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The strategy behind this mixed-use building is
utilizing architecture to give off an inviting and
transparent atmoshere to the passersby. The
roof overhangs project outwards to engage the
neighborhood while allowing privacy for the upper
floors, as well as providing shelter to those not
fully within the building.
The boundary between inside and outside is
further blurred with passages going through the
building, allowing you in without having you make
the decision to go inside. This makes the struc-
ture less intimidating and more transparent
5. The project takes inspiration from the
Design Research Store in Cambridge,
MA. Utilizing the vibrant use of light and
glass, the Promenade Housing unit takes
advantage of these characteristics to
fully envision a mixed-use building em-
phasizingthefusionofpublicandprivate.
Through the countless points of entry and
the drawing-out of the process of enter-
ing, passersby are less pressured to make
the decision of entry and thus are more
inclined to interact with the commercial
spaces on the ground floor. The amount
of glass not only aids in transparency, but
also allows light within to reflect outwards,
making it friendlier and safer at night.
6. Commercial
Mixed Use
Residential
Green Space
Public Buildings
Entertainment
This structure is one of several buildings along a promenade street running through a planned Olympic Housing district.
This city district, located in South Boston just south of the Innovation district, was designed to hold up to 4,000 athletes
and staff, as well as commercial spaces, restaurants, parks, a medical facility, farmer’s market, and athletic center.
The promenade lies at the heart of the district, connecting a riverside park with a central monument ans allows ac-
cess to the farmer’s market, 3 parks, and two central nodes of circulation. With such a central position, it is imperative
for the buldings along this street to evoke transparency and invitation to stimulate circulation throughout the district
7. Museum of Wooden Objects
Prof. Troy Leonard
Comprehensive Studio
Spring 2015
8. For this project, the task was to create a museum for wooden objects that caters not only to being a museum, but also
holding classrooms, a wood laboratory to hold wood samples, as well as allow for flexibility in hosting other functions. To
this degree the project would require not only a large & formal space that exceeds two stories, but also a host of smaller
rooms and exhibits that require an element of separation from the main room, as well as facilitate circulation between
these spaces.
The solution for this task would be to create a large “threshold” wall that would act not only as a divider but also as a cen-
tral exhibit to both hold as well as showcase wooden objects and materials. The thickness of the threshold wall provides
insulation between the different rooms, as well as provide space for HVAC and other systems through the wall. The systems
located in the wall utilize the central positioning of the threshold wall to easily and pragmatically reach the different areas
of the museum, as well as give effect and temperature to rooms that are adjacent to system placement (ie, the running of
water near a threshold opening creates a soothing, watery feeling as one enters the driftwood exhibit).
Due to the difficulty of attaing sunlight in the space, the building relies less on windows and more from a central skylight
by which sun can directly enter into the space. The building slopes upward and out to create a cup for sunlight to stream in
and be shared by the adjoining spaces. The rooms south of the threshold wall are able to enjoy more of the southern light,
while the upward light in the main room means that light can enter a space without damaging the wooden objects on the
walls (which horizontal light would otherwise be able to reach and damage).
9.
10. On the exterior the noises from Cambria and Boylston street
are silenced by a ground facade of wooden soundproofing
that effectively provides quiet as well as demonstrate the
power of wooden materials, acting as a “first exhibit” as it
were for the museum. The vertical circulation spaces are
mad of a red brick to frame the wooden facade as one ap-
proaches from Cambra street, and the upper stories project
outward to create more space as well as make room for the
central skylight.
11. Project 1: Urban Retreat
Prof. Lora Kim
Design IV A519 Site & Environment Studio
Summer 2014
12. This design caters to an urban
couple wanting a retreat to the
meadows south of Boston. The
concept behind this design was
the use of the meadow’s
horizontality refected in the
terracing of land through
retaining walls. The program was
laid out with a central structure
surrounded by smaller exterior
program spaces. Circulation was
drawn through and around the
structure, allowing the individual a
chance to wander through the
area.
13. The topography follows a
1:12 linear slope, that
descends in the direction
30 degrees west of south.
The structure stays low to
the ground, and the
circulation follows the
original topography to
demonstrate a
connection between the
structure and the site
around it.
14. From the parking area, the viewer has
two choices on where to go to. The first
is to head to their right up the exterior
staircase to the sculptural garden in the
back. The second choice is to
continue on towards the interior spaces.
This leads to a dining area to welcome
and entertain guests.
Going upstairs leads to the main living
area. This spaces looks out onto the site,
where the meadow is integrated into the
space, as well as offering a view onto an
exterior program space.
15. Project 2: Hydrotherapy Center
Prof. Lora Kim
Design IV A519 Site & Environment Studio
Summer 2014
16. Located in the Arnold Arboretum, the challenge was to design a hydrotherapy center that could be grounded into the site.
The concept driving this design was the use of light and color to define space in volumes. The color would be determined by
the conditions inherent to the site.
17. Section A
Section B Section C
Sections 1
8" = 1'
Site Plan
The main strategy of manipulating light was the use of panels
suspended from the roof. These panels would make use of
diffused light to send colors into the spaces. The panels would
be held up using a grid structural system overhead. The pan-
els would be suspended at different heights to model a unique
typology related to the site.
18. After documenting the color and light levels of the site modularly, several color and light studies were made to determine
the best way to carry out the concept. This includes a light study where light was diffused off of colored panels to hit white
paper, revealing a spectrum. Another study related color to space through volumous section models.
19. With the light and color studies concluded, diagrams were drawn up to relate color with program. Rather than assign a
program to a specific color, the strategy used was to determine what sensation each program must emote. These
sensations were then used to to determine which colors were best suited in carrying out these sensations.
21. -Utilizing Organic means, our project will illuminate
public areas to provide safer, interactive areas
-This has the potential of even utilizing technology to
change color or level of brightness in response to
stimuli
The idea behind this group project was
to examine ways where architecture can
respond to dark city areas to make them
safer and more interactive with the city.
This project utilizes an auto-illuminescent
plant to light up areas around the city. Not only
will this interaction detract criminal activity
by populating the area by interaction, but by
utilizing a biologic reaction will safe money on
electricity, thus allowing it to be planted in low-
income areas where the crime rate is greater.
This project is currently ongoing, to
examine how this technology can
be utilized in an architectural form.
Precedent: Starlight Avatar
BIOGLOW
Precedent: White Noise/White Light
Howeler + Yoon
23. This design upholds the circulation space as the most
vital component of the ballet studio. With the circulation
space molding with the performance area, the design
not only brings the performance out of an enclosed
space, it also highlights the connection of dance with
movement.
24. The building is split into the seating area, the circulation-performance space, and the administrative areas. The placement of
each area allows for connections that enhance the practicality of the program spaces. The performance seating lies right in
front for quick and easy access to seats. This opens up to the circulation area that takes advantage of southern lighting for
brightnness. In back are the administrative spaces that are accessible from the rear path and reduce excessive noise in the
performance area.
25. Looking onto the
performance area, the
light from the upper
floors radiates down
to help illuminate the
dancers below. The
seating area is placed
in a shallower room
for sound to funnel
into it.
Behind the Ballet stu-
dio, the rear path be-
comes a parkway that
provides entrance into
the backstage and
administrative areas.
It continues along a
path that leads to be-
hind the library and to
the school beyond.
27. To create a pavilion that granted priva-
cy while still having a connection to the
landscape, I sunk the performance area
into the ground and utilized existing circu-
lation to tie the pavilion into its location.
Like a heart, the circulation brings view-
ers into two separate chambers that ca-
ter to a public space and a performance
space. An upper bridge brings separation
between these spaces, and provides a
platform for viewers to look down onto
the performance.
28. The pavilion is surrounded by metal poles
loosely bound to a gridlike arrangement.
These poles are able to hold up a tarp
that can block out excessive sunlight and
provide rain cover. This function allows
the pavilion to be used throughout the
year, even in winter where the pavilion’s
placement in the ground provides insu-
lation and protection from the wind and
cold.
