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My first portfolio as a master’s student at the Boston Architectural College
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BOSTON ARCHITECTURAL COLLEGEPORTFOLIO - SEGMENT I
July 2009
OLIVIER JAMIN CHANGEARTMaster of Architecture
OO L I V I E R L I V I E R JJ A M I N A M I N CC H A N G E A R TH A N G E A R T 8 57-207-9811 112 West Concord St. Apt. #2 BOSTON, MA - 02118 o l i v i e r . c h a n g e a rt @ t h e - b a c . e d u
EE D U C A T I O ND U C A T I O N
BOSTON ARCHITECTURAL COLLEGE - Candidate for Masters of Architecture – Boston, USA Sept. 2007 - Present
PARIS VI UNIVERSITY - Master’s Degree, Architectural & Urban Acoustics – Paris, France 1996
PAUL SABATIER UNIVERSITY - Bachelor of Science, Physical Engineering – Toulouse, France 1994
PP R O F E S S I O N A L R O F E S S I O N A L EE X P E R I E N C EX P E R I E N C E
MICHAEL KIM ASSOCIATES – Brookline, MA August 2008 - Present
Drafter
Assist in the development of design or design development drawings, develop base sheets and construction details for residential and commercial projects
Prepare clear, accurate plans and detailed drawings from rough sketches, according to specified dimensions
Produce construction drawings using AutoCAD under the direction of Project Manager
Provide 3D rendering using SketchUp and Photoshop
DECIBEL FRANCE – Paris, France 1998 – 2007
Executive Officer in Acoustic Design, Industrial Acoustics
Founded commercial agency / sales office in Paris, including the development and constant contact of a client portfolio worth over € 900,000 ($
1,300,000)
Compiled network of 10 subcontractors to manage and survey sites for material fabrication and installment
Conducted ongoing acoustical resonance studies, measured and analyzed data to compile reports and plan necessary project specifications
Provided acoustic specifications and performance predictions for a broad range of projects in the public sector e.g. school of education, hospital,
cultural / leisure centers
Formulated estimates for proposed soundproofing solutions according to client constraints and objectives
Managed and directed job sites from plan conception to project completion on individual assignments valued at over € 200,000 ($290,000)
CAP HORN SOLUTIONS – Paris, France 1997 – 1998
Acoustic Engineer
Oversaw all acoustic research conducted in order to rehabilitate and construct buildings appropriately
Took measurements and constructed acoustic models of spaces and auditoriums, including national TV channel’s Headquarters, the Louvre Museum,
and Gaumont Movie Theaters
Studied noise impact of railways and air traffic on site of new city of Senart. Created noise map of the current acoustic situation and simulation of sound
barriers
OO U T S I D E U T S I D E II N T E R E S T S A N D N T E R E S T S A N D SS K I L L SK I L L S
Languages: French, spoken and written fluency. Familiarity with German.
Volunteer : Boston Cares
Sports : Tennis, Swimming, Hiking
Hobbies : Piano experience of ten years, choral music, opera
ACADEMIC SECTION
STUDIO Sept. 2007 - Present
Master’s A Studio – Fall 2007 7
• Concept of Placement, Figure Ground and Phenomenal
Transparency 9
• Inhabitable Wall 15
• A Satellite Museum at the MFA 19
B-1 Studio – Spring 2008 27
• Building Analysis 29
• The Boathouse 37
B-2 Studio – Spring 2009 47
• Tectonic Strategies 49
• The Arnold Arboretum 57
• Chinatown 65
OTHER COURSES Sept. 2007 - Present
Structures I – Fall 2008 79
Visual Studies 83
• Freehand Drawings 84
• Orthogonal Drawings 86
• Perspective Drawings 88
• AutoCAD 3D 89
PRACTICE COMPONENT WORK 91
DECIBEL FRANCE 1998 - 2007 92
MICHAEL KIM ASSOCIATES August 2008 - Present 96
INDEPENDANT WORK 101
T A B L E O F C O N T E N T S T A B L E O F C O N T E N T S
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MASTER’S A STUDIO
PROJECT IConcept of Placement, Figure Ground and Phenomenal Transparency - 5 weeks
Fall 2007Instructor: Susan Morgan
PROJECT IIIA Satellite Museum for the MFA - 5 weeks
PROJECT IIInhabitable Wall - 2 weeks
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MASTER’S A STUDIO - PROJECT IConcept of Placement, Figure Ground and Phenomenal Transparency - 5 weeks
The purpose of this first project is to work at an abstract
level to gain understanding and skills dealing with ba-
sic architectural elements and their spatial qualities.
2D compositions will be the starting point to create a
proun, a series of abstract geometric shapes creating a
3D effect. This proun will give birth to a ‘planet’, a 3D
composition which allows people to experience and oc-
cupy the created spaces.
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2D composition
My goal was to develop the perception and understanding of a composition, interpreting the visual interaction between the positive and negative elements within a field.Points, lines and planes were the basic elements from which I had to generate images with implied movements.I created an optical illusion to my compositions that inferred a dynamic relationship between figures and the ground.
PointsSpiraling movement carrying particles from the edge to the center of the composition.
MixFor the last composition, I used a combination of points, lines and planes.As one goes along the upper left corner, figures get smaller and planes become lines, then points.
LinesImplied movement given by the width reduction of the black and white stripes.
PlanesTwo chessboard-like composi-tion intersect in the center of the image, creating a disorder where a new spatial configura-tion takes place.
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Re-do 2D composition
More implied movementMore overlapping effectsMore ambiguity and 3D perception
Refined chosen compositionThere is no particular background anymore. The symmetry is less visible and the eye is still blurred by the overlapping of the variously oriented planes.
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Composition to Proun
PROUN : in 1920s, El Lissitzky developed a suprematist a style of his own, a se-ries of abstract, geometric forms and shapes called Prouns. The intent was to give a sense of spatial 3D elements. Other views of the proun
from different vantage points.
Original proun
The black triangle on the original proun is an upturned pyramid, in relation to the tri-angular form which appears in the left sequence.
Bottom view
Right side view
Left side view
From my chosen 2D composition, I began to delineate lines, planes and volumes. Then I established a background/foreground relation-ship.
Lissitzky -Proun 10 Lissitzky -Proun 4
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Proun to “My Planet”
Based on the proun and the figure-ground study (below), I made a physical model of ‘my planet’.
I drew 9 illustrations of what could be the final ‘planet’ by either zooming out to see the whole composition or zooming in to intersection or in to absolute details.
3D model views of the planet, showing the interrelationship between the 3D elements created from the proun on the left page
Figure-Ground study
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Inhabitable Planet
The last exercise of that process was to visualize people occupying “my planet” in three different kind of spaces related to the following conceptual words : – Enclosure, Rest and Threshold. According to my own vision of spaces, I had to understand how big or how small these spaces were relative to human body, and what their use might be.
ENCLOSUREProtection from the aboveSecurity feelingImprisonment, Confined placeDead end, Boundary
RESTRecesses, Break, ProtectionPlace to think, to relax Intimate feeling
THRESHOLDTransition and investigationPassage through different atmospheresInvitation to go further
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A gathering space based on rethinking the wall as an
individual element. We were asked to question about
what is a wall and how does it provide a living area?
MASTER’S A STUDIO - PROJECT IIInhabitable wall - 2 weeks
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Inhabitable Wall
Our classroom is situated in the base-ment of the main building, on New-bury street. First I had to pick up a wall and take measurements to get all the useful in-formation.
Definition of anthropometry: the study concerned with the measurements of the proportions, size, and weight of the human body. My ‘wall’ is designed in a comprehensive way and is accessible to everyone, notably for disabled people. Moreover, it incorporates ergonomic parameters such as: · Human factors: display’s location for students’ pin-up are optimized. Shelves, storage spaces are at different heights to adapt to each body type and to disabled people. · Security: I added an additional door within the wall for emergency exit. This rear opening also provides a connection with the classroom just behind.
Site: one wall of our classroom.Program: design a wall that provides enclosure for the room, some space to display either student works. The terms “Enclosure, Threshold and Rest” that had been defined in the previous project had to be incorporated as well within the wall.Intent: I had to take into account the “Anthropocentric” concept into my design generator.My approach: Transform “my wall” into a functional, comfortable space to adapt to everyone in a comprehensive way.
Classroom’s measurements
Our Classroom - Chosen wall
Anthropometric drawingsFront elevation of the wall
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Plan and Dioramas
I added a projected partition from the wall to display three dimensional objects and to present student projects. Everything is within reach.This additional part becomes a threshold between public and private space.
The projected wall that enables a functional space behind, with a kitchenette and some storage. Two corner seats have been designed, inside and outside of the classroom; the wall becomes habitable on either side.
Views of the recessed seats that create a ‘moment of rest’ on both sides of the wall.
Anthropometric is also about statistical data, comparison, per-centage and arithmetic mean. A fresco on the back wall displays the related math symbols.
Plan of the new wall
Diorama of the classroom, looking towards the wall
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MASTER’S A STUDIO - PROJECT IIIA Satellite Museum for the MFA - 5 weeks
THE ARCHITECTURAL PROJECT
SITE: parking lot downtown Boston, in the core of Back Bay.
PROGRAM: conceive a Satellite Museum of the MFA using a group of
artworks and sculptures. Each of them should be displayed in a spe-
cific gallery. One outdoor space, service spaces and transition spaces
through these galleries are expected.
INTENT: provide a concept statement in reaction to the site and the pro-
gram.
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Site Analysis
THE SITE
Parking lot at the corner of Tremont St. and Dartmouth St.Back Bay - Boston, MA
View from Newbury Street
Movement - TrafficHomogeneity of the brick facades
Circulation - Pedestrian areas -Vegetation Light and shadows
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Chosen artworks and concept statement
City RhythmDynamism – Movement
Geometrical patterns overlapping
SpinetMusic – Relaxation - Warm atmosphere
The JapaneseBrightness – Movements.Precious materials, glints.
Predominance of the red color.
A collage reveals the essence and character of each artwork.
Newbury Street is part of a unique commercial district that attracts a large mix of people. Ideally located, the museum had to be a place where people could easily enter, make a quick tour and go. This supposed to design a space that allows flowing movements and smooth transitions.The satellite of the MFA explores fluidity of space by using gradual transition spaces that allow visitors to understand ‘what’s going to happen’ and have an understanding of the separate galleries as part of one whole museum.
Concept Statement: FLUIDITY
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The Exterior - Massing studies
Massing studiesFor the exterior of the museum, my intent was to respect the predominant char-acteristics of the district, including forms, proportional relationships, colors and materials. I came up with a L shape building which surrounds a green area with a pool and a fountain. The goal was to bring vegetation to the site and attract people offer a break to relax, during summer time.
Sketches
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FLUIDITY from the exterior through: • An engaging place with a direct and clearly visible access from
the street• A link between the Museum and the city with an outdoor gar-
den open to the street and a Café to invite people visiting the galleries
• A glass wall which brings transparency
Final Model
Final Site Model - Light study
Light study and Final Model
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Everyone should access the galleries in a a strong link with the piece of artwork in texture and light. Transition spaces are a gradual transition from one gallery todiscontinuity.
The Museum
Spinet Gallery
Transition space - Japanese
Japanese gallery
Totally enclosed space with no opening to the exterior. Warm atmosphere. Treated like an auditorium where the sound of the spinet is broadcast.
A visual link to the Japanese painting is created. We have a succession of colored fabrics that recall the embroidered kimono of the character.
A footbridge leads people to the painting. A natural environment, combining an interior pool and a view to the landscaped garden, procure a zen atmosphere suitable for the meditation.
Transition space - Spinet
As one goes along the atmosphere changes to a more intimate space.
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Entering City Rhythm Gallery City Rhythm Gallery 2
City Rhythm Gallery 1
Ovoid tunnel, full of light that recall the main colors of the painting.
Windows are projected off the building. That spaces created link be-tween visitors and the city.
The rear wall is a 3D representation of the gray pattern of the canvas.
The entrance hall
comprehensive way. Each gallery has terms of volume, atmosphere, color, “continuum”: they bring visitors throughanother, without any change and
The Interior
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B-1 STUDIO
PROJECT IBuilding Analysis - 6 weeks
Spring 2008Instructor: Michelle Krochmall
PROJECT IIThe Boathouse - 5 weeks
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THE FARNSWORTH HOUSE by Mies Van der RoheCity of Plano, Illinois
This assignment was to document and analyze an existing house
from the 20th century. I chose the Farnsworth House and investi-
gated that was historically and architecturally significant. Then I
had to transform the house based on my analysis; the design had
to be integrated with the original building.
The Farnsworth House was designed and constructed between
1945-51 by one of the pioneering masters of modern architec-
ture. It was commissioned by Dr. Edith Farnsworth, a prominent
Chicago-based kidney specialist, as a place where she could enjoy
nature and engage in her hobbies, playing the violin and translat-
ing poetry.
B1 STUDIO - PROJECT I Building Analysis - 6 weeks
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Building Analysis
The Farnsworth house has been designed as a temple in nature. It is an enclosed space open to the surround-ing nature more for the meditation and the contem-plation of the external natu-ral beauty than for fulfilling domestic necessities.
The Farnsworth House has a very simple and readable structure. It is consistency in the rectangular shape which repeats infinitely through vertical and horizontal elements of the house - slabs, ter-race, glass panels and pavers.
Shelter filtering nature
Plan
Contemplation
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Diagraming the House
Without solid exterior walls, full-height draperies on a perimeter track allows freedom to provide full or partial privacy when and where desired. These draperies can also change the light within the dwelling or bring protection from the sun.
The interior is reduced to the minimum in terms of functionality and space organiza-tion. It affects though the essence of a dwelling, which is to provide security, to offer recesses from the world and to create a feeling of comfort.
The transparency of the external walls creates a feeling of vulnerability, a lack of protection and privacy.
Transparency
Morning
All draperies closed Total privacy
Afternoon
Night
As I got familiar with the house, I began to look closely by conducting a series of diagrams and sketches which illustrated underlying qualities of the building.
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The Farnsworth House - Model
Foam Core Model
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Elevation and Sections
North elevation
Transversal section
Longitudinal section
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House Transformation
Analysis Statement: to reinforce the concept of a temple, I created a South-North central axis which brings symmetry to the building. I also reorganized and divided the space to bring more intimacy and decreasing the feeling of void.The pure shape of the Farnsworth House, its strong relationship with nature and its elevation above the ground are intrinsic features, which had to remain to keep its original identity.
The transparency of the house and its large open space may procure a feeling of vulnerability when entering the house. The idea was therefore to divide that empty space by reorganiz-ing the layout of the house and adding partitions to create boundaries and also to provide a sentiment of protection and comfort.
I created a North-South central axis. The entrance has been moved and faces now he Fox river.
Before After transformation
A front step clarifies the access and make it more visible.
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Plans, Sections and Elevations
The fireplace has been moved to define physically the core of the house. Entering the house, the fireplace catches the eye. The semi-enclosed space, created all around, provides both a refuge and an opening to the nature. The idea of free-flowing inter-connected rooms, encompassing their outdoor surround-ing remains.
New plan
Front elevation
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CHARLES RIVER BOATHOUSEBoston, Massachusetts
This project incorporates two main parts. First is the analysis of a specific site along
the Charles River Basin, working through sketches, study models and measured ana-
lytical drawings, to arrive at a fundamental understanding of the underlying concepts
and principles that informed the design of the boathouse. In the second part, we were
asked to merge our analytical comprehension of the site with fundamental principles
of design in a single architectural proposal, considering questions of human occu-
pancy and scale, spatial and formal relationships, program and function and finally
structure and materials.
B1 STUDIO - PROJECT II The Boathouse - 5 weeks
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Site Analysis - The Esplanade
The esplanade of Boston, along the Charles River, creates a delightful landscape of lawns, gardens, and children’s play-grounds. The city’s impressive skyline provides a backdrop and joggers, walkers, and cyclists flock to the park for scenery and exercise.
Threshold between City and Nature
Observing the wonders of Nature Enjoying the view
Overall study area
Sketch models analyzing thresh-old conditions. My intent was to
consider the relationship be-tween some elements or quali-
ties of the site.
Noise and Quietness
Land and Water
City and Nature
However, Storrow Drive constitutes a veritable scar providing noise pollution and complicating the pedestrian access. More than one third of the esplanade is exposed to an excessive sound level, which therefore makes it inappropriate for human activi-ties. Besides, the Esplanade seems isolated from Back Bay, with no define and visible link.
Propagation of acoustic waves, from Storrow Drive to the Esplanade The Storrow Drive38
Contrast between:• the urban fabric with its traffic congestion and pollution issues, increasing environmental stress • the quietness of nature representing by this land strip along the Charles River, suitable for a large range of outdoor activities
Site Analysis - Collage
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Site Analysis - Views
The boathouse is represented by a succession of arches, each of them framing a landmark of Boston.
3D collage
Bunker Hill Bridge
Long
fello
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idge
Prud
entia
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MIT
Hancock Tower
State House
Considering these main observations, I decided to design the boathouse on a specific location of the esplanade, in order to be: - the farthermost spot from the Storrow drive - visually connected to the main landmarks of the city of Boston and CambridgeGeographically, this spot is situated on a land strip, isolated from the rest of the esplanade.
Visual connection with the main landmarks of the city of Boston
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Transformation of the site
A 50 feet high post like a mast, an oar dressed vertically will be a focal point, a pinna-cle, catching the eye. Its height will make it visible from a long distance such as the oppo-site bank of Cambridge. Physically connected to the boathouse, it will be its own signature and will legitimize the existence of this new building with the other main landmarks of Boston.
My Attitude
To clarify the access to the site, the existing bridge is taken off and replaced by an elegant footbridge that creates a main axis. It leads pedestrians over the lagoon to the boathouse.
The new footbridge spanning the pond and providing a direct access to the boathouse View from Back Bay
Study drawing showing the main axis
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The Boathouse
j A footbridge over the lagoon will lead pedestrians to the boathouse, with natural materials.
k The existing bridge has been taken off to disconnect the left part of the site to the earth. This isolated land strip becomes now a recesses from the city and procures a feeling of retreat, a communion with nature.
l A 15 feet high sound barrier protects the site from the traffic noise. The wall becomes now a threshold between city and nature, noise and quietness, stress and serenity.
m The house is oriented to take maximum advantage of views either to the Charles River or to the skyline of Boston.
On the first floor, I displayed toward the river the entrance, the weight room and the club room, where people are supposed to spend most of their time.
Roof plan: a terrace planted with trees, shrubs and flowers echoes the esplanade and enables an outstanding viewpoint of Boston.
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The event room on the second floor benefits of the most striking views, taking advantage of both the river and the city.
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Site model
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Interlacing of metallic tubes within the rowing shell frame mimic the reeds on the river shore.
Alighted on the water, the boathouse is situated at the frontier between land and water. The facades oriented to the river are made of tinted glass to reflect the light and thus creating a continuum with the water’s surface.
The Essence of Rowing
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The Charles River
The boat house from the Charles River
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Almost the entire building is bearing by concrete slender pi-lotis.The rooms situated on the right hand side of the entrance are private spaces such as offices, boat storage and locker rooms.General public use the staircase to access to the event room on the second floor.
Sections
Longitudinal Section
Cross Section
Section Model
The transversal section is cut through the locker rooms, look-ing South. It shows notably the access to the lower dock, enable to launch the shells.
Almost the entire building is bearing by con-crete slender pilotis.The rooms situated on the right hand side of the entrance are private spaces such as offices, boat storage and locker rooms.General public use the staircase to access to the event room on the second floor. longitudinal section .The transversal section is cut through the lock-er rooms, looking South. It shows notably the access to the lower dock, enable to launch the shells.
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The event room on the second floor benefits of the most striking views, taking advantage of both the river and the city. A suspended ceiling made of gypsum boards mimics a huge wave and hides the outer metallic structure from the inside - people thus are compelled to focus on the view. I added a tap-room to create a lounge bar.
The terrace planted with trees, shrubs and flowers echoes the esplanade and enables a viewpoint of Boston.
Event room
Section drawing Section Model
Almost the entire building is bearing by con-crete slender pilotis.The rooms situated on the right hand side of the entrance are private spaces such as offices, boat storage and locker rooms.General public use the staircase to access to the event room on the second floor. longitudinal section .The transversal section is cut through the lock-er rooms, looking South. It shows notably the access to the lower dock, enable to launch the shells.
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B-2 STUDIO
PROJECT 0Tectonic Strategy - 3 weeks
Spring 2009Instructor: Mark Breeze and Becca Whidden
PROJECT IIThe Boston Neighborhood Chinatown Center - 7 weeks
PROJECT IEducational Facilities at the Arnold Arboretum - 3 weeks
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B2 STUDIO - PROJECT 0 Tectonic Strategies - 3 weeks
B-2 studio provided us the opportunity to work through two complete design proj-
ects that vary in their scale, use, and context. We were expected to thoughtfully
engage the varying site conditions through rigorous site analysis, but with ad-
ditional consideration to issues such as historical and cultural contexts, program-
matic organization, building structure and tectonic exploration.
Project 0 is about engaging us in a series of exercises in order to develop our
understanding of the notion of tectonic as it relates to scale, materiality, and ulti-
mately, concept. We notably explored how a tectonic idea might embody any of
the following, as a way of ‘entering a project’: an attitude, a method of making,
a constructional approach, an organizational logic, or a key relationship.
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My definition: the term TECTONIC describes the inter-relationship of the distinguishable parts that make the building - material, detail and structure - to deliver authentic meanings of what we feel. We were asked to take pictures of tectonic ideas at a variety of scale. We can see below the relationship between elements that produce an organized system of structure.
Tectonic definition
Lighting
Brick assemblies Steel and cast iron
Large scale
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Among different proposed detail drawings, I selected one of them to interpret, abstract and speculate upon its tectonic relationships. The diagrams and drawings below illustrate the potential connections between the different elements of that detail.
Chosen detail and interpretation
Chosen detail
This distinct and bold cross shape element is the main structural part of the detail from which secondary elements are connected. There is an idea of space, circula-tion in between.
Hand scale
At a small scale, the detail is seen as a unit that can multi-ply for the design of a bracelet.
As a section, the detail works as a main support to delineates four distinctive rooms of an hotel.
The structural cross shape supports the building like a skeleton maintains and connects the different parts of the body. To contrast with these opaque surfaces, a curtain wall made of glass panels filter the exterior sunlight and bring transparency.
Building scaleSection
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The Module...
Tectonic Strategy: how can I transform, alter, modify a simple unit with a clear geometry into an elaborate assembly that provides penetrability?
Iteration process
Module’s view and elevations
Subsequently, I transformed the detail to a certain point, to create a “module” capable of participating within a larger assembly. For that, I had to define a tectonic strategy and see how my module could attach to itself and change de-pendent on certain rules.
I simplified the cross shape to an ‘I shape’ which evolved then by an iteration process. The modifications of the flanges and the web led to a Z shape. Now two identical cantile-ver elements appear in opposite directions, procuring a dynamic movement. Lastly, the creation of a notch enables more potential for complex assemblies but also provides an aperture to the unit.
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The Module
Rule 1For piling up and aggregation assemblies, we have to consider some constraints:• d1=2d3• d2=d6• d4=d7• d5 varies
Inherent qualities: allow solid interlocking and steady apparatus.
Rule 2The notch can have various depth to some degree that allows visibility, transparency, screening, framing, opening and communication.
Opening - CommunicationFraming Screening
Rule 3When rotating, the module has exact angle limitations of multiples 90 degrees. This controls the way for interconnecting.
... and its set of rules
Authorized movements Example of aggregation
To apply this tectonic strategy to my module, a set of simple rules has been determined, in order to facilitate the process collection.
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Constructive assemblies
With this set of rules, I applied them to show how the module was able to growth and to connect.
Each color represents a module in a particular orientation. The arrangement of these four ele-ments creates a solid base. The piling up of that entity creates a column that can support heavy loads. On the other hand, the voids within the units create a feeling of lightness.
In particular, I needed to illustrate how the module could achieve three distinct transitions: 1. between a floor and a wall 2. between two walls 3. between a wall and a ceiling
Formation of a columnTransition
ConnectionAggregation
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The variation of the notch’s depth within the modular engenders an interesting pattern. The sunlight reinforces that effect by pro-jecting the progressive shadows of the piers.
Model and light study
Inhabitable Wall
Section of the wall
The last part of project 0 was about thinking the assembly in terms of human habitation, consider-ing the following terms: entry, threshold, circulation, interaction/separation.I decided to design an outdoor wall, using the module vertically. Every notch procures an aperture that allows a visual connection on either side of the wall. This procures a sense of permeability that alters the physical separation.
The columns are made by an aggregation of modules. They support the cantilever portion of the wall.
The upper cantilever portion of the module offers a protection from sunlight / rain as the lower part invites people to take a rest by sitting on this kind of bench.
Each opening allows a visual connection. As the stroller goes along the wall, looking through it, its visual field varies according to the width of the openings.
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THE ARNOLD ARBORETUMBoston, Massachusetts
The Arboretum of Harvard University displays North America’s premier col-
lection of hardy trees, shrubs and vines. It offers one of the best preserved
landscape that we first had to discover by documenting, mapping and taking
pictures.
Then a specific site had to be chosen for the design of an educational/informa-
tion pavilion. This program should be a ‘laboratory’ to test our tectonic modu-
lar construction from Project 0. The goal was to connect our site analysis with
our tectonic and program strategy, allowing each to inform and emphasize
the others for the final design of the pavilion.
B2 STUDIO - PROJECT I Educational Facilities at the Arnold Arboretum - 3 weeks
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Site Analysis
The planted terraces create a sequence of spatial discover-ies, between the intimacy of the protected stonewalls and the expansiveness of the central lawn. This idea of layering and rhythm contradicts with the sur-rounding nature.
The Arboretum is set apart from the city’s dense urban fabric – a naturalistic refuge not too far from the urban center. It is bordered by multiple Boston neighborhoods, close to down-town, and accessible by car and public transit.
Stone wall detail
The Arboretum in Boston
The untamed nature that surrounds the site contrasts with the rhythm of the planted terraces. The varia-tions of the light throughout the day constitute a delightful composition to this successful ensemble.Chosen siteOverall Arboretum
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Program Strategy
2. Experience the contrast between the wilderness of the forest and the landscaped garden by framing the views and forcing the gaze in a particular direction.
3. Integrate the pavilion within the site. Make it blending in with the surrounding scenery.
1. Experience the burst of the light using the filtering quality of my module.
Filtering LightThe Module
By varying the depth of the notch of my module, I can control the amount of daylight within the building.
Study model
The Arboretum’s intention for the project is also to enhance the quality of visitor experience and accessibility to this area. My task was to develop a program strategy and design proposal for the deployment of these facilities across the chosen site.
Framing View Depending on our location within the building, the view can be totally different.
Framing Views
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The Pavilion
Orientation towards the terraces and the wood behind.Elongated rectangle that follows the slopped terrain.Creation of a stone wall to hide the existing pavilion from the visitors.
Interior
Exterior
Filtering
Framing
Use of the Module
Entrance
Meeting space
Transition space
Exhibit space
Design process
The pavilion is situated at edge of the wood, facing the entire site. The entrance is next to an existing path that makes a clear access for the visitors. Oriented towards the South, my goal was to take a maximum advantage of the daylight to apply the qualities of my module-framing views and filtering light - within the design of my project.
This series of diagrams below show different aspects of the program (organization of space, approach to the program,...)
Site plan
South facade of the pavilion
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Elevation and Sections
Angles are created to allows interesting views. Two distinctive parts are now clearly visible, regarding pro-gram requirements -Exhibit AND meeting/gathering spaces.
Transition spaces are added: Public vs Private and Stairs.
The intent was to design a building that blends in with the landscape. Therefore, the access from the east side, to the exhibition space, is situated under the ground level. A staircase leads up to the meeting room so the pavilion follows the natural slope of the terrain. Lastly, a large terrace extends the pavilion and offers the opportunity to enjoy the beautiful scenery.
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Framing Views
Whereas the north facade has no aperture except for the meeting room, the South facade is clearly opened to the Arboretum scenery. The diagram below shows the different treatments of the side walls that the public can experience along its movement from the entrance of the pavilion to the meeting room. Thereby, each of these walls are oriented towards different points of view. The height and size of each opening can frame a particular detail of the site - tree, bush or stone wall- or can offer a large vision of the surrounding landscape -the planted terraces in the entrance versus the wilderness of the woods in the transition space.
Exhibition space
Meeting space outdoor Terrace
officeentrance
trans.space
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Final Model
Views from the meeting room. The aggregation of different sizes’ modules creates various openings within the wall, each of them framing a particular view.
South facade of the pavilion. In relation to the opposite diagram, each color’s code refers to a specific area within the building.
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Contrary to the meeting room, the exhibition space offers no visual communication with the exterior. This space is partly below the grade, concealed from the exterior. Only rays of light penetrate inside the room from the ceiling or the south wall, creating a changing pattern throughout the day. The use of the module acts as a screen here. Visitors have therefore a feeling of entering in a grotto, a sacred space that helps for the contemplation of the current exhibit.
Filtering the light
The exhibition hall: inside rendering
Highlight of the exhibition space Treatment of wall and roof
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THE BOSTON CHINATOWN NEIGHBORHOOD CENTERBoston, Massachusetts
The final project is to design a performance space affiliated with the Boston
Chinatown Neighborhood Center. The organization currently provides fa-
cilities for adult education, childcare, family services, youth programs, and
recreation, among others. This new performance space is meant to expand
the arts-related component of their programs by providing suitable spaces for
performing arts, visual arts, along with artist housing. However, this small
institution and building will also consider its audience, users and visitors to be
from the greater Boston area – reaching out beyond the immediate China-
town neighborhood and community. The site’s location at an ‘edge’ condition
makes it well-suited to support investigation of issues such as scale and bound-
ary, which should be addressed in conjunction with ongoing explorations of
our tectonic strategies.
B2 STUDIO - PROJECT II Chinatown - 7 weeks
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Observation and Analysis
The site is located at the convergence of heterogeneous conditions.First in terms of density of population: the Chinatown gateway - landmark of the neighborhood- , the large pedestrian space all around plus the proximity of South Station create favorable conditions to lead people to this side of the site. Also we have Hudson street with its little boutiques and Asian restaurants that attract people.Then in terms of circulation, we have a large avenue with a dense traffic on Albany Street that creates noise annoyances and pollution versus a one way street with a low and slow traffic. Finally we have a contrast between a traditional Asian culture coexisting with a modern urban fabric.
Each of those conditions generates various boundaries. As a consequence, my attitude was to reduce the tension between them by: Creating a clear access and entry oriented towards pedestrian activities. Renovating the wasteland next to the vent shaft and create a green belt to bring nature to the site Turning the building towards Hudson street with the majority of the openings facing North and West. The idea was also to deal with the noise pollution. Envisioning a small square where people could gather, rest and enjoy the intimacy of this welcoming environment
Density of populationCirculation
Site
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The site is surrounding by buildings with various heights so I studied the impact of daylight on each car-dinal point.
Views and Light
Uninspiring viewsInteresting views Pagoda Brick facade
Natural environment
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Staggered volumes like a pile of boxes. Emphasis on verticality. The goal is to gain height to take a maximum advantage of the light. Each story is an observa-tory of a particular aspect of the neighborhood where views are created to force the gaze in a particular direction.
Concept diagram
Tectonic strategy and program Attitude
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Z shape with a notch whose depth can varies to control the light coming through the building and to al-low different sizes in terms of opening.In this project, the notch varies every 2 feet to create different possibilities in terms of controlling views and light.
I pushed the building as close as Albany street to gain a maxi-mum space for the little square towards Hudson st.The longitudinal façade is oriented North-South.A new green way creates a continuous strip of vegetation that hides the modern urban fabric from the visitor.
Modular and Site Plan
The module
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First floor: the space is totally opened to the exterior. Public and staff members can enjoy in the lobby the peaceful gardens and the human activities of Hudson street.A main staircase facing the entry leads to the performance space.Second Floor: about a hundred people can assist to various performances. A clerestory as rear windows enable natural light within the space.
Plans
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Third and fourth floors: for staff members only. As a consequence, there is a limited access. A light well brings the daylight to the rooms that haven’t a window - East side of the building.There is an outdoor access from the director’s office and the conference room. The stepped garden blocks the view from the North and East side, with a visual link only towards Hudson street.The fourth floor is restricted to the artists work spaces.Fifth floor: the exhibition space receives the same treatment as the first floor in terms of transparency. The large glass panels enable to enjoy the skyline of Boston, with a feeling of being connected to the city while enjoying the exhibition. There is just one access to the terrace to force visitors looking at the pagoda through the only opening of the South façade
Plans: Upper Stories
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Longitudinal section
Transversal section
Sections
The purpose of that section is to emphasize the opening through the roof to let the light spreading within the stories below.Also some other interesting points:- the ‘glass box” that constitutes the lobby on the first floor, offering a large space open to the exterior.- the clerestory of the performance space, on the left side of the section.-the treatment of the openings on the 3rd and 4th floor that force the gaze on the same detail of the brick façade of Hudson street, by either looking up or down.- the observatory of the fifth floor, with its terrace.
View of the Chinatown Center from Hudson street72
Views
The interior elevations below show for the different openings an idea of what visitors and staff members can observe depending on their location within the building. As the West and North fa-cades have numerous openings, each of them framing a particular aspect of the neighborhood, the two other one are almost opaque. The yellow background represents apertures where the light is filtered: that corresponds to a clerestory for the performance space on the second floor jand to the vertical treatment of the stairwell where the east wall works as a screen k.
View of the Chinatown Center from Hudson street
k
East and South interior elevations
jNorth and West interior elevations
j
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View of the Chinatown Center from Albany streetSketch model of the east stairwell’s treatment
The quality of the module is used here at a small scale. The pileup of the units defines a screen that lets the daylight penetrate through the all height of the stairwell. View of the Chinatown Center from Hudson street - West and north facades
Models
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Particular Moments
The light well brings the daylight within the building. On the third, fourth and fifth floors, we have a circular hallway that surrounds the glass panels, allowing a visual connection.
Vertical section of the light well
Treatment of the openings on the 3rd and 4th floor that force the gaze on the same detail of the brick façade of Hudson street, by either looking up or down.
4th floor - looking down
3rd floor - looking upDetail of the West facade
Rendering of the circular hallway on the third floor
Third floor plan
Particular view
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OTHER COURSES
STRUCTURES IDesign of a Roof - Fall 2008Instructor: Kurt Benedict
VISUAL STUDIES - Freehand Drawing - Fall 2007 Instructor: Linda Niemann - Orthogonal Drawing - Spring 2008 Instructor: Will Trimble - Perspective Drawing - Fall 2008 Instructor: John Navarro - AutoCAD 3D - Fall 2008 Instructor: Harlan Brumm
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STRUCTURES I Instructor: Kurt Benedict - Fall 2008
DESIGN OF A ROOF
Applying our sketchbook problems to reality, get-
ting involved with creating a structural cover.
Facing translation problems between architecture
and structures.
STRUCTURES I Instructor: Kurt Benedict - Fall 2008
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The goal of this class was to design a roof covering a clear space of 20,000 sq. ft., with no interior support. Our project should address sustainability, incorporating “Green design”. All calculations from the analysing of forces to the design of the structural members and their conections had to be precisely determined.
Preliminary studies
I envisioned a suspended roof suspended by six pipe towers and hanged by a cable-stayed structure. Two main advantages: 1. It provides a harmonious whole, an elegant fluid shape 2. The roof is totally independent from the walls below which able to create interesting designs for architects
3. Defining the truss
100 ft
B
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7.11 K 7.11 K 7.11 K 7.11 K 7.11 K 7.11 K 7.11 K 7.11 K
32 K 32 K
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Form Diagram
4. Roof deck details
1. Project alternatives
2. My final choice
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The goal of this class was to design a roof covering a clear space of 20,000 sq. ft., with no interior support. Our project should address sustainability, incorporating “Green design”. All calculations from the analysing of forces to the design of the structural members and their conections had to be precisely determined.
Final design
6. Rainwater collection and recycling
Sustainable designThe camber of the roof procures a slight slope toward the longest edges of the roof steep enough to runoff the rainwater. It flows into the gutters through the towers which have incorporated downspouts. Then a network of piping collects all the water in a storage tank, with an internal filter. The water is ready for domestic purposes.
Tower #1
a d
c
b
60 k
Analysing the forces in the tower b and in the cables a, b and c
20 ft
25 ft
60 k
TCx
TCy
TC
5. Defining the fanlike structure
Detail connectionsFree body diagram to solve the tensile forces
filter
tower
groun d
Storage tank
roof
building
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Drawing Representation
The sketch is a window into the architects mind. As a future architect, it is
important to be able to record ideas in a visually expressive way. It is also
essential to learn how to represent the concepts or philosophies of the key
movements in architecture in order to be more efficient in our presentation.
Those four distinct classes taught us different techniques of representation:
- Freehand Drawing: using pencil and charcoal media to draw what we see
and not what we think we see.
- Orthogonal Drawing: introduction of the basic conventions of straight-line
architectural drawing: plan, section, elevation and axonometric projection.
- Perspective Drawing: introduction of one and two-point perspective.
- AutoCAD 3D: first approach with a design software
VISUAL STUDIES Freehand, Orthogonal,Perspective Drawing - CAD 3D
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Freehand Drawing - Still life
Apples in a glass box Still life - Composition #3Violin on a chair
Still life - Composition #2Still life - Composition #1
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Perspective and Human Body
French castle in Dordogne area Boston Public Library - Battes hall perspective
Reproduction of the iconic image of ‘the Hand of God giving life to Adam’ by MichelangeloFemale nude in charcoal pencil Gesture drawings 85
Orthogonal Drawing
Here we had to create an analytical axonometric drawing of the Barcelona Pavilion from Mies van der Rohe. We were asked to pull or cut the walls away depending on which aspects of the design we determined to be the most crucial to our understanding of the building.
My observation The Barcelona Pavilion has been designed like bipolar structure with a small annex cham-ber pushed outward from the podium right and then the main pavilion . Whereas the annex gives a feeling of compactness, with its small enclosed and solid walls, the pavilion is about fluidity and flexibility. It is open to the exterior through transparent glass panels while the interior is an expansive flowing space.
One of the assignment for that class was to rep-resent my apartment, drawing a plan, one sec-tion, one elevation and a particular detail. Then, we had to create an axo-nometric view.
Axonometric view of the Barcelona Pavilion
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Final project - The Eames House
The last project of that class was about choosing an architectur-ally significant building and drawing a complex, analytical axo-nometric with projections and cut-away views.
My choiceThe Eames House has a living and a studio segments separated with a courtyard. Both of them are compartmentalized with the service and the utility cores inward the central open space.The house is surrounding by nature and has indeed a close rela-tionship to its site. The double-height spaces situated at the outer ends of both segments have solid walls and windows appear at both the upper part of the studio and on the first floor of the house, where the bedrooms are.
When analyzing and observing the house, I kept my attention on the East façade, with its alternation of transparent, translucent and solid panels, made of steel and glass. They create a subtle, shifting light in the interior.This axon tries to help my understanding on the purpose of this panel’s articulation:How does the different pattern of the main façade affect the intru-sion of light? Does the positioning of the windows help to our understanding of the interior of the house?
Diagram of the main facade
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Perspective Drawing
Interior study
Villa Savoy - Le Corbusier
One point perspective
Two-point perspective
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AutoCAD 3D
This class project was to design a chair of our choice and to be responsible for the modeling and final rendering. This had to be a chair for one person to sit in only. It also should fit the space that it is designed for.
My choiceI picked up a classic Louis XVI chair and decided to mod-ernize it by adding a custom fabric with bright colors.The suspended fabric’s color matches the orange linen up-holstery. The use of mirrors enables to enlarge the space and see the back of the chair by reflection.
Upholstery and legs close-up
Rear view Final rendering
Typical Louis XVI chair
Fabric for the chair Fabric for the wall
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PRACTICE
DECIBEL FRANCE - Paris, FranceExecutive Officer in Acoustic Design1998 - 2007 Pages 92-95
MICHAEL KIM ASSOCIATES - Brookline, MADrafter August 2008 - Present Pages 96-99
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Project: Provide sound enclosure for air conditioning equipments with low frequencies noise levels.
Date: April 2004
Company: LAUBEUF
Location: Orsay Museum - Paris
My Role: - Held site meetings with the architect and build-ing contractors to carry out the project - Work closely with the design office to produce detailed submittal drawings for customer approval.
My proposals: - Implement air flow silencers and perform-ing acoustic panels- Use specific texturing finish to enhance the enclosure’s aesthetic- Access to the equipments by using hydraulic dump hoists.
Results: - Excellent resulting isolation and absorption and re-spect of the aesthetic constraints - Improvement of 35 dB(A) from the inside to the outside of the enclosed cabin.
Entrance of the Museum
Fitting of the acoustical panelsFinal South entrance
Enclosure Air Conditioning Equipment
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Front facade planPanel junction detail
Mounting of the framework Pre-outfitting of the frame in our engineering factory
Orsay Museum
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Project: Create a volume to conduct experiments on industrial machineries in “free-field” conditions, where echoes caused by reflection are non-existent.
Date: January 2003
Company: CNRS
Location: Marseille - France
My Role: - Oversaw the design study and the acoustic estimations to provide an effective isolation from exte-rior noise annoyances.
My proposals: - Create a room within a room with a massive concrete envelope - Cover the entire room with pyramidal foam cones designed to absorb any frequency above 50 Hertz.
Results: - Background noise level 4.6 dBA- Working area 20 x 23 x 18 feet- Cut-off frequency 75 Hz
Anechoic Chamber
Under construction
Inside the final chamberEntrance into the room94
Reverberation Time for Indoor Swimming Pool
Project: Enhance the reverberation time of a swimming pool.
Date: April 2001
Company: Town hall - Le Bourget
Location: Le Bourget - France
My Role: - Provided acoustic specifications and performance predictions. Oversaw the mounting of the ceiling with a specific scaffolding.
My proposals: - Implement absorbent panels hanging from the existing ceil-ing. Because of the damp atmosphere and high condensation, I envisioned a system of several continuous slots within the ceiling to let the water drip.
Results: - Decrease reverberation time by 50% (from 1.8 sec. to 0.9 sec.)
General view
Reflective ceiling plan
Existing ceiling
Final completion showing the openings
Under construction - Scaffolding
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CAD Drawings
Project: Renovation of a house in Newton, MA.My role was first to do interior and exterior measurements of the house in order to draw existing plans and elevations.Then I was responsible for the construction documents set, regarding Michael’s ideas and design.I learned how to set up CDs and how to represent and orga-nize different drawings on a single sheet. Here below are some relevant examples of my accomplish-ment in that project.
Existing / Demo plans First floor plan96
Construction Drawings
Exterior elevations Interior elevations
Details97
Presentation Renderings
Project: a beach house on the cape, MAExterior rendering showing the new additions of the house: a new space above the garage and a new front facade with new windows and dor-mers. The rear facade has less modifications. The bal-cony on the second floor doesn’t exist anymore.The bedroom becomes the master bedroom with the adtion of a bathroom in the existing attic.
Front facade - Project
Rear facade - ProjectRear facade, facing the Ocean - Existing
Front facade - Existing
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Furnishing a House
Project: a summer house in Ipswich, MA.In that project I produced a rendering upon Michael’s modern yet traditional de-sign of this single family house. In particular I had the opportunity to furnish both the living space and the master bedroom with a contemporary style of my choice.
Living area with a dinning room at the foreground
The master bedroomSketchUp and Photoshop exterior rendering
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PERSONAL EXPERIENCE
Travelling is my favorite hobbies. I have always managed to earn money to be able to discover other countries and cultures
from all other the world. Architecturally speaking, I had the opportunity to enjoy the beauty from Ancient Greek and roman
temples, medieval castles, Renaissance palaces, Art Nouveau’s style buildings to very modern houses or skyscrapers. And in
fact, the more we see examples in real life, the more we enrich our own experience and enlarge the scope of our knowledge.
My camera is always within reach to catch either a particular lighting, an unusual texture or a fine detail of an architecture
edifice. What is following is an example of how the meticulous observation of two different buildings, visited eight years apart,
can lead to interesting comparisons.
TRAVEL PHOTOS
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Travel Photos
The Metropolitan Cathedral, Rio de Janeiro, Brazil. Completed in 1976 by Richard Niemeyer.Saint Mary’s Cathedral, San Francisco, United States. Completed in 1971 by Pier Luigi Nervi.
I went to Brazil in 1999 and visited this striking cathedral, absolutely impressive from the inside. I took of course many pictures. Height years later, I crossed the US to San Fran-cisco and visited by chance Saint Mary’s Cathedral. I was fascinated by the similarities of those two Christian edifices. Their overall geometry, the height of the apex, the use of rein-forced concrete, the austerity of the interior and the way both architects treated the incoming light have actu-ally a lot in common.
The Metropolitan Cathedral Saint Mary’s Cathedral
The Metropolitan Cathedral
Floor plan is just one single space.Feeling of greatness. Lack of decoration.Simple altar.
Simplicity of the exterior.No ornament.
Saint Mary’s Cathedral
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Stained-glass windows that rise up on four sides and converge to form a cross at the apex.
Similitude of the stained-glass windows.Saint Mary
The Metropolitan Cathedral
The Metropolitan Cathedral
Churches Comparison
Saint Mary’s Cathedral
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