ARCHITECTURE

JOSHUA COLANTUONI WENTWORTH INSTITUTE OF TECHNOLOGYCLASS OF 2013

BIKE PAVILION IDEO

GEEKHOUSE BIKES

ARTIST-IN-RESIDENCE

GRADUATE THESIS: WALKABLE COMMUNITIES

JAMAICA POND FRIEND SCHOOL

HAND DRAWINGS

STUDIO WORK

ON RIGHT: Process model work-ing with a timber cladding that contain apertures that reveal the structure of the building. FAR RIGHT: Rendering showcas-ing interior/entry of bike pavilion with emphasis placed on the struc-ture and wooded feel of the facility

BIKE PAVILIONSTUDIO IIIOCTOBER 2010PROFESSOR RYAN MURPHY

The Bike Pavilion project took a detailed look at the materiality and tectonic relationships found in a building. The design studied timber framed construction, and how simple and economical stud framing can form a unique space in which to store bicycles. The idea stems from a tree, which reveals its structure through its foliage. A series of iterations looked at different ways timber planking could be utilized in a facade. The early stages of the design used a vertical system of timber planks that had randomized openings.

WRAPPING AND PEELING DIAGRAM

WRAPPING AND PEELING DIAGRAM

ABOVE: Building modelLEFT: Wrapping and peeling diagramRIGHT: Rendering displaying wrapping effect

As the design progressed, a pattern/ proportion system was developed. The vertical members became diagonal. This allowed a wrapping effect to be formed by the facade. This wrapping effect emphasized the feeling of enclosure and it also showcased the simple and elegant stud-framed structure. The stud-framed structure has a duel purpose. It acts as the structure for the building as well as a rack for bicycles to be hooked onto during storage. The program itself allows for a flow of traffic. The entry and exit are on opposite sides of the building from each other. The entire supporting program used to refresh the bicyclists is in the back of the structure. There is a substantial amount of natural lighting within the space due to the openings on the external walls as well as the roof.

BELOW: Detail sectional model showcasing structureLEFT: Exploded axon showing construction of facade and roof system

1. CROSS-SECTION

2. PLAN

3. ROOF PLAN

4. NW ELEVATION

A

A

ABOVE: Photo of facade in modelRIGHT: Rendering of prototyping space with views of third and fourth floor in background

IDEODESIGN AND TECHNOLOGY INOVEMBER 2009PROFESSOR CHARLES CIMINOIDEO is an industrial design firm now located on Newbury Street in Boston. IDEO’s employees are a group of creative designers who desired a space that would break away from the feel of a traditional office building. They wanted something more contemporary that would allow the whole firm to feel more connected.

This desire for connectivity stems from their belief in the importance of teamwork. The building’s design uses a series of multi-height spaces. The interior partitions of the building are largely glazed, allowing for the boundaries of the space to vanish. Because of the glazing, each floor feels completely open and allows for views of other floors as well as views of picturesque Newbury Street and the new Newbury Street Alley being constructed behind the building.

LEFT: Longitudinal sectionBOTTOM LEFT: PlansTOP RIGHT: Sectional modelBOTTOM RIGHT: Rendering of offices on fourth floorRIGHT CENTER: Detail of sectional model showcasing structure and shadows

ENTRY LEVEL SECOND LEVEL THIRD LEVEL FOURTH LEVEL ROOF

As one approaches the upper levels, the building becomes more private. As one enters the building, they are greeted with a triple-height space that al-lows views to the second and third floor. The second floor has a vast array of leisure facilities suited to keep the designers healthy and happy. The third floor is a floor dedicated to team-work and hands on designing with a top of the line prototyping space. Fourth floor consists of four private workspaces and two open work areas. Lastly, the roof contains a series of skylights that provide natural lighting within.

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ABOVE: Tree diagramRIGHT: Precedent: Spanish Pavilion Bamboos by Francisco MangadoFAR RIGHT: Rendering up bicycle ramp of building

A new manufacturing center for Geekhouse Bikes is just outside of Davis Square in Somerville. The design for the project commenced with a study of the site’s existing conditions. The focus of the study was the trees on the site and how the trees could become a part of the design. As the design scheme was set, there were not to be literal trees in the design, but instead something that captured the essense of trees. To do this, the glazed facade utilized a system of mullions that took on the form and function of trees. Francisco Mangado’s Spanish Pavilion Bamboos, a building that was buried in a forest of columns, was looked at as a precedent. In the Geekhouse bike design, the mullions of the all glass building resemble a row of trees. The system of mullions combined with the desire to express motion as well as interaction with the assembly space work together with the bike path to create a very unique experience. The cyclist’s journey does not end at the buildings entry, it continues through the building until the cyclist reaches the rooftop parking area after circumnavigating the assembly hall.

GEEKHOUSE BIKESSTUDIO IIINOVEMBER 2010PROFESSOR RYAN MURPHY

SECTION A

SECTION B

NORTWEST ELEVATION

LOWER LEVEL

UPPER LEVELENTRY LEVEL

ENTRY LEVEL

MULLION DISTANCE VS SPEED OF BIKE ON RAMP

BIKE PATH BIKE PATH

PARKING PARKING

WIL

LOW

AV

E

A

MEDIUM SPEED- 3’ DISTANCE BETWEEN MULLIONS

LOW SPEED- 7 MPH MAX 6’ DISTANCE BETWEEN MULLIONS

HIGH SPEED- 1.5’ DISTANCE BETWEEN MULLIONS

LEFT: Sectional modelBELOW: Bike path speed diagramOPPOSITE RIGHT: Massing modelOPPOSITE LEFT: Bike path detail

The language of a forest is executed by a system of mullions. The mullions, when looked at on an oblique angle, creates unique experiences depending on one’s speed anddirection. The density of the mullions changes depending on the privacy of the program behind it and the speed desired on the bikeramp.

At the top of the bike ramp is a bike parking/roof garden that allows for recreation and a place to park bicycles. The roof garden is in front of a six-foot clearstory window that looks down onto the assembly area. The assembly area has expandable space that allows work to flow more smoothly through the use of movable partitions that open up the rooms on the lower level to the assembly space.

RADIUS =

10'

10' RAMP WIDTH

19' W

IDTH AT C

ORNER

6' D

ISTA

NC

E B

ETW

EE

N M

ULL

ION

S

15 MPH10 MPH7 MPH

LANE DIVIDER

5 MPH

LEFT: Rooftop rendering RIGHT: Assembly space rendering with bicyclists circumnavigating the assembly area on the bike ramp

ABOVE: process models exploring the idea of compression and expansion with regards to a processionFAR RIGHT: Charcoal sectional drawing of comperession and expansion of spaces within a buildingRIGHT: Rendering of cafe space with views into more expansive gallery space

ARTIST-IN-RESIDENCESPECIAL TOPICS STUDIO- PORTUGALFALL 2012PROFESSOR ANN PITTUpon commencement of this studio, our class traveled to Portugal for ten days to examine the works of some of the established architects from the area such as Alvaro Siza, Eduardo Souto de Moura, and Aires Mateus. We experienced the sectional richness of the buildings, as well as the contextual relationship to site, and Portugal.

We were to keep a sketchbook documenting each building of significance we visited, and developed concepts from our trip to Portugal that would guide our design throughout the semester. One of the unique aspects of this studio was its emphasis on designing through section. Our class was encouraged to avoid exploring through plans and use other methods to design. It allowed for a very dynamic interior. The semester focused on very abstract thinking, experimenting with charcoal to create large scale drawings and explore the concept.

The concept I chose was the idea of compression and expansion creating a procession. I did various models exploring this idea, and looked at various methods of incorporating this into the design of my building.

This artist-in residence program contained both public and private spaces. The expansive and compresive concept was used to create a range of spaces in which the artist could display their work. It was also used to encourage a procession through the building. The sectional richness combined with the positioning of glazing allowed glimpses to occur where the public had views through different spaces to see the artists working, and upcoming or past gallery spaces along the procession.

LEFT: Rendering of the Central Gallery spaceFAR RIGHT: Longitudinal SectionRIGHT: Transverse Sections

This thesis hypothesized that if a city is walkable than it is more likely to be successful. This idea stems from the fact that cities decayed in the twentieth century as people abandoned them for the suburbs, and as cities started accommodating cars as a main mode of transit. The ideas of theorists such as Jane Jacobs, Kevin Lynch, and Jan Gehl were examined to determine the components of a walkable space, and how placemaking could result from a pedestrian-oriented development. Existing urban areas that were deemed walkable or successful places were studied such as Portland, Oregon, Copenhagen, Denmark, and Davis Square, Somerville, Ma.

The key components to a walkable city are mixed-use, density, mass transit, diversity, places for gathering, well designed streetscapes, human scale, high visual interest and access to greenspace. The main goal of this thesis was to establish a method of implementation that could be used on any underperforming urban area to achieve a sense of place.

WALKABLE COMMUNITIESTHESIS STUDIOSPRING 2012PROFESSOR MARK KLOPFER

TOP RIGHT: Collage exploring the program components of a walkable placeRIGHT: Collage exploring the walkable aspects of a site

DAVIS SQ

TO ALEWIFE

TO PORTER SQUARE

T

COMMUNITY SHAPED BY TRANSIT

PARKING BEHIND BUILDING

LANDMARK

NIGHTLIFE

EVENTS

GATHERING AREA

STREET FURNITURE

STTREET SIDE SEATING

NARROW STREETSMORE WALKABLE

The site chosen was near the Forest Hills transit stop in Boston. It is an area consisting of large surface parking lots, dilapidated buildings, low-rise light industrial buildings, triple-decker houses and very few amenities. The design capitalized the unique features of the site, which were its access to major components of the Emerald Necklace. The design reconnected the Emerald Necklace through the construction of a new Arborway. This new Arborway had an innovative solution to replace an existing traffic viaductby that placed regional traffic under the local traffic by filling in the landscape rather than excavating. The site allowed the idea of the Emerald Necklace to flow through the site via the use of greenways and daylighting the existing Stony Brook Culvert.

New residential and commerical space was designed working with a series of pedestrian streets. A main square was introduced to the area to house largest concentration of amenities. Higher densities would guarantee that the streets would be filled with life. Places that acted as a platform in which social interaction would occur were created to help bring life to the streets, such as stoops, porches, sidewalk cafes, and grilling spaces.

The main result of this design was a master plan for the Forest Hills area that allowed that neighborhood to become a walkable community with a sense of place. The concepts such as finding the unique aspects of a site and incorporating them to make an innovative design are key to establishing a sense of place along with the idea of having a pedestrian-oriented environment.

LEFT: Master plan for Forest Hills RIGHT: Street Sections demonstrating the pedestrian-oriented design of the neighborhood

JAMAICA POND FRIEND SCHOOLSTUDIO IVJULY 2011PROFESSOR ROBERT TRUMBOUR

The design for the Jamaica Pond Friend School is very connected to its site. It is completely sustainable and takes complete advantage of everything the site has to offer. The design of this school began with a detailed analysis of the pathways of the park. The pathways are an often-overlooked aspect of a park. A study was performed on how the pathways interact with the site as well as how ones experience changes as they walk down the path. The study concluded with primary pathways (pathways put in place by the landscape architect) and secondary pathways (pathways formed by the users of the park). The primary pathways were found to move along the topography lines, and slowly cut across them. The primary pathways were also found to move around major forests and landforms. The secondary pathways were found to cut across all aspects of the site for convenience reasons. This investigation was used to figure out the concept and location of the building. The main concept used in the design was procession. The processional path was a datum used to shape the interior spaces of the school. It reflects the landscape and the school reflects the pathway. Everything is united and it allows the building to have a deep connection to its surroundings.

LEFT: Floor plan RIGHT: Site plan with first floor plan

PROGRAM

PRIMARY PATH

SECONDARY PATH

VIEW

The school’s entry is located at the top of a swale and the school follows the contours of the site, allowing the program to flow down to the base of the pond, a twenty-foot change in elevation. The direction of the interior pathway is aligned and sculpted to take full advantage of views in every direction one faces as one walks down the path. The pathway also has areas that branch off the slope creating gathering and seat-ing areas.

This school also prides itself on its connection to nature. There are a number of green spaces strategically scattered along the interior pathway such as the courtyard, outdoor classrooms, and the manufactured wetlands, which is at the end of the procession path just before one gets to the pond.

FAR LEFT: Diagram showing primary path vs. secondary path, with major viewsLEFT: Site Analysis Diagrams 1.Primary vs. secondary paths of the site2. Gradient showing contours of site 3. Forested areas and major trees 4. Zones created by paths, contours and forested areas. RIGHT: Site/building sections

PRIMARY VS SECONDARY PATHS

TOPOGRAPHY

TREES

ZONES

There are a number of sustainable designsstrategies implemented. The large amount of glazing allows for great quantities of natural lighting. In order to give the occupants complete control over the amount of lighting, there are systems of tack boards/whiteboards on tracks that move to block out light or let light into the space. The classrooms are top lit with operable translucent glass skylights. Certain windows are also operable allowing for fresh air and ventilation.

There is a proportional system used in the school. Everything is a multiple of 3. The panels in the windows are 36”, 18”, or 9” wide. There are two independent systems of glazing in each façade. There is a set of glazing that starts at the floor and stops at 36” AFF, and they are not operable. From 36” AFF to the ceiling is the second system and that is operable. In order to deal with drainage, the roofs are at a slight pitch. There is also a foot drain at the back of the building along the hill, which captures the water draining off of the hill. It then carries it through pipes and drains it into the pond. The constructed wetland is located at the end of the procession path by the exit. The terracing of the building protects the school from high waters during flooding.

LEFT: Site/Building ModelRIGHT: Hand drawn exploded axon showing components of facade system

LEFT: Rendering looking down path through school; roof slowly steps down path to emphasize path with a view of the pond in background through wall as one heads down path to the libraryRIGHT: View up path with more emphasis placed on terracing by view of steps; courtyard in background with interior seating in front of it

HAND DRAWINGSHand drawing can be a great tool for learning. It forces one to study something in detail, and it can help one to notice things that one may ordinarily dismiss. The drawings done here are from two studies. One was a study done freshman year of the Woburn Memorial Library, where color and texture were studied in the selected pieces to the right and below. On the left is a detail section of a facade study of the GKD Building in Maryland. It demonstrates how moveable screens used for shading attach to the facade.

PHOTOGRAPHYPhotography has always been a passion of mine. It is a great tool for recording an experience or detail of a building to study later on. The selected pieces here were taken from London and Paris. The ones on the right and below are from London, while the one on the left is from Paris.

joshua colantuonicolantuonij@wit.edu

5 courtland lanebillerica, ma 01821