01 The firehouse project was in collaboration with two interior design and two landscape architecture students at Texas Tech. Theintegration of the different design disciplines stream-lined the workflow allowing each discipline to developtheir own ideas within the context of the concept.The site of the firehouse was located in Boston Mas- boston ma FIREHOUSEsachusetts and is apart of the Boston Architectural Col-lege, our goal was to create an atmosphere that wouldallow the students of the BAC to exhibit their work in agallery on site as well as provide studio apartments forthe fellows within the program. Our site being locatedon the corner of Massachusetts Ave, and Boyslton Stmeant that the firehouse would literally be located atone of the most critical points within the city. NewburyStreet to the north of our site is Boston’s fifth avenueand is the busiest retail district inside Boston, for thisreason we wanted to expand our sites boundaries toconnect with Newbury St. We proposed to develop adual sided storefront to accommodate pedestrian flowInspirefrom the prudential center’s business district throughour site and into Newbury St. Warmth Community Evolve Ignite Revit, Rhino, Grasshopper, Photoshop
L AU R MBE SEPTE1960 OCTOBER MARCH 1900 ER 197 MB 0 VE NO FE RUB Y AR ER B 19 EM In addition to the mapping of the signal fire, we diagramed all 80 EC 0 of the major fires that have occurred within Boston since 1960. D 189 19 This map shows the fires by location, intensity, and period. The 90 pattern that took shape was used to develop the envelope and JANUARY 0 188 served as a series of deflection points along the striations of the 2000 + 1860 1870 envelope. The historical fires throughout Boston become openings in the skin of the Firehouse illuminating the interior during the day, then transforming at night to beckon people into the Firehouse.
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The idea was to create an ignition within Boston to fa-cilitate an interaction between the prevalent culture ofbusiness and the arts. This infusion we interpreted tobe almost like beacon. We chose this because the per-sonal phenomenon associated with not just arriving at adestination after a long excursion, but we also wantedto evoke a fiery passion within our design. The idea ofa beacon of hope transpired within our intention for thedesign and with this in mind we began to focus on thelight or the fire within the beacon. We mapped the movement of a signal fire as it danced with the wind, and it was this mapping that formed the lines of force within and our design.
09 The process began by analyzing the influential forces that manifest themselves on the site of the Athenaeum. The primary phenomenon is the closness in proximity to The Park in Dallas. This new park is being paid for by the city of Dallas and is one of the most ambitious projects in the area. Essen- tially The Park is trying to incorporate uptown’s living, arts, and entertainment district with downtown Dallas. The design of The Park resulted in the termination of Harwood St. into what will now be the central entrance to this new urban oasis. This potentially makes the intersection of Harwood and Woodall Rodgers one of the city’s most important points. This new interchange that merges uptown with downtown is one of the city’s most important locations guaranteeing an increase in pedestrian traffic. The prevalence of these pedestrians and the paths they would create begin todefine the geometry of the build- ing. This geometry was organized according to a simple system that called for an organization of key elements. The most important element was the flow of pedestri- an traffic through The Park as well as the surrounding city. The paths drawn are simple in they are the short- est distance between two points. The paths were also weighted in regards to potential pedestrian traffic with a higher affordance of paths being dedicated to higher potential pedestrian traffic. Thus the overall geometry of the building began to shape itself. dallas tx AthenaeumSECTION Rhino, Grasshopper, Photoshop
These paths created numerous intersec- tions and ultimately began to align them- selves triangularly. This triangulation of paths created two positive legs and one negative leg of the triangle. Positive be- ing the physical paths created and nega- tive being the imaginary path between the initial two points. This triangulation would become the second element in the archi- tectural language. The third element would come from an examination of the second in nature. The principle described has a numerous examples in both mathematics and nature only under a different name. The mathematical term for this phenom- enon is fractal geometry. EXTERIOR GALLERY FRON T ELEVATIONFIVE FOUR THREE TWO ONE C B