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Portfolio Lauren Bochenko 2014
 

Portfolio Lauren Bochenko 2014

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    Portfolio Lauren Bochenko 2014 Portfolio Lauren Bochenko 2014 Document Transcript

    • lauren bochenko 
    •                                                                              
    •                                                                          
    •     The site is a garden learning center meant to bring the community together and show the process of natural growth. This site reunites people with the earth as they experience and learn about gardening while reconnecting with the history of the area. The materials and experience of the site are designed to encourage sustainable building and living. The learning center’s rammed earth walls unify the structure with the ground.
    •                     
    •               The Valley Memorial Park connects a historical Phoenix cemetery with the natural landscapes. This park is a portion of a larger inactive cemetery that memorializes the Phoenix founders and soldiers of wars of the nineteenth century. Shapes and forms of the park mimic those seen by the early pioneers and what we experience today. The unifying concept of this project is harmony and balanced movement expressed through the geometry of natural elements such as the Fibonacci sequence. The spiraling shell shape of the reflection space connects to the curved walkway and spiraling fountain at the entrance to the historical center. Repetition of these patterns mimics the spontaneous flow of natural elements.   
    •                          
    •             A two story modular home consists of four modules and a flat pack connecting section that forms a carport with a second level balcony space. These versatile building units are designed for efficient, affordable public housing. They can be prefabricated, delivered, and then positioned to form the living spaces. The mix-and-match modules allow for variation in interior building programs serving a diversity of needs. An efficient floor plan design allows for yard space on all sides. Large window openings with pivoting trex panels open the facade to create active air flow and cross circulation (blue arrows). These large windows open to porch spaces creating opportunities for the residents to engage with the local community and the neighboring park space. Trex, a form of recycled plastic lumber, is a sustainable alternative for the exterior siding creating a well-defined facade.
    •                                 
    •                     
    •                                                                            
    •   The standard medium of a cube provides the foundation for conceptual development. First, a cube is expressed as a series of lines with 2x4s modified only by length. Second, the cube is expressed as void forms by cutting plywood and as mass forms in concrete fill when the material is slightly modified in incremental steps.
    •                                 
    •             The Contemporary Art Center embraces the urban fabric of Phoenix, creating an outlet for artistic youth. Inspired by the neighboring coffee shop and market, this arts center forms an eclectic environment for artistic expression. The ribbed structure creates movement through three masses connecting public and private spaces. The ribs reach out from a regulated building mass into a disorganized landscape symbolic of the unruliness of art and the unity of artists. The movement of the regulated transitional geometry of the cube study inspires a rather complex geometry to the arts center in section. The small transitions over a span define interest on the exterior and an interactive explorative space on the interior. Sectional transitional geometry offers the opportunity for manipulation of light and shadows to help define public and private spaces. The repetition of the structure would draw people in from the street and encourage movement through space.
    •                                   
    •              A flexible urban park and library is inspired by the neighboring context of the Sunnyslope community. An L-shaped floor plan opens view ports to the community and forms circulation corridors through the building. Interactive sloped roof planes create an accessible elevated park forming niches for gathering. An informal environment of public space is created in the library and outside on the elevated park through the creation of multi-purpose spaces. The sloped planes allow the user to inhabit the space in a variety of ways, tossing a frisbee or reclining while reading. The Sunny Slopes connects the canal, bike path, high school and residents to a unifying community space. The initial building form was prompted by the canal. The prismatic qualities of light in water produce polygonal planes that developed into the roof planes. This bending geometry composed of flat planes intersecting at different angles was inspired by architect Daniel Libeskind’s work.
    •                                                         
    •   In Latin, Camera Obscura means “darkened room.” It is an optical device used to project an image of its surroundings onto a surface inside a dark room. Originally used in drawing, the Camera Obscura contributed to the invention of the camera and development of photography. Today they are featured as full size exhibits built for public use and entertainment. Two structures were built to be visually reminiscent of small village dwellings. The different sizes offer two distinct experiences — a large structure for adults and a small one for children. The two Camera Obscuras were displayed at the Scottsdale Arts Festival (March 11-13, 2011). Our studio worked with Scottsdale Public Art to create an interactive experience. It was ironic that guests concealed inside the structures observed the busy outside activity and the people passing by were unaware of being watched. The Camera Obscuras provided a life size experience to understand how a camera functions. The exhibit was popular with all ages; there was continuous participation throughout the weekend.
    •                                         
    •                           
    •        B A    .                               
    •              Point B Design focuses on furniture and architecture for commercial and residential clients. Tables, doors, stools, stairs, among others pieces are produced using advancing digital technologies in parametric design and digital fabrication. Conceptual design, analysis, and production work for residential and commercial projects are part of daily activities. Wind analysis and solar studies were produced during the conceptual development and form finding phases for a proposed residence in New Mexico. The home is intended to connect with nature sitting at a high point looking over a valley and to accent surrounding views. Facade renovation for a Dermatology office is intended to make two structures cohesive, market the brand, and provide a modern update to fit the growth, direction, and clientele of their company.
    •       D2 D1 C1 D3 A3 A2 B3 B2 B1 A1                      