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denommee
master of architecture
segment one portfolio
tableofcontents
foundation studio
visual
thinking
seaside
observatory
scale,
tectonic,
and
program
background
This project began where the
previous projecta paper structure
designed for a marble to traverse
left off. We were to create plans and
sections of the structure, and then
imagine them at a larger scalew as
drawings of a place meant for human
habitation. I noticed that the plan of
my marble structure (above) might
be able to function better as a cross
section of one of the sections from
my structure (below,) and started to
sketch out how a resultant building
might look (middle).
The two main ideas that emerged
from this exercise and evolved
throughout the project were a long
curved overhang and an area with a
view from above.
developingscale
One thing that became evident throughout
the following iterations were issues with
the buildings scale. The set of drawings
following the initial sketches featured
a flattened, truncated roof because at a
scale of 1/8 = 1-0 the drawing would
not have fit on the sheet of paper! At
this point the roof was over 70 feet high
and only about 20 feet long, completely
losing any aspect of a useful overhang.The
squared-off shape also detracted from the
buildings visual interest.
The next iteration brought a return of the
long curved roof, now brought down to a
height of about 30 feet and elongated to
maintain a sense of enclosure.
structureandprogram
With the return of the roof and an addition
of a curving face to the building, I began
to look into the idea of using the roof
plane as one continuous surface thatt
could be both a roof and a floor. I settled
on a design in which a portion of the plane
swept down to become the floor of the
interior wwwand a ramp into the building.
It was around this time that I devised the
idea of the building functioning as an
ocean observatory and decided to attatch it
to the side of a cliff in order to offer more
variations in spatial experience.
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focusontheexperience
In the end, it became clear that a full
understanding of this building relied not
on plans, sections, or models, but on
perspectives and diagrams. The program
becomes more clear as the buildings parts
are examined in relationship to its thresholds
between the occupants varying spatial,
visual, and tactile experiences.
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visual
thinking
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skill-building
Many of the assignments in
this class were focused around
gaining confidence in various 2d
representation techniques. Some of
these assignments focused mainly on
hand-eye coordination and drawing
accuracy, while others encouraged
us to find different ways of visually
representing abstract concepts.
Though simple in nature, the sheer
volume of these assignments amidst
other more rigorous work placed
emphasis on time management.
precedentanalysis:
barcelonapavilion
A large portion of the course was
dedicated to studies of an assigned
modernist object buildingin my case,
Mies van der Rohes Barcelona Pavilion.
A lot of time was dedicated to various
orthographic reproductions of the building
as well as some background research
on Mies design process. These studies
provided practice in hand drafting
techniques and diagramming principles.
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newperspectives
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drive:
mappingboston
This assignment was based on the
Situationist International practice
of the drive, a journey with no
prticular goal, carried out to find the
real city behind the consumerist
spectacle of the city.
Over the course of four hours,
I traversed the Isabella Stewart
Gardner Museum, Boylston Street,
Yawkey Way, the Back Bay Fens,
the Museum of Fine Arts, and then
ended at South Station. Throughout
my journey, I took rigorous notes
about my moods, ideas, reactions
and compulsions. Recurring themes
included the role of religion in a
thoroughly commodified landscape,
the interplay between sacred &
profane spaces and high & pop
culture, and the general flattening
of affect brought about by paying
a little bit too much attention to the
workings of the world.
This collage was done mostly by
hand and then stiched together and
edited digitally.
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abstraction
andcomposition
Begining with a photograph of a
beetle, I attempted to abstract its
forms into simpler geometry la
Picassos study of abstracting an
image of a bull. The process attempts
to create a simplified image that
carries the essence of the beetles
qualities with little detail.
I then used these abstractions as the
basis of three compositions using
only typographic elements. These
compositions were meant to carry
more conceptual information about
the process: the first showing the
earthy qualities of the beetle,
the second showing an potential
emotional response to the beetle,
and the third dealing with absolute
minimalism in constructionhow far
can an abstraction go?
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