portfolio upwork 2
TRANSCRIPT
SABRINA NAUMOVSKIARCHITECTURAL PORTFOLIO
ARCHITECTURAL PORTFOLIO
SELECTED WORKS 2013-2016
CONTENTS
MAKERSPACE 18-29Across from the Thomas Edison National Park in West Orange, NJ.
PROFESSIONAL SAMPLES 6-17Examples of various professional projects I took part in during my time at Mesh and Situ
LIBRARY 30-39 In the Ironbound Neighborhood of Newark, NJ.
LILY PAD DOCK 50-59A built dock on the Fern River in Wayne, NJ.
CELLULAR STRUCTURES 40-49A theoretical project that experiments with ideas of biomimetic design and the perception of space.
PROFESSIONAL SAMPLES
7
SCIENCE ISLAND KAUNAS
September 2016: For our submission to the Science Island Kaunas Competition located in Lithuania, I led the graphic design, contributed to the overall design, and 3D-modeled the facade using grasshopper.
8
9
SCIENCE ISLAND KAUNAS
The goal of the project was to create a science center in the city of Kaunas that activated the site and communicated its scientifically focused interior externally.
9
10
KAUNAS DIAGRAMS
In addition to the graphic design, rendering and 3D modeling, I was also responsible for communicating major elements of our design through diagram and text.
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
8. Open the corners of the envelope to the park. The paths wind through these openings and enable the public space to be open even when the Centre (public masses and galleries) are closed.
1. Consolidate main programmed mass.2. Lift up the mass to create room for thepark to enter and form the public space.
4. Pedestrian park paths continue through thebuilding around the public masses.
7. The galleries level sits on top of the structural administrative floor, with the virtual planetarium on the roof.
3. Insert 4 public masses to support the programmed mass. Each is programmed for a public function, determined by its orientation (entrance, loading, cafe, store).
reception
loadingcafe
shop
5. Shape the masses based on structural and circulation requirements. Oblique lines radiate out from the building to become “cones of influence” in the landscape.
reception
loadingcafe
shop
6. To keep the ground level column free, configure full-floor-height trusses to sit on the public masses, whose walls are concrete piers. This structural level becomes the administrative floor, with offices, work-shops, storage, and mechanical equipment, as well as the black box event space.
reception
loadingcafe
shop
9. Add fritted glass to facade that corresponds to the program behind it. Planetarium is added to the roof.
11
mech space
reception
o�ce space
maker space
lab
fly space
mech spaceshop
temporary
machine
incubator
maker space
fly space
human
nature
incubator
machine
temporary
lab
maker space
greenhouse below
o�ce
black box
mech space
cafe
loading
shop
reception
exhibition prep
grn. house
workshop
planetarium
11
PARISIAN MARKET COMPETITION
July 2016: I contributed to this short competition as the project leader, where I led our office of 6 people. I was in charge of overseeing the final product, the overall design, graphic design, and 3D modeling, where I
used Grasshopper to model the tensile canopies.
typical canopy
construction
Sensors on the posts record activity
below the canopies. That data is
projected on to the other via the
LEDs embedded in the canopies.
heat sensor
canopy
leds (low heat)
leds (high heat)
abbesses rue dejean
activity on one
site is translated
to opposite site
Abbesses
Rue Dejean
connective tissue
translucent magenta fabric
translucent white fabric
steel cable
LED lights
embedded on wire
thread
canopy detail
electrical cable
aluminum
electrical
steel cable /
ratchet pulley
connection
battery
wall anchor
wall and pole
connections
12
13
PARISIAN MARKET COMPETITION
The competition described a need for protection from the sun and more connectivity between two pre-existing markets in Paris.
typical canopy
construction
Sensors on the posts record activity
below the canopies. That data is
projected on to the other via the
LEDs embedded in the canopies.
heat sensor
canopy
leds (low heat)
leds (high heat)
abbesses rue dejean
activity on one
site is translated
to opposite site
Abbesses
Rue Dejean
connective tissue
translucent magenta fabric
translucent white fabric
steel cable
LED lights
embedded on wire
thread
canopy detail
electrical cable
aluminum
electrical
steel cable /
ratchet pulley
connection
battery
wall anchor
wall and pole
connections
13
14
BOOK DESIGN
Dec 2015: At Situ I designed a 300 page book that outlined their creative process for a particular work.
GENERATORDISCOVERY PHASE FOR AN NYC WORKSPACE
The redesign of Google Creative Lab’s New York City headquarters began with a Discovery Phase. During this period, SITU spent five weeks observing, interviewing, documenting and studying the group.
The body of research, contained herein, became a framework for thinking about the vision, culture and workflows of the Creative Lab and about the future of workspace more broadly.
INTRODUCTION
EXISTING PROGRAM
PROGRAM
NARRATIVE 12
3
86
108
INTRODUCTION
MUTABILITY 20
PROGRAM PLAN 110
PROGRAM STRATEGY 88
BRIEF 8
SPECIFICITY 26
WORK SPACES 112
TEST FITS 94
PROCESS 10
SPEED 42
MEETING SPACES 126
EXISTING ORGANIZATIONS 100
COLLISION 54
RESTING SPACES 138
RETREAT 66
PROGRAM CHART 146
DISPLAY 76
TABLE OF CONTENTS
OBSERVATIONS
SYSTEMS ANALYSIS
PRECEDENT RESEARCH
MEETING SCHEDULE154
MEP218
PARTITION SYSTEMS256
ASSOCIATION EXERCISE156
ACOUSTICS 222
ELECTRICAL254
SURVEY + RESULTS164
LIGHTING232
LIGHTING252
CULTURAL OBSERVATIONS188
COMMUNICATIONS242
FURNITURE264
COMPARABLES270
TRACKING
190
BIOPHILIA248
BIOPHILIA266
CONCLUSIONS276
3D MODEL
198
148
216
250
not everything can or should be flexible
SPECIFICITY
6
INTRODUCTION7
NARRATIVE“this looks like a favela...”
• 5.1 surround sound• outside sound isolation• seating for 6• editor/control station?
Creative Lab films and video advertisements are often meant to be viewed at high resolution and accompanied by an original soundtrack. In order to review this type and quality of output, Creative Labbers have suggested a screening room with a high-quality sound system, and seating for approximately 6 people.
SCREENING LABSPECIFICITY
33
What is your role at creative lab?
STRUCTURE
problem solver
leader
organizer
graphic designer
motivator
branding expert
filmmaker
coach
In the next five years:• number of Labbers will grow by x 1.6 (65%) • available space will grow by x 2.5 (150%)• density will decrease by 1.5 (50%)
GROWTH
140 p
2019
2016
2015
100 p
85 p
13,669 rsf
161 sf/p
20,602 rsf
206 sf/p
34,271 rsf
245 sf/p
MUTABILITY21
1515
BOOK DESIGN
Below is a sampling of typical pages contained in that book.
OBSERVATIONS
SQUAD ORGANIZATIONWhat is the ideal squad size?
The average ideal squad size is 10.
While explanations varied, many spoke of the need to have a close, intimate team while still being able to cover all the necessary disciplines and specialties.
• the ideal squad is about 15 people. Large enough to have more than two people on some projects but not too small where you can only have the squad working on one thing
• <10 people Cause it allows you to be more nimble and iterative. More people means more projects means more meetings means less productive.
• 10ish seems good. Covers all disciplines.
• Ahhhhh...I think I tend to like working on small teams of 2-3 people within a bigger pod structure.
• ~9 - a core autonomous team + a few specialists who can be dedicated to skunkworks initiatives
• 8 and smaller. It seems there is a threshold in team size beyond which organizing the team just becomes unwieldy, and you spend more time in communication and meetings instead of actually making stuff.
• 9-13. Everyone gets to have a large stake in the projects. There’s enough varied roles and people to have big contributions to the work. And it’s still contained enough to operate like a small startup.
• 6 for the core team. I think beyond that it starts to get too anonymous and there isn’t a centered shared experience. We are trying to keep it to 6 as a core but bringing on more people to work on projects under the core team’s supervision so we are all still connected to the work.
• 10. 5 fulltime. (writer, filmmaker/animator, designer, producer, team lead) 5 contractors (whatever’s needed) This size allows for any kind of project to undertaken, but not for there to be many projects that don’t get touched by most of the full time members. I don’t believe there should be competing/unrelated project sets coexisting inside a squad.
• I think around 6 or so.
• 12 - enough to fulfill specialties but keep the squads small, scrappy and quick
• 8 core people. That gives virtually every skill set without
slowing down the team and allows for agility and rapid iteration.
• I think 7-8 is ideal, too big and it is too hard to manage your members and all the projects you take on. At a smaller size, you have the ability to be more focused and work on projects together as a team.
• 9-10, enough to support two concurrent projects well, not too big that there’s more than one ‘conversation’
• 12. I believe this is still very small but also gives a little more bandwidth.
• 8-12 people This seems like enough people to cover the big skill sets - producers, creatives, copywriter, business, etc. More than this and it gets hard for me to know what everyone else is doing.
• 6 - small enough to move fast yet big enough to have diverse ideas
• 8 people Gives each skill set. Team Lead, Design Lead, Motion, Production Lead, Digital Producer, Film maker, Writer, UX designer,
• 8. it’s small enough to have it be close and intimate but large enough to foster different and compelling ideas.
• The ideal squad size includes at least two people of each discipline. My ideal squad is from 15-20.
WHAT IS CL?Define Creative Lab.
unique
cutting-edge
thinkers
makers
communication
compassionate
talented
fast
smart
4
5
7
4
3
3
2
2
2
• Knowing the world, knowing Google, and finding opportunities to create something amazing that benefits both.
• Full speed no direction really sums it up. I describe it very much as a lab, tinkering with Google products and technologies to create new experiences to remind people why Google is awesome.
• a group of really passionate, interesting, smart and compassionate thinkers trying to make a dent in people’s lives and in a massive corporation, respectively.
• Communication, product and idea factory, attempting to operate faster, smarter & more efficient than the rest of the company.
• a unique place where people come to make moonshots.
• A mix of designers, technologists, filmmakers, thinkers, makers and planners envisioning new ways to utilize Google products.
• One can’t define creative lab. But I can try to describe it. It’s a collective of creative minds who: 1) Want to do the best work out there 2) Want to push the boundaries of anything ‘traditional’ out there.
• A group of makers, thinkers and tinkerers that help remind users why thye love Google.
• An amazing place where talented people apply their every instinct and skill to bring ideas to life quickly and without waste and BS.
• Makers who teach the world about Google Products
made up of talented people who are also extremely kind.
• A place where cutting edge ideas are developed rapidly and occasionally prototyped, where a few keen minds come together to help the company at large stay true to its moral center, where creatives and designers and technologists attempt to affect the world at large in a positive way with Google technology.
• A place where we’re given permission and budget to pursue ideas that would otherwise be considered a waste of time.
• A constantly evolving (great) idea made up of some of the most talented & kindest people in the world.
• A creative group that can make, adapt and fiddle with anything goole: from focus all the way to communications.
• An octopus where every leg does something different (one leg does advertising, one leg does product design, one leg does interactive web stuff, etc.) but all the legs share the same heart and brain.
• “lying about the future makes history” - Umberto Eco can’t.
• A group of makers - designers, writers, filmmakers, coders, producers, and others - that jump in to help Google in any way possible.
• A group of skilled craftspeople that solve problems for the larger org using their unique set of abilities. Rather than hiring other orgs to source this talent, the talent inhabits the company natively, allowing them to move faster and more fluidly without the middlemen and management of agencies intermediating the project process.
• craziest people speeding maximum (in an awesome way)
• A place to experiment. An idea generator for Google.
169
• infrastructural solutions that are designed for flexibility
• systems that are fast and easy to reconfigure
• anticipation of customization, hacking, and re-purposing by individual users
• furniture systems that are both highly functional and simple in their design; not precious
CONCLUSIONS AND RECOMMENDATIONS
276
CONCLUSIONS277
STUDIO Wednesday 06/03/2015 11:28 - 11:59 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 12:00 - 12:29 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 12:30 - 1:05 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Thursday 06/04/2015 12:32 - 1:36 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Thursday 06/04/2015 1:54 - 2:30 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Thursday 06/04/2015 2:50 - 3:36 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 12:05 - 1:06 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 2:04 - 3:03 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 4:40 - 4:59 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
MOE’S Thursday 06/04/2015 10:37 - 10:46 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
MOE’S Thursday 06/04/2015 10:46 - 11:06 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
MOE’S Thursday 06/04/2015 11:06 - 11:10 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
SKY LOUNGE Wednesday 06/03/2015 12:54 - 1:36 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
SKY LOUNGE Wednesday 06/03/2015 1:37 - 2:13 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
SKY LOUNGE Wednesday 06/03/2015 2:14 - 3:00 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 11:28 - 11:59 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Thursday 06/04/2015 2:50 - 3:36 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 11:34 - 12:34 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 12:59 - 1:37 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Wednesday 06/03/2015 2:30 - 3:37 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
STUDIO Thursday 06/04/2015 3:56 - 4:26 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
NUT HOUSE Thursday 06/04/2015 9:56 - 10:24 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
NUT HOUSE Thursday 06/04/2015 12:07 - 1:03 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 5:00 - 5:36 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 5:36 - 5:52 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Wednesday 06/03/2015 5:53 - 6:30 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Thursday 06/04/2015 2:00 - 2:30 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Thursday 06/04/2015 2:31 - 3:00 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
WARHALL Thursday 06/04/2015 3:01 - 3:30 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
THE PLANK Thursday 06/04/2015 11:03 - 11:31 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
THE PLANK Thursday 06/04/2015 3:51 - 4:12 pm
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
MOE’S Thursday 06/04/2015 10:33 - 10:36 am
CoachesOpsRadminsTeam LeadsCreative LeadsProducersFivers
TRACKING201
Studio, Wednesday, 06/03/2015, 11:34-12:34 PM
TRACKING209
Other more advanced hydroponic systems could be used in the space. Initiative such as MIT’s CityFarm would supply CLers with fresh produce grown right in the office.
PLANTING TECH
BIOPHILIA269
Architecture and design schools are places for experimentation, big ideas, and lots of fast, intense making. Collaboration happens among a variety of group sizes. Stanford’s D School has given a lot of thought to how easily reconfigurable furniture and ubiquitous surfaces for ideation can facilitate the students’ work-flow.
COMPARABLES
COMPARABLES275
16
WATER COLOR STUDY
17
PERSPECTIVE STUDIES
MAKERSPACE
N
+15’
+12’
+10’
+10’
+8’ 6”
+6’
+0’
14
3
4
8
16
1
2+6’ +6’
-2’
Thomas Edison National Park
21
MAKERSPACE AT THOMAS EDISON NATIONAL PARK
Current iterations of makerspaces are mere architectural interventions into pre-existing spaces and buildings; they are makerspace renovations in truth. The makerspace across from the Thomas Edison National Park asks the question, what would a maker space be like if it were made with the makers in mind from the outset? What effect would a makerspace architecture have that a makerspace renovation would not? The purpose of this project is to explore how the relationships within a space could effect its use. These relationships
were initially explored through the following diagrams:
Visual Stimulus Neutral Conversation Work-Related Conversation Brain Storming Spontaneous Collaboration Planned Collaboration
Minor Connection Major Connection
-Adjacency-Open
-Transparent Walls
-Adjacency-Open
-Shared Circulation Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)-Shared Work Space
-Adjacency-Fully Enclosed
-Shared Circulation Space-Shared Work Space
CAST
WOOD METAL
GLASS
MAT. LIB
AUDIO/VISUAL
LASER SEW
ROBOTICS GALLERY
LIBRARY
LIBRARY
MECHPARKING R.R.
CAFE
SEWLASERPRINT
MATERIALS LIB.CASTINGWOOD
ROBOTICSAUDIO/VISUAL
GLASS BLOW.METAL
GALLERY
LIBRARY
CAFE
CASTING
WOOD
METAL
GLASS
MAT. LIB
AUDIO/VISUAL
DIGITALSEWING
LASERCUTTER
ROBOTICS
PR
INT
CA
ST
ING
WO
OD
ME
TAL
GL
AS
S
MA
T. LIB
AU
DIO
/V
ISU
AL
No
ise
Inte
nsit
y (d
B)
Workshop Types (Finished to Raw)
0
40
80
SE
WIN
G
LAS
ER
CU
TT
ER
RO
BO
TIC
S
conceptual organization
Visual Stimulus Neutral Conversation Work-Related Conversation Brain Storming Spontaneous Collaboration Planned Collaboration
Minor Connection Major Connection
-Adjacency-Open
-Transparent Walls
-Adjacency-Open
-Shared Circulation Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)-Shared Work Space
-Adjacency-Fully Enclosed
-Shared Circulation Space-Shared Work Space
CAST
WOOD METAL
GLASS
MAT. LIB
AUDIO/VISUAL
LASER SEW
ROBOTICS GALLERY
LIBRARY
LIBRARY
MECHPARKING R.R.
CAFE
SEWLASERPRINT
MATERIALS LIB.CASTINGWOOD
ROBOTICSAUDIO/VISUAL
GLASS BLOW.METAL
GALLERY
LIBRARY
CAFE
CASTING
WOOD
METAL
GLASS
MAT. LIB
AUDIO/VISUAL
DIGITALSEWING
LASERCUTTER
ROBOTICS
PR
INT
CA
ST
ING
WO
OD
ME
TAL
GLA
SS
MA
T. LIB
AU
DIO
/V
ISU
AL
No
ise
Inte
nsit
y (d
B)
Workshop Types (Finished to Raw)
0
40
80
SE
WIN
G
LAS
ER
CU
TT
ER
RO
BO
TIC
S
establishing primary/secondary connections
Visual Stimulus Neutral Conversation Work-Related Conversation Brain Storming Spontaneous Collaboration Planned Collaboration
Minor Connection Major Connection
-Adjacency-Open
-Transparent Walls
-Adjacency-Open
-Shared Circulation Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)-Shared Work Space
-Adjacency-Fully Enclosed
-Shared Circulation Space-Shared Work Space
CAST
WOOD METAL
GLASS
MAT. LIB
AUDIO/VISUAL
LASER SEW
ROBOTICS GALLERY
LIBRARY
LIBRARY
MECHPARKING R.R.
CAFE
SEWLASERPRINT
MATERIALS LIB.CASTINGWOOD
ROBOTICSAUDIO/VISUAL
GLASS BLOW.METAL
GALLERY
LIBRARY
CAFE
CASTING
WOOD
METAL
GLASS
MAT. LIB
AUDIO/VISUAL
DIGITALSEWING
LASERCUTTER
ROBOTICS
PR
INT
CA
ST
ING
WO
OD
ME
TAL
GLA
SS
MA
T. LIB
AU
DIO
/V
ISU
AL
No
ise
Inte
nsit
y (d
B)
Workshop Types (Finished to Raw)
0
40
80
SE
WIN
G
LAS
ER
CU
TT
ER
RO
BO
TIC
S
analyzing relationships
Visual Stimulus Neutral Conversation Work-Related Conversation Brain Storming Spontaneous Collaboration Planned Collaboration
Minor Connection Major Connection
-Adjacency-Open
-Transparent Walls
-Adjacency-Open
-Shared Circulation Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)
-Adjacency-Partially Enclosed
-Shared Circulation Space-Shared Intermediate Space
-(Spatially Complex)-Shared Work Space
-Adjacency-Fully Enclosed
-Shared Circulation Space-Shared Work Space
CAST
WOOD METAL
GLASS
MAT. LIB
AUDIO/VISUAL
LASER SEW
ROBOTICS GALLERY
LIBRARY
LIBRARY
MECHPARKING R.R.
CAFE
SEWLASERPRINT
MATERIALS LIB.CASTINGWOOD
ROBOTICSAUDIO/VISUAL
GLASS BLOW.METAL
GALLERY
LIBRARY
CAFE
CASTING
WOOD
METAL
GLASS
MAT. LIB
AUDIO/VISUAL
DIGITALSEWING
LASERCUTTER
ROBOTICS
PR
INT
CA
ST
ING
WO
OD
ME
TAL
GL
AS
S
MA
T. LIB
AU
DIO
/V
ISU
AL
No
ise
Inte
nsit
y (d
B)
Workshop Types (Finished to Raw)
0
40
80
SE
WIN
G
LAS
ER
CU
TT
ER
RO
BO
TIC
S
understanding relationships
22
Site considerations for Thomas Edison National Park molded initial shifts in the program, layout, and entry.
THE IDEAL SPACE FOR MAKING
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmatic adjacencies are also established.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Connective WebThe ramping circulation becomes the collaborative space itself. Instead of connecting to the collaborative spaces, the collaborative circulation connects to the workshops. The web also connects back to the public volume atspecific points.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House andNational Park.
2323
THE IDEAL SPACE FOR MAKING
A deeper understanding of the nature of collaborative design informed the web-like circulation that ramps and weaves through the building. Everything else merely services this circulation web or highlights it.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
EntryThe building is torqued to create a gathering place at the point of entry.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
VentilationMechanical rooms in the basement feed air into the building up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Site AxesThe axes of the Thomas Edison Historical Park continue across the street and inform the placement of the entrance. The program is split into public (on the right), and private (on the left).
Mirror Across the StreetThe voids of the Park are mirrored across the street as the collaborative spaces between the workshops. Programmat-ic adjacencies are also established.
EntryThe building is torqued to create a gathering place at the point of entry.
Push and PullThe collaborative spaces are shifted to form the interior collaborative core.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more di�use light.
Connective WebThe ramping circulation becomes the collaborative spaceitself. Instead of connecting to the collaborative spaces, the collaborative ciculation connects to the workshops. The web also connects back to the public volume at specific points.
Ramping Collaborative CoreThe back of the building is lifted and the circulation ramps up and in between the workshops. Parking is placed under the lifted back.
Hanging CatwalkThe collaborative web is hung from the rigid frame by steel rods.
Rigid Frame SystemA steel rigid frame system is utilized to support the ramping circulation that occurs through the center.
Beams and ColumnsSteel I-beams are used to connect the workshop floor plates back onto the rigid frame. The public volume utilizes steel columns and beams for its structure.
Roof DesignThe Roof is pitched to accentuate the lifted back and to continue the typology of the Thomas Edison House and National Park.
VentilationMechanical rooms in the basement feed air into the build-ing up and through the floors of the workshops. The public program has its own mechanical ventilation system.
Facade DesignThe twists in the skin system open up on the collaborative spaces. The workshops receive more diffuse light.
24
Understanding and utilizing the natural relationships that occur between the specific workshops is key to creating an effective makerspace. Different types of workshops tend to exist on the extreme ends of various spectra: quiet to loud, raw to finished, solitary to interactive, and simple to complex. These effects can be utilized to organize the program and circulation in a way that shapes the interactions that occur between
the various types of makers, leading to diversified collaborative opportunities.
A COLLABORATIVE NETWORK
25
FacadeAn aluminum panel skin system is wrapped around the south, east, and west faces. The panels twist to let in light.
StructureA steel rigid frame is used in conjuction with columns and beams to suppost the catwalks and floor slabs.
Upper LevelThe collaborative web connects to the “finished” parts of production: the laser cutter, the digital sewing studio, the robotics lab, and the gallery.
Middle LevelThe collaborative web connects between the middle stages of production: the metal shop, wood shop, print room, audio/visual studio.
Ground LevelThe collaborative web begins to connect the workshops at the earliest stages of production: the casting studio, the materials library, the glass blowing studio, and the library. The topography accentuates the main entrance and the lifted form of the structure.
Basement LevelThe parking level entry is mainly for makers to utilize, whereas the visitors will likely come from the Thomas Edison Park across the street.
micro topography
cafe/library
library
gallery
steel column
aluminum panel skin
purlin
steel beamsteel rigid frame
oces
collaborative node
elevator core
collaborative node
digital sewing
laser cutter
robotics lab
print roomwood shop
metal shop
audio/visual
parking
mecahnical room
loading dock
restrooms
entry
materials library
casting
collaborative node
glass blowing
collabortaive web
26
THE MAKERSPACE EXPERIENCE
View from Thomas Edison National Park
Workshop / Node
Collaborative Node
On the Collaborative Web- Lower Level
2727
THE MAKERSPACE EXPERIENCE
Collaborative Web - Mid Level
Workshop
Collaborative Web
Collaborative Web - Upper Level
28
Sections help to show the connective effect of the collaborative web, while the elevation illustrates the effect of the micro-topography and the skin system.
MAKING IN SECTION AND ELEVATION
2929
Details answer the questions; how does a makerspace architecture ventilate its spaces? How does it provide its workers with diffuse light and views for its collaborators? How does it light up at night? This axon begins
to show these aspects of the design.
EXPLODED AXON
Metal Decking
Insulation
Metal Roof Cladding
Ceiling
Steel I-Beam
Heating Cables
Double Pane Glazing
Louvre Supports
Aluminum Mullions
Metal Frame
Steel Vertical Louvre
LIBRARY
33
IRONBOUND BRANCH LIBRARY“The Ironbound is a farm that moves in slow motion, where new immigrants are planted like seedlings in a welcoming soil. They stay to grow and prosper, then leave after several generations to make room for the next crop of newcomers. With the passage of each group, the Ironbound continues its long ascent from “the wrong side of the tracks” to a vibrant neighborhood built on sweat equity.” – Kathleen O’Brien
Libraries, as repositories of knowledge and places for the transfer of information have always been a vital force in civic life. The Branch Library for the Ironbound neighborhood of Newark, NJ will play a comparable role in the life of its neighborhood. This library will act as a center for community members to interact, access new forms of information, research, study and explore.
34
3535
The scheme of the library was organized around the language of the Ironbound urban grid, with its streets, avenues, and alleyways. The interior green space was inspired by Independence Park, which sits across the street from the proposed site. Like the park, the green space creates a break in the grid, providing a much
needed void, or interruption, in the density of the streets and alleys, or book stacks and rooms.
CONNECTING THROUGH THE VOID
PRIMARY
SECONDARY
IRONBOUND GRID
GREEN BREAK
STRUCTURAL GRID
PARK AS DIVIDER
VOLUMETRIC PARTI
ALLEYS AS BRIDGES
9
16
16
11
11
12
13
6
7
8
8
14
Ground Floor
Second Floor
Third Floor
3737
BOOK STACKS AS A FIELD
Children’s Book Stacks
Adult’s Book Stacks
Adults’ Book Stacks Script For the adult book stack organization, a field of lines, or stacks, is interrupted by concentrations of activity, which is then translated into voids between the stacks. The stacks are made shorter in height above and below each void. This arrangement provides small nook spaces for readers to relax in while among the books, while the shortened stacks above and behind each intimate reading space help to give readers the ability to locate these small nooks.
Children’s Book Stacks Script The children’s book stacks were organized to create both intimate spaces for readers to take respite among the books, and gathering spaces for children to be taught and led in reading. Sight lines are created for the librarians and parents to keep track of the children. The arrangement for the children’s stacks is made by distorting a field of vectors around concentrated points, and then making connections between those points with vectors, which provides the space with a whimsical effect.
38
LIBRARY IN SECTION
The interior green space separates the volumes, providing the primary volume, which contains the stacks and quiet reading areas, with privacy from the secondary volume, which contains the computer and study lounges. As is shown in Longitudinal Section through center, the volumes maintain connectivity through
bridges or alleys that intersect the volumes perpendicularly.
Cross Section
Longitudinal Section through stacks
3939
LIBRARY IN SECTION
The primary vertical circulation runs up the interior side of the primary volume. The bridging alleyways extend off of the landings of the staircase, while small lofts extend off of the landings between floors, jutting out into the green space, which can be observed in Cross Section. Longitudinal Section through stacks
shows the primary volume’s library spaces, including the adult and children’s stacks.
Longitudinal Section through center
CELLULAR STRUCTURES
41
43
THE MACHINE THAT MAKES THE ART
“The idea or concept is the most important aspect of the work; the planning and decisions are done beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art.”- Sol Lewitt
Through the use of a simple, pure language of color and form, a series of rule sets were designed that replicated desired conditions. These rules were then rendered into visual, and then physical, representations. The rules evolved, growing more complex with every variation, affecting every aspect
of the design, even the door hinges. The initial set of rules below generated the pattern in this spread:
1. Each black square must be connected to at least one black square and one white square.2. There can be no more and no less than 30 black squares connected to each other at a side, unless there is no room for all 32 squares. This is called a cluster.3. Each cluster must be separated from each other cluster by at least one white square.
44
Each subsequent idea is a variation on the original; a set of rules with both a visual and physical representation. The rules to the right are an aggregation of the original set.
PROCEDURAL VARIATIONS
Procedure: 1. Roll 4 20-sided dice to get a pair of coordinates (x1, y1) (x2,y2). Repeat 7 times. Write down the results. 2. Create a 20x20 grid. Number each square, not each grid-line. 3. In the grid, place a dot in pencil for the first and second coordinates. 4. Surround the first dot with black squares by filling in the grid immediately surrounding it. Keep the space for the first dot empty/white. If the squares around it cannot be filled in, fill in as many as is possible. 5. Connect the black squares surrounding the first dot to the second dot as directly as possible by filling in one black square at a time. 6. When the second dot is reached, surround it with black squares as much as possible. 7. If 32 black squares has not been reached yet, generate black squares around the second dot until 32 squares has been reached. 8. If there is still a need for more black squares, reverse the generation backwards toward the first dot until 32 is reached. 9. After 32 squares have been reached, erase the first and second dots. 10. Repeat from step three until all coordinates have been used. 3. In the grid, place a red dot for the first coordinate and place a blue dot for the second coordinate. 4. Each cluster can touch another cluster at a corner point; a cluster can touch as many other clusters as is possible, but can only touch each cluster once. Rules: 5. Black squares are black spaces (12’x12’). 6. White squares are white cubes (12’x12’x12’). 7. Red dots are red poles (2x cube height) and blue dots are blue poles (2x cube height). 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white implied cubes (12’x12’x12’). 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white implied cubes (12’x12’x12’). 7. Red squares are red implied cubes. 8. First blue dots are blue poles (2x cube height) and second blue dots are blue poles (1.5x cube height). Procedure: 3.In the grid, place a blue dot for the first coordinate and place a second blue dot for the second coordinate. 9. Replace a single black square from the cluster that touches two white squares with a red square. Rules: 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white spaces (12’x12’). Procedure: 9. Place a secondary grid over the initial grid that splits the interval into thirds. 10. Move a black square surrounding an isolated white square along secondary grid to create a secondary white space between the isolated white squares and the external white squares. Repeat for each isolated white space. 11. Color the area that used to be white blue and color the area that used to be black red. Rules: 7.Each black cube has a door on one of its external sides. 8. Each black cube’s walls that butt against another cube are removed. 9. The Interiors of the black cubes are white with black accents where interior walls used to be. 7. Each black cube has a door on each of its sides 8. The Interiors of the black cubes have original drawings that follow the rules and procedure of Idea 11 two-dimensionally on the walls. 10. First red dots are red poles (2x cube height) and second red dots are red poles (1.5x cube height) 11. 3’x3’ blue squares are 3’x3’ blue elevators that go from the bottom system to the bottom of the top system. Procedure: 3. In the grid, place a red dot for the first and second coordinates 10. Repeat from step one to create a second system. 11. Overlap this atop the first system. 12. Place a 3’x3’ blue square in the upper right hand corner of the white square that contains the red dot for each cluster of the first underlying system. Procedure: 1. Roll 4 20-sided dice to get a pair of coordinates (x1, y1) (x2,y2). Repeat 7 times. Write down the results. 2. Create a 20x20 grid. Number each square, not each grid-line. 3. In the grid, place a dot in pencil for the first and second coordinates. 4. Surround the first dot with black squares by filling in the grid immediately surrounding it. Keep the space for the first dot empty/white. If the squares around it cannot be filled in, fill in as many as is possible. 5. Connect the black squares surrounding the first dot to the second dot as directly as possible by filling in one black square at a time. 6. When the second dot is reached, surround it with black squares as much as possible. 7. If 32 black squares has not been reached yet, generate black squares around the second dot until 32 squares has been reached. 8. If there is still a need for more black squares, reverse the generation backwards toward the first dot until 32 is reached. 9. After 32 squares have been reached, erase the first and second dots. 10. Repeat from step three until all coordinates have been used. 3. In the grid, place a red dot for the first coordinate and place a blue dot for the second coordinate. 4. Each cluster can touch another cluster at a corner point; a cluster can touch as many other clusters as is possible, but can only touch each cluster once. Rules: 5. Black squares are black spaces (12’x12’). 6. White squares are white cubes (12’x12’x12’). 7. Red dots are red poles (2x cube height) and blue dots are blue poles (2x cube height). 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white implied cubes (12’x12’x12’). 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white implied cubes (12’x12’x12’). 7. Red squares are red implied cubes. 8. First blue dots are blue poles (2x cube height) and second blue dots are blue poles (1.5x cube height). Procedure: 3.In the grid, place a blue dot for the first coordinate and place a second blue dot for the second coordinate. 9. Replace a single black square from the cluster that touches two white squares with a red square. Rules: 5. Black squares are black cubes (12’x12’x12’). 6. White squares are white spaces (12’x12’). Procedure: 9. Place a secondary grid over the initial grid that splits the interval into thirds. 10. Move a black square surrounding an isolated white
46
PROCEDURAL SCRIPT
Here I generated Sol Lewitt’s Wall Art as a script in grasshopper to demonstrate its differences to a biomimetic script. From Wikipedia: A cellular automaton consists of a regular grid of cells, each in one of a finite number of states, such as on and off. The grid can be in any finite number of dimensions. For each cell, a set of cells called its neighborhood is defined relative to the
Procedural/Conceptual Art Rules extracted from “Wall Drawing” by Sol Lewitt. Lines do not relate to each other and are drawn sequentially.
specified cell. An initial state is selected by assigning a state for each cell. A new generation is created, according to some fixed rule that determines the new state of each cell in terms of the current state of the cell and the states of the cells in its neighborhood. Some biological processes occur—or can be simulated—by cellular automata, like the patterns of some seashells.
47
BIOMIMETIC TRANSLATION
Realizing that the original rule set shared a surprising number of traits to the mathematical theory of “cellular automata”, I translated the written procedure into the biomimetic code. Building off of a cellular automata code, I generated a grasshopper script that looped through the predefined rules. Black squares became activators (on), white squares became inhibitors (off), and clusters became neighborhoods. The more times the loop
Cellular Automata: Loop 1Similar to original drawings. Fractured forms with larger white spaces than original.
repeated, the more defined the neighborhoods became. My original idea resembled the output generated by the second run most closely, while the tenth run generated unexpected oblong shapes. My manual reproduction of the rules was ultimately hindered by my inability to draw the whole at once; I had to start at one point and finish at another, while the script could run through each rule simultaneously.
Cellular Automata: Loop 3Edges of forms begin to emerge.
CELL VARIATIONS
Cellular Automata: Loop 10Defined oblong Shapes emerge.
Cellular Automata: Rectangular Cells, Loop 10Segmented lines take the place of meandering forms.
Cellular Automata: Hexagon Cells, Loop 10Oblong shapes are more defined
LILY PAD DOCK
51
53
The Lily Pad Dock fosters engagement with the scenic river edge. With a form inspired by the lily pads found on the site, the dock is reinterpreted as a place of relaxation, while it maintains its functionality. Like a lily pad, the dock dynamically adjusts its position as the river conditions shift, and multiplies as the
environment suits it.
DOCK ON THE FERN RIVER
54
The river edge conditions constantly change with the effects of rain, drought, and erosion. The dock adapts to these changing edge conditions through a hinge system.
CHANGING WITH THE CURRENT
leisure position boat dock/ fast current position
decking implies additionof lily pad module
decking implies analternative position
5555
The lily pad module makes it easy to make additions or subtractions to the length and form of the dock. These additions and subtractions could correspond to the ever changing edge conditions and make for a
particularly adaptable dock.
GROWTH AND CHANGE
initial position growth along coast
growth adaptationhinge positions
56
CONSTRUCTION SEQUENCE
5757
CONSTRUCTION SEQUENCE
