final segment i portfolio
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BostonArchitecturalCollegeSummer 2013
Bachelorof DesignStudiesConcentration in History,Theory & Criticism
anastas i al y o n s
T h e P ortfo l i o
I s s u e
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Anastasia Lyons18 University Rd Apt 3Brookline, MA 02445stasialyons@gmail.comanastasia.lyons@the-bac.edu(518) 221-7206
Summer 2013 PortfolioSubmission for Segment I Portfolio Review in July
Special Thanks to my professors and teachers who havefostered my learning, shaped and reshaped my paththrough their mentorship, especially Diana R. Jasso,Walter B. Denny, Len Charney, Herb Childress, JeremyBoyle and Tim Rohan.
Cover Photo was taken in Munich, Germany in Spring2010.
Photos taken by myself in 2012 at the Yale Campus:Left: Paul Rudolphs Yale Art & Architecture Schoolbuilding from 1959, which I love because of its uniquetectonic that uses masonry elements in a complexinterlocking frame-like fashion almost as one mightuse wood members. This corner detail shows thatinterlocking, as well as the famous cordory ribbingtexture of the concrete.Right: A skylight allows the sun to shed light across aconcrete beam in the ceiling of Louis Kahns Yale Centerfor British Art, which would be Kahns last buildingcompleted on the year of his death in 1974.
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E A Lyons / Design Student
After having been at the BAC 3 years, the assembly of this port-
folio marks an important point in my education and provides
an opportunity for reflection. It was at the end of the Fall 2012
semester that I transferred from the B. Arch program into BDS
with a concentration in History, Theory & Criticism. While I have
greatly enjoyed both my time as an architecture student and as
a theory student, it has been as the latter that I feel my work has
transformed into something I feel truly reflects myself and howI come to design.
In organizing this portfolio, I made the conscious decision to fo-
cus the organization of the portfolio around the text, because I
strongly believe that a students portfolio should be less about
showcasing the work he/she has done and more about showcas-
ing them, who they are, and how they are unique. I have learned
over the course of my studies that my unique talent and poten-
tial contribution is my critical voice. So, in order for this portfolio
to be a reflection of my strengths, and who I am as a designer,
my writing had to take center stage. I purposefully imitated the
format of the design magazines that I frequently devour, because
I find this format represents for me a hopeful trajectory for my
own work and a particular pathway into design criticism.
The making of this portfolio has become an opportunity for me to
reflect on past projects, and to finally, in a consolidated format,
write about my process and my ideas. This portfolio required meto exercise my critical faculty in filtering the projects I had done in
the past through more recently learned methods of articulation,
inclusive of new ideas and approaches.
I take great risk in organizing my portfolio in such a manner,
knowing that my portfolio will not resemble any other students.
However, perhaps that is appropriate, as I have little desire to try
to squeeze myself into a format ideal for some other design stu-
dent. Instead I have a great desire to make clear my voice, who I
am, how I think, and where my talent lies.
The goal of my education is to learn to channel my
unique voice and talent, practicing the skills necessary
to engage with the field of design on a critical level.
To providemeaningfularchitecture is not to
parody history but toarticulate it.
- Daniel Libeskind
Statement
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Historical,Theoretical &Critical work06
FoundationalDesign Studies:Academic Designwork14
Content
8 Final Paper for Contemporary Arch.
13 Blog Post: Why be a Critic?
16 A-1 Studio
20 Drawing Media Coursework
22 A-2 Studio
26 3-D Modeling Coursework
28 B-1 Studio
34 Rendering Coursework
38 Work at D-V Design
40 Gateway Project: Church of the Covenant
42 Gateway Project: MapLab
44 Gateway Project: CityLab
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Architecture is not about space
but about time.
- Vito Acconci
Practice-basedDesign Work36
ExtracurricularArtwork &Photography48
46 Work at Designer Cabinetry
48 Personal Photography
52 Personal Watercolor & Drawings
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Writing samples
Historical &Theorectical
Work
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Historical & Theoretical Work
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GRAFTING NEW ON TO THE OLD:
LORD FOSTERS NEW ART OF THE
AMERICAS WING & THE MFA BOSTON
Final Paper for
Contemporary Architecture
Contemporary architecture frequently has to deal with the jux-
taposition of old and new structures, especially today as many
cities attempt to grow within their existing urban fabric. It may
be observed that some projects approach this condition of jux-
taposition with more sensitivity or more subtlety than others.
It has become a requirement in many contemporary projects
to incorporate surrounding context into the design of new con-
struction. And for our analysis we can look specifically at the
places where old and new psychically touch each other, as in
the case of an addition, the locus of this important transfor-
mation from old to new. We have moved beyond a point in timewhen designs that are passively imitative of the surrounding
building stock, often incorporating referential elements only at
the surface level of faade, would be considered suitable incor-
poration of context. Similarly an addition to a historic building
that camouflages itself in historicist guise by incorporating
surface elements of the original building is considered a fun-
damentally conservative approach to the condition.
Perhaps there needs to be another way to measure the suc-
cess or failure of building projects where the new touches the
old, where new structures are built into or onto the old ones. Inorder to do this we might consider the building as a body, not a
human body, but indeed a body of nature, as an assemblage of
individual parts that act together to create a whole. Assuming
this premise, we can ask the questions, What does it mean
to make an addition to building? At what point does an addi-
tion remain disparate and distinct from the original structure
and is it possible for these disparate parts that are assembled
together to grow into each other? Perhaps seamlessness be-
tween parts of old and parts of new is not what ought to be
sought, but instead for the pieces to be able to act together as
a body of architecture.
The Museum of Fine Arts in Boston was originally founded in
1870 and remains one of Bostons most prominent institutions
and a world-class art museum visited by more the one mil-
lion people every year. The site that the MFA occupies cur-
rently bridges Huntington Avenue and the Fenway, a piece of
the Emerald Necklace parkland designed by famous landscape
designer Frederic Law Olmsted in the late 19th century. The
original building for this site was designed by Boston architect
Guy Lowell in 1909. Guy Lowells original plan was emblematic
of 19th century neo-classicism. Grand staircases take visitorsup to the piano nobile level where the main gallery spaces are,
and an array of columns of ionic order flank the entrances. The
faade features a classical tripartite division, with deep-relief
sculpted entablatures delineating each floor level. Architectur-
al details are exaggerated, and romantic, in scale. Everything
from the swirling capitals, to the clamshells at the corners of
the roof and pediment, to the lintels above the large windows,
is monumental. All together, the faade has characteristic fa-
miliarity; it shares the iconic language of many a civic, neo-clas-
sical, American building, but with some additional touches of
Spring 2013
Professor Diana R. Jasso
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beaux-arts flair. Lowells beaux-arts neo-classical columnated portico entrances face both the Fenway and Huntington Ave creating
an axis of orientation perpendicular to the street and to the winding parkland.
Lowells plan included a western and an eastern wing, but the museum had to be built in phases and his plan was never fully exe-
cuted. Decades later the MFA required more space to house its growing collection, and also needed to modernize by adding space for
things like a coat check, caf, museum shop and performance space. I.M. Pei was the architect chosen to design the 1981 addition ofthe west wing. His addition is a long laconic bar sheathed in gray granite whose axis of symmetry, reflected by a long arched vault of
glass skylight above, runs parallel to the axis of the original. The rectangle opens at its corners at points of connection to the original
building, pinching the path of circulation to those two corners. The design scheme moves the main entranceway to face west, into
the parking lot, and has been widely criticized for that move as well as for the fact that it made circulation difficult and confusing for
visitors. Most visitors entered through the Pei wing at the extreme end of the museum, writes architectural critic for the Boston
Globe Robert Campbell, and quickly got lost in what seemed to be disorder. Many visitors never found their way to the galleries on
the east end of the museum.
In 1999 the MFA began working with Foster + Partners Ltd, a London-based architectural firm headed by the famous Norman Foster.
Foster was commissioned to design a new Art of the Americas eastern wing making the MFA the first large museum to dedicate
an entire collection to art from the Americas. The new space would allow for some 5,000 works from the collection to be on permanent
display, also increasing the MFAs prestige and presence in the art market as work to build their collection with North, Central & South
American art from all periods. The MFA leadership purportedly did not give much direction on the project, but MFA director Malcolm
Rogers was quoted in Cambells Globe article as saying they wanted the faade to look like not a palace or a prison. That sentiment
was rewarded by a building whose restraint borders on excessive, but whose strength lies in its attention to some architectural fun-
damentals: daylight, circulation, and programmatic distribution.
For visitors to the interior, the new addition begins with a 63-foot-high glazed court, a multi-functional space that on most days
houses a caf, and serves as a place of respite from the rigors of viewing the artwork. It is also a good place to be seen. This court is
the site of the connection between the old building and the new. On one side of the court, the old buildings wall is left exposed, and
on the other side a lifting expanse of limestone wall carries a cantilevered stairwell up through the main exhibition spaces of the new
wing. Above the hall, a ceiling system of baffles and translucent panels modulate the sunlight and provide sound absorption.
On the exterior of the building, the faade makes some attempt at incorporating contextual classicism. A stringcourse runs along the
base of those corner pavilions, echoing the classical tripartite division of the originals faade only the lines of demarcation in this
case are created by black Miesian I-beams which suspend panels of glass and stone veneer. The stone is the same Deer Isle granite
from Maine that was used in the old construction. Despite the overwhelming approval of the interior, criticisms of the austere faade
have been rampant. Boston Globe critic Robert Campbell celebrates the permeability of the new wing by arguing that, In the past
the MFA felt locked up like a guarded jewel box. The new wing throws itself open to the world around it, and then in reference to the
buildings strict neo-modernist exterior he writes, its a look that fails the communicate much about the riches inside This part of
the museum looks too much like a stack of shipping containers on a wharf somewhere.
The original Guy Lowell plan was based on a classical idea of the body. As Campbell describes it, you entered at the head, and the
building wings spread out symmetrical to the left and right like arms. Its a kind of order we grasp intuitively. Peis west wing haddisturbed that order, moving the entrance to the western arm of the building and creating a perpendicular axis interrupted by court-
yards. Fosters east wing would build on the same perpendicular line, but more importantly would restore the main entrances, the
head, facing Huntington Ave and the Fenway, reinstituting the old order of the building based on the original axis of organization.
In Foster + Partners description of the project on their website they offer insight into this important aspect of the renovation, The
central axis has been reasserted with the reintroduction of the principal entrance to the south of Huntington Avenue and the reopen-
ing of that to the north. Thus, at the center, the heart, of the axis is the new information center, a locus point for exploration by the
visitor, a place to begin and return to that is clear and intuitive.
Foster + Partners describe the operation of building the addition as an insertion: a crystal spine the descriptive shorthand for
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Figure 1 Figure 2
Historical & Theoretical Work
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the freestanding glazed structure that
encloses the new wing was, in this log-
ic, inserted between the buildings main
two volumes to create the Art of Americas
wing.
Looking at the sketch diagrams from the
project page of the Foster + Partners web-
site, Fig 1, it appears that the crystal spine
is being superimposed, more than being
inserted, on to the building, as demon-
strated by the downward pointing arrows.
The sketch also includes an eastern ex-
tension of the crystal spine which would
in that case be imposed over the I.M. Pei
wing. This is the planned new eastern
wing which will house contemporary art,
but is not yet constructed. Nonetheless
the distinction in language may be im-
portant as insertion implies perhaps a
fitting into a space or an opening that al-
ready exists, whereas a superimposition
means imposing a new order which would
include destruction at the points of con-
flict or obstruction between old and new.
In plans it appears that the Foster addi-
tion is less violent in its insertion into the
Lowell building, and more destructive in
superimposition over the reviled I.M. Peiwest wing.
In Fig 2, the roof plan of the MFA, the in-
sertion is clearly visible; the addition ap-
pears as a loose fitting puzzle piece that
has been slid into the existing buildings
courtyard opening from the east. The ad-
dition does not overlap with the existing
building except to meet it at its central
axis so as to connect it with the main cir-
culation. On either of the north and south
sides of the addition, which face the arms
of the Lowell building, a 10 swath of court-
yard remains, creating clear separation
between old and new. A visitor movingthrough the crystal spine may perceive a
visual connection to the arms of the Low-
ell building through the courtyard by the
transparent walls of glass. Transparency
can create visual connections between
the old and new, but that does not negate
the space that sensitively separates them
from each other.
Norman Foster himself claims that these
parallel courtyards which separate the
addition from the original building on the
north and south sides do their part of
incorporating context by connecting to
the Fenway gardens (also known as the
Fens). The MFA is more than a great cul-
tural institution it is the catalyst for the
rejuvenation of an entire neighborhood in
Boston. Over time the Museum had lost
its connection to the Back Bay Fens and
the beautiful landscape of Frederick Law
Olmsteds Emerald Necklace. In restoring
Lowells original plan and in opening upand reasserting the grand Fenway en-
trance, we have rediscovered this link. At
the same time, we have drawn the land-
scape deep into the heart of the building
and along Huntington Avenue. The result
is a more legible museum that will create
new connections between the park, the
Museum, and the local community.
The claim that the Fens is incorporated
within the building via these courtyards
is tenuous, as the link is neither physical
nor orientational. No physical connection
is made with the Fenway gardens as the
courtyards are fully enclosed within thebuilding. And in plan the courtyards ori-
entation corresponds more to the orien-
tation of the building, and are parallel to
the street. Furthermore, the connection is
not obvious to the visitor. The unromantic
reason for these courtyards to exist is to
satisfy seismic codes which dictate a sep-
aration in old and new structures, making
the claim that it also incorporates context
seems a little wishful. However, this illus-
trates for us that incorporation of context
as a concept is important to Foster, and
invites us to look at other areas of the
building where this goal may have been
better accomplished.
In Fig 4 we can see the point of contact
between the old building and the new ad-
dition, the place where the frame of the
crystal spine intersects with the stone
wall of the historic building. If we are to
think of a building as a living, growing
thing, or at least as a body of nature, asI have previously suggested, and also as
the originals classical conception insists
(with its head, arms, and wings), then per-
haps the concept of grafting might be a
useful in conceptualizing the operation
that is performed by the insertion/addi-
tion of this new appendage to the build-
ing. Grafting, by the dictionary definition is
1. A a horticultural technique which is the
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Figure 4 Figure 5 Figure 7portfolio 11
process of uniting a shoot or bud of a plant
with another growing plant by insertion or
by placing in close contact, the two sets
of vascular tissues then join to grow to-
gether (the joining is called inosculation),
or 2. The process of surgically attaching,implanting, and/or transplanting living
tissue into a bodily part to replace a dam-
aged part or compensate for a defect. In
both cases where the word graft applies, if
too much force is applied to whatever part
is being grafted onto, the graft will fail to
grow together the new parts never be-
come part of the whole body. In Fig 7 we
see a diagram of cleft grafting, where a
special tool pries open a cleft opening in
the surface of a cut branch, and inserted
in that opening are the scions or buds
of another plant. The original branch will
provide nutrients to the scions the two
plant tissues will be forced to grow to-
gether, creating an offshoot branch with
new DNA.
The process of grafting is similar in many
ways to what we can observe at the point
of connection between the old wall and
the new addition to the MFA. The new ad-
dition necessarily must deconstruct theold wall at the points where new framing
members attach to it, much like a cleft is
opened for the insertion of scions. The
new part becomes a part of the body as
a whole as it begins to grow, as the old
parts blood supply finds its way into the
newly grafted component.
Grafting is useful as a metaphor in the
conceptualizing an addition to a building
provided first that we understand a defi-
nition of a body that allows us to concep-tualize Architecture as a kind of body. So
to move forward in our analysis we need
to find a definition of a body that is ser-
viceable in thinking about architecture.
For this we turn to Gilles Deleuze, the
influential French theorist, whom many
critical architects have drawn inspiration
from, and who in his lectures expands on
the Spinozas theory of physicality. Ba-
ruch Spinoza was an rationalist philoso-
pher whose work became important long
after his death in 1677. Well known for
his remarkable scientific aptitude, Spino-
za helped lay the groundwork for the 18th
century enlightenment. He famously op-
posed Decartes mind-body dualism, and
his theory of physicality refutes Cartesian
understanding of bodies and space, which
still dominate architectural thinking.
Deleuze references Spinozas theories
often in his writing, in his Capitalism and
Schizophrenia written in collaboration
with Felix Guattari, in his lectures at theCour Vicennes in Paris, and he even wrote
a short book, Spinoza: A Practical Philos-
ophy.
Deleuze mobilizes Spinozas concept of
affect in his own definition of the body.
To Spinoza, Deleuze argues, a body is an
assembly whose unity in itself and dis-
tinction from other bodies is defined by
its power-of-acting. Power of acting may
be a shorthand for Spinozas concept of
affect, which may be briefly defined as acapacity to act and to be acted upon. In
the appendix to the second volume of
Capitalism and Schizophrenia: A Thou-
sand Plateaus, the translator, Brian Mas-
sumi, offers the following definition: Laf-
fect (Spinozas affectus) is an ability to
affect and be affected. It is a prepersonal
intensity corresponding to the passage
from one experiential state of the body
to another and implying an augmentation
or diminution in that bodys capacity to
act. In the simplest terms and leav-
ing out pieces of the concept that are too
complex to detail in this paper taking
the human body as an example of a body,
the human being understands the body
as a totality, as a whole, because each
individual part can be called to motion in
congruence with each other. For example,
the hand and arm can be put to motion
together to perform a task such as lifting
an object. Another example is how all the
various parts of your eye can be groupedtogether as the body eye by their ability
to move separate from the eyelid and by
their ability to perform the task of vision
as a whole. In Deleuze Dictionary a vol-
ume which is essential in decoding these
concepts Adrian Parr crafts the follow-
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ing explanation:
The relations and interactions of the parts compound to form a
dominant relation, expressing the essence or a power of exist-
ing of that body, a degree of physical intensity that is identical
to its power of being affected. A body exists when, for whateverreason, a number of parts enter into the characteristic relation
that defines it, and which corresponds to its essence or power
of existing.
Taking this concept a little further, Spinoza conceptualizes the
duality of joy versus sadness as the result of those things that
either increase our power of affect or decrease our power of af-
fect. Again, from Parr:
A body being affected by another, such that the relations
of its parts are the effect of other bodies acting on it, is a pas-
sive determination of the body, or passion. If an external body
is combined or composed with a body in a way that increases
the affected bodys power of being affected, this transition to a
higher state of activity is experienced as joy; if the combination
decreases the affected bodys power of being affected, this is the
affect of sadness.
Bringing this observations about definitions of bodies back to
a discussion of architecture, architectural critic Micheal Speaks
writes in Architecture + Urbanism in 2002:
Following Spinoza, Deleuze defines a body as any corporal ar-rangement composed of an infinite number of parts or particles
held together when they move in unison at the same speed. He
says a body can be anything, an animal, a body of sounds, even
perhaps an architectural practice. He says a body has the capac-
ity to affect and be affected by other bodies. Bodies are more or
less powerful, more or less able, in other words, to effect change
in their environment, depending on the degree to which they are
capable of being affected by their environment.
After we have defined a body in this way, the question for ar-
chitecture is whether we can say that the assembled parts ofa building act as one body through their power of affect. And
taking a key from Micheal Speaks reading of Deleuze, we can
ask, Is a body of architecture more or less effective based on its
capacity to be changed by its environment, or by its sensitivity to
juxtapositions of other bodies in relation to it?
The concept of graft is an ideal metaphor for this discussion, be-
cause the idea that a new part of a building, while it may remain
a distinct body of architecture within itself, becomes part of a
building-whole because it grows out from the place of insertion.
Ideally the addition becomes a part of the larger architectural
body because all the parts share the same lifeblood. And even
though the structures dont set in motion together, we can say
they may affect their environment together, with mutual additive
capacity. And lastly that the composition on the additive body
within the external body increases the affected bodys power ofbeing affected, corresponding to a higher state of activity [that]
is experienced as joy.
I.M. Peis west wing may then be described as a failure because
it decreased the overall buildings power of affect. It disrupt-
ed its functioning and attempted to superimpose a new order
which shifted the axis of organization of the whole. As a result,
the experience of the building as a whole was largely altered for
the visitor, dominated by the singular vision of I.M. Pei. The sur-
rounding environment was effected as well because of the shift
in axis, which turned the building to face away from the street.
In contrast, Fosters east wing addition restored and reinforced
the original axis of orientation, turning the building back to face
the street. The addition is grafted from the central point of the
axis, by the insertion of delicate framing members. On the north
and south sides of the addition transparency preserves a visual
link to the original, but the addition leaves the original arms of
the Lowell building intact and relatively untouched. By helping
the building as a whole to regain a sense of order and symmetry,
and clearing the way for more intuitive paths of circulation, the
addition increases the buildings power of affect. While the sty-
listic contrast between the beaux-arts neo-classical original andFosters signature sophisticated technological neo-moderist ad-
dition might seem, particularly from the exterior, a jarring con-
trast on a more fundamental level Foster + Partners have been
successful at grafting the new addition onto the old in a way that
invites new growth. In way that transitions the MFA to a higher
state of activity. Although each architectural body, the new and
the old, remains distinct, because Fosters addition is successful
at grafting this connection between the old and new conditions
it may soon become the case that the Art of the Americas wing
will be considered just as integral a part of the MFA building as
does the original structure.
BIBLIOGRAPHY
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Studio Projects andother Coursework
Foundational
DesignStudies:
AcademicDesign Work
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Fall 2010
Instructor: Justin Lodge
01. Developing Space
For this first-ever studio project the goals were deceptively
simple: play with the idea of space-making using the conven-
tional materials of a design students early modeling exercises.
I began with abstract, orthogonal and strictly linear designs
drawn on 8.5x11 sheets of cardboard. Designs were compli-
cated through repetition and overlayment and eventually the
varying line weights in the drawings began to represent a code
of instructions for cutting, scoring, and folding the material.
Through these methods a simple sheet of cardboard could
transform into a space-encapsulating object. Initially I ap-
proached the project as an exercise in rule-based art, inspired
by artists such as Sol LeWitt whose art-method was often a
set of instructions left for others. I am interested in rule-basedart not only because of its communal nature and its inherent
criticism of the concept of authorship, but especially because it
is often, paradoxically, a precise methodology for creating con-
trolled randomness. I was delighted to discover that through
this exercise I began to really understand how spacial bound-
aries could be made implicit by parallel edges of material; I
became fascinated by the idea of partially-defined and implied
spaces. My instructor praised my final model for its success in
creating interesting spatial conditions within such narrow lim-
its of material, and my diagrams for successfully explaining the
process by which I transformed the 2-dimensional plane into a
3-dimensional object.
A-1 Studio
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02. Figure/Figure
In the second project for my first studio class I pushed further
this idea of implicit space. I began by using the nodes and lines
of tree branches to envision the boundaries of an implied space.Using methods of articulation that exercised my abilities to use
various media, the project unfolded from interpreting this envi-
sioned volume of space. After sketching the perceived volume
I created a paper model of my interpretation of the shape of
the space implied by the void in between the branches. I then
created a new frame, from lightweight basswood members
ter model out of expressive triangular planar wood pieces whichutilized a tectonic of notched joinery. This alternation between
making void into solid, and from a solid a new void, was a fasci-
nating exercise that solidified my conception of space as well as
the difference between explicit and implicit spatial boundaries. I
named this series of models the wave because of I perceived a
kinetic energy in the forms I had created; the forms seemed to
me as a series of prisms in rotation, rotating over one another
like a wave in motion.
carefully jointed together and glued, which responded to the
form of the paper model and created a newly implied spatial
condition when empty. Inverting the void into solid once more,
I created a plaster model representing the form of the space.
Finally, in what would be my first attempt to create a model
that had structure in so much as it was capable of supporting
the weight of my plaster model I created a frame for my plas-
I named this series of models
the wave because of I per-
ceived a kinetic energy in the
forms I had created...
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Academic Work: A-1 Studio
In the final project for A1 studio we were given our first site: an
empty lot across from the main BAC building. We were tasked
first with designing a way to transverse the elevation. It was
a one-story drop from the sidewalk level to the ground of the
site, and in creating a passage over this elevation I wanted tocontinue experimenting with creating alternating spatial con-
ditions. I decided to create a ramp and along its passage alter-
nate between spatial impressions of enclosure versus open-
ness. I envisioned creating this ramp out of folded planes of
metal akin to the large-scale installation sculptures made of
sheet metal by Richard Serra, given the singular function of fa-
cilitating passage across an elevation. In my design, the metal
planes are visibly notched together and create the experience
of enclosure, appearing to have been unfolded in the places
where they create an experience of openness.
Continuing on this theme of alternating spaces, and carrying
the form of folded planes, I moved into the final phase of the
project where we were tasked with creating both solitary and
gathering spaces for BAC students in the same given site. The
program left relatively undefined, we were given great freedomto define what a solitary versus gathering space might mean.
I responded to the prompt for creating solitary spaces by de-
signing volumes that held studio spaces, 4 student desks each.
The studios could then function as solitary work spaces, or
spaces for small groups to work together.These studio cubes
were similar to the form of the ramp in that folded planes cre-
ated the broken roof lines of each, as if part of the roof had
shifted apart from the other creating a large slit opening that
would flood light on the inner walls of the studio space. The
volumes overlapped, deconstructed at the point of connec-
3. Spaces for BAC Students
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portfolio 19
tion, creating a tightly controlled circulation pattern. The stu-
dio spaces are kept private from circulation space by the use
of partitions, which create long expanses of pin-up surface.
All the studio spaces are on the level of the sidewalk and the
floor below extends the lines of the volumes, bounded by glasscurtain wall, to the level of the parking lot, creating crystalline
gallery spaces for student work. Two courtyards are enclosed
by the juxtaposed volumes, creating another gradient of gath-
ering space for students. By stacking the enclosed volumes of
the studio cubes on top of the clear gallery spaces I was able to
create a striking juxtaposition expressive of the solitary ver-
sus gathering conditions, as well as the spatial experiences of
enclosure versus openness.
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Academic Work: Drawing Media Coursework
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Top Row: Examples from Perspective
Drawing Class
Left Center and Bottom Rows: Examples
from Freehand Drawing Class, clockwise
from top left: Portrait, Nude, Van Gogh
copy, Self-Portrait
Right Center: Cloth study from Freehand
Class
Right Bottom row, from left: Medieval
House Axonemetric from Orthogonal Dra-
fting class, Sketch of building at Mass Ave
from Freehand Drawing
Drawing
MediaCoursework
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Spring 2011
Instructor Kerri Frick
01. Chair
The chair project began with drafting exercises of precedents.
Next, we were paired with another student and worked to-
gether to design a chair which could be multiplied and linked
together in form, such as the chairs in lecture halls or airports.
My partner, Jason Weldon, and I were interested in the challen-
ge of designing a rocking type chair, a chair that would have
kinetic energy and an interactive component. Inspired by a de-
sign of booths in a bar which featured seats whose back had
been cut out to force interaction between parties, we designed
rocking chairs made of wood slates that slot into each othersback as the chair rocks. As one person rocks back, the other
is slightly pushed, or the two can rock together. Instead of a
tte--tte it is a back-to-back, an experiment in design that
encourages interruption and interaction.
02. Passage
Continuing on the theme of designing for the human body in
motion, in the passage project students were assigned to de-
sign a way to transverse the slope that would engage the hu-
man body. For this project I was inspired by the concrete archi-
tecture of Carlo Scarpa, particularly at his Tomba Brion (Brion
Cemetery), which recalls an ancient monumentality with pa-
radoxically ethereal forms in concrete, and also by the ancient
Egyptian architecture I was studying concurrently in another
A-2 Studio
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course. I designed a modular system embedded into slope that
allows users to traverse at different levels and provides pla-
ces of rest along the path. The idea was to invite a sense of
rhythm and ceremonious procession using massive forms in
repetition. The entrance to the path is flanked by walls that
grow higher the closer they come to each other, playing withthe effect of perspective in our vision. Beyond those walls, a
series of massive frames ascend up a slope, like chain link with
their open sides perpendicular to each other; each element acts
as a step up or down to facilitate the crossing of the slope. The
larger, more vertical outer frames intersect the inner volumes.
The bottom faces of the outer frames are elevated a few feet
up from the floor of the inner volumes, so that this surface can
function as low benches allowing for a place of rest, or as steps
leading out of the structure up toward the level of the ground,
or as obstacle, necessitating conscious engagement of the
body to move through the design. It became very important
to be precise with scale to realize these affects in the model.
focusing my intentions on
the corporeal dimension of
my design, I used Interruption
and obstacle to manipulate
the movement of the body.
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Academic Work: A-2 Studio
Before we moved fully into the final project for A2 studio, our
instructor guided us through an artistic exercise in order to get
us working more freely and imaginatively. We chose stories of
cities from Italo Calvinos fantasy-travelogue Invisible Cities and
created illustrations for the cities using collage in a restricted
window of time. This illustration exercise introduced me to the
contemporary art concept of palimpsest: artwork that is similar
to collage in that it shows the history of its making, parts arescraped away or erased, layers that were hidden underneath re-
surrected through this interference. I chose to illustrate Calvinos
city Isaura, city of the thousand wells. He describes a fantastic
city which builds itself over a massive subterranean lake, where
the residents believe their gods live in the water. The lines of the
wells move upwards from the lake into aqueducts and vertical pi-
pes, reservoirs built on stilts. It is a city made of airy scaffolding, a
city that moves entirely upwards. I discovered a new way of wor-
king by drawing on literary sources to create visual art, a method
that freed my hand to work more imaginatively.
For the final project for A2 Studio, we first had to select a ritual
which our final designs would represent and/or facilitate in some
manner. I selected a ritual that I felt familiar with, the sun salu-
tation sequence from yoga practice. In traditional yoga practice,
the sun salutation (surya namaskara in Sanskrit) is a common
sequence of asanas (body positions or poses) that are perfor-
med first thing in the morning facing the rising sun in order to
awaken and enliven the body. The series of poses are performedin repetition, each movement aligned with one breath. The body
comes very close to the ground in chaturanga pose and even-
tually comes all the way back up to pranamana (standing) pose.
Through the repeated sequence the body is always rising and fa-
lling, bending and folding, moving each time in the rhythm of the
breath. I began to respond to the prompt by playing with forms
that echoed this rising-and-falling, bending-and-folding in or-
der to represent sun salutation. I found metal objects and bent
them and tried to imagine them as inhabitable sculptures. Ulti-
mately I decided however that rather than designing representa-
3. Ritual
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tively it would be a more interesting challenge to try to design a
structure that engaged the human body in a way that simulated
these yogic movements, similar to the way that my design forthe previous passage project had engaged the human body in
movement. I created an elliptical stairway, bisymmetrical in plan,
that looped around two points and was squeezed into a very na-
rrow passage in the center. The allusion in form to the symbol for
infinity was intentional, just as the yoga sequence is meant to be
repeated any number of times, so the user here is encouraged to
repeat the journey through the loop. The stairway passage mo-
ves up in elevation and down, digging into the site and replacing
the removed earth reciprocally across the long axis of symmetry.
The key element of the design which forces the movement of the
body are the curvilinear, undulating ribbons (which I imaginedwere of bent laminated wood pieces). As the user moves toward
the zenith of the stairway, the ribbons alternate in height, some
becoming low enough to force the user to bend down to pass
underneath them, the others high enough to allow the body to
rise again. At the bottom-most point of the stairway the user is
forced to step over or onto the ribbons lying low to the earth and
then duck under the ribbons curling above.
This project became an architectural exercise in engaging the
human body, and it required thinking carefully about the appro-
priate scale of elements in relation to the body in motion. Des-
pite the fact that the end result was a design that may appear
purposeless or fantastical, I believe the exercise nonethelessgave me valuable experience in thinking about scale in modeling
and in the real world. If I had more time to devote to this project
I would have liked to build another model at a larger scale which
could better illustrate my ideas and would portray more precise
thinking about feasible materiality.
The project brought into question purposefulness versus purpo-
seless in foundational student projects, or practice vs theory,
as there appeared to be a conflict between those students who
thought our education should be more practical and focused
(more material, more concrete), and those who thought conceptssuch as space and scale needed to be exercised primarily. In de-
fense of the BACs method, I often think of the education model
of the Bauhaus school, which began with the mastery of one ma-
terial before moving into design, and how the BAC faculty seems
to have chosen space and scale as the material that needs to be
mastered before all else. From my perspective, there are benefits
to studying architecture with projects that have no practical use,
but help students to develop their own creative theories.
The allusion in form to the symbol for
infinity was intentional, just as the yoga
sequence is meant to be repeated any
number of times, so the user here is en-
couraged to repeat their journey
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Academic Work: 3-D Modeling Coursework
SketchupModeling I
For Sketchup I class nal I chose to mo-
del the Doma Art Gallery by W Architects,
which is in Baltimore County, Maryland.
The architects inserted a clean, Miesian
box into an old barn. Without sentimen-
tality, the architects are able to preserve
the key elements o the shaggy old arm
structure while juxtaposing it with the
crisp lines o a pure Modernist orm. I
knew the insertion o orms within orms
would make this project interesting and
challenging to model.
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RevitModeling
For my BIM Modeling class nal I chose
to model MVRDVs Double House rom
1997. The double house was designed to
give two amilies equal space and views
out, while interlocking the spaces in such
a way that each eels like it is getting
more space. The design was an excellent
challenge to model because o the many
complex spatial conditions, including the
partition wall which zig-zags through the
whole, and the multiple levels o foorpla-
te within each foor.
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Fall 2011
Instructor Andrew Steingiser
01. Analysis of Historic Precendent
B1 Studio began with learning how to do analysis using con-
ventional design media: drafting, diagramming, and modeling,
as a method of inquiry to serve in analyzing a historic prece-
dent. Our instructor assigned each student a historic building
to engage in analysis with, and I was assigned Palladios Villa
Foscari (more romantically known as Villa La Malcontenta).
The Palladian Villa is an example pure classical form as it was
interpreted through the Italian renaissance. My first point of
entry in understanding the design was to grasp how the lines
of the building were governed by ratios and pure symmetry for example the footprint of the building is the beloved classical
golden ratio 5:8; then the plan is further broken up by an A-
B-A-B-A pattern, a common pattern in music, where B+B=A.
I observed that a hierarchy of volumes reveals the separation
of private and public spaces organized along the axis of sym-
metry. In the process of diagramming aspects of this organiza-
tion, I drew lines orthogonally connecting each threshold, these
regulating lines which I then termed paths of opening revea-
led that there were two overlaying grids the first governing
the enclosure of spaces, the second governing the opening of
spaces into each other. The paths of openings are always cen-
tered within the first regulating lines (those that make A-B-
A-B-A), the crossing of paths happening in the center of each
space, and this means almost every wall in the Piano Nobilefloor opens at its center into the next space, so spaces beco-
me woven, each space opening up to every surrounding space.
It may be important to note that in this building thresholds
would have substantial spatial consequences since the ma-
sonry walls of the building were everywhere a minimum of 1.5
thick to support massively high barrel vaults. The building may
have been at risk of feeling massive and close and dark, but
Palladios simple system for opening up the rooms allows for
the rooms to breath into each other light and air continuously.
B-1 Studio
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One could argue that the building borrows little from classi-
cal architecture, beyond importing a temple-front portico, the
spatial experience of the building and its organization is pu-
rely renaissance the way spaces are governed by mathema-
tical ideas, and the way that certain elements of the building
(thresholds) when isolated begin to resemble musical notation
is no coincidence. One of my models in particular was obser-ved to look a lot like some kind of musical notation; it showed
the thresholds in black mat board aligned on a basswood grid.
So I plugged the model into a digital audio tone matrix (http://
tonematrix.audiotool.com/), a kind of online music synthesizer,
and played the model for my class. All of a sudden this renais-
sance building had come to life through music; music which
was perfectly expressive of the building itself in its simplicity
and symmetrical structure.
As part of this project we read an excerpt from Architecture
Between Spectacle and UseBy Anthony Vidler, Architectures
Expanded Field, which concerned itself with the emerging pre-
sence of diagramming in architectural practice. Vidler argued
that diagramming is a method by which we can move past the
dualities that previously dominated discussions of architectu-
ral theory vs. the essence of architecture. While I sometimes
think that diagramming can become a new kind of formalism
in disguise, there is something worthwhile in Vidlers argument
that appears evident in my project if we can use diagramming
to isolate those which are the most important pieces/gestu-
res/elements of the building, in this way it may be possible to
move beyond form and type and other surface conditions (for
example: this is a classical villa), and think more about what
the building is actually doing.
I had long been familiar with text-based research as a method
of inquiry, but this was the first time I felt I understood the
value in an analysis that used visual diagramming to develop
a deeper and more complicated understanding of a historic
building. It remains one of my favorite projects for that reason,
and I continue to look for opportunities to engage with design
using this methodology.
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30 portfolio
For the second project for B2 Studio I
took my newly learned analysis-via-dia-
gram methodology and applied it to an
analysis of the urban fabric surrounding
a site on the Boston waterfront, betweenthe Charlestown and the Zakim Bridges.
We began by using the diagrammatic
language of Kevin Lynchs Image of a
City, and then built off of that our own
pattern language to represent what we
observed. Immediately I observed three
separate and distinct urban conditions
in that area: first, the tight and dense
fabric of the North End, second, the or-
dered regularity of the Bullfinch Triangle,
and third, the deconstructed fabric of the
West End. I knew I was looking at some
kind of gradient of urban conditions,
but I needed a diagrammatic method
to synthesize a representation of thischanging condition. Taking a note from
my previous project, I looked for ele-
ments of the urban environments that
I could isolate in diagrams. The most
successful of these was my isolation of
what I termed residual space. I concei-
ved of residual space in a way similar
to Rem Koolhaas concept of junkspa-
ce (but perhaps without as much open
conceit). Residual space is the space
leftover from buildings, the spaces bet-
ween the building and the street, the
sidewalk, the alley, the courtyard, the
corporate plaza space for sculpture, the
empty lot, the abandoned area under abridge or overpass, etc. It is the inverted
map, highlighting everything excepting
building and street, every pedestrian
zone. By isolating these elements it
became exceptionally clear that these
three neighborhoods had very different
relationships with or organizations of
residual space. To show this clearly in
drawing I made what I called an urban
biopsy diagram, where I pulled one block
2. Urban Analysis
Academic Work: B-1 Studio
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(or block-sized area) out of the map and
zoomed in on it, drawing the block in sec-
tion and in plan. The oldest neighborhood,
the North End, with its traditional urban
fabric, has these fascinating complex
courtyard spaces within each block, tight
spaces punctuated only by narrow alle-
yways and near-hidden passages. People
huddle to gather in doorways and under
alcoves. The North Ends residual spaces
are tightly contained within the spaces of
buildings. The buildings in the Bullfinch
triangle however, stretch from one side of
the block to another, permitting residual
spaces only where there is a purposeful
change in setback, making a mini-plaza,
but never between or enclosed by the buil-
dings. And finally, in absolute contrast to
the North End condition, the condo high-
rises of the West End rise out of a sea ofopen grass and pedestrian pathways, the
buildings are totally disconnected from
the street; all the residual space is com-
pletely externalized and encompassing.
...the North End, with its traditional ur-
ban fabric, has these fascinating com-
plex courtyard spaces within each
block, tight spaces punctuated only
by narrow alleyways and near-hidden
passages.
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32 portfolio
In the final project for B1 Studio we tas-
ked with building a boathouse, and I cho-
se the site just northeast of the Zakim
bridge, on the banks of the Charles River.
Building on what we learned in our urbananalysis, we were assigned to carry some
important elements from the surrounding
urban fabric into our boathouse design. I
did not want to design in a way that was
imitative, but rather in a way that repre-
sented a synthetic interpretation of my
observations. For my boathouse complex,
I wanted to carry over those elements
which I thought were responsible for ma-
king the North End a pedestrian-friendly
environment: 1. Small scale units. 2. Unityof Materials. 3. Mixed-uses. 4. Clear de-
finition of center. 5. Permeable organi-
zation (alleyways and passageways). 6.
Exploitation of different levels. I began
by creating a building block a small-scale
modular element wrapped in storefront-
faade on the lower level and topped with
mixed-use flexible space. I then sought to
combine these modular elements in an
organization that met the requirements
I had laid out. I dug into the riverbank to
lay the boathouse module just above the
water line. I then created a courtyard su-
rrounded by steps, steep steps on 2 sides,
and wide steps on one side I imagine acoach addressing his rowing team in this
gathering space. Above the boathouse
module, I extend the volumes of the up-
permost floor, cantilevering them over
the water, ensuring they exploited the
best possible views out to the water. The
structures were punctuated with alle-
yways and pedestrian paths, and were or-
ganized with near-symmetry around the
central courtyard. I envisioned the facades
having a unified materiality, exposed I-beams framing panels of reclaimed wood
and transparent glass. I created the final
model in SketchUp and then in my digital
media courses I was able to create artistic
renderings of the finished model.
I have to be critical in reflection of my
own work, and while I do believe that this
project both met the requirements for
the assignment and those requirements
Academic Work: B-1 Studio
3. Boathouse
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portfolio 33
which I laid out for myself I fear that working off of a set of rules as I had done was a too-strict, too-formalist approach. It was a
modernist approach and it resulted in a very formulaic modernist design, too Miesian and too unvaried. However, I do believe you
learn just as much, if not more, from those experiments whose results are not what you desired, so in that way I feel very happy
with this project. It helped me move past the desire to design with facile modernist methodology, and pushed me to trace the
origins of my design ideas and inspirations more carefully.
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portfolio 35
In my rst Rendering class we learned how
to use Piranesi to create artistic renderings
rom a Sketchup Model (see page 33), and
Artlantis to create more photo-realistic
renderings, as seen let.
For the class we needed to have both inte-
rior and exterior views o our design, and
since the B1 nal did not require a design o
the interior, I had the opportunity to ll the-se interior volumes with whatever I wished.
I designed a studio apartment, eaturing
European kitchn cabinetry and a marble
island, and modular built-in urniture made
out o plywood panel and white painted
metal. The built-ins were designed in such a
way as to make possible the occupation o
multiple levels within the plain cube shell.
Boathouse
Renderings
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Gateway Projects &Professional Experience
Practice-based
DesignWork
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Room Name Plumbing Prod
Bathroom
Toilets: Caroma Sidney S
Sinks: Tierra y Fuego -- M
Mech. Room
Unfinished area
Garage
Powder Room
Kitchen
Sinks:
Elkay ELU2421L 'Lustert
w/Ribbed Area (ELU2421
Elkay 'Lustertone' Single
(ELUHR2014) #16851
Kohler Undertone - High/
Sink - K-3099-L
(similar to Kohler Underto
Undermount Sink
Laundery
Bath
Tub & Sink Faucets:
Hudson Reed Jade lavat
Hudson Reed Jade Tub a
Hudson Reed Traditiona
Master Bath
Bathtubs:
American Standard - Sav
Construction w/
d-vdesign GREEN HOME Case S
The answer to the question of howpractice has informed or enhancedmy education in design is multifold. Itwas practice in the field that led me toseriously pursue an education in designin the first place. In the summers duringthe years I was studying art history atUMass Amherst, I began working as anintern directly under the supervision ofthe architect-principal in D-V Design,Dragana Vlatkovic. Dragana was a family
she offered to try me offered tointroduce me to the field as an internin her office to see how I liked it. I lovedevery minute aspect of the work I didin her office; to me it felt glamorousand exciting and Dragana in turn foundmy help invaluable. Dragana wasimpressed by my organizational abilities(and the resulting transformation ofher admittedly disordered office) andwas also fond of telling me that I had agreat eye and would often ask for mycritical input on her designs. Because
I am both personable and articulate, Iwas excellent when it came to helpingthe clients with smaller design tasks,such as selecting furniture or artworkfor their new homes; I interpretedand negotiated the clients aestheticdesires in consideration of the largerdesign schema.
I will never forget the first day thatDragana took me on a site visit to seea concrete passive solar house, whichI had helped with the summer before,
just as it was in the final stages of
construction. The house was likenothing Id ever seen before, withan interior greenhouse space thatran the length of the southern wall,and its massive gray concrete wallswhich contrasted with warm woodand terracotta floor tiles. There wasso much texture, light and life in thathouse, and I remember the clientsbeaming as they showed us aroundtheir rapidly culminating home. In thatmoment I became very conscious of thetransformative power of good design inpeoples lives and I knew that I needed
to pursue a career in design.
Through my work in her office I wasexposed to many different aspectsof the daily work of an architect and Igained skills rapidly. I learned aboutresearching and specifying materials,coordinating with suppliers, assemblingconstruction documents, and most allinteracting with clients.
friend who had a small design firm inmy hometown of Niskayuna, NY, herwork focused on small-scale residentialprojects with a heavy bent towards lower-budget sustainable solutions.
While studying art history I wasalso discovering my love of the builtenvironment through my coursework inarchitectural history. When I told Draganaabout my budding interest in architecture,
Practice work
Junoir designerat d-v Design
38 portfolio
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s & Manufacturers Plumbing Products - Providers Pricing
First Floor
a Royale 270
Toilets:
Sidney:
http://www.thenaturalabode.com/mm5/merchant.mvc?Screen=PROD&St
ore_Code=TNA&Product_Code=SydSmart305Stand&Category_Code=
Royale:
http://www.thenaturalabode.com/mm5/merchant.mvc?Screen=PROD&St
ore_Code=TNA&Product_Code=Roy270Stand&Category_Code=
Sinks:
http://www.tierrayfuego.com/MexicanTile/Sinks/index_ceramic_bathroom
_sink_oval.htm
Toilets:
Sidney: $299.00
Royale: $327.00
Sinks:
Tierra y Fuego: $145-$170
Second Floor
wl Undermount Sink
ount Sink w/Ribbed Area
nter Stainless Steel Kitchen
ve Plus, 1 & 1/2 Bowl
Sinks:
Elkay 'Lustertone' #16850:
http://www.fausink.com/product.php?productid=16850&cat=0&page=2
Elkay 'Lustertone' #16851:
http://www.fausink.com/product.php?productid=16851&cat=513&page
Kohler Undertone:
http://www.homeclick.com//web/catalog/product_detail.aspx?pid=291184
Blancowave:
http://www.homeclick.com/web/catalog/product_detail.aspx?pid=271588(
Bigger size)
http://www.homeclick.com/web/catalog/product_detail.aspx?pid=65838(
Smaller size)
Sinks:
Elkay 'Lustertone' #16850:
$475.00
Elkay 'Lustertone' #16851:
$410.00
Kohler Undertone: $886.26
Blancowave: $396.90-
$480.60
oblock
aucet
controls
Tub & Sink Faucets:
Hudson Reed Jade lavatory faucet monoblock:http://usa.hudsonreed.com/product/Hudson_Reed_Jade_lavatory_faucet
_monoblock_/342/40221.html
Hudson Reed Jade Tub and Shower Faucet:
http://usa.hudsonreed.com/product/Hudson_Reed_Jade_Tub_and_Sho
wer_Faucet_Tub_Mounted_/342/40223.html
Hudson Reed Traditional shower valve controls:
http://usa.hudsonreed.com/catalog/Traditional_shower_valve_controls/2
88.html
Tub & Sink Faucets:
Jade lavatory faucet:
$155.00
Jade Tub and Shower
Faucet: $199.00
Hudson Reed shower valve
controls: $124.99-$699.00
tub
Bathtubs:
Savona:
http://www.fixtureuniverse.com/products/view.aspx?sku=439936&linkLoc
=catalo
Bathtubs:
Savona: 669.00
Window/Door Schedule
Flint-Budde Project
Drawing Model # Rough Opening (w xGlass Size Quantit Egress Clear Opg Sq.Vent Sq. Ft.
1 ICA2163 1-9 x 5-3 5/8 15 13/16" x 58 15/16" 4 4.74 6.59
2 ICA2563 2-1 x 5-3 5/8 19 13/16" x 58 15/16" 1 6.37 8.22
3 IAWN2523 2-1 x 1-11 5/8 19 13/16" x 18 15/16" 5 2.63
4 IAWN2523 2W4-1 x 1-11 5/8 2(19 13/16") x 18 15/162 2(2.63)
5 ICA2539 2-1 x 3-3 5/8 19 13/16" x 34 15/16" 4 3.77 3.87
6 ICA3763 2W 6-1 x 5-3 5/8 2(31 13/16") x 58 15/161 2(11.28) 2(13.12)
7 ICA2563 2W 4-1 x 5-3 5/8 2(19 13/16") x 58 15/161 2(6.37) 2(8.22)
8 ICA3763 3-1 x 5-3 5/8 31 13/16" x 58 15/16" 1 11.28 13.12
9 ITGL7236 6-0 1/2 x 3-0 1/4 2(32 3/4") x 30 3/4" 2 7.07 7.07
10
11 1
12 113 1
Total G
zed System
1stDay
4th Day
New Construction
SonnemanSolaris1LightPendant
http://www.csnlighting.com/Sonneman
1674SEN1019.html
$90.00
ProgressLightingIllumaFlexMini
PendantinBrushedNickel
http://www.csnlighting.com/Progress
LightingP613809PG3977.html
$58.20
ProgressLighting
IllumaFlexMiniPendantDomeinBrushedNickelwithWhiteGlass
http://www.csnlighting.com/Progress
LightingP613509WPG3968.html
$74.20
LiteSourceBurstOneLightMiniPendantLampinFrost
http://www.csnlighting.com/LiteSourceLS
17491PSFROIT1209.html
$90.00
From top left and moving clockwise: 1. A presentation for a
course my employer was co-teaching at a community college
outlining principles of sustainable residential construction
2. Background: A plumbing fixtures schedule. 2. A window
and door schedule. 3. A table of proposed efficient pendant
lighting options for presentation to a client. 4. A logo design
for a Green Material Expo in Troy, NY we volunteered to help
organize. 5. Sketches from various projects.
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Practice Work
40 portfolio
As soon as I came to the BAC I immedi-
ately became involved in the then-new
gateway projects. These were projects
intended to group students together
to work on projects which benefitted
our community, and help the students
have the opportunity to earn practice
credit in an economy where architectur-al work was scarce. I did three gateway
projects in total, and all of them added
enormously to my education experience,
both in terms of the skills I learned and
in beneficial collaborative experiences
with other students and faculty at the
BAC.
The first gateway project I participated
in was Greening the Church of the Cove-
nant. The task in this project was to re-
search and design economical solutions
to increase building efficiency while also
working to preserve priceless architec-
tural history. The building was one of the
first churches to be constructed in Bos-
tons Back Bay and held within its Rox-
bury puddingstone walls is the largestand most intact Tiffany Studios interior
in the world, while somehow unfortu-
nately remaining relatively unknown. I
teamed up with a couple Historic Preser-
vation students to help members of the
church board assemble an application
to be considered a National Landmark,
which they ultimately were awarded.
One other student and I also began giv-
ing historic building tours of the church
to the public two days a week in order to
raise awareness about the building and
to help raise money for its preservation.
During these tours I continually enjoyed
seeing the visitors surprise and delight
as they walked into the sanctuary, a hid-
den treasure in the Back Bay.
The biggest asset that the church has
is its precious Tiffany stained glass win-
dows, 32 in all. Unfortunately these were
in rapidly worsening condition due to a
common 1970s intervention the in-
stallation of Lexan (a kind of acrylic) pan-
els on the exterior of the windows, which
were intended to protect the windows
from vandalism. The unventilated air
between the stained glass and the Lex-
GATEWAY PROJECT:
GREENING THE CHURCH OFTHE COVENANT
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an panels would become so overheated that it wasdeteriorating the lead holding the stained glass,
causing warping so severe that pieces of glass
were falling out of place the situation was dire. So
we designed a new glazing system to protect the
windows that featured adequate ventilation. For
this project I did the drawings in AutoCad (my first
time ever using the software) and presented our
proposed intervention to the church board and ar-
chitect Lynne Spencer of Menders, Torrey & Spen-
cer. The church went ahead with the proposal and
so far the church has been able to afford to protect
many of the windows on the west wall that were
at greatest risk. Looking back I still find it remark-
able that I was able to participate with this level of
engagement with a multi-faceted and fascinating
project within my first semester at the BAC.
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42 portfolio
The next gateway project consisted of working with a team
of students at the project management firm MapLab, under
the principal David Silverman. Initially David had us assistingon a variety of projects. First was a design for a church on an
unusual plot in Dorchester, for which I made massing models
in SketchUp to show how the church might fit on the site. Next
we submitted an entry in a competition for a pavilion design for
a trade expo. MapLab was located in Bostons Design Center,
their offices neighbored a unique tile manufacturer Artaic. Ar-
tiac was founded by an MIT grad who designed a tile-laying
robot that could create mosaics from image files, and more
interestingly was capable of laying mosaic on complex-curved
surfaces. Our team was tasked with designing a 3,000 sq ft
pavilion featuring Artaic tile work on complex surfaces to sub-
mit to the Ceramics of Italy Exhibit Design Challenge. I used
SketchUp to create construction diagrams for our proposal,and I also helped with writing the text that accompanied our
submission board.
Ultimately it was Davids desire to turn our team into a mini-
think-tank in a project we affectionately named UPIT (Urban
Planning Information Technology). We were to envision pos-
sible ways technology could be used to bring more data into
the process of urban planning using the model of Watson, the
MIT computer that was famous for winning the TV game show
Jeopardy a record number of times. While the project was frus-
Practice Work
GATEWAY PROJECT:MapLab
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trating at times because a few fellow students found it too diffi-
cult to work in these abstract terms, I found I really thrived when
asked to think about these larger-scale design problems such
as the problems of urban planning and the design professions
relationship with technology. I led our team in creating a pres-
entation booklet that summarized our researched and explained
the process by which the urban design planning computer sys-
tem we envisioned would operate. One major aspect of the gate-
way projects that has been enormously beneficial to me in the
course of my education is that through collaboration with otherstudents I learned how to use many new design softwares. In
the MapLab project I learned how to use InDesign, some Rhino,
as well as several brainstorming/visual-mapping softwares.
Excerpt from the introduction to the final UPIT presentation:
... UPIT is an experiment aimed at empowering the designer and
decision maker by providing evidence-based support for posi-
tive urban design. Inspired by intuitive computer question-an-
swering systems, such as the famous Watson computer built by
IBM, we wanted to explore the possible ways this sophisticated
technology could help with the urban design process. Computer
systems like Watson are optimized for complex analytics; they
are capable of processing natural language, generating hypoth-
esises, gathering massive amounts of evidence, analyzing and
synthesizing that evidence.
Using a computer system like Watson, the designer and decision
maker can take every single factor at work in the problem of
urban planning into account. The computer system, with a ca-pacity far beyond that of human mind, can synthesize a multi-
tude of data related to the problems of urban design as well as
contextual information based on site. The computer is capable
of understanding each and every factor of what makes a suc-
cessful urban space as a measurable data point, and in so doing
encourage a holistic approach to planning. Although a computer
might never be able to do the work of a designer, it can provide
data-based evidence in intricate detail to support positive design
and empower decisions.
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Practice Work
The next gateway project I participated
in shared similar themes to MapLab. Ci-
tyLab was a project headed by director
of the practice department, Len Charney,
and director of sustainable design, Shaun
ORourke. We were tasked with helping to
develop and pilot a new curriculum com-ponent that would orient incoming stu-
dents to the neighborhoods surrounding
the BAC campus and teach these stu-
dents how to use analytical study of the
urban environment as a tool for design
inspiration. As of Fall 2013 Citylab will be-
come a mandatory week-long orientation
experience for all incoming students.
In order to begin brainstorming ideas for
possible content of the CityLab course, ourteam began a series of exercises exploring
and mapping the environs immediately
surrounding the BAC neighborhood. We
referred to Kevin Lynchs Image of a City
in developing a diagrammatic language to
describe boundaries and distinctions bet-
ween and within these neighborhoods.
Our team walked the city and discussed
at length how studying the urban envi-
ronment had informed our work in stu-
dios and our attitudes about design. I
maintain that in my first semesters at
the BAC, when I had just moved to the city
and suffered from feeling disconnected,
my walks to explore the city refreshed my
mind and filled me with new ideas Bos-
ton has been my greatest teacher, I feltstrongly that I wanted to pass along this
experience to younger students.
After these initiating exercises we be-
gan a project to research the history of
the Southwest Corridor. The Southwest
Corridors history is a fascinating narrati-
ve of community activism taking on the
larger forces of urban reconstruction
that was en-vogue in city planning in
the 1960s. Protestors who set up campat Tent City in 1968 forever changed the
shape of the city of Boston by preventing
an elevated highway from barreling its
way through South Boston and Jamaica
Plain the highway was in fact planned
to ring around the whole of Boston, even
through Cambridge, but the massive pro-
tests effectively changed public opinion
and the Mayer of Boston called it off. Ins-
tead a team of forward thinking designers,
GATEWAY PROJECT:Citylab
JACKSON SQ T
CENTREST
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in the spaces that had already suffered demolition, created the orange line of the MBTA and a system of parks collectively referred
to as the Southwest Corridor. After exploring the area our team was able to split the Corridor project into segments so each of us
could focus on a particular neighborhood affected by this history I was assigned a neighborhood right in the heart of Jamaica Plain,
centered around the Green St T-stop. Here I found a lively community that frequently uses these public spaces for events and re-creation, including an annual celebration that commemorates the defeat of the planned highway called Wake up the Earth Festival.
We interviewed the locals who were using their parks to see how many of them knew the history of the area, and along the way we
met many residents who remember and took part in the 1968 protests. We were able to meet several community organizers and
designers who were part of the Southwest Corridors history, this opportunity to do research first-hand through in-person inter-
views was invaluable.
Through this project I learned what it is that most interests me in design: the larger-scale design problems that face the urban
environment and our communities. I relished the fascinating conversations I had the opportunity to take part in with faculty and
community members about these issues as part of the CityLab project and I think those experiences will inevitably shape my career
moving forward.
GREEN ST T STONYBROOK T JACKSON SQ T
I LOVE GOING TO THE WAKE
UP THE EARTH FESTIVAL EVERY
YEAR ON THE CORRIDOR!
BIKES NOT BOMBS HAS A GREAT
FESTIVAL TOO
PEOPLE IN THE PARK ARE REALLY
FRIENDLY, THEY SAY HELLO OR HOLA
... ITS NICE, IT FEELS SAFE
THE NEIGHBORHOOD AROUND HERE
IS REAL ARTSY... IT REMINDS ME OF SAN
FRANSISCO. ITS REALLY GREEN TOO.
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Practice work
At Designer Cabinetry I held the position of Showroom Manager, which meant thatmy primary responsibility was too assist the sales staff with whatever they needed. Ihad to be flexible and also able to self-regulate between multiple tasks. Tasks includedscheduling appointments and coordinating between contractors and suppliers, takingmessages by phone and email, and maintaining the sample library.
Showroom ManagerAt Designer Cabinetry
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Photography
When a project was finished I wouldarrange with the client to visit their homeand photograph the finished project forthe purpose of creating new content forour website and promotional literature
Construction Documentation,
For each project their needed to be atminimum 3 sets of drawings: the firstset was created for and by the salesstaff only, as seen in the large drawingto the left, it was the drawing thatwould facilitate generating pricing forthe cabinets specifically. Another set ofdrawing would be sent to fabricators ofcounter-tops and other materials forpricing purposes. After the customerwas sent a quote and signed on to theproject, another set of drawings werecreated for the contractors and installers,that detailed dimensions and criticalconstruction details. Often when thework load was heavy in the office I wouldassist the sales staff in creating thesedrawings, and also in the case of theexamples shown I helped to convert themeasurements from the metric unitsof the European cabinetry lines intostandard units for the contractors to referto more easily.
Customer Interaction
I was also responsible for greeting newcustomers and showing them aroundthe showroom, providing them withliterature and guiding them throughthe initial stages of the design process.I discovered that I had a distinct talentfor articulating design questions in a
way that was accessible to the non-design-professional client. Interactionswith clients in the decision makingprocess quickly became my favoriteaspect of the work. Clients enjoyed mypersonality, ability to communicate, andknowledge of design principles.
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Flying Buttresses of Notre Dame, Paris, 2009.
Extracurricular
Artwork &Photography
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ArchitecturalPhotography
Photography is an exercise in seeing, not in
recording. I really strive to take photogra-
phs o architecture that convey more than
just memory. I think good photographs
should have an aesthetic quality comple-
tely seperable rom their sentimentality.
Let page, clockwise rom top let:
Snohettas Olso Opera House, Interior and
Exterior, 2010. Building in Munich, 2009.
Arched Passageway in Leuven, Belguim,
2007. Gare du Nord, Paris, 2009. Building inCopenhagen, 2010.
This page, clockwise rom top let: Fine
Arts Center at UMass Amherst, 2010. Louis
Kahns Yale Center or British Art, 2012.
Tower in Leuven, Belguim, 2007. Bust o
Statue in Copenhagen, 2010. Ferris Wheel
in le Jardin de Tulleries, Paris, 2009. Notre
Dame, 2009. Colonial House in Conneticut
(Part o White Triangles Series) 2011.
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Personal Artwork
These are from my Disaster series. A group of artworks which for me attemptto express the sense of wonder and fear I feel when faced with the increasingoccurence of disasters related to climate change. The works often depictthreatening or impassable environs.
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portfolipo 53
Above: Ghost of CindySherman, chalk pastel,2010. I wanted to seehow much was possible
to convey gesturallywith just a silhouette,so I chose a to createthe silhouette fromone of Cindy Shermanscinematographic photos.
Left: Untitled watercolor,2013. Working in theabstract allows meto experiment withdifferent kinds of mark-
making.
Right: Watercolor fromWhite Triangles Series,2012. From a series ofpaintings, sketches andphotographs exploringthe symbolic nature ofthe pitched roof againstthe skyline, signifyinga common concept ofhome.
Luptatum,
amet zzril consetetur ea mea? Similiquesadipscing comprehensam cum ea, piscisententiae vix id! Vel ocurreret.
Above: Watercolor of winter trees, 2012.Painted to serve as a background on a posterfor a winter evening fund-raising concert.
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