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0.’

5.’

7.5.’

10.’

WHITEWALLMUSEUM@GMAIL.COM.

WHITEWALLMUSEUM@GMAIL.COM.

ALL SUBMISSIONS WELCOME & ACCEPTED

ALL SUBMISSIONS WELCOME & ACCEPTED

WHITE WHITE WALL WALL

POP-UP GALLERY POP-UPSPACE: GALLERY A CALL SPACE: TO A ACTION CALL TO . . . ACTION . . .

WHITE WALL

POP-UP GALLERY SPACE: A CALL TO ACTION . . . 0.’

0.’

30.’

45.’

60.’

ALL SUBMISSIONS ALL SUBMISSIONS WELCOMEWELCOME & ACCEPTED & ACCEPTED

WHITEWALLMUSEUM@GMAIL.COM. WHITEWALLMUSEUM@GMAIL.COM.

A bamboo screen and performance space that formalizes the invisible socioeconomic obstructions to museum accessibility. This piece seeks to take the architectural conditions of the: Radeke Gallery and redefine them as a platform for discussion, demonstration, and contact. This project is intervention art, as well as institutional critique. We offer this project as a scaffolding for others to join this conversation.

5.’

7.5.’

WHITE WHITE WALL WALL

POP-UP GALLERY POP-UPSPACE: GALLERY A CALL SPACE: TO A ACTION CALL TO . . . ACTION . . .

WHITE WALL

POP-UP GALLERY SPACE: A CALL TO ACTION . . . ALL SUBMISSIONS ALL SUBMISSIONS WELCOMEWELCOME & ACCEPTED & ACCEPTED

WHITEWALLMUSEUM@GMAIL.COM. WHITEWALLMUSEUM@GMAIL.COM.

10.’


“. . . Univar’s warehouse distribution business is the core of our operations. We purchase chemicals in truck load or larger quantities to connect large chemical producers with smaller customers. Our network of warehouses allows us to service most customers from multiple locations, enabling us to move products efficiently and economically on a real-time basis . . . “

:

MEDICAL:

C. B. D. :

EAN E CL ES: G R BA LABL C RECY

ION ULAT C R I C FOOT

A. M.S.W. : IL

RA


HARDWARE:

CONNECTION:

C.l.T. COLUMN CONNECTION:

C.l.T. WALL PANEL CONNECTION:

PRE-FABRICATED B.B.Q./FIRE PIT:

2.

1.

HARDWARE/ MATERIAL: C.L.T. BEAM-JOIST CONNECTION:

BRACING HARDWARE:

C.l.T. WALL PANEL CONNECTION:

C.l.T. COLUMN CONNECTION:

1. CURRENT CONDITION: 2. LANDSCAPE (RAIN GARDEN), FENCE MOD. - FOOTINGS PHASE 1. 3. TRELLIS:

PRE-FABRICATED B.B.Q./FIRE PIT:

3.

2.

1.

1. CURRENT CONDITION: 2. LANDSCAPE (RAIN GARDEN), FENCE MOD. - FOOTINGS PHASE 1.

NORTH:

STAIR ASSEMBLY: HARDWARE/ MATERIAL:

3. TRELLIS: 3.

C.L.T. BEAM-JOIST CONNECTION:

BRACING HARDWARE:

FOOTINGS PHASE 2. STAIR ASSEMBLY:

C.l.T. WALL PANEL CONNECTION:

C.l.T. COLUMN CONNECTION:

PRE-FABRICATED B.B.Q./FIRE PIT:

The proposal is a 600. f.2. method of FOOTINGS PHASE 2. successive housing construction that challenges the “finished” condition of “suburban” Cambridge (M.A.) plots. Set-back is understood as a tactic that preserves urban sprawl without actively trying to create more equitable opportunities for mobility.

NORTH:


PRINCIPLES OF THE SUCCESSIVE HOME: 22. F.T.

10. F.T.

0. F.T.

1.

10. F.T.

3.

5.

4.

EXTERIOR PROGRAM:

LIVING/SLEEPING:

1. FLOOR, KITCHEN/DINING/W.C./

HEIGHT: 10. F.T, LENGTH: 30 F.T. WIDTH: 20. F.T.

600. S.Q. F.T.

22. F.T.

3.

CONSOLIDATE VERTICAL CIRCULATION:

2.

1.

CANTILEVER STREET:

PRINCIPLES OF PRINCIPLES OF PRINCIPLES THE SUCCESSIVE HOME: THE SUCCESSIVE SUCCESSIVE HOME: THE

2.

4.

0. F.T.

22. F.T.

10. F.T.

1.

2.

The project allows for greater gradients of public and private osmosis by spanning the understory of the home as a mediator between street and yard. Footings and retention walls delineate social thresholds on the ground that can be modified or adapted to different occupancies. The vertical circulation is a custom pre-fabricated assembly from which all other programmatic space connects to. The program function is understood through relationships of proximity and behavior (determined by visibility, etc.). Habitation within and on the periphery of the building emphasizes elevational awareness articulated through an easily replicable structural logic, which will vary overtime.

3.

0. F.T.

3.

LIVING/SLEEPING:

1. FLOOR, KITCHEN/DINING/W.C./

HEIGHT: 10. F.T, LENGTH: 30 F.T. WIDTH: 20. F.T.

600. S.Q. F.T. 5.

4.

EXTERIOR PROGRAM:

CANTILEVER STREET:

KITCHEN/DINING/W.C./ LIVING/SLEEPING:

1. FLOOR,

HEIGHT: 10. F.T, LENGTH: 30 F.T. WIDTH: 20. F.T.

600. S.Q. F.T.

3.

CONSOLIDATE VERTICAL CIRCULATION:

2.

1.

3.

5.

4.

EXTERIOR PROGRAM:

2.

1.

CONSOLIDATE VERTICAL CIRCULATION:

2.

CANTILEVER STREET:

1.

4.

The project allows for greater gradients of public and private osmosis by spanning the understory of the home as a mediator between street and yard. Footings and retention walls delineate social thresholds on the ground that can be modified or adapted to different occupancies. The vertical circulation is a custom pre-fabricated assembly from which all other programmatic space connects to. The program function is understood through relationships of proximity and behavior (determined by visibility, etc.). Habitation within and on the periphery of the building emphasizes elevational awareness articulated through an easily 5. 4. replicable structural logic, which will vary overtime.

The project allows for greater gradients of public and private osmosis by spanning the understory of the home as a mediator between street and yard. Footings and retention walls delineate social thresholds on the ground that can

5.


THIS PROPOSAL IS AN EXPERIEMENT IN CHALLENGING AND GRAFTING DENSITY.

DINING:

LIVING/MISC.

8. FEET X 8. FEET:

8. FEET X 6 FEET:

SLEEPING:

9. FEET X 8 FEET:

KITCHEN:

10. FEET X 6. FEET:

SHOWER/TOILET:

3. FEET X 5. FEET EACH:


HOME:

A two hundred year historical examination of Bellevue Avenue in the West End. This drawing is the culmination of my mappings utilizing the earliest Sanborn maps of Providence to track the development of the street through time. I was thinking of the already epic narrative of this plot of land my family first purchased after arriving to America and how our stories and mine still figure into it. Relying on memories from my early childhood to now to parse out details of interest, I was excited by the overlaps in the information I had chosen.


ANOTHER GRAVE . . . Studying the work of Jean Michel Basquiat: through painting fast iterative work built by a language of symbols I had created for myself. I was fascinated with unpacking the idea of the “urban spectacle� thinking of my life growing up in Providence. I was trying to capture how my experience informed my depictions of neighborhood, home and stray thoughts I have collected over the years.


Vuthy Lay - Portfolio (2018.) -  

(5.M.B.) -

Vuthy Lay - Portfolio (2018.) -  

(5.M.B.) -

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