These studies from Project One: Building Assembly and Form demonstrate various strategies in creating formal compositions. Each set of iterative models is generated by a repeated action on the same set of objects addressing concepts such as subtractive/additive, inward/outward, and open perimeter/bounded perimeter.
Mill River Live-Work Tower
The intersection of Mill and Chapel Streets serves as a marker for the entire Timber Innovation District. To capture people’s attention, the site contains a twelve story tower as well as a six story slab building which are linked by a publicly accessed plinth. Both buildings consist primarily of live-work spaces with additional commercial spaces at street level. Here, the idea of live-work spaces is re-imagined and varied to create a diverse community of people. There are three types of living arrangements. First is co-living which consists of minimal private units (dorm style rooms) and maximum shared spaces – kitchens, dining, social, and work areas. The second type of living arrangement is co-working – larger private units that include private bathrooms and kitchens but work areas are shared. The last are live-work units – entirely private apartment units with personal work spaces.
A mix of the three types of living units are organized within a CLT tray system. Three levels of living units are stacked between two CLT super trays, interconnected by shared circulation spaces including stairs that bring people up to the second and third stories. In the tower, there are four sets of stacked trays (to create 12 stories total) which are then all linked by two cores containing elevators and utilities. The living units themselves are prefabricated CLT boxes set into place on site. The buildings made up of prefabricated parts and a repeated structural system allows for efficiency in the construction process while the diverse combinations of living units provide space for a redefined model for living and working.
2024 Boston Olympic Village
Our Olympic Village proposes a framework for future development, rather than a fully finished environment. We draw on the concept of the ‘concourse’ that links set pieces of development together, and also grows into a living urban space itself.
We place 15,000 units of housing in densely arranged towers along the western edge of the site. While the towers’ footprints are positioned optimally for views to the city, their lobbies expand into the primary public and circulation spaces for the urban concourse below. Parking occupies the ground level, due to flooding concerns. We then dedicate the second, third, and forth levels to an open, connected zone of retail, services, and public realm. Internally, these levels link the towers together (via their lobbies), while allowing for the urban surprise, encounter, and delight necessary for long-term social value. Externally, the concourse levels modulate their edges to provide access points specific to the surrounding areas. The Convention Center, Innovation District, waterfront, and South Boston, which are currently isolated urban artifacts, thus become feeder populations for a newly connected and densified southern Boston.
This building serves two primary functions. First, it serves as advertisement for CASIS - it is designed to draw interest and create excitement about space, the ISS and CASIS. Second, it serves to connect people with limited knowledge about space research (tourists and students) with people fully involved in research.
Formally and programmatically, the building is organized into a series of three nested boxes, all punctured by a continuous diagonal void that connects the plane of city to the sky. The outer box houses the most public program such lobby and exhibition spaces. The innermost box is most private, containing offices and research labs. The intermediate box contains shared program - education space, lecture hall, and open labs. Service and staging spaces are compacted into an L-shaped core allowing for the rest of the building to open up for the main programs. Visitors access the entirety of the building by beginning in the lobby and wind up and around the central, diagonal, void into the inner boxes. As one progresses further into the nested boxes, light becomes more diffuse while attention is focused on moments of clarity – views into more private programs. The public staircase culminates with an open balcony on the 5th floor providing a view to the East River.
Ishmael’s Passage: Fifth Floor Bridge Installation
Given that the final project was to be site specific within Rudolph Hall, we wanted to choose a location that allowed for the installation to engage the building and its users. The 5th floor bridge presents the opportunity to create a sculptural installation, visible from multiple vantage points, as well as an interactive passageway that modulates light and views. The construction logic dictated the form of the referential Jurassic rib-cage. The tectonic lattice of plywood members utilizes the bridge’s compressive tendencies to hold it together at the base. At the top, the members are woven together by a system of notches and pegged holes. The compressive force of the bridge and the tensile resistance of the plywood members create a gothic bow in the wood structure. The intention of the project was to test the humility and piety of the student body. Similar to the servant entrance of a Japanese Tea House, the participant is required to lower himself through the passageway. The arrogance and intolerance of the 5th floor occupants resulted in the destruction of the bridge as few were willing to sacrifice their pride.