A collection of work from Montana State University and Boston Architectural College.

1. DANIEL LEAR
B o sto n Ar chitectural Co lleg e B achelo rs o f Ar chitecture

2. DANIEL LEAR
B o sto n Ar chitectural Co lleg e B achelo rs o f Ar chitecture
Segm ent II P o rtf o lio R ev iew JANUARY 2 , 2 012

3. STATEM ENT
Creative design thrives in a collaborative environment, where projects push the boundaries of social, economical, and environmental perceptions. Limitations and constraints
can be seen as unique opportunities for innovation and development in design. By examining the needs of the site, as well as the environmental, physical, and social needs
of the community, the structure can serve a function greater than it’s intended purpose.
Emphasizing the concept of framing view points, architecture can be structured as a stage for the surrounding environment. Using shape and negative space to orchestrate
the experience of the perceiver, a building is capable of merging the built and natural environments. By utilizing materials and construction methods that consider the human
scale, as well as the proportions and geometry of nature, a sense of comfort and enjoyment can be conveyed to a building’s occupants. Architecture that interacts and is
relevant to the environment of a site creates a greater sense of human relationship with the building.
iii ii

4. 41 A Hostel for Boston
Curriculum v itae
37 Chinatown Cultural Center
STUDIO WO R K 33 Arnold Arboretum Pavilion
P ERSO N AL 29 Apparatus
P R OFESSIO N AL 23 Charles Rive Boathouse
19 Building Analysis
13 Cheever Hall
07 Montana State Pavilion 67 1.26 Tsunami
73 On Tiwanaku 05 Point, Line, Plane 49 46 Wood Duck 59 Every Beating Second
01 Curriculum Vitae 03 Cube Metamorphosis 43 41 West River Road
1 55 Dilworth Plaza
i CO NTENTS 00

5. Grassi Design Group | Project Designer ......................................................................................................... June 2012 - Current
+ Guide luxury residential construction projects through the design development, & schematic design & construction phases.
+ Create construction documents for luxury residential projects across the country.
+ Projects involve extensive use of design software to create photo-quality renderings & presentations.
+ Organizing and scheduling daily meetings/conferences to meet project deadlines.
+ Work in a collaborative environment to develop projects at the conceptual level.
P R OFESSIO N AL E X P ER IEN CE
Studio Echelman | Project Manager ......................................................................................................... June 2010 - March 2012
+ Guide large-scale public art installations through conceptual design, design development, & construction phases.
+ Projects involve extensive use of design software to create photo-quality renderings & presentations. EDUCATIO N
+ Scheduling and budgeting to meet project goals.
+ Organizing and scheduling daily meetings/conferences to meet project deadlines.
+ Work in a collaborative environment to develop projects at the conceptual level.
Word of Mouth Media | Founder & CEO ........................................................................................................... July 201 - Current
1
+ Create graphics for web and print media
+ Design branding and advertising material for small and large businesses
+ Web design, coding, and maintenance
+ Organizing and scheduling daily meetings/conferences to meet project deadlines.
+ Work in a collaborative environment to develop projects at the conceptual level.
Boston Architectural College .......................................................................................................................................... 2010- Present
+ Candidate for Bachelors of Architecture Environmental Design.
+ Focus on sustainable design in Architecture
Montana State University ................................................................................................................................................... 2006-2009
+ Candidate for Bachelors of Architecture Environmental Design.
01 CUR R ICULUM V ITA E 0 2

6. CONCEPT
I began my study by sketching various ways
of dividing a square into sections using the
methods of:
1. Addition
2. Subtraction
3. Sculpting
From these sketches, I chose the three that
I found to be most aesthetically pleasing
to develope further into three dimensional
models out of museum board (shown at the
top of page 03). The first starts with a much
1 2 3 smaller cube and uses the method of addition
to imply the form of a much larger cube. The
PROJECT GOALS second cube starts with a large cube and uses
the method of subtraction to deconstruct the
form and generate interest. The third model
The cube metamorphosis project was a semester long
uses the method of sculpting to create the form
project focused around deconstructing the cube. Our
of a cube by “bending” a tube-like shape into
goal was to discover ways of taking the form of a cube
a cube form.
and creating using it to create space that generates
visual and aesthetic interest. We started by creating
The next task for this project was to integrate
three dimensional models of cubes out of museum
these cubes into a landscape model (shown
board. We were then asked to integrate these cubes
in image in center of page 03). My goal here
into a landscape model. The last task was to translate
was to continue the addition, subtraction, or
these ideas into an occupiable space.
sculptural element from each side of each cube
onto the surface of the landscape. This would
seamlessly integrate the cubes into the model.
After integrating the cubes, it was time to take
what I had learned and use it to translate
my idea into an occupiable space. I began
by painting a parti (shown at left). This parti
evokes the geometric forms that I wanted
to achieve in the creation of my final model.
Using the methods of addition, subtraction,
and sculpting, in combination with the parti, I
was able to create my final model (shown in
the three images at left). Here I used the idea
of projecting the surface features of the cubes
onto the landscape to integrate the cubes.
I wanted the cubes to become part of the
landscape and for both the cubes and the
landscape to reflect the aesthetic qualities of
my parti.
03 CUB E STATE UNIV ERSIT Y | FIRSTRYP HOSIS L 2 0 0 6 | JACK SM ITH
MO NTAN A
M ETA MO
EAR STUDIO | FAL
04

7. CONNECTING THE CAMPUS
I began my study with simple black and white sketches that created compositions using only the area of the
planes given to us, and the shape of the three sticks provided (shown at the top of page 05). The next step was to
experiment with various ways of creating space between planes. The diagrams at the left show three of explorations
PROJECT GOALS that I chose to employ in my design. I wanted to create two spaces, one that was intimate and enclosing, and one
This project was a four week first year studio project aimed at that was public and exposed. I also wanted to draw interest to the structure by utilizing height as a beacon. By
learning how to utilize three important design tools To create creating a wall containing apertures, I was able to create an intimate space that still allowed the occupant to see
occupiable space. These three tools are the point, the line, and out. The placement of the sculpture is at the intersection of two “worn paths”. These paths reveal unintended routes
the plane. The assignment called for use to create a structure that pedestrians utilize. My sculpture attempts to connect the surrounding locations by providing both a path where
for a site just outside our classroom that students could sit and there is desire for one, as well as a place of interest along that path. The diagram below shows the intersection of
relax on their way to or from class. To create this structure we these paths and the locations they connect to.
were to use only two 6”X2” planes of paper and three 6” sticks.
The goals of this project were to:
1. Discover how to create various forms of occupiable space. ie:
private, public, intimate, awe inspiring, relaxing, etc.
2. Integrate the design ideas to the site.
3. Keep the focus on what we create from the limited materials
we were given.
0 5 MO NTAN A STATE LUNIV ERSIT, Y |P LANESTUDIO | FAL L 2 0 0 6 | JACK SM ITH
P O INT , INE
FIRST Y EAR
06

8. CONCEPT
CONSTRUCTIVIST JOINT
While this project had few constraints, the site provided a unique opportunity
At left are the three models I created for the building to utilize the roof as a rainwater collection system. The structure
using constructivist joint techniques. The could not block the sidewalk, and it had to be located on the MSU Campus at
models are constructed of plexiglass, the convergence of three main sidewalks. This called for a very light and open
cork and stainless steel. The first model structure that was created by utilizing a skeletal system constructed of finished
demonstrates the constructivist joint wood.
method of clamping. The plexiglass is
clamped between layers of cork. The The roof was designed with glass panels allowing visitors to see the sky above
second model demonstrates embracing. and watch rainwater collection during a storm. The taller section of the pavilion
The plexiglass is held up because it employs a photocatalysis system for filtering rainwater. This system is meant to be
is embraced on both sides by the a model for similar systems that could potentially provide potable drinking water
cork. The last model demonstrates for communities in Africa and South America where people have to travel over
the constructivist joint technique of a mile each way to have access to potable water. The system uses a titanium-
penetration. The cork planes penetrate dioxide slurry, a translucent plastic container, and the ultraviolet radiation from
each other to create a structure. 2 the sun to sanitize the water.
1
Shown at left is the structure of the building and the translucent rainwater
collection rooftop. Water is filtered through each of nine bays and poured down
into a water storage tank below. My final model is shown in the image below.
PROJECT GOALS
The Montana State Pavilion design was 3
a six week design challenge to create
a contemplative space for students and
faculty of Montana State University. The
structure had to be an inviting place
for students to relax and enjoy their
surroundings and was to be sited at
the entrance to Cheever Hall on the
Montana State University campus. The
main goals for this project were: 4
1. Study the various forms of constructivist
joints. 1 Entry
2 Rainwater Collection
2. Build three models that represent 3 Water Storage / Distribution
different constructivist joints. 4 Water Sanitizing System
3. Translate these models into a design
for pavilion.
07 MO NTAN A STATEEAR STUDIO | IO 2 0 0 6 | JACK SM ITH
MO NTAN A STATE UNIV ERSIT Y | FIRST Y
PAV IL N
FAL L
08

9. INTEGRATION OF THE CONSTRUCTIVIST JOINT
The program for the pavilion is split into two parts, one for water collection and one for water storage (seen in the diagram above). The two compentents are designed to
be embracing each other. The columns use a clamping technique to join with the beams supporting the glass roof panels. The water storage and filtration tower also employs
embracing techniques. The most obvious example is the translucent solar filtration channel that weaves between penetrating stainless steel elements.
09 10

10. Water is pumped through a The rainwater is funneled through PROGRAM & DESIGN
photocatalysis water purification the collection bays and into storage
system, which uses a translucent wall containers located below the ground The diagram at the left shows the process of photocatalysis water purification. Water enters the system and large particulate is filtered out by the bag filter. Then the water passes
of titanium-dioxide coated plastic level. During rain collection the system through a cartridge filter that takes out the small particulate. The water is then added to a titanium-dioxide slurry that is the catalyst for the chemistry that filters the water. The water
to purify the water using ultraviolet creates nine columns of water.
is then transported through a large transparent plastic container that exposes it to ultraviolet radiation from the sun. This causes a reaction that degrades volatile organic compounds
radiation from the sun.
and endocrine disrupters such as bisphenol.
The program of the pavilion is shown at left. At the entrance, large glass panels redirect rainwater over the sidewalk creating a waterfall. Under the roof is a seating area where you
can watch rainwater being collected, or relax and enjoy the sky on a clear day. The taller portion of the building is the rainwater filtration and distribution section. Water is filtered
via the system described above and there is an access point that allows anyone to collect free potable water.
1
2 3
Rainwater is collected via a system
4
of nine translucent collection bays
built into the roof of the structure. The Two collection bays funnel An access point is located here to
translucency of the roof allows you to 6
water onto glass panes that provide fresh naturally purified water
see the rainwater being collected and extend over the sidewalk to students and faculty passing by.
provides a meditative escape from creating a waterfall effect that
the elements. pedestrians can walk under.
5
P HOTOCATALYSIS WATER P UR IFICATIO N SYSTEM
1 Raw water feed - rainwater is moved from the below-grade collection system towards the bag filter.
2 Bag Filter - provides large particle filtration before being transferred to the cartridge filter.
3 Cartridge Filter - provides small particle filtration before being transferred to the TiO2 filter.
4 TiO2 slurry addition - addition of TiO2 slurry.
5 UV reactor - exposes water to Ultraviolet radiation from the sun to break down volatile organic
compounds, toxins, & bacteria.
6 Clean water exit - filtered and sanitized water exits the system to a storage container made of
antimicrobial plastic.
11 12

11. ELEMENTS OF THE CONCEPT SITE ANALYSIS
Shown at left are the key elements The site for this project was the display
of my design for the exhibit space in gallery in the second floor of Cheever
Cheever Hall. The first image (far left) is Hall, a building dedicated to architectural
the proposed bench system. The second studies on the Montana State University
image is the proposed wall construction Campus. Cheever Hall is located between
for the space. The third image is the the dorms and College street, the main
proposed louvre/passive light control throughway from one side of campus to
system. The last image is the LED lighting the other. The building is also located at
fixtures that would be used to illuminate the head of the “mall” sidewalk, the major
the space during evening hours and form of pedestrian traffic through campus
times of low natural light. leading to the Student Union Building.
Across College street is the Montana
State duck pond. The Front of Cheever
Hall faces south towards College Street
allowing the facade to be exposed to
natural daylight throughout the day. Large
windows allow this light to penetrate into
PROJECT GOALS
the hall, however it is then confronted by
a cinder block wall that defines the exhibit
The Cheever Hall remodel was a six
space. To the west side of the exhibit space
week studio project that asked to
is the first and second year studio spaces.
recreate the critique & exhibit space in
The students that occupy these spaces are
Montana State University’s Cheever
the primary users of the exhibit space that
Hall. Cheever Hall is the main building for
is to be remodeled. On the east side of
Montana State’s architecture program
the exhibit space is a long hall that adjoins
and is used by hundreds of students
the north and south sides of the building.
each year. The current space is a simple
At the north side there are faculty offices.
cinder block box with a drop ceiling, vinyl
The exhibit space is a cube shaped room
flooring, and doors at either end that
that is in the center of a much larger space
open up to the hallway. The four walls of
as seen in the diagram at left (top).
the space abut the first and second year
studio spaces, as well as a highly used
The goal that I set as my primary objective
hallway. Established goals where:
when redesigning this space was to
connect the space to the studios and
1. Bring natural daylight into space
hallway allowing passing pedestrians to
see what is inside the gallery and decide
2. Connect the space to the studio and
to stop and explore what is on display.
hallway
Shown in the diagram at left (bottom) I
proposed to create three glass openings
3. Create display space for architecture
in the cinder block walls to open the space
students
up to the adjoining areas and provide a
“teaser” as to what is inside. This was aimed
4. Allow the space to adapt to multiple
at generating interest and attracting
uses as needed.
students and faculty to the space.
13 CHEEV ER H AL|LS ECO ND Y EAR STUDIO | FAL L 2 0 07 | B IL L R A E
MO NTAN A STATE UNIV ERSIT Y 14

12. CONCEPT
The box-like shape of the exhibit space created a very boring and regular space for displaying work by architecture students. I wanted to achieve some amount of interest in the
space without drawing attention from the work that would be displayed in the space. My concept for achieving this was to create hanging benches that are curved at the top.
These are meant to sculpt the space and break away from the traditional cube shape. The LED light fixtures are suspended through the ceiling and pass through large cut-outs
in the wooden benches. This prevents the seating from blocking artificial light from reaching the display areas. The benches are also designed to have stainless steel channels
for hanging student work. The bench can serve as seating when needed, or as a display space for student models.
ELECTROCHROMATIC GLASS
Because there are no windows in the space, a major part of my concept was to bring natural day lighting in. This was achieved by removing the drop ceiling and
replacing the roof with exterior glazing. An added benefit of doing this was that the ceiling height was raised by four feet. To diffuse the light coming in from the ceiling,
large wood panels are hung. These also function as a way of hiding any mechanical & electrical equipment that is necessary above. None of the walls were structural
15
walls so I chose to recreate the walls with a system of alternating concrete and electrochromatic glass stripes. This glass could be darkened to provide privacy, or
lightened to allow passing students to see into the space. The translucent wall would allow natural light from the southern windows to penetrate the space. 16

13. INTERIOR PERSPECTIVES
At left are interior perspectives
showing the finishes and design
for each of the four walls of the
space. Here you can see design
influences from my previous studio
projects. Particularly my study
on the constructivist joints. The
light fixtures penetrate the bench
system creating a sense of unity.
The benches on either side of the
glass opening that faces the studio
spaces are embracing and framing
the view of the space beyond.
INTERIOR PERSPECTIVE LOOKING EAST INTERIOR PERSPECTIVE LOOKING WEST INTERIOR PERSPECTIVE LOOKING SOUTH INTERIOR PERSPECTIVE LOOKING NORTH
The benches are curved at the top to help control PRACTICAL COMPONENTS
MATERIALS the acoustics of the room and to deviate from the
square shape of the space. An over arching theme for this
Magnetic Glass - 1/4” thick magnetic tempered glass with matte cut edges is suspended project was functionality, because
1/4” from the wall by hidden stainless steel mounting brackets. This glass accepts magnets the space of course had to also
Lighting passes through the upper portion of the
for displaying student work, cleans with standard cleaning products and extremely scratch be used by the students and
wooden benches and illuminates projects that are
and mar resistent. faculty. Magnetic glass surfaces
displayed on the wall. The shape of the bench
create additional space for
helps to reflect the light downward.
Travertine Marble - white travertine marble creates a clean surface for the floor while hanging student work that is easily
creating minimal distraction from the student work on display. The marble cleans with cleanable. Designing the benches
standard cleaning products, is extremely scratch and mar resistent and does not change Metal hanging bars allow artwork and to be suspended allows the floor
color over time like common laminates. presentation boards to be easily suspended. This to be cleaned an polished with
means no Homasote walls with pinholes in them. ease. Stainless steel tracks for
Recycled Hard Wood- recycled wood is used to construct the benches. Finished with a low hanging student work mean no
VOC natural wood finish created from sustainable materials and highly scratch resistant. painted homesote panels with
pinholes in them. The shape of the
Stainless Steel- recycled brushed stainless steel is used for the light fixtures. Stainless steel The benches can be used for seating or benches help control acoustics in
is durable over time and easily cleanable. displaying models during architectural critiques the space and reflect lighting onto
and exhibitions. They are connected to the wall the display areas. Wooden boxes
and suspended sixteen inches above the floor to provide adaptable seating and
allow easy cleaning of the floors. surfaces for displaying models.
17 18

14. PROJECT GOALS
6 ORIGINAL FLOOR PLAN
The building analysis project was a four week project focused
The original floor plan is shown at left. The most noticeable around analyzing a particular building through diagraming and then
aspects of Mies’ design are that he has created a translating the findings into a building remodel that would improve
7 7
5
central core that contains the only private spaces in the upon the design. The building I chose to study was the Farnsworth
2 3
home. These are the bathrooms. The rest of the plan House by Mies Van Der Rohe. I chose this building for my analysis
is very open does not provide any privacy for any of because I knew that it would be a challenge for me. The purity and
the occupants. All rooms except the bathrooms have simplicity of the design would be hard to improve upon, however
4 views out the windows. The flooring continues beyond I knew that I could adapt this 1947 vacation home to meet the
the envelope of the house to create the covered porch needs of today’s families. The first step in this process was to create
and is also used on the uncovered porch. This was meant a set of base drawings to gain a greater understanding of the
to create a seamless connection between exterior and site and the structure itself. The goal of the first half of this project
interior spaces. The house only contains one set of doors was to discover latent qualities of the selected building to better
1 Porch
at the entrance, and only one set of operable windows in understand the conceptual, material, and structural elements of
2 Covered Porch
the rear. This is not an ideal configuration for ventilation. the chosen building. Upon completion of these first drawings, quick
3 Entry / Guest Bedroom
1 The kitchen faces outward and is blocked from the living study-model diagrams were made to explore and refine abstract
4 Living Room
room. This particular setup was more conducive of families ideas and concepts that were discovered during creation of the
5 Bedroom
in the 1940’s that considered the kitchen a functional initial drawings. In producing these diagrams observations and
6 Kitchen
space that was not meant to be public. questions arose that helped to generate a better understanding of
7 Bathroom
the differenced between documentation and analysis. Once the
concepts were exposed, a thesis was drawn about the existing
structure. Through the development of this thesis a “transformation”
of the existing structure was to allow the articulation of analysis as a
CHANGED FLOOR PLAN
tool for design. By making changes and alterations to the Farnsworth
6 While diagraming and analyzing the house, I chose to House the thesis could then be tested and expounded upon. The
7 5 focus on privacy, program, and circulation. I discovered result of these mutations were not meant to be an understanding of
that if I rotated the core of the house I could open the the structure as it is, but instead a realization of what the structure
2 3 kitchen up to the living room to create a more social could be. The exercise produced an enhanced understanding of
7 analysis, exploration, and understanding, allowing for the information
space. This would make the space more suited for a
4 family in the 21st century. At the front of the home the gathered about the Farnsworth House to aid and inspire new ideas
windows are replaced with a Nana Wall door system. for the home that naturally evolved from the existing concepts in its
This is to better connect the interior and exterior spaces original construction.
by allowing you to open the entire wall and make the
covered porch part of the living room. On the opposite
side of the core from the kitchen is a two-sided fireplace
1 Porch the opens to the bedroom and living room. This setup
2 Covered Porch creates a sitting area in the bedroom that has access to
1
3 Entry / Guest Bedroom the fireplace. The bathrooms open to either side of the
4 Living Room core allowing the bedroom to have a private bath and
5 Bedroom the living room to have a public bathroom. The closet is
6 Kitchen rotated to screen the bedroom from the living room and
7 Bathroom to create a sense of privacy.
19 B UIL DIN G AL CO L LEG E | B1 STUDIO |FARIN GSWO |RTHEDHOUS E L
B OSTO N AR CHITECTUR
AN ALYSIS |
SP R
N
2 010 JAR R A MSDEL
20

15. CONCEPT
Shown at left are the before and after diagrams of the
circulation, program, and privacy. The top two diagrams
6 4
show the circulation of the house before and after the
5
transformation. The changes to the building allow access
to the kitchen from the living room. The middle set of 1
diagrams show the program of the house. Here again
you can see how the living room and kitchen now have
access to each other. The bottom three diagrams show
which spaces in the home are public and which are
private. The first of the three shows a three dimensional
diagram of the space. Blue spaces are private or semi-
private while yellow spaces are public. The original floor
plan created an axis that separated public and private 1 Porch
spaces that followed a diagonal across the house. The 2 Covered Porch
new floor plan squeezes all of the private spaces to one 3 Entry / Guest Bedroom
end of the building. The diagram on page 22 highlights 4 Living Room
the changes made to the floor plan. 5 Bedroom 4 6
6 Kitchen 7 5
7 Bathroom 2 3
1
NEW SECTIONS
During the transformation, I tried to focus on preserving the purity and simplicity of the design and its proportions. The sections above show how the spaces would appear after the
transformation. As you can see the living room and kitchen become one large space that would be better suited for social interaction. The wood paneling on the walls would be preserved
and the proportions of the panels would be translated to the addition of the new set of kitchen cabinets and altered fireplace.
21 22

16. FRAMING VIEWS SITE ANALYSIS
During my building analysis project The form of the building was dictated by the discoveries made during site
study of the Farnsworth House, I analysis. My primary concern with my design was to engage the occupants
discovered that an over arching with the water and the activities taking place offshore. This was achieved
theme of the building’s design was its by mapping site lines from one end of the esplanade to the other. These
connection to nature. This was greatly site lines represent a path of vision by pedestrians from various points along
achieve by utilizing the building’s form the esplanade. These site paths revealed a potential building footprint that
as a frame for the view of nature was then merged with the idea of creating a building that functions like a
beyond. I wanted to emulate this same set of binoculars. This led to a series of paintings that I created to explore the
characteristic in my design for the aesthetic qualities of the proposed form. These are shown below.
boathouse. Shown at left are diagrams
that display the process in which I
used to create the form of my design. I
LINE OF SITE DIAGRAM - The above diagram shows site paths across the esplanade. These each one represents a straight
began by using my discoveries during line of site from one side of the esplanade to the river.
site analysis (described on page 24)
to dictate which parts of the building
would need to be translucent and
which parts could be opaque. I divided
the program of the building into two
sections, the boat storage and the
public space. These two sections of the
building became apertures to the river
beyond.
PROJECT GOALS PAINTING 1 - This painting explored the PAINTING 2 - This painting was a more
idea of the aperture and the concept literal representation of the proposed
The Boathouse project was meant to be of having infinite apertures within one form and was meant to evoke the
another. feeling that something special is hidden
a continuation of my building analysis just beyond the surface.
project. The goal was to take what
POSSIBLE BUILDING LOCATIONS - This diagram shades in green the possible locations were opaque building structure
we learned about analysis through would not block one of the previously mapped site lines.
diagraming to comprehensively
analyze the Charles river esplanade
and create a design for a boathouse.
The main goals of the project were to:
1. Do a comprehensive site analysis.
2. Design a boathouse in response to
the discoveries made during the site
analysis. PAINTING 3 - The last painting was BUILDING FOOTPRINT - Here is
created to further explore the idea of a diagram showing the proposed
making something more special by only footprint of the building. The vertical
revealing part of it. dashed lines represent the site lines
that will be preserved.
23 CH ARCHITECTUR ALIV ER E BB1 STUDIO | SP R IN G 2 010 | JAR ED R A MSDEL L
LES R OATHOUS E 24
BUILDING SHAPE DIAGRAM - This diagram contains a sketch idea for the shape of the footprint of the building. The shape
is inspired by a set of binoculars that, in theory, would be focused on the river beyond.
B OSTO N AR CO L LEG |

17. STRUCTURE
5 1 Entry
The structure of the building 2 Cafe / Exhibit Space
emulates the materiality of the 3 Dock
surrounding trees and reflects 4 Men’s Locker room
1 2
their vertical presence. Each 5 Women’s Locker room
structural element is spaced 6 6 Boat Storage & Rigging
according to the golden ratio,
creating perfectly proportional
openings that frame both
inward and outward views. The 4
wood members are meant to
harmonize the building with the
surrounding trees. The concrete 3
shell would be whitewashed to 3
create a very distinct frame for
the vibrant water view beyond.
The structure is designed to have
a sculptural presence that draws
attention to the waterfront and FIRST FLOOR PLAN
then transferring that attention
to the activity on the Charles On the first level is a public space that contains a cafe and a large dining / lounging dock. The opposite section of the
River. The angled roof directs building contains storage for boats that is created using a glass wall system. This allows pedestrians to see the boats from
the occupant’s view outward the outside of the building. Handicap accessible locker rooms are located on the first floor as well as a reception area
focusing their attention on the located near the entry.
water and it’s activities.
7 Office
1
1 8 1
1
8 Lounge
9
9 Bridge
10 Observation Deck
1 Open to Below
1
10
1
1
7
1
1
SECOND FLOOR PLAN
25 A second level terrace provides public viewing and lounging space. The higher location provides
uninterrupted views of the water and it’s activities. The office is located upstairs along with a lounge area
for athletes and faculty.
26

18. SECOND FLOOR PROGRAM
The second story is for lounging and
viewing the river’s activities from
a higher advantage. The office is
located upstairs to allow faculty to
keep watch over the boat storage
and rigging area. Adjoining the office
is a lounge for athletes and faculty
to relax after a strenuous day of
water sports. Views on the second
level are directed out towards the
water and are concentrated in the
opposite direction attempting to
limit the views of the city skyline and
maximize views of the surrounding
nature.
FIRST FLOOR PROGRAM
The interior public space of the boathouse is versatile
and, while serving on a daily basis as a cafe and
lounge area, can also be used to host large events
and parties. The dock extends outward into the river
allowing visitors to relax along the waters edge, or take
in the excitement of the races. A athletes are greeted
at a reception desk before the enter the locker rooms
and boat storage.
OUTCOME
The purpose of this project was to learn how to do
a comprehensive site analysis and apply translate
the discoveries to conceptual ideas for a building. I
SPACE HIERARCHY
learned that when doing a site analysis it is not always
simply about finding the environmental factors. There
Each of the two sections of the building are divided into three sectors. are many different ways of looking at a site that can
The primary space, secondary space, and tertiary space. The primary shape the design of a project. This include but are not
space is the boat storage and cafe, the secondary space is the office, limited to social aspects of the site, circulation of the
lounge, and the observation deck. The tertiary spaces are the entry and site, uses of various locations on the site, etc. This was a
reception areas. valuable concept to learn because it provides me with
multiple tools for generating design ideas that will lead
to a more meaningful and integration of the
27 building to its site.
28

19. PROJECT GOALS
The apparatus project was an introductory project that asked us to
analyze three building details and create study models that evoked
the idea of these building details. We were then suppose to translate
one of these ideas into an apparatus. This apparatus would then be
examined at different scales in comparison to the human size. This
project would lead into the Arnold Arboretum Pavilion project.
CONCEPT
The concept of my apparatus was derived from a building detail that
depicted how shingles would be attached to a roof. The essence of this
detail was that a penetrating element was used to pin together repetitions
of a single form. With my apparatus, I chose to represent this concept by
using a single bolt to pin together planes that are each cut at an increasing
angle. This created a an undulating space that could be occupied.
2 9 AP PAR ATUS CO L LEG E | B2 STUDIO | SP R IN G 2 010 | J O N ATH AN H AN AH AN
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20. BUILDING DETAIL 1 BUILDING DETAIL 2
This building detail depicts shingles being fixed to a building. With my study model I explored how I could use penetrating elements The second building detail depicts how glass glazing elements would be attached to structural columns. Here I wanted to experiment with the idea of attaching planes to a surface
to take multiple planes together. I began with the sketch below of which I scaled to various sizes to begin to think of how sketch while leaving space in between the elements. I came up with the sketch shown below which emphasized the idea of attaching elements. I explored this sketch at various scales in
comparison to the human scale to see how it may become occupiable space. The sketch lead to a study model that
would interact with a human in three dimensional space. Then I built the study model in the image on the right. This model uses bent
explores this concept of attaching planes. Here the planes are attached to each other with spacing in between.
planes of museum board that are tacked to a cardboard surface using bass wood sticks. Clamped between the layers of museum
board are curved elements created from corrugated cardboard. When creating this model I tried to take a very sculptural
approach that utilized only the techniques depicted in the given building detail. I learned from this study model that I wanted my
apparatus to have a sculptural feel. I wanted it to create a defined shape out of repetition of elements.
2
1
BUILDING DETAIL 3 3
The last building detail shows two L-shaped components being clamped together by a C-shaped component.
With my sketch I wanted to explore this idea of one element embracing another. I then explored this
concept in my model shown at right. This model uses the same strategy of utilizing embracing elements to
31 create form.
32

21. CONCEPT DESIGN DEVELOPMENT
My concept starts with dividing the The sketches to the left show how the wood panels would appear from the side
space into two spaces. The exhibit of the building. In this image it is easy to see the two spaces that have been
space, and the utility space. The exhibit created. Separate from the exhibit space is a utility building. The two buildings
space is a large glass box that is filled are connected by a cascade of stairs that lead to the entry of the building.
with repeating wood panels that These stairs can be used amphitheater seating for concerts and events. The
define the shape of the interior. The wood panels imply a box-like shape for the structure.
exhibit space was then divided into
to uses the entry and the space for
displaying work. This dictated how the
wood panels would be cut. I wanted to
REPETITION OF FORM - From the side you can see the repetition of panels that create the form of the structure.
carve out space from the front for the
entry and carve out a larger space in
the back for exhibit. The panels come all
the way down to the ground to divide
the two spaces. There is a cutout in the
panels that creates an opening that
connects the two spaces. The idea was
to immediately block the occupants
view from the exhibit space offering
only a teaser of what is beyond the
wooden panels.
PROJECT GOALS BUILDING PROPORTIONS - the initial building proportions had to be scaled up to create enough usable space.
The Arnold Arboretum Pavilion was
a continuation from the apparatus
project. Here we were asked to
translate the ideas that we had
formulated during the apparatus
project into an occupiable space that
would function as an educational
pavilion for the Arnold Arboretum
Pavilion. The Pavilion needed to create
a space for exhibits to be displayed
in order to generate interest in
horticultural education.
33 AR N AR CHITECTUR AL CO L LEG ER| B2 STUDIO | SPPAV2IL IO N AN H AN AH AN
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WOODEN PANEL AXON - Here is an axonometric sketch of the wooden panels and how they would be arranged inside
the glass envelope. 34