Architecture Portfolio - Gina Fantoni
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Transcript of Architecture Portfolio - Gina Fantoni
20132013
Gina Fantoni
002
003
Table of Contents
004. Intro
Self-Assessment
Statement of Beliefs
008. AP 111
Project 1 - Analysis - Edouard Manet, Blue Venice
Project 2 - Folly
Project 3 - City Project
022. AP 118
Project 1 - City Poster
Project 2 - Athenaeum
Project 3 - Disaster Relief - Haiti
036. AP 211
Project 1 - Boston Public Library Case Study
Project 2 - Poetry Vehicle
Project 3 - Poet’s Retreat
Project 4 - Williamstown Public Library
054. AP 212
Project 1 - So-Il Architecture Case Study
Project 2 - Sculpture Gallery
Project 3 - Pointe Saint Charles Metro
072. AP 311
Project 1 - Richard Meier Case Study
Project 2 - Montpelier Performing Arts Center
090. Misc
Sketching School
Summer Design-Build
NUVA Thailand
104. Appendix
Writing Sample
GPA
Transcript
Intro AP 111 AP 118 AP 211 AP 212 AP 311 Misc. Appendix
Intro AP 111 AP 118 AP 211 AP 212 AP 311 Misc. Appendix
004
Self Assessment
Before beginning classes at Norwich, I was able to explore the
world of architecture in various ways. As a kid, I took studio art
classes where I played around with watercolors, oil paints, and
acrylics. Later on, in middle school, I was first introduced to
architectural drafting. From there, I was convinced that I wanted
to be an architect. In high school drafting and design classes I
was able to hand-draft and blueprint my design for a two-thousand
square foot shingle-style home as well as design a drafting chair
and a detached garage with the aid of AutoCAD and Photoshop. These
exercises were my first real exposure to graphic design.
It was, however, just before my senior year in high school
when a lecture at the Boston Architectural College’s Summer Pro-
gram changed my personal ideologies concerning architecture alto-
gether. A professor at RISD presented her humanitarian work in
Mexico which exhibited an economy, sensibility, and sensitivity I
had never before seen in architecture. It was from that intense
revelation that I entered Norwich. Looking back on the work that
I produced during my first year, it is clear that I was whole-
heartedly dedicated to developing as a designer. I was, however,
not confident with my hand-drawing skills.
005
Judging from the sketches and the synthesis drawing that I
produced in comparison to my hand-drafted mylar drawings, I felt
more comfortable representing my ideas through modeling and draft-
ing than I did through sketching or rendering. I feel that the op-
posite is true now. This past semester, I produced a large volume
of sketches and I found it very helpful to work through designs
with quick renderings. From looking at my rendering abilities, I
feel that I have expanded my artistic repertoire and I feel en-
tirely more confident with my hand-drawing skills.
I also feel that I have gradually worked towards becoming a
humanitarian architect by developing through my studio projects a
base level of knowledge and skills which I will be able to take
with me in a potentially rural, foreign, or even disaster-stricken
environment. I have incorporated rigorous solar studies, explored
different materials and construction techniques as well as econom-
ical solar shading designs all with the idea of maintaining a lev-
el of affordability, practicality, versatility, and relevance. I
feel every bit as enthusiastic today as i did at the beginning of
architecture school when it comes to design and the possibilities
within the realm of architecture.
Intro AP 111 AP 118 AP 211 AP 212 AP 311 Misc. Appendix
Intro AP 111 AP 118 AP 211 AP 212 AP 311 Misc. Appendix
006
Personal Architectural Beliefs
I believe that architecture is a language. I believe that, de-
spite the apparent differences from one region to another, archi-
tecture possesses the power to subtly communicate the basic needs,
hopes, and goals which relate people the world over to one an-
other. Architecture is the universal fact that people need shel-
ter. It is the idea that everyone needs a space to be alone. It
is the fact that people want to share their passions with family,
friends, and sometimes even strangers. Architecture gives people
a reason to travel and a desire to explore. Architecture helps to
define us.
I find meaning in architecture in its ability to transform the
patterns of daily life. With the ability to establish beloved, sa-
cred spaces, a thoughtfully-designed space can alter the way peo-
ple relate to their community, to one another, to nature, to the
rest of the world. It is an underlying commonality between people
of all cultures and walks of life. The fact that humans all in-
teract with the built environment in one way or another links us
together in the world of architecture. It thus posseses a certain
power over our societies. It establishes a sense of identity and a
sense of pride within subsets of cultures.
007
With that power in mind, I behold architecture as a life-al-
tering artform. A sensetive architect has the power to drasti-
cally change the course of someone’s life. I read about Shige-
ru Ban’s disaster relief efforts in Turkey and was blown away. I
found it incredible that his paper shelters were the only struc-
tures the earthquake victims felt comfortable in after the devas-
tating earthquake. What more does a person need than a comfortable
shelter after a terrible experience like that? Architects have the
ability to not only create structures which provide shelter, they
can create structures which have a sensetivity to the needs and
feelings of human beings.
I hope to use architecture as a way to better life for other
people. no matter what we are all just a bunch of primal beings
with similar needs. I relish the nuances in culture and lifestyle
which manifest themselves in architecture. I hope to practice in-
ternationally on projects which are concerned with anything from
disaster relief to small-scale, rural community development proj-
ects. I hope to gain an understanding of the universal hopes,
needs, and feelings of mankind and I hope to employ architecture
as a means of bettering the global community.
Fall 2009
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008
AP 111
009
Professor D’Aponte
Professor Van Aalst
Professor Schaller
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010
Project 1
Analysis - Edouard Manet, Blue VEniceAnalyze a given painting using three various design principles such as line light, pattern, tex-
ture, color, etc. Represent the three most important design principles of your painting in three
two-dimensional presentations. combine elements from these analyses into a synthesis drawing.
Manet created a distinct relationship between objects in this painting which are in motion, and
objects which are still. He also used very subtle implied lines and a skillful juxtaposition of
light and shadow. It was clear to me that line, light, and motion were the three aspects of the
painting which were most noteworthy. It was important to highlight the way Manet employed hard
vertical and horizontal lines with the buildings in the background. Also, with regards to line,
the poles read as vertical members yet include an element of horizontality which communicates
directly to the horizontal lines of the boat. The light comes from the top left corner of the
painting and filters lazily like the water throughout the painting. The boat, unlike its light
environment, casts deep shadows and seems to ignore the bright sunshine which every other object
reflects. The top half of the painting - the buildings in the background - read as entirely stat-
ic while the boat and water dance across the canvas with nothing but the poles to stop them.
AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
011Professor Schaller Project 1 Analysis Edouard Manet - Blue Venice
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012
Project 2
FollyTake from the synthesis drawing completed in project 1 and use certain forms and patterns to com-
pose a three-dimensional model. From this preliminary model, extract a cross-section and expand
it into a larger model which should contain one removable piece. From this model, continue de-
veloping various iterations in concordance with your assigned duality. The folly generated will
serve as a gallery space in which your original painting from projct 1 will be displayed. People
should be able to view the painting from above as well as at eye-level. The final iteration is to
be constructed in wood.
I was intrigued by the swooping forms generated in my synthesis drawing. I took a piece of card-
board which was in the general shape of one of those forms and I rolled it to mimic the vertical
forms which were also present in that synthesis drawing. From there, I tried to include as many
of the fractal, triangular pieces as I could in order to layer the model as thoroughly as Manet
layered his painting. From there, I chose to expand the vertically swirling pole form. I worked
through several different ideas and iterations via model and found that my assigned duality of
center/edge was best represented with a central void surrounded by ascending triangular forms
which implied a sense of continuous motion just like the painting. My removable piece was intend-
ed to act as the central axis from which everything spiraled. I intended for the painting to be
hung from the removable piece so that it could float along throughout the space freely as if it
were lazing about on a river.
AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
013Professor Schaller Project 2 Folly Edouard Manet - Blue Venice
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014 AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
015Professor Schaller Project 2 Folly Edouard Manet - Blue Venice
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016 AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
017Professor Schaller Project 2 Folly Edouard Manet - Blue Venice
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018
Project 3
City ProjectAnalyze a second painting and use it to establish a language which your group will use to ra-
tionalize the organization of a city which - once constructed - will house all of your follies.
There must be a clear, major path throughout the city which figuratively links all of the follies
and engages them with the landscape of the city. There must also be serveral minor paths. Every
design decision must link in some way to the analyzed painting.
A major element which we analyzed in Sharon Booma’s painting “blue divide” was balance. we an-
alyzed how the painting also juxtaposed various geometric forms and patterns. From here, we
sketched a basic shape of our city and then, by analyzing the geometry present in the painting,
began assigning locations for each of our individual follies. We constructed the landscape in
a manner which was organized by chaos and order. We began with a chaotic, monumental form, and
constructed the landscape in a progressively more ordered, rational way as the city proceeded.
Our eyes were drawn to the dark, chaotic smudge in the middle of the painting and generally fol-
lowed a path down and around the left side until finally resting at the calm, understated, ratio-
nal block of green at the bottom. We mimicked this by starting with a dominant form, leading the
viewer around in a horseshoe shape towards the highly ordered, rational blocks.
AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
Sharon Booma - Blue Divide
019Professor Schaller Project 3 City Project Sharon Booma - Blue Divide
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020 AP 111 Fall 2009 Professor D’Aponte Professor Van Aalst
021Professor Schaller Project 3 City Project Sharon Booma - Blue Divide
Spring 2010
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022
AP 118
023
Professor D’Aponte
Professor Arnold
Professor Cox
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024
Project 1
City Poster
Research your assigned city and compile a poster with original diagrams describing the historic
growth of the city, population density, the organization of the city, etc. The poster should pres-
ent your interpretation of the fabric of the city as well as major attractions and significant
districts. This poster should be a total graphic representation of the city’s composition and
identity.
The fabric of istanbul is comprised of various threads. The city contains an innumerable amount of
historical sites which predatedate Byzantium and the Ottomans. I was fascinated too that the city
spans the continents of Europe and Asia. I wanted to highlight how historically rich this city is.
I also wanted to show that the Golden Horn possesses a truly breathtaking skyline by layering im-
ages of the Blue Mosque and the Hagia Sophia. I wanted the poster to reflect the complex layering
of historical mosques, baths, schools, and markets along with modern-day shops, restaurants, and
hotels which cater to the ever-present, ever-curious tourist.
AP 118 Spring 2010 Professor D’Aponte Professor Arnold
025Professor Cox Project 1 City Poster Istanbul, Turkey
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026
Project 2
Athenaeum
Using a kit of parts, design a gathering space within the city analyzed in project 1. This space
should work within the fabric of the city and should represent the identity of the city. There
should be a major gathering place for outdoor concerts or festivals, as well as a smaller, cov-
ered gathering area, a small interior gallery and facilities.
I selected my site based upon the fact that it was surrounded by a diverse array of all that Is-
tanbul has to offer. There are historical baths, the Palace of Sultanahmet, several universities,
as well as a myriad of shops, restaurants, and hotels for tourists. On the site that I selected,
there is pedestrian access as well as two bus stops. I drew lines from the surrounding streets
and found that they converged on my site in a specific location. From there, I sketched a series
of hills, birms, and ramps which flowed into the existing flat landscape. I constructed overhangs
for the necessary indoor spaces in a way which focused attention on the large, central green. I
then employed columns to serve as cues for leading people through the site.
AP 118 Spring 2010 Professor D’Aponte Professor Arnold
027Professor Cox Project 2 Athenaeum Istanbul, Turkey
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028 AP 118 Spring 2010 Professor D’Aponte Professor Arnold
029Professor Cox Project 2 Athenaeum Istanbul, Turkey
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030 AP 118 Spring 2010 Professor D’Aponte Professor Arnold
031Professor Cox Project 2 Athenaeum Istanbul, Turkey
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032
Project 3
Disaster Relief - Haiti
Design a relevant intervention for disaster relief in Haiti. The goal of this intervention should
be the relieving of some issue you have researched which was caused by the earthquake in January
of 2010. This intervention should be designed with the current cultural and political conditions
of the country in mind. The issues discussed could range anywhere from sanitation, healthcare,
housing, transportation, etc.
After several discussions as to the current needs in Haiti, our group found that adequate hous-
ing was the issue we felt most pressing. We devised a transitional shelter system which used a
simple kit of parts. The user would need a specially-constructed joint which would be attached to
a tree, pole, existing building, etc. which would then support framework on which a facade could
be hung. We surmised that one might start out with a tarp for immediate shelter and then transi-
tion to a more permanent skin. We felt that stressing the idea of connecting a shelter to a tree
in Haiti would serve the shelter structurally since a tree can sway in an earthquake unlike the
current masonry-style buildings which readily collapsed.
AP 118 Spring 2010 Professor D’Aponte Professor Arnold
033Professor Cox Project 3 Disaster Relief Haiti
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034 AP 118 Spring 2010 Professor D’Aponte Professor Arnold
035Professor Cox Project 3 Disaster Relief Haiti
Fall 2010
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036
AP 211
037
Professor Sagan
Professor Sawin
Professor Schaller
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038
Project 1
Case Study - Boston Public Library
From the list of prominent libraries, analyze one with your group and compile a book of analy-
sis. This book should have a cover and binding which exibits the distinctive qualities of the
library itself. The analysis should be entirely non-verbal i.e. diagrams describing the internal
organization, the relationshp of the building to its site, the hierarchy of spaces, the struc-
tural systems, etc.
After a site visit, it was clear that the Boston Public Library was laid out in a very formula-
ic, rational way. The natural light typically comes from above and filters through the thick ma-
sonry facade. The hierarchy of space is alighted on a central axis, allowing the patron to enter
the building, passing straight down the dominant axis until they reach the grand lion staircase.
There, one proceeds into the reading room. This communicates the fact that the reading room is
the ultimate destination. We designed the cover of our book to communicate the importance of the
reading room to the overall composition of the library.
AP 211 Fall 2010 Professor Sagan Professor Schaller
039 Professor Sawin Project 1 Case Study - Boston Public Library
AP 211 Fall 2010 Professor Sagan Professor Schaller
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Project 2
Poetry Vehicle
Construct a device, object, or container which will serve as a way to experience poetry. It
should be able to display six poems from any array of genres, poets, or epochs. The vehicle which
you design and construct must relate to the poems it houses and/or displays. The goal of this ob-
ject is to engage people with the poetry in a three-dimensional realm.
I was first intrigued by poems of the sea by various poets. I read several from Pablo Neruda
which especially sparked my idea for this poetry vehicle. I designed the three nesting rectangles
to fit the golden ratio, reminiscent of a nautilus shell which represented the maritime poetry I
had found. These panels were painted black on the back side so that the clear plexi looked col-
ored from above but when you looked at it as with water, it was actually clear. Only the back-
ground and the reflection on the surface provided the color. The letters of the poetry were in
white as if they were fortuitously-arranged specks of foam dancing on the surface of the water.
The panels slid back and forth over one another like waves to reveal more poetry beneath.
Professor Sawin Project 2 Poetry Vehicle 041
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042
Project 3
Poet’s RetreatDesign a retreat for a poet on the open site behind the Langdon Street Cafe in downtown Montpe-
lier, Vermont. This retreat should include all the comforts of home, i.e. sleeping quarters, a
personal kitchen and dining room with private bathroom. There should, in addition to the poet’s
living space, also be a space in which people can gather for poetry readings. There should also
be a small informal gathering space in addition to this more major space. There should be in-
cluded some consideration of parking and exterior gathering spaces. You will have your own unique
constraints in which you can build. Your site will be divided by two converging buildable areas.
You may not build outside of this prescribed area.
My buildable area formed an off-center T. I wanted to accentuate the relationship of the site to
the river by canting the building on the site and subtracting space within the buildable area so
that the views were oriented towards the bridges on either side of the river. I also plunged the
large gathering area below ground so that poetry readings could be held in an environment entire-
ly devoid of distractions. When we held a poetry reading at the Langdon Street Cafe, there were
coffee machines and people coming in and out and it was almost impossible to focus on the poetry
itself. I took this idea and applied it to the poet’s living quarters as well, holding his space
aloft over the river so that he may commune with nature and separate himself from the hustle and
bustle of the communal spaces below if he so chose.
AP 211 Fall 2010 Professor Sagan Professor Schaller Professor Saw
043win Project 3 Poet’s Retreat Montpelier, VT
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win Project 3 Poet’s Retreat Montpelier, VT 045
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046
win Project 3 Poet’s Retreat Montpelier, VT 047
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048
Project 4
Williamstown Public LibraryDesign an addition or intervention for the Williamstown Public Library which addresses its neeed
for more storage, more meeting rooms, and also more room for stacks. Also address the wishes of
the board of trustees whose wish is to maintain as much as possible the integrity of the origi-
nal, culturally-significant, building. Keep in mind the constraints placed upon the library by
its geographic location as well as the surrounding context of the town of Williamstown, Vermont.
Upon visiting the site, I was frustrated by the site on which the library sat. It sits at the
convergence of two very busy roads with constant through traffic. I began my process by setting
up walls to block out unwanted views, noise, etc. and which would allow for voids to accentuate
desirable views. I eventually devised a scheme with the original library serving as an entrance
and welcome center with a central, circular space for meeting space and storage in the basement
and for much-desired social space on the second floor.
AP 211 Fall 2010 Professor Sagan Professor Schaller Professor Sa
049awin Project 4 Williamstown Public Library Williamstown, VT
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awin Project 4 Williamstown Public Library Williamstown, VT 051
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052
awin Project 4 Williamstown Public Library Williamstown, VT 053
Spring 2011
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AP 212
055
Professor Van Aalst
Professor Sawin
Professor Kredell
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056
Project 1
Case Study - So-Il ArchitectureSelect an architecture firm younger than ten years old. From their portfolio, select a steel
structure and compile a series of diagrams describing the building. Note that you will have to
present the design ideology of the firm, the structural system of the building, the building’s
organization, etc. in an entirely graphical way. You will not be able to speak when presenting
your analysis of your firm’s building.
I found So-Il architecture on an AIA article announcing the top young firms of the year. One
partner is a young man from New York and the other is a young woman from China. Their work spans
the continents of North America, Europe, and Asia. They strive to create modern works with care-
ful attention to detail. Their works are simple and universal. I was especially intrigued by
their wedding chapel in Nanjing, China. At first glance it presents itself as not much more than
a roof structure mimicking a fallen leaf. Within, it is a wedding chapel with a long, cascading
promenade to a central stage all circumvented by rows of seating with organic voids allowing air
and views to the beautiful landscape. I analyzed the fact that the outer edges are the most pri-
vate and the interior stage at the center remains the most charged space.
AP 212 Spring 2011 Professor Van Aalst Professor Kredell Professo
057r Sawin Project 1 Case Study So - Il Architecture
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Project 2
Sculpture GalleryChoose a sculpture from the list which you find personally intriguing. From analyzing this sculp-
ture, develop an interior space in which the sculpture will be viewed. From that interior space,
develop an exterior space which will serve as enclosure to your previously designed interior
space. Finally, develop a landscape in which your gallery will reside. Each successive layer must
accentuate the previous with the culmination occurring at the sculpture you selected at the very
beginning. These exercises will be done in rapid succession in order to develop quick decision-
making skills.
Naum Gabo’s Linear Construction No. 4 requires a very dynamic situation from which to view it. I
started by suspending it from a distorted hypar form which would receive shadows cast from the
sculpture and which patrons would have to proceed under in order to view the sculpture itself.
I then enclosed this in sweeping forms with a simple roof structure which allowed for gathering
space and which highlighted the dominant interior form. I then situated the entire building on a
lake which would reflect light and serve as a dynamic, shimmering boundary.
AP 212 Spring 2011 Professor Van Aalst Professor Kredell Professo
059r Sawin Project 2 Sculpture Gallery Naum Gabo - Linear Construction No. 4
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r Sawin Project 2 Sculpture Gallery Naum Gabo - Linear Construction No. 4 061
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Project 3
Pointe Saint Charles MetroAnalyze the borough of Pointe Sainte Charles in Montreal and then develop a design for the met-
ro stop in the middle of the neighborhood. The design should replace the temporary cabine which
houses merely the entrance to the metro stop below. The new intervention should include a large
gallery with two smaller private gallery spaces, a cafe, the metro entrance, private artist stu-
dios, as well as administrative space. All esign decisions should be engineered to work with the
history and culture surrounding the neighborhood of Pointe Sainte Charles as well as the greater
context of the city of Montreal.
The day we visited Pointe Saint Charles just so happened to be the worst winter weather I had
ever experienced. I began designing this intervention with the idea that I wanted the user to be
able to enjoy sunlight and its radiant warmth no matter what the season. I ran with the idea of
creating light shafts which would carry light all the way down into the depths of the metro and
which would amplify the natural solar radiation in a way which would naturally heat the build-
ing in the winter yet which would not overheat the building during the short summer months. I
did numerous solar studies and with the idea of abruptly bending the light shafts like the ever-
present staircases in Montreal, I used the light shafts to define the spaces of the building. I
also established them as celebratory spaces in which you would either be ascending or descend-
ing. The major circulation is located in these celebratory light shafts while the support spaces
are located on the side of the site abutting the nursing home. I employed a rain screen to fil-
ter the light and also add a layer of interest and intrigue to the building.
AP 212 Spring 2011 Professor Van Aalst Professor Kredell Professo
063or Sawin Project 3 PSC Metro Station Montreal, Quebec, Canada
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or Sawin Project 3 PSC Metro Station Montreal, Quebec, Canada 065
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or Sawin Project 3 PSC Metro Station Montreal, Quebec, Canada 067
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or Sawin Project 3 PSC Metro Station Montreal, Quebec, Canada 069
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or Sawin Project 3 PSC Metro Station Montreal, Quebec, Canada 071
Fall 2011
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AP 311
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Professor Hoffman
Professor Eichenlaub
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Project 1
In the Manner of - Richard MeierResearch the major works of your major architect with your group and compile a book of diagrammat-
ic analyses of three of his most significant works. The criteria which you employ to judge signif-
icance is entirely up to your group. These diagrams should describe notable commonalities or dif-
ferences within the separate works. From your research, you should also ascribe five main, guiding
principles which exist throughout your architect’s body of work. This research should be bound in
a book which reflects your architect’s style and design ideologies. Finally, construct a model of
one of the buildings you analyzed.
I was first intrigued by Richard Meier’s Athenaeum due to the fact that most of his major design
ideologies are represented in this building alone. I chose to analyze this building diagrammati-
cally looking at its unique circulation pattern. One proceeds from a boat up a long, straight
ramp into the building under an overhang. From there, the patron walks up a ramp where they ulti-
mately either turn into the auditorium or proceed straight down another long, straight ramp into
town. This building serves as a utopian gateway to a former utopian settlement. The composition is
mainly designed in plan and in elevation. Meier establishes a grid from his long pathway and then
cants that grid by five degrees to add interest and to establish a hierarchy within the building.
He also layers the facade in a way which filters light not only into the building but also out of
the building. This was something I found most interesting and we chose to represent this idea in
the presentation of our model by illuminating it from within.
AP 311 Fall 2011 Professor Hoffman Professor Eichenlaub
075 Project 1 Catalyst - In the Manner of Richard Meier
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Project 2
Montpelier Performing Arts Center
Construct a performing arts center on the river in Montpelier, Vermont which represents the spir-
it of the city and which also contains a theater, an outdoor gathering area and necessary support
spaces. This building should comply with local building and zoning codes, and it should als commu-
nicate with the culture and significance of the site.
Inspired by the spirit of Montpelier, I wanted this performing arts center to serve as a means of
inspiration for any passerby. I wanted to engineer this building to be a space in which anyone
could express themselves freely in whatever means they felt personally relevant. I began with the
idea of establishing a grid as Richard Meier typically would but found my resulting forms too re-
strictive for the kind of open spirit I wanted for this building. I switched to the idea of lay-
ering which Meier typically displays with his facades and layered forms around the theater. These
forms were large and massive and led me to explore different materials. I found a firm in Vancou-
ver B.C. which developed a rammed-earth wall system for cold, wet climates. I employed this ma-
terial for its unique acoustical qualities, and also for the fact that voids and niches could be
carved within it. I took advantage of this quality and carved little spaces for people to sit down
with a guitar or a notebook and just explore their own creativity and that of those around them.
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079 Project 3 Performing Arts Center Montpelier, VT
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Misc.
091
Sketching School
Summer Design-Build
NUVA Thailand
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Sketching School
Professor Leytham
San Juan, Puerto Rico - March 2010
Lunenburg, Nova Scotia - August 2010
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093 Lunenburg, Nova Scotia - August 2010
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094 Sketching School Professor Leytham San Juan, Puerto Rico - March 2010
095 Lunenburg, Nova Scotia - August 2010
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Summer Design-Build
Professor Lutz
Professor Sagan
Professor Kredell
June 2011 - August 2011
Summer Design-Build Professor Lutz Professor Sagan Professor Kredell
097 June 2011 - August 2011
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NUVA Thailand
Professor Cox
Nicole DiDomenico
Suvannee Promchan
Ban Phachan, Isaan Province, Thailand
December 2010 - January 2011
December 2011 - January 2012
NUVA Thailand Professor Cox Nicole Didomenico Suvannee Promchan Ban Phachan,
099 Isaan, Province, Thailand December 2010 - January 2011 December 2011 - January 2012
The villagers in Phachan, Thailand were relying on a kitchen situated infor-
mally on the edge of the woods behind the community center to cook large group
meals. The women would crouch on the ground to wash, chop, cook, and prepare the
charcoal for cooking. The ladies were constantly fending off the hungry dogs.
We took into account the village’s local, available materials, cultural be-
liefs in Feng Shui design, and we made sure that the ladies would have a kitchen
they could be proud of. After drafting, redrafting, and meeting with the cooks,
builders, and community leaders, no one could wait to start building.
After months of deliberation on cost estimates, itineraries, etc. it was
soon time to return to Phachan in December of 2011. Our first task was to raise
the reinforced, precast concrete columns. Before anything could start, the vil-
lage elders composed arrangements of specific leaves, with each representing a
blessing for the new kitchen and bound them to the columns. At that moment, it
all finally felt real. Not only had I worked tirelessly to design the kitchen
appropriately, but I would be there when it came to fruition. What’s more, I
could see that this kitchen meant as much to me as it did to the villagers.
From then on, we woke up at daybreak and went to bed late every night cov-
ered in layers of concrete, mud, and paint. Questions arose one day concerning
which walls were to use which type of blocks. I spoke to the foreman through
several translators and drawings to communicate how each wall was to be composed
and before we knew it, we had a kitchen.
This series of trips affected me deeply. My goal is to use architecture to im-
prove daily life within rural communities. Communities such as Phachan deserve
a chance to have a place to express their cultural identity – a special space
which inspires future generations to celebrate where they came from and to also
share that with the broader populace.
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100 NUVA Thailand Professor Cox Nicole Didomenico Suvannee Promchan Ban Phachan,
101 Isaan, Province, Thailand December 2010 - January 2011 December 2011 - January 2012
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102 NUVA Thailand Professor Cox Nicole Didomenico Suvannee Promchan Ban Phachan,
103 Isaan, Province, Thailand December 2010 - January 2011 December 2011 - January 2012
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Appendix
105
Writing Sample
GPA
Transcript
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Writing Sample
Professor Schrenk
Spring 2011
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GPA
Fall 2009 - Fall 2011
GPA Fall 2009 - Fall 2011
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Cumulative Studio GPA
Fall 2009 - A
Spring 2010 - A
Fall 2010 - A-
Spring 2011 - B+
Fall 2011 - A
GPA: 3.80
Cumulative Norwich GPA
Fall 2009 - 4.0
Spring 2010 - 3.91
Fall 2010 - 3.92
Spring 2011 - 3.53
Fall 2011 - 3.84
GPA: 3.81
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Transcript
Fall 2009 - Spring 2012
Transcript Fall 2009 - Spring 2012
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1 2
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3 4
Transcript Fall 2009 - Spring 2012
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5 6