Wentworth Institute of Technology Projects
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Wentworth Institute of Technology Projects

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Wentworth Institute of Technology Projects

Wentworth Institute of Technology Projects
during Bachelors Studies

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Wentworth Institute of Technology Projects Wentworth Institute of Technology Projects Presentation Transcript

  • Student Projects at Wentworth Institute of Technology Boston MA Final Design Thesis Project: John Hejduk’s “Thirteen Towers of Cannaregio” Venice ARCH 168-01: Directed Studies 2-4-4 2001 Summer Design II: Civic Symbolism: Boston City Hall Roof top Addition Design Boston MA ARCH 211- 01: Design II: Basic Architectural Design 1-6-4 1999 Spring Design Competition: Charles town heritage center design, Arranged by CSI (Consruction Specification institute) MA Chapter. 30
  • Thirteen Towers of Cannaregio Venice John Hejduk, in his long Journey to the East, captured the mystic essence of time and life through his architectural trilogies. From this trilogy, one of the most symbolic as well as mysterious work, that traces back in hejduks sketch book, is The Thirteen Towers Of Cannaregio, in Venice, regarded as the most enigmatic of“what is to become “ our world,” all. In the Adriatic Venice, where the cluster of buildings ceases and the noise of themust be “ created,” city dies away, before the mountain and the waterway, there is a world created byand every creation has a paradigmatic model---the creation of the universe by the Gods.” John Hejduk. In Mircea Eliades words, Mircea Eliade The Sacred and The Profane: The Nature of Religion “what is to become “ our world,” must be “ created,” Water and every creation has a paradigmatic model--- the creation of the universe by the Gods.” Houses of the People Context: In Cannaregio, Venice John Hejduk creates a sacred world, where the first line of demarcation is the city itself with its layered urban context. These thirteen towers are surrounded by man made forest, waterway and vast vacant space, creating a Campo barrier between what is to be seen and what is to be experiencedThe Towers are the Sacred Bridge Water museum of a silent apprehension and a testimony of time, only to be experienced by the person who lives within its walls. The 13 towers Water Axis Mundi: The towers act as an axis Mundi, creating a vertical connection between the mundane and the holy, the defined and the boundless, between man and his Forest creator.Site Plan, water color, pastel, pen and pencil on paper, size 24”x 36” Light: Each tower is a shaft of light itself, while the elevator traveling vertically through each NScale: 1/8”=1’-0” floor, is as if, connecting the transcendental layers of the human spirit. Time: Each tower experiences two kinds of time: Profane, that is evanescent and irreversible time, leading irremediably to death; and Holy, that is, reversible and cyclic time, 1 allowing a periodic return to the Cosmogenic origin, in the ritual of life. Each watch- man is selected by the people of Venice, for a life long residency in the towers. As they watch over the city, they are performing a sacred act, of protection towards the city. The closed world of alienation, within the tower walls is a time of reflection of their life and their deeds 1. Mircea Eliade The sacred and The Profane: Nature of Religion, Pg 31. 31
  • Aerial Perspective of the surrounding context, with the Thirteen Towers of Cannaregio in the center, standing as the Image less Images of the Sphinx Hand draw with pencil and ink on watercolor paper, size 8”x 12” 31
  • Symbolism of the Spaces: These Towers are the metaphor for the setting of life. Life is celebrated as a ritual in these spaces. The spaces with in, are defined by the parameters corresponding to the five elements of life: Water, Fire, Earth, Air and the fifth in Hejduks case, Life itself. In each level of the tower, the color defines the activity of that particular space: for example upon entry to the tower, the second level is painted in a muted blue referring to the sacred ritual of ablution with water. The next level symbolizes fire, with its muted orange coloration, celebrating the activity of cooking. The living area is painted brown as the color of the earth, and the sleeping area is painted a muted mauve color reflecting the inner reflection of man. In many archaic cultures the possibility of transcendence, were expressed by various images of opening. The opening of the towers refers to the distant view, either of the mountain or of the city. The sixth level is hypaethral (without roof) like the ancient sanctuaries. This is a contemplative space with roof gardens creating a connection with the sky, opening the doors of the heavens. The idea of accessing this sacred space thru a ladder, and the smoke hole (chimney), acting as a hearth; connecting all these levels together, to present man in front of the divine, has many references to the symbolic world of the Sacred.Right:Axonometric View of a Typical Tower Also part of this project is The house of the Inhabitant Who Refused to ParticipateHand draw with water color,pencil, and pen,size 24” x 36” located on the other side of the city. This particular house is like Sigmund Freuds subject who doubts, than the rational humanist subject, who finds order in theTypical floor plan of one tower CONTROL PANEL AND SWITCHBOARD N.Proposed Ground Floor - Heater Room First Floor -Proposed Entry with Second Floor -Ablution Area Third Floor - Cooking Area Fourth Floor - Sleeping Area Fifth Floor - Living Area Sixth Floor - Hypaethral-roof garden Glass elevator 33
  • Water Color Perspective of the Thirteen Towers of Cannaregio, Venice, size 18”x 24” 34
  • West Elevation South Elevation East Elevation North Elevation East West Section North South Section Water Color, pen and pencil on paper, size 36”x 72” 35
  • world .As Frued located the proper place of the subject within the dream, Hejduk defines the citizen or this subject as a nomadic character without a name or a place. He lives in this house as a mark of his protest against the society. In the Thirteen towers of Cannaregio, John Hejduk creates a memory and touches the deepest darkest corners of human soul and then moves on to his next journey. The philosophy of this project lies within Eliades words, “Life cannot be repaired, it can only be recreated through symbolic repetition of the cosmogony, for the cosmogony is the paradigmatic model, for all creation.”3 These towers are not just an object to live in, but a world, where a life begins and ends, repeating the cycle of life.” Bibliography: 1. Eliade, Mircea. The Sacred and The Profane: The Nature of Religion. Harcourt Inc.1959. 2. Hejduk, John . Vladivostok .New York Press. 1980 3. Hays Michael K. Hejduks Chronotope. Princeton Architectural Press.1996 4. Hejduk, John. Mask of Madusa.New York Press.Study Model studying the relationship, form, context and passages of convergence. 36
  • Wooden Study Model of the Thirteen Towers, studying the relationshipwith the context, the landscape, bridge and the campo. 37
  • Bridge leading to the Thirteen Towers of Cannaregio and the Campo 38
  • Boston City Hall Addition Design Boston MA Class- ARCH 211-01- Design II - Basic Architectural Design 1-6-4 Goal: The purpose of this project was to create a public amenity on the roof of the exiting Boston City Hall, Boston Massachusetts. A public space that will add to the presence of the city and will complement its Corbusian aesthethics. Program: The new addition would stand on the roof top of the existing city hall. It will include a restaurant with outdoor summer patio, an observation deck, planting, outdoor amenities, storage, restrooms, private room for the mayor and another companion with the view of Boston. It should also include fire stairs and solar protection without interfering with the exiting sky-lights.Boston City Hall, Picture courtesy of Boston City Halls official website. Design Team: Farah Naz Concept: The concept of the design was “Promenade or Journey through time and Space.” The city hall is considered the most civic building in United States. Respecting the existing structure, form and material was the key element of this new addition. The new addition reflects on these issues by creating a journey from past to the present. This journey starts from the first floor foyer through the staircase and elevator brining them closer to the sky, at the top floor. It’s a free plan with Corbusian pilotes and roof garden, bringing the nature in the concrete building. The use of modular plays a vital role in proportioning the new addition, as well as the floor plan. The visible application of the blue series of Corbusian modular is clearly reflected in the newStudy Sketches, Pencil on paper addition making it a part of the whole. 39
  • N N Site Plan From Left to Right: New Roof Top Addition - 9th Level and 10th Level Floor Plan Bottom: Perspective, Hand drawn with pencil and pen on paper, size 4”x 8” Hand drawn, pencil and pen on paper Scale: 1:100 40
  • East Elevation West ElevationScale: 1:100 Scale: 1:100North South Cross Section Interior View of the Restaurant, Hand drawn pencil and pen on paper,size 9” x 10”Scale: 1:100 41
  • Study model of The Boston City Hall showing the New Roof Top Addition. 42
  • Charlestown Heritage Center Charlestown MA Program:The competition project was to design a gateway and heritage center for the city of Charlestown, Massachusetts. Design Team: Farah Naz, hasna Salam Date: Concept:Time changed, but mankind has not. The fundamental human traces remained constant from period to period. It is the timeless quality of monuments that provide a thread of continuity and familiarity amongst generations and cultures. It is our endeavor to maintain the rich cultural heritage of Charlestown, through an amalgamation of the citys iconographic monuments. This new fform is an extraction of the essence of what Charlestown has to offer to the city and the world as a symbol of pride. Front Facade with the surrounding context Water Color and Ink on paper, size 24”x 36”43
  • Site PlanWater Color, pen and ink, size 11” x17” From left to right: East Elevation, North Elevation. 44
  • Interior ViewSouth-East Exterior View 45
  • Interior Perspective of the Promenade and Reception Area 46
  • Other Design Explorations Dhaka, Bangladesh Work Shop: “A Good House in a Good City,” Dhaka, Bangladesh - winter 2004. 47
  • “A Good House in a Good City” Dhaka Bangladesh Program: A workshop for the schools children to make the kids and their parents about the impart of a good living environment, through an interactive architectural drawing workshop. Participants: Architect Ms. Farah Naz, Rafiq Azam, Rashidul Hassan, Mushtaq Hossain Kadri. Artist: Syed Hassan Mahmud and social psychologist Ms.Afroza Akhter. Date: December 2004 Venure: Novera Auditorum of the National Museum of Bangladesh My Scope of work: I Worked as a Creative Director in conceptualizing, organizing and conducting this workshop, for the school children aged 8 yrs to 14 yrs. Collaborating local architects, artistes and educators, the purpose of the workshop was to make children aware about the importance of a healthy living environment in Dhaka city.48
  • THE ENDTHANK YOU FOR VIEWING REGARDS FARAH NAZ