May 2010 Portfolio
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D R E W A C O W D R E Y
Selected Works - May 2010 Harvard University Graduate School of DesignM.Arch Candidate 2012Bowling Green State UniversityB.S. Technology 2009
d r e w c o w d r e y / 1 + 4 1 9 3 0 4 3 8 3 2 / d r e w . c o w d r e y @ g m a i l . c o m
S E L E C T E D W O R K SHARVARD2009-Present
Boundaries + Seduction 04 Spring 2010
The Lodged House 20 Fall 2009
Fields/Figures 28 Spring 2010
City of Wood 34 Spring 2010
The Moving Building 42 Fall 2009
The Hidden Room 64 Fall 2009
Selected Art 76 Fall 2009
BOWLING GREEN2005-2009
Bass Island Retreat 12 Spring 2009
Toledo Urban Design 50 Fall 2008
Marinetti Futurist Institute 56 Spring 2008
Concrete Masonry Design Build 70 Fall 2008
R A R E B O O K S L I B R A R Y
“The feeling that I am not being directed but can stroll at will. And it’s a kind of voy-age of discovery. As an architect I have to make sure it isn’t like being in a labyrinth, however, if that’s not what I want. So I’ll reintroduce the odd bit of orientation, ex-ceptions that prove the rule - you know the sort of thing. Direction, seduction, let-ting go, granting freedom.”
Peter Zumthor
Harvard GSD GSD Core 2 Project Length - 5 Weeks
04
B O U N D A R I E S + S E D U C T I O NA R a r e B o o k s L i b r a r y i n B o s t o n ’ s N o r t h E n d - B o s t o n , M a s s a c h u s e t t s
HEAVY PEDESTRIA
N TRAFFIC
ally entrance
entrance frombusy corner
condo entrance
site pinch
condo pinch
STREET WALL
PUBLIC SPACE
R A R E B O O K S L I B R A R YSpring 2010
Harvard University Graduate School of Design
Critic: Danielle Etzler
Coordinator: Michael Meredith
* Nominated for Publication in the GSD’s StudioWorks
My project attempts to address the paradox of the public
building that must both provide protection for a collection of
rare books while still granting freedom and access to that inven-
tory. Intuitively, this project becomes a question of boundaries
and movement between those boundaries.
I find that the public building is often filled with boundar-
ies and constructs that make it inaccessible to the wanderer.
My project counters this typical urban situation by wrapping
and transforming the ground plane into a series of ramps that
engage and pull the public movement at street level up and
through my building. The ramps bleed into the spaces it sur-
rounds, becoming volumetric, and blurring the connection be-
tween what is sidewalk and what is programmed space. These
ramps are also programmed for anything (or nothing), much
like the sidewalk that the “urban” usually consists of. This ramp
becomes a place in which dancers, lovers, fighters and wander-
ers can relax and just “be”.
Traditionally, buildings are coded with a language so we can
“read” what they hold inside. Typical of our times, buildings
have used transparency to literally display what it has to offer
the pedestrian. My building, in an attempt to become an exten-
sion of the urban flow, offers only glimpses and clues to its inte-
rior when on the ramp. In this way, the ramp acts as a seductive
device, literally pulling and shooting pedestrians into the “build-
ing” by sparking curiosity, confusion, or desire.
form generation through site specificity
site “tensions”
stacks
single surface diagram
woven exterior circulation
ramp to ground connections
projected primary planes
resultant woven surface
projected sheared planes
street entrances
intersections and programs form spaces
public penetration
site compression
public space and stacks separated, penetrated by urban program
building reactionpublic
storefront seduction
exterior circulation development
generation of interior spaces
dn
up
up
updn
dn
up up
dn
dn
up
dn
up
dn
up
dnup
dn
dn
KEY
1 ENTRY
2 THEATER
3 STACKS
4 CAFE
5 BOOKSTORE
6 READING ROOM
7 CARRELS
A
B
C
D
E
G
F
2
3 3 3
1
4
5
6
7
GROUND LEVEL
A B C D
+ 21’ BOOKSTORE + 32’ READING ROOM
E F
SECTION G
EXTERIOR PUBLIC RAMP: A PLACE FOR ALL
EVOLUTION IN MODEL
B A S S I S L A N D R E T R E A T
”The unique dynamic form that we proclaim is nothing other than the suggestion of a form in motion, which appears for a moment only to be lost in the infinite succes-sion of its variety.
Umberto Boccioni
B G S U D e s i g n S t u d i o 5 P r o j e c t L e n g t h - 1 S e m e s t e r
12
DYNAMICLANDSCAPESA Nature and Meditat ive Retreat on South Bass Is land - Lake Er ie, Ohio
Form was derived through the study of carving. As the glaciers moved back toward the poles, crevasses were carved into the landscape. These crevasses allowed for the inflation and expansion of the ground plane. These paper studies show the evolution through time of a single force passing over the landscape. Paper modeling became an important method in understanding the physical properties of carving and creating spaces.
B A S S I S L A N D R E T R E A T
Spring 2009
Bowling Green State University
Critic: Scot MacPherson
* Won First Prize in the BGSU Senior Design Competition
This project is an exploration that attempts to observe and ex-
press a connection between land and time. Forces that created
lake Erie’s islands left behind physical evidence of an evolving
and transforming landscape; a four dimensional landscape.
Form was derived through the investigation of forces that
shape the surface of the earth. Glacial mechanics became of in-
tense importance when considering south bass islands history
of glacial activity. Flow, layering, striation patterning and gla-
cial crevasses were analyzed and explored for their potential in
space creation and form.
The program called for space to be devoted to meditation.
Meditation is characterized by stages that the mind reaches, of-
ten times with the intent to remove oneself from the body and
into its surroundings. As both a nature and meditative retreat,
this complex attempts to remove the mind from the body and
focus on the intensive, powerful emotions that the earth can
have on us. In this setting, mind, body and earth become one
ticking clock, continually moving through time.
The site is defined by a cascading valley, allowing for a long
and linear piece to mimic a glacial flow pattern. The study of
striation patterning led to a composition of striations laid on top
of the site. These striations then carve into the earth, allowing
the surrounding terrain to rise, bend, fold and twist to mimic the
glacial characteristics that once dominated the lake erie region.
The cracks, crevasses and spaces that the striations form serve
as a visual reminder that a landscape is a four dimensional entity,
continuously evolving into an infinite amount of configurations.
A TRANSFORMATION OF LANDSCAPE B STRIATION/DEPRESSION MAPPING C CREATION OF ENCLOSURE
SECTION A-A’
SECTION B-B’
SECTION C-C’
D VARIED ENCLOSURE CONDITIONS
KEY1 entry2 seminar space3 lecture hall4 cafe5 viewing platform6 office7 private rest rooms8 lecture hall support9 gallery a10 gallery b11 gallery c12 public rest rooms
13 meditation pods
A
B’
C’
+45’ ABOVE LAKE +30’ ABOVE LAKE +15’ ABOVE LAKE
C
A’
B
1
2
3
45
6
7
9
10
112
2
VARIOUS GRASSES
LIGHTWEIGHT, ENGINEERED SOIL
FILTER FABRIC
RETENTION LAYERSHEET BARRIER
WATERPROOF MEMBRANECONCRETE ROOF
TENSILE REINFORCING
CUSTOM STEEL RIBS
W STEEL MEMBER
HIGH PERFORMANCE CURTAIN WALL
TYPICAL WALL/ROOF SECTION DETAIL
FLY ASH CONCRETE SLAB
RADIANT HEATING/COOLING PIPES
INSULATION
SUSPENDED ACOUSTICAL CEILING
EXPLODED AXONOMETRIC
STRUCTURAL RIBS
ACOUSTICAL CEILING
INSTITUTIONAL LEVEL
EXHIBITION SPACE
MUSEUM SPACE
MEDITATION PODS
STRUCTURAL TRUSS
GREEN ROOF CANOPIESThis form of enclosure acts as a natural extension, extrusion of land.
Create a powerful articulation against the undulating roof canopies
Earth and its powerful sedi-mentary layers act as a calming and powerful meditative zone. The body is encouraged to re-connect with the earth around it, thus uniting mind , body and nature.
In this subterranean zone, the layering and articulation of time is as much on display as the exhi-bitions themselves.
Above ground
Below ground
“Ultimately, the exceedingly narrow site will prove to be the type of exception that highlights specific architectural problems and spurs the discovery of unexpected so-lutions.”
Preston Scott Cohen
Project Brief
T H E L O D G E D H O U S EHarvard GSD GSD Core 1 Project Length - 2 .5 Weeks
20
L O D G E D H O U S EA House wedged between two existing suburban houses - Cambridge, Massachusetts
T H E L O D G E D H O U S EFall 2009Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen
This project attempts to solve a common problem in contem-porary residential building. The desire for single family dwellings has created a situation where our communities lack continuity and a social atmosphere or energy. In the future, when we no longer are given the opportunity to move further from the city center, we will have to build between, and the space between houses offers a unique opportunity. With a site that has very strict boundaries on each side, maintaining a level of privacy and efficiency reign supreme. My project attempts to express the compressed nature of this abnormally small space through the systematic deformation of the “typical” wood framed home. This deformation then reacts to the programs on the interior by varying the spacing and depth of the studs and beams to reflect levels of privacy. For example, the bedroom, a place of intense intimacy and privacy, has much closer studs and beams that attempt to radiate a secure feeling of enclosure. The kitchen space reacts in an opposite manner, opening up and becoming a much more public and airy space.
EXISTING CONDITIONSExisting buildings have an attraction due to visual similarity and physical proxim-ity.
VOLUME IS PLACED AND COMPRESSEDThe area is between the two existing buildings is so small that a sense of com-pression overwhelms any volume placed between.
VOLUME DEFORMSDue to this compressive action, the vol-ume is given no choice but to expand out into all directions. As a result, the typical home is distorted and reshaped to fit into its new surroundings.
FIRST FLOOR
KEY
1 ENTRY
2 KITCHEN
3 EATING
4 SLEEPING
5 BATH
6 OPEN
7 ROOF TERRACE
A
A
B B1
4
7
5
2
3
SECOND FLOOR ROOF PLAN
PROGRAM
ZONEPrivate - Sleep/Work
Close Members and Solid in fill
Security and Intimacy,Confidence
Public - Cooking/Leisure
Far apart members and highly perforated or no in fill
Reminder of the infinite external world
Member spacing in between the first two zones and mostly solid in fill
Confidence and security inside an infinite world
Members far apart and no in fill
Re connection with the infinite world
Semi-Private - Bathing/Eating
Public - Outdoor
RIB SPACING AND ENCLOSURE
PSYCHOLOGICAL EFFECT
FRONT ELEVATION BACK ELEVATION
Roof Terrace
Bathroom
Sleeping
Kitchen
WorkLeisureOutdoor
“First there is the close-to reading, in which one is engaged in the work’s facture and drawing, in the details of its materiality in all their sparse precision”
Rosalind Krauss
The Grid, The /Cloud/, and the Detail
F I E L D / F I G U R EHarvard GSD GSD Core 2 Project Length - 3 Weeks
28
S U R F A C E t o M A S SA module designed to specifically aggregate into an object like figure - Siteless
F I E L D / F I G U R E Spring 2010
Harvard University Graduate School of Design
Critic: Danielle Etzler
Coordinator: Michael Meredith
* Nominated for Publication in StudioWorks
The intent of my investigation is to blur the surface and
mass characteristics achievable in masonry construction.
Creating a new concrete module allows for multiple sur-
face configurations to be achieved through systematic
aggregation based on geometric relationships. In one
configuration, directionality of the module’s coursing
generates a dual axes relationship that allows the block
surface to “split,” generating two vectors. By specifying
two origin points, the block’s inherent directionality cre-
ates a condition where the surfaces that split can find
themselves again where vectors intersect, thus allowing
the field to complete and figure to emerge while at the
same time creating enclosure, mass and volume.
This project required the full scale reproduction of a con-
crete module. Through this very real and material investi-
gation, questions of scale and constructability were able
to be dealt with much easier.
THE MODULE(S) THE AGGREGATION
Local axes - directionality
compressed block
single module
super module a
super module b - a mirror of super module a
2 walls
figure
ROSALIND KRAUSS ON ANGES MARTIN’S GRID PAINTINGS
The writings of Rosalind Krauss inspired me to try and achieve multiple readings
that depended heavily on scale, and more specifically the human scale. It has been
a goal of mine to achieve a “figure” that could essentially act as a module, aggre-
gating and creating a field condition on its own. Thus, the Krauss readings of grain,
atmosphere and figure can be extracted at multiple levels.
GRAIN
“First there is the close-to reading, in which one is engaged in the work’s facture
and drawing, in the details of its materiality in all their sparse precision”
ATMOSPHERE
“...This ‘moving back’ from the matrix of the grids is a crucial second ‘moment’ in
the viewing of the work. For there is where the ambiguities of illusion take over
from the earlier materiality of a surface redoubled by the weave of martin’s grids
or bands; and it is at this place that the paintings go atmospheric. ”
FIGURE
“Then, as you step back even further, the painting closes down entirely, becoming
completely opaque. That opaqueness of the third ‘moment,’ produced by a fully
distant, more objective vantage on the work, brackets the atmospheric interval of
the middle-distance view, closing it from behind, so to speak. Wall-like and impen-
etrable, this view now disperses the earlier ‘atmosphere.’
GRAIN
ATMOSPHERE
FIGURE
SURFACE TO MASS IN SECTION
MODEL VIEWS
I work a little bit like a sculptor. When I start, my first idea for a building is with the ma-terial. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.”
Peter Zumthor
C I T Y O F W O O DHarvard GSD Construct ion and Methods Project Length - 6 Weeks
34
W R A P / F R A C T U R EA bookstore designed around l ight wood frame detai l ing - Cambridge, Massachusetts
32
2
32
2
T H E C I T Y O F W O O D Spring 2010Harvard University Graduate School of DesignProfessor: Jonathan Levi* Received a ‘Distinction’ in the course
Innovation in wood and the its deployment throughout all scales was a critical element of this project. The first stage required students to design a modest bookstore for a local seller. Site and the larg-er urban scale were not considered critical, but an un-derstanding of how pedestrians would interact with the project was important. After a form had been derived, details where focused on to further develop and enhance the overall projects goal. My project attempted to express the ability to bend and pull typical elements of a building apart to make way for programmatic and occupational elements. Using the word “fracture” as a design goal, each de-tail attempted to “fracture” a typical element in such a way that it would provide an additional feature to an otherwise banal condition. In terms of materials, wood was the major desired element and the question of expression was left to the designer. Wood is quite diverse and used in all types of construction situations, from structure to finishes. Through diverse material selections and a layering of elements, I attempted to express and fur-ther develop the project to express my overall con-cept.
FIRST FLOOR PLAN SECOND FLOOR PLAN
TOP OF WOOD SCREEN ELEVATION 121'-6"
TOP OF ROOF BEYOND ELEVATION 119'-2"
2ND FINISHED FLOORELEVATION 110'-7"
1ST FINISHED FLOORELEVATION 100'-6"
TOP OF ROOF BEYOND ELEVATION 119'-2"
2ND FINISHED FLOORELEVATION 110'-7"
1ST FINISHED FLOORELEVATION 100'-6"
TOP OF ROOF 1ELEVATION VARIES
4
5 1
3
3
4
4
TOP OF WOOD SCREEN ELEVATION 121'-6"
TOP OF ROOF BEYOND ELEVATION 119'-2"
2ND FINISHED FLOORELEVATION 110'-7"
1ST FINISHED FLOORELEVATION 100'-6"
TOP OF ROOF BEYOND ELEVATION 119'-2"
2ND FINISHED FLOORELEVATION 110'-7"
1ST FINISHED FLOORELEVATION 100'-6"
TOP OF ROOF 1ELEVATION VARIES
4
5 1
3
3
4
4
1" x 10" INTERIOR FASCIA, PTD.TO MATCH COLOR OF FLOOR
RECESSED LIGHT POCKET, BLOCK OUTFROM STRUCTURE AS REQ.
BLOCK AS REQ..
9 1/2" x 6" GLU-LAM BEAM
WD FURRING
5/8 GYP CEILING
DOUBLE GLAZED WINDOW
5/8" GYP CEILING
WD FURRING
VARI
ES B
ASE
D O
N C
UT
3/4" PLYWOOD SHEATHING
EPDM ROOFING MEMBRANE
WATERPROOFING MEMBRANE
BATT INSULATION
2" x 8 " TOP PLATE
CEDAR WD FASCIA
CEDAR SOFFIT
2"x10" RIM BOARD
INTEGRATED MTL GUTTER
WATERPROOFING MEMBRANE
3/4" PLYWOOD SHEATHING
EPDM ROOFING MEMBRANE
BLOCKING AS REQ.
CUSTOM CEDARWINDOW
3/4" PLY GUTTER DECKING
3/4" PLYWOOD FOR NAILING
9 1/2" X 6" GLU-LAM BEAM
BATT INSULATION
GUTTER TO EXTEND MIN. 6" UNDER EPDM ROOFING
MTL. FLASH CAP
1'-2
3 8"
SEAMLESS MTL. GUTTER
95 16
"
MTL FLASHING
CANT STRIPMTL FLASHING
VAPOR RETARDER
VAPOR RETARDER
SLOPE 1/4" PER 1'-0"
SLOPES AWAY FROM CUT
ROOF DETAIL
By pulling apart and using varied slopes, the roof planes open up and allow natural light to penetrate into the interior.
SECTION
ELEVATION
BOOK STEPELEV. 101'-4"
3/4" VERTICAL CEDAR PANELING
1"x14" EXTERIOR OAK PANEL, PTD. DARK GREY
3"/8" PLYWOOD SHEATHING
2"X6"SOLEPLATE
BATT INSULATION
5/8" GYP WALL BOARDWD FLOORING
3/4" PLYWOOD SUBFLOORING
5/8" GYPSUM WALL BOARD
BATT INSULATION
1" AIR GAP BETWEEN FOUNDATIONWALL AND STUD FRAMING
2"X12" RIM JOIST
3/8" PLYWOOD SHEATING
1/2" d. ANCHOR BOLT, 16" O.C.
CAST IN PLACE CONCRETEFOUNDATION
EARTH
MIN 6" CRUSHED STONE GRAVELABOVE FOOTING DRAIN
4" d. FOOTING DRAIN
3/4" THICK DRAINAGE MAT
WATERPROOFING MEMBRANE,OVERLAPS AT FOOTING TOCREATE A CONTINUOUSBARRIER
STEEL RE-INFORCING
4" CEDAR BASE BOARD, PTD. WHITE
PREMOLDED FILLER AND SEALANTAT EXPANSION JOINT
2"X4" TOP PLATE
4" MIN. CONCRETE SLAB
PROTECTION BOARD FOR WATERPROOFINGWATERPROOFING MEMBRANE
2" MUD SLAB
CRUSHED STONE GRAVEL
STEEL DOWELS
FINISHED BASEMENT FLOORELEV. 90'-0"
STEEL RE-INFORCING BAR
STEEL RE-INFORCING
2"X8" PRESSURE TREATED SILLPLATE 6"
3/4" CEDAR FACE BOARD
10"
CUSTOM STEEL BRACKET
1" x 2" FURRING TO CATCH STEEL BRACKET
2" M
IN.
2"X10" RIM JOIST
9'-0
"
FINISHED FIRST FLOORELEV. 100'-5-7/8"
2X 2" x 12" RIM JOISTS
1/2" d. ANCHOR BOLT
BASEMENT
FIRST FLOOR
FOUNDATION DETAILBy Using both a step foundation and a tradition foundation, the elevational difference between the exterior and interior was minimized and also allowed for
a raised portion of the interior floor, allowing an optimal location for casework or cash wrap. On the exterior, this hovering portion of the building becomes a
fracturing of ground and building.
3/4" VERTICAL CEDAR PANELING
BATT INSULATION
5/8" GYP WALL BOARD
STEEL BRACKET
1"x14" EXTERIOR OAK PANEL, PTD. DARK GREY
HORIZONTAL BLOCKING TOCATCH STEEL BRACKET
1" x 4" AT SCREEN BASE
CEDAR SOFFIT
DOUBLE GLAZED WINDOW
5/8" GYP
FURRING
2" x 8" DOUBLE TOP PLATE
2" x 10"RIM JOIST
1 1/2" AIR SPACE
DOUBLE GLAZED WINDOW
FLASHING
FINISHED FLOOR TO MEET TOP EDGE OF WINDOW FRAME
WD SLEEPERS
2"X8" PRESSURE TREATED SILL PLATE
CONCRETE SIDEWALK
BITUMINOUS WATERPROOFINGPERFORATED SCREEN
4" x 10" CEDAR MULLIONSHELF TO DISPLAY BOOKS
CEDAR WINDOW
9'-0
"
61 8"31 2
"
FRONT OF STORE INTERIOR
SECOND FLOOR
57 8"
PARTIAL WALL SECTIONAgain, sliding the second floor over the first floor allows for a
cantilever to protect the entrance from weather. In addition,
the front window, which acts as a display window, benefits
from increased protection from direct sunlight.
3D WALL SECTIONS
“The project is a study of movement in architecture. It is not about bodily passage, virtual transformation, or implied structural forces, but rather movement in time and space, actualized mechanically. It is a project in which architecture becomes the geometrical inscription of a series of actions and positions. As such, it kinetically re-defines the fundamental tenets of stasis and permanence.”
Preston Scott CohenProject Brief
T H E M O V I N G B U I L D I N GHarvard GSD GSD Core 1 Project Length - 5 Weeks
42
K I N E T I C P R O G R A M SA kinetic structure mediating between two mutually disruptive paths - Ontop of a Boat Lock
SITE PLANS SCALE 1/32” = 1’-0”
DAY EVENING EVENING
T H E M O V I N G B U I L D I N GFall 2009 Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen
This project was the culmination of my first semester at the GSD. The project was meant to question the static na-ture of architecture and aimed to create mechanically dy-namic structures. My project attempted to question and offer a trajectory in a deep rooted architectural problem. The question of programmatic temporality has bound architecture into creating spaces for different activities. An office space, for example, is used for 8 hours a day, roughly 1/3 of an earth day. What function or purpose do the remaining 16 hours play? My proposal attempts to accommodate shift-ing functions inside a building that has a transformational envelope. Each of the 3 “states” relate in a much different way to the boat lock and pedestrian bridge, which act as the inspiration for a multi-functional structure. Through the delamination of the ground plane, the build-ing transforms from a intimate and protected bridge that separates the private and public realms, to a fully integrat-ed public hot spot via the blurring of ground and the build-ing below. Typology is thus avoided and form kinetically follows function.
Vessel Circulation
PASSIVE/ACTIVE PEDESTRIAN INTERACTION
DAY/NIGHT SITE CIRCULATION RELATIONSHIPS
Pedestrian Circulation
DAY - High levels of circulation lend way for productive and flexible pathways. The interior remains separated from the exterior as both aim to maintain productive environments.
EVENING - As Vessel Circulation dwindles as a product of the work day, levels of leisure rise and the building becomes a performance on its own, transforming from circulation to destination. The ground opens to unify interior and exterior.
GROUND DELAMINATION OVERNIGHT - As the world shuts down ,the building follows. Its ground plane acts as a protector while providing intimacy and security for its users.
DAY
EVENING
OVERNIGHT
“You can’t rely on bringing people downtown; you have to put them there”
Jane Jacobs “The Death and Life of Great American Cities”
T O L E D O U R B A N D E S I G NB G S U D e s i g n S t u d i o 4 P r o j e c t L e n g t h - 4 W e e k s
50
U R B A N S T I T C HR e d e v e l o p m e n t o f a b r o k e n U r b a n E n v i r o n m e n t - To l e d o , O h i o
transformation/dying city
Toledo/analysis
2008 Population 292,000 Surface Parking Toledo Grids
Focal Points Axis City Annexation
1836190019502008
Green space
1970 Population 385,000
T O L E D O U R B A N D E S I G NFall 2008 Bowling Green State UniversityCritic: Scot MacPherson, Andreas Leuscher
This project asked for a redevelopment of an urban area in downtown Toledo, Ohio. A dying city, Toledo offered a unique challenge to an urban design studio. As Borries and Bottger state, “the growth based dis-cipline of town planning cannot fully address the phe-nomenon of shrinking. Shrinking is as much a cultural problem as a psychological problem.” I believe the intervention of the planner has to affect the psycho-logical condition of the people living there as well as the built form of spatial communication. The essence of the design is to stitch the downtown grid and the Vistula grid together and form a single, unified urban space. The site affectionately referred to as the “wedge” is created by the interstitial space formed by the area between grids, where a sense of direction is lost. My solution is to stitch the area together by extending urban grid lines through the wedge and connecting on both sides. These unified spaces will promote new growth both economically and socially, promoting the resurrection of a dying city.
Urban Grid Lines Structures Removed New Building Fabric New Social/Gathering Spaces River Connection via wedge
Residential
Commercial
New Gathering Places
“Architecture shall re-connect to the natural world, indeed, become part of it, restor-ing and enhancing the places we build.”
Jason F. McLennan“The Philosophy of Sustainable Design”
MARINETTIFUTURISTINSTITUTEB G S U D e s i g n S t u d i o 3 P r o j e c t L e n g t h - 1 2 W e e k s
56
O RGA N IC E XPA N SIO NA Futurist Inst itute for the works of F i l ippo Marinett i - Chicago, I l l in ios
PARK NETWORKS ARE SCALED AND PLACED WITHIN THE SITE ALONG WITH THE SIGHT LINES
FORM IS CREATED BYSELECTING THE NETWORK LINES THAT EXTEND THE LINE OF SIGHT INTO AND THROUGH THE BUILDING
[1]
[2]
[3]
[4]
GREEN AREAS ARE CONNECTED TO CREATE A NETWORK OF GREEN ENVIRONMENTS
M A R I N E T T I F U T U R I S T I N S T I T U T EFall 2008 Bowling Green State UniversityCritic: Scot MacPherson, Andreas Leuscher
The Filippo Marinetti Futurist Institute cried for an explora-tion of sectional complexity within a formal building site. With existing buildings on three sides, the site faced out onto Grant Park, which runs along Michigan Avenue, a prominent artery in the Chicago circulation grid. The program required a library and museum to house Marinetti and other Futurist works, a theater, leasable space for office use, and administration spaces . In addi-tion, the ground program called for a restaurant, a gift shop and a welcoming area. The proposal started with the idea of what a Futurist would consider “forward looking” today. As the Futurist of the 1910’s believed in the machine and the mechanization of all things, a thinker of Futurism today would look in the direction of green ar-chitecture. Not stopping at the idea of better materials and uses of energy, the radical Modern Futurist would consider physically bringing nature inside to coexist with the building. This proposal could be the beginnings of an entire re-working of city environments. A natural re-connection in the densest urban environments will be available to all.
Chicago parks create a network of public green spaces.
Sight lines connect adja-cent green spaces
The park networks are scaled and laid into the site.
Tubes form to frame views
1 - Millennium Park
2 - Grant Park
3 - Lake Michigan Beach
4 - Northernly Island
Form Evolution
One
Four
Nine
Two
Five
Twelve
Circulation
Tubes
Green space
Section Model
“On the one hand, the hypothesis of concealment requires consideration of the re-lationship between the visual, experiential and conceptual bases of architecture. On the other hand, it elicits the interpretation of a specific idea and the processes by which it is given three-dimensional form and represented in architectural drawings.” Preston Scott Cohen Project Brief
T H E H I D D E N R O O MHarvard GSD GSD Core 1 Project Length - 10 days
64
T H E H I D D E N R O O MA 5 room bui lding in which one room is “hidden,” using only 2 plans to “reveal” i t . - S iteless
T H E H I D D E N R O O MFall 2009 Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen
“Hidden”, from the Latin word abstrusus meaning “difficult to understand or penetrate, to conceal”, and the common con-temporary definition of the word, “hidden from view,” led to an investigation of natural occurring places that are difficult to un-derstand as well as hidden from view. Places that occur naturally and fit this definition of the hidden are numerous. A cave, hidden from view and difficult to under-stand as a product of its organic formation, adequately fits the criteria. Caves form a variety of ways, one of which is the fractur-ing of the ground to re-configure earth and create spaces that await discovery. By using a fracture to generate the hidden space between two planes, I rely on the common assumption that space between walls is too small for occupation, and holds only the unimportant that we typically wish not to view. This fracturing happens along a pre-determined axis. The space around the fractured “epicenter” becomes encased by the hidden room. The fracturing operation generates and distorts the rest of the geometry. The hidden room, the primary creation of the operation, is masked because of its importance to the ori-gin of the enclosure, thus becoming a sacred place which legiti-mizes its “hiddenness.”
FINAL TRANSFORMATION DIAGRAM
STUDY MODELS
KEY
1 room 12 room 23 room 34 room 45 hidden rm
1
234
5 5
TRANSFORMATION DIAGRAMSThe “ideal” parameters
Altered parameters
Front - 4 Rooms Front - 4 Rooms Front - 4 RoomsBack - 5 Rooms Back - 5 Rooms Back - 4 Rooms
Analogous to the Jordan Curve Theorem,1 four spaces appear to be strictly separated from the “outside”, composed of both air and earth. An ambiguous boundary definition of the attenuated, wedge shaped entrance foyer makes it unclear whether this space is the true fourth sibling of the three rooms inside, or rather is part of the “outside” space and, by extension, more connected to the hidden room itself.
TRANSFORMATION DIAGRAMS
Definition of the Jordan Curve Theorem
Form derived from a node
Entry wedge separated
Entry wedge attenuated
“The time is now Let change begin, Blend heaven and earth In an endless spin,
Wherever you’re going, Wherever you’ve been Now change your direction And travel within; “
-Linda Ori“Time of Truth”
C M U D E S I G N B U I L DBGSU Mater ia ls and Bui ld ing Sys. Project Length - 3 Weeks
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C H A N G E S I N D I R E C T I O NB G S U C M U D e s i g n B u i l d C o m p e t i t i o n 2 0 0 8 . - B o w l i n g G r e e n , O h i o
C M U D E S I G N B U I L DFall 2008 Bowling Green State UniversityCritic: Andreas Leuscher
Innovation in concrete masonry was the under-lying theme of this design competition. In a group of three, my team members and I collaborated in designing a structure not to exceed an 8 foot cubic volume. Individually, I worked on renderings, com-petition board layout and presented the project to a jury, ultimately leading to our design being built. The essence of the design is inspired by the con-tinuous evolving and shaping of one’s ideals and values. The piece is meant to capture the feeling of these transitions and self discovery with twisting geometry and forced views. The introduction of or-ganic matter into the wall and its gradual increase symbolizes the growth experienced through life. At the end of the journey the user is left with a view of the vast landscape, symbolic of a wide open fu-ture.
Direction Lines
Changes in Direction
Wall Geometry
East Elevation South Elevation
S E L E C T E D A R T
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SECTION OF “THE GARAGE” Visual Studies Fall 2009
PLAN AND SECTION OF LOCAL CHURCH Visual Studies Fall 2009
SECTION OF BAKER HOUSE CAFETERIA Visual Studies Fall 2009
SECTION OF BOSTON LIBRARY ENTRANCE Visual Studies Fall 2009
NO TITLE Graphite Fall 2009
TAPE DRAWING Visual Studies Fall 2009
NO TITLE Graphite Fall 2009
NO TITLE Graphite Fall 2009
CONTOUR PAINTING Oil Spring 2002
HAND SKETCH Pencil on Mylar Fall 2006
HAND SKETCH Pencil on Trace Fall 2006
HAND DRAWING Pencil on Mylar Fall 2006
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