D R E W A C O W D R E Y

Selected Works - May 2010 Harvard University Graduate School of DesignM.Arch Candidate 2012Bowling Green State UniversityB.S. Technology 2009

d r e w c o w d r e y / 1 + 4 1 9 3 0 4 3 8 3 2 / d r e w . c o w d r e y @ g m a i l . c o m

S E L E C T E D W O R K SHARVARD2009-Present

Boundaries + Seduction 04 Spring 2010

The Lodged House 20 Fall 2009

Fields/Figures 28 Spring 2010

City of Wood 34 Spring 2010

The Moving Building 42 Fall 2009

The Hidden Room 64 Fall 2009

Selected Art 76 Fall 2009

BOWLING GREEN2005-2009

Bass Island Retreat 12 Spring 2009

Toledo Urban Design 50 Fall 2008

Marinetti Futurist Institute 56 Spring 2008

Concrete Masonry Design Build 70 Fall 2008

R A R E B O O K S L I B R A R Y

“The feeling that I am not being directed but can stroll at will. And it’s a kind of voy-age of discovery. As an architect I have to make sure it isn’t like being in a labyrinth, however, if that’s not what I want. So I’ll reintroduce the odd bit of orientation, ex-ceptions that prove the rule - you know the sort of thing. Direction, seduction, let-ting go, granting freedom.”

Peter Zumthor

Harvard GSD GSD Core 2 Project Length - 5 Weeks

04

B O U N D A R I E S + S E D U C T I O NA R a r e B o o k s L i b r a r y i n B o s t o n ’ s N o r t h E n d - B o s t o n , M a s s a c h u s e t t s

HEAVY PEDESTRIA

N TRAFFIC

ally entrance

entrance frombusy corner

condo entrance

site pinch

condo pinch

STREET WALL

PUBLIC SPACE

R A R E B O O K S L I B R A R YSpring 2010

Harvard University Graduate School of Design

Critic: Danielle Etzler

Coordinator: Michael Meredith

* Nominated for Publication in the GSD’s StudioWorks

My project attempts to address the paradox of the public

building that must both provide protection for a collection of

rare books while still granting freedom and access to that inven-

tory. Intuitively, this project becomes a question of boundaries

and movement between those boundaries.

I find that the public building is often filled with boundar-

ies and constructs that make it inaccessible to the wanderer.

My project counters this typical urban situation by wrapping

and transforming the ground plane into a series of ramps that

engage and pull the public movement at street level up and

through my building. The ramps bleed into the spaces it sur-

rounds, becoming volumetric, and blurring the connection be-

tween what is sidewalk and what is programmed space. These

ramps are also programmed for anything (or nothing), much

like the sidewalk that the “urban” usually consists of. This ramp

becomes a place in which dancers, lovers, fighters and wander-

ers can relax and just “be”.

Traditionally, buildings are coded with a language so we can

“read” what they hold inside. Typical of our times, buildings

have used transparency to literally display what it has to offer

the pedestrian. My building, in an attempt to become an exten-

sion of the urban flow, offers only glimpses and clues to its inte-

rior when on the ramp. In this way, the ramp acts as a seductive

device, literally pulling and shooting pedestrians into the “build-

ing” by sparking curiosity, confusion, or desire.

form generation through site specificity

site “tensions”

stacks

single surface diagram

woven exterior circulation

ramp to ground connections

projected primary planes

resultant woven surface

projected sheared planes

street entrances

intersections and programs form spaces

public penetration

site compression

public space and stacks separated, penetrated by urban program

building reactionpublic

storefront seduction

exterior circulation development

generation of interior spaces

dn

up

up

updn

dn

up up

dn

dn

up

dn

up

dn

up

dnup

dn

dn

KEY

1 ENTRY

2 THEATER

3 STACKS

4 CAFE

5 BOOKSTORE

6 READING ROOM

7 CARRELS

A

B

C

D

E

G

F

2

3 3 3

1

4

5

6

7

GROUND LEVEL

A B C D

+ 21’ BOOKSTORE + 32’ READING ROOM

E F

SECTION G

EXTERIOR PUBLIC RAMP: A PLACE FOR ALL

EVOLUTION IN MODEL

B A S S I S L A N D R E T R E A T

”The unique dynamic form that we proclaim is nothing other than the suggestion of a form in motion, which appears for a moment only to be lost in the infinite succes-sion of its variety.

Umberto Boccioni

B G S U D e s i g n S t u d i o 5 P r o j e c t L e n g t h - 1 S e m e s t e r

12

DYNAMICLANDSCAPESA Nature and Meditat ive Retreat on South Bass Is land - Lake Er ie, Ohio

Form was derived through the study of carving. As the glaciers moved back toward the poles, crevasses were carved into the landscape. These crevasses allowed for the inflation and expansion of the ground plane. These paper studies show the evolution through time of a single force passing over the landscape. Paper modeling became an important method in understanding the physical properties of carving and creating spaces.

B A S S I S L A N D R E T R E A T

Spring 2009

Bowling Green State University

Critic: Scot MacPherson

* Won First Prize in the BGSU Senior Design Competition

This project is an exploration that attempts to observe and ex-

press a connection between land and time. Forces that created

lake Erie’s islands left behind physical evidence of an evolving

and transforming landscape; a four dimensional landscape.

Form was derived through the investigation of forces that

shape the surface of the earth. Glacial mechanics became of in-

tense importance when considering south bass islands history

of glacial activity. Flow, layering, striation patterning and gla-

cial crevasses were analyzed and explored for their potential in

space creation and form.

The program called for space to be devoted to meditation.

Meditation is characterized by stages that the mind reaches, of-

ten times with the intent to remove oneself from the body and

into its surroundings. As both a nature and meditative retreat,

this complex attempts to remove the mind from the body and

focus on the intensive, powerful emotions that the earth can

have on us. In this setting, mind, body and earth become one

ticking clock, continually moving through time.

The site is defined by a cascading valley, allowing for a long

and linear piece to mimic a glacial flow pattern. The study of

striation patterning led to a composition of striations laid on top

of the site. These striations then carve into the earth, allowing

the surrounding terrain to rise, bend, fold and twist to mimic the

glacial characteristics that once dominated the lake erie region.

The cracks, crevasses and spaces that the striations form serve

as a visual reminder that a landscape is a four dimensional entity,

continuously evolving into an infinite amount of configurations.

A TRANSFORMATION OF LANDSCAPE B STRIATION/DEPRESSION MAPPING C CREATION OF ENCLOSURE

SECTION A-A’

SECTION B-B’

SECTION C-C’

D VARIED ENCLOSURE CONDITIONS

KEY1 entry2 seminar space3 lecture hall4 cafe5 viewing platform6 office7 private rest rooms8 lecture hall support9 gallery a10 gallery b11 gallery c12 public rest rooms

13 meditation pods

A

B’

C’

+45’ ABOVE LAKE +30’ ABOVE LAKE +15’ ABOVE LAKE

C

A’

B

1

2

3

45

6

7

9

10

112

2

VARIOUS GRASSES

LIGHTWEIGHT, ENGINEERED SOIL

FILTER FABRIC

RETENTION LAYERSHEET BARRIER

WATERPROOF MEMBRANECONCRETE ROOF

TENSILE REINFORCING

CUSTOM STEEL RIBS

W STEEL MEMBER

HIGH PERFORMANCE CURTAIN WALL

TYPICAL WALL/ROOF SECTION DETAIL

FLY ASH CONCRETE SLAB

RADIANT HEATING/COOLING PIPES

INSULATION

SUSPENDED ACOUSTICAL CEILING

EXPLODED AXONOMETRIC

STRUCTURAL RIBS

ACOUSTICAL CEILING

INSTITUTIONAL LEVEL

EXHIBITION SPACE

MUSEUM SPACE

MEDITATION PODS

STRUCTURAL TRUSS

GREEN ROOF CANOPIESThis form of enclosure acts as a natural extension, extrusion of land.

Create a powerful articulation against the undulating roof canopies

Earth and its powerful sedi-mentary layers act as a calming and powerful meditative zone. The body is encouraged to re-connect with the earth around it, thus uniting mind , body and nature.

In this subterranean zone, the layering and articulation of time is as much on display as the exhi-bitions themselves.

Above ground

Below ground

“Ultimately, the exceedingly narrow site will prove to be the type of exception that highlights specific architectural problems and spurs the discovery of unexpected so-lutions.”

Preston Scott Cohen

Project Brief

T H E L O D G E D H O U S EHarvard GSD GSD Core 1 Project Length - 2 .5 Weeks

20

L O D G E D H O U S EA House wedged between two existing suburban houses - Cambridge, Massachusetts

T H E L O D G E D H O U S EFall 2009Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen

This project attempts to solve a common problem in contem-porary residential building. The desire for single family dwellings has created a situation where our communities lack continuity and a social atmosphere or energy. In the future, when we no longer are given the opportunity to move further from the city center, we will have to build between, and the space between houses offers a unique opportunity. With a site that has very strict boundaries on each side, maintaining a level of privacy and efficiency reign supreme. My project attempts to express the compressed nature of this abnormally small space through the systematic deformation of the “typical” wood framed home. This deformation then reacts to the programs on the interior by varying the spacing and depth of the studs and beams to reflect levels of privacy. For example, the bedroom, a place of intense intimacy and privacy, has much closer studs and beams that attempt to radiate a secure feeling of enclosure. The kitchen space reacts in an opposite manner, opening up and becoming a much more public and airy space.

EXISTING CONDITIONSExisting buildings have an attraction due to visual similarity and physical proxim-ity.

VOLUME IS PLACED AND COMPRESSEDThe area is between the two existing buildings is so small that a sense of com-pression overwhelms any volume placed between.

VOLUME DEFORMSDue to this compressive action, the vol-ume is given no choice but to expand out into all directions. As a result, the typical home is distorted and reshaped to fit into its new surroundings.

FIRST FLOOR

KEY

1 ENTRY

2 KITCHEN

3 EATING

4 SLEEPING

5 BATH

6 OPEN

7 ROOF TERRACE

A

A

B B1

4

7

5

2

3

SECOND FLOOR ROOF PLAN

PROGRAM

ZONEPrivate - Sleep/Work

Close Members and Solid in fill

Security and Intimacy,Confidence

Public - Cooking/Leisure

Far apart members and highly perforated or no in fill

Reminder of the infinite external world

Member spacing in between the first two zones and mostly solid in fill

Confidence and security inside an infinite world

Members far apart and no in fill

Re connection with the infinite world

Semi-Private - Bathing/Eating

Public - Outdoor

RIB SPACING AND ENCLOSURE

PSYCHOLOGICAL EFFECT

FRONT ELEVATION BACK ELEVATION

Roof Terrace

Bathroom

Sleeping

Kitchen

WorkLeisureOutdoor

“First there is the close-to reading, in which one is engaged in the work’s facture and drawing, in the details of its materiality in all their sparse precision”

Rosalind Krauss

The Grid, The /Cloud/, and the Detail

F I E L D / F I G U R EHarvard GSD GSD Core 2 Project Length - 3 Weeks

28

S U R F A C E t o M A S SA module designed to specifically aggregate into an object like figure - Siteless

F I E L D / F I G U R E Spring 2010

Harvard University Graduate School of Design

Critic: Danielle Etzler

Coordinator: Michael Meredith

* Nominated for Publication in StudioWorks

The intent of my investigation is to blur the surface and

mass characteristics achievable in masonry construction.

Creating a new concrete module allows for multiple sur-

face configurations to be achieved through systematic

aggregation based on geometric relationships. In one

configuration, directionality of the module’s coursing

generates a dual axes relationship that allows the block

surface to “split,” generating two vectors. By specifying

two origin points, the block’s inherent directionality cre-

ates a condition where the surfaces that split can find

themselves again where vectors intersect, thus allowing

the field to complete and figure to emerge while at the

same time creating enclosure, mass and volume.

This project required the full scale reproduction of a con-

crete module. Through this very real and material investi-

gation, questions of scale and constructability were able

to be dealt with much easier.

THE MODULE(S) THE AGGREGATION

Local axes - directionality

compressed block

single module

super module a

super module b - a mirror of super module a

2 walls

figure

ROSALIND KRAUSS ON ANGES MARTIN’S GRID PAINTINGS

The writings of Rosalind Krauss inspired me to try and achieve multiple readings

that depended heavily on scale, and more specifically the human scale. It has been

a goal of mine to achieve a “figure” that could essentially act as a module, aggre-

gating and creating a field condition on its own. Thus, the Krauss readings of grain,

atmosphere and figure can be extracted at multiple levels.

GRAIN

“First there is the close-to reading, in which one is engaged in the work’s facture

and drawing, in the details of its materiality in all their sparse precision”

ATMOSPHERE

“...This ‘moving back’ from the matrix of the grids is a crucial second ‘moment’ in

the viewing of the work. For there is where the ambiguities of illusion take over

from the earlier materiality of a surface redoubled by the weave of martin’s grids

or bands; and it is at this place that the paintings go atmospheric. ”

FIGURE

“Then, as you step back even further, the painting closes down entirely, becoming

completely opaque. That opaqueness of the third ‘moment,’ produced by a fully

distant, more objective vantage on the work, brackets the atmospheric interval of

the middle-distance view, closing it from behind, so to speak. Wall-like and impen-

etrable, this view now disperses the earlier ‘atmosphere.’

GRAIN

ATMOSPHERE

FIGURE

SURFACE TO MASS IN SECTION

MODEL VIEWS

I work a little bit like a sculptor. When I start, my first idea for a building is with the ma-terial. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.”

Peter Zumthor

C I T Y O F W O O DHarvard GSD Construct ion and Methods Project Length - 6 Weeks

34

W R A P / F R A C T U R EA bookstore designed around l ight wood frame detai l ing - Cambridge, Massachusetts

32

2

32

2

T H E C I T Y O F W O O D Spring 2010Harvard University Graduate School of DesignProfessor: Jonathan Levi* Received a ‘Distinction’ in the course

Innovation in wood and the its deployment throughout all scales was a critical element of this project. The first stage required students to design a modest bookstore for a local seller. Site and the larg-er urban scale were not considered critical, but an un-derstanding of how pedestrians would interact with the project was important. After a form had been derived, details where focused on to further develop and enhance the overall projects goal. My project attempted to express the ability to bend and pull typical elements of a building apart to make way for programmatic and occupational elements. Using the word “fracture” as a design goal, each de-tail attempted to “fracture” a typical element in such a way that it would provide an additional feature to an otherwise banal condition. In terms of materials, wood was the major desired element and the question of expression was left to the designer. Wood is quite diverse and used in all types of construction situations, from structure to finishes. Through diverse material selections and a layering of elements, I attempted to express and fur-ther develop the project to express my overall con-cept.

FIRST FLOOR PLAN SECOND FLOOR PLAN

TOP OF WOOD SCREEN ELEVATION 121'-6"

TOP OF ROOF BEYOND ELEVATION 119'-2"

2ND FINISHED FLOORELEVATION 110'-7"

1ST FINISHED FLOORELEVATION 100'-6"

TOP OF ROOF BEYOND ELEVATION 119'-2"

2ND FINISHED FLOORELEVATION 110'-7"

1ST FINISHED FLOORELEVATION 100'-6"

TOP OF ROOF 1ELEVATION VARIES

4

5 1

3

3

4

4

TOP OF WOOD SCREEN ELEVATION 121'-6"

TOP OF ROOF BEYOND ELEVATION 119'-2"

2ND FINISHED FLOORELEVATION 110'-7"

1ST FINISHED FLOORELEVATION 100'-6"

TOP OF ROOF BEYOND ELEVATION 119'-2"

2ND FINISHED FLOORELEVATION 110'-7"

1ST FINISHED FLOORELEVATION 100'-6"

TOP OF ROOF 1ELEVATION VARIES

4

5 1

3

3

4

4

1" x 10" INTERIOR FASCIA, PTD.TO MATCH COLOR OF FLOOR

RECESSED LIGHT POCKET, BLOCK OUTFROM STRUCTURE AS REQ.

BLOCK AS REQ..

9 1/2" x 6" GLU-LAM BEAM

WD FURRING

5/8 GYP CEILING

DOUBLE GLAZED WINDOW

5/8" GYP CEILING

WD FURRING

VARI

ES B

ASE

D O

N C

UT

3/4" PLYWOOD SHEATHING

EPDM ROOFING MEMBRANE

WATERPROOFING MEMBRANE

BATT INSULATION

2" x 8 " TOP PLATE

CEDAR WD FASCIA

CEDAR SOFFIT

2"x10" RIM BOARD

INTEGRATED MTL GUTTER

WATERPROOFING MEMBRANE

3/4" PLYWOOD SHEATHING

EPDM ROOFING MEMBRANE

BLOCKING AS REQ.

CUSTOM CEDARWINDOW

3/4" PLY GUTTER DECKING

3/4" PLYWOOD FOR NAILING

9 1/2" X 6" GLU-LAM BEAM

BATT INSULATION

GUTTER TO EXTEND MIN. 6" UNDER EPDM ROOFING

MTL. FLASH CAP

1'-2

3 8"

SEAMLESS MTL. GUTTER

95 16

"

MTL FLASHING

CANT STRIPMTL FLASHING

VAPOR RETARDER

VAPOR RETARDER

SLOPE 1/4" PER 1'-0"

SLOPES AWAY FROM CUT

ROOF DETAIL

By pulling apart and using varied slopes, the roof planes open up and allow natural light to penetrate into the interior.

SECTION

ELEVATION

BOOK STEPELEV. 101'-4"

3/4" VERTICAL CEDAR PANELING

1"x14" EXTERIOR OAK PANEL, PTD. DARK GREY

3"/8" PLYWOOD SHEATHING

2"X6"SOLEPLATE

BATT INSULATION

5/8" GYP WALL BOARDWD FLOORING

3/4" PLYWOOD SUBFLOORING

5/8" GYPSUM WALL BOARD

BATT INSULATION

1" AIR GAP BETWEEN FOUNDATIONWALL AND STUD FRAMING

2"X12" RIM JOIST

3/8" PLYWOOD SHEATING

1/2" d. ANCHOR BOLT, 16" O.C.

CAST IN PLACE CONCRETEFOUNDATION

EARTH

MIN 6" CRUSHED STONE GRAVELABOVE FOOTING DRAIN

4" d. FOOTING DRAIN

3/4" THICK DRAINAGE MAT

WATERPROOFING MEMBRANE,OVERLAPS AT FOOTING TOCREATE A CONTINUOUSBARRIER

STEEL RE-INFORCING

4" CEDAR BASE BOARD, PTD. WHITE

PREMOLDED FILLER AND SEALANTAT EXPANSION JOINT

2"X4" TOP PLATE

4" MIN. CONCRETE SLAB

PROTECTION BOARD FOR WATERPROOFINGWATERPROOFING MEMBRANE

2" MUD SLAB

CRUSHED STONE GRAVEL

STEEL DOWELS

FINISHED BASEMENT FLOORELEV. 90'-0"

STEEL RE-INFORCING BAR

STEEL RE-INFORCING

2"X8" PRESSURE TREATED SILLPLATE 6"

3/4" CEDAR FACE BOARD

10"

CUSTOM STEEL BRACKET

1" x 2" FURRING TO CATCH STEEL BRACKET

2" M

IN.

2"X10" RIM JOIST

9'-0

"

FINISHED FIRST FLOORELEV. 100'-5-7/8"

2X 2" x 12" RIM JOISTS

1/2" d. ANCHOR BOLT

BASEMENT

FIRST FLOOR

FOUNDATION DETAILBy Using both a step foundation and a tradition foundation, the elevational difference between the exterior and interior was minimized and also allowed for

a raised portion of the interior floor, allowing an optimal location for casework or cash wrap. On the exterior, this hovering portion of the building becomes a

fracturing of ground and building.

3/4" VERTICAL CEDAR PANELING

BATT INSULATION

5/8" GYP WALL BOARD

STEEL BRACKET

1"x14" EXTERIOR OAK PANEL, PTD. DARK GREY

HORIZONTAL BLOCKING TOCATCH STEEL BRACKET

1" x 4" AT SCREEN BASE

CEDAR SOFFIT

DOUBLE GLAZED WINDOW

5/8" GYP

FURRING

2" x 8" DOUBLE TOP PLATE

2" x 10"RIM JOIST

1 1/2" AIR SPACE

DOUBLE GLAZED WINDOW

FLASHING

FINISHED FLOOR TO MEET TOP EDGE OF WINDOW FRAME

WD SLEEPERS

2"X8" PRESSURE TREATED SILL PLATE

CONCRETE SIDEWALK

BITUMINOUS WATERPROOFINGPERFORATED SCREEN

4" x 10" CEDAR MULLIONSHELF TO DISPLAY BOOKS

CEDAR WINDOW

9'-0

"

61 8"31 2

"

FRONT OF STORE INTERIOR

SECOND FLOOR

57 8"

PARTIAL WALL SECTIONAgain, sliding the second floor over the first floor allows for a

cantilever to protect the entrance from weather. In addition,

the front window, which acts as a display window, benefits

from increased protection from direct sunlight.

3D WALL SECTIONS

“The project is a study of movement in architecture. It is not about bodily passage, virtual transformation, or implied structural forces, but rather movement in time and space, actualized mechanically. It is a project in which architecture becomes the geometrical inscription of a series of actions and positions. As such, it kinetically re-defines the fundamental tenets of stasis and permanence.”

Preston Scott CohenProject Brief

T H E M O V I N G B U I L D I N GHarvard GSD GSD Core 1 Project Length - 5 Weeks

42

K I N E T I C P R O G R A M SA kinetic structure mediating between two mutually disruptive paths - Ontop of a Boat Lock

SITE PLANS SCALE 1/32” = 1’-0”

DAY EVENING EVENING

T H E M O V I N G B U I L D I N GFall 2009 Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen

This project was the culmination of my first semester at the GSD. The project was meant to question the static na-ture of architecture and aimed to create mechanically dy-namic structures. My project attempted to question and offer a trajectory in a deep rooted architectural problem. The question of programmatic temporality has bound architecture into creating spaces for different activities. An office space, for example, is used for 8 hours a day, roughly 1/3 of an earth day. What function or purpose do the remaining 16 hours play? My proposal attempts to accommodate shift-ing functions inside a building that has a transformational envelope. Each of the 3 “states” relate in a much different way to the boat lock and pedestrian bridge, which act as the inspiration for a multi-functional structure. Through the delamination of the ground plane, the build-ing transforms from a intimate and protected bridge that separates the private and public realms, to a fully integrat-ed public hot spot via the blurring of ground and the build-ing below. Typology is thus avoided and form kinetically follows function.

Vessel Circulation

PASSIVE/ACTIVE PEDESTRIAN INTERACTION

DAY/NIGHT SITE CIRCULATION RELATIONSHIPS

Pedestrian Circulation

DAY - High levels of circulation lend way for productive and flexible pathways. The interior remains separated from the exterior as both aim to maintain productive environments.

EVENING - As Vessel Circulation dwindles as a product of the work day, levels of leisure rise and the building becomes a performance on its own, transforming from circulation to destination. The ground opens to unify interior and exterior.

GROUND DELAMINATION OVERNIGHT - As the world shuts down ,the building follows. Its ground plane acts as a protector while providing intimacy and security for its users.

DAY

EVENING

OVERNIGHT

“You can’t rely on bringing people downtown; you have to put them there”

Jane Jacobs “The Death and Life of Great American Cities”

T O L E D O U R B A N D E S I G NB G S U D e s i g n S t u d i o 4 P r o j e c t L e n g t h - 4 W e e k s

50

U R B A N S T I T C HR e d e v e l o p m e n t o f a b r o k e n U r b a n E n v i r o n m e n t - To l e d o , O h i o

transformation/dying city

Toledo/analysis

2008 Population 292,000 Surface Parking Toledo Grids

Focal Points Axis City Annexation

1836190019502008

Green space

1970 Population 385,000

T O L E D O U R B A N D E S I G NFall 2008 Bowling Green State UniversityCritic: Scot MacPherson, Andreas Leuscher

This project asked for a redevelopment of an urban area in downtown Toledo, Ohio. A dying city, Toledo offered a unique challenge to an urban design studio. As Borries and Bottger state, “the growth based dis-cipline of town planning cannot fully address the phe-nomenon of shrinking. Shrinking is as much a cultural problem as a psychological problem.” I believe the intervention of the planner has to affect the psycho-logical condition of the people living there as well as the built form of spatial communication. The essence of the design is to stitch the downtown grid and the Vistula grid together and form a single, unified urban space. The site affectionately referred to as the “wedge” is created by the interstitial space formed by the area between grids, where a sense of direction is lost. My solution is to stitch the area together by extending urban grid lines through the wedge and connecting on both sides. These unified spaces will promote new growth both economically and socially, promoting the resurrection of a dying city.

Urban Grid Lines Structures Removed New Building Fabric New Social/Gathering Spaces River Connection via wedge

Residential

Commercial

New Gathering Places

“Architecture shall re-connect to the natural world, indeed, become part of it, restor-ing and enhancing the places we build.”

Jason F. McLennan“The Philosophy of Sustainable Design”

MARINETTIFUTURISTINSTITUTEB G S U D e s i g n S t u d i o 3 P r o j e c t L e n g t h - 1 2 W e e k s

56

O RGA N IC E XPA N SIO NA Futurist Inst itute for the works of F i l ippo Marinett i - Chicago, I l l in ios

PARK NETWORKS ARE SCALED AND PLACED WITHIN THE SITE ALONG WITH THE SIGHT LINES

FORM IS CREATED BYSELECTING THE NETWORK LINES THAT EXTEND THE LINE OF SIGHT INTO AND THROUGH THE BUILDING

[1]

[2]

[3]

[4]

GREEN AREAS ARE CONNECTED TO CREATE A NETWORK OF GREEN ENVIRONMENTS

M A R I N E T T I F U T U R I S T I N S T I T U T EFall 2008 Bowling Green State UniversityCritic: Scot MacPherson, Andreas Leuscher

The Filippo Marinetti Futurist Institute cried for an explora-tion of sectional complexity within a formal building site. With existing buildings on three sides, the site faced out onto Grant Park, which runs along Michigan Avenue, a prominent artery in the Chicago circulation grid. The program required a library and museum to house Marinetti and other Futurist works, a theater, leasable space for office use, and administration spaces . In addi-tion, the ground program called for a restaurant, a gift shop and a welcoming area. The proposal started with the idea of what a Futurist would consider “forward looking” today. As the Futurist of the 1910’s believed in the machine and the mechanization of all things, a thinker of Futurism today would look in the direction of green ar-chitecture. Not stopping at the idea of better materials and uses of energy, the radical Modern Futurist would consider physically bringing nature inside to coexist with the building. This proposal could be the beginnings of an entire re-working of city environments. A natural re-connection in the densest urban environments will be available to all.

Chicago parks create a network of public green spaces.

Sight lines connect adja-cent green spaces

The park networks are scaled and laid into the site.

Tubes form to frame views

1 - Millennium Park

2 - Grant Park

3 - Lake Michigan Beach

4 - Northernly Island

Form Evolution

One

Four

Nine

Two

Five

Twelve

Circulation

Tubes

Green space

Section Model

“On the one hand, the hypothesis of concealment requires consideration of the re-lationship between the visual, experiential and conceptual bases of architecture. On the other hand, it elicits the interpretation of a specific idea and the processes by which it is given three-dimensional form and represented in architectural drawings.” Preston Scott Cohen Project Brief

T H E H I D D E N R O O MHarvard GSD GSD Core 1 Project Length - 10 days

64

T H E H I D D E N R O O MA 5 room bui lding in which one room is “hidden,” using only 2 plans to “reveal” i t . - S iteless

T H E H I D D E N R O O MFall 2009 Harvard University Graduate School of DesignCritic: Yael ErelCoordinator: Preston Scott Cohen

“Hidden”, from the Latin word abstrusus meaning “difficult to understand or penetrate, to conceal”, and the common con-temporary definition of the word, “hidden from view,” led to an investigation of natural occurring places that are difficult to un-derstand as well as hidden from view. Places that occur naturally and fit this definition of the hidden are numerous. A cave, hidden from view and difficult to under-stand as a product of its organic formation, adequately fits the criteria. Caves form a variety of ways, one of which is the fractur-ing of the ground to re-configure earth and create spaces that await discovery. By using a fracture to generate the hidden space between two planes, I rely on the common assumption that space between walls is too small for occupation, and holds only the unimportant that we typically wish not to view. This fracturing happens along a pre-determined axis. The space around the fractured “epicenter” becomes encased by the hidden room. The fracturing operation generates and distorts the rest of the geometry. The hidden room, the primary creation of the operation, is masked because of its importance to the ori-gin of the enclosure, thus becoming a sacred place which legiti-mizes its “hiddenness.”

FINAL TRANSFORMATION DIAGRAM

STUDY MODELS

KEY

1 room 12 room 23 room 34 room 45 hidden rm

1

234

5 5

TRANSFORMATION DIAGRAMSThe “ideal” parameters

Altered parameters

Front - 4 Rooms Front - 4 Rooms Front - 4 RoomsBack - 5 Rooms Back - 5 Rooms Back - 4 Rooms

Analogous to the Jordan Curve Theorem,1 four spaces appear to be strictly separated from the “outside”, composed of both air and earth. An ambiguous boundary definition of the attenuated, wedge shaped entrance foyer makes it unclear whether this space is the true fourth sibling of the three rooms inside, or rather is part of the “outside” space and, by extension, more connected to the hidden room itself.

TRANSFORMATION DIAGRAMS

Definition of the Jordan Curve Theorem

Form derived from a node

Entry wedge separated

Entry wedge attenuated

“The time is now Let change begin, Blend heaven and earth In an endless spin,

Wherever you’re going, Wherever you’ve been Now change your direction And travel within; “

-Linda Ori“Time of Truth”

C M U D E S I G N B U I L DBGSU Mater ia ls and Bui ld ing Sys. Project Length - 3 Weeks

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C H A N G E S I N D I R E C T I O NB G S U C M U D e s i g n B u i l d C o m p e t i t i o n 2 0 0 8 . - B o w l i n g G r e e n , O h i o

C M U D E S I G N B U I L DFall 2008 Bowling Green State UniversityCritic: Andreas Leuscher

Innovation in concrete masonry was the under-lying theme of this design competition. In a group of three, my team members and I collaborated in designing a structure not to exceed an 8 foot cubic volume. Individually, I worked on renderings, com-petition board layout and presented the project to a jury, ultimately leading to our design being built. The essence of the design is inspired by the con-tinuous evolving and shaping of one’s ideals and values. The piece is meant to capture the feeling of these transitions and self discovery with twisting geometry and forced views. The introduction of or-ganic matter into the wall and its gradual increase symbolizes the growth experienced through life. At the end of the journey the user is left with a view of the vast landscape, symbolic of a wide open fu-ture.

Direction Lines

Changes in Direction

Wall Geometry

East Elevation South Elevation

S E L E C T E D A R T

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SECTION OF “THE GARAGE” Visual Studies Fall 2009

PLAN AND SECTION OF LOCAL CHURCH Visual Studies Fall 2009

SECTION OF BAKER HOUSE CAFETERIA Visual Studies Fall 2009

SECTION OF BOSTON LIBRARY ENTRANCE Visual Studies Fall 2009

NO TITLE Graphite Fall 2009

TAPE DRAWING Visual Studies Fall 2009

NO TITLE Graphite Fall 2009

NO TITLE Graphite Fall 2009

CONTOUR PAINTING Oil Spring 2002

HAND SKETCH Pencil on Mylar Fall 2006

HAND SKETCH Pencil on Trace Fall 2006

HAND DRAWING Pencil on Mylar Fall 2006