a major role in the day to day lives of guests and members living within, connecting the community directly with the production of the food they are consuming. Being able to produce a variety of edible species throughout the different climate zones found around the site.

The design seeks to facilitate this growth throughout, by providing a variety of climatic zones created through different levels of sun exposure and temperature regulation, this element of the design was also used when planning program using higher densities of shading elements to create the required privacy for residential spaces. The outer most layer of the project is a large scaffolding like structure designed to be consumed by growth, the majority of the structure will be covered in a variety of species of ivy creating the enclosed world of green. This layer will also be responsible for climatic control regulating its density to allow for more or less sun exposure while also serving as structure for the project’s solar capacity. This is also the space within the project that will serve as habitat for the non human species in the local area providing a separated space for them while also providing easy-to-reach nutrients for a variety of wildlife. The outer skin of the direct building primarily seeks to provided increased shading and create a feeling of privacy and shelter for residents of the project, the layer does this while quite literally allowing individuals to reach out and interact with the outer green wall. Included also in this layer is the series of stepping roof gardens and landscaping elements within the project. These spaces provide the community space for recreational activity, farming, and holds the primary elements of the aquaponics fish system. The final layer is found enclosing the inner courtyard of the project making up the portion primarily responsible for interacting with occupants and getting them to think about the production of food and living more sustainably. The layer is used to showcase the aquaponics system throughout the project allowing for a variety of species to fill the inner space with life and remind residents of the ecosystem in which they are living within.

North-Facing Elevation

Main Intersection Render

South-Facing Elevation

Skin & Climatic Response Animation

Render: EXTERIOR SHOT 1

Render: EXTERIOR SHOT 2

Render: EXTERIOR SHOT 3

Render: EXTERIOR SHOT 4

Animated Fly-Through Render

SECTION 1: MAIN COURTYARD

SECTION 2: SIDE COURTYARD

Model photo: Courtyard shot 1

SECTIONAL AXON: WINTER

SECTIONAL AXON: SPRING

SECTIONAL AXON: SUMMER

SECTIONAL AXON: FALL

Diagram: massing modeling Model photo: Courtyard shot 1

Model: looking into the courtyard

Model: courtyard looking upwards

Model: south face

Model: perspective shot

SITE AXON: Conurbation Decampment 1st iteration model: shot facing SE

1st iteration model: shot facing NW

1st iteration model: Plan View

SITE AXON: Conurbation Decampment

1st iteration model: South Face

Graduate Advanced Architectural Design Studio | FALL 2021 ARCH 515.02 & ARCH 515.03

CONURBATION DECAMPMENT

Work by: Caleb Hayward and Doug Brown Professors: Nate Fash and Olga Mesa

THE URBAN FOREST The Urban Forest, located along the Delaware River in Philadelphia, creates a locus for a wide array of bird species, bees, and humans to exist and interact symbiotically.

Through the introduction of plant species that encourage bird and bee populations, these species coexist with humans via a vegetative skin.

DESIGN CONCEPT DESIGN CONCEPT

AMERICAN GOLDFINCH

BALTIMORE ORIOLE

YELLOW-RUMPED WARBLER

YELLOW WARBLER

CAROLINA WREN

HOUSE WREN

INDIGO BUNTING

NORTHERN MOCKINGBIRD

TREE SWALLOW

WOOD THRUSH

A HOME FOR BIRDS, BEES, AND HUMANS A HOME FOR BIRDS, BEES, AND HUMANS

There are three primary conditions which occur on the site: a double facade with a textured CLT paneled wall and vegetative skin, stepped green roofs, and suspended courtyards. The double facade occurs on the tall, tower buildings and incorporates a textured wall creating “cubbies” for birds nests, bird boxes, bee hives, and windows; a balcony; and a trellis system for Creeping Virginia to expand across. Apertures in the vegetation allow for unique views into the depth of the skin and out to the cityscape of Philadelphia. The stepped green roofs create horizontal ecosystems for larger vegetation, such as trees, bushes, flowers, and grasses. These roofs create a series of datum points on the site focused on plant diversity in which the bees and birds depend.

Additionally, the vegetation acts as a carbon sink - helping to combat climate change and heat island effect - and produces oxygen, absorbs sound from the highway which cuts across the site, provides shade and insulation, and creates a dynamic, healthy environment for humans.

BIRDS

BEES

BIRDS

BEESHUMANS

BRIDGING & COURTYARDS

STEPPING URBAN CANOPY

PURPLE FINCH

RED EYED VIREO

BLUE JAY

OPENINGS = VIEWS

SCARLET TANGER

Finally, the design occurs across several suspended ground planes connected by bridges and ramping. These ground planes and courtyards create break points in the site to allow for a change in ecosystem. As such, there are three defined zones on the site: the urban zone, with hardier, smaller trees, bushes, vines, and locations for birds to nest and eat; the edible zone with edible plants, community garden plots, community bee hives, and a greenhouse; and the riverside zone with a focus on bee friendly plants, wildflower meadows, native bee houses, bee hives, larger trees, and water access.

AMERICAN BEECH

AMERICAN BASSWOOD

EASTERN WHITE PINE

AMERICAN ELDBERRY

RED MAPLE

SERVICE BERRY

PAPER BIRCH

NORTHERN RED OAK

HICKORY

AMERICAN HOLLY

LACEBARK ELM

CRABAPPLE

TULIP TREE

HAWTHORN

AMERICAN HORNBEAM

RUBY-THROATED ROSE-BREASTED AMERICAN ROBIN GREEN WALL= HUMMINGBIRD PLANTER BOXES +CABLESGROSBEAK

BLACK & WHITE WARBLER

BLACK THROATED BLUE WARBLER

CHIPPING SPARROW

CAROLINA CHICKADEE

COMMON YELLOW THROAT

DARK EYED JUNCO

WHITE THROATED SPARROW

HOUSE FINCH

GRAY CATBIRD

CARDINAL

SONG SPARROW

EASTERN BLUEBIRD

HUMANS

LILAC

HONEY BEES

ABELIA

PUSSY WILLOW

BUMBLE BEES

BLUE BORAGE

MONARDA

MASON BEES

CROCUS

LAVENDAR

BLACK CLAPPED DOWNY WOODPECKER CHICKADEE

WHITE-BREASTED NUTBATCH

STEPPING URBAN CANOPY

BRIDGING & COURTYARDS TEXTURED WALL = NESTING

CHIVES

TUFTED TITMOUSE

SPICEBUSH

ARROWWOOD VIBURNUM

EASTERN RED CEDAR

JUNIPER

SUMAC

EASTERN HEMLOCK

WHITE OAK

BALCONIES & GREEN WALL

TREES THAT ATTRACT BIRDS + THRIVE ON GREEN ROOFS

Adjacent to Philadelphia’s Center City, The Urban Forest houses a hotel, retail space, restaurants, community spaces, a farmer’s market, and a museum inviting both locals and tourists to interact with its dynamic, living environment. The seasonal cycles of the birds, bees, and vegetation create an ever changing skin where colors, geometry, smells, and sounds evolve throughout the course of the year as the skin blooms, nests, pollinates, berries, and dies. The double facade, stepped green roofs, and courtyards invite humans and species to symbiotically cohabitate within the depth of the skin.

OPENINGSNJ=TEAVIEWS VIRGINIA

MULBERRY

CREEPER

FOXGLOVE

LEAF CUTTER BEES

CARPENTER BEES

VEGETATION THAT ATTRACT BEES

GREEN WALL= PLANTER BOXES +CABLES

TEXTURED WALL = NESTING

BALCONIES & GREEN WALL Axonometric of River Zone

Axonometric of Urban Zone

Axonometric of Community Building - Edible Zone

Render - Urban Zone

Render - Balcony View

Scan Me

Animation Axonometric

Render - Skywalk betweeen Edible Zone and River Zone

RAILING CAP CLT 3 PLY WITH WEATHER PROTECTION FINISH

FARMERS MARKET

IVY PLANTER SOIL - 11” FILTER FABRIC/ROOT BARRIER - .5” DRAINAGE - 1“ PROTECTION MEMBRANE - .5”

IRRIGATION SYSTEM SPRINKLER SYSTEM USING RECYCLED/HARVESTED RAINWATER

GRAVEL

BIRD NESTING BOXES - RAW, WEATHERED WOOD - SLANTED, WOOD OVERHANG ROOF, - WALLS WITH VARYING HOLE ENTRIES (NO WALL, 1 1/4” - 3” HOLE) - SMALL VENTILATION HOLES - BASE LOCATED ABOUT 5” BELOW OPENING

COMMUNITY GARDENING

COMMUNITY SPACES

DRAINAGE AND PROTECTION FROM SOIL EROSION

INTENSIVE SOIL 5’ HOTEL

RESTAURANT

FILTER FABRIC AND ROOT BARRIER DRAINAGE 1 1/2” WATERPROOF MEMBRANE INSULATION 6”

RETAIL RESTAURANT

MUSEUM

CLT 9 PLY SUPPORTS

OFFICE

Green Roof Construction Detail

Textured Wall Detail

Human Program Diagram

Render- Stepped Greenroof in River Zone

DETAIL - SHOWING COMMUNITY GARDEN GREEN ROOF

CALE 1/2” : 1’

Longitudnal Site Section

Graduate Architectural Design Studio | FALL 2021 ARCH 515.02 & ARCH 515.03

Render- Suspended Walkway

The Urban Forest Work by: Carlye Cording and Rebecca Thompson Professors: Nate Fash and Olga Mesa

The

CRATER Pavilion

Situated east of GHH near the waterfront at Roger Williams University, this pavilion is meant to deliver not only a quality sound experience, but also an otherworldly visual experience to the visitors.

SITE SECTION

The orb exterior is clad with rippled stainless steel that is seamlessly welded together. The interior cuts achieve its glowing effect using white acrylic solid surface which can be lit from behind with color changing LEDs. It is meant to feel like a foreign object that evokes curiosity and invites visitors towards it.

BIRD’S EYE VIEW

CONCEPTUAL SKETCH SECTION

CONCEPTUAL RENDERING

FIRST FLOOR

SITE PLAN

THIRD FLOOR

SECOND FLOOR

CONCEPT DIAGRAM

The CONCEPT SKETCH

ORB

nd

t Isla at Goa

The Orb is a performance hall meant to evoke a sense of curiosity within the visitors. Conceptually, the orb (performance hall) is trying to break free from the concrete box that it has been housed in.

This creates openings, or fissures in the concrete where you can see the orb within.

It is situated on the site where the “landing site” of the concrete box is located. There is a pool of water that the box sits in when landed, the water is meant to be a flood mitigation strategy as well as a reflective surface. The pentagon shaped perimeter of the pool it sits in was designed to direct movement through the site and to the viewing spot at the end of the existing pier.

The orb, not having too much acoustical value on the interior, was then fitted with an independent structure and interior shape that works well acoustically. This independent interior is then carved with holes to allow the visitors to see the orb from inside it, and allow for some sound to exit and reverberate in the space between, creating a fuller sound.

SITE PLAN

Design Concept Takeaway: Exterior and interior conditions have extreme contrast CONCEPT SKETCH

Design Concept Takeaways: Fissures or breaks in facades that hint at interior performance space language

ELEVATIONS

Graduate Architectural Design Studio | FALL 2021 Graduate Advanced Architectural Design Studio | Fall 2021 ARCH 515.04 ARCH 515.04

RAY TRACING DIAGRAMS

Work by: Olivia Mora

Work by: Olivia Mora

Professors: Peter Kleiner, Warren Schwartz, and Jon Trafficonte

Professors: Peter Kleiner, Warren Schwartz, and Jon Trafficonte

Green Loop

By Delana Erickson and Michael Donovan

The “Green Loop” aims to create a sustainable energy system through a direct food-to-people, waste-to-compost cycle. Components of the site work to achieve this like the large hydroponic farm with an undulating green park above, four apartment buildings with scaffolding-like facades for individual plant growing, a plaza connecting the site from the City Centre, a boardwalk, food markets, a restaurant, composting center, and a small forest. Located along the Delaware River in Philadelphia, the 675,000 square foot site offers a biophilic, energy efficient oasis within the densest part of the city.

The biggest staple to the site is its 3,667,320 cubic feet hydroponic farm supplying plenty of fresh and local food to the city. Hydroponic farming is a viable way of growing large amounts of crops without the use of soil.

The plants are embedded within a long tube or tray and can stack great heights, creating higher yields in smaller square footage.

The hydroponic roof consists of a park with 10 undulating grass and hardscape “strips” that continue across the whole site. Between the strips rests 4 apartment buildings that have a 3-D facade made up of 3’ x 3’ wooden boxes to plant herbs and crops inside. These boxes are accessed from residents’ individual apartments. Sunken courtyards rest between the apartments and park at the farming floor. The residences connect to the farming through the plant beds extruding all the way through the apartment building’s core, allowing residents to also interact with the hydroponics directly.

Along the site’s left edge, there is a plaza with food markets that slope up and connect to the undulating strips across the site. The food markets supply food from the hydroponic farming below and are accessible above for picnics.

Along the waters edge the strip motif continues through variation of materials from a wood to gray pavement containing water fountains, spaces to sit, a restaurant, and a look inside the hydroponic farming.

The river’s edge is softened through the implementation of marsh and grass before running into the boardwalk.

Overall the site connects its various programs big and small to construct a successful sustainable energy system within Philadelphia.

6

1. Market

4

1

2. Park 5

3 3. Park Strips 2

4. Outdoor Proformance Space

5. Water Front

8

6. Composting Site 7

7. Urban Farm

9

8. Quartyards

9. Water Feature

What is hydroponic farming?

A farming system that only needs water, oxygen, and nutrients for crops, not soil needed. Hydroponic farming is typically arrayed in a tubing or tray system stacked however high necessary increasing square footage.

Benefits

The Agriculture Crisis

- Faster growing rates

- 33% of the food goes to waste

- Higher yields - Requires less space and higher water efficiency - Requires no soil

Creates 25% higher yields than a regular farm

- Nutrient-rich solution used to feed the plants

- Agriculture consists of 17% of the earths green house gasses - 795 million people are undernourished

Less food waste

Food grown year-round despite climate

- Indoor and outdoor capabilities - 90% less water - Improved with new LED technology

Uses 90% less water

Graduate Architectural Design Studio | FALL 2021 ARCH 515.02 & ARCH 515.03

Overall more sustainable

Green Loop

Work by: Delana Erickson and Michael Donovan Professors: Nate Fash and Olga Mesa

UNWIND

This Concert Hall located on Goat Island in Newport, RI engages visitors through its eccentric curves, but elegant facade. Creating an experience, through circulation and pathways, allows for visitors to explore the hall and the site in many different ways. The building sits on the site where public and private are separated through a glass walkway, emphasizing the importance of the performance space from public use. The pathway creates an axis with the dock, and intrigues visitors through the direct connection to the bay and Newport. The placement allows for this infinite path and connection form interior to exterior, bringing visitors through the exterior space and drawing them in an around to fully experience the space and structure. While the structure separates the different programmatic elements, the interior and exterior connect through spaces throughout the structure, and push for interaction through social engagement and experience of the space.

Goat Island Concert Hall

A continous ramp symbolizes the unwinding path through the structure, allowing for a constant experience from exterior to interior, and pushing for interaction between spaces. The separation of the two building - public space for use all year round and private space specifically for the function of the performance space. The building winds into different levels, allowing for access to viewtop areas as an experience getting into the music hall and through the structure. As the circulation space draws visitors around the building in a specific way, the exterior peels off in different ways, creating a monolithic exterior facade that falls off and intertwines with the circulation and the people. In creating this winding path, it pushes for public spaces to become places to gather, socialize, and enjoy the views across the bay as well as create

Axis to Water

North Elevation

Circulation Ramp

East Elevation

South Elevation

Site Plan

Exterior Facade Connection

UNDER THE ARCH Roger Williams University Outdoor Concert Pavilion

Under the Arch, located on Roger Williams University Campus, serves as an open, freestanding pavilion for educational, social, and music use. The natural environment, characteristics of the ocean and topography led to the development of an simple, elegant curve that wraps the site, creating a monumental structure. Sitting low on the hill intrigues viewers walking along the path through color and shape, while inviting people in through multiple pathways. The curve is supported by a lightweight fiberglass structure, supporting sustainability through the use of local production, right in the heart of Bristol. Both curves work in tandem to create an acoustically efficient space. The pavilion’s color and shape stand out amonst the other buildings on campus, sweeping across the landscape and leading the viewer focus toward the beautiful view of the bay.

Graduate Architectural Design Studio | FALL 2021 ARCH 515.04

Unwind Concert Hall | Under the Arch

Work by: Kylee Simpson Professor(s): Warren Schartz, Peter Kleiner, Jon Traficonte

top floor scale = 1/16’ = 1’

floor 3 scale = 1/16’ = 1’

PRACTICE

PERFORMANCE SPACE

PRACTICE

section 2: PAC scale: 1/8” = 1’

PRACTICE

PRACTICE SOLO

PRACTICE SOLO

floor 2 scale = 1/16’ = 1’

TOWNHOUSE FLOORPLANS

FLOOR 3

3

MEETING

1 2 3 4 5 6

5

2

1

6

4

BALCONY LIVING ROOM STORAGE/ FLEX CLOSET BEDROOM 2 WALK IN CLOSET

OFFICE

FLOOR 2

MEETING

3

1

1 2 3 4 5

4

2 5

OFFICE HALLWAY MASTER BATH MASTER BEDROOM WALK IN CLOSET

floor 1 scale = 1/16’ = 1’ 4

3

2

FLOOR 1

7 6

1 5

1 2 3 4 5 6 7

PATIO DINING KITCHEN PANTRY FULL BATH 1 BEDROOM 1 WALK IN CLOSET

+1’ - 0”

CAFE

DINING

2 1

LOBBY COMMERICAL

COMMERICAL

COMMERICAL

COMMERICAL

3

ENTRY FLOOR 1

VESTIBULE

2

HALF-BATH

3 MECH ROOM

LOBBY

ground floor plan scale = 1/16’ = 1’

Graduate Architectural Design Studio | SPRING 2022 ARCH 515.01

SOWA P.A.C

Work by: Doug Brown Professor: Hacin + Associates

PROGRAM DIAGRAM

THE HUB ON PERRY WEAVING THE SOUTH END

The Hub on Perry St, located in the South End of Boston, aims to weave the different cultures of the south end together in one community oriented space. More directly, the site provides for the adjacent park, as well as the proposed townhouses, apartments, and hotel. The building is organized with an open first floor plan full of public space, as well as two bookend buildings that serve the community.

The bookend buildings feature a modern glassy facade. These more sculptural buildings speak to the community and illustrate their welcoming program. Raised in the center are townhouses with a more solid facade relating to the classic south end townhouse typology. The townhouses in my design are upscale single family dwellings, each with 3 bedrooms. These are designed to help pay for the community program. Facing the park is an expansive market and restaurant building. Under the townhouses is a mix of the market and art space with an artisan market for different artists, chefs, and bakers. Facing SOWA is a large gallery building to strengthen the arts district.

The facade treatment and structure attempt to accomplish an array of tasks. The arched structure recalls the docks that filled the area before the South End was filled in. These symbolize a connection or bridging of cultures. The openness and warmth they provide on the ground floor creates a welcoming facade. The sculptural fins aim the views from the bookend buildings, while reflecting light inside, and back down into the woonerf and laconia path. The light brick treatment of the townhouses references the brick townhouses of the area while still introducing an airy ambiance.

VIEW DOWN PERRY FROM WASHINGTON ST. (PROPOSED)

VIEW FROM BAR ON TOP FLOOR OF MARKET

VIEW INSIDE GALLERY

HARRISON AVE.

WASHGINTON ST.

VIEW DOWN PERRY FROM WASHINGTON ST. (EXISTING)

SECTION (EAST TO WEST) TOWNHOUSE 1 GALLERY

TOWNHOUSE 2 FOOD MARKET

GALLERY ARTISAN MARKET

FOOD MARKET

WA

SHG

INT ON

ST.

HAR RISO

NA

VE.

TYPICAL PLAN

GROUND FLOOR PLAN

Graduate Architectural Design Studio | SPRING 2022 ARCH 515.01

VIEW FROM PETERS PARK LOOKING AT COMPLETED MASTERPLAN AT THE JUNCTION OF SITE A (RIGHT), B (MIDDLE), AND SITE C (LEFT).

THE HUB ON PERRY STREET

Work by: Caroline Keller Professors: David Hacin, Joshua Lentz, Matthew Manke of Hacin and Associates

Samboende:Cohousing Project Inspired by Alvar Aalto’s Baker House found on MIT’s campus, Samboende not only encompasses the curve but interprets the Bostonian Brownstone on a larger scale. The curve not only is reminiscent of past and surrounding structures but it allows for a bay window to each unit providing a unique view from each window onto the Boston Harbor. In between the spaces created by the housing units are areas of tranquility that reach out to the surrounding neighborhood, inviting all that pass by to enjoy the spaces between. These spaces also act as a refuge for native plants to thrive and collect water for the community. Samboende is an urban oasis for those who live there and who wish to escape the fast-paced life of East Boston.

Parti

Wall Detail TYPICAL GREEN ROOF ASSEMBLY -BONNET EROSION CONTROL FABRIC -SOIL -FILTER FABRIC -DRAINAGE MAT - MOISTURE MEMBRANE -RIDGED INSULATION -CONC.ROOF DECK GRAVEL

SECTION 1/16”=1’0”

T.O. PARAPET 115'0" T.O. ROOF 109'0"

Programmatic Diagram

TYPICAL WALL ASSEMBLY - STUCCO -SELF-FURRING METAL LATH -AIR/WATER/VAPOR BARRIER - RIDGED INSULATION -3/4" EXTERIOR OSB SHEATHING -INSULATED MTL. STUD WALL PANELS -STEEL STUD -1/2" GYPSUM WALL BOARD

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TYPICAL FLOOR ASSEMBLY - 3/4" SOLID OAK FIN. FLOOR - 3/4" OSB SUBFLOOR - 6 1/2" CONCRETE FLOOR ON STEEL DECK - 5/8" PTD. GWB FIN. FOURTH FLOOR 95'0"

Image caption

OPERABLE WOOD LOUVERS MOUNTED TO ALUM. WINDOW BRACKETS

Plaza Render Community Center Cafe Office Retail Child Care Center Green House Restaurant

FIN. THRID FLOOR 95'0"

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UP

Total Units:47 Flors: 4 Embedded Units Loft: 5 2 Bedroom:5 3 Bedroom:4 Non-Embedded Units Studio: 11 1 Bedroom:13 2: Bedroom: 7 3 Bedroom:2

DN

DN DN DN

DN DN

UP

DN

UP

UP

UP

UP

UP

Exterior Render

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THIRD FLOOR 1/16”=1’0”

R E TA I

L

UP

RET

AIL

UP

R E S TA

UP

URANT

UP UP

UP

UP

UP

UP

UP

UP

UP

UP UP

UP

Child Care Center

UP

UP

UP

BIKE STORA GE

UP

GROUND FLOOR 1/16”=1’0”

SOUTH ELEVATION 1/16”=1’0”

Graduate Architectural Design Studio | SPRING 2022 ARCH 515.02

Samboende:Cohousing Project

Work by: Nicole Casler Professor: Maryann Thompson Architects

DRAWING ECOLOGY: SAN FRANCISCO At first glance, it would seem that mapping is a straightforward task, and it certainly can be perceived in that fashion if one is to focus only on that which is easily seen. It is relatively easy, for example, to map a change in geography, the physical relationship between buildings, or a water’s edge as it relates to a land mass; however, things are often connected in meaningful ways even when they do not share a proximity or physical relationship, and the way of mapping this narrative is the challenge. In the work throughout the semester, a better understanding of how to research, discover, and elaborate on these non-tangible connections was discovered. The design perspective has changed in the way highlighted above; one must learn how to reconsider the act of mapping. With regard to representation, one must learn how to devise a number of mediums in a non-traditional way to develop relatable and communicative drawings. For example, instead of using a strictly two-dimensional image to create a map, some of the example’s blend in images of perspective/axonometric as a means

to evoke different emotions. In the A4.3 map, this quality and the use of 3D perspectives heighten the effect of the digital web.

The livelihood of San Francisco is much more complicated than one might expect. My research demonstrated that there is a striking dynamic in the attitude of the place. The city is progressively technological, built on a foundation of the digital world and associated companies, yet for as advanced as it proposes to be in the near future (as a “smart city”), there is an immense issue of homelessness and poverty. On top of this, the city represents a human endeavor to artificially manipulate land and to expend resources for means which do not address issues of climate change.

Culturally, the city of San Francisco is very vibrant and strong. There is equally a beautiful array of native species; however, in order to protect these natural landscapes the city must take steps to bridge both worlds in a nondestructive way.

ARTIFICIALLY NATURAL

Drawing Ecology In The Architectural Landscape | FALL 2021 ARCH 530

Drawing The Ecology of San Francisco

Work by: Sean Smith Professor: Leonard Yui

Effects of the Modernizing World: Finding a Modern Japanese Architectural Style

ABSTRACT

Louis Kahn’s Expression of Community Through Architecture: The Trenton Bath House

ABSTRACT

Course: ARCH 576 Theoretical Origins of Modern Architecture Work by: Sean Smith Professor: Gail Fenske

Course: ARCH 576 Theoretical Origins of Modernism Work by: Delena Erickson Professor: Gail Fenske

The Ames Building: A Reflection of Style in the Late 19th Century

Course: ARCH 577 Skyscrapers Work by: Meghan Rodenhiser Professor: Gail Fenske

Mid-19th century Japan witnessed immense cultural, political, and economic change; the catalyst of which was a new stance on the nation’s relationship to the world, and it’s opening up to Western influences. Western traditions of theory and ideology, especially relating to the realms of art, seeped into and arguably disrupted Japanese architectural design, representing a very critical point of discourse from tradition. Notably, the dramatic adoption of new materials and construction technique was intentional. The Meiji government funded a movement of schooling, collaboratively led by Western teachers and theorists. Ultimately, all of this results in a very unique inquiry amongst Japanese architects of the time to find a moral equilibrium between that which had defined their traditional architecture and the new elements of an increasingly relevant and rapidly modernizing world. It is the intent of the paper to explore these issues and to develop an understanding of when and how Japanese architects began to seriously define their own modern and future architectural style in the face of many imported influences and pressures.

Past research suggests that Louis Kahn’s Jewish and immigrant background separated his work from others, as he took a more respectable stance within an increasingly diverse American era. My research focuses specifically on his mid-20th century creation – Trenton Bath House –whereby we can establish a relationship between the architectural techniques employed by Kahn and the significance of community in the post-war era. It is in Kahn’s 5,000 square foot bath house that he provokes sensations of freedom, connectedness, and purpose through his open-air layout, and expresses lightness and airiness through the manipulation of the roofs and walls. This paper further explores the architectural elements that Kahn applies to “the room” and the subsequent impact that it had on society. The intention of building community within this space was deemed timeless a decade later when information on the Holocaust was brought forth. To this day, the bath house serves as a memory to the Holocaust and as an architectural landmark to the Jewish community within Trenton.

ABSTRACT The Ames Building was once the tallest in the city of Boston, sitting prominently at the corner of Court and Washington Streets, in the heart of the financial district. Constructed in 1893, it is known for being Boston’s first skyscraper and is the second tallest masonry building in the United States, surpassed only by Chicago’s Monadnock Building.

The designers of the Ames Building were Shepley, Rutan & Coolidge; the preeminent architecture firm in the city at that time, and former associates of Henry Hobson Richardson. Richardson was not only the designer of such well-known Boston buildings as Trinity Church and Sever Hall, but was a major influence to the Chicago architects who would push the skyscraper to new heights. When Richardson passed away in 1886, Shepley, Rutan, and Coolidge took over his practice and began to produce architecture across the city. The design of the Ames Building is a reflection of both Richardson’s influence over the young architects and the emerging styles of the time.

Theories of Architecture | FALL 2021 ARCH 576 - Theoretical Origins of Modernism & ARCH 577 - Skyscrapers

BLOSSOMING FRAMEWORK BLOSSOMING FRAMEWORK ADV. COMPUTER APPLICATIONS

PAVILION DESIGN

PAUL BRYANT X MITCHELL DASILVA

SCAN ME

ANIMATION

Graduate Advanced Computer Applications | FALL 2021 ARCH 587.01 | PAVILION

BLOSSOMING FRAMEWORK Work by: Mitchell DaSilva X Paul Bryant Professor: Olga Mesa

BIOPHILIC DESIGN IN FLINT, MICHIGAN EMERGENCY NEWS CAST: “Breaking news. UFO’s were recently spotted flying around Flint, Michigan this morning. They seem to be hovering above General Motor’s abandoned car manufacturing plant.

People around the area are currently panicking and have been ordered to evacuate the city. As you can see in our live footage, the mysterious forms are now landing all across the hazardous waste, abandoned buildings, and sewage. It seems like they are attaching themselves to the ground, and around the Flint River. Some reporters and scientist are claiming that these “space ships” closely resemble the look of algae particles, specifically Pediastrum, a plant species known for its miraculous abilities to filter toxins out of a

SITE IDENTIFICATION FLINT, MICHIGAN - The Abandoned

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body of water.

New footage is revealing that these foreign entities are actually cleaning the river and local environment, at unprecedented rates. Within the last few hours, the once toxic and inhabitable

wasteland has turned into a natural oasis. Plants are blossomed, birds are chirping, and the river is clear. People are beginning to return back to their home, astonished on how they can finally breath clean air and are now home to this Utopian environment.”

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SCAN QR CODE FOR ACCESS TO THE RECORDED FOOTAGE

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Graduate Advanced Computer Applications | FALL 2021 ARCH 587.01

The Invasion That Saved Flint, Michigan

Work by: Amanda Mueller Professors: Olga Mesa

Tête a tête...a tête The design of this chair was inspired on the Tête-à-tête chair by John Henry Belter. Instead of a two part, the team decided to make a three-part conversation chair. Each part is slightly different to respond to the views granted by its immediate context and to opportunities granted by the fabrication method. The waffle construction allowed different moments like cobbyholes, footrests, hooks etc. on each part to be designed. This furniture piece integrates a flat surface that acts as a table. It is sited at the cross between the corridor and the entry way at the SAAHP building.

Rhino and grasshopper were used to model, render, test and generate the fabrication files. Laser cutters, powderbased and filament 3d printers were used to explore iterations to scale. A Computer Numerically Controlled router (CNC) was used to cut 3 sheets of 3/4” 4’x8’ baltic birch plywood. These profiles were assembled as a waffle structure to create the final piece.

Dough Brown, Noah Scavetta and Felicia Timpano Views of 3d printed model Inspiration: Tête-à-tête chair by John Henry Belter

Render of chair design

Drawings of chair iterations

Detail of assembled chair in its 3d configuration

CNC fabricated plywood pieces laid out flat

Waffle chipboard model at 1/4” = 1’-0” and waffle drawings

Assembled chair in its 3d configuration

Assembled chair in its 3d configuration

Graduate Elective Digital Manufacturing | WINTER 2022 ARCH 588

Detail of CNC fabricated plywood pieces laid out flat

Tête a tête...a tête

Work by: Doug Brown, Noah Scavetta and Felicia Timpano Professor: Olga Mesa

Project 1: Design a chair to Think, Rest, Play or Study Like many everyday objects, chairs integrate form and function while reflecting the values and technologies of the time in which they were made. Chairs have the particular characteristic of engaging most of our body as we occupy them. The different postures that chairs allow our bodies to take, make them objects appropriate to a variety of settings and programs. An office chair, a dining chair, a chase longue and a rocking chair have specific ergonomic parameters in response to the activities and moods involved in thinking, resting, playing, studying or socializing. Yet there are numerous examples of any one of these types, standing as objects of expression through form, material choice and technologies.

As Charlotte and Peter Fiell wrote: “More than any other piece of furniture, the chair has been subjected to the wildest dreams of the designer. The particular curve of a backrest, or the twist of a leg, the angle of a seat or the color of the entire artifact; each element reflects the stylistic consciousness of an era.” It is not surprising that many architects have designed chairs and that these stand as icons of their design ideals and sensibilities.

Choose one of the precedents below for inspiration to design a chair to be fabricated using computer aided technologies. Consider how you intend to use the chair, how it relates to the human body and how it is meant to be appreciated. The chair that you design should be site specific, so you are asked to choose a location within the SAAHP building to exhibit your piece.

Inspiration: Gemini Alpha by Neri Oxman

Rendered drawings

Olga Mesa

Coincidentia Oppositorum Chair. The Unity of the Opposites In this project our objective is to design a bench that contains habitable qualities. A multipurpose bench that can serve the vestibule entrance of the architecture building at RWU. The inspiration behind the bench design is taken from the passion fruit and the chaise long titled Gemini Alpha by Neri Oxman. Our bench design has an organic shape which allow users to lay down or take a seat while at the vestibule, in the following slides, the drawings and renderings show in greater detail our design intentions. The bench has a dimension of 10 feet is length by 2 feet 8” in width and can hold two to three person at a time.

Inspiration image of passion fruit

Waffle drawings

The piece is located at the Roger Williams University School of Art, Architecture and Historic Preservation vestibule entrance. The concept implements the idea of experiencing the inside and outside potential views of this particular entrance.

Rhino and grasshopper were used to model, render, test and generate the fabrication files. Laser cutters, powder-based and filament 3d printers were used to explore iterations to scale. A Computer Numerically Controlled router (CNC) was used to cut 8 sheets of 3/4” 4’x8’ baltic birch plywood. These profiles were assembled as a waffle structure to create the final piece.

Alessandro Pinto & Luigini Luc and fabricated in collaboration with Sam Nasby & Chelsy Luis.

3d printed model

Waffle models scale: 1/4” = 1’-0”

Waffle models to scale

Fabrication templates ready to be cut with CNC router

Process of fabrication

Assembled chair in its 3d configuration

Digital Manufacturing | WINTER 2022 ARCH 588

Assembled chair in its 3d configuration

Design by Alessandro Pinto & Luigini Luc and fabricated in collaboration with Sam Nasby & Chelsy Luis Professor: Olga Mesa

Statistical Analysis of Economic Activity

The following data is mainly sourced from Esri, which provides ArcGIS, a data and analysis tool used to perform statistical analyses of economic activity. Esri's Community Analyst produces data reports and infographics to demonstrate data trends. Their partners in collaboration to provide this data include: American Community Survey (ACS), Current Population Survey, Esri, GfK MRI, Data Axle, Local Area Unemployment Statistics, Occupational Employment Statistics, and Current Employment Statistics programs. The vintage of the data is 2015-2019, 2021, 2026. US Census Tracts in this study include 106, 107.01, 107.02. These census tracts include 13 block groups.

Population trends are useful for analyzing and predicting cause and effect of population change. In the sense of population decline, it is important for a city to keep a focus on the responsive decline of investment and an incline in abandonment. An area that is expected to experience a population incline would benefit from analyzing the labor force and housing availability.

An increase or decline in population indicates the housing demands of the community. In general, providing more housing opportunities for a younger population of residents, can offset the rising costs which are often associated with an older population of residents. Furthermore, a growth of residents means more people to share the costs of government services and capital investments, rather than leaving these costs shared among a smaller number of residents over time.

In studying the housing trends of Riverside, the most typical home value in the Square is between $200,000 and $249,999, as represented in. The data also shows the majority of Riverside has a higher home owner occupancy rate compared to the entire Providence County.

Esri Marketing Profile

The Marketing Profile shows a population of 12,955, a median household income of $71,098, and average household size of 2.2 persons. The Age Pyramid chart is useful in understanding the number of currently employed individuals versus the individuals who are either dependents or elderly, in either case likely not to be employed. The smallest demographic group is males aged 80-84 and the largest group is females aged 60-64. Key household facts and age demographics provide an understanding of how spending trends reflect certain demographic groups in Riverside.

The Marketing Profile infographic includes annual household spending which is highest among hardware, apparel, eating out, groceries, and health care.

The infographic includes an Annual Lifestyle Spending tab which shows that Riverside residents prioritize their personal care products and services as well as their experiences such as going out for alcoholic beverages ("away from home purchasing alcoholic beverages"). Corresponding with these findings is the reality that only a few bars and personal care businesses exist within the Square. Additional findings support a lower expenditure on theatres, movies/ museums/parks and sporting events, but it is significant to understand that these events are not readily available in Riverside and residents are likely to spend this money in another town.

The Transportation To Work infographic shows that there are 4,057 Riverside residents who work in the same county which they live, compared to 1,506 Riverside residents traveling out of the county but still in Rhode Island to work, and 1,041 Riverside residents who travel outside of Rhode Island to work. In essence, the more people commuting within their county are likely to support the local business economy. These statistics also show traveling far for work is less of a trend for Riverside residents with the average travel time between 20-24 minutes. This suggests that the typical Riverside resident may travel less to get to work than they may travel to purchase clothing or groceries.

Transportation to Work

Additionally, the most frequent form of commuting includes 5,977 people driving alone to work while the least frequent form includes zero people bicycling to work. Keeping in mind that the bike path is an asset to the local community, the low number of people commuting to work via bike does not reflect the accessibility the bike path provides. There are 32 workers who report walking to work which would accommodate the short travel times and 83 workers taking public transit which would accommodate the lengthy travel times. Additionally, 107 individuals report working from home and 365 individuals report carpooling to work.

The Employment Overview infographic shows 248 total businesses and 2,119 total employees. This information gives a sense of the low employment in Riverside. Regarding the educational attainment of employed individuals, 30% of the population have a college degree, 29% have attended some college, and 28% have a high school diploma. The remaining 8% of the employed individuals have no high school diploma. The employment type in Riverside consists of 72% White Collar employees and 18% Blue Collar employees. Others are either a part of the 5.1% of individuals who are unemployed or within the 10% of employees in the Service. The commuters in

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R I V E R S I D E , EAST PROVIDENCE, RI 02915

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6. Consider extending the boundaries to revitalize the local economy.

The current proposed Riverside Square Mixed Use Overlay District puts emphasis on Bullocks Point Ave. at the south end of the district, veering away from the East Bay Bike Path. As the Bike Path is a primary route bringing visitors into the Square, Riverside businesses that are added with the addition of mixed use buildings may see more success if they actively engage with the Bike Path, in addition to Bullocks Point Ave. Similar to Union Burrito Restaurant, having business entries along the bike path with places to leave your bike, sit, or walk around, visitors passing through may feel more inclined to stop in the Square. Highlighting the most ideal locations for the proposed mixed use district to thrive, such as pop up stores/stands along the bike path and along Bullocks Point Ave, will allow the city to move forward with the greatest economic success.

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5. Encourage street markets, vending, and pop-up retail to offer commercial services, activate marginal spaces and help residents earn income.

By creating commercial events that encourage economic growth and bring community members together, residents can participate in selling their own goods and services which in turn keeps money local and allows residents to earn income. Commercial activity like flea markets, craft fairs, food trucks, or farmers markets could occur weekly or monthly, keep residents involved and engaged, and provide economic opportunities in Riverside.

The map Southern East Providence Generalized Land Use from the 2010 - 2015 Comprehensive Plan Update is a subsection of the greater East Providence area that had been zoned for land use plans to be implemented by 2015. The map highlights low density residential, medium density residential, and retail in Riverside Square with mixed use space zoned for areas on Bullocks Point Ave. The Commercial Land Use in Riverside and Vicinity map found in the 2017 Riverside Square Market Analysis takes a different approach to graphically represent land use in 2014. The map highlights specifically commercial and industrial spaces, placing dots throughout Riverside and beyond showing land use in surrounding towns such as Seekonk. This land use map shows that commercial spaces are denser in the Square than most of the rest of the town, but also that commercial spaces are minimal compared to the surrounding vicinity such as in Seekonk which contains a great deal of commercial spaces along route 114 and US 6. The map also highlights that there are not many industrial spaces within Riverside and no industrial spaces in the Square, suggesting that Riverside's economy relies more on commercial opportunities rather than industrial.

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The City of East Providence 2010 - 2015 Comprehensive Plan Update and the Riverside Square Market Analysis were referenced when compiling land use maps for Riverside. A map from the Proposed Riverside Square Mixed Use Overlay District was referenced as a future land use plan for development in Riverside.

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4. Revitalize and repurpose vacant and underutilized buildings and spaces within and around Riverside Square to align with the Mixed Use Overlay District, and provide opportunities for a more diverse retail landscape, and/or housing options.

One of the primary economic benefits for development is keeping funds circulating locally. By adding more mixed use destinations, Riverside will maximize its earning potential in the Square and bring in more residents. To achieve these development goals, emphasis should be placed on building partnerships with business owners, current and prospective developers, money lenders, and the city to generate start-up business types and take advantage of available financial resources.

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3. Incubate new business and sustain existing ones through the colocation of mutually supportive uses.

Micro-mixing allows businesses to buddy up which can help businesses grow incrementally and provide shop owners an opportunity to mitigate the high overhead costs associated with opening a new venture. Opportunities to mix businesses in a single space can come in a number of forms, such as small food establishments or coffee shops added within bookstores or bike repair shops.

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2. Develop promotion and communication tools for local businesses to share information with residents.

By keeping residents engaged and up to date with the development of businesses in Riverside, businesses have a better chance of success.

Promotion and communication tools could be distributed both virtually and physically. The creation of a town website highlighting each business in Riverside along with updates from business owners is a simple and efficient way to keep residents engaged. Additionally, more physical bulletins could be created in communal spaces around town to allow business owners the chance to post job opportunities and community events.

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1. Increase outreach efforts to help business owners understand financial tools available to them.

Entrepreneurs may have better success in establishing businesses in Riverside with more awareness of financial tools available to them.

For example, the city has low interest loans available to businesses in East Providence, up to $100,000, in addition to tax incentives such as a Commercial Tax Stabilization Program. The flyers provided at the Open House (Appendix) and the list of resources provided are examples of financial tools available to Riverside business owners.

The newly revised facade of the mixed use building at 275 to 279 Bullocks Point Avenue, and its sister building at 328 Bullocks Point Avenue are currently under development. The properties are being developed as mixed use buildings, but their program and business type have not yet been established. The development company, the Apiary, is making new storefronts that could be adapted into new restaurants, and retail stores.

Occupying these storefront locations could result in an uptick in economic activity.

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The mixed use overlay district emphases on Bullocks Point Ave. rather than along the East Bay Bike Path or streets running perpendicular to Bullocks Point Ave such as Lincoln Ave. which will generally remain residential based on the Proposed Riverside Square Mixed Use Overlay District map.

The clear outlier is the lack of retail services available in Riverside Square.

The only retail services found in the Square are a liquor store, a bait and tackle store and a convenience store. Riverside Liquors distributes alcoholic beverages that can be independently purchased by consumers. Archies Bait and Tackle, described as a stable store on Riverside, sells live bait, fishing gear and similar products. Due to the Square's location near the water and the popularity that brings, their products are still commonly sold. Bucket's convenience store sells typical convenience items including lottery tickets, cigarettes, household goods, and perishables. These are the only three retail stores that are currently in operation.

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A complete list of businesses in Riverside Square were grouped by religious, food and beverage, retail, personal service, human service, and wholesale.

Under religious, any churches or religious organizations would be grouped.

Although they are not a business type precisely, they are community centers that congregate people in great numbers and represent a large amount of the activity in the area. Retail is a crucial part of the economic health of the Square. Any business that sells items directly to consumers, ranging from consumables, entertainment, or clothing is considered retail. Personal service businesses include personal health, beauty or other services that directly affect the human body. This includes beautician shops and medicinal services. Human service businesses could be personal service, but the category is intended to include business types that are not as well grouped as the others. These include daycare services and alternative therapy stores in the region. Finally wholesale refers to manufacturers, discount distributors, and non-retail sales businesses.

Many of the staple businesses in Riverside Square have remained open, but there has been turnover of some businesses in the last couple of years.

Although some locations have had a face lift or changed hands, it is clear that the main businesses maintain their locations. According to the findings the majority of businesses consist of food and beverage establishments, personal service, and human service. Service sectors range from auto body shops to the laundromat.

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Employment Overview

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The proposal shows that there is an intent to expand the boundaries of the mixed use zoning area since the publication of the 2010 - 2015 Comprehensive Plan Update. The designated area for mixed use spaces has been expanded further north on Bullocks Point Ave., encapsulating more of the Riverside Square area which is also the core commercial area.

Data collection for existing retail types in Riverside Square started with the 2017 Riverside Square Market Analysis which provided a list of businesses.

To provide an accurate updated list of businesses, direct observation was used to identify new or closed businesses.

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When comparing the Core Commercial Area map found in the Riverside Square Market Analysis to the Proposed Riverside Square Mixed Use Overlay District there is a clear relation between the boundaries of the Square and the area designated as proposed mixed use zoning.

Existing Retail Types

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Riverside consist of 90.5% of individuals driving alone to work. The commuter population averages only 16% of individuals spending more than seven hours commuting to and from work per week.

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LEGEND 1

- Union Burrito Building

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- Fenced Lot on Bullocks Point - Old School Administration - Lee’s Restaurant/Parking Lot - Triangle Park - Fenced Paved Lot off Monroe - Church Overflow Parking - Oldham Elementary School - Bullocks Point Laundromat

- Bar/Tavern, Boutique/Specialty Shops, Health & Fitness Experiences, Small Grocery/Butchers - Bar/Tavern, Boutique/Specialty Shops, Health & Fitness Experiences, Small Grocery/Butchers

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PROPOSALS & USES

Proposed Mixed-use Overlay

Existing Green Space

East Bay Bike Path Pocket Park

Food Trucks

Farmers Market

Mural Opportunities

Riverside Open House, November 2021

Interdisciplinary Planning Workshop | FALL 2021 PLAN 511

Riverside Market Square Proposal Map.

Riverside Square Main Street Revitalization

Eva Alessandroni, Doug Brown, Caleb Hayward, Brianna Valcourt Professor: Ginette Wessel, Ph.D.

Riverside Historical Narrative

The City of East Providence was officially founded in 1862 after the state of Rhode Island annexed the land comprising the city from Massachusetts. Prior to becoming part of Rhode Island, parts of the land belonged to Seekonk and Rehoboth at various times, with European settlement dating back to the early seventeenth century. The character of East Providence was decidedly rural at the time of its founding although a few commercial centers were beginning to develop. The early period of East Providence's history saw four distinct villages coalesce: Watchemoket, located across the river from Providence proper; Rumford, located near the historic Rehoboth green; Phillipsdale, located in the far northwest of the town; and Riverside, located in the town's southernmost portion.

Historic Riverside Square

Riverside as it exists today first began to develop with the establishment of the Providence, Warren and Bristol Railroad Company in the early 1850s and the construction of a station in Riverside, allowing city-dwellers easy transportation to the picturesque waterfront retreat. Although some had sought recreation in Riverside prior to the railroad, either camping or staying in modest summer cottages, the mid-nineteenth century saw the burgeoning of a veritable industry of resorts, hotels, and shore dinner halls. The first of the Riverside resorts was Vue de l'Eau in 1860, but the decades that followed saw the construction of Silver Spring, What Cheer House, Riverside Hotel, Ponham House, East Providence Hotel, and half a dozen others. Due to stiff competition, many of these recreational retreats failed as others prospered; for instance, the What Cheer House changed owners and names several times and the Riverside Hotel was dismantled and shipped to Nantucket.

Many shore hall dinners also emerged alongside these resorts, the most prestigious of them being the Squantum Club. The Club was established on the shoreline north of Riverside in 1871 and quickly became one of the most prestigious eating establishments in East Providence. Alongside the development of Riverside's shore dinner halls arose an opportunity for the locals to harvest clams to sell either as a profession or to supplement their income.

The popularity of Riverside as a vacation destination began to spur land developers to invest in planned residential plats rather than the resorts and ad hoc cottages of previous decades. In 1871 General Lysander Flagg and a group of businessmen from Pawtucket formed the Riverside Land Company, buying several farms located in the area around the train station.

The Company's first platted community in Riverside was Cedar Grove, after the many trees that graced the landscape. Cedar Grove laid upon a unique curved streetscape that earned the neighborhood the moniker of the maze.

Flagg's company completed the platting of all its land, in a more regular pattern by 1873, and the entire village soon became known as Riverside, after the neighborhood adjacent to Cedar Grove dubbed Riverside Villa. The next three decades saw the area develop into a bustling resort town, accompanied by many growing pains of a small fishing community now accommodating thousands of excursionists each summer and a growing number of rear-round residents.

Postcard of the Looff Carousel at Crescent Park

The most extravagant recreation areas in Riverside were Crescent Park, Boyden Heights, and Vanity Fair amusement parks, leading Riverside to be promoted as the Coney Island of New England. The longest-lived and most noteworthy of these was Crescent Park, first founded in 1886 by George Boyden. After a successful start, Boyden sold the park and it was eventually leased to Charles I. D. Looff, who brought the park into its own. Looff was a German immigrant who came to the US in 1870. A furniture maker by trade, Looff began constructing a carousel for Coney Island in the late 1870s. Looff began making carousels fulltime by 1880 and opened up a small factory.

Looff manufactured several carousels for East Providence parks, including one at Crescent Park in the 1890's, and moved his business there in 1894.

The Crescent Park Carousel became his showpiece, with many figures being of unique design as examples of what patrons could request for their own carousels. In addition to the carousel, Loof added an impressive dance hall, dinner halls, bathing facilities, and concert venues, making Crescent Park the crown jewel of Riverside.

Riverside as a resort district reached its highwater mark around the turn of the twentieth century, with the closure of both the massive but short lived Vanity Fair and Boyden Heights in 1910 signalling the end of an era. The new mode of transportation in the automobile allowed vacationers to seek out other resorts further south, cutting into the once considerable visitorship of Riverside. Without the mainstay of summer economic activity the village entered into an era of relative decline. The numerous resorts and hotels, now aging and falling into disrepair, were either abandoned or became dens of ill repute. The everpresent anti-liquor sentiment, culminating in the outright banning of liquor sales with prohibition in the 1920s, meant that the hotels began to operate as illegal speakeasies. The purchase of the Vanity Fair grounds by Standard Oil for a refinery and storage tanks, as well as growing pollution in the waters of Narragansett Bay, changed the character of Riverside's once attractive shoreline. The Great Depression in the 1930s worsened the economic downturn for Riverside's resorts, and the hurricane of 1938 destroyed most of what remained.

During the late nineteenth and early twentieth century, Riverside shifted from a vacation district into a year-round residential neighborhood, culminating with the closure of the resort era. This began with the conversion of some of the more solidly-built vacation cottages into permanent stock and the infill of houses into Flagg's neighborhood plats. Local businessmen formed the Riverside Improvement Society in 1878 and started working to bring infrastructure improvements and civil institutions to the village to keep up with the ballooning population and hordes of summer visitors. The 1880s and 90s brought the first school, church, library, fire department, and police station to Riverside, and thriving businesses built up around the train depot. The advent of automobiles, while putting an end to Riverside's resorts, also allowed a new class of suburban commuters to relocate to Riverside by the 1920s. Like most places in the US, Riverside was deeply affected by the Great Depression, and the destruction caused by the 1938 hurricane worsened the economic condition, rendering the neighborhood largely stagnant until the post-war years.

The second half of the twentieth century was prosperous for East Providence, but gave mixed blessings to Riverside. Into the 1960s Riverside experienced a housing boom, including many new apartment complexes in addition to the dominant single-family home. Riverside's coastline now became primarily oriented towards industrial use because of its central location to ports, rail lines, and the emerging interstate highway system. The construction of Interstate-95 in 1960 proved a boon for northern East Providence, but increasingly made the core commercial area of historic Riverside Square obsolete in favor of shopping centers on the outskirts of the city and in Seekonk in the later part of the century. The Providence, Warren and Bristol Railway, which had discontinued commuter services after the 1938 hurricane, went bankrupt and was sold, and the rail line through Riverside was completely abandoned by the 1970s. In 1979 Crescent Park, the only remaining vestige of Riverside's glittering resort history, closed its doors for the last time.

In the late twentieth century, two developments helped to bring visitors back to Riverside, the rehabilitation of the Looff Carousel and the establishment of the East Bay Bike Path. In 1983 Gail Durfee established Save our Carousel in response to a development project looking to dismantle the Looff Carousel. Mrs. Durfee became one of the fierce local leaders in a grass roots preservation effort to save the carousel. Eventually the City of East Providence created the Carousel Park Commission that oversaw the rehabilitation of the carousel; Mrs. Durfee served as its chairwoman. In 1985 the Rhode Island general assembly declared the carousel as the State Jewel of American Folk Art, and the Looff Carousel was listed as a National Historic Landmark in 1987 for its national significance, the highest level of designation in the United States. Between 1987 and 1992, the state converted the old rail bed of the Providence, Warren and Bristol Railroad into the East Bay Bike Path. The bike path is recognized nationally and once again serves to bring those seeking recreation through Riverside Square.

Riverside has a unique and dynamic history as a center of recreation that spurred its development during the nineteenth century. Since the close of the resort era, the character of Riverside has shifted into a solidly residential dynamic, and changes in transportation modes throughout the twentieth century meant that the core of historic Riverside, Riverside Square, has languished economically. By not suffering the destruction of major infrastructure projects during the twentieth century, however, Riverside has managed to retain a number of its historic resources, most notably the Looff Carousel. While many of Riverside's historic resources are covered in non-historic materials that hide their historic character, they may yet reveal themselves. Leveraging the East Bay Bike Path as a way to bring in visitors, just as the railway on which it lies once did, represents an opportunity for Riverside to recapture some of its former glory.

Historic Properties Potentially Eligible for the National Register of Historic Places

Riverside Depot The passenger depot, formerly of the Providence, Warren and Bristol Railroad, at 250 Bullocks Point Avenue appears eligible for the National Register under Criterion A for its association with the early development of Riverside's recreation activities and local commerce, the transition of the community into a residential trolley suburb in the early twentieth century, and the wider development of the railroad system in Rhode Island. Officially put into operation circa 1860, the depot served as the transportation hub for visitors and residents for 80 years, with trolley service ending after the 1938 hurricane. The rail line was abandoned altogether in the 1970s, but the depot continues to be a central fixture of Riverside Square as a commercial building.

The depot is also potentially eligible under Criterion C as an example of small-scale rail associated architecture that was once widespread but is now relatively rare.

Riverside Post Office The Post Office at 10 Lincoln Avenue, built circa 1909, appears to be eligible for the National Register under Criterion A for its association with the transition of Riverside from an recreation district to a residential, trolley suburb in the first decades of twentieth century. The building was constructed to house the first branch of the Riverside post office in response to the high demands of mail service during the summer season and the increasing number of full-time residents moving into Riverside during the first decade of the twentieth century. The modest brick building served admirably until a larger post office building was constructed across Riverside Square in 1946.

Despite finding commercial use since its closure, the post office maintains much of its historic character and integrity, and is one of the earliest examples of civic institutional architecture remaining in Riverside Square.

Saint Brendan's Church Complex Saint Brendan's Church complex appears eligible for the National Register under Criterion A for its association with the growth and development of Riverside and the accompanying civic and religious institutions during the late 1800s and very early 1900s. Saint Brendan's parish was founded in 1909 in response to the need for Catholic service in Riverside during the summer vacation season but became firmly established and grew alongside Riverside's transition into a residential neighborhood. At the time Saint Brendan's mission was built, which predated the formal establishment of the Parish, it was the only Roman Catholic parish of East Providence. The original church building burned in the 1950s, but the complex exhibits a continuity of religious and associated buildings that show Saint Brendan's development during the mid-twentieth century. The main church building also appears individually eligible under Criterion C due to being an example of Modern architecture in Catholic church construction, coinciding with reforms in the Roman Catholic liturgy and allowable design aesthetic.

Recommendations

Riverside has a fascinating and unique history that is currently not being recognized or utilized fully. While many historic buildings remain in and around Riverside, the historic character of the village is not evident due to the use of non-historic materials that cover these resources. Unfortunately, there

is a gap between the current condition of the built environment and the level of historic integrity that is necessary for the formal recognition of historically significant resources on the state or national registers of historic places.

Most funding streams and incentives related to historic preservation require a prerequisite of recognition on one of these lists.

East Providence has taken major steps in their policies related to historic preservation, including enacting a historic preservation ordinance, being recognized as a Certified Local Government by the National Park Service, and working to establish National Register and local historic districts. The following recommendations support these historic preservation policies and further private efforts for historic preservation in Riverside.

1. Investigate and nominate properties potentially eligible for the national register.

The City of East Providence has been working since the 1970's to identify historic properties that may be eligible for the National Register. Most of these efforts have been concentrated in other areas of East Providence and have not focused on Riverside. Additionally, since the last comprehensive survey was almost fifty years ago, many properties may have aged in past the fifty-year window required to be considered historic. East Providence should work to scope an inquiry into the historic properties in Riverside and then hire consultants to research and prepare nominations for the National Register.

2. Nominate the Riverside Passenger Depot to the National Register of Historic Places.

The Riverside Passenger Depot is the most likely candidate for eligibility to the National Register for local significance. The depot has a key place in the historical development of Riverside through allowing cheap and convenient transportation for the village's use as a recreation area, setting the stage for the growth of Riverside's hotels and resorts. It also represents an era in the development of Rhode Island's rail system. Both of these considerations may qualify the depot for listing under Criterion A for association with significant events. The depot also represents a type of building, the small rail depot, that was once widespread but is now relatively rare, potentially making it eligible under Criterion C for embodying the distinct characteristics of this type of construction. The restoration already undertaken has helped restore the historical integrity of the structure despite it being overlooked in past survey efforts. The City of East Providence could hire a consultant to fully research and prepare a nomination for the Riverside Passenger Depot so that this gem of Riverside history can be fully recognized.

3. Fully operationalize the East Providence Historic Preservation Ordinance.

East Providence passed their local historic preservation ordinance in 2009, using it to create a local historic district in Rumford and a historic district commission to address issues in historic preservation. Most local historic districts carry substantive powers to review the design of buildings within the district including alterations, demolition, and new construction. Currently, the historic district commission serves only as an advisory body. The city council should hold a vote to fully enact design review in the Rumford Historic District, which could in turn revitalize the commission and lead to the creation of additional local historic districts.

4. Fully staff the existing Historic District Commission, Crescent Park Commission, and Ancient Little Neck Cemetery Commission.

The historic district commission has only one member out of seven positions currently filled and cannot conduct business without the nomination of at least two more members. The Ancient Little Neck Cemetery Commission currently has no members. The Crescent Park Carousel Commission only has four active members out of 20. The mayor should fill these vacant positions by nominating credentialed community members to these commissions.

5. Investigate the feasibility of city ordinances and policies to provide funding to restore the historic integrity of houses and set the stage for further preservation activities.

Many of the residents in Riverside value historic preservation and understand its potential benefits. There is a gap, however, in resident's ability to fund rehabilitation projects to remove non-historic materials like vinyl siding and restore the historic character of their neighborhood. To meet this gap, the City of East Providence should create incentive programs to fund private historic preservation activities. The city may work within current funding programs such as the Certified Local Government program and Community Development Block Grants or enact city ordinances to take advantage of state enabling laws for the Historic Residence Tax Relief, Property Tax Relief Act, or the Historic Homeownership Assistance Act. 6. Restore the Crescent Park Carousel to operational status.

The Crescent Park Carousel is currently out of operation. While there are ongoing efforts to get the carousel up and running, once completed, the city should plan events to reintroduce the carousel as an active attraction in Riverside.

7. Create architectural design guidelines focused on historic character in the community.

Creating an architectural conservation district, guided by architecture exhibited in historic photographs, will help re-incorporate Riverside's historic character into future developments of the village. This effort could include bringing the Riverside Clock back to the Square and incorporating light posts similarly styled to those around the carousel to bring historical continuity between the two areas.

8. Continue the historical use of Crescent Park and Sabin Point Park as a place for leisure and recreation.

Introducing public amenities and events, such as power stations, water bottle filling stations, and pop-up food truck events (to address food deserts and create economic and leisure opportunities), to the area may help to preserve the cultural and historical integrity of the parks as a place for leisure and recreation.

Swimmers at Crescent Park’s Shoreline

Panoramic of Riverside in 1894

Interdisciplinary Planning Workshop | FALL 2021 PLAN 511

Riverside Passenger Depot, Early 1900’s

Riverside Passenger Depot, now Borealis Coffee Company

Riverside Post Office. c.1970

Old Riverside Post Office, Present Day

Saint Brendan’s Church, 1906

Saint Brendan’s Church, Present Day

Riverside Square Main Street Revitalization

Jonathan Ames, Brianna Jordan, Jonathan Stark-Sachs Professor: Ginette Wessel, Ph.D.

RIVERSIDE SQUARE

Limited Scope Cultural Resource Survey

This fall, students in PRES 341/541 Building Documentation and Research Methods conducted a limited-scope cultural resource survey of commercial, civic, and institutional buildings in and around Riverside Square in East Providence, RI. The purpose of the survey was to identify and evaluate properties in Riverside Square that may be eligible for the State and National Registers of Historic Places. The survey also considered the potential for a historic district in the square. The survey was conducted in collaboration with Dr. Ginette Wessel’s Interdisciplinary Planning Workshop course, which undertook a broader Riverside Downtown Revitalization Planning Project.

The survey included completion of twenty-nine Rhode Island Historical Preservation and Heritage Commission Property Data Forms for properties in and around Riverside Square. Tasks included photography; collecting basic building information; archival research utilizing historic maps and photographs, census records, city directories, and title research; and secondary sources. The survey also collected information on potentially historic properties from community members at the open house event organized by PLAN 511 students at the Riverside Congregational Church.

Above: Detail of O.H. Bailey & Co., “Riverside, Pleasant Bluff, Camp White, and Crescent Park, RI,” 1894.

Below: Detail of Sanborn Map Company, “Providence,” Volume 6, Sheet 56, 1921.

View looking east down Lincoln Avenue toward Bullocks Point Avenue in Bruce Remick, Living in Riverside: First 80 Years 1870-1950 (2021).

There are several historic contexts that significantly shaped the development and built environment of the Riverside neighborhood and Riverside Square. The earliest of these contexts is the development of Riverside as a recreation and resort district from 1860 to 1930. Around the turn of the twentieth century, Riverside transitioned into a residential and commuter suburb, which had a profound effect on the physical development of the community.

The third significant context is the overall development of Riverside’s civic and religious institutions and commercial architecture from 1880 to 1970. Riverside’s growth throughout the historic period is also closely connected to the development and eventual abandonment of the Providence, Warren and Bristol Railroad from circa 1850 to 1970.

Building/Site Documentation & Research Methods | FALL 2021 PRES 341 and PRES 541

Riverside Square Work by: Alyssa Bailey, Tayla Burns, Avery Corcoran, Kayla Hansen, Brianna Jordan, Xuanzi Li, Christina Sewall, Jonathon Stark-Sachs, Malcolm Wells Professor: Elaine B. Stiles

RIVERSIDE SQUARE

Limited Scope Cultural Resource Survey

Surveyed Properties

Tayla Burns, Rhode Island Historic Preservation and Heritage Commission Historic Property Data Form for St. Brendans Parish Complex

Proposed Historic District Boundaries and Contributing and Non-contributing Properties

In addition to completing historic resource data forms, students evaluated properties and the potential for a historic district according to the criteria for eligibility for the National Register of Historic Places. Based on their research and evaluation, students identified eight properties that appear individually eligible for the National Register of Historic Places. They also identified a historic district comprised of sixteen contributing buildings dating from ca.

1860 to 1970.

Building/Site Documentation & Research Methods | FALL 2021 PRES 341 and PRES 541

Riverside Square Work by: Alyssa Bailey, Tayla Burns, Avery Corcoran, Kayla Hansen, Brianna Jordan, Xuanzi Li, Christina Sewall, Jonathon Stark-Sachs, Malcolm Wells Professor: Elaine B. Stiles

Manifesto: A Tax on Demolition

Demolition of the 1910 Pennsylvania Railroad Station in New York, designed by McKim, Mead & White; demolished 1963 to create Madison Square Garden.

Historic Preservation is a public good. In its statement of purpose, the NHPA declares that historic buildings give us “a sense of orientation,” provide a “vital legacy,” an “irreplaceable heritage.” Yet, we put greater value the ability of a private property owner to demolish this heritage. We as a society increasingly recognize that the harm to other shared public resources, clean air, clean water, and a livable environment, ought to be compensated. Why not for the loss of “vital” and “irreplaceable” historic character?

In 1920 the economist Arthur Pigou observed that market activity often produces societal costs, what he termed negative externalities, not borne by the market producer itself. The classic example of this is environmental pollution: smog, noise, or chemical runoff that the firm itself does not bear the burden of remediating, with the costs and negative effects instead being passed to the public. In order to restore the equilibrium, Pigou theorized, these costs must be artificially imposed upon the firms that produce them. This concept was aptly named a Pigouvian tax. Although this tool has yet to be realized by environmental activists, similar taxes already exist on tobacco products and sugary drinks to recoup the healthcare costs placed upon society.

In local historic preservation laws today, the strongest stopgap to protect historic buildings not specifically regulated is a demolition delay. Developers often have the ability to simply wait out these delays and move forward with their project anyway. If we are unwillingly to place an outright moratorium on demolition of many historic resources, we may still do something. My proposal is this: impose a tax on the demolition of historic buildings to provide some semblance of compensation for their loss.

In this proposal, there are many variables to account for such as how the lost character will be valued and what the revenue be used for. While I am not smart enough to answer the former, it is clear that the answer to the latter is that the revenue must be used for historic preservation activities and not put into the general treasury. This could take the form of a locally administered revolving fund or even an in-kind rehabilitation mandate on the developer.

Many preservationists, I think, would be shocked at his proposal; after all is this not tantamount to admitting defeat? That some buildings must be sacrificed? The sad truth is that not all buildings can be saved, and that preservation almost inevitably suffers more losses than triumphs. I say: let us fight and fight hard; but in the end let us not walk away with nothing.

Demolition of the 1905 Chicago Federal Building designed by Henry Ives Cobb in 1965, with the new Chicago Federal Center designed by Mies van de Rohe rising in the background.

Arthur Pigou

Demolished interior of the 1891 Garrick Theater (Schiller Theater Building), designed by Adler & Sullivan; demolished in 1961 for a parking lot.

Preservation protesters on Michigan Avenue in the 1990s

Fundamentals of Preservation Practices | FALL 2021 PRES 501

Manifesto: A Tax on Demolition

Work by: Jonathan Stark-Sachs Professor: Elaine Stiles

Manifesto: Landscape Heritage vs. the Growth Machine

The 115-acre Ocean View Farm in Dartmouth, MA is protected by conservation easements.

Landmarks of Memory Preservation keeps the landmarks of our memory visible. Sometimes these are buildings, but often they are landscapes that bring us back to a place in our past, or evoke a historical memory that is tied to place in more intangible ways.

Lessons Learned (Maybe) The National Trust for Historic Preservation’s “Preservation for People: A Vision for the Future” (2017) recognizes the need for preservation efforts to “create and nurture a more equitable, healthy, vibrant, and sustainable community”. Rural landscapes are an important part of this type of community in many parts of the U.S. Urban renewal destroyed many vibrant communities in the 60’s and 70’s. Preservation laws and initiatives have been put in place in response to these losses.

Have we learned from our mistakes?

Threats to Rural Landscapes An often subtle and insidious type of destruction has been gathering momentum as “growth and progress” radiates out from urban centers. Suburban sprawl threatens to permanently alter the landscape, creating a homogeneous country of strip malls, housing developments, McMansions, and big box stores.

Intangible Heritage To go beyond the built environment, to make preservation for the people, we need to broaden the scope of what we choose to pro-tect to include heritage not traditionally within the realm of “Historic Preservation”. These include festivals, foodways, legacy businesses, and elements of rural life that have been not been considered an important asset to the community.

Do we need more economic growth here, or should we place equal importance on preserving the land which was likely an import-ant seasonal camp for native people?

Views of the New Bedford, MA waterfront in 1876(left) and in the 2020s (right) showing the results of urban renewal projects along the waterfront and within the urban fabric.

Preservation Versus the “Growth Machine” It’s time for to protect our rural heritage before it’s too late. What can be done?

• Tax incentives for keeping farmland open • Agricultural preservation restrictions • Changes in zoning laws • Collaboration with those seeking to preserve natural resources • Community garden/farming projects • More surveys to establish the presence of archaeological resources • Public education and outreach to involve groups not usually associated with preservation initiatives.

This view along Main Rd. in Westport, MA, has remained unchanged since Colonial times. The closer parcel has been protected. The other is for sale.

Fundamentals of Preservation Practices | FALL 2021 PRES 501

The meeting of Portland, Oregon’s urban growth boundary and the rural lands beyond it.

Work by: Christina Sewall Professor: Elaine Stiles

The Global Relationship Between Sustainable Development, Education, and Gender Inequality

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Gender Inequality Index

% of Female Population with Higher Education 0.0 - 25.0

0.00 - 0.17

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25.1 - 50.0

0.18 - 0.33

50.1 - 75.0

0.34 - 0.50

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3,900

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Countries with Sustainable Development National Action Plans

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The United Nations has set forth a list of sustainable development goals. These goals are to help ensure a better future for the world. They include climate action, health and wellbeing, gender inequality and division, education, poverty, and more. These goals are all encouraged to be achieved in order to create a better world and relationship among countries.

Sustainable development is one of the most important issues the UN is trying to improve. The UN defines sustainable development as a "blueprint to achieve a better and more sustainable future for all." Gender inequality is a topic that is holding many countries back in ensuring a sustainable developmental design. The Gender Inequality Index (GII) is measured by health, empowerment, education, political representation and economic status. When there is a higher GII value, the more disparities between females and males and the more loss to human development in a country.

The goal of this study is to determine if there is a relationship between countries in the world that have a relatively higher gender inequality index and whether they are educating and achieving a sustainable development plan.

The map creates the conclusion that the lower the GII, the more likely a country is to have a sustainable development plan. The sustainable development plan that the United Nations recognizes can be different to all countries and their standards, however the GII is a fixed number based on a unified scale. The numbers cannot be exactly compared but the idea of their steps towards achieving sustainable action can.

The regions with the lowest inequality rate have countries with sustainable development plans.

European countries have the lowest GII compared to other parts of the world. Almost all the European countries recorded have a Sustainable plan in place, with Stockholm, Sweden being named The data chart above showsAustralia, the total number of countries that States, fall into each the “greenest city in the world.”

Canada, The United and Gender China are among the Inequality Index (GII)low category.

The theplan GII, the more equality a country has for countries with a relatively GII and anlower action in place. the female population. These countries are more likely to have sustainable development plans in place for their nation. This correlationcan infer that countries who prioritize equal opportunity and rights for women also prioritize creating and following a plan to ensure a sustainability plan. The chart below shows the percentage of this data per GII category.

The percentage of sustainable development falls as the GII rises.

Many Central American countries, along with Southeast Asian countries, have a sustainable development plan in place but do not have a low GII. The map can infer that these countries take a priority in the sustainable consumption and production issues facing the world today.

On average, the Southern hemisphere had the highest GII with the lowest amount of sustainable development plans. Yemen is one of the countries with the highest GII, 0.83. However, Yemen is a country that has a national plan in place. The results are not all direct correlations however based on the results found and analyzed, there is a correlation between Gender Inequality in a country or region and the Sustainable Development initiative that country is taking.

The education percentage of females in a country is a factor used to measure GII. Education is one of the many variables used, so extracting that specific data has allowed there to be analysis between education and whether a country has sustainable development. Education is an important part of sustainable development because education is how the future generations will continue to view the world and live within it. The education of sustainable plans and future development will ensure the sustainable goals are continuing to be reached and improved for the continuous future.

The countries with the lowest female population that are educated are located in Africa and South America. These regions do not have as many sustainable development plans or a relatively high GII in comparison to the European countries and the North and Central American regions.

In conclusion, this map shows a direct correlation between a sustainable development plan in a country with the education of females and the gender inequality of that country. The more educated and socially equal a country is, the more likely it is to have a network of sustainable action to ensure the future development of sustainable action plans.

GIS in Planning, Design, and Conservation | FALL 2021 PLAN 581.01

Sustainable Development Relationships Work by: Taryn Roche Professor: Ginette Wessel

Long and Short Roads: Viewing Farm Driveways

Work by: Wilhelmina Giese ABSTRACT Differentiating itself from town and city examples, the farm driveway is a long ribbon of gravel extending from a rural road to a farmstead.

Not a place for leisure activities such as sidewalk chalk, summer car washes, and rummage sales offered by its urban cousins, the farm driveway is an essential utilitarian element of the rural workplace.

Investigation into the evolution of the farm driveway over the past few decades produces a bittersweet picture of the future of agriculture in the United States - one with positive elements such as the broadening of identities, increased recognition of farms as businesses, and less seclusion, but also one with negative elements and the specter of impending abandonment. Using case studies from South Dakota, this paper examines the regional spread of changes in farm driveways and their meanings across the Midwest as the farm industry continues to evolve and consolidate and its cultural landscape shifts.

Bristol Rubber Factory Complex

Work by: Jonathan Stark-Sachs ABSTRACT First established in 1864, the rubber factory on the east side of Wood Street in Bristol, Rhode Island was a center of industry for the town over the next century. Filling an economic void left by the diminishing merchant sea trade around the same time, the factory employed significant portions of the populace until its closure in 1977. During its period of operation, the factory complex grew to an impressive size, eventually comprising forty-six buildings. Considering its size and economic importance, it is only natural that the factory had outsized impacts on the economic and physical development of Bristol from the mid-nineteenth century into the twentieth. Furthermore, the layout of the factory itself sits in a unique context within the development of industrial landscapes. Overall, the rubber factory complex as a cultural landscape reveals a great deal about the history and development of Bristol and the town’s place in the greater context of industry and trade in the United States.

The Soldiers’ Home: Unmoved but Not Unchanged Work by: Mariel Bloom ABSTRACT Populated by neighborhoods, gas stations and strip malls, Metacom Avenue is now the main thoroughfare through the Town of Bristol, a status cemented by the construction of the Mount Hope bridge in 1929.

However, it was once a pastoral setting dominated by farmland, and valued for its separation from the industry and crowds of downtown Bristol. In the late nineteenth and early twentieth centuries, the avenue was home to “outlying institutions” including several asylums, hospitals, a poor farm, and the lone survivor from this era, the RI Soldiers’ Home.

In the 1950s, shifting economic and social needs meant that suburban development and industry began to infringe on the “outlying institutions” and pastoral setting of the avenue. This paper examines the landscape change on Metacom Avenue between 1880-2022, and how its longest surviving institution, the Soldiers’ Home, changed along with it. These shifts in Bristol’s culture demonstrate of how the town’s social and civic priorities changed over time and the impacts of those priorities on the landscape.

Analyzing The Cultural Landscape of Green Mountain Valley School Work by: Zachary Baker

ABSTRACT Studying a cultural landscape reveals the interaction between a social group and the space to which they belong. While being an indicator of the values and beliefs of a social group, a cultural landscape has a significant impact on the formation of a group member’s identity.

At Green Mountain Valley School (GMVS), the cultural landscape is defined by a dominant project. Since its founding in 1973, the institution has established itself as a college preparatory high school that produces world-class ski racing athletes. Almost all aspects of life at the academy revolve around ski racing and show how it takes precedence over other activities. The athletic-centered direction of the school is apparent in its strategic location, the spatial organization of the campus, and the social structure of the community. Social stratification and cultural capital play major roles in the different categories that define its members.Through the analysis of the cultural landscape at Green Mountain Valley School, the dominant project can be seen influencing multiple physical and social aspects of the community.

American Cultural Landscapes | SPRING 2022 PRES 320 and PRES 520

Reading Place I: A Contemporary Landscape Perspective and Reading Place II: The Cultural Landscape of Bristol in Historical Professor: Elaine B. Stiles

6year th

The Graduate Thesis Design Studio offers students an opportunity to speculate propositions of their own interests about what architecture should be.

As the concluding studio in their formal education, students will demonstrate a competency at integrating building systems and materials, social, formal and urbanistic concerns into the design of a building.

GENERAL

SUSTAINABILITY

SOLAR PANELS

SKYLIGHT EXHAUST

ASSEMBLY

TRANSPORTATION 15 DEGREE ROOF SLOPE EGRESS WINDOW

VACATION REVITILIZATION Vacation Revitilization focuses attention towards an affordable vacation suited for the middle class and integrates endangered species conservation for St Catherines Island, Georgia. This idea of an animal sanctuary integrated with a vacation resort that allows for an escape from industrial cities to create an peaceful retreat. This retreat will allow vacationers to participate in the assistance of the care of animals inhabiting the island. The program will involve simple learning activites that will allow for a reduction in cost after their stay depending on how involved the user is with assiting the conservation program of Saint Catherines Island. The resort seeks to provide an affordable vacation through the use of animal conservationon, natural systems supplying energy and activities, and education and historical museums to teach the travelors of the context and the history if the industrial revolution and African American heritage.

The program has an administration department to handle all of the resorts functions and keeping track of all guests and services needed of the guests. The River and local beaches will be the center of attention where travelors can explore warm beaches and then return to the rural vacation living for dinner. The experience of the vacation is driven to utlize relig ous and educational teachings to help the vacationers learn the importance of this experience and tell their friends how refreshing the vacation truly was.

There are sea turtle conservation programs on the island along with Aldabra Tortoises. The Logger sea turtles and other endangered species thrive on the island. Lemurs also live on the island and run free with little help from the island volunteers and educational groups. This idea is to help the endangered species of the Lemurs which only inhabitant a few islands in the world. Bald eagles can also be found on the island, they travel throughout the lakes of georgia and the barrier islands along the coast. The island is also home to a large amount of endangered reptiles which occupy the island. Students have been using the island for research and studies. The island looks to continue to grow in the direction of wild life conservation and sustainable developement. Even Dolphins can be spotted along the coastand in the brackish waters between the Barrier Islands. Theislandhas been saidit once operated as a zoo, now just remains open to the public.

Access - Access is done through a marine vessel to move vacationers from site 1 which would contain a building system that accomponies liesure. Site 2 will represent the island where vacation occurs. The island is approximately 22.6 acres, about half of the land is salt marsh, leaving the other half to be wooded forrest. The island is 12 miles long and 3 miles wide.

10’-0” THE UNITS ARE ELEVATED A MAXIMUM OF 30” ABOVE FINISHED GRADE TO ACHIEVE NATURAL VENTILATION UNDERNEATH THE UNITS AND UTILIZE WOOD POLES TO REDUCE THE IMPACT ON THE ECOSYETM THE BUILDING USES. WIND RESPONCE

THE SOLAR PANELS ARE ELEVATED ABOUT 1’-0” OFF THE ROOF SYSTEM. ALLOWNG FOR VENTILATION TO REDUCE THE ROOFS TEMPERATURE DURING THE WARMER MONTHS. EGRESS WINDOWS ARE PROVIDED PER MODULE TO ALLOW FOR NATURAL VENTILATION AS WELL. NATURAL VENTILATION AND SOLAR GAIN

UNITS ARE PREFABRICATED LOCALLY IN GEORGIA. CONSTRUCTED IN A MONITOURED WAREHOUSE, THEN BE LOADED ONTO THE FLAT BED TRUCK.

16’-0”

UNITS ARE SIZED AND DESIGNED TO BE ASSEMBLED INTO A LARGER STRUCTURE WITH THE USE OF A CRANE. LOAD BEARING WALLS OF INTERIOR UNITS HAVE A BEAM AND COLUMN REPLACE THE WALL AND DISTRIBUTE THE LOAD THROUGH THE FOUNDATION PILE BELOW. MODULE INTEGRATION

PREFABRICATION

16’-0”

ALL MODULAR UNITS FACE SOUTH AND HAVE A PREFABRICATED SOLAR SHADING DEVICE THAT GETS BOLTED INTO THE MODULAR UNITS RAFTER SYSTEM. ELIMINATED HEAT GAIN WHILE PROVIDING SOLAR PENETRATION DEEP INTO THE SPACE DURING THE COOLER MONTHS.

THE SAME ROOF SYSTEM USED FOR ALL THE MODULES WILL BE PRESSURE TREATED LUMBER AND BE USED FOR SHADING SPACES OUTSIDE OF THE BUILDING. VEGETATION AND NATIVE PLANTS WILL BE PLANTED TO GROW WITHIN THE OPEN RAFTER SYSTEM AND PROVIDE HABITATS FOR NATIVE INSECTS AND BIRDS THAT INHABIT THE ISLAND. SHADING SYSTEM AND SANCTUARY HABITAT

SOUTH FACING SOLAR SHADING

40’-0” MODULAR UNITS ARE 10’-0” WIDE BY 16’-0” LONG. AT TYPICAL FLAT BED TRUCK IS 40’-0” LONG. THIS ALLOWS FOR TWO UNITS TO FIT ON EACH TRUCK CREATING A FASTER CONSTRUCTION PROCESS.

MAIN LAND VEHICULAR TRANSPORTATON

STEEL CABLES ARE BUILT INTO THE WALL SYSTEM TO PROVIDE A MEANS OF ASSEMBLAGE THAT CAN ALSO BE USED FOR LATERAL REINFORCEMENT DURING STORM SURGE. CRANE POINT LOAD CONCEPT

RADIANT HEATING

GREEN ROOF

PROVIDES HABITAT FOR ISLAND ECOSYSTEM

POLY CARBON

SOLAR ROOF

CLOSED CELL SPRAY FOAM INSULATION ENCLOSED FLOOR SYSTEM

THE BUTTER FLY ROOFS WILL COLLECT STORM WATER RUNOFF THROUGH AN ABOVE GROUND CISTERN THAT WILL UTILIZE THE WATER FOR GREY WATER USAGES THROUGHOUT THE RESORT COMPLEX AND HOUSING.

THE BUTTER FLY ROOFS WILL COLLECT STORM WATER RUNOFF THROUGH AN ABOVE GROUND CISTERN THAT WILL UTILIZE THE WATER FOR GREY WATER USAGES THROUGHOUT THE RESORT COMPLEX AND HOUSING.

PREFABRICATED FLOOR SYSTEM

RAIN WATER COLLECTION

AFTR THE UNITS ARE SHIPPED FROM THE PREFABRICATED WAREHOUSE, THE UNITS WILL BE CRANED INTO PLACE ABOARD A SMALL VESSEL AND BROUGHT TO THE ISLAND.

OFF SHORE MARINE VESSEL TRANSPORTATON

THE MODULAR UNITS HAVE INTERCHANGABLE ROOF SYSTEMS RANGING FROM GREEN ROOFS, POLYCARBONATE OR A SOLAR ROOF TO ACCOMODATE FOR RENUABLE ENERGY.

-

ROOF FUNCTION VARIATIONS

KITCHEN

G.S

he variation of the roof sys ems allow for natural light o be directed in the building dependant upon the program inside the structures. Green roofs cool while the poly car

GYM

LOUNGE JUNGLE PARK

natural illumination. The solar is neccessary for having elec rical power socluded on an island with the minimal amount of impact possible on the eco

POOL & SPA BAR/CAFE

CLASSROOM

Materiality - The materials expressed in the resort respond to not being seen from the outside. The materiality is part of the ecosystem and wants to blend in with

HURRICANE RATED WINDOWS (MINIMUM 150MPH) MUST FOLLOW IN ACCORDANCE W/ MIAMI-DADE TAS 201, 202, AND 203 OR ASTM E1886 AND E1996 IMPACT TEST -

integrated social space, shaded from the sun and direct connection to the Jungle Park straight ahead.

MUSEUM DINING HALL

MEDITATION CENTER

catherines island are formiliar with. The prefabricated wood terrace structure pro vides shaded areas from the summer heat and provides further ecosystem to the site acompanied by the green roof systems.

The following rendering on the left is theA nimal Clinic building, the Education Center and the Sea Turtle house. The walk from this group of builidngs provides a wooded escape with a view of the beach from the far. Allowing for a shaded walk to the Bar and Cafe or Pool and Spa.

PRE-FABRICATED GREEN ROOF SYSTEM

PRE-FABRICATED POLYCARBONA ROOFING SYSTEM

-

SEA TURTLE HOUSE

ANIMAL CLINIC

RESORT SPACES

ENERGY POSITIONING

PROGRAM RELATIONSHIPS

HOUSING

GARDEN

ORCHARD

The building Creates spaces of social gathering, spaces of meditation, nourishment, and spaces of sollitude. The ani mals are thought of to be an important part of the experi ence while at this structure.

The terraces acts as habi tates for the lemars. Where they have place to interact with the resort. The building is built out of resistive mate rials to animals climbing and walking along parts.

BEACH ACCESS

PLAN CIRCULATION

Image caption JUNGLE

STEPPING BACK FOR SUNLIGHT

GENERAL STRUCTURAL NOTES ALL LUMBER SHALL BE LOCALLY SOURCE ALL RAFTER, JOIST, AND OTHER STRUCTURA CONNECTIONS SHALL BE IN ACCORDANCE WITH WIND LOAD DESIGN UP TO 150MPH.

NATURAL VENTILATION

ROOF SHEATHING SHALL BE A MINIMUM OF 5/8” EXTERIOR GRADE. SHEATHING SHALL BE NAILED WITH 8D NAILS NOT MORE THAN 6”.

ACTIVITY FIELD

ANY EXTERIOR LUMBER SHALL BE PRESSURE UNLESS PROTEXTED WITHIN THE THERMA

FOOD GARDENS

Site Identification - The site is located along the coast of Georgia with easy access off of the I-95 highway. The site sits on ST. Catherines Island which has beautiful beaches and sub tropical forrest. The land is similiar in characteristics to jurrasic park or Madagascar.

LEMUR PASTURE

BEACH VIEWS

VIEWS

PLAZA SPACE

SOCIAL GATHERING SPACES

SEPTIC SYSTEM /LEECH FIELD

SOIL PRODUCTION

WASTE RECYCLE

D

LOADING DOCK SEPTIC HOUSE

ELECTRICAL

MECHANICAL PLUMBING

DC

DC

DC

HP

HP

HP

HP

HP

SHIPPING/ RECEIVING WOMENS MENS

GEOTHERMAL BOREHOLES COUNT: 64 AT 300'-0"

HYDRO WEL

STAGING

COLD STORAGE

TOWER 60'-0" TALL 6 STORY - (HEAVY TIMBER STRUCTURE) W/ SHADED ROOF ELEMENT DIAGONAL BRACING (STEEL CABLE)

JANITOR

PROCESSING KITCHEN

DRY STORAGE UP 20R

DINING HALL

ISLAND HISTORICAL MUSEUM

TUNIS CAMPBELL HALL TOUR START

SHOP AND RAL E GENE STOR

GIFT

SAINT CATHERINE ORGANIZATION TOUR FINISH

X

UNISE

X

UNISE

LOUNGE

ERS

LOCK

ER

SS

CENT

FITNE

SEATED SPACE 3

SEATED SPACE 2

UP 5R

SEATED SPACE 1

.

ELEV .

MECH

UP 5R

A

MEDITATION STORAGE

BACK DECK

SAUN

JUNGLE PARK BELOW

MEDITATION CENTER OUTDOOR

MEDITATION CENTER INDOOR

OR

POOL

AND

SPA

INDO

ING TANN DECK /

AGE

STOR

/ ROOM REST ER LOCK S ROOM ENS WOM

AFE

BAR/C

X

UNISE

ROOM REST ER LOCK S ROOM MENS

FE

X

D CA

UNISE

R AN

EN

BA

KITCH

LEMUR SANCTUARY/ PASTURE

LAB

E

RY

LE TURT ES SEA TORT AND E HOUS

OFFIC

LIBRA

S ROOM

CLAS

C

AL

CLINI

ANIM

E

OFFIC

CAL MEDI AGE STOR

1 VET ROOM

2 VET ROOM

Lemur Yoga

Graduate Thesis Design Studio | FALL 2021 ARCH 613.02

3 VET ROOM

Image caption

Resort Complex Floor plan

Vacation Revitilization

Work by: Sean LaMotte Professor: Andrew Cohen

units

NATURAL HEALING Health and Housing for the Homeless in the South side of Providence, Rhode Island

10'-0"

21'-6"

5'-0" 9'-8"

13'-9" TYPICAL BALCONY OR PATIO 156 SF

TYPICAL UNIT SIZE 433 SF

TYPE A W/C

27'-6" 4'-4"

17'-1" 20'-2"

8'-6"

18'-8"

9'-7"

TYPE A W/C

8'-6" 16'-3"

9'-7"

TYPICAL UNIT SIZE 318 SF

3'-10"

TYPICAL BALCONY OR PATIO 126 SF

6'-7"

13'-9"

15'-9"

16'-5"

2nd & 3rd floor plan

11'-5"

7'-8" 1'-6"

One of the most heart ranching facts I discovered was how closely related fatal health conditions are related to people effected by homelessness.

On the next page the image on the right illustrates the upstream and downstream causes of fatal health conditions. Most importantly, providing people with a home is not enough to help prevent these health issues. In order to make real change, housing, medical homes, case management, income assistance, mental health support, and harm reduction are all important to helping people get back on their feet and stay away from these dangerous health conditions. This is why each person living at my proposed center will have access to a clinic, social services, and mental health services in the same building they will be living in. The building itself focuses on natural healing elements to make the building even more of a healthy environment for residents and visitors. There is a total of five indoor courtyards bringing nature and light inside each area of the facility. Playing with the materials and the light, the entire design encourages healing through nature and light.

28'-10"

20'-2"

5'-0"

6'-7"

8'-0"

15'-9"

Providing the homeless with more than the bare minimum should be a priority of every city, neighborhood, and every designer, until everyone has a place to call home. There are currently 1,055 homeless people in Rhode Island with many more on the verge of homelessness. This number may seem small or large to some. No matter what, EVERY PERSON MATTERS. I chose to focus my final thesis project on creating an all-inclusive environment to help the homeless population in Rhode Island. The goal was to create a center to help the homeless with not only housing, but health care and social needs. After spending countless hours researching all of the previous information seen in this book, I have learned a great deal about mental and physical health in relation to homelessness.

axonometric

interior & exterior courtyard

1st floor plan

Overall, the center promotes WELLNESS, INTEGRETY and a sense of DIGNITY for everyone living and working at the center.

Graduate Thesis Design Studio | FALL 2021 ARCH 613.02

Natural Healing

Work by: Jessica Jacobs Professor(s): Julian Bonder

Social Architecture in a Virtual World *The virtual world is defined by social media, the internet, and virtual/augmented reality.

It would be futile to argue that human nature has not been drastically changed by the hand of technological advancement. The common method of interaction, in physical space, has evolved into something that is unfamiliar to human history.

With this adoption of the virtual world, essential components of meaningful person to person relationships are debatably lost. This impact of the virtual world* must be recognized with regard to architecture and the built environment.

Much is lost in society and the physical world, if relationships are reduced to emotionless text blurbs or low-resolution video calls. This was demonstrated during the quarantine of COVID-19.

As soon as people could, they were reuniting with family and friends in physical space.

PRE-SOCIAL MEDIA

SITE

HOW CAN WE UTILIZE TOOLS OF THE VIRTUAL WORLD TO PRODUCE AN INTERACTIVE AND ADAPTABLE ARCHITECTURE THAT FINDS A HARMONY BETWEEN ONLINE AND IN-PERSON INTERACTION?

Many people, in this moment, recognized the deep need for physical interaction. Nevertheless, the virtual world holds with a steady grip, and it must be accepted that it is here to stay. Ultimately, the virtual world has introduced a certain idea of convenience. Social medias allow people to “interact” without leaving their comfort zone, and thus one can avoid the external world if they so please. In this lies the essential issue: people miss the benefits of interaction in physical space because the virtual world has provided them with tools to circumvent the process; therefore, physical collectives dwindle and a sense of community is near lost. It is essential, now more than ever, to reconsider how architectural elements can encourage interaction and rebuild collective/community value.

SOCIAL MEDIA

PARTI

THE FUTURE

(BRIDGE THE VIRTUAL AND PHYSICAL WORLD)

BACK BAY, BOSTON PROXIMITY TO KEY STUDENT POPULATIONS AND INCREASINGLY TECHNICAL INDUSTRY

CLIENT & USERS The populations most heavily impacted by and integrated with the virtual world are children and young adults. These younger generations have grown up in the virtual world, alongside it as it has progressed and evolved, knowing little about what human interaction was before the existence of texting and social media.

PROGRAM

ARCHITECTURAL THEME Social spaces should be dynamic in their layout, leveling, and layering. It is essential to understand hierarchical strategies. It is critical to observe where visual connections are created in and across a space. Spaces must also be dynamically furnished and operable. When people can shape a space to their desire, or collaborate to move objects for a collective purpose, a sense of place and community is defined.

In this way, the identity of a space can be concrete, defined by an architectural structure, but the interior and façade have the potential to reflect the changes of society and social structure.

PRECEDENTS

HERMAN HERTZBERGER - MOSAICI SCHOOL

AKI HAMADA ARCHITECTS - SUBSTRATE FACTORY

M.I.T. - DIGITAL WATER PAVILLION

DIARIODESIGN - MOVISTAR GAMING CENTER

All of Hertzberger’s projects are defined by a specific desire to highlight and cherish community spaces. His school designs demonstrate the power of a dynamic section, for he focusses on multi-purpose functionality of space and the interaction between layered levels. Hertzberger asserts that structuralism is a key component to his design; an idea that emphasizes an understanding of culture and society.

This project provides a powerful example of how principles of dynamic design can result in a space that is truly flexible or adaptable. Occupants of the space have the ability to move and fix walls, changing the space based on their programmatic requirement. This level of adaptability helps people in their quest to own the space and work efficiently with it. The principle also increases the building’s longevity; a key necessity with regard to sustainability and adaptability to the ever changing world.

When one questions how the virtual world can be incorporated with architecture, we can look to a project such as M.I.T’s Digital Water Pavilion in Zaragoza. This specific project is a preliminary example of how technology can shape form and function. A technical system, driven by data, was specifically designed to control the water system which creates the pavillion’s exterior wall. The water system creates personalized experiences and reacts to its occupants.

This building’s interior renovation is specifically designed to serve professional Esport players.

While the design, as shown, appears similar to a typical multi-purpose lecture space, the ultimate function of the space relates to the virtual envrionment in a totally new way. The integration of program such as online gaming or the use of virtual/augmented reality offers all new pontential with regard to the idea of multi-purpose space.

Graduate Thesis Research Seminar | FALL 2021 ARCH 641.02

Social Architecture In A Virtual World

Work by: Sean Smith Professor: Andrew Cohen

New York City High Line Diller Scofidio + Renfro - 2009

The High Line is an important precedent due to its success in creating a continuous park of various gardens with native and exotic species. Unlike typical gardens, the High Line does not use structures such as barriers to separate gardens. Instead, it utilizes the patterns found in the natural world to transition between gardens, creating a true organic form of architecture. Gardeners ensure that ecological succession progresses naturally.

DESIGNING ECOLOGY

The gardens go through incremental changes due to the increasing urbanization as well as environmental changes. The whole High Line uses compost produced by the dead plants in the community. In March, an event called “Cutback” occurs where debris is cleared from the walkway and maintenance is done.

Plants are inspected to access the health of the individual and system. Debris is then composted for future use by the High Line.

Habitat in Architecture

High Line Photos - Photo Credit: Diller Scofidio + Renfro

Humans have dominated the planet for 200,000 years. Dispersing originally from the forests of Africa, humans have spread to inhabit all continents with permanent structures that have grown from stick and hide huts to the expansive, high-tech buildings of today. In our domination of the planet, we have negatively contributed to climate change and biodiversity loss, all while claiming to be the great adapters.

In reality, we don’t adapt to our environment, rather we modify it to fit our needs. We artificially control our environment within our structures and modify the landscape when it doesn’t fit desired requirements.

In response, architecture is capable of being integrated back into the natural harmony. Instead of the cookie cutter buildings where the same house is built in New England as Florida, architecture is adapted to fit the local environment and habitat requirements blending with the natural environment with the built. Instead of focusing solely on high-tech responses to climate change, low-tech approaches are incorporated. Further, the solutions to adapting architecture to new conditions need not look further than the 3.8 billion years of evolution.

I am to explore these ideas incorporating the natural environment with the built environment and to understand the relationship between humans and species.

The proposed site and program is a re-imagining of the Seacoast Science Center located at Odiorne Point State Park in Rye, New Hampshire. The Seacoast Science Center will be re-imagined to incorporate humans and species within architecture specifically looking at the roll of the skin of the building. Throughout the State Park further architectural interventions will be incorporated to study the various ways nature can be included within the built environment as well as how architecture can aid in habitat reconstruction and survival. Odiorne Point State Park is ideal due to its diverse array of habitats as well as connections with the New Hampshire State Park Service and the Seacoast Science Center which is a non-profit organization that works to conserve New Hampshire’s coastline and ocean. Further, Odiorne Point served as Fort Dearborne during WWII. Although it never fired a shot, or saw any military action, Fort Dearborne has left existing structures on the site that have influenced the local ecology. Odiorne Point now has two mounds that cover Battery 204 and Battery Seaman that have changed the topography and the local ecology through the introduction of invasive species.

Wuhan Yangtze Riverfront Park Sasaki - 2018

The Park is designed to allow people to engage with the river even while flooded.

Along the river, various program elements were designed to celebrate the spontaneity of the river while incorporating the flooding and the ever-changing landscape. Other structures throughout were created for various species and uses such as logs for turtles, submerged structures for fish, nesting have been reimagined as vibrate cultural and recreational

Site Plan

hubs to include the floating barges, restaurants, galleries, and a floating Thave been reimagined as vibrate cultural and recreational hubs to include the floating barges, restaurants, galleries, and a floating community garden.

The Wuhan Yangtze Riverfront Park is an excellent example of how to incorporate humans and their activities into ecosystems while maintaining species needs for survival.

Wuhan Yangtze Riverfront Park Renderings - Image Credit: Sasaki

Rendering - Credit: Ifat Finkelman_Ofer Bilik Architects

The Water Tower

Programming & Activity Diagram Augmented by Brenna Whitney from drawings by Ifat Finkelman_Ofer Bailik Architects

Ifat Finkelman_Ofer Bilik Architects - 2010 Competition Entry Located in Bat Yam, Israel, the abandoned Ramat HaNasy Water Tower had the potential to promote a balance between structure and the natural surroundings. The water towers are unique due to their height, strategic locations, and unique geometry providing many opportunities for such equilibriums between man and nature. The proposed Water Tower renovation was designed to be a pilot in examining the actions, methods, and procedures necessary for the success of Program Diagram

supporting natural systems. The five main goals of the Water Tower are providing a safe space for biodiversity, reintroducing exited species back into their natural region, provide water sources for migrating birds during the autumn months, provide education for humans including signage, viewing platforms, guided tours, as well as several other activities, and to strengthen the relationship between the site and the local community and schools.

Site Habitat Diagram

Double Skin Facade Diagram Augmented by Brenna Whitney from drawings by Ifat Finkelman_ Ofer Bailik Architects

Biophilic Design

Rocky Shores

Sunken Forest

Tidal Pools

Marshes

Photo Credit: metalarchitecture.com

Biophilic Design Battery 204 Drawings

Biophilic design taps into the innate, genetically determined affiliation of humans towards the natural world and other living organisms.

The Biophilic Design Guidebook by the International Living Future Institute outlines the requirements for designwork to achieve the 09 Biophilic Environment imperative of the Living Building Challenge. Biophilic design

Battery 204

Curiosity

Battery 204 Gun Mount Pad

Image Credit: Seacoast Science Center

Wetlands & Marshes

Recreation

Diagram by thermoryusa.com Photo Credit: Sparcstudio

has six main elements and attributes including environmental features, natural shapes and forms, natural patterns and processes, light and space, place-based relationships, and evolved human-native relationships. Some aspects focus on the physical attributes while others focus on the pychological.

Forests

The JEWEL Photo Credit: caad-design.com

Image Credit: Seacoast Science Center

Graduate Thesis Research Seminar | FALL 2021 ARCH 641.01

Education

Image Credit: Seacoast Science Center

Nature

Photo Credit: Diller Scofidio + Renfro

Designing Ecology: Habitat in Architecture Work by: Brenna Whitney Professor: Julian Bonder

BCCT

BOSTON CENTER FOR CREATIVE TECHNOLOGIES

> _ social_architecture in_a_virtual_world *The virtual world is defined by social media, smart devices, the internet, and virtual/augmented reality.

It would be futile to argue that human nature has not drastically altered itself at the hand of the virtual world.

The virtual world has introduced a certain idea of convenience in lifestyle. What does this mean for architecture? Social medias, the Internet, and smart devices allow people to “interact” without leaving their zone of “comfort,” and thus one can avoid the external world if they so please. In this lies an essential issue: people miss the benefits of interaction in physical space because the virtual world has provided them with tools to circumvent the process; therefore, physical collectives dwindle and a sense of community is near lost. It is essential, now, to reconsider how architectural elements, spaces, tools and resources can encourage physical interaction and rebuild collective/ community value.

More than ever, people are engaged with the virtual world and it is important to note that the answer to the defined issue is not to shy away from social media and these such inventions. Instead we must look at social media, the Internet and smart devices as tools and must question how and to what degree the virtual world can be integrated with an architecture.

One cannot wish to achieve this without finding a way to blend the virtual with the physical. The act of blurring the line serves to take the best of both.

The building is split into two programmatic camps, one which encourages leisure and experience, and the other which centers on education and collaboration.

In both instances, high tech tools are supported by architectural forms and features. The technologies alone would fall short in the mission defined if not for the designed spaces. Community and place is reinforced in the way that people are encouraged to circulate, in the

site lines across layered space, and in the flexibility of elements. The designed spaces would also lack meaningful connections to present day lifestyle without the technologies. A social media architecture is one where the building offers specific high tech tools such that occupants can play the main role in shaping narratives (be it related to video games, scholarly discoveries, or memes).

In order to create an architecture that wishes to justify itself with the virtual world, one can imagine how certain elements of a building can act as canvases for the sharing of information, learning and play. Facades, walls and even floors have the potential to be interactive and dynamic such that the users of the building can personalize content and witness the content of others. One can imagine how passerbys might be attracted to images and videos displayed. Using their phones, or augmented/virtual reality, people could interact with and manipulate the coloration and presentation of the building itself.

Classrooms become infinitely larger when a student is bestowed with any set of tools ranging from virtual reality goggles, to 3d printers, to the Internet. In playing a video game within a dedicated space, an occupant is engaging with virtual world whilst also defining themselves amongst a community in a physical place.

Altogether, we must now consider the effect and direction of the virtual world. We must now consider how the virtual world might blend with the built environment in a more cohesive manner so that its tools are taken advantage of and a sense of community and place is reinforced.

early iteration of concept

RTUAL F THE VI CHITOOLS O CTIVE AR N UTILIZE E RA W TE N IN HOW CA DUCE AN RMONY BETWEE TO PRO HA A S N? WORLD ND IO E THAT FI SON INTERACT TECTUR ER AND IN-P ONLINE

Graduate Thesis Design Studio | SPRING 2022 ARCH 613 SEAN SMITH ARCH.613_SOCIAL ARCHITECTURE IN A VIRTUAL WORLD SAAHP_ROGER WILLIAMS UNIVERSITY

Social Architecture in a Virtual World Work by: Sean Smith Professor: Andrew Cohen

_

This will be our home Sankofa National Wildlife Refuge & Rehabilitation Center

In cities like New Orleans, the solution to the issue of sea-level rise has little to do with being resilient. Massive vertical walls of earth and concrete are being built and the city is spending an extreme amount of money to raise the city. These systems do not last forever. I believe that it is because of human’s egocentric ideas, which include the previously listed solutions, that got us to this point in the first place.

The Universe, let alone just Earth, is a delicate place. Looking out into the Universe shows us the conditions required for life to be sustained are extremely specific. If we are to have any hope of continuing to sustain ourselves on Earth we need to do everything we can to make sure the system is running as smoothly as possible. Therefore, I believe the solution to the problem of sea-level rise is not to try and bend the Universe to our will.

From a conceptual standpoint, these giant concrete retaining walls alienate and wage war against the natural world; a war we would be so arrogant to think

we could ever have even the slightest chance of winning. We must make peace with the natural world and integrate it into our urban ecosystem. This can be done by reintroducing systems within nature that already work, but are being destroyed at a massive rate. The system which I am referring to is the wetland.

Engineering wetlands is not only a way to stop sea-level rise but also a way to provide habitat to many species whose homes are being destroyed. These new wetlands could also serve as a ground for teaching people about the value of the natural world by blurring the lines between architecture (the habitat of people) with nature (the habitat of other species) rather than separating them. We are one with Earth, not separate. Flood mitigation does not always have to be high tech. You don't always need giant levees and dam systems in order to mitigate flooding.

Wetlands are capable of absorbing, and do absorb, tons of water. Another benefit of this is that instead of releasing all of the water they store very rapidly, which can cause erosion, they release the water very slowly. The

second intent behind the use of wetland is to restore habitats within the city boundary for animals that experience more and more habitat loss outside of the city walls of New Orleans. Over 75% of all protected areas around Lake Pontchartrain will be lost with as little as 1’ of sea-level rise, so it is crucial that a safe environment for their inhabitants to have a place to live.

Lastly, it will be important to allow people to come and visit this site.

Allowing visitors to come and experience the wetland will allow people to learn about the environment, and hopefully want to protect it.

Site Plan 1” = 100’ Species + Habitats

2. Whooping Crane

3. American Woodcock 2. Painted Turtle

1

Freshwater Wetland

Field Habitat

2

3

Edge Habitat

Coastal Marsh

4

3. Long-tail Weasel

4. Blue Crab

3. Cooper’s Hawk

4. Killifish 4. LA Slimy Salamander

4. Great Egret

1. Eastern Wild Turkey

4. Horseshoe Crab

1. American Red Squirrel

Liv

ing

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Bir

Mus

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Site Isometric

Graduate Thesis Design Studio | SPRING 2022 ARCH 613

This will be our home Work by: Sean Flannery Professor: Andrew Cohen

30 BROAD STREET BRIDGE

INFORMATION CENTER

ROCHESTER

TAKE A RIDE, DISCOVER THE MAGIC

WEST ENTRANCE

ST. PAUL QUATER

HIGH FALLS

WEST BROAD ST. TUNNEL ENTRANCE

BROAD STREET BRIDGE

FOUR CORNERS DISTRICT

ST. JOSEPH’S PARK

SUSAN B. ANTHONY DISTRICT

WASHINGTON SQUARE

SOUTH AVE. ENTRANCE

MIDDLE TUNNEL

EAST END

MAIN & CLINTON

AQUEDUCT CASCADE DISTRICT

GROVE PLACE

MANHATTAN SQUARE

BROAD ST. BRIDGE

AQUEDUCT

1927-1956

ROCHESTER SUBWAY ELECTRIC RAIL ROAD, TRACK #17

MIDDLE TUNNEL

SOUTH AVE. ENTRANCE

COVE HILL ERIE CANAL

1000’

Site History Evolution of Transportation

Boat Canal, Subway, Aqueduct, Vehicular Bridge

2020

Broad Street Bridge

1817

Built on the foundation of the Erie Canal Aqueduct, the structure provides an important link between the east and west during the rise of the automobiel.

Johnson - Seymour Mill Race

AQUEDUCT WAS DRAINED DURING WINTER

The race was cut along the East bank of the Genesee River by Elish Johnson and Orson Seymour to operate mills on the site of the Rudnel Libary.

MODERN DAY VIEW OF BROAD STREET BRIDGE, GENESEE RIVER AND RUDNEL LIBARY

2015

North Terrace

1842 - 1919

Structural improvements and the redesign of the sidewalk terrace located just outside the Rudnel Memorial Library.

Erie Canal Aqueduct

BOATS USING AQUEDUCT TO CROSSOVER THE GENESES RIVER

Replacing the orginial aqueduct with one that was wider and was constructed to accomdate travel over the Genesee River. Built entierly out of Onodaga Limestone.

VIEW OF RUDNEL MEMORIAL LIBRARY FROM BRIDGE

1936

Rundel Memorial Library

1927 - 1956

Designed and built during the Great Depression, the Rudnel Memorial Library building is constructed on pilings which float over the Johnson Seymour Mill Race and old Erie Canal Aqueduct.

Rochester Subway

Built in the bed of the Erie Canal Aqueduct, this train served as a commuter rail for local residents

COMMUTER TRAIN ENTERING BROAD STREET SUBWAY

Collage 01 (ex.2021)

Collage 02 (ex.2022)

Skateboarding Public Space Project

Journey of finding a site

Using skateboarding as a mode of investigation.

Kids exploring the countryside stumble upon the entry to an underground space.

DOCUMENTATION OF RUDNEL MEMORIAL LIBRARY DURING CONSTRUCTION

Graduate Thesis Design Studio | SPRING 2022 ARCH 613

Lost Landscapes Work by: Mitchell DaSilva Professor: Julian Bonder