This document provides biographical information about Lauren Bochenko in 3 paragraphs. It outlines her education including a Bachelor of Science in Design: Architecture from Arizona State University. It lists two jobs she held, including freelance architectural and interior design work for Joseph Foglia Designs in New York. It also provides details of an internship at Point B Design in Philadelphia where she developed design iterations and models.

1. lauren bochenko
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2. 
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










 







3.        
       



























































4. 



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.

5.                    


6.             

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.




7. 





                   

8.           

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.

9. 












                   

10. 












       

11.  
     
 

 
  


  

   



    
 











 





                     

12. 

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.

13. 










                     

14.           

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.

15. 












                     

16.            

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.

17. 


































                     

18. 

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.

19. 


















                     

20. 






















   

21. 






B
A



.









                     

22.            

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.

23. 





D2
D1
C1
D3
A3
A2
B3
B2
B1
A1
                     