Segment II Portfolio
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Transcript of Segment II Portfolio
2PG. 1
WHITNEY MAEHARABACHELOR OF ARCHITECTURE
SEGMENT II PORTFOLIO
W O R K E X P E R I E N C ECHARLES SPADA INTERIORS Design Associate + Market ing Co ordinator• Managehigh-endresidentialinteriordesignprojectsfromconcepttofinish,maintainprojecttimelineandbudget,prepareandprocesspurchaseorders,createfurniture,lightingandlayoutproposals,specifymaterialsandfinishes,designcustomfurniture,lightingandmillwork
• Plan,designandsupervisemajorrenovations,remodelingandadditions• Collaboratewithbuildingcontractors,electricians,paintersandinstallers• Preparecontractagreementsbetweenvendorsandclients,createpresentationlayoutsanddevelopconstructiondocuments• Developallgraphicandvisualmarketingmaterial:newcompanywebsite,designportfolio,printadvertisinginmajormagazinessuchasVeranda
Magazine,ArchitecturalDigest,BostonHome,NewEnglandHome,DeringHall,socialmediaplatformsandemailadvertising• Conductallaccounting,commissionandsalestaxreportsforbusiness
NAT’L ORGANIZATION OF MINORITY ARCHITECTS DESIGN COMPETITION Project Manager + Designer• Facilitatedcollaborationamongamockfirmoftenindesigningasingle-familyresidence• Workedonconcept,design,greenpracticestrategies,materialsandinteriordesign• Generatedpresentationgraphicsandlayout• Developedprojecttimelineandmaintainedtaskschedule
DURALEE FABRICS + FURNITURE | Boston, MADesign Assistant• Developedcolorschemesandfurniturelayoutsforhigh-endresidentialinteriordesignprojects• Preparedforclientmeetingsandpresentedfurniture,textilesanddesignconceptstoclients• Issued,trackedandupdatedinvoicesforfabricandfurnituresalesofshowroomclients• Helpedcoordinateandmarketshowroomlecturesandevents
D E S I G N + T E C H N I C A L S K I L L S • ProficientwithMacintoshandWindowsPlatforms• FluentinAdobeCreativeSuites(Photoshop,InDesign,Illustrator),MicrosoftOffice,Wordpress,Revit2O13,Sketchup/Layout,V-RayRendering,FilemakerProandMYOBAccounting
• FamiliarwithCSSandHTML• FreehandDrawingandConceptSketching• OrthogonalDrawing:Plans,Sections,Elevations,Axonometrics• PerspectiveDrawing:FreehandandTechnical• ModelMakingExperience
A W A R D S , H O N O R S + A F F I L I A T I O N S• HonorableMentioninNOMA2OO9StudentDesignCompetition• SegmentIPortfolioAwardNomination• NationalOrganizationofMinorityArchitects,StudentChapterVicePresident2OO8-2O1O
E D U C A T I O NBOSTON ARCHITECTURAL COLLEGE | Boston, MABachelor of Archi tecture
UNIVERSITY OF VIRGINIASemester at Sea: Summer Abroad in Asia
BRANDEIS UNIVERSITY | Waltham, MACandidate for Premed + Studio Arts Degre e
9/10 - PRESENTB O S T O N , M A
1/09 - 11/09B O S T O N , M A
5/07 - 8/10B O S T O N , M A
9/06 - 5/12B O S T O N , M A
6/06 - 7/06S O U T H E A S T A SI A
9/04 - 6/06W A L T H A M , M A
CONTENTSSTUDIO WORKPUBLIC MARKET..................................................................RE|LOCATE......................................................................FURNITURE DESIGN...........................................................
RELATED COURSEWORKAUTODESK REVIT...............................................................DESIGN WORKSHOP: ROADSIDE COLLAGE..................FREEHAND DRAWING......................................................
PRACTICE COMPONENTDURALEE FABRICS............................................................CHARLES SPADA INTERIORS................................................. FIREMAN RESIDENCE.............................................. ADELSON RESIDENCE............................................ SCHMAHMANN RESIDENCE....................................
COMPETITIONS + GATEWAY PROJECTSNOMAS STUDENT DESIGN COMPETITION...................AFFORDABLE HOUSING COMPETITION......................CAMBRIDGE FLOCKS...................................................MUSEUM EXHIBITION.....................................................
7-2627-4243-52
53-5859-6465-68
69-7475
76-8586-100
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101-116117-126127-134135-147
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PUBLIC MARKET STUDIOFALL 2009 | JENNI KATAJAMAKI + CORTNEY KIRK
2 PG. 8
BAG ASSEMBLY + MANIPULATION
For our first assignment, students were asked to create a bag designed for a specific user, taking into account factors of strength, durability and use. The
conceptual design for this bag would then dictate the approach, site strategy and materiality we would apply
to our design of a new public market in place of the existing Haymarket on Blackstone Street.
I chose to design a bag that could easily adapt to the needs of a commuting architecture student who must
carry items that vary from day-to-day. Some days he or she may need to carry supplies which can be
thrown into compartments while other days a model must be carried and protected while traveling. For this
reason, my bag consists of two components: a soft edge for loose items and a hard edge for more fragile
items. Each is detachable from the other, can be used separately and each can be manipulated by the user
based on need and function.
SOFT EDGE COMPONENTKit-of-Parts
Adjustable Arrangements
The soft edge component consists of a large zipper pouch with snaps on its face and smaller pouches that can be attached in multiple arrangements to the front of the pouch. Pouch Selections
2PG. 9
CONCEPT OF BAG: ADAPTABILITY
HARD EDGE COMPONENT
The hard edge component is made of plexiglass and can be carried flat or unfolded (as shown to the left) to create a sturdy container suitable for carrying items that need more space, support or protection.
Unfolding Process Model of Adaptable Bag
2 PG. 10
THE MAKING OF THE BAG
1. Compacted Bag 2. Pull Side A Out 3. Pull Side B Out
7. Lock Side Hooks into Front Panel 8. Attach ‘Soft” Bag to Front Panel 9. Arrange Fabric Pockets As Needed
2PG. 11
BAG ASSEMBLY + MANIPULATION
4. Pull Up Last Panel 5. Fold Panel Over to Create Base 6. Rotate Bag to Create Frontside
10. Apply Hooks to Bag 11. Fill Bag 12. Enjoy!
2 PG. 12
SITE ANALYSIS: PRIVACY WITHIN PUBLIC SPACES
Existing Site Conditions
Though Haymarket is constantly bustling with tourists and Bostonians alike, one of the observations I made
is that within this large public gathering space are smaller clusters of people
seeking privacy or separation from the larger masses. I wanted to translate
this same dynamic into my design for a new public market--creating market stands that would make vendors feel like they had their own distinct space
amongst the array of other stands.
2PG. 13
SITE ANALYSIS: ADAPTATIONS
With the current conditions of the market stands, vendors seemed to distinguish their space from others with makeshift tarps that they could line along the top and sides of their spaces. The choice to use or not use these tarps and the adaptability of these spaces intrigued me.
2 PG. 14
PARTI 1: ROTATING STANDS IN PLAN
PARTI 2: VERTICAL ROTATION
PARTI 3: STAND WITHIN A STAND
Based on my analysis of how the site was being used, I knew that I wanted to incorporate units that could be distinct from one another. I also wanted these units to have an adaptable/movable element to them like the design of my bag that would allow each individual vendor to be able to manipulate their space to fit their specific needs.
I thus came up with three partis that explored how the stands could be manipulated by the user, using rotation, insets and pushing as possible methods.
PARTI DIAGRAMS
2PG. 15
Adaptability in Structure
Adaptability in Number of Stands
Adaptability in Use + FunctionAdaptability in Unit Orientation
ITERATIONS: A MOVABLE ELEMENT
In a more refined exploration, I thought about creating units where one element of the unit could be manipulated to redefine space as opposed to the whole unit.
ITERATION B incorporated the concept of a movable wall again, setting it within a larger unit (the control) only to be balanced by the set of movable walls that could be pushed to create stands of varied widths (the variable).
ITERATION A is a stand with two side walls that can be pushed in or pulled out to create a more enclosed or more open space, depending on the vendor’s needs. The design allows for a constant manipulation of open space, allowing the user to change the size of spaces, the placement of spaces and the function of the space.
ITERATION A ITERATION B
2 PG. 16
DEVELOPING A CONCEPT: CONTROL vs. VARIABLE
Track System Along BaseMovable Wall Allows for Change in Width of Stand
A More Controlled Adaptability
Rough Sketch of Connected Units
CONTROL VARIABLE
Relating back to the design of my bag, where there was a soft edge and a hard edge, I wanted to create a similar division in the design of the market stand. I thought about the materiality of the two bag components: one a flexible fabric and the other a rigid and sturdy piece of plexiglass.
With this iteration I wanted to continue with a connected system of units but with more distinct and separate spaces for the vendors. By applying a controlled aspect to the unit I could accompish such a task. To still allow for adaptation to the market stand, I also included a variable aspect, a movable wall, which would allow vendors to adjust the width of their space and dictate how the space would be laid out.
2PG. 17
FORMING A CONCEPT
Playing With the Shape of the Stands:A Variation in Form
Stands All Pushed In Stands All Pushed Out
To make a distinction between the control element and the variable element in the market stand, I thought about how the shape of the stand could highlight the differences between the two parts of the unit.
Using a curve for the control wall proved to be a good contrast to the rectilinear form of the movable element. The curve also served to differentiate one unit from another.
Detail of Adjustable Roof Condition
2 PG. 18
ADAPTABILITY OF SPACE
Potential Stand ArrangementsPlan, Section, Axonometric
The movable wall allows for multiple stand arrangements and a space that vendors can make their own.
2PG. 19
ENVISIONING HOW THE SITE WILL BE USED
Set-Up Process
Randomly dispersed throughout the market place are small patches of green space. Not only do they allow for a circulation path should all of the stands be pushed out to maximum width but they also provide a place for passersby to gather, rest and occupy for longer periods of time.
CIRCULATION OF SITE
PRIMARY CIRCULATION: CONSTANTSECONDARY CIRCULATION: GREEN SPACES
TERTIARY CIRCULATION: BY CHANCE OPENINGS
2 PG. 20
Modular Units within Site
MODULAR UNIT MODELS
2PG. 21
Functional Model of Modular Unit
Movable Wall Element
2 PG. 22
PERSPECTIVE COLLAGES
Fruit and Vegetable Stand
Using watercolor, tissue paper, fabrics, paint samples and scrap wood, I made collages of typical market stands within the site: fruits/vegetables, fish and flowers.
2PG. 23
Fish Market Stand Flower Market Stand
2 PG. 24
PROPOSED SITE PLAN
N
2PG. 25
SITE MODEL
N
Site ModelScale: 1/16” = 1’-0”
2 PG. 26
A CLOSER PERSPECTIVE
2PG. 27
0
re|locate STUDIOFALL 2010 | ABRAHAM AHN + MARK URREA
2 PG. 28
CHINATOWN SITE
With a site specified in the open lot next to the Chinatown Gate, students were asked to design a Performing Arts Center that would connect to a relocated subway hub situated right below the Gate. The existing vent stack, though obsolete in function for this project, had to somehow be incorporated into the design. The ultimate goal of our design was to enliven public transportation and provide a constant audience for the neighborhood’s creative outlet.
View of Site from Surface Road
View of Existing Site’s Open Lot
2PG. 29
Instead of assigning individual site analysis, this studio asked students to create a collaborative site forces model, that documented:
SURROUNDING CONTEXT
BUILDING TYPES Institutional Industrial Commercial Residential
GREEN SPACES Greenway Park
PUBLIC TRANSPORTATION Bus Stop
TRAFFIC ANALYSIS High Traffic Nodes Direction of Road
The location of the site is surrounded by a mix of building types and follows along the edge of the Chinatown community. What currently works for the site is the nearby location of the Chinatown Gate which serves as a landmark to tourists and Bostonians. The close proximity to the Greenway Park also acts as an attraction along the outer edge of Chinatown, offering small gathering spaces for people to take pictures, play chess or use as a meeting point.
2 PG. 30
Given only total square footages of the three main categories within the program: Theater, Train
Station and Public Space initially, our first task was to devise strategies of how these three
components could work together to form a whole. The three massing studies that I created explored
the idea of a ‘void’ or open space situated between the two major program components, the Theater
and the Train Station, where a public space could then be defined within that ‘void.’
Massing Studies: Voids as Open Space
INITIAL PROGRAMMING
2PG. 31
The decision to create ‘voids’ within the site lent itself well to my issue with the existing conditions of the site. My initial reaction to the site was that while there were pathways that ran parallel to one another along the edges of the site, there were no cross pathways that opened the site to passersby or allowed for cross-circulation.
It was my belief that the use of ‘voids’ would not only open the site more to the public but it would make visible a more open, occupiable and welcoming space that people could begin to use in a much more fulfilling way.
Blockage into Site from Surface Road
EXISTING CONDITIONS: A CLOSED OFF SITE
2 PG. 32 Section Model
At first I imagined the building to have only one major void that could act as gathering space for passersby or building users. I envisioned an open space that would allow for outdoor performances and a viewing area. However, I wanted to incorporate the vent stack more into the design. I decided to implement a second void that would cut through a section of the stack and create a viewing platform down into the building’s rehearsal space. Doing so would make visible more of the happenings of the theater to the general public, pique their curiosities and hopefully engage them more with the site.
INITIAL PROGRAMMING
2PG. 33 Longitudinal Section
Inverse Building Model: Voids Along Entire Site (Void 1, Void 2, Chinatown Gate)
VOID AS A CONNECTIVE SPACE
2 PG. 34
FLOOR PLANS + PERSPECTIVES
Connection to Rehearsal Space Below Ground
Connection to Core of Building
2PG. 35
View From Train Station Into Rehearsal Space
Cross-Section
2 PG. 36
PROGRESS MARK
At the Midterm Review, general feedback from the critics was to make the transition and pathways into the voids more clear; to give more emphasis to the voids and to make the presence of the train station more visible along the street level.
Revision 1:I cut an angle along the facade of building to match the angle of vent in hopes of making the voids more visible from gate entrance.
2PG. 37
REACTIONS + REVISIONS
EVOLUTION OF VOIDS
Revision 2:I extruded Void 1 further past the surface level as a means to make more of a distinction between the building voids and the street level void made by the Chinatown Gate. With this slight change, the building voids now directly link users to the train station.
VOID 1 VOID 2
Inverse Building Model: Voids Through Building
CUT VOID
ANGLE VOID TO INFORM PROGRAM
OPEN VISIBILITY AT GROUND LEVEL
EXTRUDE VOID 2BELOW GROUND
EXTRUDE VOID 1 BELOW GROUND
2 PG. 38
FINAL DESIGN
Site Plan
Cutting the angle along the facade of the building helped establish a dominant end to the structure, breaking the symmetry of the
program and providing a more inclusive opening into the theater and ramp system
leading down to the train station.
N
2PG. 39
FINAL DESIGN
View Into Rehearsal Space+ Ramp System
View from Train Station
Viewing Area by Chinatown Gate
2 PG. 40
CROSS SECTION
Cross Section
Final Building Model
2PG. 41
LONGITUDINAL SECTION
Longitudinal Section
In the Longitudinal Section one can see the relationship that Void 1 and Void 2 have with the rehearsal space set between the two voids. The glass rehearsal space serves as a central focal point that all users circulate around. Passersby can occupy the viewing areas set in Void 1 and Void 2 that visually engage users of the train station below, thereby establishing a visual connection between train users, theater users and the general public. As users make their way out of the train station, they are immediately introduced to an essential component of the theater.
2 PG. 42
FINAL DETAILS
Close-Up of Main Ramp in Void 1
Close-Up of Viewing Ramp in Void 2 Exploded Axonometric
2PG. 43
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FURNITURE DESIGN STUDIOSPRING 2011 | SAM BATCHELOR + JOE DEVEAU
2 PG. 44
MULTI-FUNCTIONAL
STORAGEENTERTAINMENTSHELF SPACESEATINGWALL SPACEDINING AREACLIMBINGCLIMBING
EFFICIENT DESIGN THAT SAVES SPACE and ELIMINATES ‘EXTRA’
PRECEDENT STUDIES: MULTI-FUNCTIONALITY
STORAGEENTERTAINMENT
SHELF SPACESEATING
WALL SPACECOUNTER SPACE
DINING AREACLIMBING
During this semester I lived in a small apartment with very little open space. I decided early on that because of my space limitations, I wanted to design a piece that could serve multiple functions.
I first looked at examples of efficient furniture designs that saved space and eliminated the need for ‘extra.’ My apartment was in desperate need for more storage and table space and thus I opted to design a coffee table with an inset shelf that could provide storage at its base.
2PG. 45
SCALE MODEL
1/2 Scale Model 1.5 feet wide x 1 foot deep x 0.75 feet high
Museum Board and Balsa Wood
2 PG. 46
STRUCTURAL SUPPORT
EXPLODED AXON
COFFEE TABLE W/ INSET BOOKSHELF
STRUCTURAL SUPPORT
EXPLODED AXON
COFFEE TABLE W/ INSET BOOKSHELFPARTS TO WHOLE
Kit of Parts
Furniture Design: Coffee Table with Inset Bookshelf
2PG. 47 STRUCTURAL SUPPORT
EXPLODED AXON
COFFEE TABLE W/ INSET BOOKSHELF
CONSTRUCTION ASSEMBLY
Exploded Axonometric of Construction Assembly
Base Options
A
B
C
My initial concern with this piece was that the top would not be structurally stable, especially when the free-floating inset was loaded with books. I preferred the piece as originally designed but to be safe, I came up with three schemes to add more support to the top if need be.
2 PG. 48
FULL SCALE MOCK-UP
Full Scale Mock Up3 feet wide x 2 feet deep x 1.5 feet high
Birch Plywood and MDF
2PG. 49
3 SIDE PIECES REPLACED WITH
1 SOLID PIECE TO ADD STABILITY
CORNERS MITERED TO HIDE SEAMS
FINAL REVISIONS
MOCK-UP DESIGN
FINAL DESIGNFinal Exploded Axonometric
2 PG. 50
FINAL MODEL
2PG. 51
Final Model3 feet wide x 2 feet deep x 1.5 feet high
Walnut Plywood, Birch Edging; Oil Finish
2 PG. 52
DESIGN EVOLUTION
Final Model3 feet wide x 2 feet deep x 1.5 feet highWalnut Plywood, Birch Edging; Oil Finish
1/2 Scale Model 1.5 feet wide x 1 foot deep x 0.75 feet highMuseum Board and Balsa Wood
Full Scale Mock Up3 feet wide x 2 feet deep x 1.5 feet highBirch Plywood and MDF
AUTODESK REVITFALL 2010 | HEATHER LECH + ANGELA CHAN
VILLA MAIREAalvar aalto A101whitney maehara
december 6, 2010
noormarkku, finland
A102
1/8" = 1'-0"2 Longitudinal Section
1/8" = 1'-0"1 Southw est Elevation
1/8" = 1'-0"3
Southeast Elevation
6 Exterior View of East Facade
5Aerial View f rom South Side
0
AUTODESK REVITFALL 2010 | HEATHER LECH + ANGELA CHAN
2 PG. 54
VILLA MAIREA
PROJECT: VILLA MAIREALOCATION: NOORMARKKU, FINLANDPURPOSE: GUEST HOUSE + RURAL RETREAT
The Final Project for this 15-week course was to choose a building and model it in Revit. The goal was to gain a better understanding of how to model in 2D and 3D using the tools provided in this modeling program.
I chose to model Villa Mairea by Alvar Aalto. I appreciated the subtle details laden throughout the building and thought that modeling it would provide a ‘within reach’ challenge.
2PG. 55
UP
UP
DN
DN
UP
DW
DN
0' - 6 7/16"
sauna
swimming pool
wintergarden
living room
diningroom
library
entrancehall
main entrance
staff rooms
office
kitchen
office
1
A103
2
A102
A102
3
A1034
Inte
rior
Ele
va
tion
-L
ivi n
g R
oo
m +
Din
ing
Roo
m
1
A103
2
A102
studio
masterbedroom
upper hall
masterbedroom
terrace
children's hall/playroom
children's bedrooms
guestrooms
1
A104
A102
3
A1034
Inte
rior
Ele
va
tion
-L
ivi n
g R
oo
m +
Din
ing
Roo
m
VILLA MAIREAalvar aalto A101whitney maehara
december 6, 2010
noormarkku, finland
1/8" = 1'-0"1
Ground Floor Plan
1/8" = 1'-0"2
First Floor Plan
1/32" = 1'-0"3
Roof Plan
FINAL BOARD 1: PLANS
2 PG. 56
VILLA MAIREAalvar aalto A101whitney maehara
december 6, 2010
noormarkku, finland
A102
1/8" = 1'-0"2 Longitudinal Section
1/8" = 1'-0"1 Southw est Elevation
1/8" = 1'-0"3
Southeast Elevation
6 Exterior View of East Facade
5Aerial View f rom South Side
FINAL BOARD 2: BUILDING PERSPECTIVES + ELEVATIONS
2PG. 57
Ground Floor0' - 0"
Dining RoomLiving Room
5' -
9 2
1/3
2"
4' -
4 1
/2"
3' - 4 9/32" 10' - 3 25/32"
2' -
4"
0' -
2"
12' - 9 5/8"
1' -
0"
1' - 4 9/32"
2' - 6 13/32"
1' -
11 3
/8"
1' -
8"
VILLA MAIREAalvar aalto A101whitney maehara
december 6, 2010
noormarkku, finland
1/8" = 1'-0"1 Cross-Section
1/8" = 1'-0"2
Northeast Elevation
1/8" = 1'-0"3
Northw est Elevation
3/8" = 1'-0"4
Interior Elevation - Living Room + DiningRoom
5Exterior View from Terrace
6Studio
A103
FINAL BOARD 3: BUILDING ELEVATIONS AND PERSPECTIVES
2 PG. 58
RENDERINGS
Rendering of Living Room
Exterior View of Southwest Facade
2PG. 59
0
DESIGN WORKSHOPFALL 2010 | CHIP PIATTI
2 PG. 60
The Design Workshops are meant to complement the architectural design studios at the BAC. Roadside Collage was a workshop designed to teach
students how to create realistic and valuable collages able to explore themes and convey specific information. Each week, students were given a theme
and asked to create a perspective most often from the vantage point one would have from the driver’s seat of a car.
ROADSIDE COLLAGE
GAS STATION COLLAGE
24” x 24”
“Create a collage that uses two different gas
station styles”
2PG. 61
MOTEL COLLAGE
24” x 24”“Create a collage that showcases two motel archetypes”
2 PG. 62
SHADOW STUDY COLLAGE
30” x 30”“Create a scene that focuses on light and shadows”
2PG. 63
CHANGE OVER TIME
36” x 36”“Create a collage that documents change over time”
2 PG. 64
VINTAGE CAR COLLAGE
24” x 24”“Create a collage inspired by
a vintage car of your choosing”
2PG. 65
0
FREEHAND DRAWING
2 PG. 66
DRAWINGS, SKETCHES + VIEWS
City Sketch
2PG. 67
Freehand Sketches of Roxbury
2 PG. 68
Colored Pencil Gradient Study
Colored Pencil Colored Overlay
COLORED PENCIL