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SAGE DUMONT PORTFOLIO 2018


SAGE DUMONT www.sagedumont.com (781) 879 0647 sagedumont@alumni.risd.edu

PROFESSIONAL EXPERIENCE from Massacusetts & currently based in Brooklyn, NY.

Ultramoderne Architectural Intern, February 2018 - May 2018 Project-based involvement, I contributed to architectural design processes, from conceptual iterations to finalized, highly precise client-ready physical models and presentation. Worked consistently & collaboratively with design team.

Rhode Island School of Design 2018 Providence RI Bachelor of Architecture Bachelor of Fine Arts + Nature-Culture-Sustainability Concentration

DumontJanks Architectural Intern, June - August 2016 Solely responsible for the firm’s physical model-making, ranging in scale from residential projects to university master plans. Collaborated with main architectural and urban designers on iterations through modeling and drawing.

Austin Architects Architectural Intern, June - August 2015 Designed and constructed large-scale physical models, from phases of iterational thinking to finalized client-ready examples. Worked with designers in the design process of educational institutions at architectural to urban scales. Analyized statistics and prepared presentations for clients.

EDUCATION

+ outside department courses: FURN-W502-01: Introduction to Furniture LDAR-2252-01: Plant Materials TEXTILES-W480-01: Pojagi and Beyond HPSS-S431-01: Environmental Psychology HPSS-S481-01: Environmental Justice

DIGITAL SKILLS Macintosh & PC; Adobe Creative Suite: Illustrator, Photoshop, InDesign; Rhinoceros, Grasshopper, AutoCAD, Revit, Microsoft Office Suite, Universal Laser Systems ANALOG SKILLS hand-drafting, sketching, hand-tooled woodworking and joinery, 2D physical mediums (painting), high precision model-making skills with various materials and tools (see supporting work), digital and film photography, machine and hand sewing PUBLICATIONS “Volume II”, Brown University, Urban Journal May 2018.

Providence, RI

Boston, MA

Cambridge, MA

WORK EXPERIENCE RISD Architecture Department Teacher, September - December 2017 Co-taught an after-school architectural course to introduce students from Lincoln School, an all-girls school for Grades 1-12, to architectural thinking, drawing, and modeling techniques.

Providence, RI

RISD Architecture Department Laser Cutter Monitor, September 2016 - May 2018 Responsible for monitoring students’ laser cutting projects, problem-solving, and for care of the equipment.

Providence, RI

Waltham Fields Community Farm Field Crew Member, June - August 2012-14 Harvested, cultivated, and completed general farm upkeep in collaboration with fellow farm crew members.

Waltham, MA

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_ 5 ton tent _ community center _ collective movement _ affordable housing _ providence urban _ ocean laboratory

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_ other work

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5-ton tent detroit competition entry, with Nick Meehan https://www.downtownsynagogue.org/dumont-sage/ 2018 A five-ton tent; a reminder of the search for shelter in the scarcity of the desert, materializes a set of questions about place and permanence. The simple act of enclosure provides a ritual space that lasts for seven days but recalls the decades-long pursuit of the Promised Land and the thousands of years of faith in between. In the diasporic context, so many Sukkah builders themselves have faced struggles of migration and immigration. Sukkoth for many has become a time to comprehend parallels between the recent and distant past, the paradoxes between identity and placelessness, and the timelessness of exodus. A Five Ton Tent confronts us by asking the question “are we permanent?” Isaac Agree Downtown Synagogue is the only free-standing synagogue left in Downtwon Detroit, in a dire need of repair. As the majority of The City of Detroit’s Jewish population moved to the surrounding suburbs in the 1950s, Synagogues were gradually converted into spaces of Christian worship, and a pattern of life where Synagogues were within walking distance of their communities began to die out. A Five Ton Tent stays within the Sukkoth principles of scarcity by using less than $1,500 of the material budget. The remaining $8,500 becomes a donation to the Isaac agree Downtown Synagogue, thus contributing to the strength of the community even after Sukkot. Through standing for only seven days, the Sukkah’s beauty is in maintaining identity, community, and ritual practice. The Five Ton Tent, consisting of 334 cinderblocks and 1200 feet of rope, gives a new gravity to the light-weight Sukkah with which we are familiar. 6


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draw_1

make a grid with chalk and a block

stack_2

cinderblocks weight 28 lbs 3

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weave_3

to construct the roof

sukkot_4

also known as

reuse_5

Architecture Salvage Wareouse is an eight minute drive away.

clean_6

sweep away! 6

All are welcome in this architecture, but it also an architecture of participation. As long as you can draw a line, pick up a brick, or tie a knot, you are invited to be a part of assembly. 5

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Three walls & the s’chach tell the story of their construction. The ubiquitous materials, cinderblocks and ropes give a sense of placelessness, as they could just as easily be found at the side of a construction site. But Sukkoth is “the journey toward a home that is no longer a physical destination but a metaphor and idea,” and the Sukkah must provide an external sense of homecoming. Although the blocks will come down as easily as they were put in place, their gravity implies forever.

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community center ponta delgada, portugal 2016 The community center derives from a process, a pursuit, to create architecture that follows a highly systemized directive yet allows for nuance and freedom for architectural variance. A quest for the resulting architecture to exist, stripped down to its essential framework while influencing still through its materiality. The timber skeleton, light like a forest, draws people in from the city to engage with its play of spaces. An experimentation of how structural density correlates with spacial quality directs the design for the Ponta Delgada Community Center. Columns divide programmatic space — their density varies depending on desired permeability of spacial boundaries and intimacy of the architecture. This allows for varying perspectival, visual, and experiential connection and flow between spaces,between the indoors and outdoors. The result: typical rigidness is blurred with ambiguity and playful division of space. Subtle choices made infer a respect to the existing context and surrounding buildings. Stone infill of the facade, like fragments of the past, and site boundaries and Ponta Delgada-specific courtyard character bring connection to place and to the past.

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G

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ground level G

flexible indoor/outdoor, classrooms, courtyard, bathrooms

first level 1

locker room, gymnasium, bathrooms

second level 2

locker room, bathrooms

third level 3

classrooms, bathrooms

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collective movement rio de janeiro, brazil 2017 I. Humans move matter: from its systemized extraction from the earth, to its processing, to its eventual materialization and consumption within the city, where it constructs the urban fabric that makes up our material surroundings, layers of material, history, and memory. II. The catadores, referred to as “waste pickers” worldwide, of Rio de Janeiro move through the urban realm and represent an informal, under-acknowledged system of people who reestablish the identity and worth of materials deemed as “waste”. They are responsible for the constant collection and flow of kilos upon kilos of material through the city and beyond. The catadores transiently moving through the city, collecting material that they carry in trash bags over their shoulders or upon wagons pulled behind them. They stop to periodically rest, bathe and wash clothes in the pond of the Parque Campo de Santana. From waste receptacles and store fronts, aluminum, cardboard, and plastic are collected by the catadores who in turn sell them to middlemen, small to medium recyclable dealers, for less than market price. From there, the material is sold to larger recyclable dealers and eventually to the recycling plants where they are processed into new consumable goods. Rio De Janeiro’s formal recycling program handles only 3.7% of the city’s total waste yet the city has the leading figures of recycling rates: 97.5% of aluminum and 79.6% of paper products, thanks to the manual labor of the catadores. Catadores mostly work individually, autonomously, exchanging their collected material for pay from middlemen. Attempts to create cooperatives to attempt more bargaining rights or power in numbers have been a struggle due to 18

a lack of built infrastructure to store material themselves and an overall lack of recognition of their work. Moving through the city they collect amid a field condition of infrastructure (poles that hold the trash receptacles and mark the landscape for example) that in turn mark the points of interaction, the fissure, between the catadores and the “formal” system of the city, a point of connection that represents economic value, collection, and material worth. III. A proposal for architectural interventions to legitimize the catadores’ work through empowering the individual and the collective as a powerful force responsible for material movement. The flexibility of material and flexibility of space respects the catadores’ autonomy and yet provides simple shelter and gives them a framework to support future growth.


Firstly, a proposal for an impermanent architecture that allows the catadores to maintain autonomy with its flexibility of use — a simple tarp fabric that the user has control over, of how it is placed in the urban realm, how it is tied, for how long it is used for. It provides shade for a moment of rest, that can be tied to existing infrastructure, poles and trees, in public spaces. A flag that distinguishes their quiet existence in the public eye.

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Secondly, a proposal to introduce a collection warehouse in underutilized but central locations throughout the city, such as the ferry dock — areas of movement and commerce. An intervention that provides storage and amenities, legitimizing and organizing the power of the individual. This architecture would support catadores to come together as a cooperative, a current desire but presently unattainable due to lack of infrastructure.

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storage for 3 catadores

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storage for 6 catadores

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storage for 12 catadores

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storage for 30 catadores

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A proposed framework that can change with unpredictable needs and flux of material storage and to support a growing cooperative. Materials of the architecture are simple and easily attainable, allowing the growth of the warehouse to be in the power of the catadores. At the end of the catadores’ days, a sense of place to assure importance of their work after a day of constant movement, but still retaining a sense of self-sufficiency.

The architecture’s construction and future of growth is in the hands of the catadores; this proposal is simply a designed course of action, a poetry, a suggested future projection for the people who move material in the city.

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inside/outside micro-housing providence, rhode island 2016 Urban communities of Providence, Rhode Island are abound with over 2000 vacant lots. These neglected spaces contribute to an overall sense of depravity; unproductive and overwhelmingly most prevalent in lower-income communities, furthering local issues. The Olneyville Neighborhood of Providence has a high concentration of vacant lots. Their existence, however, pose a possibility for their systematic utilization to implement affordable housing that encourages community, safety, and autonomy. Architecture that allows for life’s perpetual impermanence and allows inhabitants to be sheltered while letting life to flow through. The proposed home gives a sense of individuality and self-sufficiency to disrupt a larger infrastructural system. In contrast to Olneyville’s common triple-decker family homes, separate and isolated from a larger sense of community, a proposal to increase a family’s sense of power and place in the community with a home that generates solar power, collects rain water, and user-flexible in defined space and color. The “passive house” standard allows for energy conservation with intensive thermal insulation and mechanical heat exchange. usage of current average household: 7128 kWh/year , $1032 spent/year 120,000 gallons of water/year proposed production: 8000 kWh/year , $1420 savings/year 34,300 gallons of water/year

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existing usage: 7128 kWh/year , $1032 spent/year 120,000 gallons of water/year

proposed production : 8000 kWh/year , $1420 savings/year 34,300 gallons of water/year

15’

21’

6’

6’

30’

6’

7’

34’

7’

30’ 25’

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first floor

The insulative shell of the home juxtaposes with light modular paneling. A play of materiality, of thickness and thinness, gives inhabitants a sense of shelter yet providing a connection to the world, respectively. Translucent exterior poly-carbonate and interior fabric paneling allow for a continuous connection between exterior and interior, public and private, that glow with light from within. The home creates ambiguous, flexible spaces loosely defined by these soft boundaries that can shift and change according to the user.

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providence urban providence, rhode island 2016 A masterplan to bring higher density and active public spaces to an area of Providence, behind the city’s hospital campus, that is minimally developed without a sense of place or purpose. The goal is to create animated public spaces and construct a highly dense community of mixed use, commercial and residential. Pedestrian-friendly clusters connect to create a perceptively and experienced core to the master plan. Vehicular traffic passes through perpendicularly and ground level commercial spaces and the proposed community center open onto these spaces for continuous activity and movement. Tree and seating placement further define pedestrian spaces. Housing units are compact, placed above commercial spaces have balcony access onlooking onto public space below.

n commru cente ity

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studio

STUDIO STUDIO

ground

first

1/2 BEDROOM 1/8 1-2 bedroom 1/8 1/2 BEDROOM

second

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STUDIO

studio

STUDIO

1 BEDROOM

1 BEDROOM

3 bedroom

3 BEDROOM

ground

1/8

STUDIO

first

3 BEDROOM

1 bedroom

1/8

second

1 BEDROOM

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an ocean laboratory providence, rhode island 2015 An ocean laboratory located on the shore of Providence Harbor. The building massing shifts in elevation and in plan to connect land to water. Programs move downwards from laboratories to a ground level aquarium and into the water for research tide pool area. Spacial divisions of varying material, solid or transparent, sectionally nuance space and perceptionally layer, observed in section.

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other work _ + model work _ thesis 2018 _ mirror _ textiles _ photographs

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see website sagedumont.com for further works

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+ model work

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fragile anchors, stolen thimbles, treaded field there is an old woman who sits in waiting with her back to the door but still faces the window her House for Thimbles rests on the wall with repeated cells to hold of loved ones’ whispers— —whispers held in the hands of a child; a child who did not speak but only listened listened to the whispers, steady and slow, that move through walls, round corners, through the house, sitting in their places of memory they pass through time, are kept, lost, and stolen stolen thimbles perhaps? but the structure still stands well her House for Thimbles is doubled now… …here: as a structure of fragile anchors

drawn out, pressed into, recorded, dug anchored, constructed and here to stay like the cornfield that grows with every season or the fruit dropped by the black walnut tree they’re strung delicate taped, sewn, likely odds of coming undone… or promises or whats to come…

yes they were — from the grass flattened in the field from treaded space trailing behind from sitting, knees overlapping and the grass around enfolding… us yes — because of those marks, as a compression of time yes (2) because of a quiet morning, a saturday, skipping down the carpeted stairs the thick banister gripped by small hands and the view thru one doorway, a step down through the kitchen where we eat through the whole house through to the view of the lake and the woods though time onto now . or (3) (around the corner) a slide out from the car (a distance is bridged from a home to a home) to skip between a narrowed walk between the house and the place for cars —dark wooden siding— under the overhang, around two corners through two doors an inspiraled into world: the kitchen table where we sit : two turns turned but where is that table now? is it there and here as it sits next to the fields, the walls, the stairs?

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(1) there, two sisters they live on either side of a wall; a double of rooms with a door (it has been closed for 14 years now) one reads, the other sleeps both read both sleep but how do they know if there is a wall?

or 4. the woods? the venture to the woods through the garden behind the house to climb that heavy stone wall our bare legs brushed by

well an ear gently presses against the divide & strains to listen to listen if she is still “there”… or has she left “there” without a sound at all …there or here? or were they ever either there if they could not see?

of singing and whispers the bark is rough but the woods are her refuge from The House of silent tremors… into the woods, around the table picnic in the field: are all fragile anchors held wavering to our ground of here then and then— just around the corner architecture thesis 2018

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28” x 14”

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100” x 48”

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SAGE DUMONT

www.sagedumont.com (781) 879 0647 sagedumont@alumni.risd.edu

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Sage Dumont Architecture Portfolio 2018, Full  
Sage Dumont Architecture Portfolio 2018, Full  
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