portfolio2016 pages.compressed

Devon Brophy | Architecture Portfolio

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Education

Experience

Programs + SkillsAutoCad

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Full Adobe SuiteDataCadRescheck

Climate ConsultantAutodesk Formit

Model MakingHand Sketching

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EPLaunch Tally

HIstorical Preservation Amateur Beekeeping

Long Distance Running

Other Interests

The Catholic University of America May 2017Master of Architecture Candidate Cultural Studies + Sacred Spaces ConcentrationThe Catholic University of America May 2017Master of Science in Sustainable Design Candidate The Catholic University of America May 2015Bachelors of Science in Architecture CUAbroad - Barcelona, Spain Spring 2014CUAbroad - Inishturk, Ireland Summer 2013

O’Brien & Keane ArchitectureIntern - Arlington, VAReligious + Educational construction documents, Spring 2016 sustainable systems research & sizing

Catholic University of America Teaching Assitant Positions Intro to Sustainability Fall 2015Freshman Design Fundamentals Studio Spring 2016

Longo Architects & Associates Intern - New Providence, NJ Summer 2015Banks + Healthcare schematic & construction Winter 2016documents. Assisted in field measurements and creating marketing packages.

AHM Architects Intern - Millburn, NJ Summer 2014Residential schematic & construction documents. Winter 2015Assisted in field measurements & client renderings.

RSC ArchitectsIntern - Hackensack, NJ Summer 2013Healthcare + Institutional + commercial documents.

VJM Architects - Far Hills, NJ Summer 2013Intern - Far Hills, NJ Winter 2013Residential schematic & construction documents.Assembled project books & produced renderings.

Awards + Accredidations+ Publications

Graduate School Project Published in Faith & Form 2016

LEED Green Associate 2016Autodesk Building Performance

Analytics Certified 2015

Spirit of Place:AIA DC Design Award Winner 2013

Faith & Form Student Design Winner 2014

2nd Place Global Architecture Brigades Healthcare Competition 2012

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Projects1 | Earth Weave Chia, Colombia Spring 2016 Objective: To design a new urban plan, housing, and culture center. 10 Weeks Graduate Year 1 Individual

2 | The Labyrinth Washington, DC [Petworth] Fall 2015 Objective: To design a new typology of sacred space 10 Weeks Graduate Year 1 Partner

3 | Spirit of Place Inishturk, Ireland Spring 2013 Objective: To design and build a memorial to commemorate the diaspora of the Irish Design: 14 Weeks | Build: 2 Weeks Undergraduate Year 2 Group

4 | The Beacon Washington, DC [Columbia Heights] Fall 2014 Objective: To design a mixed use library and Jesuit sanctuary Design: 14 Weeks Undergraduate Year 4 Group

5 | Urban Housing Barcelona, Spain [Arc de Troimf] Spring 2014 Objective: To design a mixed use residential building with an urban outdoor space 8 Weeks Undergraduate Year 3 Individual

6 |The Boathouse Washington, DC [Navy Yard] Fall 2012 Objective: To design a boathouse and gathering space for the community 10 Weeks Undergraduate Year 3 Individual

7 | The Artist’s Vending Machine Barcelona, Spain [Passeig del Born] Spring 2014 Objective: To design a building where artists can live and work 4 Weeks Undergraduate Year 3 Individual

8 | The Library Washington, DC [H Street Corridor] Spring 2012 Objective: To design a library for the community 10 Weeks Undergraduate Year 2 Individual

9 | The Winery Rappahannock County, Virginia Fall 2014 Objective: To design a winery with an gathering space Design: 12 Weeks Undergraduate Year 4 Individual

1 | Earth Weave

Located northeast of Bogota, Colombia are the lands where the Mhuysqa culture once thrived. A culture intrinsically tied to the landscape, a cycle of taking and replenishing existed, with Lake Guatavita receiving the gifts of the people. A priest (Zipa) would coat themselves in honey and gold flakes and walk into the sacred waters where gold would be offered and received by the waters. It was because of these sacred traditions that when the Spanish conquered the region, the lake was drained and the culture mostly lost. Resurgence in the past twenty years of Mhuysqa tradition has brought about a need for a place for the Mhuysqa to call their own. Town planning was based off of the existence of a natural knoll and the lines of the solstices which were draped across the site to connect existing roads and create paths. A central gathering space was oriented towards the sacred axes and rests on the steep drop of the knoll. The exterior walls of both the homes and civil centers are composed of rammed earth brick, weav-ing the striations of earth through the undulating landscape. Rammed earth bricks were laid in undulating patterns so as to allow areas of sunlight to puncture through to the interior. Flat roofs were chosen so as not to compete with the already mountainous landscape, and instead become secondary to the Andean Mountains.

Design: 10 WeeksIndividual

Town Planning, Housing, & Culture CenterChia, Colombia

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The land that silently heldthe threads of tradition

weaving through the mountainsrecalling the Mhusyqa that was to come together once again

Conceptual Model

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9 10Approach to Gathering Space

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First Floor Plan; Not to Scale

Basement Floor Plan; Not to Scale Plaza Plan: Not to Scale

View of Gathering Space13 14

Street Plan: Not to Scale

Second Floor Plan: Not to Scale

First Floor Plan: Not to Scale

Third Floor Plan: Not to Scale

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North View of StreetscapeSouth View of Streetscape

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2 | The Labyrinth

In modern society, there exists the dichotomy of traditional val-ues and modern values. Modern society no longer places value on religion and instead turns to other modes of worship. Sol-ace is sought through movement and meditation, or any escape from the noise of everyday life. This type of self-reflection is often sought through walking and meditation.

The journey of this modern day labyrinth begins at the corner of Georgia Avenue and Randolph Street, where the café acts as the welcoming and gathering space for the residents of the neighborhood. From here, two paths exist upon which visitors can make their journey. The path upon which the user walks at a slight incline through soaring labyrinth walls that guide the user to the sacred space encapsulated by the labyrinth. The walls remain at the same elevation, and as the user journeys, the des-tination becomes more visible.

Just as the duality of the old and the new means of society ex-ist, the old and the new means of traditional worship spaces are represented in the sacred space. The solid, heavy walls of the labyrinth give way to the light, translucent stained window panes that wrap the sacred space. Light fills the space through this colored glass, casting light upon the labyrinth walls, remind-ing those of the journey they have just taken and the journey they must continue.

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Design: 10 WeeksPartner Project

10,500 SFGeorgia Ave NW & Randolph Ave NW

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Sanctuary

Cafe

Morning Traffic to M

etro

Afternoon Traffic from Schools & Neighborhood Afternoon Traffic from M

etro

RANDOLPH STREET NW

GEO

RGIIA AVEN

UE N

W

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Site Plan: Not to Scale

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Evolution of the Deconstructed Labyrinth

Floor 1 Plan

Sanctuary

CafeArt Gallery

Service Space

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Open to Below

Gathering Area

Sanctuary

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3 | Tale of the Tongs

Located on a remote island off the coast of County Mayo, Ire-land, the island of Inishturk is home to seven core families whose ancestors have inhabited the island for centuries. The island was devasted by the potato famine and in turn, the population dwin-dled. The memorial seeks to commemorate those that left Inish-turk, never to return again, by remembering the ancient tradition of leaving ones tongs in a family member’s hearth to return one day and come together at the hearth that binds them together.

The memorial was designed by 12 students over the course of one semester under the guidance of Travis Price. During the summer 14 students went to the Inishturk and constructed the memorial in 9 days.

The memorial is situated on the highest point of the island facing the Atlantic Ocean and the Kilhary Harbor to remind the visi-tors of the waters that took the people of Inishturk to faraway lands. A fire burns in the center of a glass shelter to provide shel-ter and comfort to those in the harsh environment. Stone and glass walls emanate into the landscape, drawing one’s view to the water and the hilly landscape. The glass walls are enscribed with the names of the seven families, recalling those that have left, never to return.

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Design: 10 WeeksBuild: 9 Days 14 Students

Whispering flames revealing our breaths, yearning anew,

rekindling the crisp aroma of echoes burning embrace.

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Glass Shelter

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Hearth Inside Glass Shelter

Stone Walls

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Design Team

Build Team

4 | The Beacon

The neighborhood of Columbia Heights is home to over twenty churches of varying religions. The population of the area lacks a community space where all are welcome, regard-less of religion or social status. The goal of the project was to create a place where all are welcome and free to practice in the space. Staying true to Jesuit values, the importance of minimization of physical impact and maximization of commu-nity impact was the sole guiding principle.

The goal of minimizing square footage, while maintaining pro-gram needs was met by incorporating books into structure and keeping programmatic areas seperate, thereby minimizing the need for circulation space while still keeping the library and sanctuary connected. The building is composed of a series of forms, informed by the tectonics of the existing city scape. Natural daylight was achieved in the building by offsetting the atrium to allow for daylight to penetrate into the building dur-ing the afternoon when the library would be most used. The reading areas are most prominently positioned on the corner of the intersection to allow for views to the neighborhood as well as allow for natural daylight to fill the space and enhance the user’s experience.

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Design: 14 Weeks 4 Students30,000 SF

Columbia Rd & 16th St NW

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elimanating circulation uses

35% less space

30’

10’

1’

80 units per stack

by extending height of bookshelves two rows are added

45 books per

shelving unit

309,600books

43 shelves due to

addition of 2 rows above

1 side of shelving unit

97’

57most possible

book shelves put into 9,500 sf space

[ 97’- 6 “ x 97’ - 6” = 9,500 sf ]

97’

97’

97’

adding 2 shelves uses

10% less space

97’

97’

Objectives: To Create a MoreEffecient Program in Library

How do we do This?

Given: Entry/Lobby:

Public Gathering:

Sanctuary:

Stacks:

Children/Teen Spaces:

Administrative:

Support Spaces:

Building Infrastructure:

circulation/desk area 450 sq ftrestrooms 600 sq ft

main reading room 7000 sq ft exhibition/gallery 1400 sq ft

chapel 3000 sq ftsacristy 200 sq ft reconciliation chapel 160 sq ft

collections 1500 sq ft teen areas 800 sq ft loud lounge 250 sq ft study/tutor rooms 500 sq ft

information desk 150 sq ft collections 8000 sq ft periodicals 1500 sq ft visualization labs 480 sq ft

delivery 200 sq ft storage 500 sq ft mechanical 1700 sq ft electrical room 350 sq ft

staff work room 400 sq ft small conference room 100 sq ftoffices 400 sq ft misc. office support 200 sq ft staff bathrooms 200 sq ft

Given Site: 9039 sq ft 60% lot coverage

Move to Roof= -1700 SF

Open Office Plan= -100 SF

Added Shelves & Incorporate in Structure= -4500 SF

Incorporated Shelves in Structure= -300 SF

Atrium Offset to Allow for Optimal Daylight

Private Mass Parallels Private Residential

Context

Tectonic Context Lines

Atrium Connects All Program Through Natural

Light

16TH

STR

EET

NW

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Columbia Road View Shed Extended

COLUMBIA ROAD NW

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Site Analysis Diagram

The Beacon

The Service “L”

The Atrium

The Reading Triangle

The Perforated Screen

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Black Brick

Fabric Skin

Curtain Wall

Perforated Steel Screen

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Birds Eye View Facing North

View From Adjacent Church Steeple41

Section View

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5 | Urban Housing

The city of Barcelona is the product of a marriage of the old Barric Gotic neighborhood and the new La Eixample neigh-borhood. Through this marriage of grids moments of unre-solved intersections are created. These intersections form ir-regularly shaped sites and moments of urban tension. The site of this project is located adjacent to the Arc de Triomf, at an unresolved moment.

I composed a system of 3mx3mx5m cubes to provide a grid to inhabit space by rotated them at intervals of 30 degrees, creating two zones of public space. The perimeter of the site allowed for the cubes to be rotated and to create a street elevation that was uniform in nature. Because of the irregular-shaped site and the density of existing buildings, natural day-light was of utmost importance. By rotating the cubes maxi-mum exterior surface area was achieved without increasing floor area resulting in a bright open floor plan and a variety of unit layouts. Views to the exterior plaza allowed for more community gathering and an increased sense of place in the community that lacked identity.

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Design: 8 WeeksIndividual Project

35,000 SF15 Housing Units

Passeig de LLuis Company & Carrer de Rec Comtal

44Barcelona CIty Plan

Figure Ground Plan

Passeig De Lluis Company

Carre

r del

Rec C

omtal

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Carrer del Trafal

gar

Passeig del Davant Portal Nou

3 Meter Boxes Rotated for Living Spaces

Rotated to Allow for Natural Light 46

Site Boundary

3 Meter Offset

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Site Plan: Not to Scale

Urban Fabric Study

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Section North-South

Section East West

6 | The Boathouse

Located on the Anacostia River in South East D.C., the com-munity boathouse is situated at the intersection of the loud city atmosphere and the calm quiet of the river, with new develop-ment flourishing in the area adjacent to Nationals Stadium. As you approach the water, the sounds of the city and highways give way to the gentle lapping of the river. The structure of the boat-house evokes these soundwaves with an undulating roof and facade that mimics the ebb and flow of soundwaves, pulling the river to the city. The program of the boathouse is situated such that the louder programs face the city while the quieter spaces face the water. The boathouse is a steel-based structure with a uniform grid throughout, allowing for the regularity of the plan to guide the irregularity of the elevation. The alternating wood and glazing panels on the facade allow for views to the river while still providing privacy to the users.

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26,000 SFYards Park

Sound Wave Concept Diagram

Surrounding Context Diagram

Occupant Density: Weekday Occupant Density: Weekend

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Section

Naval Yard Site Plan 51

River Elevation

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View From Second Floor

Sectional Model

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Sectional Model Light Study

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View of Boathouse from Water

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7 | The Artist’s Vending Machine

Since the beginning of time, people have left their mark on the world through art. Cave paintings were created to be appre-ciated by all; art for the public as a means of self expression. Through the centuries art became privatized and mainly for the wealthy. At the turn of the 20th century art began to go back to its roots of being created for the public’s viewing. With the modern 21st century, street art and art solely for the public is sweeping the world. Art for the public is the present and the future.

Passeig del Born is located in the heart of the old city of Bar-celona. The famous church of Santa Maria del Mar anchors the passeig, drawing tourists and parishoners alike. The passeig seeks to bring art to the ancient city, and is home to artists and crafts-man.

The project consists of four artists’ studios and a small gallery and cafe where artists can meet and share experiences with each other. The main function of the building takes place on the facade, with an ever rotating display of art work for the com-munity. Each artist produces large scale pieces of graphic design, street art, photography, or pop art. The building acts as a giant “vending machine”, with the art being produced/stored on the interior, and showcased for sale on the exterior. When viewers purchase the pieces, they are brought down off of the building and replaced with new artwork. The facade of the building is an everchanging dynamic gallery that is free to the public and allows for a break in the dark stone of the surrounding context.


2,500 SFPasseig Del Born

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For the Public

For the Public

For Private Owner-ship, Public Viewing

For Private Ownership

2004

Banksy

7300 BC

Unknown

1665

Johannes Vermeer

1907

Gustav Klimt

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Plaza Elevation

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Plaza Section

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Live

Produce

Mount

Sell

Studio Plan

Detail of Display Case

Display Elevation 62

8 | The Library

The emerging neighborhood of H Street in Washington, D.C is in the midst of a revitilization. The old infrastructure is being overhauled and new infrastructure is spreading throughout the neighborhood. In juxtaposition to the rectilinear cityscape of H Street, I began to experiment with different crystallized forms as a way to break out of the existing monotony of H Street and provide an icon in which the area could take pride.

The final form is composed of a solid programmatic spine, ac-knowledging the vernacular of H Street, while the metal and glass crystals fold out from the mass and meet the ground at the intersection of H and 6th Street to lead towards a new vernacu-lar of H street. The site boundary embraces the changing face of H Street while paying homage to the roots of the region. The library focuses on providing views to the exterior neighborhood while simultaneously protecting the books and people from the sun’s rays.

Design: 10 Weeks Invididual Project

16,000 SFH St NE & 6th St NE

Baseline Building

Baseline Building Divided

Deconstructed Zone Added

Deconstructed Zone and Baseline Zone

Baseline building form is a tra-ditional rectilinear building or-ganized to maintain the maxi-mum square footage on site.

Baseline building is divided into three zones to account for the traditional, transitional, and future growth zones.

Future growth zone is decon-structed and slanted to allow for a break in the street elevation.

Deconstructed zone and baseline zones are warped to allow for op-timal square footage and a varied street elevation. Building zones are connected through bridges to pull the traditional, transistional, and future into one cohesive space.

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Auditorium

Kitchen

Lobby

Cafe

Open to Below

Computer Lab

Reading Area

Stacks

Open to Below

Open to BelowComputer Lab

Reading Area

Stacks

Meeting Room

Meeting Room

Offices

Floor 1 Plan Floor 2 Plan

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Floor 3 Plan Floor 4 Plan

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Parti Model Development

Exploring the contrast of the exist-ing masonry vernacular with the steel and glazing enclosure of a greenhouse

Exploring the role of solid versus void in enclosure

Formal studies, ultimatly led to final form informed by the solar study from the site

Chose to explore a skeletal form, embracing the future architecture of H Street

Back Perspective

Front Perspective67 68

View Towards Back (Floor 1) View Towards Front (Floor 1)

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9 | The Winery

Located in rural Virginia near the Blue Ridge Mountains, the 35,000 square foot winery was inspired by the process of wine-making. A linear form was chosen for the expansive hilly site to give importance to the breathtaking landscape. While the crystalline forms of the buildings seek to frame views to the mountains that inspired their forms, the forms are organized so all service entities are below grade while all served spaces are above grade. The buildings are built into the landscape to mimic the valleys in the mountains, while also providing a cooler climate to store the wine. The winery provides visitors various viewpoints and experiences throughout the site while the cen-tral axis allows visitors to move freely throughout the site at their own pace while experiencing different events. The axis be-gins at the winery and restaurant and terminates at a banquet hall and small hotel. The journey throughout the site inspires the guests to think about the process of winemaking and the natural landscape around them.


32,000 SFRappahannock County, Virginia

“To take wine into our mouths is to savor a droplet of the river of human history”

-Clifton Fadiman

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The Linear Process of Winemaking

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Evolution of Spatial Form

Wine Label Site Plan: Not to Scale

Elevation Towards the Mountains

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Devon BrophyWashington, D.C.

[email protected]@cua.edu

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