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O L I V I A M O O R E

A R C H I T E C T U R A L P O R T F O L I O

PORTFOLIO INCLUDES WORK OVER THE COURSE OF STUDY AT WENTWORTH INSTITUTE OF TECHNOLOGY.

C O N T E N T S

LIGHT STUDY.................................................................................................................................... 04 - 07 MUSEUM OF THE SENSES............................................................................................................... 08 - 15

MEDITATTION PATH.......................................................................................................................... 16 - 25

WELLNESS CENTER.......................................................................................................................... 26 - 39

LIVE/WORK SPACE............................................................................................................................ 40 - 43 URBAN SANCTURARY......................................................................................................................... 44 - 49

L I G H T S T U D Y

LIGHT TRANSFORMS SPACE. LIGHT TRAILS LEFT BEHIND OVER TIME TELL A TALE OF TIME AND TRAVEL. THIS STUDY WAS USED TO RECREATE THE EXPER-INCE OF LIGHT TRAILS IN A SPACE TO EVOKE THE SENSES.

M U S E U M O F T H E S E N S E S

AN OPEN-ENDED EXPERIMENTATION OF BUILDING AND THE SENESE AND HOW THEY RESPOND TO ONE ANOTHER.

OFFICE SPACE

OFFICE SPACE

SAUNA SPACE

DETAILED SECTION3/4”=1’

I-BEAM

2’X10’ FLOOR JOIST

RUBBER VAPORBARRIER

2X6” CEDAR PLANKS

BASE BOARD

STACKED MASONRY

2” WALL BOARD

4” INSULATION ALUMINUM LINING

SUB-CEILING

FINISHED CEILING

FOUNDATION BLOT

CONCRETE BLOCKS

1” AIR SPACE

SELF-EXAMINATION. HOW THE MIND AND BODY CAN WORK IN COORDINATION TO EXPLORE ONE’S OWN MENTAL PROCESS. THE BRAIN FUNCTIONS BY OP-ERATING FOUR MAIN RECEPTORS. THESE RECEPTORS RESPOND DIRECTLY TO SYNAPSE TO GENERATE FAMILIARITY AND MEMORY. EACH SPACE PROVIDES AN ACCESS INTO OUR OWN MENTAL PROCESSES, MEDIATED BY THE SENSES, SO THAT ONES EXPERIENCE IS UNIQUE. MENTAL STATES; INCLUDING SENSORY, BODILY, AND COGNITIVE ARE TESTED AND REEVALUATED THROUGHOUT THIS EXPERIENCE. BLENDING THE ISOLATED SENSES TOGETHER WITH VERTICAL CIR-CULATION WITH THE CONJUGTION OF THE TWO SENSES RECREATES MOMENTS OUR MIND USES AS A TOOL TO DETERMINE WHAT EXPERIENCE COMES NEXT.

BY USING CIRCULATION AS A TRANSITION SPACE BETWEEN RECEPTOTRS, THE SPACE IS CONTINUOUS AND THE EXPERIENCES ARE DIFFERENT THROUGHOUT THE BUILDING.

DETAILED SECTION

MECHANORECEPTORSHEARING

THIS SPACE REPLICATES THE VISU-AL OF A SOUND WAVE. THIS SOUND WAVE NAVIGATES ONE THROUGH THE SPACE THROUGH TIGHT SPACES. YOU EXPERIENCE THE SOUND WAVE AND THE SAPCE IT OFFERS.

PHOTORECEPTORSSIGHT

PHOTORECEPTORS RESPOND TO LIGHT SO THE TWO SPACES GUIDE THROUGH LIGHT TO THE NEXT TRANSITTION SPACE.

THERMORECEPTORSHEAT

THE THRESHOLDS OF HEAT ARE EXPE-RENCED IN TWO AREAS OF THE BUILD-ING. ONE REPRESENTING HEAT AND ONE COLD. YOUR SENSES ARE PROVOKED BY THE PROGRAMS OF THE SPACE.

CHEMICAL RECEPTORSTASTE

TASTE IN THIS BUILDING IS SERVING TWO FUNCTIONS. A CAFE AND MIDPOINT OF THE BUILDING EXPERIENCE AND ALSO A PLACE TO TEST YOU CHEMICAL RECEPTORS.

EXPLODED SECTION 1/4Ó=1Õ

E X P L O D E D S E C T I O N

M E D I T A T I O N P A T H

W A T E R T Y P O L O G Y

STILL WATER: MINDFULLNESS

EACH AREA AREA OF THE MEDITAITON PATH COORE-SPONDS TO AN AREA OF BUDDHIST MEDITATION PRAC-TICES. THE ENTIRE PATH IS A JOURNEY OF MEDITATION THROUGH WATER AND ALL OF ITS FORMS.

WATERFALL: THERE IS SOMETHING LARGER THAN YOURSELF

STREAM: OVER COMING OBSTACLES

RIPPLING WATER: SELF REFLECTION

SPRING

SUMMER

WINTER

CHERRY BLOSSOM PRUNUS SERRULATA

CANADA BLUE JOINT CALAMAGROSTIS CANADENSIS

CORDGRASS SPARTINA PECTINATA

LILY PADS NYMPHAEACEAE

ANEMONE PERRENIAL ANEMONE CORONARIA

PERRENIAL GROUND COVER SOLEIROLIA SORERILLIO

THIS DIAGRAM IS SHOWING THE PLANTING ON SITE AND THE SEASONAL COLOR CHANGE THAT GOES ALONG WITH ANTICIPATED PLANTINGS.

SPRING

THESE IMAGES SHOW THE SEASON CHANGE OF FOLIAGE AND HOW IT EFFECTS VISUAL CON-NECTIONS FROM DIFFERNT PLACES ALONG THE MEDITATION PATH.

SUMMER FALL WINTER

THESE IMAGES, INCUDLING AS EVOCATIVE SECTION TELL THE SEQUENCE OF THE MEDITATION PATH. MOVIING DOWN THE LANDSCAPE AS THE TOPOGRAPHY FLOWS AND THEN BACK UP THE UNGILATING HILLS.

THIS SECTION IS MEANT TO CREATE AN EXPERIENCE OF WHAT IT IS LIKE TO MOVE UNDERNEATH THE SITE TO EXPERINCE THE WATERFALL FEATURE.

THIS IS A PLAN OF THE DRAINAGE SYSTEM THAT WOULD BE USED TO PUMP WATER TO EACH FEATURE OF THE PATH. THE POND PROVIDES WATER IN A NATURAL STATE BUT AREAS OF THE SITE THAT DONT HAVE ACCESS TO WATER WOULD BE PROVIDED WATER FROM A RAIN COL-LECTION POOL AND THAT WATER WOULD BE PUMPED DOWN TO THIER RESPECTIVE SITES.WW

PROPOSED DRAINAGE PLAN

PUMP

RAIN WATER COLLECTION

POND OVERFLOW

UNDERGROUND PIPES

EXPOSED PIPES

W E L L N E S S C E N T E R

W A T E R S T U D Y

CONTINUING THE INVESTIGATION OF MEDITATION THROUGH WATER, WATER IS BROKEN DOWN INTO ITS NATURAL STATES AND THEN PROGRAMS ARE ASSIGNED TO THESE STATES. THE MOST IMPORTANT PART OF WATER CHANGING STATES IS TEMPERTURE AND WHAT THRESHOLD LEADS TO THIS CHANGE.THE STUDY MODELS SHOW EARLIER ATTEMPTS TO RECREATE A SPATIAL EFFECT OF WATER.

ASSIGNING THESE PROGRAMS LEAD TO A STUDY OF ADJACENCY AND WHAT SPACES RELATE TO ONE ANOTHER. THIS PROCESS LED TO THE FINAL FORM OF WHAT THE BUIDING WOULD BE.

P R O G R A M A D J A C E N C I E S

SAUNA

SAUNA

THRESHO

LD

LOBBY

LOCKERS

POOL

UP

DN

UP

UP

DN

DN GROUND FLOOR P L A N S POOL

MASSAG

E

MASSAG

EOFF

ICE

OFFICE

DN

UP

DN

MEDITATIO

N

POOL

DN

MASSAGE

MASSAGE

MASSAGE

MASSAGE

UP

UP

UP

POOLDN

DN

DN

POOL

ROOF

1ST FLOOR

-1 FLOOR

-2 FLOOR

F O R M F O L L O W S T E M P E R A T U R E

AS SHOWN IN THE DIAGRAM TO THE LEFT FORM FOLLOWS TEMPATURE. LETTING TEMPERTURE ACT NATURALLY IN MY BUILDING IT ALLOWS FOR SPACES TO FLOW BETWEEN ONE ANOTHER. HEAT RISES AND CODL SINKS SO SPACES THAT COORESPOND PROGRAMMATICALLY.W

THE DIAGRAMS BELOW SHOW THE RELATION-SHIP TO THE FORM AND TEMPERATURE. TO THE RIGHT SHOWS THE SPACES RELEASING THE HEAT FORM SUANS BELOW BY LETTING HEAT RISE THROUGH BUILDING. BELOW, BEING THAT THE STRUCTURE IS UNDERGROUND THE SPACES ARE COOLED NATURALLY AS COLD AIR SINKS.

IN DESIGNING THE “HOT SPACE”, A RAIN SCREEN WAS AN EFFECT FOR= THE BUILDINGS INTERACTION WITH THE ELEMENTS. WATER IS ALLOWED TO INTERACT WITH THE USER ON THE TOP AND BOTTOM FLOOR AND WIND IS ALLOWED TO FREELY MOVE THROUGH THE STRUCTURE. THIS INTERACTION WITH NATURE IS A WAY TO EXPERIENCE THE REAL-WORLD THRESHOLD OF TEMPERTURE THAT OCCUR OUTSIDE THE BUILDING.

R A I N S C R E E N D E S I G N

A C E T O N E T R A N S F E R S

SITE SECTION 1/16Ó=1Õ

TO EXPERIEMNT WITH PRESENTATION THE USE OF ACETONE TRANSFERS WAS A HUGE PART OF THE DESIGN PROCESS. TEXTURE AND MATERIALITY BECAME A STAPLE OF HOW THIS PROJECT WOULD BE REPRESENTED.

L I V E / W O R K S P A C E

THIS PROJECT WAS CREATED TO HOUSE AN ARTIST OF SOME SORT SO THEY COULD LIVE BUT THE BUILDING ALSO SERVED AS THIER WORK SPACE. CHOOSING A COMPANY DANCE DIRECTOR, THIS BUILDING HAD TO HOUSE AND ALSO PUT ON A PERFORMANCE.

THE LIGHT ALLOWED IN TO THE SPACE COME DIRECTLY FROM THE SKYLIGHTS ABOVE, WHICH ILLUMINATE THE STAIR WELLS AND DANCE FLOORS. THERE IS ALSO A WINDOW IN THE TOP FLOOR STUDIO THAT IS DEISGNED TO LOOK LIKE A DISPLAY CASE. DISPLAYING THE ARTISTS WORK FROM THE EXTERIOR.

THE CONCEPT FOR THIS DESIGN WAS TO PUT THE USERS OF THIS BUILDING ON DISPLAY. EVEN IN PRIVATE ROOMS (SUCH AS THE BEDROOM) HAS A FROSTED GLASS WALL TO STIL GIVE THE FEELING OF OPENESS TO A PRIVATE SAPCE. AS WELL AS ALL OF THE DANCE STUDIOS HAVING AREAS TO WATCH PERFORMACES FROM ABOVE.

EACH FLOOR HAS ITS OWEN AREA OF DISPLAY, INCLUDING THE PRIVATE ARTIST QUARTERS.

U R B A N S A N C T U R A R Y

THIS PROJECT CONCEPT WAS TO DESIGN BY LIGHT. TO WORK WITH CONCEPTUAL BUILDING MATERIALS THAT FORM BEAUTIFUL AND VAR-IED SPACES. LOCATED ON THE SAME SITE AS THE HISTORICAL SOUTH END BURIAL GROUND, THE INTERSECTION OF THE TECHNICAL AND POETIC ASPECTS COME TOGTHER TO CREATE AN URBAN SANCTUR-ARY.

MY CONCEPT WAS TO DIRECT CIRCULATION THROUGH LIGHT. USING MOMENTS OF ILLUMINATION AND THEN MOMENTS OF TOTAL DARKNESS TO EN-VOKE CIRUCLATION.

THE UNDERGROUND FLOOR (MOUSOLLEUM) IS A PLACE OF MOURNING. BEING LITERALLY “SIX-FEET UNDER” TO RECREATE THE EXPERIENCE OF A BURIAL.

THE GROUND FLOOR IS THE HOME TO THE MAIN ENTRY WAY AND ALSO THE MOUSELLUM EN-TRANCE. THE ENTRY BELOW THE SURFACE TO ENTER IN THE LANDSCAPE.

THE TOP FLOOR IS THE SANCTURARY SPACE. THI SSPACE IS THE MOST ILLUMINATED SPACE IN THE ENTIRE BUILDING. WITH A HUGE GLASS CURTAIN WALL THAT GIVES A DIRECT VIEW OVER THE BACK WALL TO THE BURIAL GROUND.

THIS DIAGRAM SHOWS THE “ACTIVITY” OF THE BURIAL GROUND AND HOW THAT IS RECREATED IN THE URBAN SANCTURARY SPACE.

THESE IMAGES SHOW, IN MODEL FORM, A LIGHT STUDY OF THE BUILD-ING. LIGHT GUIDES THE USER THROUGH THE BUILDING. STARTING AT THE LOWEST LEVEL IN PURE DARKNESS TO THE ILLUMINATED PLACE OF MEDI-TATION OVERLOOKING THE BURAL GROUND.

MAKING YOUR WAY DOWN TO ‘SIX FEET UNDER’

O L I V I A M O O R E42 HILL TOP TRAIL SALEM CTM O O R E O @ W I T . E D U8 6 0 - 9 1 7 - 6 1 9 8