1 PORTFOLIO DIRECTORY FILTERED MAT PERFORMING ARTS CENTER & SCHOOL THE IRON RECREATION CENTER OPEN CORE BOSTON PUBLIC LIBRARY BRANCH SPLIT & CARVE OPERATIVE DESIGN HOUSE WATCHTOWER LIGHT WOOD FRAME CONSTRUCTION GREEN BUILDING CAVITY WALL SECTION UNDULATING WALL BRICK & GLASS EXPERIMENTATION 2 8 14 20 26 27 28 comm. service comm. comm. res. auditorium school Secondary roads Dominant roads T-stop: silver line Bus stop Access to site Outdoor site Parking Residential access Public access Access into site FILTERED MAT: PERFORMING ARTS CENTER & SCHOOL SOUTH END, BOSTON, MA | JANUARY - APRIL 2014 URBAN INSTITUTIONS | PROFESSOR PANZANO Located across from Peters Park and along Washington Street and Harrison Avenue in Bostons South End, this site holds a complex which combines residential, commercial, and academic centers. The urban complex, specifically the Performing Arts Center and School, incorporates massing ideas which relate to the surrounding site context. This project focuses mainly on analysis of the areas outdoor conditions to make decisions about massing and elements of the master plan design. VEHICULAR & PEDESTRIAN ACCESS DIAGRAM PUBLIC OUTDOOR SPACE DIAGRAM LEXI SMITH ARCH 2140 MEGAN PANZANO SPRING 2014 Courtyards / public gathering Green Space 2 MASSING: STEPPING HEIGHTS AS RELATION TO GREEN SPACE The massing of the complex is inspired by Peters Park across Washington Street. The park acts as a relief from the many brick buildings, and is a crucial outdoor gathering space in the neighborhood. The complexs massing has stepping heights which get lower closer to the park, so that all levels of the massing are visible from the park and so that the height does not appear overwhelming from the park. These stepping heights not only signal to the relief of the park, but also create prevent the courtyards on the site from feeling too closed off. The highest step is residential and commercial, the next step is mostly service space, and the lowest step is the Performing Arts Center and School: the main focus of the project. 4 STEPPING MASSING PERSPECTIVE The project deals mainly with the details of the Performing Arts Center and School. Programati- cally, the program relies on a service T, which acts as a filter between different types of program within the school. On the first level, the service T acts as a filter between public use programs and student use programs. On the second level, the T filters between student academic spaces and views into the courtyard outside. Finally, the third floor service allows filtration between different performing arts programs. The service programs also help to separate the auditorium from the rest of the programs, allowing for a central outdoor courtyard and perfor- mance space for the students and visitors. Overall, the T separates programs which might to be more internalized, requiring quiet or focus on academia, from programs which are more public. In the larger massing scheme, the service at the back of the school, or the top of the T, helps to separate the school from the residential, commercial, and office spaces, while allowing views into both courtyards on the site. THIRD FLOOR SECOND FLOOR FIRST FLOOR 17 17 17 17 1 23 25 8 29 30 24 27 26 26 26 26 1 25 27 8 25 25 25 25 25 25 20 19 8 28 8 8 9 10 20 19 19 16 20 14 9 16 18 17 24 21 1 3 4 5 6 7 8 8 19 11 2 12 12 11 13 15 11 11 24 24 24 24 21 8 8 20 3 4 5 6 8 8 Open circulation PROGRAM: SERVICE AS FILTER Large group Common/gathering Small group Medium group Service 1. Auditorium 2. School drop off 3. Computer lab 4. Recording studio 5. Library 6. Common space 7. Kitchen 8. Bathroom 9. Outdoor space 10. Entrance / lobby 11. Office 12. Staff room 13. Administration 14. Performance space 15. School entry 16. Classroom 17. Service entry 18. Storage 19. Mechanical room 20. Custodial room 21. Changing room 22. Back of house 1. Auditorium 8. Bathroom 20. Mechanical room 21. Custodial room 23. Dance studio 24. Outdoor flex space 25. Small group studio 26. Group studio 27. Instrument storage 28. Indoor flex space 29. Theater studio 30. Music studio 1. Auditorium 3. Computer Lab 4. Recording Studio 5. Library 6. Common Space 8. Bathroom 17. Classroom 5 VIEWS: SELECTIVE INTERIOR / EXTERIOR SCENES Another consideration in designing the Performing Arts Center and School is the views created within, from, and into the buildings. Forming juxtapositions of solid programs and fenestrated areas allows for views into interior courtyards, exterior courtyards, and of Boston. From the outside, the solid areas hint to program beyond, while the slits of fenestration display these programs and provide interesting previews to the activity within the center and school, and vice versa to the city beyond the site. SERVICE T PERSPECTIVE COURTYARD PERSPECTIVE From site Within site 6 Fenestration also depends on lighting conditions. By analyzing how lighting might enter the building, different sizes and types of glass openings exist on the buildings exterior. For example, the slit windows allow for controlled lighting into rooms. Skylights help to lighten interior spaces on the upper level. The clear glass courtyards within the school allow in plenty of lighting, creating an enjoyable outdoor experience surrounded by interior spaces. Stepping sections of the building also allow lighting to reach the outdoor courtyards in the massing. LIGHT & FENESTRATION: FILTRATION AT DIFFERENT LEVELS INTERIOR COURTYARD PERSPECTIVE SECTION ACROSS SITE SECTION THROUGH SITE Least light Most light 7 THE IRON: RECREATION CENTER BOYLSTON STREET, BOSTON, MA | OCT - DEC 2013 SITE, SPACE, & PROGRAM | PROFESSOR WHIDDEN Situated in central Boston, The Iron rests on a site bordered by three major streets in the city: Boylston Street, Massachusetts Avenue, and the Massachusetts Turnpike. The recreational center, featuring a caf, multipurpose room, and membership-only fitness areas for college- attending locals, is designed based on various elements surrounding the site. The building takes into consideration sound, views, and architectural styles from the area to create spaces which can be experienced at different urban scales: from street level to larger-scale Boston. BOYLSTON STREET TU R N P IK E M A S S A V E N U E BUILDING ALIGNMENT / SURROUNDING CIRCUMSTANCE DIAGRAM Noise created from Massachusetts Turnpike Views created by Prudential Center / central Boston buildings Alternating heights created by commercial buildings Courtyards / public gathering Green Space 9 Programatically, the massing separates service program from programs which may be better experienced along Boylston Street. The service program is aligned with the edge of the site, parallel to the Massachusetts Turnpike. This would be the noisiest and most traffic-heavy street, which would be least pleasing to visitors. The service and main programs are separated by an internal circulation street. Pockets in the service bar allow for people to sit, rest, and enjoy views of the main programs from across the internal street. The main programs, which would be most actively used by the public, align Boylston Street and are much more open for experience with and from the street. Internal street / connector PROGRAM: EXHIBITED FACADE, UNIFORM BACK, CONNECTING STREET Secondary program Primary program
INTERNAL STREET PERSPECTIVE CIRCULATION: INTERNAL CONNECTING STREET 10 The internal street not only separates the two different types of program, but allows visitors to travel the span of the building and gym users to travel to upper levels. The main programs on the first floor consist of rooms which may be open to the general public, such as a caf and multipurpose room. The second and third floors hold most of the fitness center program, such as machines, yoga and training rooms, and the two main pools in the rec center. The top floor also contains roof patios, allowing views to the Prudential Center and other important Boston buildings. The service bar is carried through all three levels. By placing patios within this service space bar, visitors may still catch glimpses of the Mass Turnpike without the noise being too burdensome. UP D N UP UP UP DN UP DN D N 10 5 11 13 13 6 6 12 5 11 14 5 5 6 6 11 11 5 THIRD FLOOR SECOND FLOOR FIRST FLOOR 1. Teaching pool 2. Locker rooms 3. Storage 4. Lobby 5. Patio 6. Bathroom 7. Multipurpose 8. Caf 9. Kitchen 5. Patio 6. Bathroom 10. Fitness 11. Office 12. Yoga 13. Training 5. Patio 6. Bathroom 11. Office 14. Main pool DN UP U P UP 4 7 9 8 6 6 1 2 2 3 3 5 Service programs PROGRAM: PROGRAMS SEPARATED BY INTERNAL STREET Public programs Circulation / internal street Fitness Pools Patios 11 BOYLSTON STREET T U R N P IK E M A S S A C H U S E T T S
A V E N U E The main programs in the recreational center are designed to relate to Boylston Street and the notable city area beyond. These programs, which would be the most populated in the building, each have a way of being exhibited so that passersby may be interested in observing and entering the building. The programs on the first floor are especially transparent, encased mostly in glass so they may be seen from the restaurants and commercial areas across the street. Outdoor programs on the first floor also welcome people to visit the site, sit and eat food from the caf, or watch the high divers in the outdoor pool during the summer. Alternating heights on the second and third floors are also a reflection of the alternating heights of buildings in the area, and gives hints of the centers roof patios, a vegetated relief from the urban footprint. EXHIBITED PROGRAMS PERSPECTIVE PROGRAM: RELATION TO OUTDOOR / SURROUNDING AREA Public outdoor programs Access to outdoor programs Private outdoor program Public exhibited program Private exhibited program Service areas By including many glass openings on the first floor, the internal and external areas relate not only to the rest of the city, but to each other. Within the site, outdoor and indoor fitness users can feel interconnected. Public space users may get a feel of the fitness areas, while gym users may be inspired to visit the more public caf or have sports meetings in the multipurpose room. With such open spaces, people may feel invited to flow between the differents types of programs. 12 The division of the outdoor programs may be understood by observers. As in plan, the building is sectionally divided into different types of program. To the left are the buildings pools. The central hosts the entrance and main fitness areas, and the right side of the building is public-use rooms and smaller use fitness on the upper levels. These areas are flanged by outdoor spaces of various uses. PROGRAM: OUTDOOR SPACE DIVISION BOYLSTON STREET ELEVATION One of the most interesting features of the recreation center is that the exterior highlights the different elements of the building. From the short section, one may see the difference between the main exhibited programs, the internal street, and the service bar. From the long section, one may see the different levels of public space and fitness areas. LATITUDINAL SECTION LONGITUDINAL SECTION 13 OPEN CORE: BOSTON PUBLIC LIBRARY BRANCH CHINATOWN, BOSTON, MA | SEPTEMBER - OCTOBER 2013 SITE, SPACE, & PROGRAM | PROFESSOR WHIDDEN This building is a Chinatown-based extension of the Boston Public Library. Adjacent to a park and minor commercial buildings, the library is meant to serve a community of people of all ages, with various collec- tions in both English and Mandarin. The goal of this building is to provide visitors with experiences catered to their specific needs, with individual rooms for children, silent reading, and computer workstations. Because of the narrow footprint, the building also explores opportunities to create open spaces and utilize windows which make the library seem less congested and more welcoming. 14 UP UP HUDSON STREET SURFACE ROAD PROCESS MASSING: VOID VS. SOLID PROCESS MODELS One major idea behind the massing, which carried through many iterations of the design, is to have an experience of solid vs void spaces. This is created by a series of platforms where solid voids step into open spaces, and vice versa. Several options for circulation around these spaces were explored. Some considered circulation which weaved around the entire building, while some focused on a central circulation core, allowing for more free-flowing movement throughout programs. 16 The final massing of the library has an open central core edged by solid volumes. The open central core contains all upward circulation, while the solid volumes hold all book stacks. The central circula- tion allows peoples vision to circle around the building, constantly alternating from short views of the core to long views of the reading rooms and beyond. By juxtaposing open spaces with more solid spaces, visitors can experience the entire building while ascending and descending, but have more private reading experiences once in the solid spaces. U P U P 2 1 3 4 3 FIRST FLOOR U P D N DN U P DN U P 8 7 8 THIRD FLOOR D N U P D N 9 11 10 11 FOURTH FLOOR UP D N U P D N 5 6 6 SECOND FLOOR CIRCULATION: OPEN CENTRAL MOVEMENT Void central space MASSING: VOID VS SOLID SPACE Solid space 1. Entry 2. Multipurpose 3. Bathroom 4. Storage 5. Staff room 6. Office 7. Childrens reading 8 Secondary reading 9. Periodicals 10. Online catalogue 11. Primary reading 17 VIEWS: SELECTIVE INTERIOR/EXTERIOR SCENES In addition to elongating views, fenestration also allows light into spaces, creating relief within the spaces. Windows located above book stacks allow light to shine on shelves for people searching for good reads. Skylights over the computer area create a more open and relaxing environment for those hard at work. The skylights over the stairs also help to further open the central circulation core and direct people upwards. Because the library must be so narrow, it is important to allow views throughout, so the spaces do not feel so congested. The rooms through- out have a raum plan sensibility. Stepping levels allow not only for different height experiences, but also for views to and from rooms. Placing railings in many rooms rather than walls helps to expand views between spaces rather than hinder them. All of these views allow for vision out of the librarys windows and, at certain points, skylights. 18 LATERAL SECTION SURFACE ROAD ELEVATION From the outside, the building hints at what program exists behind. The outside is solid where bookshelves and computer desks are aligned with the walls. Howev- er, the rest of exterior is glazing which allows people to see parts of the interior of the building, including the open central core and its stairs. Just as is possible within the building, it is possible to see elongated views from one side of the building out to the other side. 19 N E I G H B O R H O O D P A R C E L TOPOGRAPHY VIEW ACCESS PARALLEL TO STREET PERPENDICULAR TO STREET PARALLEL TO STREET PERPENDICULAR TO STREET Neighbor Road Ridge/peak Neighbor Road Ridge / peak Mid area / ridge Neighbor Mid area / ridge Long views Short views Parcel Road Road Parcel Access Eye level Waist level Knee level Ridge Parcel Pool Valley Views Mid area Parcel Peak Parcel Pool Access Road This project is a house design set in a hypothetical New England neighborhood. Having chosen a propoerty lot with many topography changes, this design employs a necessary assessesment of environmental conditions which may affect the house. The operative design methods of splitting and carving different elements of the house and landscape help to form joint living spaces which respond to surrounding conditions for two different clients. SPLIT & CARVE: OPERATIVE DESIGN HOUSE IMAGINED AREA, NEW ENGLAND | MAY - JUNE 2013 FUNDAMENTAL DESIGN | PROFESSOR DI MARI ENVIRONMENT S N E W Summer sun Parcel Winter sun Ridge Site topography changes Pool Valley Views Mid area Peak NEIGHBOR SETBACK DIAGRAM 1 NEIGHBOR SETBACK DIAGRAM 2 Setback Setback 21 This project explored many different options of splitting and carving to create the houses massing. From landscape to fenestration decisions, methods of operation were designed at different degrees scales, and ultimately the preferred methods were chosen. Throughout the process, some adjustments had to be made which better suited the overall cohesion of the buildings design. The massing of the building focuses mainly on splits, while carving is applied more to the landscape around the house to create outdoor paths and spaces. MASSING: OPERATIVE DESIGN STRATEGIES SPLIT CARVE Massing Landscape Flex Space Fenestration Horizontal Ranges Landscape Vertical Ranges Circulation Main Levels Raum Plan Interior Exterior Thick vs. Thin Facade Patios REFLECT JOIN Massing Thick Thin Circulation Reflected Original Massing Joined Original 22 THICK THIN PRECEDENT: POLI HOUSE RAUM PLAN PRECEDENT: TZARA HOUSE THICK THIN DIAGRAM RAUM PLAN DIAGRAM The Split & Carve also places a lot of emphasis on house design principles which have been explored in some well-known houses. Particular interest lies in thick thin and raum plan principles. In this projects design, thick thin is achieved through service programs, carved-out windows, cabinetry, and circulation which aligns the edges of the joined houses. Raum plan implementation helps to not only give each floor dynamic movement, but also to highlight the importance of some spaces over others. More important programs, such as master bedrooms and dining rooms, have more steps to reach them, separating them from the rest of the programs and giving them appeal. Fewer steps may be used to transition between rooms which may want to be more connected, such as the entrances and living rooms. 23 SECOND FLOOR UP DN FIRST FLOOR THICK THIN / SPLIT EXTERIOR PERSPECTIVE THICK THIN INTERIOR PERSPECTIVE Each program has its own way of highlighting the splitting, carving, and thick thin and raum plan principles. Similar programs are located near each other. For example, on the first floors of each clients house, the kitchen, dining room, and living rooms are all located near each other to allow food, relaxation, and conversation to coexist. On these floors, smaller rooms such as bathrooms are pushed towards the edges to allow privacy and to emphasize the thick parts of the joined houses perimeters. There are two spaces which are unique from the rest. A music room on the first floor, meant for public access, contains large, indented windows which allow immense lighting for lessons and recitals. The childrens play room serves as a connection between the two houses, as well as a transition from the front of the house to the backyard patio. The upper floors are more private spaces which follow the same design rules, but include carves into the massing, creating balconies for upper floor dwellers to experience the outside property. 1 2 5 3 4 6 7 8 9 4 7 6 10 3 8 3 2 11 11 11 3 12 13 13 2 3 1. Garage 2. Guest bedroom 3. Bathroom 4. Living room 5. Music room 6. Kitchen 7. Entry 8. Dining room 9. Childrens play room 10. Outdoor space 2. Guest bedroom 3. Bathroom 11. Balcony 12. Flex space 13. Master bedroom 24 SECTIONAL AXON The splitting of the massing re-orients residents as they move throughout their houses, allowing different views from different areas of the spaces. This splitting of the massing from its central spine, along with the carving, also allows for outdoor spaces. For example, the spaces in the back house create a level of privacy in the backyard patio and direct views towards the forest scenery above. The program mimics this operative design in section as well. Not only does raum plan allow split levels on each floor, but the program for each clients house also diverges from the central, shared childrens playroom. LONGITUDINAL SPINE SECTION up dn Shared space PROGRAM: SHARED SPACE WITHIN SPLIT SPINE Client 2 Client 1 SHARED OUTDOOR SPACE / SPINE PERSPECTIVE 25 SECTION FRONT ELEVATION BACK ELEVATION WATCHTOWER: LIGHT WOOD FRAME CONSTRUCTION HYPOTHETICAL AREA | JANUARY - FEBRUARY 2014 TECTONICS | PROFESSOR FORREN This watchtower employs light wood frame construction. The design features a 4-foot founda- tion and two above-ground levels, the first serving as entrance and ascension to the second observing floor. Large, slanted windows on all sides of the second floor allow for generous and asymetrical views, depending on the point of stance. The tower has a folded roof to allow proper drainage and for the collection of rain water. FIRST FLOOR SECOND FLOOR ROOF PLAN 26 ABOVE WINDOW STEEL LINTEL WINDOW FLASHING CONCRETE ROOF CAP ROOF FLASHING 2 MINIMUM METAL DOWEL ROOF FLASHING ROOF MEMBRANE SEPUM GREEN ROOF DRAIN DRAIN PIPE 2X10 ROOF RAFTER 4 RIGID INSULATION VAPOR RETARDER 3/4 SHEATHING 5/8 GYPSUM CEILING 5/8 GYPSUM STRAPPING 5/8 GYPSUM FURRING 5/8 GYPSUM WALL BOARD TRIM BOARD 3 SOLID WOOD DECKING 14 DEEP HEAVY TIMBER BOND BEAM ABOVE WINDOW STEEL WOOD CASING SHIM WOOD STOOL AND APRON 2 RIGID INSULATION CMU WATERPROOFING VERTICAL REINFORCING BARS CMU BACK-UP WALL RUBBER FLASHING ANCHOR BOLT 3/4 FINISHED FLOOR 3/4 SUBFLOOR 2X10 FLOOR JOIST WITH FIRECUT END 1-1/4 X 3/16 TWISTED STEEL 1X2 CONCRETE FOOTING 4 DIAMETER FOOTING DRAIN CONCRETE FOUNDATION WALL WATERPROOFING DRAINAGE MAT FILTER FABRIC INSULATION MODULAR BRICK VENEER WINDOW FLASHING ROWLOCK BRICK WINDOW FLASHING STEEL LINTEL PREMOLDED FILLER AND SEAL JOINT 6 CONCRETE SLAB WITH WIRE PROTECTION BOARD REQUISITE VAPOR BARRIER 4 COMPACTED GRAVEL 1 CAVITY METAL TIE GREEN BUILDING: CAVITY WALL SECTION HYPOTHETICAL AREA | FEBRUARY- MARCH 2014 TECTONICS | PROFESSOR FORREN This project shows a standard cavity wall section. The wall has an outer brick layer, and an inner reinforced CMU layer, with insulation and flashing at necessary points. The joists attached are heavy timber, to explore the connection of different building materials. Some floors, ceilings, and walls are clad with wooden decking. The roof is a green system, requiring many layers to maintain the vegetation, with a roof drain for excess water. The drain follows the standards of an actual roof drain. By following actual guidelines, the cavity wall exhibits all of the detailing required to create a very common type of wall construction. 27 UNDULATING WALL: BRICK & GLASS EXPERIMENTATION HYPOTHETICAL AREA | MARCH - APRIL 2014 TECTONICS | PROFESSOR FORREN This project is a 4-foot deep wall design. The wall uses bricks and glass as building materials, and studies the effects created by forming two wythes of bricks into a curved pattern with altering spaced and aligned bricks. The goal in doing this is to study how a rectangular volume can be manipulated to create more organic forms, and how glass can act as a relief within the curves of the wall. What is attactrive about brick is the fact that it is a small unit compared to most other building materials (e.g. timber and concrete), but it can be used to create structures equally if not more beautiful. In this design, viewers can understand the bricks as a smaller part to a greater whole, and the glass as a compliment to the bricks design. The spacing of the bricks allows for changing views through the wall as one walks along it. The rustic color is also striking, and makes for an interesting contrast with the bright light that could penetrate the open spaces of the wall. PLAN ELEVATION SECTION 28 Glass is added as fenestration to create even more openness within the wall. This effect is achieved through two modules - one with two areas of glass cladding, the other with three areas - and alternating them to create different visual experiences on the facade. The glass is positioned diagonally from the front wythe to the back wythe. The use of linear glass puncturing through various points in the wall reflects the flat planes of the brick and offers more permeability and lightness in the fairly weighty appearance of bricks. Windows are kept in place with thin metal mullions and lintels. What adds to the character of the wall is that the brick is only openly spaced in areas where the windows exist. Some brick is left behind the glass for an added aethetic appeal. Structurally, areas of solid brick support the open areas of the wall. Every four courses of bricks is a series of connected rowlocks which support the king bricks above. The aligned courses of bricks on either side of the windows also add structural integrity to the wall and create an effect of solid vs void. 29